jeff watson

via Peter Brinson:

Whoever plays such a speedrun knows the levels by heart it’s safe to say. A clear challenge in a game like this is that the frame doesn’t show you what’s a bit to the right until you’re close to it (danger). What’s nice about this piece is that it actualizes the expert player’s memorized map of these levels – laid out on a sidewalk. That effect would be lost if the player weren’t an ace at the game, I think. (USC IMD/Peter Brinson)

Notes on the project by creator Andreas Heikaus:

This video was part of my Bachelor thesis at the University of Applied science and art Hannover. The Super Mario Bros. game, released on the Nintendo Entertainment System, is not longer bound to the television size and get interactive with a new environment. The emphasis of my thesis is on the matchmoving work. It is the process of matching CG elements into live-action footage. (Vimeo)

ARGFest 2010 is just around the corner, and I’m lucky enough to attending as a panelist. I’ll be taking part in a discussion with Anne Dennington, Carl DiSalvo, and Sara Thacher titled, “TransGenre: City Gaming & Public Art.” Here’s the description, written by panel organizer Peggy Weil (see schedule here):

ARGs are not only transmedia, they are TransGenre. Games in general, and city games in particular, have “crossed over” from the cult/gamer and commercial/marketing sectors as celebrated innovations in public art. International art festivals from the Venice Biennale to San Jose’s ZeroOne are commissioning game designers to create site-specific artworks transforming the urban landscape into urban gamescape.

While urban game designers are tech-savvy and urban gamers find themselves in virtual and augmented realities – required to take full advantage of mobile/social networks – games as public art have theatrical roots, particularly in street theater, improv, performance art, club culture and literature.

This panel will address the intersection of city gaming as public art identifying both precedents and opportunities for game designers to create work for public spaces. (ARGFest)

…just don’t count on him to open the pod bay doors:

Technically speaking, Watson wasn’t in the room. It was one floor up and consisted of a roomful of servers working at speeds thousands of times faster than most ordinary desktops. Over its three-year life, Watson stored the content of tens of millions of documents, which it now accessed to answer questions about almost anything. (Watson is not connected to the Internet; like all “Jeopardy!” competitors, it knows only what is already in its “brain.”) During the sparring matches, Watson received the questions as electronic texts at the same moment they were made visible to the human players; to answer a question, Watson spoke in a machine-synthesized voice through a small black speaker on the game-show set. When it answered the Burj clue — “What is Dubai?” (“Jeopardy!” answers must be phrased as questions) — it sounded like a perkier cousin of the computer in the movie “WarGames” that nearly destroyed the world by trying to start a nuclear war.

This time, though, the computer was doing the right thing. Watson won $1,000 (in pretend money, anyway), pulled ahead and eventually defeated Gilmartin and Kolani soundly, winning $18,400 to their $12,000 each.

“Watson,” Crain shouted, “is our new champion!”

It was just the beginning. Over the rest of the day, Watson went on a tear, winning four of six games. It displayed remarkable facility with cultural trivia (“This action flick starring Roy Scheider in a high-tech police helicopter was also briefly a TV series” — “What is ‘Blue Thunder’?”), science (“The greyhound originated more than 5,000 years ago in this African country, where it was used to hunt gazelles” — “What is Egypt?”) and sophisticated wordplay (“Classic candy bar that’s a female Supreme Court justice” — “What is Baby Ruth Ginsburg?”). (New York Times)

Video here.

The Challenger expedition was an ambitious scientific mission that sought to catalogue the geology and biology of the world’s oceans. Among other achievements, the expedition managed to scoop up bizarre life forms from the deepest parts of the ocean, including from a spot now known as the Challenger Deep, some 35,000 feet underwater (the expedition brought along over 250 kilometers of Italian hemp rope for just this purpose).

The scientists working aboard the Challenger produced voluminous reports, replete with beautiful illustrations and meticulous charts. Browsing through these documents powerfully evokes the sense of adventure and discovery that made the late 19th century so cool. High quality scans of the entirety of this stunning archive can be viewed here.

More: 19thcenturyscience.org

We will be presenting No File: Brown, an interactive locative experience, at the ELO.AI conference at Brown University in Providence, Rhode Island from May 3 to 6, 2010. The project is a collaboration between Kiki Benzon and Jeff Watson, and was built using the Waag Society’s amazing 7scenes technology.

Providence has a fascinating history. The city is in many ways the birthplace of the United States, having originated via a tense union between exiled members of the Massachusetts Bay Colony (many of whom were kicked out for agitating for the separation of church and state) and the leadership of the powerful Narragansett Native American tribe. No File: Brown is a fictional narrative that builds on this history by embedding a media archive in physical space. Users can explore this archive via the 7scenes iPhone application as they move through the ELO.AI conference venues and the Brown University campus and environs.

We will be documenting the project online once the exhibition is over. Check back here for updates and links.

Download the postcard: PDF

ARGs, pervasive games, and location-based social games echo and reiterate a range of earlier experiments in ambient and locative art. Graffiti, sticker art, mail art, and other kinds of analog methods for creating distributed narratives paved the way for the kinds of practices that are today exploding in number and purpose thanks to ubiquitous computing and the real-time web. Lettrism and Situationism redefined urban space as a canvas for experimentation, play, and collaborative production. In 1959, Dutch architect and artist Constant Nieuwenhuys wrote “Another City for Another Life,” for the third issue of Internationale Situationniste. This text, which calls for a city “harmonized” by “unforeseen games” that make “inventive use of material conditions,” surely must be one of the founding documents of locative art and pervasive gaming. I include it here in its entirety:

The crisis in urbanism is worsening. The construction of neighborhoods, ancient and modern, is in obvious disagreement with established forms of behavior and even more so with the new forms of life that we are seeking. The result is a dismal and sterile ambiance in our surroundings.

In the older neighborhoods, the streets have degenerated into freeways, leisure activities are commercialized and denatured by tourism. Social relations become impossible there. The newly-constructed neighborhoods have but two motifs, which dominate everything: driving by car and comfort at home. They are the abject expression of bourgeois well-being, and all ludic preoccupations are absent from them.

Faced with the necessity of building whole towns quickly, cemeteries of reinforced concrete — in which great masses of the population are condemned to die of boredom — are being constructed. So what use are the extraordinary technical inventions the world now has at its disposal, if the conditions are lacking to profit from them, if they add nothing to leisure, if imagination is wanting?

We crave adventure. Not finding it on earth, some men have gone to seek it on the moon. We prefer to wager on a change on earth. We propose creating situations, new situations, here. We count on infringing the laws that hinder the development of effective activities in life and in culture. We are at the dawn of a new era and are already attempting to sketch out the image of a happier life, of unitary urbanism (the urbanism intended to bring pleasure).

Our domain, then, is the urban nexus, the natural expression of collective creativity, capable of subsuming the creative energies that are liberated with the decline of the culture based on individualism. We are of the opinion that the traditional arts will not be able to play a role in the creation of the new ambiance in which we want to live.

We are in the process of inventing new techniques; we are examining the possibilities existing cities offer; we are making models and plans for future cities. We are conscious of the need to avail ourselves of all new inventions, and we know that the future constructions we envisage will need to be extremely supple in order to respond to a dynamic conception of life, which means creating our own surroundings in direct relation to incessantly changing ways of behavior.

Our conception of urbanism is therefore social. We are opposed to all the conceptions of a ville verte, a “green town” where well-spaced and isolated skyscrapers must necessarily reduce the direct relations and common action of men. Conurbation is indispensible for the direct relation of surroundings and behavior to be produced. Those who think that the rapidity of our movements and the possibilities of telecommunications are going to erode the shared life of the conurbations are ignorant of the real needs of man. To the idea of the ville verte, which most modern architects have adopted, we oppose the image of the covered town, in which the plan of roads and separate buildings has given way to a continuous spatial construction, disengaged from the ground, and included in which will be groups of dwellings as well as public spaces (permitting changes in use according to the needs of the moment). Since all traffic, in the functional sense of the term, will pass below or on the terraces above, the street is done away with. The large number of different traversable spaces of which the town is composed form a complex and enormous space space [in its place]. Far from a return to nature, to the idea of living in a park as individual aristocrats once did, we see in such immense constructions the possibility of overcoming nature and of submitting the climate, light and sounds in these different spaces to our control.

Do we intend this to be a new functionalism, which will give greater prominence the idealized utilitarian life? It should not be forgotten that, once the functions are established, play will succeed them. For a long time now, architecture has been a playing with space and ambiance. The ville verte lacks ambiances. We, on the contrary, want to make more conscious use of ambiances; and so they correspond to all our needs.

The future cities we envisage will offer an original variety of sensations in this domanin, and unforeseen games will become possible through the inventive use of material conditions, like the conditioning of air, sound and light. Urbanists are already studying the possibility of harmonizing the cacophony that reigns in contemporary cities. It will not take long to encounter there a new domain for creation, just as in many other problems that will present themselves. The space voyages that are being announced could influence this development, since the bases that will be established on other planets will immediately pose the problem of sheltered cities, and will perhaps provide the pattern for our study of a future urbanism.

