Transmedia is a buzz word that’s been in use for a while now, and the idea behind it goes back many decades. But from Hollywood to Madison Avenue, we’re seeing more and more content creators adopting transmedia practices: creating stories, characters or themes that arc over various platforms, providing consumers with multiple entry points. For marketers, transmedia presents new opportunities for creatively engaging audiences—with the potential to enhance brand mythology and create more brand evangelists.
This report takes a look at why this trend is bubbling up right now, how it’s significant for marketers and where it’s going. It includes a half-dozen case studies, insights from transmedia experts, a guide to finding more information (from events to podcasts to books and video clips) and a timeline charting some milestones in transmedia’s evolution.
You can download the full report here: http://www.jwtintelligence.com/trendletters2/
In partnership with the Macquarie ICT Innovation Centre, three Year 3 teachers and one Year 10 teacher will develop and design a transmedia story with their students to share with the other project classes to investigate the question: In what ways might transmedia storytelling allow teachers to re-imagine how they currently engage their class in an immersive literacy environment through the process of collaborative design?
The project will examine the potential value of transmedia storytelling for literacy development by investigating the worth of the ‘Weaving a StoryWorld Web’ framework, a teaching and learning model developed by MacICT’s research advisor to support the design, development and creation of transmedia storyworld. The project will particularly focus on the professional learning of the teachers, examining if transmedia story telling is an engaging and effective way to meet the ICT elements in the Australian Curriculum: English.
Find out more at www.macict.edu.au
Venture-lab of Stanford University. Transmedia Education for Digital Natives. This startup project is focused in generating transmedia educational protocols for digital natives for worldwide implementation.
Transmedia Storytelling: Connecting Consumers to Brands Through Modern Storyt...mgargan
Meghan Gargan's presentation on Transmedia Storytelling from a marketing and branding perspective. This was presented at Geekend 2011 in Savannah Georgia. Learn more about transmedia storytelling and Meghan at www.meghangargan.com.
The use of graphic novels in information literacy instruction for maltaRyan Scicluna
The use of comics in educational resources is not a new thing. In fact one can find multiple articles outlining how comics are used in fields of study such as English language (James, 2007), Mathematics and Social Sciences (Boerman-Cornell, 2013), Media (Doyle, 2008), etc... Comics are also being featured in University degree courses both as undergraduate or post-graduate studies. For example, the University of Florida in the US has a Comics studies credit where students and professionals study and teach comics; The University of Oregon, also in the US, has a whole faculty dedicated to Comics and Cartoon Studies; The University of Dundee, Scotland, offers a unique MLitt in Comics Studies and students can pursue their studies further after completion of the Master with a PhD in comics studies.
So how do comics and graphic novels teach readers to be information literate?
Transmedia is a buzz word that’s been in use for a while now, and the idea behind it goes back many decades. But from Hollywood to Madison Avenue, we’re seeing more and more content creators adopting transmedia practices: creating stories, characters or themes that arc over various platforms, providing consumers with multiple entry points. For marketers, transmedia presents new opportunities for creatively engaging audiences—with the potential to enhance brand mythology and create more brand evangelists.
This report takes a look at why this trend is bubbling up right now, how it’s significant for marketers and where it’s going. It includes a half-dozen case studies, insights from transmedia experts, a guide to finding more information (from events to podcasts to books and video clips) and a timeline charting some milestones in transmedia’s evolution.
You can download the full report here: http://www.jwtintelligence.com/trendletters2/
In partnership with the Macquarie ICT Innovation Centre, three Year 3 teachers and one Year 10 teacher will develop and design a transmedia story with their students to share with the other project classes to investigate the question: In what ways might transmedia storytelling allow teachers to re-imagine how they currently engage their class in an immersive literacy environment through the process of collaborative design?
The project will examine the potential value of transmedia storytelling for literacy development by investigating the worth of the ‘Weaving a StoryWorld Web’ framework, a teaching and learning model developed by MacICT’s research advisor to support the design, development and creation of transmedia storyworld. The project will particularly focus on the professional learning of the teachers, examining if transmedia story telling is an engaging and effective way to meet the ICT elements in the Australian Curriculum: English.
Find out more at www.macict.edu.au
Venture-lab of Stanford University. Transmedia Education for Digital Natives. This startup project is focused in generating transmedia educational protocols for digital natives for worldwide implementation.
Transmedia Storytelling: Connecting Consumers to Brands Through Modern Storyt...mgargan
Meghan Gargan's presentation on Transmedia Storytelling from a marketing and branding perspective. This was presented at Geekend 2011 in Savannah Georgia. Learn more about transmedia storytelling and Meghan at www.meghangargan.com.
