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Dubberly Design Office -- Ability-centered Design: From Static to Adaptive Worlds

'A new order of systems is emerging, that adapt to the worlds in which they play a part. Although the form they take varies widely from example to example, these systems all have in common some means for: #1. “perceiving” two or more states of the environment in which they are embedded; #2. creating, based on these perceptions, a “model” of the environment around them; and #3. adapting, based on this model, in a fashion to best meet the performance objectives of the system in the face of a changing environment. This need not be a one-shot event—it can occur continuously over time. Dynamically co-constructed adaptive worlds give both creators and consumers the ability to design or improvise new activities that honor specific abilities as they emerge. In an adaptive world, objects and processes modify themselves based on information gleaned from people, either through sensing or explicit input.' -- Quadrant: Carbon—Silicon [Operator—Machine]; Doing—Understanding [Diegetic—Non-diegetic?]

design narrativeobjects narrativeenvironments narrativeacts holodeck everyware emergence feedback feedforward extradiegesis metadiegesis probabilityspace possibilityspace reflexivity from delicious
march 2011 by adamcrowe

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Near Future Laboratory -- Lab Coats In Hollywood

Kirby: 'I introduce the term ‘diegetic prototypes’ to account for the ways in which cinematic depictions of future technologies demonstrate to large public audiences a technology’s need, viability and benevolence. Entertainment producers create diegetic prototypes by influencing dialogue, plot rationalizations, character interactions and narrative structure. These technologies only exist in the fictional world but they exist as fully functioning objects in that world. The essay builds upon previous work on the notion of prototypes as ‘performative artefacts’. The performative aspects of prototypes are especially evident in diegetic prototypes because a film’s narrative structure contextualizes technologies within the social sphere. Technological objects in cinema are at once both completely artificial—all aspects of their depiction are controlled in production—and normalized within the text as practical objects that function properly and which people actually use as everyday objects.'

productnarratives narrativeobjects liminalobjects objects narrativeenvironments transmedia storytelling sciencefiction prototyping design diegesis from delicious
february 2011 by adamcrowe

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Design Fiction Goes From Props to Prototypes

Julian Bleeker at Kicker Studio's 2010 Device Design Day: 'Prototypes are ways to test ideas—but where do those ideas come from? It may be that the path to better device design is best followed by creating props that help tell stories before prototypes designed to test technical feasibility. What I want to suggest in this talk is the way that design can use fiction—and fiction can use design—to help imagine how things can be designed just a little bit better.'

storytelling diegesis productnarratives narrativeobjects objects transmedia prototyping sciencefiction technology temes futurism design from delicious
january 2011 by adamcrowe

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Christy Dena -- Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments

'...theories such as “hypertextuality” and “transfictionality” are problematised in light of transmedia phenomena. Since the phenomenon involves both narrative and game modes, a new methodology is introduced to study their presence at various stages of design: transmodality. The employment of actual world in transmedia practices is discussed in light of Aristotle’s “dramatic unities” and through the theory of “deictic shift theory”. Through explorations of research questions from media, narrative and game studies as well as semiotics, this thesis aims to explain how transmedia fictions are a peculiar practice that demands its own research area and methodologies.'

transmedia narrativearchitecture poetics storytelling narrativeobjects liminalobjects objects narrativeenvironments diegesis ChristyDena
may 2010 by adamcrowe

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Wired -- The Sims Buy An Electric Renault

'With the Electric Vehicle Pack, the Sims not only get a shiny new electric car but solar panels and a windmill for generating clean electricity. “Electric vehicles are additionally going to appeal to younger, more socially conscious prospects and especially early adopters,” said Stephen Norman, Senior VP of Global Marketing for Renault. “This is the heartland of the Sims 3 community and it thus provides a great innovative way to build the Renault Brand just ahead of the Renault range of affordable electric vehicles themselves.” While Renault says the gasoline bills for Sims families are expected to decrease, we expect that players will also have to remind their Sims to plug in the car.' -- So if the car functions as a status object that allows you to express your sense of virtue to yourself and to others in the virtual world, by purchasing the vehicle there, have you exhausted your sense of virtue such that you'd have little motivation to purchase the 'real' thing in the 'real' world?

thesims virtualworlds virtualgoods advertising statusobjects narrativeobjects objects signalling consumering simulation virtuality thegamingofeverydaylife
may 2010 by adamcrowe

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Mashable -- FarmVille's Newest Money-Maker: Brand-Sponsored Crops

'Next week, FarmVille players will have the ability to grow peanuts, thanks to ad agency Saatchi & Saatchi and an Israeli candy brand. We’re told this is the first time a FarmVille crop has been directly linked to a brand. Saatchi Interactive in Tel Aviv is working on a rollout campaign for Elite Taami Nutz, a peanut-filled variant of a popular Israeli chocolate bar. The new crop will roll out with a simultaneous farm design competition on April 14. The peanuts cost 20 credits to buy, sell for 78 credits and can be harvested in 16 hours.'

farmville virtualworlds functionalitems narrativeobjects objects
april 2010 by adamcrowe

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Not A Real Thing -- Works 60% of the time… every time

'Sex Panther [available via Omni Consumer Products Corporation] has been banned in nine countries (so far). What I love about Brian Fantana’s hidden collection of toiletries is that it’s filled with a host of made-up products like Stag, Wood Grains, and Stephanie’s Clique which are seamlessly combined with real colognes from the seventies such as Azzaro PH, Pinaud Musk, and Hai Karate.'

retro narrativeobjects objects defictionalization productplacement
march 2010 by adamcrowe

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Gladys Santiago -- Product Displacements Explained, Part 2: Functions of Parody & Satire

'What makes fictionalized product placements so conducive to positive and memorable engagement is perhaps their utilization of tongue-in-cheek humor of parody and satire. The real brands portrayed in displacements, specifically fictionalized ones, are usually iconic and commonly known. Fictionalized displacements are created using similar phrasing, slogans and visual identifiers as their real world counterparts. While fictionalized displacements typically mimic the most identifiable characteristics of real brands, there is always something “off” about them. Even if a product displacement is not a parody and only functions as a fictionalized stand-in, viewers are able to sense and even identify “off” content. In a way, viewers interact with fictionalized product displacements more so than standard brand integrations because they are required to connect their cultural knowledge to media messages presented.' -- If it's popular enough to be parodied...

productplacement narrativeobjects liminalobjects objects parody satire
february 2010 by adamcrowe

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The Oatmeal -- How Twilight Works

'First off, the author creates a main character which is an empty shell. Her appearance isn't described in detail; that way, any female can slip into it and easily fantasize about being this person. I read 400 pages of that book and barely had any idea of what the main character looked like; as far as I was concerned she was a giant Lego brick. Appearance aside, her personality is portrayed as insecure, fumbling, and awkward - a combination anyone who ever went through puberty can relate to. By creating this "empty shell," the character becomes less of a person and more of something a female reader can put on and wear.'

psychology fiction narrativeobjects objects avatars roleplay
december 2009 by adamcrowe

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Guardian -- X marks the future of game narrative?

