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Narrative Transmediali
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Narrative TransmedialiSalvatore Iaconesi & Oriana Persico
“La Sapienza” Università di RomaMaster in Exhibit & Public Design
Thursday, May 23, 13
- presentazioni- avanzamento- metodo/processo- narrative transmediali
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gli output del corso
• una narrativa transmediale
• una pubblicazione
• elementi da esposizione
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Narrative Transmediali
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SIMULACRI
Organize a fake holdup. Verify that your weapons are harmless, and take the most trustworthy hostage, so that no human life will be in danger (or one lapses into the criminal.) Demand a ransom, and make it so that the operation creates as much commotion as possible — in short, remain close to the "truth," in order to test the reaction of the apparatus to a perfect simulacrum. You won't be able to do it: the network of artificial signs will become inextricably mixed up with real elements (a policeman really will fire on sight; a client of the bank will faint and die of a heart attack; one will actually pay you the phony ransom). [p. 20]
“The Precession of Simulacra”, Jean Baudrillard
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Thursday, May 23, 13
a terrorist sect called
The Panther Modernstakes advantage of the fuzzy boundary
between the simulacra and the realto create chaos at the Sense/Net Corporation
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NEUROMANCER
Nine Moderns, scattered along two hundred miles of the Sprawl, had simultaneously dialed MAX EMERG from pay phones.Nine different police departments and public security agencies were absorbing the information that an obscure subsect of militant Christian fundamentalists had just taken credit for having introduced clinical levels of an outlawed psychoactive agent known as Blue Nine into the ventilation system of the Sense/Net Pyramid. Blue Nine had been shown to produce acute paranoia and homicidal psychosis in eight-five percent of experimental subjects.
“Neuromancer”, William Gibson
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• phone emergency
• show video footage inside Sense/Net that triggers seizures in a certain percentage of employees
• introduces images of contamination
• audio of a news segment dealing with a dangerous human growth hormone
• By creating panic among the Sense/Net employees, The Panther Moderns simulate the effects of introducing Blue Nine into the ventilation system to the security forces
• at the same time, the presence of the security forces reaffirms the employees' belief that there are biological agents in the ventilation system
• it only required nine phone calls and five minutes of video feedThursday, May 23, 13
the characters fail to distinguish reality from simulation
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a transmedia story represents the integration of entertainment experiences across a range of
different media platformsHenry Jenkins, 2007
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Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery
channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes its own
unique contribution to the unfolding of the story.
So, for example, in The Matrix franchise, key bits of information are conveyed through three live action films, a series of animated shorts, two collections of comic book stories, and several video games. There is no
one single source or ur-text where one can turn to gain all of the information needed to comprehend the Matrix universe.
Henry Jenkins, 2007
Thursday, May 23, 13
In 2007, some songs from their Year Zero album were thought to have been leaked as they were found on a lost flash drive in a hotel room, while the band was on
tour. On that flash drive there were songs and recorded phone calls, which later turned out to be parts of a previously made-up online experience for Nine Inch Nails fans. From the recorded phone call mp3 fans decoded a URL of a website that gave them further
clues to decipher.
Nine Inch Nails
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CHARACTERISTICS
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1. Spreadability vs. Drillability
Spreadable media encourages horizontal ripples, accumulating eyeballs without necessarily encouraging more long-term
engagement.
Drillable media typically engage far fewer people, but occupy more of their time and energies in a vertical descent into a
text’s complexities.
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2. Continuity vs. Multiplicity
Some transmedia franchises foster an ongoing coherence to a canon in order to ensure maximum plausibility among all
extensions.
Others routinely use alternative versions of characters or parallel universe versions of their stories to reward mastery
over the source material.
examples: DC and MARVEL comics; fan fictions; UGC; mash-ups
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3. Worldbuilding
Transmedia extensions, often not central to the core narrative, that give a richer description of the world in which the narrative
plays out.
Exploy both real-world and digital experiences.
Often lead to fan behavior of capturing and cataloguing many desparate elements.