The use of graphic novels in information literacy instruction for maltaRyan Scicluna
The use of comics in educational resources is not a new thing. In fact one can find multiple articles outlining how comics are used in fields of study such as English language (James, 2007), Mathematics and Social Sciences (Boerman-Cornell, 2013), Media (Doyle, 2008), etc... Comics are also being featured in University degree courses both as undergraduate or post-graduate studies. For example, the University of Florida in the US has a Comics studies credit where students and professionals study and teach comics; The University of Oregon, also in the US, has a whole faculty dedicated to Comics and Cartoon Studies; The University of Dundee, Scotland, offers a unique MLitt in Comics Studies and students can pursue their studies further after completion of the Master with a PhD in comics studies.
So how do comics and graphic novels teach readers to be information literate?
Inspired Storytelling: Engaging People & Moving Them To ActionKelsey Ruger
Most projects, presentations or initiatives are driven by facts and features the team believes will help them deliver a product or message. While facts and data are important for setting the stage and communicating goals, they’re rarely what persuades an audience or gets them to take action.
In this workshop, you will learn how to use that connection, by teaching basic skills in visual thinking and storytelling that will that transform projects and initiate action.
Remix Culture: Digital Music and Video Remix Opportunities for Creative Produ...Erin Reilly
Reilly, E. (2010) “Remix Culture: Digital Music and Video Remix Opportunities for Creative Production” Editor: Jessica Parker, Teaching Tech-Savvy Kids: Bringing Digital Media into the Classroom, Grades 5-12. Corwin Press.
Elaine M. Raybourn PhD discusses: “How do people integrate the disparate pieces of knowledge they acquired at different times and places? And how can anyone assess the overall outcome?”
Listen to the podcast here: http://transmedia.podomatic.com/entry/2016-01-26T05_46_28-08_00
http://www.conducttr.com
Extending media literacy: How young people re-mix and transform media to serv...Erin Reilly
Reilly, E. and Robison, A. (2008). "Extending media literacy: How young people re-mix and transform media to serve their own interests." Youth Media Reporter.
In recent years, transmedia has come into the spotlight among those creating and using media and technology for children. We believe that transmedia has the potential to be a valuable tool for expanded learning that addresses some of the challenges facing children growing up in the digital age. Produced by the USC Annenberg Innovation Lab and the Joan Ganz Cooney Center, this paper provides a much-needed guidebook to transmedia in the lives of children age 5-11 and its applications to storytelling, play, and learning. Building off of a review of the existing popular and scholarly literature about transmedia and children, this report identifies key links between transmedia and learning, highlights key characteristics of transmedia play, and presents core principles for and extended case studies of meaningful transmedia play experiences. The authors hope that T is for Transmedia will incite conversation among diverse stakeholders including educators, entertainment industry executives, creative artists, academic scholars, policy makers, and others interested in the future of children's learning through transmedia.
Applying participatory learning to STEM
E. Shaw, M. La, R. Phillips, and E. Reilly, “PLAY Minecraft! Assessing Secondary Engineering Education using Game Challenges within a Participatory Learning Environment,” in Proceedings of the 2014 ASEE Annual Conference, Indianapolis, IN, June 2014, Session W447.
Inspired Storytelling: Engaging People & Moving Them To ActionKelsey Ruger
Most projects, presentations or initiatives are driven by facts and features the team believes will help them deliver a product or message. While facts and data are important for setting the stage and communicating goals, they’re rarely what persuades an audience or gets them to take action.
In this workshop, you will learn how to use that connection, by teaching basic skills in visual thinking and storytelling that will that transform projects and initiate action.
Remix Culture: Digital Music and Video Remix Opportunities for Creative Produ...Erin Reilly
Reilly, E. (2010) “Remix Culture: Digital Music and Video Remix Opportunities for Creative Production” Editor: Jessica Parker, Teaching Tech-Savvy Kids: Bringing Digital Media into the Classroom, Grades 5-12. Corwin Press.
Elaine M. Raybourn PhD discusses: “How do people integrate the disparate pieces of knowledge they acquired at different times and places? And how can anyone assess the overall outcome?”
Listen to the podcast here: http://transmedia.podomatic.com/entry/2016-01-26T05_46_28-08_00
http://www.conducttr.com
Extending media literacy: How young people re-mix and transform media to serv...Erin Reilly
Reilly, E. and Robison, A. (2008). "Extending media literacy: How young people re-mix and transform media to serve their own interests." Youth Media Reporter.
