It’s Not Film. It’s Not TV. It’s Convergence. Here’s What It’s All About.– from indiewire.com by Paula Bernstein
A new wave of creators is blurring the lines of storytelling to span multiple platforms. Here, a handful of those creators from this year’s New York Film Festival Convergence program explain what convergence means to them.

 

NYFFConvergence-Sept2014

 

 

Comment from DSC:
If this trend continues, I would guess that it would affect education as well.  That is, students no longer want to be passive consumers, but active participants.  Hmmm…sounds very familiar to me.  Aren’t we already there (i.e., active learning, project-based learning, makerspaces, and more)?

 

Also see:

 

 

Transmedia and education: How transmedia is changing the way we learn — from thedigitalshift.com by Carolyn Sun

 

From

Transmedia -Illustration By Oanh Le

 

 

Excerpt:

Transmedia, a broad descriptive word that literally translated means “across media” and encompasses many strategies that transverse industries, is generally regarded as the use of multiple media platforms to tell a story or story experience. Though the word “transmedia” is thought to have entertainment franchise origins, its adaptation for education purposes is both valuable and becoming more and more common. While teachers like Sansing are using coding and programming in their language arts instruction, others are taking advantage of increasingly sophisticated apps and interactive media for classroom use.

 

 

Also see:

  • The Science of Storytelling [Infographic] The chemical and psychological makeup of our minds affects how we consume content: Our brains are wired to connect with compelling stories.
 

Hypermedia storytelling — from kirkbowe.com
Museum exhibitions as dynamic storytelling experiences using the latest technology

Excerpt:

The secret of many great storytellers lies in their ability to adapt delivery to their audiences, even as they speak.  Storytelling is at its best when it is not a one-way monologue but rather an experience which is shaped by the teller and the listener together.  Underpinning this is the notion of real-time mutual discovery.

Great museum exhibitions tell great stories.  But for practical reasons they lack a dynamic edge, unable to see the faces and hear the thoughts of the people walking around them.  This is because many exhibitions are, to some extent, static place-holders for the mind and soul of the curator or curation team.

One of my passions is researching into how to use technology to bring a vibrant storytelling relationship to the fore.  Recently, advances in certain areas of mobile technology have begun to show me that the potential is now there for the cultural heritage sector to take advantage of it.

But how about the cultural sector?  Many museums have already experimented with mobile interaction through the use of printed codes, such as QR codes, which visitors must scan with their devices.  Bluetooth Smart removes that cumbersome step: visitors need only be with proximity of a beacon in order for your app to provide them with the contextual information you wish to deliver.  The technology has many different potential applications:

– Place a beacon in each room of the exhibition.  Your app then triggers a screen of scene-setting background information for the room as the visitor enters.  No need to have congestion points around wall-mounted text at the door.

– Place a beacon under selected objects or cases.  As visitors walk up to the object, your app detects the beacon and provides commentary, video, or a three-dimensional representation of the object.  No need for visitors to type in an object number to a traditional electronic guide.

From DSC:
This has major implications — and applications — for teaching and learning spaces! For blended/hybrid learning experiments.  Such technologies can bridge the physical and virtual/digital worlds!

 

 

Another interesting application, providing access to published content from a specific location only:

 

New children’s book combines modern technology and storytelling — from iwantpop.com by

 Excerpt (emphasis DSC):

MONTREAL, April 15, 2014 /IWANTPOP.COM/ — Jonathan Belisle, a Montreal teacher, script writer and web entrepreneur, has developed the ultimate storytelling system. It’s a combination of old and new, traditional mythology and modern technology, a mixture of fantasy and reality.

Wuxia the Fox is a transmedia project that comes as an illustrated book paired with an iPad app. “The app reacts to what it hears and sees,” explained Belisle. “As you read the story, the app adds the music and sound effects, based on where you are in the story and the tone of your voice. It’s the future of children’s books.”

The iPad app triggers new scenes of content using image recognition, and transforms into a musical instrument when interacting with small wooden blocks provided with the book.

