3. “Interactivity is mainly an illusion. My favorite Castle gimmick
was for his 1961 film “Mr. Sardonicus” — the audience were
handed out little cards with a glow-in-the-dark thumb that he
called The Punishment Poll. Near the end of the film, the
audience had a chance to vote: thumbs up if you want to show
Mr. Sardonicus mercy, and thumbs down if you want to see him
punished. The audience was picking the ending of the film.
Except, Castle says the “mercy” ending was never once shown,
as the audience always voted for the punishment.
But Castle was having a gag on all of us, as TCM explains:
“Although Castle asserts in his book that there was an alternate
ending filmed — one where Sardonicus lives — the consensus
among horror film scholars is that it wasn’t actually filmed. No
different ending has turned up, even in these days of unearthing
every scrap of unused material in extra features for DVD
releases.” ~ Brian Clark
22. The Sandbox Model for Participation
What are the constraints? (physical, temporal, organizational, bureaucratic, legal)
How are you going to encourage participation?
How can you lead participation?
What are the rules? (what are the rules of your world/experience)
Enforcing the rules? Community moderation?
Have you thought of everything?
Have you REALLY thought of everything?
Worst case scenarios?
Logistics: i.e. How are you paying for this?
27. Storyworld Building:
Welcome to Nightvale
“Because it’s an on-demand thing, you can do stuff that requires people to listen to
everything you’ve done up to this point,” explains Fink. “You can do a lot of stuff
that demands more of an audience, in terms of making references without having
to explain them — if they want to go back and figure it out, that’s on them. You can
also do structural stuff — we had one story that was told from two perspectives,
which you can do when you can release episodes at the same time.”
32. Transmedia & Extensions
“I believe that transmedia
actually reflects aboriginal
storytelling methods where
there was a lot of room for
different communities, and
different voices and different
narratives” – Loretta Todd, at
Merging Media 2012
45. DANGER WILL ROBINSON
You have legal responsibilities for your immersive works:
Do not put people in danger
Do not be careless or negligent about people’s welfare
Do not break the law (including bylaws and OCAD’s code of conduct)
Have necessary permits
Do not hoax
Do not be careless with your “fiction”
While all participatory fiction is by nature interactive, interactive fiction is not inherently participatory; the distinction of audience versus author or production might be blurred but still distinct
The user is being led through a series of choices or nodes.“Choice-Filled Adventure”: To Be or Not To Be
“Choose Your Own Adventure”“Interactive Film”: BandersnatchInteractive Text-Adventure/Game: Glitchhikers
Sleep No More – notice ‘interactivity’ is really a wayfinding/exploratory journey where your choices are really where you chose to explore
Interactive, fictional, non-text based choices
BEFORE THE YELLOW STAIRCASE
CRCP PROGRAM -- i thought I wanted to be a curator, i love facilitating and community building, and organizing, but it pulled me away from storytelling
My first co-created work in collaboration with curating partner Patrick Phillips and the entire schoolAround this time, late 2006? → copyleft which is now the creative commons was barely a new thing
I was fascinated by both doodles, and drawing book sketches and the collapse of authorial intent
So we came up with what was somewhat a radical idea for 2006:
HOW ARE WE GOING TO GET PEOPLE TO PARTICIPATE?
