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Master Exhibit & Public Design, La Sapienza, Lezione 1
 

Master Exhibit & Public Design, La Sapienza, Lezione 1

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Narrative Transmediali

Narrative Transmediali

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    Master Exhibit & Public Design, La Sapienza, Lezione 1 Master Exhibit & Public Design, La Sapienza, Lezione 1 Presentation Transcript

    • Narrative TransmedialiSalvatore Iaconesi & Oriana Persico“La Sapienza” Università di RomaMaster in Exhibit & Public DesignThursday, May 23, 13
    • - presentazioni- avanzamento- metodo/processo- narrative transmedialiThursday, May 23, 13
    • gli output del corso• una narrativa transmediale• una pubblicazione• elementi da esposizioneThursday, May 23, 13
    • Narrative TransmedialiThursday, May 23, 13
    • SIMULACRIOrganize a fake holdup. Verify that your weapons are harmless, andtake the most trustworthy hostage, so that no human life will be indanger (or one lapses into the criminal.) Demand a ransom, andmake it so that the operation creates as much commotion as possible— in short, remain close to the "truth," in order to test the reaction ofthe apparatus to a perfect simulacrum. You wont be able to do it: thenetwork of artificial signs will become inextricably mixed up withreal elements (a policeman really will fire on sight; a client of thebank will faint and die of a heart attack; one will actually pay you thephony ransom). [p. 20]“The Precession of Simulacra”, Jean BaudrillardThursday, May 23, 13
    • Thursday, May 23, 13
    • a terrorist sect calledThe Panther Modernstakes advantage of the fuzzy boundarybetween the simulacra and the realto create chaos at the Sense/Net CorporationThursday, May 23, 13
    • NEUROMANCERNine Moderns, scattered along two hundred miles of the Sprawl, hadsimultaneously dialed MAX EMERG from pay phones.Ninedifferent police departments and public security agencies wereabsorbing the information that an obscure subsect of militantChristian fundamentalists had just taken credit for having introducedclinical levels of an outlawed psychoactive agent known as BlueNine into the ventilation system of the Sense/Net Pyramid. BlueNine had been shown to produce acute paranoia and homicidalpsychosis in eight-five percent of experimental subjects.“Neuromancer”,William GibsonThursday, May 23, 13
    • • phone emergency• show video footage inside Sense/Net that triggers seizures in a certainpercentage of employees• introduces images of contamination• audio of a news segment dealing with a dangerous human growthhormone• By creating panic among the Sense/Net employees,The Panther Modernssimulate the effects of introducing Blue Nine into the ventilation system tothe security forces• at the same time, the presence of the security forces reaffirms theemployees belief that there are biological agents in the ventilation system• it only required nine phone calls and five minutes of video feedThursday, May 23, 13
    • the characters fail to distinguishreality from simulationThursday, May 23, 13
    • a transmedia story represents theintegration of entertainmentexperiences across a range ofdifferent media platformsHenry Jenkins, 2007Thursday, May 23, 13
    • Transmedia storytelling represents a process where integral elements of afiction get dispersed systematically across multiple deliverychannels for the purpose of creating a unified and coordinatedentertainment experience. Ideally, each medium makes its ownunique contribution to the unfolding of the story.So, for example, in The Matrix franchise, key bits of information areconveyed through three live action films, a series of animated shorts, twocollections of comic book stories, and several video games.There is noone single source or ur-text where one can turn to gain all of theinformation needed to comprehend the Matrix universe.Henry Jenkins, 2007Thursday, May 23, 13
    • In 2007, some songs from theirYear Zero album werethought to have been leaked as they were found on alost flash drive in a hotel room, while the band was ontour. On that flash drive there were songs and recordedphone calls, which later turned out to be parts of apreviously made-up online experience for Nine InchNails fans. From the recorded phone call mp3 fansdecoded a URL of a website that gave them furtherclues to decipher.Nine Inch NailsThursday, May 23, 13
    • CHARACTERISTICSThursday, May 23, 13
    • 1. Spreadability vs. DrillabilitySpreadable media encourages horizontal ripples, accumulatingeyeballs without necessarily encouraging more long-termengagement.Drillable media typically engage far fewer people, but occupymore of their time and energies in a vertical descent into atext’s complexities.Thursday, May 23, 13
    • 2. Continuity vs. MultiplicitySome transmedia franchises foster an ongoing coherence to acanon in order to ensure maximum plausibility among allextensions.Others routinely use alternative versions of characters orparallel universe versions of their stories to reward masteryover the source material.examples: DC and MARVEL comics; fan fictions; UGC; mash-upsThursday, May 23, 13