 

Also see:
https://www.kickstarter.com/projects/jonathanbelisle/wuxia-the-fox-augmented-book-and-ipad-app

 

 

 

Also, another interesting item:

Predicting the future of cinema: No limits — and the web wins — from variety.com by David Cohen

Excerpt:

He said today’s tech already offers hints of what the future will bring: screens large and small that can duplicate nearly anything the eye can perceive; cameras that let filmmakers choose framing, depth of field, focus and brightness in post, rather than on the day of shooting; fast networks that permit “collaboration at the speed of thought” and allow people to work together regardless of how far apart they are.

 

 

oculus rift Facebook

 

 

 

What educationally-related affordances might we enjoy from these TV-related developments?

MakingTVMorePersonal-V-NetTV-April2014

 

EducationServiceOfTheFutureApril2014

 

CONTENTS

  • Content discovery and synchronization
    With access to rich data about their subscribers and what they do, operators can improve recommendation, encourage social TV and exploit second screen synchronization.
  • Recordings get more personal
    One of the next big steps in multiscreen TV is giving people access to their personal recordings on every screen. This is the moment for nPVR to finally make its entrance.
  • Evolving the User Experience
    As service providers go beyond household level and address individuals, the role of log-ins or context will become important. There is a place for social TV and big data.
  • The role of audio in personalization
    Audio has a huge impact on how much we enjoy video services. Now it can help to personalize them. ‘Allegiance’ based audio choices are one possibility.
  • Making advertising more targeted
    Addressable advertising is in its infancy but has a bright future, helping to fund the growth of on-demand and multiscreen viewing.

 

Some excerpts from this report:

Good content should be matched by good content discovery , including recommendations. The current state-of -the-art is defined by Netflix.

Today’s TV experience is worlds apart from the one we were talking about even five years ago. We’ve witnessed exponential growth in services such as HD and have moved from a model in which one screen is watched by many, to many screens (and devices) being available to the individual viewer, what is today called TV Everywhere.  Having multiscreen access to content is driving the demand for a more personalised experience, in which the viewer can expect to see what they want, where, and when. While video on-demand (VOD) has been a great method for delivering compelling content to viewers, it is not always a truly seamless TV-like experience, and traditionally has been limited to the living room. The growing demand for the personalised experience is driving seismic change within the TV industry, and we’ve seen great strides made already, with time-shifted TV and nPVR as just two examples of how we in the industry can deliver content in the ways viewers want to watch. The next step is to move towards more advanced content discovery, effectively creating a personalised channel or playlist for the individual user.

As the tools become available to deliver personalized experiences to consumers, content owners can better create experiences that leverage their content. For example, for sports with multiple points of action, like motor racing, multiple camera angles and audio feeds will allow fans to follow the action that is relevant to their favourite racing team. And for movies, access to additional elements such as director’s commentaries, which have been available on Blu-ray discs for some time, can be made available over broadcast networks.

 

 

From DSC:
Some words and phrases that come to my mind:

  • Personalization.
  • Data driven.
  • Content discovery and recommendation engines (which could easily relate to educational playlists)
  • Training on demand
  • Learning agents
  • Web-based learner profiles
  • Learning hubs
  • What MOOCs morph into
  • More choice. More control.
  • Virtual tutoring
  • Interactivity and participation
  • Learning preferences
  • Lifelong learning
  • Reinventing oneself
  • Streams of content
  • Learning from The Living [Class] Room

 

The Living [Class] Room -- by Daniel Christian -- July 2012 -- a second device used in conjunction with a Smart/Connected TV

 

 

 

streams-of-content-blue-overlay

 

Expanding Learning Opportunities with Transmedia Practices (part 1) — from worlds-of-learning.com by Laura Fleming

 

Transmedia-LauraFleming-Part1-MarApr2014

Excerpt:

