Tell me a story: augmented reality technology in museums | Culture professionals network | The Guardian. The Night at the Museum is a children's picture book by Milan Trenc – later, a Hollywood blockbuster – that told the story of a New York museum nightwatchman discovering, to his horror, that at night the building's exhibits came to life. The basic premise of the story, however far-fetched, is that this dusty museum suddenly became even more interesting if the exhibits were telling their own story, although it did still involve being chased by a Tyrannosaurus Rex. Museums around the world today face the challenge of increasing and maintaining visitor numbers, especially with younger audiences. A fall in visitors is seen by most as a negative outcome, both financially and in terms of wider social and educational impact. It can happen due to a range of factors, but one of the most important is that museums can often find themselves competing with the products of the entertainment industry, which at its heart is in the business of telling a good story.
Technology and The Evolution of Storytelling — ART & SCIENCE. It is such an exciting time to be a filmmaker. I do not believe the notion that the cinema is dying or dead because it’s amazing what technology can do to the cinematic storytelling. What’s great about film is it constantly reinvents itself. It started as a sheer novelty, those images moving on the screen. Then it went and every step of the way a new technology started being added — sound, color. What happens is the film grammar of storytelling evolves and changes as well. The way films look —it started with old 35mm motion picture cameras, to color with the three-strip Technicolor, to cameras that weighed hundreds of pounds and had to be on dollies and cranes — that was the film grammar of the day.
The limitations of the technology being used to shoot the films set up what we’ve learned as film grammar. Then, we came to lighter cameras, to handheld cameras, steady cams, and on and on, all the way down to now. There’s a unique thing to a GoPro. People thought Walt was insane. But it worked.
Mobile Experiences : Cultural Audiences. Martha henson: blog | what I do, what I like. Writing a conceptual framework. Conceptual and theoretical framework. Grand Challenges in Computing Research - The IET. Grand Challenges in Computing Research Welcome to the homepage of the Grand Challenges Exercise, an enterprise of the UKCRC (UK Computing Research Committee) to discuss possibilities and opportunities for the advancement of computing research, particularly in the UK. Its method is to solicit submissions from the UK computer research community, identifying ambitious, long-term research initiatives that might benefit from some degree of national and international coordination. Information can be found on separate pages about the background to the Grand Challenges Exercise and also the criteria of maturity for a Grand Challenge.
The Exercise is ongoing. To view details of the current Grand Challenges please go to the Current Grand Challenges page; here you will find links to each of the current Challenges. Of course, the current Grand Challenge proposals do not exhaust the possibilities. Grand Challenges in Computing Research - GCCR '08 - Report Grand Challenges in 2005- Reports. The Future of the Past | Digital Riffs. Visiting Belgium to talk at Leuven last month, I managed to fall (on a piece of water melon!)
And broke my leg very badly, so I'm going to be laid up until the beginning of June. I'm trying to get myself geared up to working remotely, but it is amazing how long everyday things take on crutches. Among the many exciting events I will miss as a result of my accident was a round table organised last night (20 March 2012) at the Institute of Historical Research on ''The Future of the Past'. Other participants in the round table were Melissa Terras from UCL, Adam Farquahar from the British Library and (kindly standing in for me at very short notice) Torsten Reimer from JISC.
Lorna Hughes from the University of Wales also acted as respondent. I sent along the piece I might have contributed, which Tim Hitchcock read out much more impressively than I could have managed. "I am sorry for not being with you in person today, especially as I had been looking forward to our discussion. 2012. Futures of Digital Studies: 2 Editors: Mauro Carassai and Elise Takehana Front Matter IntroductionMauro Carassai, University of Florida; Elisabet Takehana, Fitchburg State University The following contributions offer a comprehensive survey of the impeding turns in the scholarly agenda of digital studies.
