Multimodality thinking

Posted on by KH

In her recent podcast on Multimodality, Professor Tara BRABAZON mentions McLuhan – https://tarabrabazon.libsyn.com/smash-cut-multimodality – In his recent blog post, Professor Henry JENKINS mentions him too – https://bit.ly/3mhjA9B – Recently, I spoke briefly with Professor Manuel ZACKLAD – https://www.zacklad.org/ – about my research project and I also referred to McLuhan, but this time with a sense of humor, as I know that researchers like to have references that are up to date and in coherence with the most recent advanced work in their field. I am a beginner in research though I am an experienced thinker in real life with an overview of the ‘trans-formations’ we endeavor as humans. Therefore I understand very well that one can not agree with the Message: “The Message is the Medium” (McLuhan) and even more nowadays in 2020. 

In 2010 I was conducting experimentation in an artist residency about the idea of transmedia and it came to me and my team of crazy indies that we still do not know about what is the most important between the message and its medium… Today, I can confirm that the most important is not to find an answer but to continue to reflect on the idea of the complexity of multimodality and to envision this topic as part of the media literacy that should be taught in school early. The ability to consider the question of messages versus media is just enough of a problematic to be studied forever and so McLuhan will never be obsolete as it triggers the strings of the gigantic puppet shows we live in.

The idea of transmedia that I carry for 10 years is illustrated in my mantra I used to post on social networks: “transmedia is to the media what contemporary art is to the arts“, it shows that it is very difficult to have easy explanatory access to this concept and that it is as subjective as the appreciation of art. To simplify the comprehension of the transmedia concept I often use the idea of the traditional postal card that one receives via the post office: if you have one chapter of a story on that card, and another chapter in your phone, and another chapter in… That is already a transmedia approach! Just thinking out loud…

P.S.: Thank you Fernando CARRION for posting in the Transmedia Education group and, as usual, I have so much gratitude de TARA BRABAZON for the extraordinary work that she provides for all PhD candidates, professors and students. The generosity and the accuracy that emanates from Tara’s work is very profitable to our times.

Transmedia Diaries #02

Posted on by KH

A blog series I was holding back to leach the substance of how I came up with all that “stuff”. Not a transmedia work as a form of communication, but a piece of storytelling with text about the stories happening while working on the transmedia concept itself, as an indie creative researcher, in order to co-design the future. It started in December 2010 with a corner-stone on the French Wikipédia. French native, yes, still a transmedia advocate. My way.

Past serves the Future via the Present.

Some people are born greedy. How come? And what’s worse? The hypertrophy of the ego is worse. No, it’s not the same, though they do associate very well.

A former high school friend was born in a greedy family but as I was 15 I had no idea what it meant and I was intrigued by their materialistic way of life. She was a girl lost in a malish jewish family-hood, lacking attention and transforming her needs into authority at school, trying to control us, kids. Living in Cannes on the French Riviera does not help a teen to prepare for the 21st century (and beyond). Tough my creative career was made possible by the fact that I was involved with the cultural and public life of the city very early, I did wonder how much I could bear with the materialists, the greedies and the opportunists. I could never imagine they could also lie. We learn.

After 15 years of promotion of the “Indie American Cinema” in Cannes and elsewhere, as well as promoting my “French Short Films Wave” of the ’90s, I quit from my job in Cannes (and New York, and Paris) on the spot. I gave up. Fed up.

Sandy Mandelberger, former Director of the IFP and other agencies of the film industry, arrived at my home in the early morning with the press kits of the indie movies made by American young directors to hand them to me for their dissemination. In Cannes, we wake up very early to either get to the press screenings at 8 am, or place the materials in hotels lobbies before breakfast. Well, not all festival attendees do that, but the professionals, the ones working at the film market. No film market, no Cannes. No Cannes, no international film and television industry system. Of course over the years the Cannes film festival changed, in the 80s-90s the film industry was “still” great. Sandy and I were pioneering and I thank him for hiring me in New York when I was a film student.

I opened the door and said to Sandy that I quit. I did not want to work for the promotion of nasty film directors, greedy producers, or even great artists, because great artists make you miserable sometimes. The pay was too low for the assets I was putting on the table. I also was a short film director and wanted to produce my first feature, I had a non-profit on my own to work on cultural events with valuable partners, so doing this job every year and sometimes for events in other cities, was too much work for little money. In the film and TV industries, the most valuable asset is your network. Mine was valuable, it was a pity to waste it for the promotion of people with hypertrophy of the ego who will not be here the next year, or ever.