In recent years, transmedia has come into the spotlight among those creating and using media and technology for children. We believe that transmedia has the potential to be a valuable tool for expanded learning that addresses some of the challenges facing children growing up in the digital age. Produced by the USC Annenberg Innovation Lab and the Joan Ganz Cooney Center, this paper provides a much-needed guidebook to transmedia in the lives of children age 5-11 and its applications to storytelling, play, and learning. Building off of a review of the existing popular and scholarly literature about transmedia and children, this report identifies key links between transmedia and learning, highlights key characteristics of transmedia play, and presents core principles for and extended case studies of meaningful transmedia play experiences. The authors hope that T is for Transmedia will incite conversation among diverse stakeholders including educators, entertainment industry executives, creative artists, academic scholars, policy makers, and others interested in the future of children's learning through transmedia.
Applying participatory learning to STEM
E. Shaw, M. La, R. Phillips, and E. Reilly, “PLAY Minecraft! Assessing Secondary Engineering Education using Game Challenges within a Participatory Learning Environment,” in Proceedings of the 2014 ASEE Annual Conference, Indianapolis, IN, June 2014, Session W447.
Erin Reilly, Research Director, shares with iCELTIC in June 2008, the current research happening at MIT's Comparative Media Studies Project New Media Literacies.
Journalism is in a paradigm shift. More than any generation to come before them, today’s young people are participating in the creation and sharing of culture with the immediacy and connectedness that a digitally networked world provides. In many cases, these young adults are actively involved in what we are calling participatory cultures; a participatory culture shifts the focus of literacy from one of individual expression to one of community involvement.
Preparing Your Students to Secure and Succeed in a Corporate InternshipNAFCareerAcads
This workshop will discuss the processes and criteria for selecting and hiring interns at KPMG, one of the "big four" public accounting firms. During the workshop, KPMG presenters will share the firm’s resume review processes, interviewing protocols, selection indicators and hiring practices so that academy directors and advisory board members will be in a better position to prepare their academy students for these key internship positions. Tips for how to be successful on the job will be shared.
The Walking Dead Survival Guide for MarketersMarketo
AMC’s The Walking Dead has given us plenty of terrifying moments to remember, but it’s also taught us a few lessons. Read our new infographic, The Walking Dead Survival Guide for Marketers, to find out what marketing has in common with dodging zombies — it might be more than you’d think!
Слайды с моего выступления на Russian Internet Week 2012 в адаптированном для самостоятельного чтения виде. Основной мыслью доклада было показать, какую пользу может принести анализ социальных сетей (как социологическая методология) в исследованиях "социальных сетей" на примере столь популярных тем как "инфлюэнсеры" и "вирусное распространение".
Blends that Work for Compliance Training | Kineo KineoPacific
The three biggest challenges when it comes to compliance training is that it's sending more people asleep than not, as compliance programmes aren't positioned properly and are not supporting genuine change. So how can compliance be more engaging and make behavioural change by using a blended learning approach?
In our recent webinar, Tina Griffin, Learning Solutions Manager from Kineo Pacific's Wellington office discussed various ways to solve these challenges and to make compliance training more approachable and less dry for learners.
Exploring Chemical and Biological Knowledge Spaces with PubChemPaul Thiessen
My presentation for the Drug Repurposing workshop at the upcoming Bio-IT World Expo.
http://www.bio-itworldexpo.com/Bio-It_Expo_Content.aspx?id=124256
Presentation abstract:
PubChem has a wealth of chemical structure and biological activity information. In conjunction with NCBI’s other resources such as PubMed and GenBank, PubChem is a vast source of information relevant to repurposing not only of established drugs but any compounds with in vivo pharmacology and/or clinical results. The challenge is how to take advantage of this knowledge. The ability to explore not only chemical similarity but relationships between diseases and disease targets has crucial value in repurposing. While focused investigations are already possible within the existing Entrez system, navigation across these linked information spaces can be difficult to do on a large scale with current tools. We are actively developing new infrastructure to support such analyses, and pursuing new methods of exploring inter- and intra-database relationships between chemicals, targets, diseases, and patents. Progress and some future direction in these areas will be presented.
Epic Research is a leading financial services provider with presence in Indian and other global capital markets. Provides Stock Tips, Forex Tips, Commodity Tips, MCX Tips, Equity Tips, Tips, Intraday Tips, NSE Tips, BSE Tips, COMEX Tips, PCG Pack and NCDEX Tips. We provide services in equity, commodity and Forex market.
Presentatie die Dolf Reith van KPC-Groep hield op de 23ste saMBO~ICT conferentie in ROC Twente. Toelichting op het Activity Based Costing model en de implementatie ervan binnen onderwijs.
Asks 3 important questions:
1. How has the digital revolution changed society?
2. What has it done to the ways in which people access and process information?
3. How do educators adapt to these new modes of learning?
Educational Priorities for the 21st CenturySam Gliksman
The current rate of technology advance, coupled with the rapid growth of the Internet, is revolutionizing society and the ways in which we communicate, connect and learn. In order to remain relevant, schools need to revise their educational objectives and prepare students with skills for a life of continual change and re-learning.
