University of Virginia associate professor Kamin Whitehouse thinks people want to know where everyone is in their house: Who’s taking the long shower? Who left the air conditioner on when they left the house? “Today’s smart home sensors are about appliances, lights, and devices in the home, but not really about the people,” said Whitehouse. “By demonstrating the exciting things that become possible when a home better understands the people who live there, we hope to inspire a new generation of products and technologies.” Marauder’s Map in Harry Potter and the Prisoner of Azkaban
To make his point, Whitehouse outfitted four Charlottesvile, Virginia, homes with sensors to track who enters what room, and what appliances and utilities that person uses. The data is then beamed up to the cloud and back down to a smartphone app named the “Marauder’s Map.” Harry Potter fans will recognize the reference to “The Prisoner of Azkaban,” in which Harry uses a magic map to track the footsteps of characters and unlock the mysteries of his school.
Over the years I’ve written about the rapid commoditization of technology and its impact on entertainment. I’ve waxed on about the value of data and the promise of the “Internet of things,” with its ability to harness networks and sensor technology to tell stories. My work over the last decade has experimented with new forms and functions of storytelling. I’ve made a conscious effort to diversify the way in which I design, create, fund, produce and distribute my work. The results have been mixed. I’ve had great success and epic failures, but in between rest, valuable insights. I now understand the benefit of failing fast and learning from it. But the entertainment industry has no interest in R&D (research and development). Instead, old models are bled dry, and data is harnessed as a tool to mitigate risk, often resulting in films, TV and music that are homogenized.
Nick and Greg recommend some games to play
http://dukope.com/ - papers please
http://simogo.com/work/device-6/ — device6
http://www.thelastofus.playstation.com/ — Last of Us
Story & Code: working with creative technologists.
Mentioned during the conversation
Moderated by Lance Weiler
Recorded Feb 17th @ Columbia University
While Spike Jonze’s recent film Her imagined many possibilities about the near-future, one of the subtler prophetic aspects of his love story hypothesized the next-frontier of video games, including interactive characters and controller-free consoles.
The movie’s protagonist, Theodore, could possibly even represent the gamer of tomorrow, and his video games of choice are equally futuristic, even if they are technically design fiction and only exist within the movie itself.
Our second class explored some emerging trends and market opportunities through the lens of storytelling.
To view the links in this presentation click here and scroll down for a full transcript.
The Digital Storytelling Lab @ Columbia is partnering with the J School, Rhizome and AOL Ventures for a special event called Bit by Bit. In what promises to be an exciting week long program that matches storytellers and technologists, Bit by Bit will explore how we find and tell stories in our increasingly digitized, networked, and computer- mediated world.
On Feb 22nd, the week long event kicks off with a day of Experiments in Digital Storytelling. Storytellers, journalists, designers, engineers, architects, hackers and makers will explore a new grammar in storytelling. Teams or individuals looking for collaborators are welcome to join a full day of paper testing, interaction design, physical computing and hacking.
SAVE THE DATE - FEB 22nd - 9:30 to midnight
A limited number slots are available for those not affiliated with Columbia University.
For more info visit http://bitbybit.brown.columbia.edu
Frank gave a great talk on the Fear of Fiction throughout history. From Don Quixote to Avatar, Frank shared how immersion has transcended books, tv and films.
Here Frank touches on similar themes during a talk about the future of publishing.
Brian then gave a wonderful talk on Phenomenal Work touching on Dead German Philosophers, David Bowie, Brian Eno and William Castle.
In this dream from the 90’s, we hoped for a world where every computer knows us personally. We would wake up to them, have them around us all day, and they would be the last thing we interact with before we go to sleep. They would predict our needs and wants and all interfaces would feel as natural as having a conversation with a friend. Technology would become our primary means (or only means) of communication and we would form relationships with these objects that take care of us.
In other words, we’re expected to translate our emotions through emotionless interfaces.
All humans are capable of emotional depth. While emotions are influenced by culture, emotions themselves are universal. We use things because they are functional but we become attracted and attached to them because of how they make us feel.
Looking forward to class this semester. The course will be a mix of theory and practice. Over the course of the semester we’ll have some great guest speakers. Plus the class will make a field trip to Fake Love to hang with the creative team to get a sense of how one of the top immersive shops in NYC operates.
Many have asked if they can audit the class. I’m looking into what’s possible. We’ll be posting to the tumblr over the course of the semester and if you have an innovative project that is launching please let us know. We’d like to check it out.
Here’s the syllabus for the class
Plot Synopsis: The need to feed on other life forms pits survivors of a diminishing realm against each other in a seemingly endless repetitive game. Hope for a future lies in resurrecting the dead before they are cannibalized.
Genre: Franchise Fever
Location: Hollywood, 2014
Cast: Suits who survived 2013
Well, you get the picture.
Reboot. Remake. Rewind. In 2013, Warner Bros., Universal, Fox and Sony bounced executives, Paramount lost market share footing to indie Lionsgate and Disney said goodbye to tenured iconic Producer Jerry Bruckheimer and hello to the “force” Lucasfilm – all decisions that directly or indirectly had to do with the business of building new and rebuilding established blockbuster franchises. Life in the executive suite had come to mirror the survivalist fare studios covet at all costs.