The Spiral case study documents a 3 year experiment in interactive storytelling across multiple platforms. It began with online games and challenges related to a fictional TV drama series about stolen paintings. Over time, it engaged over 30 ambassadors and grew a community of over 142,000 members through social media interactions, live events, and user-generated content. On the final broadcast date, a DIY end event was held involving the community before the airing of the conclusion to the scripted drama series, bringing the interactive storyworld to a close.
Voice as a game modification in Machinima - ISEA 2011 IstanbulIsabelle Arvers
ISEA 2011 Istanbul panelist : Voicing electronic arts
Chair Person : Norie Neumark Presenters : Nermin Saybasili, Igor Stromajer, Isabelle Arvers
Location : Sabanci Center Room 1, Sabanci Center, Levent
There is an uncanny quality to voice in electronic arts, viscerally carrying bodily intimacies to the listener through physical spaces, yet dislocated from the speaker’s body through reproduction and transmission. The digital voice is paradoxically human and machinic – intimate and intense, as it connects subjectivities on the one hand and the digitally abstract on the other hand, as it passes through machines on to the other. Whether voices call to us across the internet, or across the smaller space of an installation, or from the small screen of machinima, media artists have found this paradoxical and uncanny quality alluring and have worked with it across a range of media and emotional ranges. While voice is often discussed in a political and metaphorical sense (giving people a voice through media) the aim of this panel is to address the aesthetics of voice in media art.
Machinima as a Political or Artistic Detournement of Video Games by Isabelle Arvers
This paper presents Machinima as a political or artistic detournement of video games. By using virtual spaces and changing perspective as an artistic strategy, machinima allow a distanced critique of a simulated world. They tend to erase the boundaries between reality and fiction and redefine the transgressive power of the game. As Guy Debord states in The Society of the Spectacle, “There, where the real world is changing into simple images, simple images become real human beings and efficient motivations for an hypnotic behavior.” Machinima re-actualize the Situationist conception of cinema in which voices in dialogs, or interviews, or voice over and images, act as different layers of content. In the purest hacking tradition, machinima can be perceived as a « detournement » or a diversion of mass media to become a means of expression, political or artistic…
Machinima represents the particular moment when gamers begin to produce content and where games become tools of expression. These movies are mostly narrative, but they can also be experimental, artistic, or related to music, documentaries, ads, and feature films. They can be seen as a new way of representation in the digital age, along with 3D animation, digital cinema, or video. Machinima has a huge potential because it uses mass consumption objects that are games, to help people self-express. A recent French study showed that 99.8 % of teenagers play video games daily. Therefore, it can be said that games surround our everyday life. This is the reason why it is meaningful to diffuse a cinematographic genre using games and open source tools, to make movies and artworks, enabling and amplifying other ways for people to express themselves.
Of course it’s exciting when people offer you money to make your project, but in this fragmented world of cross-platform production, more often than not, you will be working with several funders, in different territories, for a variety of audiences, on many platforms, over extended periods of time. This cautionary tale uses case studies and personal experience to highlight the potential pitfalls of working on a large-scale cross-platform production and aims to provide strategies for creating a story-world that covers all the bases whilst keeping true to the heart of the project.
Voice as a game modification in Machinima - ISEA 2011 IstanbulIsabelle Arvers
ISEA 2011 Istanbul panelist : Voicing electronic arts
Chair Person : Norie Neumark Presenters : Nermin Saybasili, Igor Stromajer, Isabelle Arvers
Location : Sabanci Center Room 1, Sabanci Center, Levent
There is an uncanny quality to voice in electronic arts, viscerally carrying bodily intimacies to the listener through physical spaces, yet dislocated from the speaker’s body through reproduction and transmission. The digital voice is paradoxically human and machinic – intimate and intense, as it connects subjectivities on the one hand and the digitally abstract on the other hand, as it passes through machines on to the other. Whether voices call to us across the internet, or across the smaller space of an installation, or from the small screen of machinima, media artists have found this paradoxical and uncanny quality alluring and have worked with it across a range of media and emotional ranges. While voice is often discussed in a political and metaphorical sense (giving people a voice through media) the aim of this panel is to address the aesthetics of voice in media art.
Machinima as a Political or Artistic Detournement of Video Games by Isabelle Arvers
This paper presents Machinima as a political or artistic detournement of video games. By using virtual spaces and changing perspective as an artistic strategy, machinima allow a distanced critique of a simulated world. They tend to erase the boundaries between reality and fiction and redefine the transgressive power of the game. As Guy Debord states in The Society of the Spectacle, “There, where the real world is changing into simple images, simple images become real human beings and efficient motivations for an hypnotic behavior.” Machinima re-actualize the Situationist conception of cinema in which voices in dialogs, or interviews, or voice over and images, act as different layers of content. In the purest hacking tradition, machinima can be perceived as a « detournement » or a diversion of mass media to become a means of expression, political or artistic…
Machinima represents the particular moment when gamers begin to produce content and where games become tools of expression. These movies are mostly narrative, but they can also be experimental, artistic, or related to music, documentaries, ads, and feature films. They can be seen as a new way of representation in the digital age, along with 3D animation, digital cinema, or video. Machinima has a huge potential because it uses mass consumption objects that are games, to help people self-express. A recent French study showed that 99.8 % of teenagers play video games daily. Therefore, it can be said that games surround our everyday life. This is the reason why it is meaningful to diffuse a cinematographic genre using games and open source tools, to make movies and artworks, enabling and amplifying other ways for people to express themselves.
