Hello stories, goodbye ads — Design story. Las narrativas transmedia en un manifiesto y 11 tweets. Un grupo de profesionales e investigadores está difundiendo el Transmedia Manifesto, un documento que resume en 11 principios o tesis los fundamentos de las narrativas transmedia. Los transcribo a continuación: The art of storytelling has always been subject to change. Through the process of digitalization and the accompanying media convergence, we’re now on the verge of a quantum leap. We are no longer viewers, listeners, readers, users, or players.Today, we are “experiencers”, whose roles and behaviors change based on how we use and approach media. Thesis 1: Claiming reality Fiction supersedes reality, becoming as immersive as possible.
Thesis 2: Rabbit holes The story offers multiple entry points to the experiencer, depending on the medium and situation in which it is used. Thesis 3: Story universe The experiencer no longer follows one dramatic thread but chooses among several intersecting storylines, which merge into a single story-universe. Me gustan estos principios. Me gusta: A framework for mobile learning | Places: Evaluating Mobile Learning.
In order to move from theory to practice in mobile learning, one needs a framework. The JISC Mobile InfoKit introduces its frameworks discussion by listing six ‘course aspects’ (my term) which may be behind the drivers for mobile learning. The first four are pedagogical approaches. In sum, they are a pretty good, though not comprehensive, list of the ‘ideas behind the drivers’ toward mobile learning. • Behaviourist – activities promoting learning as a an observable change in behaviour• Constructivist – activities in which new concepts are actively constructed, based on a combination of previous and current knowledge• Situated – activities encouraging learning in an authentic context• Collaborative – activities encouraging learning through interaction with others• Informal and lifelong - learning activities outside dedicated, formal environments or curricula• Learning and teaching support – activities which help to coordinate learners and learning resources 1. 2. 3. 4.
Like this: Facebook censure ? Eh bien, la guerre ! Certes, ce n’était pas la première fois et ce ne sera pas la dernière. Pourtant, lorsque le bouzin Facebook prit, au début du mois, l’initiative de censurer, sur la page du musée du Jeu de paume, cette étude de nu de la photographe Laure Albin Guillot, bien misérables furent les protestations contre une initiative imbécile et à total contre-courant de la raison d’être, et du musée, et du réseau social. Notre camarade Erwan Cario l’évoquait bien, pour naturellement la déplorer, le 8 mars dans cette page , mais même sous sa plume et son irritation, perçait le sentiment que quelque chose d’inéluctable se poursuivait.
Ce quelque chose, c’était que cette censure, derrière «les standards de la communauté Facebook» (l’ordinaire charabia visant à préserver la moralité des petits nenfants) n’était que mollement idéologique. Transmedia Storytelling. Cartoons: Triumph of the nerds. IN 1989 Bill Watterson, the writer of “Calvin and Hobbes”, a brilliant comic strip about a six-year-old child and his stuffed tiger, denounced his industry. In a searing lecture, he attacked bland, predictable comics, churned out by profit-driven syndicates.
Cartooning, said Mr Watterson, “will never be more than a cheap, brainless commodity until it is published differently.” In 2012 he is finally getting his way. As the newspaper industry continues its decline, the funnies pages have decoupled from print. This burst of new life comes as cartoons seemed to be in terminal decline. Cartoons go way back before newspapers. But it was the combination of the rotary printing press, mass literacy and capitalism which really created the space for comic art to flourish. Newspapers filled with sensationalist reporting sold millions. That was the golden age. The decline of newspapers and the rise of the internet have broken that system.
But on the internet, anything can thrive, it seems. Open university: Joi Ito plans a radical reinvention of MIT's Media Lab. This article was taken from the November 2012 issue of Wired magazine. Be the first to read Wired's articles in print before they're posted online, and get your hands on loads of additional content by subscribing online. Joi Ito, 46-year-old director of MIT's Media Lab since last September, has just selected the faculty's newest outpost: the troubled streets of downtown Detroit. "I was in a rough neighbourhood there yesterday, where there are miles and miles of bombed out buildings, and it just blows your mind to see a bunch of kids building urban farms," he says back in his office in Cambridge, Massachusetts.