In so doing, they probe the future cultural scenarios looming beyond digital technologies and their related practices, concepts, and perspectives. Such a collective interrogation of our digital future investigates the full spectrum of the humanities. As a result, our notions of subjectivity, identity, consciousness, literacy, text, and medium emerge in these essays as significantly altered by the digital in unusual and unexpected ways. Articles Web 2.0 and the Ontology of the DigitalAden Evens, Dartmouth College Graphic Sublime: On the Art and Designwriting of Kate Armstrong and Michael TippettJoseph Tabbi, University of Illinois at Chicago (UIC) Articles Do You Want to Save Your Progress? The Creative Exchange - Stories, Archives and Living Heritage Lab. Ethnography and Critical Discourse Analysis - Michal Krzyzanowski.
2014 NMC Nancy Proctor. MW2015: Museums and the Web 2015 | The annual conference of Museums and the Web | April 8-11, 2015 | Chicago, IL, USA. Module descriptions- University of Reading. MW2012 Proceedings Digital Download. Program | Mobilizing the Past for a Digital Future. Articulo_fmancini.pdf. InteractiveNarrative. Interactivity fundamentally frees the narrative from a fixed and pre-determined structure.
This does not mean, however, that Interactive Narrative must lack a sense of structure. Indeed, the perceived "flatness" of many CD-ROMs and hypertexts, where the viewer keeps exploring until they either exhaust the system or themselves, tends to emphasize the importance of structure. As Toni Dove likes to say about many interactive experiences, "closure is boredom. " Consider the function of chapters in the novel. Short of providing absolute closure, the existence of each chapter at least provides the means for a satisfying "breaking off" of one's reading experience.
A crucial function for a Storytelling System is the ability to manage the narrative structure as it is constructed, to provide a sense of shape, pace, and rhythm to the experience. To facilitate an emergent structure, some persistence of structural knowledge over the course of the experience is required.
Stephanie Klamm. Internet Archaeology - Open Access, International, Peer-reviewed Journal - Home Page. Metamedia: events Archives. The first meeting of the Critical Studies in New Media workshop for 2005 was held today on the fourth floor of the Stanford Humanities Lab. Organized by Michael Shanks, Fred Turner and Sebastian De Vivo this year's workshop examines and debates "cutting edge thinking around this topic of the politics of presence. " According to the organizers: "The group will, as before in this workshop, be one that radically crosses the conventional boundaries between different approaches to media. It will combine media practice, perspectives from media industries and institutions, and socio-political critique. Intellectual edge and cutting across conventional fields of understanding and practice - this is what distinguishes our workshop from other courses and seminars in media at Stanford and makes it unique.
They articulate the notion of "presence" as: "Presence is a contested aspect of social and cultural experience. An aspect of presence is representation - both mimesis and political representation. The Atlas of Early Printing. Interactivity in screenwriting - Racontr. Urban Storytelling- Resources. Brian Storm | Transom. Intro from Jay Allison: Brian Storm - the founder and executive producer of the innovative, multimedia production studio MediaStorm - talks about "quality" on the web as the main driver of traffic (besides gossip or sensationalism, or being really funny). In an attempt to diagnose the elements of quality, he's prepared a fascinating Transom Manifesto, comparing three versions of the same story about a New York City Seltzer Man - one for radio, one for TV, and one by MediaStorm.
He takes the time to disassemble the stories and break down the beats. This is a great multimedia storytelling exercise, highly recommended. The MediaStorm Approach to Storytelling MediaStorm is a multimedia studio based in Brooklyn, NY. We have a talented staff and prolific alumni that have received numerous accolades including 15 Emmy nominations in the last six years and two Alfred I. duPont-Columbia University Awards in the last three years. We run several lines of business including: The Radio Approach. Open Documentary Lab at MIT - MIT’s Open Documentary Lab brings technologists, storytellers, and scholars together to advance the new arts of documentary. Documentary Film and Digital Technology. Tuesday, March 20, 2012 5-7 PM Bartos Theater, Media Lab Abstract Emerging digital technologies are opening powerful new ways to create and even to reconceptualize the documentary film. How will handheld video cameras and ubiquitous open-source computing change the nature of documentaries?