The proliferation of digital and networking technologies enables us to rethink,  restructure, and redefine teaching and learning. Transmedia storytelling takes advantage of the rapid convergence of media and allows teachers and learners to participate in rich virtual (and physical) environments that have been shown to foster students’ real emotional engagement with the process of learning. Transmedia learning applies storytelling techniques across multiple platforms to create immersive educational experiences that enable multiple entry and exit points for learning and teaching. By utilizing constructivist and connectivist precepts in the application of these techniques, we can create pedagogies that are transformative on many levels. Encapsulating these notions in the concept of the Transmedia LearningWorld (TLW) allows educators to combine the exciting affordances of the digital technologies with real-life experiences and truly learner-focused pedagogies to produce profoundly productive and powerful learning experiences.

Expanding Learning Opportunities with Transmedia Practices (part 2) — from worlds-of-learning.com by Laura Fleming

Excerpt:

Transmedia storytelling exemplifies learning in the twenty-first century by merging the concept of storytelling with that of the listener-learner and the resulting emotional engagement with the pervasiveness of media. We might define transmedia learning as: the application of storytelling techniques combined with the use of multiple platforms to create an immersive learning landscape which enables multivarious entry and exit points for learning and teaching.

Expanding Learning Opportunities with Transmedia Practices (part 3) — from worlds-of-learning.com by Laura Fleming

Excerpt:

None of this is easy though. Teachers must be given the support they will need to prepare for the concomitant shift in instruction; they will need help to make sense of the new kinds of content that will make their way into the classroom; they will need encouragement to change their approach to teaching and to learning accordingly; and they will need support in how to effectively weave and integrate technology into their practice. The effective use of digital learning can help school districts meet these educational challenges, including, as we have noted, implementing college and career-ready standards for all students, as outlined in the Common Core. Educators need to come to see technology as intrinsic to their instructional practices. Rather than envisaging a process in which technology is merely embedded into the curriculum, an attitude that so often relegates the technology to an afterthought or just one amongst a range of motivating techniques, it should be about the seamless integration of technology into every aspect of teaching and learning through transmedia practices. Technology tools should be so much a part of learning that the friction is removed because of educators and learners do not waste energy thinking about how it works, instead becoming an essential component of all that goes on in the classroom.

Expanding Learning Opportunities with Transmedia Practices (part 4) — from worlds-of-learning.com by Laura Fleming

Excerpt:

The paradox lies in the fact that, at the same time that political and economic forces are pushing the agenda of standardization with some determination, the social-technological environment that we now inhabit is pushing education in the opposite direction. In a real sense, learning is breaking free from the tradition model of education—with school as the central paradigm in that model—simply because the walls of the school can no longer contain all the knowledge and content and desire to learn that is now flowing freely across the ether and intermingling across borders without constraint.

Expanding Learning Opportunities with Transmedia Practices (part 5) — from worlds-of-learning.com by Laura Fleming

Excerpt:

The power of Inanimate Alice lies in the organic connection that is made between the story and the medium along with the innovative use of design and structure. The story unfolds in a game-like world that makes readers direct participants in helping the story to unfold across multiple platforms. With hours of interactive audio-visual experience built in, a gripping mesh of games, puzzles, sights, and sounds embellish and enhance the storyline. The interactivity and narrative are not distinct from one another. In the case of Inanimate Alice, the interactive elements simply cannot be separated from the story. Whether it is controlling Alice’s Baxi (her handheld gaming device) or communicating with Brad (her virtual friend on the Baxi), the embedded technology enhances the narrative and helps it to unfold in manifold directions under the reader’s impulse. It is this that makes Alice a truly unique digital reading experience.

Expanding Learning Opportunities with Transmedia Practices (part 6) — from worlds-of-learning.com by Laura Fleming

Excerpt:

As co-creators of content, our students actively participate in and take control of their own learning. As echoed by the United States Department of Education, the rich, fictional worlds of transmedia tend to create a greater level of social interaction that can inspire children to create their own stories and media products and to share them with each other. The experience of reading is changing. In a transmedia learning experience, reading is now simultaneously an individual act and a social act. Similarly, students can be individual producers but are also able to engage on collaborative sharing, joint creativity, and proliferation of knowledge across the globe.

