Seven Myths About Transmedia Storytelling Debunked Over the past few years, transmedia storytelling has become a hot buzzword in Hollywood and Madison Avenue alike--"the next big thing" or "the last big thing" depending on whom you ask. Last year, the Producer's Guild announced a new job title, Transmedia Producer, a decision that has more or less established the term as an industry standard. More and more companies are laying claim to expertise in producing transmedia content. But many using the term don't really understand what they are saying. So let's look at what people are getting wrong about transmedia. Myth 1: Transmedia Storytelling refers to any strategy involving more than one media platform. The entertainment industry has long developed licensed products, reproducing the same stories across multiple channels (for example, novelizations). Myth 2: Transmedia is basically a new promotional strategy. Yes, many early transmedia experiments were funded through marketing budgets. Myth 3: Transmedia means games.
New screen culture is more than child's play Image from Syrinscape, a smartphone app developed by Benjamin Loomes. Source: Supplied ANDREW Pender may not be a household name, but in video game circles he's a champion. Known by his nom de guerre, mOOnGLaDe, Pender travels the world competing in game tournaments. Just last week he was in Poland for the Intel Extreme Masters tournament in Katowice. His event is Starcraft II, described as a real-time video strategy game and set in a militaristic future. As parents, wives and husbands across the country will know, Pender is not alone in his preoccupation with fantasy worlds and interactive entertainment. Here are some more statistics from the Interactive Games & Entertainment Association. Why are we having this discussion in pages usually devoted to theatre, music, film and exhibitions? The Australian games market is growing at 7.4 per cent a year, and is expected to reach $2.2 billion by 2016. Some may be sceptical about games and their claim to creativity. But there are upswings.
Participatory culture Participatory culture is a neologism in reference of, but opposite to a Consumer culture — in other words a culture in which private persons (the public) do not act as consumers only, but also as contributors or producers (prosumers). The term is most often applied to the production or creation of some type of published media. Recent advances in technologies (mostly personal computers and the Internet) have enabled private persons to create and publish such media, usually through the Internet. This new culture as it relates to the Internet has been described as Web 2.0. In participatory culture "young people creatively respond to a plethora of electronic signals and cultural commodities in ways that surprise their makers, finding meanings and identities never meant to be there and defying simple nostrums that bewail the manipulation or passivity of “consumers.”[1] History[edit] Participatory culture has been around longer than the Internet. Forms of participatory communication[edit]
A compact vision of co-intelligence The Co-Intelligence Institute CII home // Y2K home // CIPolitics home A compact vision of co-intelligence In this essay I offer an overview of co-intelligence, somewhat oversimplified into two parts: collective intelligence and collaborative intelligence. Intelligence is the word we commonly use to describe our individual capacity to learn, to solve problems, to plan our future, and to make sense of our inner and outer worlds. Much more could be said about individual intelligence, but for now I want to suggest that this capacity we call intelligence isn't confined to individuals. So we can speak of individual intelligence andcollective intelligence. Although this idea may be new to you, I want to assure you that there really isn't anything very esoteric about it. What really interests me is that when I tell people about co-intelligence, they usually look at me blankly. Collective intelligence involves more than collective problem-solving.
Christy's Corner of the Universe: cross-platform, creative practice, strategy, research, marketing, life... Felix in Hollywood (1923) (Silent) berry1.pdf (Oggetto application/pdf) The Wisdom of Crowds, Revisited: When The Crowd Goes From Wise to Wrong | Artful Choice How wise is the crowd, really? A great deal of evidence, nicely summarized in James Surowiecki’s The Wisdom of Crowds, suggests, very wise. Crowds seem to be better at providing estimates and coming closer to a more accurate answer, at improving the diversity of opinion, at coordinating action, at facilitating societal functions, even at investing in the stock market. It’s a simple statistical observation: from diversity of estimates comes improved accuracy. But not so fast. What happens if this so-called wisdom, while theoretically true, is, practically speaking, not so easy? The crowd may not be as wise as we think In the study, participants were asked to provide estimates to a range of questions on geography and crime. The researchers found that, while groups may have been wise at the start of the experiment, as soon as individuals within the group became aware of others’ estimates and choices, the diversity of opinions plummeted. Crowds reduce the diversity of responses Competition.
Jeff Gomez on Transmedia Producing - Producers Guild of America Jeff Gomez, Member-At-Large of the PGA East Executive Board and CEO of Starlight Runner Entertainment, has been creating engrossing interactive environments since he was a teenager. In his recent presentation at the TEDx Transmedia event in Geneva, Switzerland, Gomez talks about how he was able to leverage his creativity and experience to become one of the most important producers specializing in transmedia storytelling. Whether he’s expanding the story of a pre-existing universe like he did with the transmedia campaign for James Cameron’s Avatar or creating enthralling worlds for Acclaim Entertainment and The Walt Disney Company, Gomez has not only embraced the opportunities of cross-platform storytelling but also continues to define the methods that transmedia producers will use for many years to come. We had a chance to connect with Gomez after the conference and ask him a few questions about the challenges facing transmedia producers.
9 Solar Cinema Homepage How to Build a Collective Intelligence Platform to Crowdsource Almost Anything Introduction The MIT Center for Collective Intelligence recently published an important overview of the theory and mechanisms behind successful crowdsourcing efforts. Their report, called “Harnessing Crowds: Mapping the Genome of Collective Intelligence“, can be found here. Their research reveals similarities behind many high-profile collective intelligence (CI) systems, including Threadless, Wikipedia and InnoCentive. I call this work the MIT Approach to Collective Intelligence, which is a generic approach applicable to a wide range of problems and circumstances. The MIT approach to collective intelligence According to the Center for Collective Intelligence, a good collective intelligence platform (CI) must address the following themes: These four themes then translate into the following four questions: What is to be accomplished? Figure 1, below, illustrates how these four themes and questions interact to form the building blocks of any collective intelligence system. Conclusion