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Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
Digital Storytelling at Case Western, part 2
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Digital Storytelling at Case Western, part 2

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My Case Western digital storytelling talk, second part.

My Case Western digital storytelling talk, second part.

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  • 1. Flickr storytelling• Tell a story in 5 frames group “Gender Miscommunication” (Nightingai1e, 2006)
  • 2. IV. Web 2.0 storytelling
  • 3. IV. Web 2.0 storytelling
  • 4. IV. Web 2.0 storytelling
  • 5. IV. Web 2.0 storytelling“Gender Miscommunication” (Nightingai1e, 2006)
  • 6. RemixingExample: "Food to Farm", Eli the Bearded (2008)
  • 7. Social photo stories
  • 8. Social photo stories
  • 9. Social photo storiesFlickr, Tell A Story in Five Frames group (http://www.flickr.com/groups/visualstory/)Example: "Food to Farm", Eli the Bearded (2008)
  • 10. Social photo storiesExample: "Food to Farm", Eli the Bearded (2008)
  • 11. Storytelling by podcastThe Yellow Sheet, by Librivox team (2007)• Text then podcast• http://librivox.org/t he-yellow-sheet-by- librivox-volunteers/• More: Podiobooks, http://www.podiob ooks.com/
  • 12. Web video storytellingConnect with I (http://www.con nectwithi.com/)• Serial video• Fan content• Physical content
  • 13. Web video storytelling lonelygirl15 (http://en.wikipedia.org/wiki/Lonelygirl15) • YouTube serial video content • Local fan content • Distributed response • Hoax plothttp://www.youtube.com/watch?v=lQGvn82NNQw&feature=relmfu
  • 14. Multiplicity of platformsNew forms combining categories into one?VoicethreadStorybox (http://www .story- box.co.uk/in dex.php)
  • 15. Gamingworld
  • 16. Gaming as part of mainstream culture• Median age of gamers shoots past 30• Industry size comparable to music• Impacts on hardware, software, interfaces, other industries• Large and growing diversity of platforms, topics, genres, niches, players
  • 17. Gaming as part of mainstream cultureAnecdata: number of Facebook CityVille players:44,800,000 (as of Mar. 2012, http://www.appdata.com/?AFB_redir=1 )
  • 18. Games serious, public, and political • Oiligarchy, Molle Industries • Jetset, Persuasive Games • The Great Shakeout, California • DimensionM, Tabula Digita
  • 19. How does a game tell a story?
  • 20. Specific to games• Immersion: multimedia • Cut scenes • Fragments• Tutorials• Interface affordances
  • 21. Old school storytelling• Setting, character*, plot**• Mystery• Social penumbra• Stories about play*First, second, third, and third-person**Rails vs sandbox
  • 22. Architectures: ubiquitous computing“The most profoundtechnologies are those thatdisappear. They weave Mark Weiser, 1988ffthemselves into the fabric ofeveryday life until they areindistinguishable from it.”
  • 23. Architectures: WorldBoard“Information objects... willbegin to populate real physicalspace on what we callWorldBoard channels. “• Link digital and physical objects and locations around the world
  • 24. What it means, top-level“A device ecology” -Petra Wentzel, "Wireless All the Way: Users’ Feedback on Education through Online PDAs" (presentation at the EDUCAUSE annual conferenceAnaheim, Calif., November 7, 2003).
  • 25. Searchable world
  • 26. AR: first, the light stuff• Museum tours• GPS navigators (Garmin)• Location services (Yelp)
  • 27. Augmented reality
  • 28. Marking the worldRemember the WorldBoard?
  • 29. Layaring the world
  • 30. AR art
  • 31. http://unmanned.molleindustria.org/
  • 32. The ultimate links Bryan on Twitterhttp://twitter.com/BryanAlexander The New Digital Storytellinghttp://newdigitalstorytelling.net/ email: bryan.alexander@gmail.com
  • 33. Practices and principlesHow to start• Idea germ - maybe a character, a concept to explain• What audience?• Which platform tends to lead to the kind of results you’d prefer?
  • 34. How to start: preparation• Lessons from ARGs –Preload lots of material before release –Art of lack of control• Basic PM –Build in risk control –Timeline (maybe milestones, maybe gates)
  • 35. CDS 7 principles1. Point of view 5. Soundtrack2. Dramatic (and other media) question 6. Economy3. Emotional 7. Pacing content CDS Digital4. Voice (style) Storytelling Cookbook
  • 36. The architecture of time• Wilkie • Big time: Collins: serial "Make em cry, make • Little em laugh, time: make em accretive wait"• keep it coming
  • 37. Non-digital roots• Epistolary novels• Victorian serials• Pulp serials• Radio• Soaps (Dickens, Bleak House installment, PBS site)
  • 38. Revision targets• Sense of crisis • Varied timing or problem • Enough time• Persons and • Beginnings characters and endings• Multimedia complement
  • 39. The ultimate links Bryan on Twitterhttp://twitter.com/BryanAlexander The New Digital Storytellinghttp://newdigitalstorytelling.net/ email: bryan.alexander@gmail.com

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