 

 
 

The complete guide to Transmedia Storytelling — from stateofdigital.com by Gianluca Fiorelli

Excerpt:

Storytelling matters because great stories are:

  • Authentic;
  • Human;
  • Evoke emotions;
  • Are interesting (to me).

Stories, nowadays, must develop themselves in different platforms. For instance, I hear first a news in the radio in the morning, go reading about it on mobile app, and dig into it on desktop.

This is the basic representation of Crossmedia Marketing.

But Crossmedia Marketing, albeit being wonderful and at least how every marketers should conceive his marketing strategy, has the defect that it is usually just thought as a multi-device version of the disjointed content marketing campaigns.

What if I tell you that exists another form of doing Storytelling, which combines the multi-device advantages of Crossmedia but add the essential role of the end users to the mix? Transmedia Storytelling.

Be aware though that Transmedia is nothing really new. In fact, even if as a term was presented my Henry Jenkins in 2003, we could find a first idea of Transmedia in Walt Disney, and how he created a multi-platform narrative universe.

 

24h Jerusalem: A new transmedia project by ARTE and BR — from vast-media.com

Excerpt:

On the web, 24hjerusalem.tv will enrich the users’ TV experience before and during the broadcast with synchronized extra content such as texts, interviews, Vine videos and more. Users will be able to explore information, share content and discuss about the program. The platform can also be accessed on mobile devices.

 

24h Jerusalem: a new transmedia project by ARTE and BR

 

Also see:

 

24hJerusalem-March2014

 

Also see:

 

5-Transmedia-Projects-Storyscapes-2014

 

Excerpt:

The Tribeca Film Festival (TFF), presented by AT&T, is pleased to announce its 5 transmedia projects in the Storyscapes program that have been created in collaboration Bombay Sapphire®. Now in its second year, this juried Festival section was fashioned to showcase innovative and interactive transmedia work across genres. This pioneering form of storytelling encourages audience participation and sparks the imagination.

 

RaptMedia-NewSitePairingTech-Feb2014

 

Excerpt (emphasis DSC):

Today, we’re thrilled to announce that our patent-pending Site Pairing technology is officially out of beta and into the hands of creatives, marketers, brands, and agencies. Our new Site Pairing technology, which creates a link between your video and your website, allows your creative or content team to quickly and easily build a scalable Interactive Video (IV) framework that enables communication between your videos and your website.

“Online Videos have traditionally been dead ends to brands and marketers,” said Erika Trautman, CEO and co-founder of Rapt Media. “Viewers can’t navigate from them, and often leave a site altogether if the content isn’t exactly what they’re looking for.”

Taking a step back, we see that the website and its embedded media are having a true conversation. “There is nothing that you’ve come to expect on a website, that we can’t duplicate in a video,” said Trautman. “And now the two are talking.”

 

The connected TV landscape: Why smart TVs and streaming gadgets are conquering the living room

The connected TV landscape: Why smart TVs and streaming gadgets are conquering the living room — from businessinsider.com.au by Mark Hoelzel

 

In the connected TV world, an app is analogous to a TV channel.

 

Some key points:

  • In total, there will be more than 759 million televisions connected to the Internet worldwide by 2018, more than doubling from 307.4 million at year-end 2013.
  • Globally, shipments of smart TVs will reach a tipping point in 2015, when they will overtake shipments of traditional TVs.
  • Two tendencies dominate the connected TV ecosystem: closed and open approaches.
  • Despite platform fragmentation, HTML5 offers at least a faint hope for increased unification between connected TVs, just as it does on mobile.
  • How will developers and operating system operators monetise smart TV apps? Media downloads, subscriptions and — to a much lesser degree — advertisements will drive the dollars. Smart TV platform operators have begun experimenting with ads.