Above all, however, the reduction in the work necessary for production, through extended automation, will create a need for leisure, a diversity of behavior and a change in the nature of the latter, which will of necessity lead to a new conception of the collective habitat with a maximum of space space, contrary to the conception of a ville verte where social space is reduced to a minimum. The city of the future must be conceived as a continuous construction on pillars, or, rather, as an extended system of different structures from which are suspended premises for housing, amusement, etc., and premises destined for production and distribution, leaving the ground free for the circulation of traffic and for public messages. The use of ultra-light and insulating materials, which are being experimented with today, will permit the construction to be light and its supports well-spaced. In this way, one will be able to create a town on many levels: lower level, ground level, different floors, terraces, of a size that can vary between an actual neighborhood and a metropolis. It should be noted that in such a city the built surface will be 100% of that available and the free surface will be 200% (parterre and terraces), while in traditional towns the figures are some 80% and 20%, respectively; and that in the ville verte this relation can even be reversed [20% and 80%, respectively]. The terraces form an open-air terrain that extends over the whole surface of the city, and which can be sports fields, airplane and helicopter landing-strips, and for the maintenance of vegetation. They will be accessible everywhere by stair and elevator. The different floors will be divided into neighborhing and communicating spaces, artificially conditioned, which will offer the possibility of create an infinite vaiety of ambiances, facilitating the derive of the inhabitants and their frequent chance encounters. The ambiances will be regularly and consciously changed, with the aid of every technical means, by teams of specialized creators who, hence, will be professional situationists.

An in-depth study of the means of creating ambiances, and the latter’s psychological influence, is one of the tasks we are currently undertaking. Studies concerning the technical realization of the load-bearing structures and their aesthetic is the specific task of plastic artists and engineers. The contribution of the latter is an urgent necessity for making progress in the prepatory work we are undertaking.

If the project we have just traced out in bold strokes risks being taken for a fantastic dream, we insist on the fact that it is feasible from the technical point of view and that it is desirable from the human point of view. The increasing dissatisfaction that dominates the whole of humanity will arrive at a point at which we will all be forced to execute projects whose means we possess, and which will contribute to the realization of a richer and more fulfilled life. (notbored.org)

More on Constant Nieuwenhuys: Texts, Photos, and Paintings at notbored.org, profile at DADA and Radical Art, “Constant Vision,” by Lebbeus Woods

I met Andrea Phillips at this year’s SXSW, where she delivered a smart, wide-ranging talk about the representation of women in ARGs. Andrea is a veteran ARG writer, designer, and player, and is the current chair of the IGDA ARG Special Interest Group. In this interview, Andrea discusses her creative process and the formal and technical limitations (and possibilities) of ARGs and other playful forms of transmedia storytelling:

You’re a self-identified science fiction writer working in a very hard-to-pin-down storytelling medium. How did you end up writing and designing ARGs?

I was one of the moderators for the Cloudmakers, back in 2001. As a writer, it was like a lightning bolt falling from heaven. I went through the experience and thought, “That. I want to do THAT.” It took a few years to go anywhere, though. Finally my fellow moderators, Dan and Adrian Hon, started talking about forming the company that would later become Mind Candy. I begged them to let me help out so relentlessly that they had no choice but hire me. I’ve been in the business ever since.

One of the things that is quickly becoming an issue with game and transmedia writing is the sometimes tenuous position of the writer in the apparatus of production. How do you think being an ARG writer differs from being, say, a TV writer or a novelist?

At its best, writing for an ARG is a performing art. When you write a novel, you work in isolation; you won’t get feedback from the bulk of your readers until it’s completed. And with a TV show, production schedules mean the writing is completed sometimes months before a show airs.

With an ARG, though, you can dance with your audience. If they take a shine to a minor character, you can boost that character’s role midstream. If they’re bored with a plot thread, you can catch it early and fix it. And that kind of feedback is addictive to a writer. It can be difficult to get that kind of feedback in other media at all. But in an ARG, you’re doing something close to watching their faces as they read along, so you know when you’re succeeding and when you’re failing.

In the larger realm of production and transmedia, though, I think this causes some logistical problems. A great transmedia experience requires an agility that traditional means of production just don’t have, and the writer can be placed in a difficult position, trying to maintain the integrity of the experience while working within the framework of your production schedule.

In a recent post on this issue on your blog, you wrote that sometimes “there are so many writers working on a project that it’s hard to know whose hand [is] guiding the wheel. But these are solveable problems, and solving them would benefit us all.” What kinds of first steps do you think need to be taken to advance the cause?

The first step would be looking at the kinds of roles game writers and transmedia writers fall into right now, to see if we can find common structures. In games, there’s a lot of support for the title ‘narrative designer’ right now. That’s the person who comes up with the spine of the story, whether or not they ever write a word of player-facing copy. Maybe we need to go in that direction, and separate the narrative designer from the world designer.

And given the performative element of an ARG, maybe we need to be crediting writers alongside actors. ‘The character of Alice Liddell was performed by Ada Lovelace, and written by Marshall Thurgood.’

Shifting gears a bit, I’m curious about how you tackle the complex demands of ARG writing and design. After meeting with a client, where do you begin? What comes first for you, the formal constraints (ie, the kinds of interactions you want to produce) or the story material?

Everything I do begins with a big idea. Sometimes that’s mine, and it springs into existence fully-formed — “What if everyone wrote about waking up with superpowers?” Sometimes it’s the assignment given to me by a client. “We have XYZ requirements and assets. What do you have for us?”

From there, I do a little research and a little bit of what looks from the outside like nothing at all. Going to the gym, walking to school, cooking. The important thing is that I leave my brain unoccupied so it’s free to come up with stuff, like particles popping into existence in a vacuum. As the idea simmers in the back of my head, everything about what the project should look like becomes obvious to me. It feels very much like discovering something that was already there.

Specific story elements come last for me. Tension and pacing and structure are the first things that come to mind, and the specific plot and story elements flow out of that. It’s the opposite of the way I did things a few years ago. I used to think of story and plot detail first! I’m not sure why it’s changed, but I’m helpless to do it any other way, now.

Historically, most ARGs have been event-driven time-released stories with beginnings, middles, and ends. One of the nice things about this narrative structure is that it allows writers to plan (and re-plan, as conditions on the ground shift) their stories in much the same way that they do in more traditional forms: that is, via character arcs, acts, orchestrated patterns of conflict, and so on. However, these kinds of ARGs are usually not replayable, and many people — for many reasons — feel that this is an area where the form could stand to experiment a little bit. What are your thoughts on this?

I agree that we need to experiment more. But the good news is that the experimenting is going on now.

Not to toot my own horn, but one of the things my project Routes did was creating a weekly webisode from the events in the ARG, so you could interact with the live experience while it played out, but there is also an artifact of the experience that gives the project a long tail it wouldn’t have otherwise. In the metaphor of the ARG as a live concert, that’s creating a recording you can listen to at any time. You won’t be able to do all of the same things — you won’t be able to throw your underwear up on stage or smell the guy in front of you — but you’ll get some sense of what it was like to have been there. I think this technique could definitely move into wider use.

And there are a number of entirely replayable experiences, too: Smokescreen, the Cathy’s Book series, etc. The downside of this is that you lose some wonder, some discovery, a ton of reactivity, and the camaraderie of a single community playing along together. It transforms into a different kind of experience.

So can a system for storytelling — that is, a set of story-world parameters and rules of engagement — be considered a kind of fiction? If so, how does this change our understanding of what a writer is?

Oh, it absolutely can. I’d consider My Super First Day to be a set of very loose story-world parameters that I’ve set, and I consider it a work of fiction. It doesn’t make me a writer, though; I only get to be a writer if I also participate. But I’m indisputably the creator.

You may also be familiar with Ghyll and The Song of the Sorcelator, both arguably just frameworks for writer-participants to play around with. This is one of the things I keep playing around with in my personal work, actually; where is the line between a creator and a participant, and how can you blur it in a way that will be rewarding to everybody?

As time goes on, I think the boundary will become ever more nebulous. We’re already seeing major entertainment franchises take a kinder, gentler stand on fanfiction and fanart. That’s the first step in building collaborative culture. The secret, of course, is that once you’ve given your audience official permission to collaborate with you in any meaningful sense, they’re yours forever, hook, line, and sinker.

Where do you see all this going in the next five years? And what’s next for you?

Five years is an incredibly long time. Five years ago, there was no such thing as Facebook or Twitter, and when you walked into a digital agency and said ‘interactive’ they thought you were talking about banner ads and SEO. I think in five years, the entire entertainment landscape is going to look so profoundly different that anything I have to say on it is worthless.

As for me, I have a couple of things cooking right now. I try to do enough professional projects to keep the rent paid, and enough personal projects that I feel I’m always pushing my own limits. But my personal projects are largely microscopic in scale and experimental to the point of self-indulgence. I’m thinking about trying to do a bigger, more ambitious experimental personal project toward the end of the year, and possibly funding through Kickstarter or some such thing. I’m not sure what it would look like, but I feel like it would be a shame not to try. The creative life is all about taking risks.

Thanks, Andrea!

UPDATE: get your own copy of “How to Win at Anything” (pictured above) here

Christopher Bolton is a Canadian writer, producer, and actor, best known for his award-winning comedy series, Rent-a-Goalie. A few months ago, Christopher — AKA “Bolts” — contacted me asking for feedback on his latest project’s transmedia strategy. After a few minutes of chit-chat and an exchange of development documents, I realized that the project, a comedic exploration of Canadian landscapes popular and physical, entitled In Search of Gordon Lightfoot, was much more than a TV series with a few transmedia extensions tacked on just for the hell of it; no, this was something different, something much more integrated — transmedia from the get-go. And, as it happens, it was also something that sounded quite funny and more than a little community-minded in its direct engagement with audiences and Canuck mythology. Naturally, I wanted to be a part of it. A few web chats later, we came to an agreement — I would consult on the project and shadow Christopher as he worked his way through the development process, and in return he would share what he learned with me, here, in the form of a series of interviews.

This first interview is a snapshot of Christopher’s thinking as the project moves through the funding process and into the first stages of pre-production. It reveals a considered and well-informed view of transmedia and the new storytelling landscape. It is an inspired and often very funny view of the future of entertainment, and I look forward to speaking to Bolts more as his work on the project progresses.

You’ve worked in the Canadian film and television industry for a while now. What’s your background, and what’s changed since you got started?