Augmented Mind- The evolution of learning tools from language to immersive re...John Lester
Slides from my keynote presentation at e-LEOT 2014.
More info about the conference: http://becunningandfulloftricks.com/2014/08/15/my-keynote-at-e-leot-2014-augmented-mind-the-evolution-of-learning-tools-from-language-to-immersive-reality/
Maths in the PYP - A Journey through the Artsmadahay
Slides from a presentation given by Jacki Craggs and Matt Hayes as part of ESF's "Creative Connections" professional development conference, detailing their journey through a PYP Maths unit through the creative arts.
Second in a series of courses that comprise the PRIME Teacher Training Program. Here we look at the Theory of Multiple Intelligences and Learning Styles and how it impacts facilitating learning for ALL students.
Inaugural Lecture
John Cook
Date: Tuesday 3rd of Feb, 2009
Time: 6pm
Venue: Henry Thomas room, Holloway Road, London Metropolitan University
Introduced by Brian Roper, Vice-Chancellor London Metropolitan University
Rolling Role Roundtable - Water Reckoning Project (slideshare version)Sue Davis
At IDIERI 7 Pam Bowell proposed the initiation of an international collaboration that would focus on using Heathcote’s strategies (including one called ‘Rolling Role’) and digital communications and platforms. The concept was to create a drama involving young people from several different countries in responding to the same dramatic stimulus or pre-text, with the drama culminating at the Heathcote Reconsidered conference.
The concept of Rolling Role is to involve different groups or classes in building a community that then faces some kind of change. The initiators create a common context and agree to the key features, affairs and concerns of the community. The students/children are then involved in building the community, the lives, events and artefacts of it and add to developments. Work is often left incomplete so another group can take it forward and continue the drama. Heathcote suggested this work lends it self to sharing through something like a website.
This roundtable will focus on the development of the dramatic frame and pre-text. It will identify the implications for creating work within contemporary school systems and the affordances as well as issues which emerge from working with digital technologies in these contexts.
(NB Video clips removed for this upload)
Similar to Tangible Storytelling + Play + Learning (20)
The Leveraging Engagement framework seeks to help reveal the nuances of fan involvement, specifically
identifying the various fan objects, activators and environments that inspire people to engage, as well as the
media properties and communities associated with them.
This study offers a sports fanship framework aimed at building a unique brand engagement positioning that
draws on a’ deep understanding of communities and shared passions. The framework can be used to
develop better marketing and communications tools.
Though children have a healthy appetite across “traditional screens” such as television and movies, computers, and video games, their usage of these screens is declining. Instead, there’s been an upswing in children’s consumption of and participation in media through a mobile device. And though a mobile device is what every child expects to have in their pocket, the next big thing coming in mobile is wearable devices combined with the Internet of Things (IoT) as we saw in the announcement of the Fall release of Disney’s Playmation. This shift places a clear demand on creators: Offer something different to today’s digital kids.
Transmedia processes show us that there is more than one way to tell stories, more we can learn about the characters and their world, and that such insights encourage us to imagine aspects of these characters that have not yet made it to the screen. While some might look at it strictly for entertainment value, creating a new lens to look at story offers a different point of view.
One distinct logic we have explored at the Annenberg Innovation Lab is Transmedia Play. Human imagination feeds upon the culture around it and children show enormous capacity to re-imagine the stories that enter their lives.
These visuals were used to support / start the conversation with SOTA's high school students in Singapore. The focus was to look at various forms of art that encompassed the NML skills, collective intelligence, visualization and play.
Students lose track of time as they spend hours navigating the web for material to create their stories and feel a sense of belonging through encouragement by their peers to post their stories on Facebook, illustrate them on Flickr, and share them with friends and the public at large through the multiple resources available on the web. This participation in new media environments is a way to be creative and innovative, but it is also new opportunities for our students to acquire and synthesize information in a meaningful way. Students today often remix original texts based on their own interests in order to create a new work that encapsulates their ideas and concerns about the issues that matter most to them.
In 2008-2009, Project New Media Literacies tested the Media Makers Challenge Collection, a set of 30 challenges to explore and practice the new media literacies. This collection was established as a springboard for educators to adopt the new media literacies into their own situation. Media educators from Global Kids used the materials as inspiration to develop Media Masters, an after-school program at the High School for Global Citizenship to integrate the new media literacies into a social issues learning environment. Media Masters helped learners acquire and reflect upon digital media production and analytic skills through youth engagement in participatory media and Web 2.0 tools. This presentation will explore how theory and practice merged to create a conversation, rather than a top-down transfer of knowledge, between participating researchers, practitioners and students.
