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MIPCube 2012 Programme at-a-glance. Play Thomas Dolby’s new game, “The Floating City” The Floating City is a rich multiplayer transmedia game within a living world based around Thomas Dolby’s latest musical endeavors.

Play Thomas Dolby’s new game, “The Floating City”

“The Floating City is set against a dystopian vision of the 1940s that might have existed had WWII turned out a lot differently,” says Dolby. A global energy experiment went haywire, the Earth’s magnetic fields have been reversed, and the planetary climate system violated. Science has betrayed us: now what must the species do to survive? Survivors explore a fictional Google map, forming tribes and trading relics amid a bizarre sea-going barter society. As they struggle to unravel the enigma that is the Floating City, players can haggle over merchandise and music downloads — including brand-new songs from A Map of the Floating City, Dolby’s first album in 20 years, which will be released following the climax of the game.

Gameplay has just begun. “This is a brilliant concept,’ said writer/economist Steven Levitt. ADIJ TRANSMÉDIA » Archive » L’atelier vous invite à sa 4ème session, lundi 23 mai 2011, 18h-21h. Storytell your music » OWNImusic, Réflexion, initiative, pratiques. Le transmedia optimise le storytelling d'un artiste.

Storytell your music » OWNImusic, Réflexion, initiative, pratiques

Bien que cette affirmation paraisse évidente, les nouvelles technologies permettent de décupler l'effet de la démarche comme le montrent les différentes études. Olivier GODEST est responsable de la communication et des formations pour le Transmedia Lab. Il rejoint le groupe Orange et l’équipe du Transmedia Lab en 2009 et y développe une expertise sur le développement de projets transmedia (multi-supports) en s’appuyant notamment sur les nouvelles opportunités entre les producteurs de contenus et les marques. Ana Vasile a travaillé au département création d’une agence de publicité avant de devenir assistante du responsable de la communication et des formations pour le Transmedia Lab. Elle rejoint l’équipe du Transmedia Lab en 2011 et participe plus particulièrement au développement d’une nouvelle politique éditoriale et à la rédaction d’articles pour le blog. Les nouveaux modèles de distribution Les pionniers de la musique transmedia.

Transmedia for Social Documentaries. Transmedia as a buzzword has taken on a life of its own beyond the film world, translating to mobile campaigns, television shows, advertising, and even books. Whether called , , or just , filmmakers from all genres no longer just make films. Aspiring filmmakers in the social documentary sphere are facing the prospect of a media campaign of overwhelming proportions. But innovative and passionate socially-minded individuals are taking chances and creating blueprints for future filmmakers. Social documentary projects are increasingly more than social and more than documentary. The transmedia world as demonstrated by pioneer Lance Weiler can be daunting for the grassroots social documentarian.

Weiler’s genius is a sense of realism and interactivity that is echoed by bigger studio-backed films, such as and the now infamous website for , which calls into question the ethics of realism. Others are more obviously immersive than real, but with similar effects. Study cases : a transmedia overview on the music industry. Faced with the evolution of uses and new media consumption habits, the music industry has to face similar problems to those seen in the audiovisual industry: unstable audiences, growing competition and pirating.

Study cases : a transmedia overview on the music industry

However, new economic models and multiplatform projects are emerging: Jay Z, Gorillaz or Nine Inch Nails for example, are reinforcing their relationships with their audiences through storytelling. 1New distribution models The authors of record labels are faced with one main problem these days: the decreasing sales of material media (CD, DVD), which is directly linked to the digital explosion. Even though it’s often brought up as producers’ number one fear, music only represents 2,9% of illegal downloads, as shown in this Ars Technica study. For example Spotify is a free music access provider that had 10 000 000 users last year with a service financed by advertizing. New Spotify Users will still be able to enjoy free service as it is offered now for the next 6 months. Conclusion.