My background is varied. Until my mid-20’s it was solely acting. In ’93 I took a stab at writing and that landed me at the CFC in 94 as a writer. I did the directing curriculum at nights and on weekends and directed my first two – and only two – short films there. In 2003 I teamed up with a fella goes by the name Chris Szarka and we formed a company to develop and ultimately produce a cable ½ hour comedy up here called Rent-A-Goalie. In there somewheres I did a few stints as A.D. and Props Man.

As for how it’s changed since I began…televisions are colour now and very crisp and clear.

It was during the production of RAG that I became interested in Transmedia though I didn’t know it was a concept with a name. I suggested ideas to the broadcaster, ideas intended to drive traffic to and from the mother ship – some UGC, a genre bending prequel movie, some mobile applications – but it was always met with a no. It was a licensing issue and I get that but…well…I’ll leave it there. I blame myself. I should have pushed harder.

When I began developing In Search of Gordon Lightfoot I met a woman named Jill Golick, a digital pioneer in Canada. She began my indoctrination into this world.

Man-oh-man, forget how the industry has changed since I started; in just 7 years, dated to when we began development on RAG, it has broken almost to the point of no-fixee. I was at a card table recently of smart broadcasting folk with impressive CV’s discussing the future of our industry. The hardcore estimate for conventional broadcaster life expectancy in Canada was 2 years and the optimistic guess, if you’re said broadcaster, was 10 years. Basis or not to such speculation I was rocked. The consensus was that cable isn’t going anywhere fast because subscription is consumer-choice. It just won’t look like pay cable does today.

The web has blown shit wide open. Access, audience contact and engagement, community building, social media, distribution platforms, the very nature of what content is (stop calling it a Television show for cryin’ out loud) is so drastically different that it needs to be called something new. There is a good and big explosion at the point that industries are colliding – tv/film/branding/communications/tech – and where the smoke clears is an opportunity to re-imagine and develop content specifically to meet the unique demands of all interested parties and, more importantly, audience. The excitement for content creators lay in the exploration of new ways to tell story. A fractured media landscape is exactly what I needed as it helps to make sense of how I think and speak.

This is a frontier and frontiers benefit the entrepreneurial spirit greatly. I think it was Ted Hope who said that it’s the era of Artist as Entrepreneur and it behooves anyone taking that notion seriously to look at how those industries conceive of and deliver content and will do in participation with one another.

The logline for my new company, Forty Farms, is…

The client is the brand is the consumer is the experience is the entertainment.

…and that could just as easily read…

The experience is the consumer is the client is the brand is the entertainment.

Ruminating on this one-hand-clapping-esque driver is a good way to get inside the headspace necessary for making resonant, profitable entertainment going forward.

What is In Search of Gordon Lightfoot?

ISOGL is the title of two of six platforms in an as-of-yet-unnamed Transmedia Project about searching for an identity, a sound, a connection to a landscape, and a warm dry spot to pitch camp for the night. The first is a 13 x 30 minute comedy that sees Ed Robertson (frontman for the pop-rock outfit Barenaked Ladies) and myself flying around Northern Canada in an iconic bush plane looking for reclusive rock legend Gordon Lightfoot. Why? Because he has something that belongs to us. We just miss him everywhere we look and become embroiled, instead, in some small town, wilderness related mayhem before a narrow escape back to the skies to search for another day. The second is a tribute record to the man himself. Our guest stars in the series will be well-known Canadian music acts who will do double duty – act their asses off for the show and then sing them back on covering one of Gordon’s tunes for the album. These two properties are designed for distribution together but that ain’t prescriptive.

The remaining platforms are a game, feature, feature documentary, and graphic novel. Our point of identification in the meta-narrative is a guy, a creative guy, who stumbles, flies, loves, fishes, hikes, and writes his journey. It’s a walk through time, media, story and Canada with a fella trying to make sense of it all. Taken together it will serve as a big ol’ love letter to this country as well as warm, beautiful, funny and musical showcase of Canada to the rest of the world. The idea is to entice more Germans – as if that were possible – to come canoe our rivers and lakes.

Do you conceive of the project as a show with a Transmedia experience, or a Transmedia experience that includes a show? Is there a difference?

I’m reluctant to answer this question because it implicates me by rendering the project’s history a little less pure than I’d like it to be. The series was to be my sophomore ½ hour effort. Discussions with broadcasters were frustrating me – one guy’s problem with it was that he didn’t like flying so he bumped on the aviation part – and I figured that it was the right time to dig in the dirt of new business models and alternative modes of storytelling. I began thinking of an extended narrative for Search, ideas I wanted to implement but that didn’t fit in the series as well as different platforms that interested me. Writing for gaming for instance has particular cache. Are you kidding me? No limits storytelling? It was like my head exploded and I knew my time in traditional would serve me well here because what that did teach me was restraint. Restraint, I think, is key to navigating a world as full of opportunity as No Limits Storytellingville.

That’s the long way round to saying that, though I didn’t conceive of it as such, I absolutely consider this project a Transmedia Experience that includes a show.

I love that you call it a Transmedia Experience because that is key to how I frame this thing. It’s a creative and production process experience and the user can consume it soup-to-nuts or in parts. Empowering the audience to participate breeds pride of ownership and I think people will respond to that. What’s really blowing me away is people contacting me with platform ideas of their own as well as reach-outs that I initiate bearing fruit as well. This dialogue between you and I is a prime example: a) it helps us both in our respective missions b) it is content c) it will drive traffic to our mutual benefit. That’s some performing shit in my opinion.

As to whether there is a difference between a Transmedia experience with a show or a show with a Transmedia experience? Abso-lute-ly and it’s as important a distinction there is in defining Transmedia. It’s essential that TM design be ground up rendering every platform essential to the broader stroked narrative. Tacked on properties will feel like tacked on properties and your audience will at best dock you points for that and at worse abandon the project altogether. It seems to be the mistake producers are making in trying to design additional platforms for their fleshed out traditional properties – done in this order it becomes re-purposed material as opposed to original, non-linear content that is platform-specific.

What got you thinking about developing a Transmedia strategy for Lightfoot? Why not do things the same way you’ve done them in the past?

What gets me excited about Transmedia is the belief that the present (past) model is broken and that the opportunities inherent in being an early adopter to this kind of storytelling are huge. It seems simple: a fractured media landscape begs a splintered approach and a savvy user demands that it be robust. I leapt at the chance to create within those parameters. And some of the best minds I know, people who’ve made good, albeit waning, livings in Traditional are meeting in dingy bars to discuss how to make ground-up changes in their industry because they don’t feel they have anything to lose. It’s electrifying to hear the talk. And it’s not griping ‘make the writer matter’ or ‘actors are people too’ stuff either. These are talented and frustrated professionals, who’ve read the writing on the wall, discussing a renovation of the system that values what they do and has everyone thinking creative + business + tech from step 1. Who was it said it feels like 1911 and we’re the guys learning that different angles and editing are good? Oh right, that was you. Spot on Mr. Watson. Makes me crave a cigarette and I don’t smoke.

Reminds me of a joke about lemon meringue pie. I’ll have my friend Jeremy deliver it to camera and post it on my site when I get a site.

Canadian TV productions have notoriously low operating budgets. How are you going to pay for all the different components of this project?

F@#ed if I know.

Kidding. Sort of.

Yes we have tiny budgets up here and they are getting tinier by the day. We shot Rent-A-Goalie for a half million bucks an episode in 3^rd season and that was extraordinarily high then. Today you’d probably have to bring in a CSI for that. Not quite but, y’know, almost.

In my opinion the answer to low budgets is to go lower. Don’t try to make a $200,000 show look like a ½ million bucks because it’ll suck. Make a 100 K per episode show and don’t apologize for it. Don’t try to stretch the dollar. Don’t try to stretch anything. Just make the most awesome content you can possibly make with what you have and concentrate on what hooks – story. Necessity is the mother of invention and with today’s technologies you can make it beautiful for peanuts. The key is knowing how to make it beautiful and that is art as it’s always been. Ted Hope again – he tweeted recently that ‘A return to less could be more.’ Yes. Just plain yes indeed.

The agencies that help us make entertainment in Canada are trying hard to keep up with the changes and, on the business side of it, are thinking progressively. We’ve pitched the project to the Funds with no real ask other than a dialogue. We ask whether the model makes sense and how could they see being involved? They appreciate it because they’re trying to wrap their heads around new models as well and we appreciate the response because it helps us create accordingly. Assuming we get the Funds, and if we keep the thing indie-spirited, there will be shortages to make up but they aren’t prohibitively huge. For that we’re looking at brand relationships plus some crowd-sourcing options and a bit of private investment to top off. I’m not frightened by the financing plans yet. But then I’m the guy who writes fart jokes in these partnerships.

How has taking a Transmedia approach changed the way you’ve gone about raising development money and securing licensing agreements?

The absence of a broadcaster has cleaned rights up immensely. And, again, the wild west of the Internet means very few precedents so we’re kind of making it up as we go along. Talks with musicians, writers, performers have been positive – everyone seems to want to see it work. A western spirit of Kereitsu – a Japanese business model based on industries working with one another to the benefit of all – is what we’re looking to build. There’s power in that. The power of community.

We’ve received some development money from regular avenues for traditional deliverables like series bibles and pilot scripts for the 13 x ½ hr. I’m writing the feature script during the month of April as part of a month long script competition. With no dough attached to its development I am hungry to work completely and feverishly to reduce the time it takes to develop. That platform is a No-Budget film we want to make as a Canadian nod to the Mumblecore tradition. We were soft-offered some development dough for it but it would be recoupable so what’s the point? I’d rather put it on the screen down the road. That property sits with a different producer than the one who has the series, which is a different producer than the one who has the feature doc. So you see how the heavy lifting is spread out while the creative remains central. So there’s a bit of my own money – well, my wife and children’s too – in play on this one but that’s not a bad thing because I’m positive we can make a business out of it.