'Here's the interesting bit. On page 13 of the online comic, it's possible to click on a computer monitor in one of the frames. This plunges you into a sort of old school text adventure, which borrows the first line from classic of the genre, Zork. This is followed by another mini-game based around assembling genetic codes. Apparently, X will eventually be a cross-platform retail game release, which will include consoles. It will also turn up as a printed graphic novel and an online community-driven ARG. Somehow, they will all align and interact. "We've introduced a world inside a graphic novel that people can come and explore at their own pace, go as deep down that rabbit hole as they want, and join and interact with a community of other people all doing the same thing. Now, once you have a global universe evolving, and the player's experience unfolds within that universe, you have some real potential for complementary, parallel stories."'

storytelling gaming virtualworlds narrativearchitecture narrativeenvironments narrativeobjects liminalobjects objects ARG alternativerealitygaming immersion epistolary comics transmedia
november 2009 by adamcrowe

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Los Angeles Times -- IKEA's Burbank store and the guerrillas in housewares

'Brand-wise, "IKEA Heights" is absolutely harmless. In fact, Seger and his friends have essentially done for free what "Easy to Assemble" cost IKEA $50,000 to do. And done it better. As of Sept. 7, "IKEA Heights" had been downloaded 14,168 times. And yet, "IKEA Heights" has the company smiling through gritted teeth. "I thought it was very playful and fun and complimentary to our brand," Liss says. Nonetheless, she says carefully, "We didn't give [Seger] permission. People need to ask." Permission, alas, ruins it. Virality -- that must-see, must-share quality that marketers so desperately want to capture -- requires some transgression, Seger says, some stunt."Every Web job I've ever had," Seger says, "they've said, 'OK, let's manufacture a viral video.' You can't do it because so many elements of luck and charm go into making something that doesn't feel like you're selling something."'

storytelling narrativeactivism narrativeenvironments narrativeobjects objects sitcom IKEA thesims
september 2009 by adamcrowe

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Los Angeles Times -- Beijing loves IKEA—but not for shopping

'Welcome to IKEA Beijing, where the atmosphere is more theme park than store. Every weekend, thousands of looky-loos pour into the massive showroom to use the displays. Some hop into bed, slide under the covers and sneak a nap; others bring cameras and pose with the decor. Families while away the afternoon in the store for no other reason than to enjoy the air conditioning. Visitors can't seem to resist novelties most Americans take for granted, such as free soda refills and ample seating. Purchasing anything at Yi Jia, as the store is called here, can seem like an afterthought. "We want to be modern. I think IKEA stands for a kind of lifestyle. People don't necessarily want to buy it, but they want to at least experience it." -- A group of university graduates recently donned caps and gowns for photographs by the checkout aisles as if to capture the moment they matriculated to the middle class.'

china IKEA experience sampling consumerism shopping narrativeobjects objects narrativeenvironments simulation windowshopping themepark retail publics
september 2009 by adamcrowe

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Commercial Alert -- Mad Men's Secret Product Placements

'Fans of the AMC’s Mad Men know that the show, about fictional 1960s advertising agency Sterling Cooper, names other real-life agencies and brands to achieve some verisimilitude. What they may not know is that some of those are actual product placements. The show’s third season, which premiered Sunday (Aug. 16), featured placements with London Fog and Stolichnaya vodka that both brands said were engineered. -- When asked whether other brands mentioned on the show on previous seasons like Utz and Cadillac were paid placements, AMC president and general manager Charlie Collier was coy: “We absolutely have product integration on the show, but you shouldn’t know which ones are paid and which ones aren’t.”'

madmen productplacement narrativeobjects objects storytelling verisimilitude retcon via:murketing
september 2009 by adamcrowe

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New York Times -- Consumed: This Joke’s for You

'10,000 cases and counting of Brawndo have sold online or via convenience stores in the Northeast and other regions. This happened not because of a movie-studio marketing brainstorm. It happened because of an “Idiocracy” fan in Oakland named Pete Hottelet. A graphic designer with very particular pop-culture tastes, Hottelet has started a business devoted to bringing to life certain products from movies. His business is called Omni Consumer Products, a name borrowed from the fictional megacorporation in “Robocop.” -- “I watched ‘Idiocracy,’ and I was like, ‘O.K., we’re in,’ ” Kirby says. “Based on how things are going on in the world, and especially our country right now, this is a shoo-in.” He laughs as he says this, so I wasn’t sure what he meant. Are we already living “Idiocracy”? “Absolutely,” he says. “It’s all about overcommercialization.”'

transmedia narrativeobjects liminality liminalobjects objects productnarratives productplacement metabrands defictionalization merchandise simulacra consumerism satire
september 2009 by adamcrowe

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Tru Blood Beverage

'The official site to buy Tru Blood Beverage. Enliven yourself with this uniquely carbonated, slightly tart, lightly sweet blood orange drink.'

transmedia storytelling trueblood narrativeobjects objects liminality liminalobjects extradiegesis carrierobjects blood infection vampires productnarratives productplacement metabrands defictionalization merchandise
september 2009 by adamcrowe

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Omni Consumer Products

'Omni Consumer Products is a product development company located in the San Francisco Bay Area, with a focus on licensing, defictionalization, and reverse-branding.' -- Did Tru Blood

branding transmedia merchandise entertainment liminality liminalobjects objects narrativeobjects productnarratives productplacement trueblood metabrands defictionalization agencies
september 2009 by adamcrowe

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Guardian -- In-game ads, violence and the future of brand interaction...

