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The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
The Who, What, When, Where, Why and How of Cross-Media
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The Who, What, When, Where, Why and How of Cross-Media

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A special presentation by Christy Dena for DIYDays: the conference part of the film distribution and discovery festival From Here to Awesome: http://www.DIYDays.com. (BTW: the fonts were not as …

A special presentation by Christy Dena for DIYDays: the conference part of the film distribution and discovery festival From Here to Awesome: http://www.DIYDays.com. (BTW: the fonts were not as originally designed -- slideshare reverts fonts it doesn't recognise.)

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  • 1. The Who, What, when, Where, why and How of Cross-Media A special presentation by Christy Dena for www.DIYDays.com July 2008
  • 2.
    • I had planned a really interesting and clever video presentation for you…
  • 3.
    • … but the technology gremlins have pinned me down, and are now cackling in my ear…
  • 4.
    • … so, you have this silent, conversational text instead 
  • 5.
    • … let’s start then:
  • 6. What is cross-media?
  • 7.
    • … you may know ‘cross-media’ from terms such as transmedia storytelling, synergistic storytelling, multi-platform storytelling, alternate reality games, pervasive games, networked narrative environments…
  • 8.
    • … and a few others…
  • 9.
    • 360 Content | 360 Experience | Alternate Reality Experiences | Alternate Reality Games | Augmented Reality Games | Big Games | Chaotic Fiction | Convergent Storytelling | Cross-Media Entertainment | Cross-Media Games | Cross-Media Storytelling | Cross-Platform Storytelling | Cross-Sited Narratives | Distributed Interactive Narratives | Distributed Narratives | Enhanced TV | Expanded Cinema | Extended Entertainment Experiences | Extended Reality Game | GPS Games | Immersive Games | Interactive Television | Intermedia Storytelling | Intermedial Storytelling | IPTV | iTV | Live Action Role-Playing Games (LARP) | Location-Based Games | Locative Arts | Locative Media | Location-Based Media | Mixed Reality Games | Mobile Narratives | Multimedia Stories | Multimedial Storytelling | Multi-Platform Entertainment | Multi-Platform Storytelling | Networked Narrative Environments | Networked Performance | Pervasive Games | Polymorphic Fictions | Telematic Arts | Telepresence Art | Transfiction | Transmedia Entertainment | Transmedia Storytelling | Transreality Games | Situated Narratives | Superfictions | Synergistic Storyscapes | Synergistic Storytelling | Ubicomp Games | Ubiquitous Games | Unfiction | Very Distributed Media Stories | Very Distributed Storytelling | XME | XMedia | XMedia Entertainment
  • 10.
    • … hehe…
  • 11. Who is doing it?
  • 12.
    • Film Makers
    • TV Makers
    • Novelists
    • Playwrights
    • Producers
    • Marketers
    • Educators
    • Game Designers
    • Activists
    • Independents
    • Corporations
    • Researchers
    • Students
  • 13. How long have people been doing it?
  • 14.
    • … well a lot of people know about this one…
  • 15. The Matrix (1999)
  • 16.
    • … and perhaps some of you know about this one…
  • 17. Twin Peaks (1990)
  • 18.
    • … and maybe this one…
  • 19. Tron (1982)
  • 20.
    • … but what about this one?…
  • 21.  
  • 22.
    • … it is a hard one…
  • 23.  
  • 24.
    • … It’s called ‘The World in 24 Hours’…
    • At 12 noon on September 27 1982, artists — in Amsterdam, Athens, Bath, Frankfurt, Honolulu, Istanbul, Pittsburgh, San Francisco, Sydney, Tokyo, Toronto, Vancouver, Vienna and Wellfleet — participated in a 24-hour telecommunications artwork. The artists participated through a variety of telecommunications technologies such as slow-scan television, fax, computer mailbox and telephone sound…
    • It was organized by Robert Adrian for Ars Electronic and is a form of what Roy Ascott calls ‘Telematic Art’…
  • 25. These are the artworks that were being delivered via the ‘network’
  • 26.
    • … but cross-media goes back further, to artists like Dick Higgins, who championed ‘intermedia’…
  • 27.
    • … ’ Intermediality’ (imagine Higgins voice) is not distinct to the 1960s, but has ‘always been a possibility since the most ancient times’ and will remain ‘a possibility wherever the desire to fuse two or more existing media exists’…
  • 28.
    • … ah, “the desire to fuse two or more existing media”…that is part of the cross-media philosophy…
  • 29.
    • … but if you really think about it, cross-media dates back to a long time ago…
  • 30.  
  • 31.
    • … ok, maybe not that far, but a while ago…
  • 32. 40,000 years ago, all stories (law) were communicated through multiple cultural channels…never one in isolation… … and one core concept, an essence that remained constant…
  • 33.
    • … that was in Australia  …
  • 34. Where is it being done?
  • 35.
    • … the USA isn’t the only place…
  • 36. Australia Fat Cow Motel Jupiter Green PS Trixi
  • 37.  