Here’s a two-parter: 1) What role, if any, do you see for the audience in producing and developing content for Lightfoot? and, 2) as an artist, how do you feel about opening up parts of the creative process to audience participation?

It is my sincere hope that the audience will do the lion’s share of the work. My favourite thing, by far, of having a popular show was that, love it or hate it, everyone had something to say about it. Inviting them to voice those opinions netted us feedback and story fodder. When I began developing Lightfoot I continued to invite that input. Everyone I talked to had a Lightfoot story – some were first-person accounts, some were major life events with Lightfoot as the soundtrack and some were tales of mistaken identity. They were all fantastic though and enthusiastically told. There is one that stands out – a guy nearing 40 now told me about a Sunday morning in the early 80’s where he and a buddy were playing hockey in an alley, taking shots against a neighbour’s garage. The puck-on-metal clang is a very common ruckus up here but it might be a little much for a rock-star early on a Sunday morning. This grizzled dude walks out in his robe and asks the children, in a charming and patient manner no doubt, to stop interrupting his sleep. The storyteller’s friend told him that was Gordon Lightfoot. I told Gordon the story and he swore it was his dad who tromped around city alleys in his robe.

An aside re. the organics of this thing – that story got back to Gordon and Gordon commented on it. Commenting is content.

So I wondered if it was possible to formalize this relationship between creator and audience and that’s the plan for ‘Search’. We are opening up the process, inviting anyone who has been touched by the subject matter to chime in. I want tales of bush piloting gone wrong and small town yarns, the instances where a song played over a formative time in one’s life. And then we want to be invited to shoot in the places where the story was originally set. We want to engage the people who helped develop the content in producing it as well. Maggie Ancaster of Herring Neck, Newfoundland gets to be prop master for a day or two. The result here, we hope, is to make shooting the show as much of a celebration of this country and it’s people as the content is. Totally 360.

This isn’t a new idea. One of the great Canadian storytellers of this generation, Stuart McLean, has been doing exactly this forever and a day. His material resonates because, beyond being talented, he sits with the people and listens to them. Gordon too. He says it’s dialogues with the people who consume his art that shapes it. Sure, he loves to play because he loves to play but it’s more than that. It’s an exchange.

Writing tv and film in the traditional manner doesn’t offer that opportunity exactly.

I’ve been warned off what this means to me as an artist but I don’t buy it. There’s a quote from Martha Graham posted above my desk that says, paraphrased – don’t be a donkey, you’re no genius. You’re a dude who types for a living. Just stay open and let flow through you what will. What I want flowing through me are the stories of the people I want to write stories for. If I can conceptualize a boundary that resonates with people, inspiring them to tell their version, my job simplifies to merely taking good notes. And ain’t it nice for Maggie Ancaster to get a credit on some quality Canadian content? Story by: Maggie Ancaster has a good ring to it don’t ya think?

I made the name Maggie Ancaster up. Any similarities to any living persons, dead or alive…yadda yadda yah.

Are there any touchstones that serve as inspiration for this project?

Stuart McLean’s stories for sure. Properties that have been sent my way since I began talking about it – Murray McLauchlan’s ‘Floating Over Canada’ is a good example. Specific properties have specific inspirations: the series is homage to John Lurie’s ‘Fishing with John’; the feature is inspired by films like ‘Wendy and Lucy’ and ‘Old Joy’; the feature doc by Werner Herzog’s Encounters At The Edge of the World; the record was a Rick Rubin inspired thing; and the graphic novel is egged on by the likes of Yoshihiro Tatsumi and Seth.

Is this the future of TV?

It’s the future of entertainment for sure. The single media property is done and so are sloughs of other givens we ‘know’ about entertainment. The audience is now referred to as the user and respecting them as a client will take us a long way. The power they have in pressing little buttons is unprecedented and so creating experience and empowering them to participate are paramount moving forward. In the not so distant future Networks will be of people around people not corporations defining content and retaining sole authority to distribute it. Speaking of which…has anyone tackled the David and Goliath story in the new era? They should.

About Christopher Bolton: Christopher Bolton began acting in his teens appearing in feature films Global Heresy, Killing Moon, A Colder Kind of Death, Dead By Monday and The Third Miracle, as well as the Showtime television movies Hendrix and Our Fathers. Additional television credits include roles on the series Northwood, Mutant X, Blue Murder, Little Men, PSI Factor, La Femme Nikita, Street Legal and The Outer Limits. Bolton earned a Gemini nomination for his guest-starring role as ‘Joey Williams’ on the award-winning series Cold Squad.

His work in film and television led him to try his hand at writing. This effort landed him a spot at the esteemed Canadian Film Centre in the Resident Programme. He entered as a writer, but left having written and directed his own short film entitled The Tooth.

He then completed a two-year stint acting on the highly regarded Showtime Network television series Street Time. It was on Street Time in 2002 that he met producer Chris Szarka, forming a partnership to create and produce the multiple award-winning television series Rent-A-Goalie for Showcase.

Bolton is the executive producer, star and creator/writer of Rent-A-Goalie. He is represented by DF Management in the US and Celia Chassel/Gary Goddard in Canada. His new Transmedia Production House, Forty Farms, will launch in May, 2010.

[This interview is cross-posted at the fabulous Culture Hacker]

Nina K. Simon‘s excellent paper, “Going Analog: Translating Virtual Learnings into Real Institutional Change,” describes how designers can approach integrating new user behaviors into existing ones — and why it’s often essential to do so. Simon argues that many designs fail to take hold because they ask users to adopt new practices or patterns of behavior that don’t in and of themselves add value to a particular experience. People are naturally reluctant to move outside of their accustomed flows, especially in well-defined spaces like museums, libraries, and schools. But what happens when a new technology comes along that promises great returns for users while simultaneously demanding some kind of additional input from them — in effect asking them to do step out of their flow and do something that they previously hadn’t done? Responding to this question, Simon provides the elegant example of the Bibliotheek Haarlem Oost, a branch library in the Netherlands that has developed a creative “in the flow” method for getting its patrons to tag the books in its collection:

Tagging has huge theoretical value to museums and libraries as a way to allow users to create folksonomies around institutionally-held collections, and there’s a clear mission connection for institutions whose goal is to engage visitors with collections and learning. While many museums are ably exploring the world of tagging on-line, no one has figured out how to make it work in the onsite visitor experience. Tagging could be very useful onsite if there were a way to access the tags and use them to discover artifacts of interest. Ideally, there would be a complete feedback loop where you would then be able to assign tags to objects as you view them in the galleries, thus creating more data for new visitors walking in the door.

What I’m describing maps to a complicated set of inputs and outputs. At the input (performing the tagging), visitors while onsite would need a way to mark individual exhibits with keywords. Then, on the output (using tags to access content of interest), visitors would need a way to scan the keywords at any exhibit, see linked related exhibits, and receive directional information to find the other exhibits. I can think of several ways to do this, and they all have long, painful lists of behavior changes associated with them.

The library at Haarlem Oost wanted to do this same thing – to allow patrons to tag the books they’d finished so they could be displayed on shelves and in the database for others to find books they might enjoy. But Hanrath didn’t come up with a clunky technology with lots of required behavior changes and instruction sets. They did something very, very clever. They installed more book drops.

The library created a book drop for a set of predefined tags (boring, didn’t read it, great, funny, exciting, good for kids, etc.). They also created shelves for the individual tags. When patrons return books, they place them on the shelves that appropriately categorize their books. Because the majority of books in the Dutch library system have RFID tags, the shelves were enabled with RFID readers that scan the books and add the tags to the books’ digital entries in the library database. The only behavior change required is for the patron to shelve his or her books in categories, and the benefit on the output side (the tags appearing in the library on-line catalogue) is immediate.

No patron would call the activity of putting their books in book drops ‘tagging,’ and that’s a good thing. There’s little concern here about barriers to use, educating the visitor on how to participate, or even significant infrastructure or support costs. The feedback loop is there, and it works because it’s a clever, simple distillation of the core idea of tagging. (Archimuse)

Contrary to much of the recent discussion around transmedia storytelling and alternate reality games, not all the work being done in the realm of multi-modal world building is about “driving eyeballs toward content” or “creating opportunities for monetization.” Sascha Pohlflepp’s The Golden Institute is a great example of how artists can build elaborate and penetrating critiques through the creation of a system of interrelated media artifacts. It also flies in the face of Jeff Gomez’s definition of transmedia storytelling as being inherently geared toward mass audiences; if The Golden Institute isn’t transmedia storytelling, what is it?

From Sascha’s documentation of the project:

The Golden Institute for Energy in Colorado was the premier research and development facility for energy technologies in an alternate reality where Jimmy Carter had defeated Ronald Reagan in the US election of 1980. Equipped with virtually unlimited funding to make the United States the most energy-rich nation on the planet, its scientific and technical advancements were rapid and often groundbreaking.

Its scope ranged from planetary engineering to the enabling of individual participation and profit from the creation of electricity. Notable projects include the development of the state of Nevada into a weather experimentation zone and the new gold rush in the form of lightning-harvesters that followed, or major modifications made to the national infrastructure in an attempt to use freeways as a power plants. The institute’s vision continues to inform the American consciousness to this day. In relation to energy preservation and harnessing, but also in terms of man’s relationship to the forces of nature. (The Golden Institute)

See also: photo documentation, We Make Money Not Art, Worldchanging

Last month, I put out a call on the IGDA ARG SIG discussion list for information about the use of pervasive games and ARGs in museums, universities, libraries, and other institutions (for more on that, see this resource). One of the people who responded to this call was none other than Jeff Hull of nonchalance, the Bay Area urban art organization responsible for (among other things) the Jejune Institute, which happens to be one of my favorite pervasive story/game projects ever. Sensing that Jeff was a kindred soul of sorts, I asked him if he would do an interview about public space, community, and play.

