Transcript of "Treating Story as Software - lecture from 9.19.12 class"
TREATING STORY AS SOFTWARENew Media ProducingBuilding Storyworlds: the art, craft & biz of storytelling in 21cClass 2 9.19.12Columbia University - Fall 2012Taught by - Lance WeilerVisit www.buildingstoryworlds.comReleased under a Non-Commercial ShareAlike Creative Commons License @lanceweiler http://www.lanceweiler.com
For the next 14 slides we’ll be here.@lanceweiler www.lanceweiler.com
DATAOne of the biggest areas for growth in storytelling involves data. @lanceweiler www.lanceweiler.com
Data helps to make storyworlds re-playable, discoverable and fuels social connections. Beta app for Pandemic project enabled players to step into the storyworld and become characters in Sci/Fi horror tale. Player Objective: Search for survivors, scavenge for supplies and make a shelter before nightfall. @lanceweiler www.lanceweiler.com
App usage over the course of a day.DATA COLLECTED OVER THE COURSE OF THE CLOSED BETA• make of handset• OS of phone - 50,000+ downloads• location of player - 3,000+ game spaces created• length of session - 15 minutes of average gameplay per user• phone number• email address @lanceweiler www.lanceweiler.com
SOCIALLYCONNECTEDOBJECTSEverything will soon be connected from cars to appliances to everydayobjects – storytellers will be able to lay story over the real world creating“significant objects” that are social and connected. @lanceweiler www.lanceweiler.com
LAIKA is a connected toy. @lanceweiler www.lanceweiler.com
At Reboot Stories (rebootstories.com) we think of story as platform. How canstory become a utility that provides value so that participants return. @lanceweiler www.lanceweiler.com
STORY AS SOFTWARE / HARDWAREWithin Laika’s Adventure (supported by the Tribeca New Media Fund) our protagonistis a connected toy that collects data and shares it with students around the world. @lanceweiler www.lanceweiler.com
THOSE FORMERLY KNOW AS THE AUDIENCEThey are collaborators who can assist with distribution of content andmerchandize as well as aiding in creative expansion of storyworlds.Just imagine if storytellers cross pollinated these new collaborators – a newtype of P2P network could emerge. @lanceweiler www.lanceweiler.com
As storytellers become better at telling 21st Century stories(collaborative, social, and participatory) the number of “producers” and “players” willincrease. Right now the “audience” are ahead of the creators – many considerthemselves their own media companies able to push button publish for the world tosee. @lanceweiler www.lanceweiler.com
SCARCITY vsABUNDANCEWhat is it about experiences that make people want to participate and share?One area of recent experimentation is the mix between physical and digitalwith story providing the bridge. @lanceweiler www.lanceweiler.com
O W N EScarcity R Abundance S H I P Reward @lanceweiler www.lanceweiler.com
I’m currently experimenting with scarcity and abundance. I was approached bya major publisher to write a book about tech and storytelling. The offer wasweak and ironically unwilling to move beyond the printed page. So I decided toexperiment instead. I wrote a book in twitter, a 140 characters at a time. It willonly exist in 140 printed hardcover books. Every page says “Please set thisbook free and retweet.” http://www.buildingstoryworlds.com/book @lanceweiler www.lanceweiler.com
“ It is not the answer that enlightens, but the question.” Eugene Ionesco @lanceweiler www.lanceweiler.com
THANK YOUContact:@lanceweilerwww.lanceweiler.comSUGGESTED READING:“Open Design Now” - Why Design Cannot Remain Exclusivehttp://opendesignnow.org“Learn Do Share” – storytelling, collaboration and social innovation in 21chttp://learndoshare.net
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