The Media Maker Collection is a set of challenges that explore the new media literacies within the context of media artists and production. Challenges are media-based lessons to provide instruction or share an idea or a story. This collection provides a template for contributions from members who want to use the Learning Library to develop their own challenges.
http://newmedialiteracies.org/library/
A vital part of growing up is developing one’s identity. With ubiquitous access to others and easy access to participating in varied communities, how do we communicate ourselves to the world? The lines between our public and private lives have blurred with the rise of Facebook, Twitter, Foursquare and other social networking sites. Often it is not only ourselves that make choices in how we sculpt our identity. What we choose to share and not share, but also the communities we participate in. There is a need to start a dialogue with each other as those around us add to the building of one’s own identity and the identity of us as a collective.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
1. Tangible Storytelling
+ Play + Learning
…blending the digital and physical worlds to
expand children’s transmedia experiences
Erin Reilly
Creative Director + Research Fellow
USC Annenberg Innovation Lab
ereilly@usc.edu
2. I. Beginning with Transmedia Storytelling
I. The Flotsam Experiment
– expanding to Transmedia Play + Learning
III. Bridging the Physical and Digital Spaces
– Adding “tangibility” to Transmedia Play + Learning
IV. The Winklebeans Experiment
– Tangible Storytelling + Play + Learning
V. What’s Next…
10. A Wordless Children’s Picture Book
Flotsam is about boy at the beach, who finds a camera that washes up on shore.
He has the film developed and follows the stories that the pictures reveal.
15. What shape do play
and storytelling take
in the 21st Century?
16. Characteristics of Transmedia Play
1. Foster co-learning among children, peers,
parents, and other adults through joint media
engagement
2. Promote new approaches to reading across
media
3. Support constructivist learning goals.
17. Joint Media Engagement
involves mutual engagement—
meaning something in the
experience appeals to the diverse
partners involved.
1. Joint Media
Engagement
2. New Approaches
to Reading
3. Constructivist
Learning
18.
19.
20.
21. New Approaches to Reading
learn to read both written and
multimedia texts broadly (across
multiple media) and deeply (digging
into details of the narrative).
1. Joint Media
Engagement
2. New
Approaches to
Reading
3. Constructivist
Learning
22.
23.
24. Game Rules
1. Your piece of Flotsam must
cross the equator 3x to win the
game
2. You can use your Dare card (one
in the middle) if you get stuck in
an “Eddy”
3. If your opponent doesn’t accept
the Dare, then you have to do it
in order to get unstuck from the
“Eddy” …so choose Dares that
you’re willing to do too!
25. 1. Joint Media
Engagement
2. New Approaches
to Reading
3. Constructivist
Learning
Constructivist Learning
emphasizes the active role of the
learner in creating knowledge by
working to make connections among
information in a specific context.
26.
27.
28. III. Bridging the Physical and Digital Spaces
– Exploring “tangibility” in Transmedia Play + Learning
32. 1. Manipulability
2. Physical
Connectivity
3. Performativity
Manipulability
Objects can be directly
moved, changed or
otherwise altered using
one’s hands or other
methods of physical
interaction.
33.
34.
35.
36. 1. Manipulability
2. Physical
Connectivity
3. Performativity
Physical Connectivity
Objects or the child’s
physical body can directly
connect to, or otherwise
interact with, the story, other
objects or location.
37.
38.
39.
40. 1. Manipulability
2. Physical
Connectivity
3. Performativity
Performativity
Objects can literally become
storytellers by using visual,
auditory, or kinetic methods
for the object to
communicate with the play
partner.
41.
42.
43.
44. IV. The Winklebeans
Experiment
– Tangible Storytelling
+ Play + Learning
Team: Erin Reilly, Alisa Katz, Geoffrey Long, Aninoy Mahapatra, Daniel Burwen, Mitch Thompson, Shane Reilly
Sesame Street isa prime example of transmedia storytelling. From the very start, Sesame Street encouraged its young fans to follow it across media platforms—from television to records, books, stuffed toys, public performances, feature films, and much more
The Monster at the End of the Book builds off what we know of Grover on television but it creates a new kind of experience that takes advantage of the distinctive affordances of the printed book, which is designed to be read aloud in the child’s bedroom or playroom.
The feature film Follow that Bird (1985) expands upon the time we get to spend with Big Bird while watching the television series in order to flesh out his backstory, situate him within a quest narrative, and suggest how much he means to the larger Sesame Street community.
Each of these texts contributes something to our knowledge of this fictional realm, and each takes advantage of those things their respective medium does best. By combining media with different affordances, we create a more layered entertainment experience.