'"Those who played a violent version of the game [...] demonstrated significantly better recall of advertised brands than those who played the regular version." -- The key message is that ads have to be malleable, useful or at least active within the game world to get noticed and remembered. As web advertisers are discovering, simply displaying a message on the digital screen is not enough... it's all about emotional connection rather than shoving a logo in your face. And game worlds are going to be a great platform for this, because they are environments in which the target audience is already emotionally invested. Violence points the way, but positive interaction with advertising messages is probably the future.'

advertising interaction design gaming virtualgoods narrativeobjects evocativeobjects objects embodiment violence
september 2009 by adamcrowe

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Marginal Utility -- Soviet Consumerism

'I tend to take it for granted that brands of products function only to help individuals brand themselves, to allow them to project certain traits along the lines described in the previous paragraph. (For producers, brands allow for the elaboration of differences between competitors’ commodities where there are more or less materially indistinguishable.) But Red Moscow suggests that brands could be contrived to close off avenues for the development of a superficial self. Nationalist brands would enlist users into helping complete the ideological project of the state, not the self—a state that may not allow for an autonomous self. Such brands would demonstrate conformity and obedience in a much more direct way than our brands.. Consumerism is soft coercion in that sense; it allows for a space where conformity can comfortably coexist with rebellion—the revolution is reduced to continually turning over one’s personal affect within a game whose rules are thereby protected from change.'

russia branding consumerism communism nationalism statism ideology propaganda realityprogramming metanarratives narrativeobjects objects
august 2009 by adamcrowe

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Los Angeles Times -- Searching for 'Blair Witch' a decade later

'These guys were never heard from again -- but their promotional savvy lives on. Many at the early screenings believed that the film's novel premise -- three student filmmakers disappear in the woods while shooting a documentary about the legend of a local witch and their footage is found a year later -- contained some grain of truth. "The blurb on the poster said this was 'found footage,' and there was nothing in the marketing to lead you to believe it was anything but that." That perception was reinforced by the movie's clever website, launched before Sundance, which expanded the "Blair" lore with bogus news reports, historical timelines and video interviews. "Did the marketing overshadow the movie? Yeah, in some respects," "Blair" co-director Eduardo Sánchez says. "But since we created 90% of the marketing, I never had a problem with that."' -- Haha-hackers.

* epistolary storytelling transmedia authenticity liminality narrativeobjects objects simulacra meta blairwitch
august 2009 by adamcrowe

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Lostpedia -- ITunes Book Club

'Dear LOST reader (and listener!), Over the first four seasons of LOST, we managed to incorporate many books into the show. Now, for the first time here at iTunes we have catalogued a list of books available in audio form that relate in some way to LOST. Some are being read by our characters, such as Sawyer, or are just sitting on shelves in episodes of the show; others connect with various themes of the series. But the audiobooks here were all carefully chosen to refelct some aspect of the story we're trying to tell. To paraphrase one of our heroes, Stephen King, to be a writer one must first be a reader (and listener!). We find ourselves constantly striving for even a small measure of the accomplishment of what these authors have achieved in their books. Pick up and download any of them and experience the richness of storytelling, character and theme, and then allow your imagination to connect all that back into our show. All our best, Damon and Carlton (Executive Producers, LOST)'

lost epistolary storytelling transmedia intertextuality narrativeobjects evocativeobjects objects books
august 2009 by adamcrowe

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Lostpedia -- Literary works

'The following literary works, references or authors have been mentioned or shown in the series to date.' -- Includes: 'Bad Twin by Laurence Shames (Ghostwriting for metafictional character, Gary Troup) Detail: 'Gary Troup delivered the manuscript of Bad Twin to Hyperion Publishing just before his fateful trip on Oceanic Flight 815.' -- '#Sawyer's books. Despite his "redneck" personality, Sawyer is an avid reader. He reads or references books in several episodes: ...' -- The conduit, the fool.

lost epistolary storytelling transmedia intertextuality narrativeobjects evocativeobjects liminality liminalobjects objects books
august 2009 by adamcrowe

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cityofsound -- Why Lost is genuinely new media

'OK, the cover is badged as a 'Lost' product, so the artifice is partly lost, but still. Generating an ISBN for the book; creating an author; having an actual book written (it's out in May); all relatively straightforward for an enterprise on this scale. All of this creates an entry in a new data-space: in this case, the Amazon database and user experience. This is the producers of the show (presumably) actually using the identifiers of other operations to provide coherent hooks for interaction around their product. Comments, discussions, tags - all could follow. How long before there's a Driveshaft CD available? (A while, I hope. Though it looks like there was a faux Myspace account for Driveshaft at one point.) One half expects the Sawyer character to turn up as an actual Flickr user, posting images from the beach, or more likely, selling bits of charred aircraft on eBay. This isn't so much product placement as identifier placement.' -- Metacontent

lost transmedia narrativeobjects objects meta productplacement productnarratives mythology additivecomprehension fandom
august 2009 by adamcrowe

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Haaretz -- Computer games to play with a can of Coke, or a plate

'... a technology that turns everyday objects like a plate or a lemon slice into gaming controllers, is launching a technology solution that could be of particular interest to advertisers. The software solution is able to identify brands, such as a can of Coca-Cola or of Pepsi, and use them to operate computer games. CamTrax Technologies boasts that its unique, patent-pending technology enables the tracking of hand-held objects in real time, with high reliability, and low CPU consumption through any standard webcam. Since it is a software-only solution, it is easily portable to virtually any platform.' -- Interesting...!

advertising narrativeobjects liminality liminalobjects objects augmentedreality interface design kipple
july 2009 by adamcrowe

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Gadgetell -- “Augmented reality” for kids by Mattel?

'Mattel is introducing a new set of toys based on the movie “Avatar” that brings augmented reality to kids. Here’s how this works: each toy (vehicle, action figure, etc.) has a 3-D tag which can be scanned using a webcam. Then the computer will display info about the character, animated versions of the character, and more pictures. Mattel also has bonus features for those who shell out extra money for the “deluxe figures.” Scanning a 3-D tag (also called a “i-TAG”) of one of these deluxe figures will lead to the “animated 3-D models [to] ‘come alive’ through engaging, evading or defending moves. Place two i-TAGs from the “Battle Pack” together and the 3-D images will interact with each other.”' -- Kewl.

Avatar virtualworlds merchandise augmentedreality narrativeobjects objects transmedia toys
july 2009 by adamcrowe

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SlideShare -- Chris Thorpe: Hiding data, content and technology in real world games

Nice little SMS treasure hunt game, 'And I Saw...' which produces crowd flow analytics for event organisers, and a 'Bond' reconnaissance twitter game that plays out in secret DM exchanges with M. Also mentions the Guardian's crowdsourced 'MP's Expenses Muckracking Game'. There's a common theme here ;^)

games gaming ambientgaming pervasive location geotagging collecting foraging reconnaissance narrativeobjects twitter mobile secrecy simonsays puppetry
july 2009 by adamcrowe

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Psychology Today -- What Your Stuff Reveals About You

On personality types being predictors of taste.

psychology personality evocativeobjects narrativeobjects selfobjects objects taste signalling synaptics
july 2009 by adamcrowe

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NYTimes.com -- Love, Virtually

