Slides from the 2015 Near Future Design Class at Isia Design Florence

3. https://www.youtube.com/watch?v=9eaPK7EIHwc
“F” for Fake

4. ESPERIMENTO
DISEGNATE UNA RAPINA IN BANCA
o fate un elenco di elementi che si trovano in una rapina,
tra cose che vedete, odorate, sentite, toccate, percepite,
e le cose che sapete sul funzionamento di una rapina, i suoi personaggi…
10 minuti

6. Go and organize a fake hold up. Be sure to check that your
weapons are harmless, and take the most trustworthy hostage, so
that no life is in danger (otherwise you risk committing an offence).
Demand ransom, and arrange it so that the operation creates the
greatest commotion possible. In brief, stay close to the “truth”, so as
to test the reaction of the apparatus to a perfect simulation. But you
won’t succeed: the web of art)ficial signs will be inextricably mixed
up with real elements (a police officer will really shoot on sight; a
bank customer will faint and die of a heart attack; they will really turn
the phoney ransom over to you). In brief, you will unwittingly find
yourself immediately in the real, one of whose functions is precisely
to devour every attempt at simulation, to reduce everything to some
reality: that’s exactly how the established order is, well before
institutions and justice come into play.
Jean Baudrillard – “Simulacra and Simulation”

7. segni, segnali, indizi

8. Thus all hold ups, hijacks and the like are now as it were simulation
hold ups, in the sense that they are inscribed in advance in the
decoding and orchestration rituals of the media, anticipated in their
mode of presentation and possible consequences.
Jean Baudrillard – “Simulacra and Simulation”

9. Hyper-real

10. I don’t need to actually be in a bank hold up
because, through media of multiple types,
I have been there a million times already.

11. Invisible cities, by Christian Marc Schmidt and Liangjie Xia

12. ESPERIMENTO
PRENDETE UNA CITTÀ A CASO DEL PIANETA
in quella città scegliete un quartiere o una zona
cercate di sapere più cose possibili di quel quartiere
(luoghi, fatti, curiosità, cose che vi appassionano, cosa ne pensano le
persone di quella zona o di qualcosa si trovi in quell’area, cosa fanno i turisti e i cittadini,
cosa avverrà nel futuro, cosa è avvenuto nel passato, e cosa sta avvenendo proprio adesso…)
10 minuti

14. CHE CITTÀ È QUESTA?

15. ESPERIMENTO
VI HANNO BENDATO E PORTATO IN UNA CITTÀ
vi levano la benda e vi hanno lasciano lì, in mezzo alla strada
nessuno parla la vostra lingua (non la capite proprio)
avete uno smartphone
come riuscite a capire dove siete? cosa fate?
10 minuti

17. quanti sensi hai?

18. ESPERIMENTO
QUANTI SENSI AVETE?
fare una lista di sensi, inclusi quelli che sono stati modificati
o che sono addirittura nati attraverso le tecnologie.
10 minuti

22. ESPERIMENTO
“ERO SOLO, SULL’OCEANO”
cosa sta succedendo?
5 minuti

26. la STORIA è nella MENTE
e la creiamo noi, unendo indizi che vengono da tanti media differenti

28. “Nine Moderns, scattered along two hundred miles of the
Sprawl, had simultaneously dialed MAX EMERG from pay
phones.Nine different police departments and public
security agencies were absorbing the information that an
obscure subsect of militant Christian fundamentalists had
just taken credit for having introduced clinical levels of an
outlawed psychoactive agent known as Blue Nine into the
ventilation system of the Sense/Net Pyramid. Blue Nine had
been shown to produce acute paranoia and homicidal
psychosis in eight-five percent of experimental subjects.”

29. In the narrative, the Panther Moderns combine multiple
media and modalities to stimulate as many perceptive
modalities as possible to make the people in the Sense/
Net building believe that a fundamentalists have infected
the building with a powerful hallucinogenic drug, thus
causing violence and horror.

30. • 9 phone emergency calls trigger an emergency
response by the police forces, who actually go to the
building
• showing video footage inside Sense/Net that triggers
seizures in a certain percentage of employees
• introducing images of contamination in the CCTV circuit
• diffusing in the sound system of the building audio of a
news segment dealing with a dangerous human growth
hormone

31. the characters are placed in a situation in which they fail
to distinguish reality from simulation: all the signals
and hints from the surrounding environment suggest a
version of reality which, technically, is not true, but which,
in perception, is a real as they can perceive it.

32. TRANSMEDIA

33. “a transmedia story represents the integration of entertainment
experiences across a range of different media platforms”
Henry Jenkins, 2007

34. “Transmedia storytelling represents a process where integral elements
of a fiction get dispersed systematically across multiple delivery
channels for the purpose of creating a unified and coordinated
entertainment experience. Ideally, each medium makes its own unique
contribution to the unfolding of the story.”
Henry Jenkins, 2007

39. • The film’s trilogy : « The Matrix », « Matrix Reloaded » and « Matrix Revolutions »
• A series of animated shorts : « Animatrix » https://www.youtube.com/watch?v=cTLMjHrb_w4
• Two video games : « Enter the Matrix » and « The Matrix : Path of Neo »
• A MMORPG game: « The Matrix Online »
• An anthological graphic novel: « The Art of the Matrix »
• A series of comics : « The Matrix Comics »

40. the Human Preservation Project
http://42entertainment.com/work/humanpreservationproject

41. Year Zero
http://42entertainment.com/work/yearzero

42. This Man
http://www.thisman.org/

43. Characteristics
http://www.artisopensource.net/network/artisopensource/2013/05/26/transmedia-narratives-simulacra-simulation-fake-and-design-fiction/

44. Spreadability
vs
Drillability

45. Continuity
vs
Multiplicity

48. World Building

49. “the actively engaged real-time viewer who must find satisfaction
in each single episode and the more reflective long-term
audience who look for coherent patterns in the story as a whole
(…) [and] the navigational viewer who takes pleasure in following
the connections between different parts of the story and in
discovering multiple arrangements of the same material.”
Janet Murray

50. Negative Capabilities

51. When applied to storytelling, negative capability is the art of
building strategic gaps into a narrative to evoke a delicious sense
of “uncertainty, mystery or doubt” in the audience.
Simple references to people, places or events external to the
current narrative provide hints to the history of the characters and
the larger world in which the story takes place.
This empowers the audience to fill in the gaps in their own
imaginations while leaving them curious to find out more.
Geoffrey Lang

53. Migratory Cues

54. A Migratory Cue, thus, is the stimulus to change media, to
follow one of the “hyperlinks” exposed by the transmedia
narrative, and to engage in a different chunk of the world
which it refers to and actively manages to build.

55. Seriality

56. We can think of transmedia storytelling as a hyperbolic
version of the serial, where the chunks of meaningful
engaging story information have been dispersed not
simply across multiple segments within the same
medium, but rather across multiple media systems.

57. Subjectivity

58. The notion of different subjectivities participating to
forming the overall narrative has, too, already been
mentioned in the previous sections. For example while
making the example of Marvel Comics and their
continuity, in which the same story is viewed from
different points of view.
Transmedia narratives often explore the central narrative
through new eyes, such as secondary characters or
third parties.

59. Performance

60. the ability of transmedia extensions to lead to fan
produced performances that can become part of the
transmedia narrative itself.

61. • Cultural Attractors: draw together a community of
people who share common interests.
• Cultural Activators: give that community something
to do.

64. TA-DAAAAAA!
il tema di quest’anno!

65. ?