Neither example builds on extensive narrative information that must be remembered across different texts—that would not necessarily be appropriate for younger viewers—but it does reward fans who apply what they learned in one context to each new appearance of the characters. Transmedia is a storyworld and characters evolve through various storylines
A good transmedia narrative, like Sesame Street, uses these various cross-platform extensions to expand the world, to extend the timeline, to deepen our familiarity with the characters (such as we see here with Grover across multiple media, and to increase our engagement.
We wanted to take these key characteristics of transmedia storytelling and expand them to play and learning.
So Flotsam was chosen because of its format—wordless picture book—and its content is rich with real-life and fantastic story prompts.
Book begins with a boy at the beach. He finds a camera that washes up on shore. Has the film developed and follows the stories that the pictures reveal.
Images in the book help to expand the world in a deeply engaging, and immersive way with multiple number of learning opportunities. Take for example this one of the starfish islands and the whales swimming below. Readers are left to their imaginations to question scale, big and small can be questioned and thought about by the reader.
“Extend the timeline” is also prominent with recursive photos of historical children from around the world that appear page after page after page …all the way back to the “original boy”. This leaves room for the reader to fill in the gaps for creatively reworking the images as a way of encourage curiosity and exploration of the children represented around the world
– Where do they come from?
-- Who are they?
-- How did they stumble upon this magical camera?
-- How would you as the reader play into this if you were to stumble upon the camera like these children?
And every turn of the page reveals new characters, like this family of Octupus who have just moved into their new home. This image and many others in Flotsam offer readers the opportunity to imagine aspects of these characters that are just below the surface and encourages young people to make these stories their own through their active imaginations. A child can see this image and relate it to their own family and meaningfully pretend what it would be like to be the adult role of the parent reading the children the bedtime story. What bedtime story would I share to my children?
What we found in looking at the Flotsam book is that at the surface, this was a beautiful wordless picture book, but throughout the printed pages were opportunities for a transmedia story – one that was ripe for experimentation and offered a world where children could not only explore fantastical worlds but their own backyards.
Not being limited to the page …beg for the reader to step outside and explore for themselves.
We know transmedia storytelling is already richly connected to children’s media. We wanted to go one step further with this research. Not only, did we want to extend this wordless picture book into a transmedia story that is a deeply engaging, immersive experience with multiple number of learning opportunities, but we also wanted to explore the new new logic of transmedia play.
Transmedia play has three key characteristics that are highly supportive of learning.
Carry this through Flotsam …in between each section for the 3 characteristics
Encourage Joint Media Engagement. First, Transmedia Play fosters co-learning among children, peers, parents, and other adults through joint media engagement. Joint media engagement involves mutual engagement—meaning something in the experience appeals to the diverse partners involved. One such characteristic of joint media engagement is dialogic inquiry— “collaborating with others to make meaning of situations” (p. 43) – Different points of view and participation, appropriate to their comprehension level and that maximize their enjoyment of the story with all parties involved.
Traditionally how wordless picture books are read
But often there are stories that are right behind the edges that with minor prompting could open the door to a child’s imagination and creativity.
Explain Story Prompts (2 kinds) -- Plot prompts vs story starters
And another characteristics of joint media engagement is co-creation —making media, physical artifacts, or shared understandings. With Flotsam transmedia play experiment, Children have the ability to add themselves to the story or use the built in Camera interface to add their own contributions, which can then be remixed with the original story in the creation station, allowing a child to co-author and personalize their reading experience.
--
NEED SCREEN SHOT OF SOMEONE’S FACE SUPERIMPOSED INTO THIS – WHAT IS THE OUTPUT OF THE CREATION STATION? CLOSE THE CONCEPTUAL LOOP
Most importantly what we learned from parents regarding their reading experiences with their children was the importance of changing moving away fro interactive books as apps to dbooks … It is important to think about technical constraints and creating a really meaningful experience rather than “kitchen sink” of digital media.
(Multiple options can be turned on at once.) This lets users focus on one or more features of the book at once—and, for teachers, allows them to use the book in an ELA class or for the science and social studies content.
Carry this through Flotsam …in between each section for the 3 characteristics
Another characteristic of transmedia play is to support new approaches to reading across media, helping children develop broad literacy skills necessary to navigate a media-saturated society.
Flotsam blends science fact and science fiction as a way to provoke curiosity. The team enhanced this element by layering an integrated science curriculum connected to the sea life and geography depicted in the book’s illustrations over the narrative through the Interactive map features.
This transmedia play characteristic, new approaches to reading across media, was further enabled through collectable explorer cards that were both digital and…
physical for use in an actual trading card game that had the children use math to play a game that metaphorically represented the oceans and had them physically up and moving as part of the game play.
