c rucible studio: a rt and design of storytelling in new media mika ‘lumi’ tuomola

Crucible Studio:Art and Design of

Storytelling

in New Media

Mika ‘Lumi’ Tuomola

http://crucible.mblog.taik.fi

Story istold.

Drama isacted out

(by actors).

Interactive drama isacted out in process & participation

(by user(s)).

Aristotle, J. Joyce, J. Murray

Storytellingis one of the oldest forms of communication.Its aim is not to convey an event as such (as information).

It submerges the event into the life of the storytellerin order to give it to listeners as an

experience.In the process, the storyteller’s mark is setinto it like the handprint of a potter on a pot.

-Walter Benjamin, The Eye in the Crowd

Elements of pleasure:

Destiny(dramatic situation & involvement)

Agon et cetera

Chance(destiny consistent unexpectedness)

Alea

Choice(ability to influence in various levels to the factors of chance & destiny)

Mimesis, Ilinx et cetera

R. Caillois, myth

NM2 / Accidental Lovers (2006)

SALERO / Alan01 (2010)

Epica2 / Playful Desires by Andy Besthttp://www.andyandmerja.com/

http://crucible.mblog.taik.fi/

Finnpanel Ltd. statistics of viewer profiles according to the gender and age.

SMS input rate on all twelve broadcasted story versions.

SMS per minute during the first broadcast. Orange lines tell where information txt was shown in the middle of the screen. Pink parts are the music videos and blue ones are the scenes.

Freytag’s triangle.

Advice/command to character

“Juulia be tender to Roope, don't leave him alone to the storms of life.”

Opinion about character

“Roope is young and hasty. He has no clue yet. Juulia will suffer.”

Thought on theme

“Love is a promise of a grand illusion!”

Fantasy scene (fan fiction)

“Cat runs away and Juulia goes looking for it but Roope finds it first and Juulia gets lost in the city and Roope to Juulia's place but Juulia is not at home.”

Show format

“Program texts are so small and difficult to read.”

Reply to character message

“Romeo, you love Juulia but you are lusting a man. The love will be deeper after you tell her. Do not deny yourself. Come out of the closet. Juulia will understand. Mike”

Off topic

http://www.ist-nm2.org/

http://www.salero.eu/

ExperimentalPhysicalInterfaces

CultureArt &Accessbility

EPICA2

Empty Stomach:http://vimeo.com/15942764

No Traces of Sentimentality: http://vimeo.com/15943282

Laughing My Guts Out: http://vimeo.com/15962875

Time? Shall we

Before some dialogue with or without drama...

Mika ‘Lumi’ Tuomola

http://crucible.mblog.taik.fi

see a girlie driver?

saw a woman in half?

Thank You!And let’s have some dialogue with or without drama...

Mika ‘Lumi’ Tuomola

http://crucible.mblog.taik.fi

EXTRAS

Cities as Setshttp://citysets.media.taik.fi

Crucible Studio

methodology> Go forward

Crucible Studio 7-step Practice-based

Research in New Media Storytelling

1. DEFINESnew practices

2. CREATESexperiments

3. INVESTIGATESvalidity by engaging realusers

4. SPECIFIEScultural, technological,commercial... R&D needs

5. PRODUCESapplications/practices

6. INFORMSabout the developmentof digital culture -the stories we tell

7. REFLECTSthe findings within peercommunities and relatedfields, such as computersciences, social studiesand drama arts/studies

Crucible Studio 7-step Practice-based Research in New Media Storytelling

1. SMS messaging to TV programmes (younger generation medium) in the context of episodic drama, television’s most traditional form (older generation)

2. ACCIDENTAL LOVERS, interactive dark musical comedy for television and mobile phones

3. Interactive broadcast on Finnish Broadcasting Company YLE Channel 1 Dec. 27, 2006 – Jan. 5, 2007

4. ShapeShifting media tools and technology for the production, among seven other experimental productions, and future broadband media were specified

5. & produced within the nm2 [new millennium new media, EU IST FP 6] research project among commercialisation and cultural production models

6. Interactive TV/mobile narratives are viable, though complex, and can engage loyal, devoted audiences across typical target group demographics by representation of point-of-view; identification by p-o-v and asynchronous interaction central for user content quality

7. “Interactive TV Narratives: Opportunities, Progress and Challenges” in Accociation for Computing Machinery (ACM) Transactions on Multimedia Computing, Communications and Applications (TOMCCAP) Special Issue on Human-Centered Television among other publications/presentations and international awards (like Banff World Television)

1. DEFINESnew practices

2. CREATESexperiments

3. INVESTIGATESvalidity by engagingreal user audiences

4. SPECIFIEScultural, technological &dissemination R&D needs

5. PRODUCESapplications/practices

6. INFORMSabout the development ofdigital culture -the stories we tell

7. REFLECTSthe findings within peercommunities and relatedfields, such as computersciences, social studiesand drama arts/studies

Accidental Lovers broadcast structure for a story variation

enlisting also User Interface (UI) information.