My aunt owns a shoe store, which I worked at as a kid, one day she came into the store and started tossing all the shoes off displays into a pile…. WHAT ARE YOU DOING? …she says “Watch this”…moments later the store was filled with women digging through the piles. NOTE: activity breeds activity
another concern by the OCAD administration: what if it’s shit? How could we ensure it wasn’t going to be crappySETTING THE BAR
10 days -- ten teams, staggered in different shifts each day -- THESE ARE CALLED SHILLS
a little story about Frank Sinatra – first concerts girls were paid to faint (the shills);
which is precisely why in gaming there is freemium models – people pay for free becoming the attractor for people willing to pay (the whales)
what if it spills out into the hallways? WHAT IF IT TAKES OVER THE SCHOOLcontainment –each day removed another panelMOVING THE GOAL POSTS
TELESCOPIC MODEL -- Participation starts small and grows like a snowball
TEAM NAMES -- GAMIFY, SPIRIT OF OUTDOING ONE ANOTHER, COMPETITIVE SPIRIT
the other concern was moderation -- keeping within policy of behavior of the school – moderation only based on school policyall else
reactive, community self regulated – since it was participatory anyone could alter anything they found offensiveYOU MUST THINK EVERY SCENARIO THROUGH FIRST BEFORE COMMUNICATING RULES: people do not respond well once you suddenly change the rules cause you havent thought this through
Everyday: the dood was documented and posted online with e-newsblasts to the teams to share with their friends: 100’s of photos daily by the end
having 32 artists as key participants meant there was built in marketing word of mouth
half-way both student and faculty not originally part of teams are now contributing 100s of doodles
implicit rules: the tubs of pencils/crayons served as a call to action – since it was only pencil/pencil crayons in the tub provided people followed suit and didn’t feel the need to bring additional materials in that could be destructive/permanent
BRANDED CONTENT – Curry’s was our sponsor and supplied materials
CALL TO ACTION
Clean up and strike-- memoralize, closing parting, ceremonial
Having high anxiety a plus
So the Dood show was a co-created participatory work: but it was not a shared storyworld because it lacked the fundamental ingredient: narrative
2008Keep in mind: during this time Facebook, twitter and youtube were all new. Social media was like barely a phrase…. during the Dood show we documented on LivejournalEarly examples of participatory fiction on twitter:
NOTE: THE CALL TO ACTION, PARAMETERS, ORGANIZATION – SIGNAL
A few years later, there are now twitter RPG communities who are ready and able to jump in; Sanditon town was still going over a year later
But most people are familiar with not the participatory fiction model on twitter but the broadcast one i.e. Emo Kylo Ren, Shit My Dad Says, on and on and on
Incidental shared storyworlds/participatory fiction: demanding more from audience to fill in the blanks; playing with the sublime –audio also demands morehttps://youtu.be/6K9TjjKxpP4?t=6m36s
“Buckminster Fuller, while contemplating the nature of humanity and existence, once famously wrote, “I am not a thing – a noun. I seem to be a verb, an evolutionary process.” Bucky was, in fact, arguing that we are all verbs, that we’re defined by our actions and come to know ourselves through those actions. This is the heart of the phenomenological concept of intentionality, retold in a more poetic way.
Sometimes, we might think of the audience as someone we can strap into a chair and force to witness our work, like poor Alex undergoing the Ludovico technique in “A Clockwork Orange,” like an empty vessel that we can fill with meaning. Meaning doesn’t actually come into being that way, shoved from the media object into the brain without interpretation or synthesis or reflection. Instead, if we treated them as a verb, we might help them get to that realization that Fuller was describing with “I seem to be.”
Shepard Fairey is a great example of that perspective, all the way back to his earliest “Andre the Giant Has a Posse” stickers. In his 1990 manifesto, he explicitly called his work phenomenological and described it as:
“The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities.”
Parse the words of Fairey, and you know exactly the verbs he was hoping to help bring to the surface: react, contemplate, search for meaning, interpret, reflect. The language of those words is very different than what you often hear among designers, who are more likely to talk about use, watch, view, click, listen.
Before the age of interactivity in design, this would have been an obscure philosophical dialog, but today it isn’t. Today, I can see the verb of the audience clearly. I can see them react and interpret and search for meaning, on Twitter or their blogs or the Facebook posts. To create phenomenal work, we have to think more like Fuller and Fairey, and embrace that we are all verbs.”
~ Brian Clark, Phenomenal Work, The Audience is a Verb
Just one example from how this played out with Welcome to Nightvale and scout badges
Fans co-creating with creators facilitating, harken back to sandbox method
Note the tumblr post – who is the facilitator? The one who made a shitty homophobe comment? Shared storyworld created by active participation taking life of its own //co-created–a collaboration between authors/participants or participants/participants based on constraints and facilitation
Talk about transmedia
story/narrative was once uncontained, it was pervasive, immersive, interactive, participatory, co-created, in a shared storyworld (and in many cultures it still is) through multiple media: performance, text, architecture, etc.
to contain a story was a radical idea, experimental… ‘the novel was so radical’ it was well novel, new
the early novelists were experimenting with form borrowing from conventions of reality
collection of letters in sequence
note both are linear
so transmedia is actually a return, a renewal of uncontained narrative: Trans means across and beyond, so transmedia means across and beyond media…
telling a story that crosses multiple media channels (text, film, live events, etc.)
the participants/audience/users inform the narrative somehow by their active participation