'I’m starting to think that Internet romances, including Mark Sanford’s, are not romances between people at all. They’re affairs with the Internet. Watch people who are newly in love, especially any kind of love that requires that the participants keep stealthy and apart, and they’re all over their iPhones and Palm Pres. It’s P.D.A. with P.D.A.’s. Romance seems to have become an online multiplayer fantasy-adventure game, no less thrilling than World of Warcraft, and open to all ages. Apparently you’re never too old to relish using special screen names to send cryptic messages on secret decoder devices.' -- 'The connection to communications technology — the connection to connection — has become part of what makes us human. In the idiom of those who are swooningly in love, it makes us “feel alive.” When we’re denied the connection to connection, it’s no wonder we lust for it.' -- Love, temes xXx

psychology technology behaviours ambientintimacy temes relationalobjects narrativeobjects epistolary objects tethered self relationships romance love
july 2009 by adamcrowe

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BBC Radio 4 -- Front Row: Adam Curtis Interview: It Felt Like a Kiss

AUDIO CONTAINS SPOILERS -- 'Adam Curtis discusses how the show affects its audience and whether it aims to shock: "We wanted to push it because we were trying to make a political point. People are really hungry for experience these days, to actually experience things themselves, it's part of the individualism of our time. ...let's see how far we can take people, frighten them, but then make them reflect on what that fear is really about... the idea that the individual is the central supreme object of devotion of our time might not be the whole truth... its about how you turn 'stuff' into stories and that's how history is made. ...maybe you will stitch it together in different ways yourself and then at the end you turn to having your own experience which is completely fragmentary... ...most people run out screaming."'

reflexivity fear psychology individualism theatre narrativeenvironments narrativeobjects documentaries interviews AdamCurtis
july 2009 by adamcrowe

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Telegraph -- It Felt Like a Kiss in Manchester, review

Video preview inside. 'The hotly-awaited collaboration between Punchdrunk theatre company, documentary-maker Adam Curtis and Damon Albarn revels in a thrill-a-minute visceral excitement. -- ...whatever spurious empowerment you might have felt has evaporated...' -- Where to begin? Just go see it.

reflexivity theatre narrativeenvironments narrativeobjects documentaries AdamCurtis
july 2009 by adamcrowe

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Wired -- Looking into the Past

'Photographers around the world are taking part in a Flickr project that matches images of the past to the reality of the present. Jason E Powell came up with the idea, which has now inspired photographers around the world to research their area by finding old images and superimposing them onto the present-day landscape.'

photography time memory history narrativeenvironments narrativeobjects liminality liminalobjects objects
july 2009 by adamcrowe

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First Monday -- Storytelling in new media: The case of alternative reality games 2001–2009

'This paper presents five Alternate Reality Game (ARG) case studies which reveal common features and mechanisms used to attract and retain diverse players, to create task–focused communities and to solve problems collectively. Voluntary, collective problem solving is an intriguing phenomenon wherein disparate individuals work together asynchronously to solve problems together. ARGs also take advantage of the unique features of new media to craft stories that could not be told using other media. -- We suggest that the collective story that emerges during an ARG normally supplants the grand or master narrative (Lyotard, 1984) and allows players to become actors and heroes. ...the goal of these games is not to create an alternate reality, but to create a storyline that infiltrates real life. If the drive to solve collective problems could be yoked to a significant social goal, ARGs could result in collective behavior that does more than market media products.'

agile storytelling alternativerealitygaming collectiveintelligence collaboration narrativeactivism puzzle exogenous metanarratives productnarratives narrativeobjects objects narrativeenvironments augmentationistsvsimmersionists puppetry liminality liminalobjects rabbitholes campfires socialgraph storygraph agencyagency seriousgames cognitivesurplus synaptics #processing #complexity thegamingofeverydaylife
june 2009 by adamcrowe

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Down the Rabbit Hole -- The Prototype Experience: the new Facebook Connect Interactive Experience

'#The Prototype Experience with Facebook Connect. While I can’t tell you everything about it because it all depends on your imagination, I still can say that it allows you to do a horribly scaring number of things with people personal life’s data ;). I mean, when I saw what we could do with just ActionScript and the Flash platform, it made me think of the real importance of those social networks like the one of Facebook. I don’t think our police or even our government has half of the power those networks have with their data and visibility. But hé ! people chose to do it… and… we use those data for the sole purpose of this trailer and no information is kept.'

storygraph facebookconnect narrativeobjects objects
june 2009 by adamcrowe

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Experiencefreak -- Transmedia Genius or Personal Intrusion? Prototype’s Facebook Connect

'“Prototype” includes a really interesting Facebook Connect integration that weaves you (or in this case me) into the story line. You’ll have to experience it yourself here to really get it (pictures, family photos, words and profiles within are all me). Check out the video capture below...'

storytelling transmedia narrativeobjects objects data facebookconnect storygraph
june 2009 by adamcrowe

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Advertising Age -- Advertising for HBO's 'True Blood' Bends Truth a Bit

'... print ads that seem to promote real products and services from Geico, Gillette, BMW's Mini Cooper, Harley-Davidson, Ecko and Monster -- but act as if the audiences for these popular goods are vampires. HBO's idea is to play along "that fine line of fully disrupting someone's experience and at the same time immersing them in your experience," said Zach Enterlin, VP-advertising and promotions for HBO. The campaign contains many other elements, including evening weather reports on radio for vampires who might just be starting their day; a faux ad for movie theaters made to look like the ads for local businesses that normally appear before the show starts; and a faux weekly newsmagazine set to appear on HBO on Demand and HBO internet platforms that includes a segment called "The Vampire Report." That segment will cover "notable events that have occurred over the past week as vampires continue their integration into human society," according to HBO.'

transmedia storytelling trueblood productnarratives narrativeobjects liminality liminalobjects verisimilitude epistolary
june 2009 by adamcrowe

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Marginal Utility -- Meme moments

'At Murketing, Rob Walker notes the rise of an ironic T-shirt, “Three Wolf Moon”: "This is an example of an object acquiring a narrative, and meaning. If you were wearing it, and someone asked, you could tell them a story. In fact you could tell them the story even if they didn’t ask—it’s a good story!—particularly if you submitted a funny review which you can then recount. The object becomes a souvenir of a moment and an experience: The time we all got together and made fun of this T-shirt." -- ...the fact that this occurred online on a retail website makes the whole event seem contrived, even though it probably wasn’t. The network effects, the rapid scaling-up of online viral phenomena, generates the air of contrivance—for me at least—which makes all such spontaneous events seem feasibly pre-plannable. It seems as though there are always enough bored yet clever people out there on the internet to latch onto memes.' -- Rule 34

memes narrativeobjects narrativeactivism smartmobs boredom retribalization
may 2009 by adamcrowe

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Beyond The Beyond -- The New Television mutates analog television

Area Code... On people being the killer app [via Russell Davies' quotation]: "Computers are better at connecting you to another person than they are at simulating one." -- On ambient gaming: "These are games with computers in them rather than the other way around." -- Notes: Everything is an object, every object is an environment, the act reverses them... -- McLuhan: "The content of a medium is always another medium." -- *through the looking glass*... narrative objects (foreground) narrative environments (background), narrative acts (user/viewer). Shark Runner (Battleships/"it" mechanic) Shark (object) movement (act) generates map (environment) -- Numb3rs: Fake billboards (environment) for fake products (object) = Proof (act). Video game is actually an interface to !RL crypto !app via !distributedcomputing (acts-objects-environment:instance=object(!app) -- Parking Wars on FB: IDEAL-ACTION. Do(act) media(object:environment). The user is the content. Design for the event (instantiation).