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Thursday, May 23, 13
Janet Murray argues that stories will have to work for two or three kinds of viewers in parallel:
"the actively engaged real-time viewer who must find satisfaction in each single episode and the more reflective long-term audience who look for coherent patterns in the story as a whole (...) [and] the
navigational viewer who takes pleasure in following the connections between different parts of the story and in discovering multiple
arrangements of the same material."
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Thursday, May 23, 13
4. Negative CapabilityWhen applied to storytelling, negative capability is the art of
building strategic gaps into a narrative to evoke a delicious sense of "uncertainty, mystery or doubt" in the audience.
Simple references to people, places or events external to the current narrative provide hints to the history of the characters
and the larger world in which the story takes place.
This empowers the audience to fill in the gaps in their own imaginations while leaving them curious to find out more.
Long, 2007
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5. Migratory CuesThe letter in Matrix is a sample of a Migratory Cue – when used at the beginning of the second
movie it exists as a hint to look for more information in Animatrix and in Enter the Matrix.
Yet the story functions even without audience members having experienced either the anime or the video game, as they can imagine their own answer to the question of where exactly that
letter came from.
They retain the option to go and track it down, and their understanding (and enjoyment) of the story would be increased by their doing so.
Understand: any reference to external people, places or events as utilizing negative capability to craft potential migratory cues, and become actualized as migratory cues when those extensions
become available.
Long, 2007
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6. Seriality
Transmedia storytelling has taken the notion of breaking up a narrative arc into multiple discrete chunks or installments within
a single medium
and instead has spread those desparate ideas and story chunks across multiple media segments
Thursday, May 23, 13
We might understand how serials work by falling back on a classicfilm studies distinction between story and plot.
The story refers to our mental construction of what happened which can be formed only after we have absorbed all of the available chunks of information.
The plot refers to the sequence through which those chunks of information have been made available to us.
A serial creates meaningful and compelling story chunks and then disperses the full story across multiple installments.
We can think of trensmedia storytelling as a hyperbolic version of the serial, where the chunks of meaningful engaging story information have been dispersed not simply across multiple segments within the same medium, but rather across multiple media systems.
Jenkins, 2009
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7. Subjectivity
Transmedia narratives often explore the central narrative through new eyes, such as secondary characters or third parties.
The diversity of perspective oftel leads fans to more greatly consider who is speaking and who they are speaking for.
examples: backstories; mobisodes; webisodes;
1st, 2nd or 3rd person
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8. Performance
The ability of transmedia extensions to lead to fan produced performances that can become part of the transmedia narrative
itself.
Some performances are invited by the creatorwhile others are not.
Fans actively search for sites of potential performance.
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Cultural Attractors: draw together a communityof people who share common interests.
Cultural Activators: give that community something to do.
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Cosa Faremo
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Thursday, May 23, 13
non c’è
parte di unanarrativatransmediale
crea il simulacro:rende “credibile”quello che non c’è
stabilisce cross-narrativetra le varie componentiper aumentare la credibilità
negative capability& migratory cuesper creare “buchi”e suggerireapprofondimenti
shareable +drillable: facilitala viralità, ma èapertoall’approfondimento
invita allacollectabilityattraverso le variemanifestazioni
usa puntidi vista molteplici
cultural attractor +cultural activator
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Cosa Faremo• NARRATIVA TRANSMEDIALE
• tutti: progettiamo (brainstorming, concept)
• in gruppi: lavoriamo sulle parti e coordiniamo (cross-stories, world-building)
• DOCUMENTAZIONE
• pubblicazione: ognuno documenta per immagini e testo la preparazione e l’esecuzione
• exhibit: coordinato con gli altri prof; materiale esponibile
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progettiamo
risponde alla domanda:“come sarebbe/cosa ci sarebbe
il mondo se?”
tutti
un gruppo
+
un gruppo
+
un gruppo
+
ogni gruppo/personaprogetta/eseguele singole azioni
si realizza laNarrativa
Transmediale
tutti insieme siproduce uno schema
e un breve testo (concept)che descrive la strategia
ogni gruppo produceun breve testo sulla sua
parte di Narrativa Transmedialeinsieme a delle immagini dellapreparazione e dell’esecuzione
si realizza laPubblicazione+
Thursday, May 23, 13