Download - Storytelling 2.0
Storytelling 2.0 uses of cross-media strategies for new ways
of communicating
IPIN summer school
August 8th 2012
Kjetil Sandvik, associate professor, Media, Cognition and Communication,
University of Copenhagen
Agenda
• Focus on strategic storytelling, particularly in the field of communicating culture/cultural heritage in the light of digital, network-based and mobile media and the increasing use of web 2.0/social media-services.
• From a cross-media perspective we will focus on the opportunities and challenges which these new media technologies, platforms and services represent to cultural organizations and institutions:
• Storytelling 2.0 and a perpetual beta way of communicating focusing on dynamic and easy changeable formats with a strong focus on user participation, collaboration and co-creation).
MA in dramaturgy
PHD on computer-
games
Head of master pro-
gram in Cross-Media
Communication
Research: strategic
communication, new
media, storytelling etc.
This lecture
• Some brief words about storytelling and
cross-media communication – the general
idea
• Rich media experiences: from ’experi-
ence+’ to ’experience universes’ – case
studies: X factor and Harry Potter
• Storytelling 2.0 – case study: an
augmented reality game
Storytelling classic
• A chain of events in time and space
• Told by someone (a narrator) to somebody
else (a reader or spectator)
• through a specific media (novel, movie, TV
series…)
• And in a specific discourse (a genre
defining the structure of the plot/storyline)
Storytelling 2.0: participation
• The ingredients are the same, but the role
of the recipient has changed
• The story hands out the possibility for
interaction:
– to influence the course of events
– to gain control over one or more characters
– to play a part in the storyline
• Storytelling Storydwelling
Labyrinthine story structure
Myst 2: Riven
Storytelling 2.0: co-creation
• Added the possibility for the participants to
be a part of creating the story,
– adding new parts to it,
– adding new characters,
– adding new narrative spaces and so on
• Storytelling Storyprocessing
Storyspace
World of Warcraft
Sandbox
Environment
Design tools
Concept
Second Life
Cross-media communication
• Collaborative interplay between different
media
• Each media playing its specific role and
delivering its part of the overall story
• Putting to play the specific strengths of
each media (the media does what it does
best!)
• Cross-media storytelling: putting both
‘storytelling classic’ and the two modes of
storytelling 2.0 to effective use!
Cross-media communication
• It is about getting through to the user
• It is about giving the user a broader and
richer media experience
• It is about giving the user the possibility to
get engaged and to be involved in the
media experience on different levels and
to various degrees
• It is about giving the user the possibility for
participation and co-creation.
Cross-media communication
The art of having different (old and new) media communicating together
• Each media has its special qualities
• Context: media evolution
–CMC challenges the role of the media types
• Context: participatory culture
–CMC challenges our models of communication
Challenges of digital media
Participatory (social) media/web 2.0:
• radical possibilities for dialogic processes, for collaboration and co-creation
• Communication as dynamic processes
• Fixed solutions changeable, adaptive and user-centered solutions
• Uses of web 2.0 apps mashups: combinations of cheap, effective and constantly updated and improved media technology
• Storytelling 2.0: perpetual beta way of communication
Context: participatory
culture and 2G experience
economy
Participatory culture
• “Patterns of media consumption have been
profoundly altered by a succession of new
media technologies which enable average
citizens to participate in the archiving,
annotation, appropriation, transformation,
and recirculation of media content. Partici-
patory culture refers to the new style of
consumerism that emerges in this environment.”
» Henry Jenkins
2G experience economy:
participation co-creation
Co-creation
• Boswijk et.al. focuses on the creative dialogue between supplier and customer instead of the supplier deciding what the customer wants:
• It builds upon communication as sharing of knowledge and the idea that value creation no longer takes place within the company but is created in the individual:
• “The development of meaningful-experience concepts cannot take place without the direct participation of the (potential) customer”.
Participation-based
communication • We do not just want to be communication
to (classical mass-media communication
format: one-to-many).