* cognitivesurplus do media transmedia entertainment behaviours tv events design gaming ambientgaming mixedreality alternativerealitygaming areacode narrativeobjects objects narrativeenvironments narrativeacts via:russelldavies television
may 2009 by adamcrowe

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The Onion -- Parents Legally Change 9-Year-Old's Name To Better Reflect Current Pop Culture

'"Britney just seems a little bit old-fashioned is all," mother Heather Patterson said. "We want our little girl to have all the advantages a name like Miley, or maybe Hannah, would give her." In addition to the name change, the Pattersons announced Monday that they were expecting their first son in July, tentatively named Twitter Efron Jonas.'

popculture naming narrativeobjects objects children parenting status lulz theadvertisedlife culture
may 2009 by adamcrowe

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Always just trying 2 b authentic.

"I am just trying to create an authentic life for myself. I am just trying to fill up my apartment with meaningful items. I am just trying to create authentic art. I am just collecting some cameras from different eras. I am just enjoying a beer, relaxing. I am just collecting old magazines with pictures of nature/old stuff. I am just mashing up genres of music. I am just sitting on my authentic couch. I am just going buy some used books later that look ‘old’ and ‘historically relevant’. I am just going to buy some humble shoes." -- Haha!

HipsterRunoff narrativeobjects objects curation identity authenticity lulz satire
may 2009 by adamcrowe

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New York Music -- Hipster Runoff Explained (Maybe)

Carles: 'I generally feel "ashamed" that I am "part of humanity" who is "searching for something meaningful." (Not ashamed of humanity like I want to go on a school-shooting spree-more like I have been trained to think that my life is more inherently meaningful than every one else's.) Or like maybe I am "ashamed" that I bought the Matchbox 20/Third Eye Blind albums when I was a kid. And maybe I am "ashamed" of myself for having that in common with all of the other kids who were growing up at the time. And I might be "ashamed" that I found that meaningful. While I did listen to the AnCo song "Visiting Friends" on a winter drive with a group of people whom I love, maybe I am "uncomfortable"/"ashamed" with that meaning something. But then I kind of look back on my life as a consumer, and Amazon.com will recommend new purchases for me to create more meaningful experiences/my identity based upon previous purchases.' -- So Andy [via Warhola]

HipsterRunoff interviews authenticity identity meaning narrativeobjects objects theadvertisedlife
may 2009 by adamcrowe

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Wired -- Why Your Baby’s Name Will Sound Like Everyone Else’s

'Now that everyone relentlessly Googles baby names, parents have no excuse if they saddle their kids with the most popular names. What’s hard for parents is that what feels like your own personal taste, it’s everybody’s taste,” Wattenberg says. “It’s a no win situation - if you pick a name you like, probably everybody else will like it too.” And that’s what’s fascinating about watching the nation-level trends in baby naming. The national nomenclature is transformed living room by living room as one frazzled couple after another makes a seemingly personal decision for underlying phonetic reasons they haven’t considered. “People may think they named a child after great, great grandma Olivia, but they have a lot of great, great grandmas, and they picked Olivia because it fits the popular sounds,” Wattenberg says. And that’s how a country’s culture changes: People cherry-picking from the past as they look for a name to call the future.' -- How about choosing one that's good?

names narrativeobjects selfobjects objects psychology individualism hivemind herd conformity groupthink language phonetics #socialization
may 2009 by adamcrowe

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Made By Many -- Looking swell online: How avatars suit you by Elin

'My avatar has changed. For the past half year I’ve been writing under a stranger’s face - a “spare” avatar ... At first, I found it awkward to write and felt slightly irritated by being represented by a stranger. ... self-representation and avatar usage can be a serious matter online. The avatars we chose to represent ourselves have an impact on how we behave and also on how we’re perceived online. That’s why sites that easily allow you to change your avatar often are more engaging and interactive. People change their avatar to reflect their mood, send secret messages to other friends, display self- attributes, social role, a fantasy representation of who they want to be or they might just want to provoke. ...seeing people’s creative use of avatars make me much more interested in finding out what’s going on at a site and communicate with the people who use it."

psychology avatars performance masks identity self selfobjects narrativeobjects
march 2009 by adamcrowe

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Sherry Turkle -- The Objects of Our Lives (PDF)

"to solve her mysteries, Nancy Drew was called upon to decode an object. Nancy's deft intellect would unravel [metaphorical secrets] after days of turning the object over and over in her mind. I searched my neighborhood for mysterious objects to decode. My grandmother, grandfather, and aunt would sometimes come into the kitchen to watch me at my investigations. At the time I didn't know what I was looking for. I think they did. I'm looking, without awareness, for the one who is missing. I'm looking for a trace of my father. If there is a sense of vocation to become attentive to the detail of other people's narratives, mine was born in the smell and feel of the memory closet. That is where I determined that I would solve mysteries, that I would use objects as my clues to the heart of the matter. That is where I decided that when objects could not tell a full story, I would find a person willing to talk to me before a voice was silenced before someone was forever cut out of the picture.'

