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Notes

Be On the Look Out

I’m rolling out the Phenomenal Work presentation in a couple of weeks at the BOLO Conference in Scottsdale, Arizona as part of three really impressive days of sessions. The advantage I have this time, over DIY Days or Storyworld, is that I’m more than halfway through writing the book: my argument is crisper, my examples more rich, and the prescriptions more obvious.

But it means there’s now a gap, again, between the ideas explored here on the blog and the ideas I want to touch on in the presentation. That means some of those ideas need to be here to enrich the experience of that audience.

TL;DR: big pile of new Phenomenal Work material incoming.

1 Notes

Transitions

I’m headed today to Los Angeles to be part of the wonderful StoryWorld Conference, one of my favorite gatherings of the global community of experimental storytellers each year. On Friday, I’ll put this new idea in front of some of the smartest brains on the planet and make the argument that we need a global design movement based on phenomenology (or that we already are one and just didn’t realize it.)

So this point represents a sort of transition. What came before this was (at best) a disjointed notebook of ideas and discoveries that led to how I’m now thinking about my work. From here forward, I’ll try to stay focused on expanding the argument around the five core concepts that have boiled up from that into the manifesto: what it means to put audiences at the center of work, the realization that audiences create meaning (not us), a critique of the shortcomings of the language we’re using as a community, an exploration of the universal rules of design this leads us to, and what it would mean to think of ourselves as a movement.

Notes

We’re far more likely to be talking about ‘chained engagement’ because we think an object (like a film) exists only as part of an experience (like the theater it is showing in) and the longer the chain, the more impactful each piece of the chain is for that audience member.
me (May 25, 2012) to Transmedia Storytelling Berlin

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Every revolutionary art movement becomes a sort of philosophy. That scares some people.

Every revolutionary art movement becomes a sort of philosophy. That scares some people.

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We decided to borrow something that works really well in the tech space: the hackathon. The ‘hack’ culture doesn’t exist in the entertainment space but we really felt it was applicable
Michael Knowlton, StoryCode (April 29, 2012) to Amanda Lin Costa

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The Two-Way Thing

  • JC Hutchins: And what do you mean exactly by 'two-way'? Because if it means what I think you're going to tell me, we don't hear that quite as often in the transmedia conversation as might otherwise.
  • Brian Clark: I agree, and I guess that's what I'm saying. Certainly, in every single media there is a revolution taking place in the role of the audience, whether its being able to comment directly on the newpaper article on the Web and everyone being able to read it, or whether it is a Youtube full videos that people are shooting on their cellphones.
  • Steve Peters: And let me be clear, too. This two-way thing doesn't mean automatically "Choose Your Own Adventure". That's one of many, many, many, many ways it could be realized.
  • (April 24, 2012)

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I was seduced into believing that there was something new here that required a new term of art to express, but now I think we were wrong.
me (April 21, 2012) in the conversation "Transmedia Is A Lie"

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I want a jar for every time we say ‘transmedia’ too, but I don’t know what else to say sometimes … What the hell is it?
Jim Stewartson, Fourth Wall (April 15, 2012) to LA Times

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There are people who are reading the website and taking the seminars I’ve been giving and then fashion themselves as experts.
Jeff Gomez, Starlight Runner (April 2, 2012) to Forbes

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We should test our debate against the goal of, ‘Does this enable new ways for us to talk to each other about our work?’
me (May 2, 2011) in the conversation "Reclaiming Transmedia Storyteller"