DIGITAL storytelling 2019-20
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DIGITAL storytelling 2019-20
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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"]
}
- Hypertext
- Locative storytelling
"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"
Cascina Ranza - Cascina Ranza 2
ARIS —> https://fielddaylab.wisc.edu/make/aris/ IOS only
linear narration vs noN-linear storytelling
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 >>> "talk through storie" not "telling stories"
to create coherent narrative universes, intellectually and emotionally engaging stories
1. it contextualizes or re-contextualizes
2. it states connections 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 a new reality
6. it activates individual and collective memory
7. it attracts the attention of the reader
Storytelling << long-term memory + associative thinking
from linear narration to a no-linear storytelling
what is happening vs. how and why it happens
- What is the story about?
- What is the technology used?
- Who is the author/narrator?
- What is the reader supposed to do?
- How do you read the story?
- What about interactivity?
- What about interface?
- Can we read all the story?
- What is interesting about the work?
Shelley Jackson, My Body - a Wunderkammer
Shelley Jackson, Snow
Greg Borenstein, Debate Camp: A Romantic Horror Story ---- TwineHeavy Industries, Dakota
Ana Maria Uribe, Tipoemas y Anipoemas + anipoemsMegan Heyward, Notes for Walking + videos
Amira Hanafi, A Dictionary of the Revolution
Amira Hanafi, We are fragmented
Kate Pullinger, Breathe for smartphone https://www.breathe-story.com/
Deena Larsen, Marble Spring
Plot generator: http://www.plot-generator.org.uk/create.php?type=2
Greg Borenstein, Generated Detective: A NaNoGenMo Comic #70 , NaNoGenmo 2014,
Davide Pedrazzini, https://twitter.com/emj1900 + https://twitter.com/drgwhite8
@ElliottHolt's #TwitterFiction Story: Was it a suicide? A homicide? Or an accident? Read and decide....
Fragments https://www.youtube.com/watch?v=XWFYdEyvBVk
Noah Wardip-Fruin - Screen Installation >>from youtube: https://www.youtube.com/watch?v=WOwF5KD5BV4
Amaranth Bursuk and Brad Bouse, Between Page and Screen
Camille Utterback & Romy Achituv, Text Rain
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)
@thewaybot (by @elibrody)
@boy2bot (by @rainshapes)
@litpatches_txt (by @lizardengland)
@TwoHeadlines (by @tinysubversions)
@rom_txt (by @zachwhalen)
@everyword (by @aparrish )
@MagicRealismBot
@tranquilbot (by @slimedaughter)
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