It strikes me that a lot of the work going on right now in location-based experience design can trace its origins back to Situationism, sticker art, and — going way back — graffiti. There are also some obvious connections to amusement park and museum design. What are the big touchstones for you?

Wow. I’ve never had any one zero in so accurately on my influences before. For years, before we started Nonchalance, I was doing a guerrilla campaign called Oaklandish that was really attempting to fuse together the ideals of Situationism and Street Art. We’d use multi-media devices and historicaly driven content to produce happenings designed to gather large groups of people together in negative urban spaces, so they could begin to interact with each other and the space around them in new ways. It was literally “the construction of situations”, with a strong post-graffiti mindset. Haring and Basquiat are like Patron Saints to me for the very literate, site-specific graffiti art they did early on. And, yes, we absolutely had an amusement park mentality as we are created the Games of Nonchalance. When I grew up I worked as a child performer at a place called “Children’s Fairyland” in Oakland, and it was this magical hokey little fantasy world, where you could literally fall down a rabbit hole. They had magic keys where you could turn them in a lock box and suddenly hear a recording of a nursery rhyme, while looking at a diorama of the cow jumping over the moon, or whatever. There was a yellow brick road leading through the park to an Emerald City. We want to present those kinds of interactions everywhere across the civic realm, so that trap doors and side hatches exist all around you, all the time, fuzed into the urban landscape.

Over the past few years, a lot of different disciplines have been coming together around notions of embodied experience, public space, community, and play. Everyone from performance artists to game designers to educators and curators seem to be grasping at different versions of the same thing. But what *is* that thing? Do we even have a word for it?

Interestingly, most of our intern applicants have been architecture students. Somehow they’re all thinking about their work in a different way, too. There’s some kind of convergence. When I asked the question to our production manager Sara Thacher, she felt like it wasn’t necessarily useful to put a label on it, but we both agreed that the zeitgeist is happening. Sara is more interested in “why” so many different people are exploring this new “Third Space”. We agreed it is in part a reaction to the narrow confines of sanctioned activities in public space, which have been largely defined by commerce. We can legally: commute, shop, and drink a latte. Walk or run in a park between sun up and sun down. Otherwise you’re somehow suspect. People feel isolated by that. I think we’re all trying to loosen those reigns through their own individual contributions.

My name for it is Socio-Reengineering. That’s Jejune Institute terminology, and in our story it has dubious connotations, but we’re actually quite sincere about this aim. To infuse variability and play into the workaday world by re-engineering the way that people navigate and experience the space and the population around them. Sometimes it can happen in a seemingly spontaneous way, like a flash mob, and sometimes it is the result of meticulous design and effort.

One thing I really like about the Jejune Insitute is the fact that it’s a cross-platform interactive narrative that works a little bit like a gallery installation: it’s just *there*, online, on the air, and in physical space. This represents a very different approach to storytelling than that found in more “traditional” ARGs, which are typically structured around the gradual unveiling of story information leading up to a climax event of some sort. What made you pick this different path? What did you gain (and/or lose) by abandoning the unity of time?

You’re correct about the induction center as “gallery installation”. We wanted to create an immersive automated well-curated environment, and to have it exist semi-permanantly. We were outsiders to the ARG universe, and totally ignorant of it’s culture and customs. So when we finally appeared at the ARG Fest-o-Con in Portland, we learned that we had inadvertently solved one of the major stumbling blocks of earlier ARG’s; “replayability”. What we had produced could be experienced over and over again, and shared with friends, and so on. The big trade off was that it was local. People in other parts of the world are not able to experience it directly. But ideally we’ll be able to produce unique experiences in other cities in the future. Every city should have their own game!

The other thing that led in this direction was that after doing work in the streets for so long I became very curious about those semi-public and private spaces as well. What are the boundaries between them? A corporate office building has all those questions built into them. There’s this very sterile environment that is in someways meant to intimidate people. We used that to our advantage in the narrative, and at the same time subverted it by asking people to explore and reexamine that space. That was a clear incentive for us in creating the induction center.

You’ve been embedding story and play into the Bay Area for a while now. What kind of dividends has this paid in terms of building community and bringing like-minded individuals together?

For players; yes, there’s definitely been a coming together of like-minded people, especially with the recently released Act IV. It emphasizes group play, inter-dynamics, and trust so that when the group completes the experience they have truly been through a rite of passage together. We’ve been hearing from participants that they have really gelled with other players this way and formed deeper bonds. You can really see it in the EPWA protest video; all these weirdos just coming out of the woodwork to party in the streets. Ironically, because I’ve remained “behind the curtains” for so long, I don’t feel like I’ve benefitted socially from any of these activities! I’m really looking forward to coming out from backstage more and interacting directly with the players in the future.

Is civic engagement an artistic imperative?

I’d say not. Great art can be something completely personal and private.

I live in Los Angeles. Do the kinds of projects we’re talking about work best in denser cities like San Francisco or London? Or can we imagine locative stories anywhere, and on any scale?

I view these productions as being fully scaleable. It’s not so much an issue of geography and architecture as much as culture. A map isn’t unpredictable, but people can be! Once you know who the participant is then you can begin to imagine how they might interact in that particular environment. For example, I’d love to produce something for Las Vegas. There is also the “Accomplice” game in Hollywood, which operates a little more like dinner theater in the streets.

If you go back to the 1990s, a lot of people were predicting that the future of storytelling and play was going to be defined by screens, VR goggles, and, ultimately, brain implants. Thankfully, it looks like that’s not the way we’re heading — at least not right away. Where do you see all this locative stuff going in the next few years?

Mobile technology can potentially allow us to get away from the screen and back into the real world. I’m awaiting a few app features to be developed so we can take our immersive experiences to a new level, and which would allow other users to create their own real world adventures. I want my phone to let me know about the secret discovery awaiting me right around the corner. Then I want to share that discovery. I foresee every institution with real space developing their own interactive mobile applications; the Magic Mountain choose-your-own adventure iPhone game, the MOMA interactive mystery tour, or the narrative based campus orientation experience, as you had mentioned. I think at first there will be a ton of poorly designed ones, until people get over the novelty of it and recognize it as a true art form, like film.

What’s next for nonchalance?

On the practical side, we just put together a board of advisors to help us develop our business. On the creative side, we’re talking to a potential collaborator right now in the mental health field about producing a multi-sensory maze that serves therapeutic purposes. It would essentially be an inward-bound expedition through the gauntlet of emotions, with positive achievements built into it. Have you ever been on Mr. Toad’s Wild Ride? It would be like that, but for your psyche. That’s one thing on the table, but we’re still looking at other opportunities.

Nonchalance‘s practice stands at the intersection of three core concepts: Narrative, Consciousness, and Space (both public and private). Founded in Oakland in 1999 by director Jeff Hull, the organization’s primary goal is to infuse more variability and play into the civic realm. Over the intervening years the team has comprised a fluctuating roster of collaborators that currently includes Sara Thacher, Sean Aaberg, and Uriah Findley. Past projects have included “Oaklandish,” “The Liberation Drive-In,” “Urban Capture the Flag,” and “The Bay Area Aerosol Heritage Society.” With over 100 free public events under its belt, Nonchalance has received thirteen consecutive “Best of the East Bay Awards,” and produced exhibits and installations for the Yerba Buena Center for the Arts, the Oakland Museum of CA, Southern Exposure and the Oakland International Airport. They are currently wrapping production on the “Games of Nonchalance,” an “Immersive Media Narrative” leading participants on a journey of urban exploration throughout San Francisco’s hidden present and past.

I’ll be at SXSWi from Friday, March 12th until Monday, March 15th (view my conference profile here). Here’s what I’m thinking of checking out while I’m there:

Friday, March 12th

Friday seems a little light, but there are still a few interesting panels:

• 2:30pm, Day Stage DIY U: Edupunks, Edupreneurs and the Coming Transformation of Higher Learning I just like the title of this one. Moderated by Anya Kamenetz of Fast Company.
• 3:30pm, 10AB Jacks of All Trades or Masters of One? “The web originated with generalists – webmasters designing, building, and developing. Today, a web team can have a dozen different specialist roles, each highly-focused. With that in mind, what are the strengths of specialists and generalists, and when are each put to their best use on a project or in an organization?”
• either 5:00pm, Ballroom B Time+Social+Location. What’s Next in Mobile Experiences? Featuring Naveen Selvadurai of foursquare. “As more devices become location aware, social uses will continue to evolve beyond just who and what, to WHEN. Adding the temporal dimension creates new opportunities for social interaction. Learn about ways to leverage and use technology to add features at the intersection of temporal, social, and location.”
• or 5:00pm 6AB With Great Power Comes Great Responsibility: The Future of Video Games “Video games are more popular than ever, and new games are delivering all kinds of social benefits, from video-game therapy for treating PTSD, to sims for train surgeons, to alternate-reality games that actually bring people together in real life. Will video games be a positive force for people and society in the future (as they arguably are today)? This panel is co-sponsored by Discover Magazine and the National Science Foundation.”

Saturday, March 13th

This is where things really heat up…lots of great stuff about locative media, physical computing, ARGs, and more.