* psychology evocativeobjects narrativeobjects objects puzzle mystery science transparency reflexivity missing SherryTurkle pdf
february 2009 by adamcrowe

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Luke Freeman -- Transmedia Storytelling: The Art of World Building

'...separating the narrative (or fictional world) into kernels (pivotal events/knowledge) and satellites (elaborate events, non-essential to understanding the greater narrative). ...narratives from the fictional worlds are exploited across different media ... strategic gaps in a narrative evoke a delicious sense of ‘uncertainty, mystery, or doubt’ in the audience.” Fan fiction can be conceptualised as the unauthorised extension of these intellectual properties in new directions reflecting desires of the reader to “fill in the gaps” that they see in the commercial narrative (Jenkins 2006)' -- 'Herman (2004) suggest that transmedia narratives are exploited in media-specific ways. For example, a video game will exploit the narrative differently to a book or a movie as well as making different contributions to the fictional world.'

transmedia storytelling narrativeobjects narrativeenvironments narrativeactivism canon fanon additivecomprehension mystery
february 2009 by adamcrowe

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Flickr -- Operation Wrath of God cloth badge on

The badge worn by American troops participating in Operation Wrath of God (1970-1971) initiated by the deployment of Dr Manhattan in Vietnam." -- COMEDY TRAGEDY

watchmen narrativeobjects
january 2009 by adamcrowe

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Sherry Turkle -- Authenticity in the Age of Digital Companions (PDF)

"Eliza had a strong emotional effect on many who used it. Weizenbaum was surprised that his students were eager to chat with the program and some even wanted to be alone with it. What made Eliza a valued interlocutor? What matters were so private that they could only be discussed with a machine? Eliza not only revealed people's willingness to talk to computers but their reluctance to talk to other people. Students' trust in Eliza did not speak to what they thought Eliza would understand but their lack of trust in the people who would understand. Relational artifacts have become evocative objects, object that clarify our relationships to the world and ourselves. People who meet these objects feel a desire to nurture them. And with this desire comes the fantasy of reciprocation. People begin to care for these objects and want the objects to care about them."

psychology authenticity emotion sentience aliveness affectivecomputing robots robotics toys toyfriends companions nurturance empathy therapy technology simulation relationships relationalobjects objects self performance narrative narrativeobjects paro tamagotchi selfobjects projection narcissism replicants uncanny SherryTurkle pdf
january 2009 by adamcrowe

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Twitter / _S_A_R_A_H_

"Self Actuated Residential Automated Habitat"

Eureka sciencefiction tv twitter narrativeobjects narrativeenvironments television
january 2009 by adamcrowe

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Wired -- Scott Brown on Why Hollywood Needs a New Model for Storytelling

"John McClane, NYC cop, arrives in LA to reconcile with his estranged wife—but we already know all about their failing marriage from the ARG we've been obsessed with for the six months leading up to the movie's release. (McClane's potemkin Tumblr blog was especially illuminating.) With exposition rendered obsolete, we open instead on a Sprite commercial, which transitions seamlessly into furious gunplay. We don't even see McClane in the flesh, but our handsets are buzzing with his real-time thumb-tweets: "in the air duct. smelz like dead trrist in here lol." The film then rewinds to McClane Googling "terrorists" to read up on his adversaries. We then flash-cut to the baddies' POV, which we're familiar with (and sympathetic to) thanks to the addictive Xbox hit Die Hard: Hard Out There for a Terrorist. This is all part of the Action-Happening Plateau, an intensifying mass of things and stuff leading up to the Mymaxtm.... " -- Haha! Check the comments

* storytelling transmedia narrative narrativeacts narrativeenvironments narrativeobjects storygraph poetics
january 2009 by adamcrowe

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THE NEW FRONTIERSMAN

"Better blue than red."

watchmen narrativeobjects narrativeenvironments epistolary storytelling
january 2009 by adamcrowe

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russell davies -- from product to project

On howies Hand-Me-Down bags: "I've been thinking about how I can continue to projectise this product. And how this bag can have a 10-year + story. So I'm trying to add spimeiness to it and to use internet stuff as a memory aid for this thing. imagine telling the story of the life of the bag that way, keeping it as a project not a product. But what would be really nice would be if it could tell its own story more. Generate its own data. I could attach an RFID tag, but I'm not quite sure what would ever read it. I guess ideally it would have it's own GPS logging stick sewn in. Or something." -- Perhaps the dirt it picks up is sent off to a lab for analysis... On-board arduino and light sensor for bag = open/closed monitoring... Weight check in/out on departure/arrival...

productnarratives narrativeobjects storytelling epistolary memory data spimes
january 2009 by adamcrowe

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howies -- brainfood: hand me down bag

"Every stitch, every zip, every little feature considered. The weakest points made strong. Then, and only then, have we made something that will last the test of time. Guaranteed for a minimum 10 years. Each product will come with a hand me down contract. You will sign who you want to leave the product to. This is legally binding." -- Microsite: http://hmd.howies.co.uk/

product design productnarratives provenance narrativeobjects sustainability via:russelldavies
january 2009 by adamcrowe

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YouTube -- My Home 2.0 Trailer

"Check out Lloyd, Yue, and Brian as they tech out the Kaczor's house! " -- More related videos of other families

socialmedia marketing verizon serviceecologies transmedia storytelling entertainment realitytv productnarratives narrativeenvironments narrativeobjects archetypes makeover transformation casestudy campfire
january 2009 by adamcrowe

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Adweek -- Social Media: Building on Tradition

"My Home2.0 is a makeover/reality show that documents tech-challenged families learning to use the screens, gadgets, and tools that FiOS enables. The show provides a platform to unite previously disparate efforts, and to provide a communications stream reflecting the family's stories -- online, on TV and in person -- with FiOS as a subtle superhero. But what's particularly compelling is how we are able to use many of the tactics I already had at my disposal, ranging from local parties to door hangers and gas giveaways, in new and more effective ways. With the promise of being part of a TV show, door hangers have become invitations, not junk mail. Gas buy-downs are transformed into show-themed promotions. Local events become casting calls. The TV show drives new and different conversations between Verizon and customers or prospects -- both in person and online."

socialmedia marketing verizon serviceecologies transmedia storytelling entertainment realitytv productnarratives narrativeenvironments narrativeobjects transformation casestudy campfire
january 2009 by adamcrowe

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Seed -- The Romance of Objects

"Given the opportunity, children will make intimate connections, connections they must construct on their own. But at a time when science education is in crisis, many of us discourage the object passions of children, perhaps out of fear that they will become "trapped," learning to prefer the company of objects to the company of other children. Indeed, when the world of people is too frightening, children may retreat into the safety of what can be predicted and controlled. This should not give objects a bad name. They can make children feel safe, valuable, and part of something larger than themselves. They are points of entry to transformative experiences, experiences that often emerge as they are shared."

psychology relationalobjects objects narrativeobjects socialobjects learning play simulation experimentation transformation SherryTurkle
january 2009 by adamcrowe

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SPARKS Series

'SPARKS, a quirky new web-based serial about the stories--and the new modes of storytelling--that new media technologies are provoking in people's lives: "Equal parts absurdist comedy, mystery, and documentary, Sparks is a web-based serial about humans and technology. The story follows 30 year-old Sarah Sparks in her quest to serve the tech-dependent citizenry of New York as a freelance technologist. Her special "connection" with technology, however, takes her far beyond simple repair jobs, and into both the lives of her clients as well as some of the city's darkest, most chaotic corners.' -- "My computer, Dennis. At first he was everything the advertisements said he would be. But then after about two years there was trouble..." -- Brillziant!

storytelling productnarratives narrativeobjects relationalobjects objects pets relationships nurturance technology therapy
january 2009 by adamcrowe

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The China Post -- Man petitions for cartoon marriages

'A Japanese man has enlisted hundreds of people in a campaign to allow marriages between humans and cartoon characters, saying he feels more at ease in the “two-dimensional world.” Taichi Takashita launched an online petition aiming for one million signatures to present to the government to establish a law on marriages with cartoon characters. Within a week he has gathered more than 1,000 signatures through the Internet. “I am no longer interested in three dimensions. I would even like to become a resident of the two-dimensional world,” he wrote.'

manga comics objects narrativeobjects virtualworlds idoru relationships japan
january 2009 by adamcrowe

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Tropes -- Television Tropes & Idioms

"Tropes are storytelling devices and conventions that a writer can reasonably rely on as being present in the audience members' minds and expectations." -- Lore!