Carry this through Flotsam …in between each section for the 3 characteristics
Third, Transmedia play involves exploration, experimentation, and remix, all activities that are firmly aligned with a constructivist approach to learning. To further shift away from cause and effect and often the limited scope of a child’s digital reading experience, we extended the play pattern within the Flotsam experiment to design ways to encourage a child to co-author and co-design in the reading experience beyond just co-creation.
One way we did this was to take the explorer kit in the printed book and expand it into a tool box for scientific inquiry in the reading experience. This tool box could be made digital and / or a physical one to accompany the digital experience and encouraged learners to explore their own worlds, construct understanding and draw complex connections between information, leading to learning that is deeply meaningful.
And the constructivist theory was further highlighted in the importance of experience and active participation in learning activities through our participatory design method we used in developing the Flotsam Transmedia Play experience. We saw first hand if our theories would work by collaborating with a 2nd grade class for a full year during the development of this experiment. We learned a great deal about participatory models of reading and how to improve the design and making of books as apps for children. But even in our efforts of truly blending the digital with physical play …we were limited.
Our best results was with the AR trading cards that when for example, the whale and squid trading card were brought together under the camera …one could see on the table how realistically they would have engaged in the depths of the ocean …or as one child in the focus group shared …”Look its Moby Dick fighting the Kracken!”
Often the two experiences were separate and we really wanted to more seamlessly blend the physical and digital spaces which brings us to the question – How can we explore “tangibility in Transmedia Play?
So let’s start with the definition for Tangible…
Disney Infinity is an example of a tangible game and is very good at pulling together the House of Mouse’s ever-growing library of characters into a sprawling, shared world. Not only that, but sales of over half a billion dollars in the core game and figurine sales have shown that kids want tangible play experiences
However, the notion of tangibility in the play experience is limited as they’re figurines rather than toys. Once you put the character on the portal to bring him into the game, little is done with the toy until you need to switch it out with another to further win the game. Furthermore, in observation of kids playing Infiniti, little interaction before or after happened, even with prompting to bring the Infiniti characters into playtime with other action figures.
So to move us to tangible play with our toys, we need consider affordances of tangibility that will change the story
Manipulability is where objects can be directly moved, changed or otherwise altered using one’s hands or other methods of physical interaction.
Osmo is a good example of manipulability. Two google engineers have recently created this mirror device that goes onto the webcam of an ipad. This mirror projects the play space in front of the iPad allowing People to play with Real Objects and foster creative thinking.
https://www.playosmo.com
Lego Fusion is another camera driven manipulation. Here a child can manipulate lego pieces into a design and then integrate it into the story world through Augmented Reality.
http://www.lego.com/en-us/fusion
But to really consider tangibility in Transmedia Play, we were Interested in how the artifact can drive the story. TOK is an experiment in a lab in portugal. TOK connects the tangible manipulation to story. The manipulation of tiles results in manipulation of story on the computer. We’re etting closer, but not there yet. Even in this example the artifacts are abstracted from the story.
http://vimeo.com/33036567
Another affordance of Tangibility is physical connectivity - Objects or the child’s physical body can directly connect to, or otherwise interact with, the story, other objects or location.
A lot of people are thinking about near field communication, just being near something triggers a result, like you did with magic bands at Disney World. Wearables connect you to the physical space of a story but we’d like to think about physical connectivity as literally having the user touch and manipulate the object.
How do we connect the body space to the story world …wearable devices are exploding and it opens story possibilities to extend to our physical location, you are actively called upon to connect your being to make changes in the story, movement forward in the story. Disney Magic Bands (imagine how you can use this to shape and add story beyond the marketing opportunities with the magic band) …you know where the kid is in Disney World, and a character or a video pops up to further extend the story as the wait in line for the ride.
** Temporal …standing in line, know they have time to tell the story.
For example -- Playworld Systems new release of the Neos Playground is actually physically interacting with the space around you and touching the object ….combines the speed and fun of electronic games with the explosive movement of aerobic exercise to create the most exciting playground ever to hit your play space.
http://playworldsystems.com/products/product_lines/neos
…could or could not be haptic (sense or feel)
What we think is really nailing it is ….Moff. This is a wearable smart toy that changes everything you hold into a toy leaving it open for the kids imagination to run wild and turn your entire hom into a new story playground. Kids can use their physical body and every day objects to be the wizard with his wand or the guitarist in the band.
https://www.kickstarter.com/projects/akinoritakahagi/moff-a-wearable-smart-toy-changes-everything-into
Moff blends with our third affordance of tangibility as well. We define Performativity as Objects can literally become storytellers by using visual, auditory, or kinetic methods for the object to communicate with the play partner.