Of course it’s exciting when people offer you money to make your project, but in this fragmented world of cross-platform production, more often than not, you will be working with several funders, in different territories, for a variety of audiences, on many platforms, over extended periods of time. This cautionary tale uses case studies and personal experience to highlight the potential pitfalls of working on a large-scale cross-platform production and aims to provide strategies for creating a story-world that covers all the bases whilst keeping true to the heart of the project.
This slideshow was presented by Ed Lantz (Vortex Immersion) and Paul Fraser (Blaze Digital Cinema Works) at the 2010 Dome Day session of the Giant Screen Cinema Association in March 2010.
Victorian Runner Up Entrepreneur of the year presents the 7 steps of stoytelling and demonstrates why they are important for sharing the story of your business online. A presentation @ The Apartment Lounge 5th December 2012.
The Pixel Lab 2015 | Designing the new narratives - Adam Sigel power to the pixel
In the rapidly changing landscape between technology, art and entertainment, storytellers must begin to apply new strategies to integrate their narratives across an increasingly complex system. This lecture will better define key areas in narrative design such as story engine, user engagement, socialisation and immersion. It will lay out basic principles and challenges in creating these new narrative experiences.
The Pixel Lab 2015 | It's all about the money - Nuno Bernardo power to the pixel
Well, not really. But if you want to be truly independent in your art and craft, you need to establish a business model that works for you and your company. Even in a world where audiences spend more time online than watching TV, financing digital and cross-media content is still a challenge.
The entertainment industry is still organised in a silo structure and new, experimental and creative projects struggle to get the necessary funding. To succeed producing cross-media you need to understand the limitations and the opportunities available, from searching for available funding at the right places, to combining traditional and new sources of financing and working with brands and advertisers, without ever forgetting the potential international market. In the last decade, Nuno Bernardo was able to finance and produce iconic cross-media projects, from Sofia’s Diary to Beat Girl, that got awards and recognition but also generated the important revenues.
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This slideshow was presented by Ed Lantz (Vortex Immersion) and Paul Fraser (Blaze Digital Cinema Works) at the 2010 Dome Day session of the Giant Screen Cinema Association in March 2010.
Victorian Runner Up Entrepreneur of the year presents the 7 steps of stoytelling and demonstrates why they are important for sharing the story of your business online. A presentation @ The Apartment Lounge 5th December 2012.
The Pixel Lab 2015 | Designing the new narratives - Adam Sigel power to the pixel
In the rapidly changing landscape between technology, art and entertainment, storytellers must begin to apply new strategies to integrate their narratives across an increasingly complex system. This lecture will better define key areas in narrative design such as story engine, user engagement, socialisation and immersion. It will lay out basic principles and challenges in creating these new narrative experiences.
The Pixel Lab 2015 | It's all about the money - Nuno Bernardo power to the pixel
Well, not really. But if you want to be truly independent in your art and craft, you need to establish a business model that works for you and your company. Even in a world where audiences spend more time online than watching TV, financing digital and cross-media content is still a challenge.
The entertainment industry is still organised in a silo structure and new, experimental and creative projects struggle to get the necessary funding. To succeed producing cross-media you need to understand the limitations and the opportunities available, from searching for available funding at the right places, to combining traditional and new sources of financing and working with brands and advertisers, without ever forgetting the potential international market. In the last decade, Nuno Bernardo was able to finance and produce iconic cross-media projects, from Sofia’s Diary to Beat Girl, that got awards and recognition but also generated the important revenues.
The Pixel Lab 2015 | Commissioning Innovation - Voyelle Acker power to the pixel
As audience behaviour transforms, who is investing in new ways for film and media organisations to adapt to stay relevant? This session gives a unique opportunity to hear from commissioners who are leading the way in backing new types of entertainment products, audience engagement tools and cross-media projects.
The Pixel Lab 2015 | How does understanding more about my audience affect pro...power to the pixel
There’s so much a producer can do these days: create, finance, promote and distribute content across multiple platforms, media and channels. No longer do you have to rely on someone else’s ‘shop window’ to get your content seen. But in doing so we have to take responsibility for finding, connecting and activating audiences. Understanding context is key. It helps make content more engaging and relevant; it helps you weave your output into the lives of your users. However, it’s easy to paint a rosy picture of their attitude towards our offerings and the quality of the experience we provide. Mapping user journeys is a great way of realising the potential of your output reaching its intended audience. But how do we map the journey without turning it into a fairy tale?
The Pixel Lab 2015 | Extending story through play - Nick Fortugnopower to the pixel
Nick Fortugno looks at the way in which games and gameplay can be used to extend, monetise, and even incubate brands and stories. By looking at successful examples of transmedia that incorporate play into their storyworlds, Nick discusses how games create aesthetics and how that practice
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The Pixel Lab 2015 | 'I Need a Dollar' - Where's your ROI? - Jennifer Wilson power to the pixel
We spend our time in digital, but the reality is that we’re all still struggling to make a living out of it. Where does the money come from, how is this structured, who can you talk to and what do you need to know? This session will take apart a successful commercial digital project (Sherlock: The Network) and look at where the money came from. We’ll then look at all
the other funding options, from advertising to sponsorship to merchandise to subscriptions to affiliate revenue to app sales. We’ll look at the differences for factual versus fiction; games versus experiences; mobile versus web. Along the way we’ll touch on YOUR project and look to see what models might work for your cross-platform concepts.
The Pixel Lab 2015 | Innovation in Book Publishing - Eric Huang power to the pixel
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The Pixel Lab 2015 | Loc Dao's Lessons Learned in Interactive Documentary power to the pixel
The NFB's Head of Digital Content shares lessons learned around story and form from award-winning, groundbreaking interactive projects Seven Digital Deadly Sins, Circa 1948, The Last Hunt, Bear 71 and Welcome to Pinepoint.
Design and technology meets story and documentary.
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