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Storytelling, play and codeThe full stack(s) of entertainment.
Zeroth, context.
First, storytelling.
The hard way.
© WB/Microsoft
© WB/Microsoft
© WB/Microsoft
The hard way.
The easier way.
Alexis Madrigal, The Atlantic, http://bit.ly/thetwomayors
Second, play.
Third, code.
“In the 1980’s the BBC not only broadcastprogramming for kids about coding, but (in  partnership with Acorn) shipped over ...
The Valiant Turtle, http://bit.ly/bbcturtle
To make art with technology, one does notuse it as a tool; one must understand it as amaterial. Technology is not always a...
The stacks.
First, a reprise.
EVERYTHINGTHE NETWORKTOUCHESBY TOM COATES
The story so far.
Old Spice, Wieden+Kennedy
Suwappu, BERG/DENTSU
Twit4Dead, Tom Armitage, http://bit.ly/twit4dead
The Mongoliad, Neal Stephenson, Greg Bear et al
Year Zero, Nine Inch Nails
Glitch, Tiny Speck
This is not the future I    was promised.
http://bopressminiaturebooks.com/
Some stacks.
Easy first.
Now hard.
Facebook   andGoogle+
But none of these feel     like stacks.
And we don’t haveauthoring tools, either.
We only have ourselves      to blame.
It’s all just ones and zeroes down here.
http://www.guidebookgallery.org/screenshots/win31
http://arstechnica.com/apple/news/2011/07/mac-os-x-lion-a-visual-                                               introducti...
What we lost.
Where are our cues?
This is not a metadata problem.This is a design/content/code problem.
Russell Davies, http://bit.ly/inourcan
And finally.
“These are like ships passing in the night.One of the greatest achievements at Pixar was that we brought these two culture...
The end.           dan.hon@wk.com
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
Storytelling, play and code
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Storytelling, play and code

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Forget transmedia. Forget alternate and augmented realities. Forget multimedia magazines, tablets, phones and puzzling QR codes. Our challenge lies in figuring out the full-stack of entertainment, designed from the bottom right to the very top: for phones, physical objects—part of the Internet of things or otherwise—tablets and conventional computing devices, where art, code and design mesh together perfectly with directorial vision.

These teams producing our next generation of entertainment are right at the heart of Steve Jobs’ placing of Apple at the intersection of liberal arts and technology. Where did they come from, how are they evolving entertainment and how are they making storytelling, play, code and technology sing?

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Storytelling, play and code

  1. 1. Storytelling, play and codeThe full stack(s) of entertainment.
  2. 2. Zeroth, context.
  3. 3. First, storytelling.
  4. 4. The hard way.
  5. 5. © WB/Microsoft
  6. 6. © WB/Microsoft
  7. 7. © WB/Microsoft
  8. 8. The hard way.
  9. 9. The easier way.
  10. 10. Alexis Madrigal, The Atlantic, http://bit.ly/thetwomayors
  11. 11. Second, play.
  12. 12. Third, code.
  13. 13. “In the 1980’s the BBC not only broadcastprogramming for kids about coding, but (in partnership with Acorn) shipped over amillion BBC Micro computers into schools and homes.” Eric Schmidt, http://bit.ly/schmidtaggart
  14. 14. The Valiant Turtle, http://bit.ly/bbcturtle
  15. 15. To make art with technology, one does notuse it as a tool; one must understand it as amaterial. Technology is not always a tool, an engineering substrate; it can be something to mould, to shape, to sculpt with. Tom Armitage, http://bit.ly/techmaterial
  16. 16. The stacks.
  17. 17. First, a reprise.
  18. 18. EVERYTHINGTHE NETWORKTOUCHESBY TOM COATES
  19. 19. The story so far.
  20. 20. Old Spice, Wieden+Kennedy
  21. 21. Suwappu, BERG/DENTSU
  22. 22. Twit4Dead, Tom Armitage, http://bit.ly/twit4dead
  23. 23. The Mongoliad, Neal Stephenson, Greg Bear et al
  24. 24. Year Zero, Nine Inch Nails
  25. 25. Glitch, Tiny Speck
  26. 26. This is not the future I was promised.
  27. 27. http://bopressminiaturebooks.com/
  28. 28. Some stacks.
  29. 29. Easy first.
  30. 30. Now hard.
  31. 31. Facebook andGoogle+
  32. 32. But none of these feel like stacks.
  33. 33. And we don’t haveauthoring tools, either.
  34. 34. We only have ourselves to blame.
  35. 35. It’s all just ones and zeroes down here.
  36. 36. http://www.guidebookgallery.org/screenshots/win31
  37. 37. http://arstechnica.com/apple/news/2011/07/mac-os-x-lion-a-visual- introduction.ars
  38. 38. What we lost.
  39. 39. Where are our cues?
  40. 40. This is not a metadata problem.This is a design/content/code problem.
  41. 41. Russell Davies, http://bit.ly/inourcan
  42. 42. And finally.
  43. 43. “These are like ships passing in the night.One of the greatest achievements at Pixar was that we brought these two cultures together and got them working side by side.” Steve Jobs, http://dthin.gs/SJatD1
  44. 44. The end. dan.hon@wk.com

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