  • 38.  
  • 39.  
  • 40.  
  • 41.  
  • 42.  
  • 43.
    • … to name a few…
  • 44. Why are people doing it?
  • 45.
    • … good question…
  • 46.
    • … some do it to because they think it will make them money…
  • 47.
    • … some for activism…
  • 48.
    • … some for fun…
  • 49.
    • … some for research…
  • 50.
    • … some for art…
  • 51.
    • … and some because their producer or teacher told them to…
  • 52. How do I do it?
  • 53.
    • … ah, that is the million dollar question…
  • 54.
    • … that is actually only something you can answer…
  • 55.
    • … but I’ll give you some hints…based on what other great pioneers have been doing…
  • 56.
    • … first: look around…
  • 57.
    • … what is a potential storytelling device?...
  • 58.
    • … there are more than you think….I’ll show you what others have been playing with…
  • 59.
    • … Internet, email…yeah, you knew that…
  • 60.
    • … what about Google Maps?…
  • 61.  
  • 62. Six to Start is behind this one…
  • 63.
    • … chatbots?…
  • 64. This is the ‘Ari Gold Interview’, by Deep Focus
  • 65.
    • … Photoshop?…
  • 66.  
  • 67.
    • … My Damn Channel’s ‘You Sucjk at Photoshop’ is so funny…
  • 68.
    • … how about QR codes?…
  • 69.  
  • 70.
    • … that is the ‘Integral’ music video by the Pet Shop Boys…
  • 71.
    • … SMS of course…
  • 72. This is a SMS from Hoodlum’s ‘PS Trixi’ for Yahoo!7
  • 73.
    • … what about GPS?…
  • 74. This is Jeff Knowlton, Naomi Spellman, Brandon Stow and Jeremy Hight’s ‘34 North 118 West ’
  • 75. … and how about Blast Theory’s ‘Can You See Me Now?’
  • 76.
    • … mobile dramas and webisodes are a favourite…
  • 77.  
  • 78.
    • … and books…
  • 79.  
  • 80.
    • … ah yes, and graphic novels…
  • 81.  
  • 82.
    • … the Scratch n’ Sniff was funny…
  • 83.  
  • 84.
    • … oh yeah, and voting for an ending with stamps was an inspired move for Singapore Post’s interactive drama ‘Yours Always’ …
  • 85.  
  • 86.
    • … other wacky storytelling devices were used in 42 Entertainment’s ARG for the Halo storyworld: ‘I Love Bees’…
  • 87.  
  • 88.
    • … and the payphones…
  • 89.  
  • 90.
    • … what about the Graveyard?!!…
  • 91. 42 Entertainment’s ‘Last Call Poker’ for Activision’s GUN Image from Jane McGonigal’s NEXT presentation
  • 92. … and the phones buried inside the cakes for The Dark Knight…
  • 93. … and the playing cards too…
  • 94.
    • … ah, and t-shirts, in many ARGs, including the clues embedded in Nine Inch Nails’ ‘Year Zero’…
  • 95.  
  • 96.
    • … and billboards…like the ones used for ‘Find 815’ by Hoodlum for ABC’s ‘Lost’…
  • 97.  
  • 98.
    • … and stencils, like the ones distributed across streets for ‘She Loves the Moon’ by the Strangers…
  • 99.  
  • 100.
    • … and the sticker novel distributed all over the world…
  • 101. Nick Montfort and Scott Rettberg’s ‘Implementation’
  • 102.
    • … and skywriting in 42 Entertainment’s ‘Vanishing Point’…
  • 103.  
  • 104.
    • … how about a car?…
  • 105. Campfire, GMD Studios, McKinney-Silver’s ‘Art of the Heist’
  • 106.
    • … and the helicopter!…
  • 107. Mind Candy’s ‘Perplex City’
  • 108.
    • … lets try some normal stuff again eh?...how about online flash games…
  • 109. http://www.gorillaz.com/DirtyHarry/DirtyHarry.html
  • 110.
    • … that is the game version of the ‘Dirty Harry’ music video by Gorillaz…cool…
  • 111.
    • … here’s another…
  • 112.  
  • 113.
    • … the ‘Chain Factor’ casual game that is part of an ARG created by area/code for a special episode of CBS’ ‘Numb3rs’…
  • 114.
    • … and there is the good ol’ favourite for those with the big bucks…
  • 115.  
  • 116.
    • … but this one is out there…
  • 117.  
  • 118.
    • … it hasn’t happened yet…but I’m crossing my fingers…
  • 119. What do I do on these media?
  • 120.
    • … ok, you’re probably getting impatient…there are three key approaches:
  • 121. replicate
  • 122.
    • … you replicate when you repurpose your content across different media channels…
  • 123.
    • … some do this as an artistic statement…
  • 124.  
  • 125.
    • … some to reach fragmented audiences…
  • 126. www.forgettherules.com ‘ Forget the Rules’ by Global Dilemma, was distributed through TV, mobile & the web simultaneously
  • 127.