    • 3.WorldbuildingTransmedia extensions, often not central to the core narrative,that give a richer description of the world in which the narrativeplays out.Exploy both real-world and digital experiences.Often lead to fan behavior of capturing and cataloguing manydesparate elements.Thursday, May 23, 13
    • Thursday, May 23, 13
    • Janet Murray argues that stories will have to work for two or threekinds of viewers in parallel:"the actively engaged real-time viewer who must find satisfaction ineach single episode and the more reflective long-term audiencewho look for coherent patterns in the story as a whole (...) [and] thenavigational viewer who takes pleasure in following the connectionsbetween different parts of the story and in discovering multiplearrangements of the same material."Thursday, May 23, 13
    • Thursday, May 23, 13
    • 4. Negative CapabilityWhen applied to storytelling, negative capability is the art ofbuilding strategic gaps into a narrative to evoke a delicious senseof "uncertainty, mystery or doubt" in the audience.Simple references to people, places or events external to thecurrent narrative provide hints to the history of the charactersand the larger world in which the story takes place.This empowers the audience to fill in the gaps in their ownimaginations while leaving them curious to find out more.Long, 2007Thursday, May 23, 13
    • 5. Migratory CuesThe letter in Matrix is a sample of a Migratory Cue – when used at the beginning of the secondmovie it exists as a hint to look for more information in Animatrix and in Enter the Matrix.Yet the story functions even without audience members having experienced either the anime orthe video game, as they can imagine their own answer to the question of where exactly thatletter came from.They retain the option to go and track it down, and their understanding (and enjoyment) of thestory would be increased by their doing so.Understand: any reference to external people, places or events as utilizing negative capability tocraft potential migratory cues, and become actualized as migratory cues when those extensionsbecome available.Long, 2007Thursday, May 23, 13
    • 6. SerialityTransmedia storytelling has taken the notion of breaking up anarrative arc into multiple discrete chunks or installments withina single mediumand instead has spread those desparate ideas and story chunksacross multiple media segmentsThursday, May 23, 13
    • We might understand how serials work by falling back on a classicfilm studies distinction between story and plot.The story refers to our mental construction of what happened which can be formed onlyafter we have absorbed all of the available chunks of information.The plot refers to the sequence through which thosechunks of information have been made available to us.A serial creates meaningful and compelling story chunks and thendisperses the full story across multiple installments.We can think of trensmedia storytelling as a hyperbolic version of the serial, where thechunks of meaningful engaging story information have been dispersed not simply acrossmultiple segments within the same medium, but rather across multiple media systems.Jenkins, 2009Thursday, May 23, 13
    • 7. SubjectivityTransmedia narratives often explore the central narrativethrough new eyes, such as secondary characters or third parties.The diversity of perspective oftel leads fans to more greatlyconsider who is speaking and who they are speaking for.examples: backstories; mobisodes; webisodes;1st, 2nd or 3rd personThursday, May 23, 13
    • 8. PerformanceThe ability of transmedia extensions to lead to fan producedperformances that can become part of the transmedia narrativeitself.Some performances are invited by the creatorwhile others are not.Fans actively search for sites of potential performance.Thursday, May 23, 13
    • Cultural Attractors: draw together a communityof people who share common interests.Cultural Activators: give that community something to do.Thursday, May 23, 13
    • Cosa FaremoThursday, May 23, 13
    • Thursday, May 23, 13
    • non c’èparte di unanarrativatransmedialecrea il simulacro:rende “credibile”quello che non c’èstabilisce cross-narrativetra le varie componentiper aumentare la credibilitànegative capability& migratory cuesper creare “buchi”e suggerireapprofondimentishareable +drillable: facilitala viralità, ma èapertoall’approfondimentoinvita allacollectabilityattraverso le variemanifestazioniusa puntidi vista molteplicicultural attractor +cultural activatorThursday, May 23, 13
    • Cosa Faremo• NARRATIVA TRANSMEDIALE• tutti: progettiamo (brainstorming, concept)• in gruppi: lavoriamo sulle parti e coordiniamo (cross-stories,world-building)• DOCUMENTAZIONE• pubblicazione: ognuno documenta per immagini e testo lapreparazione e l’esecuzione• exhibit: coordinato con gli altri prof; materiale esponibileThursday, May 23, 13
    • progettiamorisponde alla domanda:“come sarebbe/cosa ci sarebbeil mondo se?”tuttiun gruppo+un gruppo+un gruppo+ogni gruppo/personaprogetta/eseguele singole azionisi realizza laNarrativaTransmedialetutti insieme siproduce uno schemae un breve testo (concept)che descrive la strategiaogni gruppo produceun breve testo sulla suaparte di Narrativa Transmedialeinsieme a delle immagini dellapreparazione e dell’esecuzionesi realizza laPubblicazione+Thursday, May 23, 13