• 9:30am, Hilton G ActivityStrea.ms: Is It Getting Streamy In Here? Chris Messina presents. “From Facebook’s newsfeed to Twitter’s relentless real-time updates, the metaphor of the “stream” has taken social networking beyond blog posts and on to rich social activities. Learn about ActivityStrea.ms – the open format adopted by Facebook, MySpace, and Windows Live – and how it’s fundamentally changing the social web.”
• 11:00am, 6AB ARGs and Women: Moving Beyond the Hot Brunette Presented by Andrea Phillips. “ARGs are often trotted out as a shining example of woman-friendly games. They boast unusually high rates of female developers and players, and a slew of kick-ass female leads. But if you dig a little deeper, are they just the post-Buffy version of Princess Peach, always needing to be saved?”
• either 12:30pm, 12AB Design Fiction: Props, Prototypes, Predicaments Communicating New Ideas Presenters include Julian Bleecker, Jennifer Leonard, and Stuart Candy. “Design fiction is an approach to design that speculates about new ideas through prototyping and storytelling. The goal is to move away from the routine of lifeless scenarios-based thinking. We will share design fiction projects and discuss related techniques for design thinking, communication and exploration of near future concepts.”
• or 12:30pm, 6AB Playing with Place: Location-Based Games and Services “Location based games and services are finally ready to go mainstream. This panel of professionals explores how to creatively craft the experiences and business models for different types of places like backyards, cities, towns, suburbs, exurbs, hiking trails, parks, and deserts.”
• 2:00pm, Exhibit Hall 1 Opening Remarks: Privacy and Publicity I’m definitely looking forward to seeing danah boyd talk.
• 3:30pm, Hilton F Moon 2.0: The Outer Limits of Lunar Exploration Can’t pass up a moon-oriented panel. “Space sector representatives will discuss how the use of web and mobile technologies create opportunities for participation in future exploration of the Moon. The panel focuses on how X PRIZE, NASA, commercial space companies, and others generate greater interaction and interest in Moon missions using collaborative platforms and social media.”
• 5:00pm, Hilton D Does My Sh*t-Talking Really Help Your Brand? Panelists include Ivan Askwith and Amber Case. “We’ve heard that ”all press is good press.” But during SXSW 2009, several panels provoked heated audience debates over a new variation: is social marketing successful if people talk about it? Controversial campaigns such as Whopper Sacrifice warrant a discussion about what really makes social media successful… and what doesn’t.”
• 6:00pm, Brush Square Park – E Dorkbot Great way to end the day. “Think of it as a science fair with free beer. Ample doses of electricity, tomfoolery, mayhem, makers and music combine to form one exquisite geek talent show. Sponsored by SXSW Interactive, the International Game Developer’s Association of Austin, Mr. Data, Ricochet Labs and the Digital Media Council. “

Sunday, March 14th

Another good day, slightly more tech-oriented.

• 9:30am, Ballroom E Web of Things – Connecting People and Objects on the Web “WoT is a vision of a Web with more devices than people on it. We extend the Web to the real world by enabling devices to become physical Web resources that follow the founding principles of the Web architecture (REST). We will demo a physical mashup with real objects the attendance can interact with using a simple RESTful API.”
• 11:00am, Hilton H Here Are Lions: The Cartography of the Future “A new breed of maps is revealing breakthroughs in our understanding of biology, neuroscience, ecology and the physical world. We can now map not just physical geographies, but also genomes, neural pathways, emotions, social networks and ideas. These new maps reveal how society will change over the next twenty years.”
• 11:00am, Ballroom D Monkeys with Internet Access: Sharing, Human Nature, and Digital Data Clay Shirky’s talk.
• 12:30pm, 5ABC The 10-Minute Transmedia Experience Presented by Maureen McHugh and Steve Peters of No Mimes Media. “Transmedia experiences ‘- stories played out across multiple platforms: on the web, through mobile and even in the audience’s environment ‘- are going more and more mainstream. Audiences are beginning to expect collaboration in the creation of the experience. What are the techniques to constructing an immersive, compelling 10-minute experience? Transmedia and Alternate Reality Game veterans Steve Peters and Maureen McHugh of No Mimes Media lead this core conversation, where participants will experience the astonishingly immersive nature of transmedia, and discuss the conceptual issues and architecture of the experience. Fans and professionals from any industry are welcome.”
• 3:30pm, Ballroom C Revenge Of Kick-Ass Mash-Ups with Punk Rock APIs More punk DIY stuff. “Last time we wrote an API layer for a dozen different sites and services, using nothing but free online tools and client-side JavaScript. This time we’ll crack into client-side OAuth. This time actual working code WILL BE WRITTEN BY YOU. This time … it’s personal. ”
• 7:00pm, Austin Grand Ballroom 13th Annual SXSW Web Awards Ceremony “The Web Awards Ceremony is the centerpiece of evening activities at the SXSW Interactive Festival and an event not to be missed. Hosted by Doug Benson with special surprises in store for the big ‘lucky 13′!”

Monday, March 15th

Some really great panels today — unfortunately I have to leave late in the afternoon…

• 9:30am, Hilton K Interactive Documentaries: A Multidimensional Narrative Panel features my friends from Take Action Games. “Documentaries are just not about ‘documenting’ an event – they interpret and synthesize many sources of information to explain a situation or express a specific point of view. So where does the user interact with this specific project? How can the users input influence the content and the creators? Meet interactive documentary producers to hear how they approach their medium. Learn what’s new when designing a weaving narrative and how do you make it engaging.”
• 1:10pm, 12AB Hyperlocal Focus: Growing A Vibrant Community Media Ecosystem “Filmmakers, videobloggers, podcasters, pirate & low-power radio jocks and public access TV producers are all creating content in your local community, but they often don’t collaborate or even talk to each other, despite using the same tools and sometimes even seeking the same audiences. A 15 year-old videoblogger and a 50 year-old technical director at a local network TV affiliate may have a lot to learn from each other, but in what context would they ever meet? How can you engage local content creators and build a vibrant media community? This session is about how to create (and utilize) healthy, sustainable user-generated media scenes in local communities, using community media centers, creative salons, non-profit media arts foundations, citizen journalism organizations and grass roots organizing principals.”
• 5:20pm, 12AB Transmedia Storytelling – Creating Stories That Work Over all Platforms Presented by James Milward of Secret Location fame. “Why and how are narrative worlds, be it traditional Film, Television, or New Media stories expanding across different media outlets and platforms? What are the emerging features of ‘Transmedia’ behavior, consumption and production? What do these new forms of storytelling, product and service design and branding tell us about future convergence of culture and technology?”

…and if I could stay until Tuesday, I definitely wouldn’t miss:

• 9:30am, 6AB Playing with 140 Characters: Designing Games for Twitter “Twitter: a strange new platform for games. In this panel, the design collective Local No. 12 discusses how they have learned to work within the tight constraints of Twitter, while exploring new forms of gameplay and social interaction. This session will cover the state of games on Twitter, what has and hasn’t worked, and best practices for creating games for this platform.”
• 11:00am, 6AB Pervasive Games and Playful Experiences: Rendering the Real World “The most photorealistic, networked environment you can play in is real life. Mobile internet, pervasive gaming and sensor-enriched public spaces enable new possibilities in game-play, distributed story-telling and immersive events. Building on previous SXSW events, leading practitioners will explore the ethics, design challenges and business potential of this new form. This session is supported by UK Trade & Investment and Arts Council, England.”

What have I left out? Let me know via twitter or in the comments. See you in Austin!

Mela Kocher Lennstroem is a Swiss games researcher currently living in San Diego, where she conducts post-doctoral research on “the blurring of reality and fiction in digital media, especially in ARGs.” I caught up with Mela via Twitter and email after she co-presented (with Ken Eklund, Stephen Petrina, and PJ Rusnak) a “mini ARG” at the 2010 Digital Media and Learning Conference in La Jolla, California — an event I wish I’d attended, especially after talking to Mela about what happened during her session.

First off, I noticed your dissertation, “Follow the Pixel Rabbit,” on your website. Even though I can’t read German, I found it interesting to flip through the pages. Speaking generally, what’s your dissertation about — and what does the Alice reference in the title mean?

I wrote my dissertation on storytelling in video games around 2002/2003. At that time game studies was still a pretty new thing at universities in Switzerland (and games not really accepted as a serious academic subject). With the reference to Alice in Wonderland I wanted to make the statement that digital games offer a magic, bizarre and wonderful world for the one who dares to enter. My dissertation is about different ways of storytelling and player engagement of video games, hyperfiction and interactive movies – latter being a genre that failed remarkably in its beginnings – just watch/play I’m Your Man!

Mela Kocher Lennstroem

Obviously you are engaged with a lot of different fields of inquiry, from game design to narratology to aesthetics. How did you end up deciding to study/make this kind of stuff? What path did you take to becoming a theorist-practitioner?

Besides frenetically playing Games & Watch as a child, I lead a pretty video game-free life until my roommate in college got me into Myst and Riven. I studied German literature at that point and was curious to test the traditional literary theory frameset on games – and luckily my professor was encouraging that. Writing a dissertation on the topic was a pretty natural step (since it was fun, challenging and exciting), and during that time I played lots of games and taught many game workshops for teachers and librarians. In the past years I’ve been getting more and more intrigued by ARGs and their vast potential for storytelling and blurring the lines between fiction and reality – so I was more than happy to have gotten a research grant to study, play and now even make ARGs in the USA for two years.

You recently appeared on a panel at the Digital Media and Learning conference entitled, “Storytellers, Storymakers and Learning by ARG.” As a part of the panel, you and your co-panelist, game designer Ken Eklund (World Without Oil), designed and ran a mini-ARG. What was the purpose of this game, and how did it work?

The conference theme was “Diversifying Participation”, and our team wanted to discuss ARGs & participatory learning. Since it would probably take an hour to explain what ARGs are (and people still wouldn’t get it!), it seemed more effective (and way more fun!) to have the audience engage in one first hand. The game plot went like this: One of the speakers (which ended up being me) got lost on campus and was not be able to show up for the session in time. While Ken explained this to the waiting conference attendees, he had a “stress-induced narcoleptic attack of 20 minutes” so the audience was completely left to themselves (while our other two team members, PJ Rusnak and Stephen Petrina, stayed incognito in the room for possible trouble shooting).

