Future of Storytelling – 158 early adopters request formats for the future


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1. How are audiences’ expectations around storytelling evolving as media experiences become more multiplatform, more customizable, and more participatory?
2. How can content creators and technologists make stories come alive, by allowing audiences to delve deeper into them or by bringing them out into the real world?
3. What are some best practices and new opportunities for the future of storytelling?

 

“Latitude conducted in-depth interviews with pioneers in the media space to discuss specific challenges and innovations, followed by an online survey1 amongst 158 early adopters focused on generating new possibilities for interacting with stories. Participants were asked to play the role of producer, choosing a narrative (a book, movie, plot-driven video game, etc.) that they know well, and re-inventing the way that audiences might experience that story. Some of the ideas that participants suggested are possible today, even if they don’t exist yet—while others require technologies that are still several years coming.”

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Bladerunner’esque augmented photography via AutoStitch Panoramic IOS Photo App


See on Scoop.itPervasive Entertainment Times

With StitchGuide, a photographer can take multiple photographs and accurately compose their final high-resolution panorama with a natural visualization of the placement of each image. The photographer can touch images in space to change how they are viewed or choose to delete a photo after it is snapped.

To create the StitchGuide capability, Cloudburst Research developed a new technology that uses not only the iPhone gyroscope to register images, but also actively tracks image locations by matching them in real time to the scene. This prevents drift while at the same time providing instantly updated registration, producing a compelling version of augmented reality that goes beyond that found in any other apps.

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Toronto Celebrates the Apocalypse with Nuit Blanche 2012 | culture | Torontoist


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Torontoist is about Toronto and everything that happens in it…

 

The first thing that captured everyone’s attention this morning, as journalists and artists gathered at the Gardiner Museum to learn about this year’s Nuit Blanche, was not the posters and not the press kits, but a robotic chair in pieces on a low platform, busily going about the process of rebuilding itself. The piece, created by Max Dean, Raffaello D’Andrea, and Matt Donovan, will be on display at the Gardiner for the full 12 hours of Nuit Blanche, taking itself apart and putting itself back together again. Councillor Michael Thompson (Ward 37, Scarborough Centre), chair of city council’s economic development committee, later commented that he wished his body “could put itself back together so easily after it fell apart.”…

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New Edition of Brian Seth Hurst’s StoryCentered Column Features Peter de Maegd, Story Architect and Producer of “The Spiral” | InteractiveTV Today


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[itvt] is the most widely read and trusted news source on the medium of interactive multiplatform television. We provide concise, original coverage of industry developments, technologies, content projects, and the people building the business.

 

[itvt] is pleased to present the latest edition of StoryCentered, our video column from Brian Seth Hurst, CEO of The Opportunity Management Company and former second vice chair of the Academy of Television Arts & Sciences. StoryCentered focuses on the business, technology and art of interactive storytelling, and highlights new technologies and other industry developments that have the potential to fundamentally change the way we create and interact with stories and narratives–in television and beyond.

 

This edition of StoryCentered features an interview with Peter de Maegd, story architect and producer of “The Spiral” (http://www.thespiraltheseries.com and http://www.thespiral.eu), a new, interactive/participatory series from Caviar Films that will air across nine European countries next month. The five-part series, which centers on an art heist, invites viewers to play a game in which they help find the stolen art; it also encourages them to participate in online communities and real-world staged events…

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Howard Rheingold on Global Transmedia MOOCs | DMLcentral


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Nearly two years before Peter Norvig and Sebastian Thrun shook up educational institutions with their massive open online course on artificial intelligence, using videos, blogs, wikis, and online tests, photography educators Jonathan Worth, Matt Johnston, and Jonathan Shaw at Coventry University organized online classes for thousands of students in hundreds of cities, using blogs, podcasts, RSSfeeds, a Flickr group, an iPhone app, a Soundcloud group, and a Vimeo group, and hashtags (#phonar and #picbod).

 

Phonar, the course on photography and narrative, and Picbod, the course on photography and the body, were open to third year Coventry University undergraduates and free to anybody online….

See on dmlcentral.net

Smart. Can Indie Film Achieve a Network Effect? | Digital Dorr


See on Scoop.itTracking Transmedia

In a recent post entitled Networks And The Enterprise, Fred Wilson explains how his firm Union Square Ventures invests in networks. He included this line.

 

My uber goal of writing this post is to explain that the wired and mobile internet is a global network and it powers all sorts of smaller networks to get built on top of it.

 

These networks connect people with each other. Each network gains value as more users join and as each user contributes value to the network which in turn becomes available to every other user. As he points out with respect to one of their investments,

 

Every time a new participant in the ecosystem joins the Return Path data network, their systems and tools get smarter, making the service more valuable for everyone. That’s a classic network effect and it is very powerful….

See on www.digitaldorr.com

The Hunger – An Immersive Theatre Experience – The Arts Scene


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The story of Hansel and Gretel is one that we all have heard at somepoint in our lives. This iconic fairy-tale of german origin was first published in 1812 and has been read to children for decades. Two siblings, who find themselves far from home, out wit a cannibalistic witch who lures them into her home with sweets & dreams. Its very simple to summarize this epic tale having heard it many times. However; what if this story was looked at from a different perspective? From a deeper, more mature, more thought-provoking perspective?

 

The Hunger is a project by Uncanny House, a collective of artists, and is directed by Margaret Krawecka & choreographed by Malgorzata Nowacka. It is an adaptation of Hansel & Gretel into a unique theatrical experience. It uses one key element of the original story – the act of luring – as a means to discuss a common topic of the modern day: mass consumption. It wishes to explore – with the help of video projections, sound & movement – the overwhelming affects that the media has to make us consume more and more what seems to be an infinite choice of things.The original story wasn’t soft & cuddly. The talk of cannibalism & burning alive a witch are all mature themes. The Hunger taps into the mature theme of the original, tying in the political discussion of mass consumption…

See on theartsscene.ca