    • … and some bundle digital and tangible media together for each person, for one fee…
  • 128.  
  • 129. transform
  • 130.
    • … you can transform your story or game…do your own adaptations in different media to explore the different ways your story can be expressed and experienced…like…
  • 131.  
  • 132. … and Peter Greenaway VJing his ‘Tulse Luper Project’…
  • 133.
    • … and what about our own Lance Weiler, and his online interactive comic version of ‘Head Trauma’…
  • 134. Lance wielr
  • 135. expand
  • 136.
    • … you can expand your story or game across media, spreading the narrative and challenges…
  • 137.
    • … but there is a bit more to it than that…
  • 138.
    • … you can do a multi-platform series…
  • 139. … which means you deliver self-contained episodes over television, comics, webisodes and films, like Joss Whedon did with Firefly/Serenity…
  • 140.
    • … or you can do a multi-platform serial…
  • 141.
    • … which means not making each episode self-contained, but creating compelling cliff-hangers to drive people from television to the web…
  • 142.
    • … like Mitsubishi did with their clever advertisement during the 2004 Super Bowl:
  • 143.  
  • 144.
    • … or, you can do a mix of a serial and series…a technique that TV theorist Robin Nelson identified in 1997, a flexi-narrative:
  • 145.
    • “ The blurring of distinction between the series and serial affords schedulers the joint advantage of an unresolved narrative strand — a cliff-hanger to draw the audience to watch the next episode — and a new group of characters and self-contained stories in each episode.”
    • (Nelson, 1997)
  • 146.
    • … which means you could have a storyline, that moves from a graphic novel, to computer game, to feature film whilst making each one of stories self-contained too…like the well-known example from the Wachowski Brothers’ ‘The Matrix’:
  • 147. Continuing narrative thread: “ the message” Self-contained stories
  • 148.
    • … but what many forget about is…
  • 149.  
  • 150.
    • … yeah, that’s right, connecting the dots…connecting the media…because people don’t know there is more in another media channel and won’t be compelled enough to act if you don’t connect it all…
  • 151.
    • … but hey, there are things you can do…in fact, quality cross-media interaction experiences usually address these three things:
  • 152. Call to Action Cycle
    • Primer
    • Referral
    • Reward
  • 153.
    • … that was pretty official…but seriously:
  • 154.
    • 1. Primer : prepare and motivate your audience to act
  • 155.
    • … and do that within your story, don’t just rely on some quick competition to compel someone after your great story is over…
  • 156.
    • 2. Referral : provide the means and instructions on how and when to act
  • 157.
    • … URLs are a common and effective method…
  • 158.  
  • 159.
    • … but these are all prompts outside of the film, TV show or podiobook…
  • 160.
    • … a great way is to embed the call to action within the film or show…
  • 161.
    • … like this one from NBC’s Heroes…
  • 162.  
  • 163.
    • … or the running joke with the fan phone on Fox’s 24…
  • 164.  
  • 165.
    • … or the email glimpsed for a second during a ‘Prison Break’ episode…
  • 166.  
  • 167.
    • 3. Reward : acknowledge and recompense their action
  • 168.
    • … give some response to their actions!...and if you give them some reward…they’re more likely to keep traversing media…
  • 169. When do I do this?
  • 170.
    • … Oh! You’re keen…good…
  • 171.
    • … most cross-media expansions are released before the release of a film or DVD, because they’re trying to promote cinema ticket or DVD sales…
  • 172.
    • … that is fine, it can be a great primer…
  • 173.
    • … but what many don’t think about is what the audience would want, and what could be done…
  • 174.
    • … If people love your film, they immediately want to spend more time with it, they want to go further…
  • 175.
    • … why not honour and leverage that?...
  • 176.
    • … hey, and some filmmakers are also experimenting with simultaneous media experiences…
  • 177. … like Lance Weiler’s ‘cinema ARG’ for Head Trauma…
  • 178.
    • … but in terms of when to do cross-media during production, many start them after the film, and some during the production of the film…
  • 179.
    • … but, as with all crafts, the creative outcome is far superior when all the elements are integrated from the beginning…
  • 180.
    • … indeed, some creators have got to the point where they don’t see the cross-media project as an addition…it is the project… they’re no longer creating a film, they’re creating a cross-media project that includes a film…
  • 181.
    • … and that is the moment when you reach a kind of cross-media zen:
  • 182.
    • … when all media, when all artforms, are one…
  • 183.  
  • 184.
    • …  …
  • 185.
    • … I’d like to end with a quote…
  • 186.
    • … it is a bit hardcore, but I like the sentiment…
  • 187.
    • “ A composer is a dead man unless he composes for all the media and for his world.”
    • Dick Higgins, 1966
  • 188. Well, I had fun! I hope you did, and I hope your audiences do too…
  • 189. This presentation at: http://www.slideshare.net/christydena/ My bio site at: http://www.ChristyDena.com/ My podcast (when I get time) is at: http://www.UniverseCreation101.com

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