"They have no streetlights. If you connect a streetlight to the grid, it gets controlled by the city and regulated. So they're thinking, how can we create solar-powered low-cost streetlights, as that will lower crime? They have a maker space in a church, a place where the kids can learn how to build a computer, a bike shop where they can learn how to do repairs. The Art of Twitter Storytelling by Robert K. Blechman | Christine Hughes. The Art of Twitter Storytelling By Robert K. Blechman Willum Mortimus Granger was beside himself.
Thus begins my live-tweeted novel, Executive Severance. Twitter was the only medium I was concerned with. I’m almost certain Twitter is not so tedious as death. Granger had spent his last moments tweeting and probably would be tweeting still were it not for roaming charges. If you are wondering whether it is possible to actually write an entire novel in Twitter, SPOILER ALERT! Twitter began as a medium for communication began in 2006 and today boasts more that 500 million followers posting in excess of 350 million tweets daily. A new medium of communication is often met with fear and trepidation by someone. Twitter is an online application that is part blog, part social networking site, part cell phone/IM tool, all designed to let users answer the question “What are you doing? Why a detective story? Robert K. Like this: Like Loading... Periodismoyotrasyerbas: Carlos Scolari: "el periodismo siempre fue transmedia"
La semana pasada estuve en Bilbao en el 4to Congreso de Ciberperiodismo en la Universidad del País Vasco, como ya les conté. Otro de los expositores allí fue Carlos Scolari, reconocido profesor argentino ahora en la Universidad Pompeu Fabra (Barcelona), donde habló sobre evolución de las interfaces y el caso de los eMagazines. Pero a mí me interesaba entrevistarlo para preguntarle específicamente sobre otra cosa: las posibilidades del concepto de narrativa transmedia en el periodismo. Éste es un enfoque muy utilizado ahora en la ficción pero no tanto en el periodismo y me parece una forma interesante de pensar la narración de actualidad que se expande en distintas plataformas.
El concepto de multimedia queda chico para aludir a esas historias que van más allá de los límites de la Web y atraviesan todos los medios. Cuando le conté de mis intenciones, me dijo: "Mañana tengo que ir a dar una charla sobre transmedia en la Facultad de Bellas Artes de la UPV, en Leioa, ¿querés acompañarme? ". Dibujario: Fernando de Pablo. Imagenaciones. | Imagen y Cultura Digital. Narrativas Transmedia. New Media Literacy In Education: Learning Media Use While Developing Critical Thinking Skills. Vision of the Future - Part 1 by Howard Rheingold My interest in this subject has always been very personal.
And I want to start by emphasizing that the use of online communication for socializing by young people is nothing new. Certainly, the amount of access and the power of the tools available now is significant, but today's online social networks have evolved from the BBSs in teenager's rooms that I started accessing in the 1980s when I first started exploring the online world. Twenty years ago, I discovered social cyberspace when I was looking for new ways to connect with other people. What I have to say comes from what I've learned as a student of social cyberspace, and as a Netizen. Virtual communities are more than an area of expertise for me. My interest in new media literacies was kindled more than ten years ago, when my daughter was in middle school. Two phenomena in the early 1990s drew my attention: Who is the author?
What do others say about the author? End of Part 1. Newsgames (o el juego de la información. El concepto de “newsgames” fue introducido hace unos años por Gonzalo Frasca para hacer referencia a las producciones lúdicas inspiradas en las viñetas políticas. Algunos videojuegos del mismo Frasca como “Madrid” (inspirado en los atentados del 2004) o el mundialmente reconocido “September 12th” (quizás la mejor crítica jamás realizada a la belicosa política de George W. Bush) son excelentes ejemplos de este género donde la información se cruza con lo lúdico.
La creacion del mini-portal Newsgaming por parte de Frasca marca un camino que otros productores e investigadores no tardaron en seguir. El año pasado MIT Press publicó Newsgames. Journalism at Play, el libro de Ian Bogost, Simon Ferrari y Bobby Schweizer que delimita este nuevo territorio hibrido y, en la misma jugada, propone una mirada bastante polémica sobre los newsgames. “Cutthroat Capitalism” presentado por Wired (Julio, 2009) es junto a “September 12th” el paradigma de los newsgames. Sub-géneros Los límites del Newsgaming.