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future_fabulators:notes_from_bbb13 [2013-11-12 12:19] – created timbo | future_fabulators:notes_from_bbb13 [2013-11-14 09:37] – tina.auer | ||
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- | ==== Notes From Bbb13 ==== | + | ==== Notes From BBB13 ==== |
- | Biennale des Bewegte Bildes (or so) was a 4 day conference dealing with contemporary narrative with a concentration on moving images. Tina and Tim from Time's Up went there to see what we could learn, copy, steal, misinterpret and generally find useful. The following is a bit of a mess of notes from the event. | + | Biennale des Bewegte Bildes (or so) was a 4 day [[http:// |
- | ==Weniger bleibt mehr: wann bewegt Bewegtbild? | + | ===Weniger bleibt mehr: wann bewegt Bewegtbild?=== |
Peter Delius, Canan Hastik, Peter Paul Huth, Stephan Schwan. Mode: Martin Hegel. Museum Angewandte Kunst. | Peter Delius, Canan Hastik, Peter Paul Huth, Stephan Schwan. Mode: Martin Hegel. Museum Angewandte Kunst. | ||
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Delius: " | Delius: " | ||
+ | Stepahn Schwans addition / objection here was, that *participation can be segregating* as well. Especially if participation becomes a requirement for contribution and/or basic reception of content. | ||
+ | Furthermore he brought up the issue, that participation - especially within edutainmaint - most of the times stays rather flat and is far away from intensifying an expierence. | ||
**Museum als Möglichkeitsform** | **Museum als Möglichkeitsform** | ||
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- | Schwann: **Hands on ≠ Minds On** based upon an example exhibition in teh German Museum in Munich. A series of experiment procedures could be started by pushing a button. But people would leave before they had really started. Interaction, | + | Schwann: **Hands on ≠ Minds On** based upon an example exhibition in the German Museum in Munich. A series of experiment procedures could be started by pushing a button. But people would leave before they had really started. Interaction, |
Accidents and randomness must be allowed in an exhibition. | Accidents and randomness must be allowed in an exhibition. | ||
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Danger of Augmented Reality: once we have created images (or worse, had them created for us), it is hard to emancipate ourselves from them. | Danger of Augmented Reality: once we have created images (or worse, had them created for us), it is hard to emancipate ourselves from them. | ||
- | Barriers: There are multiple levels of barriers to experiencing a work. Language, culture, technology. With the disappearance of barriers, works lose their meaning. BUT barriers may not be created to keep the non-elites outside. | + | *Barriers*: There are multiple levels of barriers to experiencing a work. Language, culture, technology. With the disappearance of barriers, works lose their meaning. BUT barriers may not be created to keep the non-elites outside. What was brought up here was, that the fact of " |
Question: Can an exhibition App ever get close to a Dandyesque performing curator or a discussion with an equally ignorant but interested friend as one moves through an exhibition, | Question: Can an exhibition App ever get close to a Dandyesque performing curator or a discussion with an equally ignorant but interested friend as one moves through an exhibition, | ||
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Comment: Authenticity might be important, but there was no significant difference in interest between replicas and actual historical objects, but there was a significant lowering of interest from real objects to mediated objects, a moving or still image. | Comment: Authenticity might be important, but there was no significant difference in interest between replicas and actual historical objects, but there was a significant lowering of interest from real objects to mediated objects, a moving or still image. | ||
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+ | === Emergent <img> Exhibition tour=== | ||
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+ | There was a handdrawn original map from Zork, the text based adventure game. It looked cool | ||
+ | and is discussed in a short note [[http:// | ||
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+ | This was an emergent map from a player, not delivered with the game. | ||
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+ | === Rhianna Pratchett === | ||
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+ | A game designer, who comes from the world of journalism, to computer game journalism, to being a freelance game writer. | ||
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+ | Core message: Story gives a player motivation, context and meaning. | ||
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+ | Cinematics removes control, is non interactive. It is the most writerly part of the game writing job. | ||
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+ | Interactive Cinematics uses tricks such as being tied up as a " | ||
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+ | Environmental Sorytelling: | ||
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+ | Dialogue: Guides the player, gives colour and context. Example: | ||
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+ | Barks: Short lines, basic information, | ||
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+ | She then talked about her experience as an external writer for one of the Tomb Raider games. This was partially a guide to how to go about getting such a position. The writer' | ||
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+ | The Narrative Designer is the person between the writer and the more technical part of the team, coordinating how writing, images, game play, physics and suchlike all fit together. Also things like spin-off comics. This is a place that unused texts, especially backstory developments, | ||
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+ | There is a LOT of re-writing. And it is a long loop, as rewrites will come hand in hand with new graphics, behaviour, etc, and this will all need to be re-created. | ||
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+ | There were questions about techniques for narrative coordination (to keep all the contributors moving in the same direction) as well as the tools used. It seems that skype and other personal contact, mixed with spreadsheets and standard wordprocessing tools, were the answers. Customised tools like FinalDraft were not appropriate. The first question was also looked at with the writer being a form of " | ||
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+ | There was talk about the " | ||
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+ | Not Found | ||
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+ | No results were found for your request. | ||
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+ | So there is a bit more to be done!! | ||
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+ | She often talked about writers as vital and professional, | ||
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+ | === Expanded Radio / Expanded Narration === | ||
+ | Sabine Breitsamer - Professor of Sound and Media Culture in the Department of Media at Hochschule Darmstadt and is a co-founder of the Masters program "Sound Studies" | ||
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+ | * she gave an historic overview of the development of radio play & radio dramas - which she defines as " | ||
+ | * furthermore she has shown the development from mono-directional towards tow-way communication usage of radio | ||
+ | Examples: | ||
+ | * 1924 Hans Flesch - *Zauberei auf dem Sender* - [[http:// | ||
+ | * 1929 Walter Ruttmann - *Weekend* - | ||
+ | * an acoustic picture of a Berlin weekend urban landscape [[https:// | ||
+ | * 1969 Richard Hey SWF - audience participation (through phonecalls) / choosing the path of development of the story told | ||
+ | * 1969 Alvin Lucier - *I'm sitting in a room* [[https:// | ||
+ | * 1980 peak-time of radio performance; | ||
+ | * 1996 Tina Casani & Bruno Beusch; they founded *Radio TNC* (1995). Interactive media fiction The Great Web Crash - 2 year lasting radio-play. | ||
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+ | * Citation of *Gene Youngblood* at the end (which I haven' |