Even though narratology was conceived as a transmedial endeavour from its very beginnings in Russian formalism and French structuralism, most of its more influential models have been – and continue to be – developed in the context of literary criticism and film studies. In contemporary media culture, however, the creation of storyworlds is not limited to literature and traditional feature films. Rather, emerging forms of multimodal and interactive narration, experiments with the distinction between fictional and nonfictional narrative, various forms of intermedial adaptation, and attempts at ‘transmedia storytelling’ create new ways of presenting narrative content, thereby calling attention to the affordances and limitations of different narrative media as well as to their potential for cooperation. The increased interest in the relation between media and narrative sparked by the development of digital technology and the recent proliferation of delivery techniques in the context of media convergence has reinforced the need for an interdisciplinary and transmedial narratology that studies storyworlds across media.

The problem newspapers face isn’t that they didn’t see the internet coming. They not only saw it miles off, they figured out early on that they needed a plan to deal with it, and during the early 90s they came up with not just one plan but several. One was to partner with companies like America Online, a fast-growing subscription service that was less chaotic than the open internet. Another plan was to educate the public about the behaviors required of them by copyright law. New payment models such as micropayments were proposed. Alternatively, they could pursue the profit margins enjoyed by radio and TV, if they became purely ad-supported. Still another plan was to convince tech firms to make their hardware and software less capable of sharing, or to partner with the businesses running data networks to achieve the same goal. Then there was the nuclear option: sue copyright infringers directly, making an example of them.

The finalists for this year's Games Media Awards have been revealed ahead of October's ceremony in London.

Organisers have whittled down the list of finalists from thousands of nominations, with 17 magazines, 20 websites, podcasts and blogs, and 26 writers up for an award, with the winners to be chosen by a panel of industry figures.

Over the past 2 years, the relatively close knit blog universe has exploded in a massive confluence of social expression and corporate reaction. A cottage industry of owner-operators, trawling social media on behalf of themselves and others, has cropped up in lofts, dorms, agencies and iPhones.

These are the new social media Community Managers and corporate is clearly looking. This post offers a granular look at crucial skills, essential duties and a job description for the CM role.

The Breakdown: A lot’s been going on in the Content Strategy community. Rachel takes a moment from her packed schedule to talk about some of them, including April’s Content Strategy Forum in Paris.

Our Mission - To explore the rich cultural genre of games; to give scholars a peer-reviewed forum for their ideas and theories; to provide an academic channel for the ongoing discussions on games and gaming.

Game Studies is a crossdisciplinary journal dedicated to games research, web-published several times a year at www.gamestudies.org.

Our primary focus is aesthetic, cultural and communicative aspects of computer games, but any previously unpublished article focused on games and gaming is welcome. Proposed articles should be jargon-free, and should attempt to shed new light on games, rather than simply use games as metaphor or illustration of some other theory or phenomenon.

Here you find links and information about nearly 175 free
PDF mags from all over the world with main focus on art, design, illustration and culture...

GamesIndustry.biz is the market-leading online resource for news and information about the global videogames industry, covering all aspects of the interactive entertainment value chain from development through to retail.

The above presentation helps to visualize how social technologies change business, ecommerce, and corporate websites. When I heard Mark Zuckerberg tell us how Facebook connect would be linked with different websites, I had a feeling of how dramatic this would change the web –and wrote this piece What ‘Facebook Connect’ Means for Corporate Websites.

The project has three general objectives. The first objective is to describe kids as active innovators using digital media rather than as passive consumers of popular culture or academic knowledge. The second objective is to think about the implications of kids' innovative cultures for schools and higher education and to engage in a dialogue with educational planners. The third objective is to advise software designers about how to use kids' innovative approaches to knowledge and learning in building better software. This project will address these objectives through ethnographic research in both local neighborhoods in Northern and Southern California, and in virtual places and networks such as online games, blogs, messaging, and online interest groups. Our research sites focus on learning and cultural production outside of schools: in homes, neighborhoods, after-school, and in recreational settings.

WNYC 93.9 FM and AM 820 are New York's flagship public radio stations, broadcasting the finest programs from National Public Radio and Public Radio International, as well as a wide range of award-winning local programming.