I wish I had been there. How many people ended up participating?

You should have! There were around 40 people in a quite tiny room so it was packed. It was amazing which strategies the participants came up with – they started a Facebook search, tried to sneak Ken’s phone from his sleeping hand, they tweeted me, tried to call and text me and physically went out on campus to search for me – unfortunately for them, in my fictional world my phone was malfunctioning and I could only send them pictures from my location via tweet to ping.fm. That constraint gave way to lots of creativity, though (as our PM team had hoped for), and the participants truly engaged in their storymaking efforts.

Screen capture of Twitter activity from the mini-ARG, Feb 19, 2010

What kind of feedback did you get? How was the notion of “learning by ARG” understood by the assembled educators?

There was definitely excitement in the room during the game (I watched the video later on). Most of them immediately understood that it was a game, and got into play mode. My favorite reaction was the (failed) gamejack attempt of one man who offered to hold his own speech while they were waiting for the scheduled speaker. Another person doubted that I was truly lost but suggested that I might just need a bit of comforting to take up my role as speaker. Lovely!

Even from this short ARG performance, people saw the great potential ARGs bear for learning – via features like creativity, collaboration, common goals, instant player feedback, immersion, role play, problem-solving… Most attendants thought of the ARG as an inspiring experience during an academic conference stuffed with formal one-to-many presentations.

The players eventually 'found' Mela and directed her back to the conference room.

On a more meta level, how do participatory game constructs like storymaking ARGs complicate or extend your thinking on narrative in digital games? Are the categories of “story” and “game” collapsing into one another, or do the traditional boundaries still hold?

ARGs have a potential for storytelling and storymaking that video games do not have, because of the possibility for real time interaction with the puppet masters and the actual chance for the player (or the more believable illusion!) to influence the course of the game. Narrative adventure video games are in comparison to that so limited and often incoherent due to their closed programming. Of course, more open structured video games like GTA offer completely different ways of experiencing and creating a story as well which also extends beyond the realm of the screen, but ARGs just take this idea much further. But new options bear new problems, and ARGs rely on the puppet masters’ coherent and instant feedback and their fair choices – and on the collaboration of the fellow players.

To your second question: I’d rather keep the concepts of “story” and “game” apart for analytical reasons, even though they tend to overlap [in the case of] ARGs: [that is,] I can play by being part of the story or by trying to crack a code. I would say that ARGs make story playable, but they are more story than game – but then this also depends on what the player is looking for. I myself love to ‘stalk’ a character and get into the game through character interaction while others love to solve puzzles etc. – the more traditional game-aspects of an ARG.

What’s next for ARGs — and for your research in general?

I’m curious to see if ARGs will develop towards shorter, replayable and even payable game formats for wider audiences (and therefore blend with features of video games).

I myself got very intrigued by having experienced a challenging setting like the academic conference as a playground, and I hope to investigate further in that direction. I’m not a fan of serious games per se, but I do believe that “play” in general provides at its core some of the most valuable experiences for living and learning.

Thanks, Mela!

Multiplayer social media games, including ARGs like Top Secret Dance Off and Must Love Robots, Facebook games like School of Magic, and collaborative production games such as SF0 are inherently about performance. These games allow players to exercise their public voices, step into the limelight, and actively engage with others through performative acts such as videotaping themselves dancing, submitting fictional robot-dating videos, engaging with friends in role playing mini-games, and creating and documenting ad hoc street art interventions. Likewise, performance artists are discovering the generative and poetic potentials of the magic circle and are finding ways to make theatre-going experiences more and more game-like. One example of this productively category-defying overlap is Coney‘s A Small Town Anywhere, which is kind of like an elaborate game of Werewolf, and kind of like an evening at the theatre, and in many ways not at all like either of those things.

A Small Town Anywhere is a theatrical event. It happened at the BAC or Battersea Arts Centre between October 15th and November 7th 2009. A Small Town Anywhere casts a Playing Audience as the citizens of, well, A Small Town Anywhere. There are no actors in the Town except the Playing Audience, who are free to interact and explore as they please. Henri Georges, the Historian convening A Small Town Anywhere, wishes to stress that visitors will not be expected to ‘perform’ in any uncomfortable manner, merely conversing with other vistors and perhaps writing a letter or two. You can speak to Henri in advance of your visit and perhaps discover a history for yourself in the Town, or simply turn up to play your part. (smalltownanywhere.net)

Lyn Gardner’s piece in The Guardian summarizes the experience and impact of the event nicely:

The letter is not addressed to me, but I open it anyway. Having control over the mail is one of the perks of being the postmistress in a small French town. The anonymous writer is, I discover, making a serious allegation – and it’s about me. There are hints about a murdered baby, its corpse buried under a juniper tree. I am, of course, as guilty as hell.

I look around the town square where the baker and butcher are gossiping, watch the children going into the schoolroom, see the mayor walk by. I wonder who wrote the letter. Then I do what I have done with all the previous letters I’ve intercepted. I destroy it. Then I write several ­ letters of my own, slyly suggesting that the schoolmistress was, last year, rumoured to be pregnant. Soon, the whole town will know.

I’m taking part in A Small Town Anywhere, a theatre piece in which the audience are the performers. It’s currently playing at London’s BAC (Battersea Arts Centre), part of a season of interactive shows that redefine the boundaries of theatre. Here, the show is both drama and game. Audience members – there are about 30 per performance – play characters in an imaginary French town. There is no script; every audience member plays a part in developing the story, and thus becomes responsible for its outcome.

And that outcome is not always pretty. The show ends with the community deciding who must be banished from the town to save the rest. (The Guardian)

More: Brendan Adkins’ description of his experience at the event, Matt Trueman’s review [and don't miss Coney's own notes on the production, in the comments below!].

Duncan Speakman‘s As if it were for the last time is a soundwalk and street performance wherein audiences are “invited to download an MP3 and turn up at a secret location to listen to the track at a specified time.” Speakman calls this a “subtlemob”; in contrast to flash mobs, participants in subtlemobs are urged to “try to remain invisible” throughout the event by blending into the normal flow of a busy urban space. Consequently, much of the power and poetry of projects like As if it were for the last time lie in their ability to make participants hyper-aware of their surroundings and their roles in the performance of everyday life. As one participant put it, “it was like you were given permission to look — at the people who weren’t doing it.”

From the project’s page at subtlemob.com):

When you put on the headphones you’ll find yourself immersed in the cinema of everyday life. As the soundtrack swells people in the crowd around you will begin to re-enact the England of today. Sometimes you’ll just be drifting and watching, but sometimes you’ll be following instructions or creating the scenes yourself. Don’t worry, there will be nothing illegal or embarrassing, sometimes you might be re-enacting moments you’ve seen in films, sometimes you’ll just be playing yourself. This is no requiem, this a celebratory slow dance, a chance to savour the world you live in, and to see it with fresh eyes. (subtlemob.com)

Playwright and tech enthusiast Hannah Nicklin‘s writeup:

This evening I took part in a sound walk-come-performance called ‘As if it Were the Last Time’. It was devised by Duncan Speakman and was put on by subtlemob. It took place on a small number of streets near Covent Garden. It was a (performance? Experience? Neither of these words do -) for two people. We were provided with a map, an mp3, and told to set it going at 6pm on the dot. My critical vocabulary is already struggling with this piece, because it really was very individual. That was the point. For each and every person who took part, the performance (for want of a more accurate word) was theirs. Entirely. And not, in staged theatre, as each audience member receiving the piece from a different perspective. This was each participant doing. The movements, the characters the gestures, the reflection in the shop windows and puddles, and the touch of someone’s hand on a shoulder, were all completely yours. Of your making. (Hannah Nicklin)

News of subtlemob events: http://twitter.com/subtlemob

A couple of weeks ago I posted a list of content management and delivery tools for indie ARG producers. In the comments, Jan Libby (@labfly) noted that “the first element you need to organize and lay out is ‘your story’ and then later how it connects to the world. After all, this is a storytelling genre.” Knowing that Jan is a prolific and talented indie ARG designer, I asked her if she would be interested in doing a short interview about how she plans and evolves her games — and about the important role of story in ARGs in general. We exchanged a few emails, and Jan sent me these responses — along with some great behind-the-scenes images from her upcoming indie storyworld, 36nine…

I wanted to dive right into some nuts-and-bolts writer stuff, so here goes. Suppose you’re setting out to make an indie ARG. How do you begin? Do you start with particular design goals (e.g. modes of participation you’d like to elicit, networks you’d like to engage with, etc), or do you look for a story first?

Whether i’m working w/a client or doing an indie, i always begin with story. Of course, with a client i will have many things to consider (brand’s voice, brand’s audience, brand’s platforms, etc.) while creating a story that fits for the gig, but story is still most important. The way the story unfolds to & interacts with the online and offline world happens organically as i write the story (but i keep that list of mechanics separate).

Screenwriters and novelists typically articulate their themes by moving a protagonist through conflict, crisis, climax, and resolution. ARGs and other distributed story/play activities arguably function in a very different way — not least because of their fundamentally participatory nature, which has the effect of fragmenting the role of the protagonist across the player community. What’s your thinking on how ARGs can engage with themes and create meaning?

My ARG stories are very much like screenplays.. except instead of the conflict, crisis, climax and resolution only happening to the character world, it also happens to my players/audience. So, as i write the storyline/storylines for the characters, i’m not only working out how the events will change the characters, but also considering where the players/audience fit into this world and how they will/may touch it/affect it/change it.

Boundaries seem to blur rather quickly in the ARG space. I wonder: do you consider yourself a game designer or a storyteller — or neither?