 

GlobalNumberOfConnectedTVs

 

 

From DSC:
If in a connected TV world, an app is analogous to a TV channel…then I say let’s bring on the educationally-related, interactive, multimedia-based apps!

 

The Living [Class] Room -- by Daniel Christian -- July 2012 -- a second device used in conjunction with a Smart/Connected TV

 

Transmedia Storytelling: Trends for 2014 —  from Robert Pratten, CEO  at Transmedia Storyteller Ltd on Dec 06, 2013

Excerpt:

Pratten-TransmediaStorytellingIn2014

 

Conducttr-Jan2014

 

From DSC:
Something here for education/learning? With the creativity, innovation, interactivity, participation, and opportunities for more choice/more control being offered here, I would say YES!

 

 

Also see:

 

 

 

Mesmerizing fairy tale on the power of transmedia storytelling — from frametales.com by DRAFTFCB Madrid and posted by Filip Coertjens; with thanks to the Scoop on this from Laura Fleming (@NMHS_lms)

Cinderella2Dot0-Jan2014

 

BBC iWonder: Introducing Interactive Guides — from bbc.co.uk by Andrew Pipes

See this piece as an example of what they’ve come up with.

 

interactive guides_3_screens.jpg

Interactive guides on three screens

The BBC article also pointed to a bit older,
but very creative piece from the NYT entitled:
Snow Fall

 

Transmedia Story Stream: Don’t just read a book–play it! — from bleedingcool.com by Dan Wickline; with thanks to Digital Rocking Chair for the Scoop on this

Excerpt:

Instead of downloading a static book, Transmedia Story Stream allows readers to log into story worlds filled with fans, activities, and extended narrative that can include video, audio, casual video games or live gatherings. And just like in a video game, the book will award fans for participating in the story. Fans can earn points and badges, collect digital goodies to share, earn money for spreading word of mouth, participate in a live chat with an author or illustrator right in the book or win a phone call with a character in a story.

 

TSS_assured_destruction

 

Transmedia Story Stream

 

TransmediaStoryStream-Jan2014

 

Also see:

 

CleverWayToReopenRennovatedSpace-Amsterdam-April2013

 

HarperCollins, Google’s Niantic Labs, 20th Century Fox collaborate w/ bestselling author on next gen cross-media project, Endgame — from corporate.harpercollins.com, w/ thanks to @myweb2learn for the resource

Excerpt of Press Release (emphasis DSC):

ENDGAME is a fully integrated, multimedia experience that will combine a trilogy of young adult novels, fifteen original e-book novellas, YouTube videos, search and image results, mapping coordinates, social media, and interactive gaming in one revolutionary creative project. Each book in the ENDGAME trilogy will feature an interactive puzzle comprised of clues and riddles throughout the text.

“We are excited to work with James Frey and Full Fathom Five on this groundbreaking series,” said Brian Murray, President and CEO, HarperCollins Publishers. “This is a spectacular story that embodies the future of publishing—great content, interactivity and a multimedia experience.”  

Google’s Niantic Labs is developing a location-based augmented reality game that will bring ENDGAME to life in the real world.  The game builds on the success of “Ingress,” which defined a new category of entertainment that marries video games with the physical world.  The mobile experience will allow players around the world to join in the battle to unlock the mysteries and secrets of ENDGAME.  Google Niantic will also be publishing six ENDGAME novellas exclusively at the Google Play store.  The game is expected to launch on Android and iOS devices in late 2014.

“James has a great vision for telling stories in an integrated way across books, film, social media, and mobile games,” John Hanke, VP of Product, Niantic Labs at Google, said. “We are delighted to bring our technology and expertise to bear on a project that is helping to define the future of entertainment.”

 

From DSC:
If successful, I’d love to see some applications of this sort of experiment applied towards education/learning — i.e. towards K-12, higher ed, and the corporate training/L&D departments.  The experiment emphasizes where I think successful learning is also going — towards the use of TEAM-based content creation and delivery.

 

 

 
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