Via Scoop.it – Pervasive Entertainment Times
“In ten years’ time I’d like to think we’ll be able to form a map of the player, combining other sorts of sensory data together, from facial expressions to heart rate,” he continued. “You can see how, over a period of time, you can form a map of the player and their emotional state, whether they’re sad or happy. Maybe people in their social network can comment on it. The more accurate that map can become, the more we can tailor it to the experience.”Hocking seems to hope that AI in ten year’s time won’t still feel like “acting,” but will react more naturally, independent of scripts and pre-determined movements. “In Uncharted you can see games are getting closer to lifelike actor performances, but [despite] the more accurate they are becoming as an acting performance, it’s still acting. Will we have AI that allows us to talk to and truly interact with a character? Will we be able to show the character objects it can recognize?”
When Games & Web Services Can Read Your Emotions – Sony Says Within This Decade – Situated Research Blog31 Aug
Via Scoop.it – Pervasive Entertainment Times
Via Scoop.it – Pervasive Entertainment Times
Wake-up call, citizen. The world you live in is a shallow simulacrum of the real one, with secret societies and back-room backstabbers controlling how you live, work and think. And now you’ve got the chance to play a videogame about them! Funcom’s action-MMORPG, The Secret World, is gearing up for its upcoming beta, and it wouldn’t be a conspiracy-themed supernatural thriller if there weren’t some sort of ARG component to the proceedings. Want in on the beta? You’ll have to jump through some game-ified, social-media, alternate-reality, welcome-to-2011 hoops for it. – you’ll have to work to build the robust, high-visibility online presence coveted by all secret societies by enlisting friends, sharing Secret World assets and info, and further blurring the boundaries between the ancient quest for global domination and a really long-running game of Farmville.
By Nate Goldman on Aug 27, 2011
“…Directed by DJ Caruso and starring Emily Rossum, Inside follows young twentysomething Christina Perasso as she awakes in a strange room with nothing but the clothes on her back, a Toshiba laptop and no recollection of how she got there. Over the next 11 days, Christina frantically reaches out to her friends on Facebook, Twitter and YouTube, begging them to help her figure out an escape. Now, her life is in your hands, and its your job to solve clues left by her captor in order to set her free. This phenomenon, where a story interacts with its audience to help progress the action, is called social film.
“It’s sort of the first integration of how the Internet and social media can work in conjunction with a film,” Inside director DJ Caruso said in an interview with YNN Austin. “You can experience this film and watch as it unfolds in an episodic way, and participate in the outcome via social media.”
A few social films have been made before, but none with such breadth and big-brand sponsorship. The first social film, Him, Her & Them, was distributed just a few months ago, in April, by the New York-based studio Murmur. The film interweaves both fixed and interactive scenes, utilizing Facebook API to incorporate the “social” aspect of the social film. And while Murmur’s social film is certainly a wonderful example of 21st century storytelling, Inside has a few more working parts.
Using multiple social platforms and real-time audience interaction, Inside does a wonderful job at harnessing the power of the audience to influence plotlines. For instance, in episode 3, the captor leaves Christina a note that reads, “If you want food or water you need your ‘friends’ help. Post a plea and if you get enough ‘likes’… you will eat.” Christina then posts a video to YouTube asking that people ‘Like’ the video so she can get a decent meal. The result? Over 4,200 likes. And in the next episode, Christina was rewarded with a delicious-looking cheeseburger….”
Hat Tip Ted Hope! How Would You Use All 27 New Platforms Available For Direct (aka DIY/DIWO) Distribution? #infdist31 Aug
> via Hope for Film – Excerpt from Ted Hope’s mega-list
“…I [Ted Hope] am having a bit of a hard time coming up with the proper discriptions for the tools and services. This is very much a Work In Progress. If you have a better definition, please let me know. Several services show up in different categories. There are definitely suppliers that I have forgotten or neglected to mention (my apologies, but this is a public service and not my job job).
3. Artist Direct Distribution / Services: Sundance’s Artist Services,
10. Digital Streaming Aggregators FREE: Crackle, Snag (Owners of IndieWIre, host of my blog), Vimeo, YouTube
11. Distribution/New Model: PreScreen
12. E-commerce: E-Junkie (shopping cart)
15. Free Peer to Peer: VoDo, BitTorrent
16. Fulfillment: Amazon Services, Amplifier, theConneXtion, CreateSpace, FilmBaby, IndieBlitz,Kufala Recordings, Paid, Transit Media, I got a lot more when I did a search but I don’t know one from the other.