Remember the 1980’s toy Teddy Ruxpin -- The bear would move his mouth and eyes while "reading" stories which were played on an audio tape cassette deck built into his back. This is an early version of performativity. Whereas Teddy tells you the story,
Twinkles, Allows you to personalize and customize content to incorporate it into imaginative play
This toys is a Smart, Socially-enabled toy that connect with the phone network and invites families to stay connected by relaying sound, light and motion signals
However, the toy is an intermediary and not a storyteller.
http://techie.com/teddy-twinkle-is-the-new-high-tech-teddy-with-a-personal-touch/
https://www.youtube.com/watch?v=Vgqh2ODlhZc
The all new Furby Boom has a mind of its own and combines physical and digital ways to play! You can interact with your Furby Boom 1-on-1 to shape it’s personality. This toy has the level of performativity we’re going for but its not yet a storyteller. And it doesn’t allow for personalization.
http://www.hasbro.com/furby/en_US/shop/furby-boom.cfm
This takes us to the Winklebeans experiment, a six week stint with this team here that we just completed in the lab. With this research, we focused on what can be done with physical objects (specifically tangible toys), and what unique participatory affordances these objects offer in storytelling, especially with regard to the key characteristics of transmedia play.
Winklebeans are hand crafted, American made, all natural wooden monsters with magnetic interchangeable pieces.
http://www.winklebean.com
To get started, the card the comes with the toy provides simple instructions to put your Winklebean together and sync your tangible smart toy with the mobile app.
Take a 2nd shot of mobile app with Toag and pieces surrounding it
…to get started …use card, sync and begin the story with your WB
Let me show you a quick demo of how it works.
In the video, you can see that the Winklebean becomes the child’s play partner and encourage joint media engagement. To do this, we gutted the wooden WB and embedded sensors in each one of the magnets. We built in audio speaker with sd card and wifi that will connect to the WB’s home portal that transmits information between the toy, the sensors that allows for a multitude of responses and changes in the story and connects to the mobile app that is responsive to how the child interacts or doesn’t interact with the toy.
So in our project we’ve checked both of these boxes… Transmedia play has three key characteristics that are highly supportive of learning within a complex story world. And adding Tangibility bridges us closer to blending the physical and digital story, play and learning experiences.
But what’s next…. Examples of tangible products we’ve shown are of a specific brand or type of toy. Hyper-personalization and customization afforded through technology supports the rising DIY and maker space movement and could engage the audience further and potentially turn into another affordance of tangibility to further enhance the characteristics of transmedia play.
Remember the Creation Station in the Flotsam experiment… this is a way for the child to co-author and co-design along with the original story. A way to personalize the story and make it more relevant to their lives. Moving forward, we would like to dial up the level of creative participation with physical objects. One way to do that tangibly is with 3d printing.
And there is a rise of 3d printing. The DIY / Maker Movement is hot and allows for more people to customize their play experience not only in having a makerbot in your home (which is costly) but especially with consumer access growing through stores like Staples ….not only selling 3d printers but acting as service providers for people to go to staples and print off their imaginative creations.
One example is World of Warcraft partnering with Rockband for viewers to generate avatars from preset variables and then order a 3d printed model of your avatar… but though customization is present, it is constrained to the parts they offer to construct your avatar and personalization is limited.
http://www.figureprints.com/wow/
A more free form and open concept of hyper personalization and customization is Childs Own…this take any free form drawing that a child has created and turn into a tangible play experience. A bespoke, made to order one off.. However this one here is $250 for a child’s toy and it has a limited audience due to the cost.
http://www.childsown.com
But how do we connect this DIY / 3d printing to storytelling… Here at the lab, we’ve done one experiment where the configuration of physical pieces triggers a story component of Sleepy Hollow using AR. It’s cool but it too doesn’t use tangibility to directly impact the story itself, rather it just links to additional digital assets and it doesn’t allow for audience participation and creativity.
So imagine how WB can really create a paradigm shift in play where the child has as much freedom to change the story as the original author. The child becomes the storyteller. Your creation moves beyond the digital space by connecting 3d printing to the magnetic elements of the WB tribe of characters. This allows a child to create their own WB through making their own 3d printed elements or mixing and matching from the 6 of the original tribe. This mix and match and co-creation allows the child to add additional tribe members to the story that can then be integrated back into the data driven story.
Need landscape image of WB
Add contact information …next steps …twitter, email, phone etc
WB Ta Da image!!
Now imagine how we bring these ideas into our experiments.
MAP IMAGE -- Passive / Active GPS allows the story to be placed in any location by pulling from the child’s place and offers hyper-personalization… based story unlock as well as AR opportunities (which have been done in the past and hence why we didn’t focus yet on that in our prototype)
…hyper-personalization
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1-2 Slides
Now talk about what’s next…
And how it ties into the big vision and the fundraise.
heres what we could do
other use spaces
Sharing for endless data driven story
Different types of connections:
GPS
AR
Game
Mix and Make
dBook+