DIGITAL storytelling 2018-19
|
|
DIGITAL storytelling 2018-19
|
|
|
introduction
Tripadvisor augmented reality mobile app Public Domain
Bandersnatch
{
"origin": ["this could be a tweet", "this is #alternatives# tweet", "#completely different#"],
"alternatives" : ["an example", "a different", "another", "a possible", "a generated", "your next"],
"completely different" : ["and now for something completely different", "so long and thanks for all the fish", "or, maybe, #alternatives# badger"]
}
Locative narrative is a way to write with the physical world, to read within the physical world and to give place and history a voice
Megan Heyward, Notes for Walking + videos
SAN CASCIANO SMART PLACE : Il progetto presenta un duplice obiettivo: da una parte – quello che poi andrà a definire l’output esterno – offrire ai potenziali visitatori e turisti modalità innovative e coinvolgenti di fruizione del territorio, attraverso un’app per smartphone e tablet che sfrutta la tecnologia della Realtà Aumentata e la tecnica del digital storytelling; dall’altra – quello che poi caratterizzerà l’output interno – rafforzare il tessuto e il capitale sociale locale, attraverso la creazione di reti formali e informali tra i diversi soggetti coinvolti, i quali hanno un ruolo attivo nell’individuazione e nella scrittura dei contenuti da comunicare agli altri e a se stessi.
MAPPA QUARTIERE BARONA - ESTESA
MAPPA QUARTIERE MONCUCCO - CIRCOSCRITTA
story = facts and actions happening in time and space
plot = chain of events as they are narrated
Argumentation= how you organize your ideas, how you present your message
a character who does something in a specific place (setting) and time (=story)
reality = narration
to shape a reality and to connect people/readership with it
Storytelling >>> "parlare attraverso storie" e non "raccontare storie"
creare universi narrativi coerenti, nonché emotivamente e intellettualmente coinvolgenti
1. it contextualizes or re-contextualizes
2. it states connection between heterogeneous elements
3. it includes or excludes/rejects according to what is more or less important for the narrator
4. It controls and organizes
5. it dramatizes and lets the reader get immersed into a new reality
6. Activates individual and collective memory
7. it attracts the attenction of the reader
Storytelling << long-term memory + associative thinking
from linear narration to a non-linear storytelling
what is happening vs. how and why it happens
Camille Utterback & Romy Achituv - Text Rain, 1999
I like talking with you,
simply that: conversing,
a turning-with or –around, as in your turning around
to face me suddenly ...
At your turning, each part of my body turns to verb.
We are the opposite
of tongue-tied, if there
were such an antonym;
We are synonyms
for limbs’ loosening
of syntax,
and yet turn to nothing: It’s just talk. (Zimroth 1993)
from CODEX to CODE
computational processes, multimodal interfaces, network access, locative narratives, augmented reality
digital-born writing and electronic literature
Considerations on :
1. presentation
2. collective writing
3. multimediality
4. remix
5. generative writing
Electronic Literature Organization’s definition of electronic literature says “works with important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer.”
Lori Emerson: e-literature is “what did not exist until the founding of the Electronic Literature Organization in 1999. [... It] is a name, a concept, even a brand with which a remarkably diverse range of digital writing practices could identify (...).”
"an emerging cultural form" (Tabbi 2007)
electronic vs digital literature
digital literature “ is simply media distributed and /or experienced using a computer, rather than digital media".
machine language = an interface between hardware and text, which we can extend to include operating systems, applications and a variety of software widely shared all over the world to allow global communication; secondly, a
verbal language = cooperates with equally shared multimedia and multimodal languages of communication
the content, the design and the delivery
First generation: 1987-1995 Hyperfiction - mainly USA; Storyspace and Eastgate Systems; Joyce, Bolter and Bernstein +France: generative poetry by Balpe and animated poetry by Papp
Second Generation, or web 1.0 (1995-2004): multimodal opportunities offered by the web
Third Generation or web 2.0 or cybernetic literature (2004 – oggi): social network, app for mobile devices, virtual reality, augmented reality
Main features:
• data
• process
• interaction
• surface
• context
process-intensive-program vs data-intensive-program
Shelley Jackson, My Body - a Wunderkammer
Plot generator: http://www.plot-generator.org.uk/create.php?type=2
Greg Borenstein, Generated Detective: A NaNoGenMo Comic #70 , NaNoGenmo 2014,
Fragments https://www.youtube.com/watch?v=XWFYdEyvBVk
Heavy Industries, Dakota
Amaranth Bursuk and Brad Bouse, Between Page and Screen
Brian Kim Stefans, The Dreamlife of Letters
Camille Utterback & Romy Achituv, Text Rain
Noah Wardip-Fruin - Screen Installation >>from youtube: https://www.youtube.com/watch?v=WOwF5KD5BV4
Davide Pedrazzini, https://twitter.com/emj1900 + https://twitter.com/drgwhite8
Hara Mihailidou, Haunted London http://haramihailidou.com/?page_id=82
From: http://newmediawritingprize.co.uk/2018-shortlist/
Amira Hanafi, A Dictionary of the Revolution
Amira Hanafi, We are fragmented
Augmented reality and acid attack: Using technology for social change
ELO Electronic Literature Collection 1 --- 2 ---- 3