• We need new communication models
which focuses on various forms of user
involvement and user experiences (one-
to-one and many-to-many communication)
– personalization: online-services which adapt
to the users’ actions
Participation based
communication • We do not just want to be communication to
(classical mass-media communication format: one-to-many).
• We need new communication models which focuses on various forms of user involvement and user experiences (one-to-one and many-to-many communication) – personalization: online-services which adapt to
the users’ actions
– enabling dialogue (e.g. blogs), user participation (interactive elements creating unique user experiences) and user co-creation (possibility to create your own content).
LEGO Factory
• A co-creative story: The user in centre of the design process in accordance with LEGO’s corporate values:
• Stimulating creative play!
Users want to create their own toys
Co-creation: sharing and reworking design
Users want to design their own kitchens
Users want to tell their own stories
Users want to solve the crime mystery themselves
Users want to produce TV
themselves
Citizen Journalism
Users want to write the news themselves
Collective intelligence: crowdsourced, co-
creative creation of knowledge
’Traditional’ media com-
munication (storytelling classic)
Content Producer User
Media
Control of flow
Inspired by Randy Haykin:
Multimedia demystified. A guide to
the world of multimedia from Apple Computer, 1994
Interpretation/use
Dialogic media communication
Content Producer User
Media
Control of flow
Performance
Feedback
Interpretation/use
Participatory media
communication
Content Producer User
Media
Control of flow
Production of content
Reconfiguration (editing)
Performance/Feedback Produser Interpretation/use
Produsage
Content
Producer
prodUser
Media
Production of content
Use of content
Platform
prodUser prodUser
prodUser
prodUser
prodUser
Co-creation based communication model
Modes of user engagement
• Communication as composition (the combination of related media contents by established media (the book, the movie, the game, the website) and/or the combined use of various media and applications by audiences (using a player to watch a TV program, using a browser to monitor its website, and news applications to get updates)).
• Communication as collaboration (e.g., participating in debates relating to media content (chats, blogs, forums))
• Communication as participation (e.g., influencing the content of television, such as using SMS to vote for one’s favorite in a talent show)
• Communication as co-creation (the independent creation of media content, e.g. designing new features on Facebook)
• A networked, participatory environment enables all
participants to be users as well as producers of
information and knowledge - frequently in a hybrid
role of produser where usage is necessarily also
productive.
• Produsers engage not in a traditional form of
content production, but are instead involved in
produsage - the collaborative and continuous
building and extending of existing content in pursuit
of further improvement.
Axel Bruns: Blogs, Wikipedia, Second Life, and Beyond:
From Production to Produsage, 2008
This lecture
• Some brief words about storytelling and
cross-media communication – the general
idea
• Rich media experiences: from
experience + to experience universes –
case studies: X factor and Harry Potter
• Storytelling 2.0 – case study: an
augmented reality game
The elements of the media
cirquit (John Fiske 1987)
• the primary text (the movie/tv-series)
• the secondary text (pr/marketing, background material, bonus material: surrounding the primary text)
• the tertiary text (the user’s own texts: are produced on the background of the primary and secondary text)
• Cross-media productions (and their new media cirquits) changes this hierarchy
New media cirquits • Cross-media production:
• Connects primary, secondary and tertiary texts into one common media text
• Embeds possibilities for participation
• Uses several communication matrixes: • One-to-many (the TV show in itself)
• One-to-one (chats)
• Many-to-many (debate forums, quizzes, games…)
• One-to-one-as-group (communities on e.g. FB)
• Attempt to create a sense of belonging in the user based on identification AND interaction
Convergence culture
• This circulation of media content - across different media systems, competing media economies, and national borders - depends heavily on consumer's active participation.
• Convergence should NOT be understood primarily as a technological process bringing together multiple media functions within the same devices.
• Instead, convergence represents a cultural shift as consumers are encouraged to seek out new information and make connections among dispersed media content.
