A Call for Your Awesomeness « poburke.com. So last week I was contracted as Workshop Coordinator for Cyfle in Cardiff and their multiplatform training course – ‘Digital Delta’.
Focus of my role – “Find great speakers”… Its a 6-month part time course written in order to create 8 digital professionals & 8 multiplatform writers for the creative industries in the UK There are two strands to the scheme – a Digital Professional strand (where the trainees will learn the creative production skills needed to create multiplatform content – from creating the idea to final delivery, alongside work on Social Media / Mobile / Gaming and so on), The other strand is a Multiplatform Writing strand.
Here the trainees will develop core writing skills & learn to write creative content for a myriad of different platforms – Web / Social Media / Mobile / Gaming … The majority of the work is done online but with 12, 2-Day Masterclasses led by industry experts, and a Transmedia Week in September. You are? Transmedia - Briefing Vol.1 - storify.com. Björk’s Biophilia App Album. Ever the innovator, Björk has announced that an “app album” will accompany a conventional music album for her upcoming Biophilia project. What is it, and why is it important? Björk is an unstoppable force. Even with seven albums under her belt, she persists in finding new ways to distribute her artistic vision.
A stereoscopic 3D video was shot for “Wanderlust,” with Wired magazine providing directions on how to make your own 3D glasses. Almost ten years earlier, she was the first musician to release a DVD single in the United States, for the award-winning video “All is Full of Love” by director Chris Cunningham. Her upcoming project, Biophilia, will feature a traditional music album. One song, “Virus,” features an app that appears to ask the user to stop an attack by a virus on a biological cell. Snibbe is an interactive artist who has recently been specializing in iPhone and iPad applications. The Value of Experiential - Our New Augmented Worlds. I promised quite a few folk to provide a walk-through of my short 35 minute presentation at the Augmented Reality Event in California last week.
The intention of the presentation was to take my AR Scenario & Business Model thinking to the next level, to go beyond marketing eye candy, clunky ‘questionable’ games and really dig down and think hard about the value proposition for users. In creating the presentation I had to look at a deeper level at the nature of experience, as in that we can start to really find true value in Augmenting our Reality. To begin though a little compilation video I threw together for this post and some future talks looking specifically at a range of locative augmented and alternate reality services (entertainment, promotion and advertorial) to set the landscape. Music track is called Zemith from my ‘Calm After the Storm’ album in progress – subscribe free So moving beyond that… The diagram exhibits a range of complex concepts.
There are 3 eraʼs. Transmedia storytelling. Jakiś czas temu, poszukując materiałów do pracy, trafiłem na nieformalne forum fanów Harry’ego Pottera.
Zorganizowane na wzór Hogwartu, posiadało klasy, podręczniki do poszczególnych przedmiotów i nauczyciela. Dzieciakom, które stworzyły firum nikt nie płacił na pisanie o mitycznych stworach i magicznych roślinach. Robiły to dla własnej przyjemności. To właśnie jest transmedia storytelling – w moim odczuciu jeden z najważniejszych składników współczesnego marketingu, w tym działań w social media. W 2003 roku Henry Jenkins, medioznawcza i profesor MIT, skonstruował termin transmedia storytelling jako określenie nowego sposobu opowiadania historii łączącego w sobie różne media, różne metody i różne punkty widzenia. Po „burzliwych” latach początku XXI wieku idea nieco przycichła, aż tu nagle – od około 2 tygodni coraz częściej słyszę o storytellingu w takim – jenkinsowskim – ujęciu.
To doskonały przykład storytellingu transmedialnego (pozwolę sobie na to spolszczenie). Powyżej. Producing Transmedia Stories – 10 Reasons why Audiences do it Better… …than Agencies and Filmmakers.
Why do transmedia professionals have a difficult time achieving authentic and fluid transmedia stories and why do ‘existing’ branded entertainment & digital agencies tend towards lowest common denominator, tried and tested formulaic cross media, more about PR, advertising and marketing than real ‘story’ focused engagement. Against this and rather paradoxically we have the ‘so-called’ audience/users actually telling their ‘life’ stories across platforms in a much more natural and engaging way.
Having produced and studied cross media since 1997 (“What do Audiences Want” BBC pres) one very large and persistent problem has always been creating authentic transmedia stories – natural story arcs and bridges that lead you onward through a long format, multi platform experience. So why is this? Note: this is a personal/user POV condensed version of a longer chapter intro section in my wip book Networked Media Storytelling: Transmedia Design and Production. 10 Volume. Share photos and videos on Twitter.