19. Mobile Video Sharing: Thwapr,
21. Search (for SEO): Ask, Bing, Google, Yahoo
22. Social Networks: Facebook, Google+, LinkedIn, Twitter, Weibo
24. Streaming Subscription: Amazon, Fandor, LoveFilms, Hulu, Netflix,
25. Video Conferencing / Multi-party (for Fan Engagement & Remote Appearances): Watchitoo
26. VOD Aggregation: itzon.tv,
thank you Ted Hope! – indie filmmakers everywhere thank you!
Gunther Sonnedfeld: Part V of FIVE EASY PIECES: Nurturing Holistic Media Ecosystems. Excerpt- #transmedia #curation #culture #journalism – A Literacy of the Imagination30 Aug
Part V of FIVE EASY PIECES: Nurturing Holistic Media Ecosystems #transmedia #curation #culture #journalism
The role of transmedial thinking (building stories in open frameworks).
Human metadata as meta-value.
The last four posts examined the rubrics of curation, exploring different functional dynamics that head towards an understanding of how media can affect business. Clearly, there is a powerful notion in using stories to not only change business, but to change or shift cultural perceptions and associated behaviors. Journalism will continue to play a significant hand in this; just today AOL announced its acquisition of The Huffington Post, to which Arianna Huffington stated that the goal was to stay on “… The cutting edge of creating news that is social…”
HuffPo happens to create some pretty engaging content, and uses real journalists and real subject matter experts to generate its stories, but what exactly do we mean when we say news is social? And what about all the other self-proclaimed online “news” outlets? What value do they bring to stories that are culturally relevant or disruptive? Do they provide an economic alternative for businesses of all types?
read the full post on Gunther’s blog:
Anne Balsamo – Designing Culture: A Transmedia Project (Fascinating projects – not sure this one is transmedia)30 Aug
“…Transmedia User Experience
Most companies will probably deploy only 2 UI designs: mobile and desktop. Others might need 3, 4, or even all 5, depending on their industry. Whatever the number, there are two key points to remember:
- Create separate and distinct UI designs for device categories that are sufficiently different. It’s okay to have a similar design for, say, iOS and Android, with only a few modifications to suit each platform vendor’s human interface guidelines. But your mobile sites and full desktop sites must be different, just as your mobile and desktop applications should be different.
- Retain the feel of a product family across devices, despite the different UIs and different feature sets. This requires a transmedia design strategy.
Our experience with transmedia usability is not yet sufficient to provide an exhaustive list of guidelines for achieving a cohesive user experience across platforms. But we do know that it’s essential to get the following 4 issues right:
- Visual continuity. Obviously, UIs will look different on different screen sizes but they should look similar enough to feel like two sides of the same coin. No, it’s not enough to have the same logo or the same color scheme. The interactive elements also must have a similar look. Layouts will clearly differ, but users should still feel confident where to locate stuff as they move between platforms.
- Feature continuity. The smaller the device, the smaller the feature set you can comfortably provide. However, users should still feel that the same main features are available in all locations. Even more important, they should feel that the features work consistently, even if they’ve been simplified. Let’s say, for example, that your e-commerce site offers product ratings. Both your mobile and full sites should use the same rating scale, but maybe your mobile site doesn’t let users enter new reviews or doesn’t show the full text of existing reviews by default. Designed correctly, however, users will still feel that they get the benefit of the full site’s reviews while using the mobile site.
- Data continuity. The user’s data should be the same in all locations. Because of different feature sets, some data might not be available everywhere, but anything accessible in multiple places should be the same. Users shouldn’t have to “synch” as a separate action.
- Content continuity. We know that you must write much more concisely for mobile than for desktop use. But the basic content strategy should be the same; in particular, you should use a similar tone of voice for all platforms, so that you “sound” the same everywhere. For example, children love characters in Web design. If you use them, your mobile site might not have room for all the creatures, but should include the lead characters from the full site. (This will also promote visual continuity: the characters should look basically the same, even when drawn with fewer pixels. For that matter, character reuse also promotes feature continuity to the extent that navigation is based around the characters.)
To conclude: cross-platform UIs should be different but similar.
The full-day training course Mobile User Experience 1: Usability of Websites and Apps on Mobile Devices discusses how to allocate features between the full desktop site and a mobile design, and the course on Writing for Mobile Users covers content style.