* storytelling narrative archetypes objects narrativeobjects narrativeenvironments narrativeacts entertainment writing wiki
december 2008 by adamcrowe

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Flickr -- OMG MACRO! [p52 w1]

Yup.

transmedia storytelling objects narrativeobjects rabbitholes intertextuality starwars indianajones fandom
december 2008 by adamcrowe

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Hornby -- Products: Lyddle End

http://russelldavies.typepad.com/planning/2008/11/speculative-mod.html

alternativehistory prototyping space storytelling objects narrativeobjects narrativeenvironments productnarratives
november 2008 by adamcrowe

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Ex Astris Scientia -- NASA References in Star Trek

"It is not surprising that Star Trek frequently shows pictures or verbally refers to people, spacecrafts and events of real space exploration. One motivation, especially during The Original Series (TOS), was to save costs by using footage of rocket launches or pictures of probes that the script called for. Also, photos and models of 20th century spacecrafts are popular as set dressing, and they are welcome to tie together the real world and the Star Trek Universe. Finally, references are deliberately included to honor astronauts and other men and women working for the exploration of space. Naturally, as an American TV series, Star Trek focuses on the National Aeronautics and Space Administration (NASA) whenever references are deemed necessary or beneficial. The following list comprises all kinds of visual and verbal references to real NASA space programs."

sciencefiction startrek nasa productnarratives storytelling objects narrativeobjects vernacular exposition alternativehistory
november 2008 by adamcrowe

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Wikipedia -- Wimpy

"The Wimpy brand was created in the 1930s. The name was inspired by the character of J. Wellington Wimpy from the Popeye cartoons created by Elzie Crisler Segar. Eddie Gold was running 12 restaurants by the early 1950s, when the concept of fast food came to the attention of the directors of J. Lyons and Co. Lyons licensed the brand for use in the United Kingdom and in 1954 the first "Wimpy Bar" Lyons was established at the Lyons Corner House in Coventry Street, London."

wimpy productnarratives storytelling objects narrativeobjects branding
november 2008 by adamcrowe

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Russell Davies -- Speculative Modeling

"How about I get a load of Lyddle End properties and we try and build a version of what we think Lyddle End might be like in 2050? Everyone who wants one gets a little building and they have to alter it, mod it, change it, play with it, to reflect how they think the world will be in 42 years time. Then, we'll put them all together, either physically or through the magic of photography, and see what it might tell us about our visions of the future. I can't help thinking we might be able to build ourselves a rather intriguing speculative diorama."

alternativehistory prototyping space storytelling objects narrativeobjects narrativeenvironments
november 2008 by adamcrowe

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Metacortechs

"Serving you into the 21st Century" (Meta-Cortex)

matrix fanon fandom fanfiction alternativerealitygaming narrativeenvironments objects narrativeobjects archetypes corporation prison
november 2008 by adamcrowe

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Twitter -- Xerox914

"#Bio The Xerox 914 photo copier proudly serving the Madmen of Sterling-Cooper. #Web: http://en.wikipedia.org/wiki/Xerox_914" -- :))

* madmen twitter narrativeactivism xerox productplacement productnarratives objects narrativeobjects transmedia storytelling
october 2008 by adamcrowe

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Wikipedia -- Redpill

"A Redpill is the term used to describe a human who has been freed from the Matrix, a fictional computer-generated world set in 1999. Bluepill refers to a human still connected to the Matrix."

matrix philosophy ignorance insults storytelling objects narrativeobjects archetypes sword
october 2008 by adamcrowe

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Wikipedia -- I, Robot (film)

"The film makes heavy use of product placements for Converse, Chuck Taylors, Ovaltine, Audi, FedEx, Dos Equis, and JVC among others, all of them are introduced within the first ten minutes of the film. One particularly infamous scene borderlines into actual advertisement territory in which a character compliments Will Smith's character's shoes to which he replies "Converse All Star. Vintage 2004" (the year of the film's release)."

productplacement storytelling objects narrativeobjects
october 2008 by adamcrowe

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BLADERUNNER analysis / review by Rob Ager

"Continuing with the notion of false or confused memories, as Batty gives Deckard his “Tears in rain” speech, a TDK logo shines brightly behind him. Batty, “All those moments will be lost in time, like tears in rain. Time to die”. TDK is a Japanese corporation that has famously manufactured audio cassette tapes, vhs video tapes and other recordable media. And in case you’re thinking this is co-incidental, look behind Deckard as he analyzes Leon’s photo on his computer monitor. Outside his window is an RCA logo, another corporation that specializes in recordable media."

prodyctplacement productnarratives narrativeobjects objects memory bladerunner
october 2008 by adamcrowe

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Wired -- Video Gallery: Top 10 User-Created 'LittleBigPlanet' Adventures

"#7. Duckroll mobile by Tempy-kun: This level is just a riff on duckrolling, the soon-to-be-forgotten internet meme that spawned the far more popular Rickroll. Defining moment: So why is this here? Because even silly levels like these have serious benefits: Users can take the Duckroll mobile and use it in their own levels. It'll still contain the original creator's ID in the metadata."

littlebigplanet memes lulz toys narrativeenvironments objects narrativeobjects gaming levels gamemechanics gameplay content mediaclouds storytelling transmedia
october 2008 by adamcrowe

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Just Press Play -- Dexter Gets His Own Newsstand

"If you happen to pass San Francisco's Union Square in downtown, you'll see that a rather peculiar newsstand was erected with the name Dexter and a date. This Dexter Newsstand is there to promote this coming Sunday's Season 3 premiere of the hit Showtime series of the same name. Earlier this month, several mock covers of real magazines with Dexter on them were seen on the show's official Facebook group. Apparently Showtime took the concept further than a cover and actually published these mags—though they're only about 6 pages long. These magazines were available for "purchase" at the Dexter Newsstand."