20 years later.

The Cannes high school friend became a mother, working with her brother, or should I say “for” a brother, then “for” her husband. Really? No time for being creative, create her public exposure, be in the fields, learn the real world outside family life, real-world that she never actually experienced on her own. Her husband, one of those other teens from Cannes (really?) became a greedy film producer. Almost logical. Working in France makes it possible for a smart greedy person to benefit from the subsidies and grants from the government agencies (this worth an article…) and to network with the industry in order to build a business that is making money even if it is not providing valuable artistic or cultural assets. I had met hundreds of those. I even worked for some. In this case, there was the common subtle unhealthy distortion of what we call “author’s rights”. He was able to make more money as an author than a producer, using the techniques of the French system for the sake of copyright. That is another story, let’s go back to the “wife”, the sister-mother dying for real professional or creative life.

2009, Europe.

I was building an international community for the sake of the Creative Commons. My political investment changed my life. Instead of working “for” the creative industries, I preferred to change it for the sake of ethics and because I was not aligned with the way the French system was working, not even the European system which I know very well. My strong international network and my habits with public relations and the creative businesses allowed me to be fast-building non-profits organizations and innovative tools and communities. New York was still my ideas box and my second home. I met Lance Weiler in London though, where I also saw several of my peers, when we all got “Transmedia Ready” (explanations to come in the next post).

2010, Paris.

I ask my former high school friend, the “wife-mother-sister”, to join me in the launch of a company because she has know-how I do not have, such as business management. I recalled of her as being an unfair greedy person but I was sure that she could understand the opportunity that I was describing. In this, I was very right. I thought that partnering with a long time friend from school, will avoid the issues I had in the film industry before in partnering with male-minded greedy producers (see, #meetoo). I asked her to co-found the company. The corporation. I would still have the non-profits on the other side for political and public activism as I did not want to mix the two. This is crucial.

One cannot mix public and private activities when advocating for a concept, for a cultural statement, for change activism, for politics, for social change, or even sustainable life or business. It just does not work overtime. We all tried. One can build a non-profit and a corporation on the side, but the non-profit shall be the private agency for the private money system. Clear. For more than 10 years I was not really making money with Transmedia Ready, I even lost some. Same with Transmedia Meetups (started December 2010), Transmedia Alliance (launched in 2013), and all collaborative workshops such as Barcamps and hackathons. But it was possible to build an on-the-side Transmedia Ready studio or agency to pay ourselves so I can continue to do the necessary activism that was supposed to change the rules at the level of the European Commission. Ambitious? Possible.

There was a good long term strategy for cultural change. Trying to change rules in the ecosystem of the French creative industries was not possible as the copyrights law is also controlled by Europe and the economic and business models are also controlled by Europe, as in any other industry. Even if the idea of Authorship is historically French, even if this money wise copyright protection paid smart greedy opportunists such as the “high school friend’s husband”. (One needs to know the tricks to get money from gov. agencies and copyright unions, but it is worse learning).

Money from the audiences (you and I) enters the public European or French bank accounts and, remains there (…), then it is used for subsidies, sometimes some grants too, to the ones who can manage the rules. That built the actual system we are in. For how long still? There are millions of euros in Luxembourg. Brussels, Geneva, and Strasbourg where the European Parliament is. “They” vote in Strasbourg, but the management offices are in Brussels, and sometimes in Luxembourg (not really in the Union), for instance, Eurostat, the European body for statistical studies is a huge building with some empty offices and lots of well-paid agents in Luxembourg (I worked there as a freelance producer).

2011, Paris.

Back to the girl from Cannes. She litterally said: “I will have a good salary, I’m worth 5.000 euros per month, I’m used to make money. Not like you“. Shocked. I was still in the memory of my best summer ever in 2010, at the “Digital Peak”, filming a hacking camp in the mountains of the South of France, with great open-minded people about the Commons and the Open Source. I was building an open-minded community for Change in the current cultural habits destroying the fairness of the creatives, the pioneering, the sense-making of future generations in the media, museums and schools. And, hopefully, reach the decision-making commissions in Brussels and professional gatherings such as market places and conferences. Dream versus utopia.