I really consider myself a storyteller that loves ARGs… and i still like “puppetmaster”.

I’m curious about how you structure your projects. Do you work with a storyboard from the very beginning — i.e., do you use it to discover the arc of your story — or is it something you only bring in once you know where things are going?

Usually a story has been in mind for quite some time before I begin to write it, storyboard it, etc. At some point i buy a notebook, foam core and index cards. The notebook comes first. i write and write and write and soon the notebook leads to index cards and foam core boards. The first set of boards i create break down the Acts of the ARG (this will include diff paths the players/audience may create). The next set of boards will break down the characters. Near these boards i place boards for “assets” and begin those lists. Later in the process i will connect story and characters to assets via string. i’m sure that sounds archaic but i work best when i can touch it and live with it around me like that. i can look at and rework these boards for a long time. i have boards up right now that i’ve been working on for over 8 months. i’m slowly building a world and the boards are evolving as i write scripts, build sets, props, shoot, etc. soon i will begin the ARG boards. My ARG boards will take me from day 1 to end game/goodbyes and beat out what happens each day within the storyworld (including mechanics, assets, shoot sched, etc).

In your comments on my earlier post, you wrote: “my storyboard is separated from my assets charts.” Why do you think it’s important to keep things separate this way?

I prefer ARGs with a story. Some ARGs just deliver a string of events. For me, by starting with a “storyboard” that is dedicated to story only, i can be sure i will not make this mistake.

ARGs are inherently collaborative; creators often work in teams, and games almost always involve a large amount of back-and-forth between the players and the designers. How do you accommodate for this dynamism in your story planning?

You make sure you communicate well with everyone on the team. This means you must have a great way to share information and to keep everyone on the same page. On a recent project i simply made a doc out of my ARG boards. Each day everyone could look at that and see what was happening that day and where we were headed. It’s also really important to have a great producer staying on top of everyone with a hot sheet. Everyone should know as you head into producing the ARG that some things will change due to players/audience interaction/participation. So, you must make certain that you have the time in your schedule to accommodate those changes and forks in the road. i don’t think its a good idea to shoot a ton of stuff pre-launch. i do shoot some, but most is scheduled to happen post launch so that is really is happening during the “story time”. (its like live theatre that can react/change/or not to the players/audience) And again, you make sure you communicate the changes well with everyone.

Where are things going for ARGs? And for you?

i really don’t know where ARGs are going. i think if ARGs are to survive they need to grow and change. First, we need to tell better stories. i would love to see more artists and filmmaker types dive into the genre to help push the envelope. We need to examine how ARGs play out. There are many problems with how and where ARGs are played out now. Many people have told me they’d love to play an ARG but just don’t know “what to do” or “where to go”. i’ve been playing around with different “live help” ideas. On Levi’s we had “GameTeam” who were around the boards to help out newcomers. i know it was a useful tool but its only the beginning. Also, traditional forums are overwhelming to many newbies. The forum set up hasn’t changed much since.. um forever. we should redesign “the forum” or the space where the players organize and meet. Beyond all that, i do think that “interactive storyworlds” have a big future. i’m certain that someday, in the not so distant future, some cousin of ARGs and MMORGs will deliver episodic adventures to players/audience. i like this idea that on a given night a storyworld comes alive and you are invited to step into it and for a couple hours and then check back next week for the next episode.

Thanks, Jan!

Jan Libby created the popular indie Alternate Reality Games – Sammeeeees & Wrath of Johnson (Sam II). Her year following Sammeeeees was spent writing and designing for LG15 Studios (on the Lonelygirl15 Series season 1 & 2). She then partnered on Book 3 of the horror/sci-fi Eldritch Errors with Brian Clark & GMD Studios. Jan now works primarily as an ARG/ARE and Community consultant to Media Companies and Agencies. After recently wrapping on Levi’s GO IV Game/Experience, Jan has spent the last couple months building up her next indie ARG storyworld, 36nine.

It’s hard to find someone who actually likes the term, “alternate reality game.” Observers worry that it’s too broad, or that it’s not broad enough; that it overemphasizes play, or that it underemphasizes players; that it leaves out storytelling, or that it puts too much focus on narrative. There’s no consensus on precisely what the term refers to and even less consensus on what it should. Still, at the end of the day, “ARG” is the most familiar of all the terms on offer, and I suspect that designers and academics will keep on using it until it slowly fades into redundancy. The boundaries between gameplay and storytelling, single-platform and multi-platform, real and virtual, author and audience, are all disappearing as we speak. It’s all fiction. Someday we’ll just leave it at that.

This resource contains links to blog posts, conference papers, journal articles, and other texts related to alternate reality gaming.

Defining ARG

• WTF is an ARG? (Andrea Phillips, 2009) “Why can’t we reach a consensus on what an ARG is, and what an ARG isn’t? Why do we return home, like swallows to Capistrano, to that question: What IS an ARG? This is my attempt to wrestle with this knotty topic, and offer up a few opinions.”
• Undefining ARG (Sean Stacey, 2006) “I have a way to define alternate reality gaming in such a fashion as to prove to you that I cannot in fact define it at all. While the previous statement may seem nonsensical, I encourage you to bear with me. The following is written with the assumption that the reader has some passing familiarity with the history, mechanics, and gameplay of ARGs.”
• Alternate Reality Games (Sean Stewart, 2006) “Building an ARG is like running a role-playing game in your kitchen for 2 million of your closest friends. Like a role-playing game, we get players to actually enter the world of our story and interact with it, both online and in the real world.”

Design approaches and philosophies

• Everything you know about ARGs is wrong (Dan Hon, 2008) “There are, it seems to me, a number of differing interpretations as to what an ARG is, exactly, and that makes them quite easy to attack. If you don’t know what something is, it’s quite easy for it not to have lived up to your expectations.”
• ARGFest 2007 Keynote (Elan Lee, Sean Stewart, 2007) “Delivering a keynote address to this audience is really difficult. What can we talk about? We can’t talk about anything we’ve done in the past because you were all there experiencing it. We can’t talk about anything we’re working on right now because that would ruin the fun and the mystery of the experience. We can’t talk about anything we have planned for the future because frankly, you are the competition. All that’s left is self-deprecation and the elephant in the room…trust.” (summary here)

See also: Part 2
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This resource contains examples of alternate reality games (ARGs) created for museums, libraries, schools, and government agencies. Also included are links to related resources, designers, observers, and policy-makers.

Know of something that should be listed here? Please get in touch with me via the comments and I will update the resource.

Museums

Games

• Ghosts of a Chance (Smithsonian, 2008-2010) “We live in a world in which information and entertainment are customizable and immediately available. The Internet has become a larger part of everyday life, and so too have networked games, as people seek community, activity, a sense of achievement, and the chance to be part of something bigger . . . Museums can reach out to their audiences in more ways, using blogs, podcasts, video, and social media, but can they meaningfully engage visitors using games? In the fall of 2008, the Smithsonian American Art Museum hosted an Alternate Reality Game titled “Ghosts of a Chance.” We did this with three goals in mind: to broaden our audience, to do a bit of self-promotion, and, most importantly, to encourage discovery around our collections in a new, very interactive way. This paper will discuss the challenges that the museum faced, evaluate the successes and failures of each part of the game, and make recommendations for other museums interested in trying something similar.” (Archimuse)

• More on Ghosts of a Chance: Georgina Goodlander’s paper, Nina Simon’s blog writeup, Anika Gupta’s piece on Smithsonian.com and goSmithsonian, Washington Post coverage, and NPR’s coverage.
• PHEON (Multiple institutions, 2010) “For the past couple of months CityMystery has been building a new game, called PHEON. (A pheon is an ancient Greek arrowhead that has come to symbolize nimbleness of wit.) The purpose of our game is to celebrate (and reinforce) the American impulse to innovate. An economist friend of mine recently said that we have to “invent” our way out of our current mess. With PHEON I am promoting the idea that Americans understand innovation as a reoccurring utility of our democracy, one that matches our ability to adapt and succeed. PHEON’s subtext has to do with how ideas are passed along: how one person articulates a wish that another fulfills.” (“Sneak Preview of a New Museum Game“)
• More on PHEON: see Pass on the PHEON!.
• Many museums are also developing location-specific games and storytelling activities (like this or this) that don’t fit comfortably into the definition of an ARG. For some starting points for looking into these kinds of projects, see my locative media and ambient storytelling resources, and visit Nancy Proctor’s site, Museum Mobile.

Articles and discussions

• Reshaping the art museum June 2009 article from ArtNews: “Confronted with urgent demographic realities, art-museum directors are drawing on game theory, interactive technology, and a host of other new strategies to help people feel welcome, engaged, and emotionally fulfilled.”
• Smithsonian 2.0 “The two-day Smithsonian 2.0 gathering explores how to make SI collections, educational resources, and staff more accessible, engaging, and useful to younger generations (teenage through college students) who will largely experience them digitally. Over 30 creative people from the web and new media world will meet with 30 Smithsonian staff members to generate a vision of what a digital Smithsonian might be like in the years ahead.”

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Chris O’Shea:

Hand From Above encourages us to question our normal routine when we often find ourselves rushing from one destination to another. Inspired by Land of the Giants and Goliath, we are reminded of mythical stories by mischievously unleashing a giant hand from the BBC Big Screen. Passers by will be playfully transformed. What if humans weren’t on top of the food chain?

Unsuspecting pedestrians will be tickled, stretched, flicked or removed entirely in real-time by a giant deity.

Hand from Above is a joint co-commission between FACT: Foundation for Art & Creative Technology and Liverpool City Council for BBC Big Screen Liverpool and the Live Sites Network. It premiered during the inaugural Abandon Normal Devices Festival. (Chris O’Shea: Hand from Above)

Via Urban Prankster