transmedia exogenous productnarratives objects narrativeobjects storytelling narrativeenvironments magazines celebrity verisimilitude vernacular via:waxy fame
october 2008 by adamcrowe

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Zazzle.com -- What'll it be, Daddy? Poster by nobodyssweetheart (Mad Men)

"Teach your children bartending for fun and profit A lovely item to decorate either the bar or the nursery, this poster illustrates several vital concoctions that should be in every wee mixologist's repertoire." -- Narrative Acts

madmen narrativeactivism narrativeacts objects narrativeobjects transmedia storytelling productnarratives printing
october 2008 by adamcrowe

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nobody's sweetheart -- Mad Men Icons

"Make a donation via Paypal" -- Narrative Economy

madmen narrativeactivism objects narrativeobjects narrativeenvironments storytelling transmedia
october 2008 by adamcrowe

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Wired -- Fans Reconstruct Doctor Who's Trashed Past

'Though the archives destroyed the videotapes of the lost shows, the audio tracks remain. The "Beeb" offers narrated audio productions of the lost stories. In addition, the section of BBC's website covering classic Doctor Who offers free photo novels using the old programs' original scripts and still photographs taken during production. So, some industrious fans took it upon themselves to fill in the gaps. Borrowing the audio tracks, they merge their own visuals to reconstruct the missing story -- sharing the videos freely on services such as YouTube.' -- Leave gaps.

narrativeactivism objects narrativeobjects fanon fandom fanfiction doctorwho remix storytelling transmedia
september 2008 by adamcrowe

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Wired -- LittleBigPlanet Transforms Players Into DIY Gods

'Unlike the abstruse 3-D design and physics programming that most game development requires, this experience is meant to be as simple, intuitive, and addictive as the gameplay. "We're all really into music," says Alex Evans, cofounder of the game's developer, Media Molecule, "and we see this as a form of jamming."' -- "User-generated gaming"

gaming games gamemechanics tools narrativeenvironments storytelling objects narrativeobjects littlebigplanet
september 2008 by adamcrowe

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Bruce Sterling -- "Computer Entertainment," Flurb #6

"... these are the weird ones—the convergence culture people. They will play your game all right, but they play it while using six or seven other kinds of media. They don’t make any distinction between the media they use. They use the networks as a meta-medium. They don’t play the roles in your role-playing games. Convergence people are metamedia people who are looking for meta-fun. Not your fun. Their meta- fun. Why are they important? Because they are you. You’re outside the game because you developed it, and they want to be in the same space that you are in. They’re super-knowledgeable game fanatics. They’re the people from whom you recruit your own talent."

BruceSterling gaming thegamingofeverydaylife entertainment meta metanarratives objects narrativeobjects storytelling narrativeenvironments narrativeacts
september 2008 by adamcrowe

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Wired -- Products Placed: How Companies Pay Artists to Include Brands in Lyrics

Kluger: "If an artist like Sheryl Crow has the same target audience as XZY brand, we feel it's nothing but a strong and strategic way to pinpoint a market. Now, we don't want an artist to write a song specifically to promote a brand, we just feel that if it's a product that's admired by the artist and fits his/her image, we now have the capability of leveling out the playing field and making things financially beneficial for all parties involved. 'Brand-Dropping' is the term that the Kluger Agency coined to describe discreetly advertising by product mentioning in song, and we feel we can make this the way of the future without jeopardizing any artists creative outlet or typical style." -- Pop will eat itself.

advertising productplacement music brandmodels storytelling objects narrativeobjects narrativeacts
september 2008 by adamcrowe

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The Kluger Agency

"The Kluger Agency specializes in getting brand names and products in front of large targeted markets by means of relevant yet discreet placement in Chart Topping Songs, Music Videos, and Industry events."

agency music productplacement storytelling objects narrativeobjects narrativeacts
september 2008 by adamcrowe

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Despoiler -- Cloverfield: Slusho

"Created by Tagruato C.E.O. Ganu Yoshida, Slusho! brand happy drink is a icy cool beverage that is rapidly becoming one of the company's most profitable expenditures. Slusho! contains a "special ingredient" that customers can't get enough of. Bearing the slogan, "You can't drink just six!", Slusho! has grown to the second most popular frozen drink in all Asian markets. Hip adult drinkers have begun concocting deliciously intoxicating alcoholic mix drinks starring Slusho! The beverage's popularity has spawned overwhelming sales of brand apparel, a hit theme song, and coming soon: an animated television show starring the Slusho! Flavor Droids! The next step is to introduce Slusho! to the rest of the world. A search is on for top marketing professionals who will be tasked with duplicating the drink's Asian popularity in the Western market. Our aspiration is to one day place Slusho! dispensers in every convenience store and mini mart. Slusho zoom!"

* slusho JJAbrams transmedia productnarratives liminality liminalobjects objects narrativeobjects socialobjects marketing storytelling macguffin
september 2008 by adamcrowe

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Wikipedia -- Bertie Bott's Every Flavor Beans

"Bertie Bott's Every Flavor Beans were based on a product featured in the Harry Potter book series. The company discontinued this line in 2007."

productnarratives objects narrativeobjects metabrands harrypotter storytelling transmedia
september 2008 by adamcrowe

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Wikipedia -- Audi RSQ

"The Audi RSQ is a mid-engined concept car developed by Audi AG for use as a product placement in the 2004 sci-fi movie - I, Robot. It is meant to depict a technologically advanced automobile in the Chicago cityscape from the year 2035."

productplacement productnarratives objects narrativeobjects storytelling narrativeenvironments irobot audi
september 2008 by adamcrowe

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PRNewswire -- Product Placement in the Film "I, Robot" a Huge Success: The Audi RSQ Spurs on the Brand's Image Ratings

"For the first time in the history of product placement, Audi had developed and built a vehicle explicitly for a Hollywood blockbuster. Audi designers created a vehicle for the fictional world of the future of "I, Robot" in the year 2035. The resulting Audi RSQ sports coupe is a visionary interpretation of the typically Audi design language. Importantly, the car had to remain recognisable as an Audi for all its extreme form."

productplacement productnarratives objects narrativeobjects storytelling narrativeenvironments irobot audi
september 2008 by adamcrowe

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Brand Brigade

"#What is Digital Product (or Brand) Integration?: Digital Product (or Brand) Integration is the insertion of a brand or product into a television show or movie segment using computer technology to embed the image seamlessly into the content. It is also referred to as Virtual Advertising or Digital Product Placement."

productplacement objects narrativeobjects storytelling narrativeenvironments
september 2008 by adamcrowe

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