» Henry Jenkins
Rich media experiences
• Experience through • engagement and identification
• participation
• collaboration
• co-creation
• Two types of rich media experience • Experience + (the augmentation of experience of
one specific media by implementing other media in the communication-structure, e.g. a website to a TV-show)
• Experience universe (interplay between different media: e.g. book, movies, games)
Experience +
X factor
Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks
There can only be one
winner…
51
Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks
The good…
…and the crybaby
…the bad…
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Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks
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The Outsider taking the prize
Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks
Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks
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Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks: RSS-feeds, apps for mobile phone, Facebook profile, Twitter profile.
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Live integration of
social media during
shows
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Second Screen
Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks: RSS-feeds, apps for mobile phone, Facebook profile, Twitter profile.
Storytelling 2.0
- participation
- co-creation
X-factor cross-media
communication experience+
Viewers
Website
Updates:
RSS, app,
FB, Twitter
Mobile phone
TV-show
DR blogs
Other media
Live events
Aftenshowet
Other DR
radio and TV
shows
+ Aftenshowet’s and other
DR TV and radio shows’ website Red arrows = participation and co-creation
Backstage
May not be (fully) controlled
X-factor is more than just at TV
show • As a media event X-factor transgresses its
boundaries as a stand-alone TV show
• It invites the viewer not just to a TV experience but to become a participant in a collective course of events
• The viewer can get involved, participate and have influence on several levels
• And different media play specific – and coordinated – roles according to their strengths in creating this cross-media experience.
Experience universe
Harry Potter
Rich media experience
• The cross-media story about Harry Potter is not told by one single media which the other media relates to in a hierarchical sense.
• Although it all starts with the novels of J.K. Rowlings, the movies based on the novels can be seen quite independent of the novels.
• And the games (primarily) based on the movies, may also be played quite independently.
• As such the cross-media structure of Harry Potter as an experience universe consists of 7 books, 7 movies and 7 games in three interconnected series each dealing with the same narrative across the 3 media – a year in the life of Harry Potter at the Hogwarts school of sorcery.
• The possibility for engagement and
participation is ensured by the
implementation of websites related to each
novel/movie/game.
• The experience is richened by the
existence of websites (J.K. Rowling’s own
Potter-site, various fansites etc.), books
and games relating to the entire Harry
Potter-universe across the 7-year episodic
plot-structure etc.
Rich media experience
User
Harry Potter
and the
Sorcerers
Stone
(book)
Harry Potter
and the
Sorcerers
Stone
(movie)
Harry Potter
and the
Sorcerers
Stone
(game)
Website Website Website
JK
Rowlings
official
website
Fansites, fx
Harry Potter
Fan Zone
Games based on
the entire
universe, e.g.
LEGO Harry
Potter Years 1-4
The entire Harry Potter universe
Book series Game series Film series
Books based
on the entire
universe, e.g.
Quidditch
throuout times
Merchan
-dise
Experience universe
• As a cross-media production Harry Potter produces not just an augmentation of the experience of a specific media.
• It creates an experience universe in which the user is offered a rich media experience in words, moving pictures and interactive action.
• Storytelling classic: novels, movies
• Storytelling 2.0 (participation): computer games, playable merchandise (e.g. LEGO), interactive features on official websites (e.g. jkrowling.com)
• Storytelling 2.0 (co-creation): fan-sites and other forums for users expanding on the HP-universe (e.g. by writing fanfiction)
This lecture
• Some brief words about storytelling and
cross-media communication – the general
idea
• Rich media experiences: from experience
+ to experience universes – case studies:
X factor and Harry Potter
• Storytelling 2.0 – case study: an
augmented reality game
Trust no-one!
A conspiracy play in the King’s
Kolding
“Mixed reality, ubiquitous
computing and augmented places
as format for communicating
culture”
Project scope
• Mobile phones (smart phones) used for communicating culture
• Fiction used for communicating history
• Experiments with Augmented Reality (at low costs)
• Creating an unorthodox city walk: – instead of an exhibition about renaissance
Kolding, we let the renaissance pop up in the city space
• The audience as participants and co-creators
Format not just for
the design process,
but for ’the exhi-
bitions’ itself
Project scope
• Mixed media:
– mobile phone as ’swizz army knife’
– mash-up of variety of services: low-cost and easy to adjust (Layar, Google Maps, Youtube and other file-sharing services)
• Ubiquitous computing:
– not so much embedded in the fabric of physical location
– but accessible everywhere by ways of…
• Mobile and location sensitive media:
• Over-layering locations with digital information:
• Augmentation!