What are the implications for makers and viewers of documentaries of today’s unprecedented access to online editing and distribution tools, to an ocean of data never before available to the general public? These and related questions will be central to our discussion. Speakers Gerry Flahive is a producer for the National Film Board of Canada. Shari Frilot is senior programmer for the Sundance Film Festival and curator of the New Frontier section of the event.
Ingrid Kopp is the new media consultant at the Tribeca Film Institute where she runs the TFI New Media Fund. Patricia R. Moderator: Summary [This is an edited summary, not a verbatim transcript.] By Katie Edgerton, CMS Photos by Greg Peverill-Conti. CREATE – SHARE – LISTEN | 4th International Conference on Digital Storytelling, February 5. – 7. 2011. Moments of Convergence MIT. Moments of convergence and innovation between documentary film and interactive media, Part 8 Moments of convergence and innovation between documentary film and interactive media: Decade 1990-2010 by Arnau Gifreu Castells To formulate a relevant concept for the interactive documentary field we need to explore some aspects of the two key areas: the documentary genre and the interactive medium. This new series presents a combined, parallel, and comparative historical chronology of these areas up to the present moment of confluence.
The two stories we are... Moments of convergence and innovation between documentary film and interactive media, Part 7 Moments of convergence and innovation between documentary film and interactive media: Decade 1980-1990 by Arnau Gifreu Castells To formulate a relevant concept for the interactive documentary field we need to explore some aspects of the two key areas: the documentary genre and the interactive medium.
Interactive storytelling | Culture professionals network. Let me begin by saying: reports of the death of the book are wildly exaggerated. Likewise traditional storytelling. Human beings have been telling stories around campfires since the first cavewoman struck a flint against another flint and noticed that an interesting spark flew off. Stories aren't going anywhere and nor is the visceral, inexplicable, bone-deep shivery delight of a good tale well told. What happens, however, is that new technologies give creative people new ideas. Art and science (or technology) are often imagined to be totally separate – but this is not, and never has been, true.
Art is affected by the technology of art, because artists love to experiment, and every new development is a new tool. This is where we are now with storytelling: interesting developments are happening. I write serious literary novels – and I write videogames. Immersion Zombies, Run! Representing choice Games and digital media are also excellent at representing decision-making.
Contents. The EdITLib Digital Library is the premiere online resource for aggregated, peer-reviewed research on the latest developments and applications in Educational Technologies and E-Learning. Encompassing more than 25+ years and 100,000+ documents of published international journal articles, conference papers, e-books, and multimedia content from tens of thousands of leading authors, the EdITLib Digital Library connects research and learning within one platform. The EdITLib Digital Library has over 100,000 documents relating to educational technologies and e-learning.
Over 40,000 full-text, peer-reviewed documents are available, including Journal articles Conference papers e-Books Reports Dissertations Keynote talks Presentation slides Collections of articles An additional 60,000+ abstracts are available, many with links to a full-text versions. Much of the content includes multimedia content such as video, slides, or audio recordings. Paleofuture Blog. Digital Archaeology | Story Worldwide. History changes everything, even the future Digital Archaeology is an exhibition that charts the disruptive moments of web design and celebrates the characters behind its radical evolution.
Debuting at Internet Week Europe in 2010, Digital Archaeology became one of the central events at Internet Week New York 2011, gaining sponsorship from Google and with a keynote presentation by The Library of Congress. The show, which has attracted over 12,000 visitors, brings together what many consider to be the most significant sites of their time, each pushing the boundaries of how we play, interact and are entranced by technology. The sites themselves represent the achievement of a growing mastery of the format and how their creators skillfully, painstakingly and often lovingly develop shifts both subtle and seismic in the medium. The web is just 20 years old, yet it has transformed our lives utterly, down to the bone.
Find out more at www.digital-archaeology.org Thanks to: