Brilliant summing up of last weekend’s conference by writer and journalist Molly Flatt
who herself made an impassioned call for words not gimmicks as writers and technologists etch out mutual ground. An inspiring and thought provoking two days. Set up by Rebecca Swift and Jon Slack of The Literacy Consultancy the conference covered both business and creative ends of the digital discussion.http://www.literaryconsultancy.co.uk/events/literary-conference-2013/2013-programme/
more anon no doubt
Simultaneous localization and mapping (SLAM) is a technique used by robots and autonomous vehicles to build up a map within an unknown environment (without a priori knowledge), or to update a map within a known environment (with a priori knowledge from a given map), while at the same time keeping track of their current location. [wikipedia]
This blog is a small blip in the world activity to build a map of our lives interfaced with networked technology…
An informal presentation of past film work and current research at Anglia Ruskin University, Cambridge Campus as part of
‘In this level 3 Creative Practice seminar session Sarah will put some of her past film work in to context and present some of her current research.
Sarah Gibson Yates is a writer and filmmaker interested in how we read, write, interpret and interact with representations of Self in a variety of media. She has made both fiction and non-fiction films in a variety of contexts including galleries, museums, festivals and schools, taught filmmaking to students of all ages and engaged the public in range of community and professional film art practices. More recently Sarah has been exploring the way social technologies are changing the way we present ourselves online through social networking, and in particular the notion of profile making as a form of ephemeral portraiture, and the personal, social and ethical consequences of indelible digital identities. She has written a novel exploring these ideas that has been funded by the National Lottery through the Arts Council and developed through the new writing scheme Gold Dust with Sally Cline, and is undergoing final editing with her agent. Seed development funding was also awarded to explore some of these ideas through a publicly engaged workshop. Her paper on this creative research work in progress is shortly to be published by Intellect’s peer-reviewed journal Book 2.0.’
What I find disappointing about multi media or transmedial, digital story telling projects that i have come across over recent years is their over reliance on gaming story structure to tell their story – on ‘reaching increasing challenging and risk taking levels within a number of finite path options, etc, – as if gaming narratives are the only way narrative moments can be communicated transmedially. We have been putting together narratives from a variety or oral, written and visual media for years – way before computer games. The narrative of Christianity for instance has been represented transmedially: in text [the bible and it’s many spin offs]; orally [biblical stories adapated, parables and fables handed down from generation to generation]; musically [some of the world’s most inspired and acclaimed musical compositions]; visual art/images [some of the worlds finest painting and sculpture]. Its representational transmediality is part of what made Christianity’s message spread so fast and what wove it into the fabric of Western culture for so long. Intertextual story-telling is not new so why then is it so hard to find contemporary examples of digital intertextual works that engage audiences on the emotional, literary, philospohical and psychologically rich levels? Just because the images, sounds and text are generated, stored and disseminated digitally must that mean we must check our hearts and heads at the door and seek only structured sensation where value is quanitfied by a point system?
Pine Point is a great example of the kind of work I’d like to see more of. It is not designed to maximize reader/viewer interaction [there are only a few basic operations and tasks you as viewer/reader/listener can alter] but Pine Point is designed to and succeeds in conjuring an evocative, literary address to its audience through a variety of media. It is an inspiring example of what intertextual, intermedial digital story telling can do when it concerned to engage more than fingers and pulse. It is not adrenaline or goal focussed. It is an evocative, moving, melancholy meditation on memory and place. Emotionally fluent and reflective.
It’s great. About 20 mins to watch.
Pine Point [duration 20 mins approx]