Augmentation
• an informational, aesthetical and/or
emotional enhancement of our sense and
experience of place by use of various
framing strategies (e.g. Ian Rankin’s
Edinburgh) and media technologies (e.g. a
guided Rebus Tour).
Augmentation of places
• Construction of a kind of mixed reality
• the place has a status both as an actual
location in the physical world and as a
storyspace
• blend of fact and fiction
• blend of physical and mediated space
• blend of presentation and (user)
performance
• ‘charged spaces’ 100
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Split reality vs Mixed reality
• Split reality: switching between mediated space (e.g. inside the mobile phone) and physical space
• Mixed reality: blending between mediated and physical space (e.g. looking at physical space through an ‘augumented reality browser’ on the mobile phone)
• Mixed reality implies a certain way of telling stories connecting the actual and the fictional space/the physical space and the mediated space
• (this is where Hikuin’s Vendetta goes wrong – and we try to make things right) 102
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Kolding as augmented
storyspace • Creating a dramatic meta-story connecting different location specific
narrative tableaus containing various actual historical characters and events – (e.g. the co-operation between the public executioner and the
pharmacist selling human fat and pulverized sculls for medical use)
• within the same fiction frame providing connections between the narrative tableaus – (the castle is on fire (which is an actual event), a messenger is found
murdered, a conspiracy against the King may be afoot).
• The tale is taking place in the city space and interfaces with specific locations with historical significance – (e.g. the square where executions took place, the building housing the
pharmacy)
• Thus: a mediated version of renaissance Kolding is mapped onto the physical – and present-day – version of the city.
Kolding as augmented
storyspace • Creating a dramatic meta-story connecting different location
specific narrative tableaus containing various actual historical characters and events – (e.g. the co-operation between the public executioner and the
pharmacist selling human fat and crushed sculls for medical use)
• within the same fiction frame providing connections between the narrative tableaus – (the castle is on fire (which is an actual event), a messenger is
found murdered, a conspiracy against the King may be afoot).
• The tale is taking place in the city space and interfaces with specific locations with historical significance – (e.g. the square where executions took place, the building
housing the pharmacy)
• Thus: a mediated version of renaissance Kolding is mapped onto the physical – and present-day – version of the city.
Physical space as media
• The physical space is to some degree
functioning as media communicating specific
types of information, specific types of stories. • the city quarters with its streets, alleys, buildings,
ornamentations such as statues, gargoyles and so on
function as a narrative architecture like a theme/themed
park like Disneyland including buildings and landscapes
known from the catalog of Disney fairytales
• Several parts of the city of Kolding used as
location for the “Trust No-one!” project have
these qualities of being media in themselves,
as carriers of the story of Kolding.
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Physical space as media
• With the use of mobile phones equipped
with navigation tools and augmented
reality browsers this information residing in
the very architecture and infrastructure of
the city may be pulled forth and made
visible, accessible and interactive from
the perspective of communicating history
and cultural heritage.
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Storyspace
Meta-story Narrative tableaus
Summing up
• Augmentation as a storytelling 2.0-strategy makes us see things in new ways:
• Buildings are not just buildings, streets are not just streets – the carry stories, they carry cultural meaning
• This meaning may be experienced through an interplay between the physical locations of the city and the ubiquitous and locative information layers provided by mobile media.
• Connecting the dots, moving through physical and media space guessing the answer to who the murderer is constitutes the participatory and co-creative dimension.
Visit the project on Facebook
• https://www.facebook.com//Stolpaaingen#!
/Stolpaaingen
• Online, open-accessed development site