Nevermind. I took “her” with me to New York, Los Angeles and San Francisco (but once she got the authorization from the family to leave home… humor). Our items of luggage really do not look the same! I had no idea, I just was so much into trusting some other transmedia activists abroad, that I let her took over my network. I did not know what she was preparing behind my back. One cannot say that this is a typically female jealousy issue because I had a similar story with a male New Yorker. A transmedia advocate turned a smart open community of pioneers into a corporation and, even worse, into a trademark. He also used my European strategy to copy-paste, spreading his trademark in several cities including France.

Long term strategies work only with long term ethics.

Backed-up by her greedy unfair husband, the former high school enemy was able to convince some people to work for her, even for free, and not work with me. In one year, I lost friends, investment, and self-esteem. My reputation was attacked and it was spreading all over the international community. Just the fact that I was carrying this “greedy not-so-smart woman” with me in public places made me lost friends because they could not understand why I was with her, or her with me, using my brand.

One day in her home in Paris, straightforward, no introduction: “My husband has nothing to do with this as I take my decision alone but I do not need you, I can do it alone and start my own company”. Done. She also wanted to use the very same business cards. Why did she say that her husband was not involved? Follow my thoughts… I had betrayals in the film and television industry with partners, that was the reason I wanted to work with a high school friend, for the trust. Breaking. She said I could keep the brand… Thank you. She just used the same word without “Ready”. Then she did the copy-paste strategy. Talking a lot was easy for her and by using Names she convinces some naive debutants to get into projects pioneering from the Open Culture and the Open Innovation. Other advocates just did not know anything about this as they all thought she was still associated with my own values, name and network.

The backstories are worth to wait for the revelations when one can judge the real success. Is it money, fuzzing social media (fake statements), or long term ethics?

Today transmedia is developed as a concept by different social groups. One of them is academia, especially in the Spanish language. I never left. I waited. “Transmedia is to the media what contemporary art is to the arts”. I had submitted this statement to the approval of my mentor Brian Clark (passed and missed 1968 -2015.) before making it public. I honor him also for helping me to see the ideas to use in my research, for instance, the Phenomenology theories in philosophy. My statement is still valid. I did doubt. It is mine but I do not need to trademark it (follow my thoughts…). As long as I shared it with smart fair peers and some researchers, I am happy to be an innovative person making a difference for the future, even if painfully broken, especially by greedy opportunists with the hypertrophy of the ego: that disease does not heal, and is not contagious, we wait and they are gone!

Sustainability in the strategies, and with the content, is key. That is the future.

Past serves the Future via the Present.

And-Joy.

@KHenthusiams is @TransmediaReady – A Think & Do Tank since 2010

Tolkien and I at the BNF

Posted on by KH
I arrive at the giant door of the library. “Bibliothèque National de France“. A series of beautiful buildings commissioned by the former President of France, François Mitterand, dedicated to knowledge and research, as he was a highly educated man fan of literature.
Celebrating my very fist day in this life as a researcher, with a free access to the research section, committed to a new level of my own independent, pragmatic and transdisciplinary research. I organised my day: it is more difficult because of the issues I have encountered in my professional and personal life in the 5 recent years. I act as a handicapped woman to make sure I am going to be safe, nurtured, and able to accomplished some work. I have much less ability for huge tasks these days but my understanding of disciplines and techniques became much more accurate at the same time. My overview of 50 years of self learning, traveling, meetings, studies, art and work, provided to my mind (and heart) a lot more of global understandings and desire for making sense.
I enjoy and get prepared. The goal is to write.
The BNF has an agenda for cultural exhibitions. I am not concerned, at first, and I am not even interested since I have to commit to my goal, and it is hard. So I fake not seing the signs. I recall having been here before for my master degree in political communications, but I have forgotten all the details.
I have seen that TOLKIEN was the title of the exhibit but I was pushing his name away because I did not want to be influenced. Can one transmedia creator or academic not get influenced by Tolkien?
Tolkien storyworld has been important for me but furthermore is way of world building and the sustainability of the universe. The legacy from this beautiful mind is huge and so now I get it why it is all over the place at the BNF. Never mind, I push his name away because I want to concentrate on my topic: transmedia communication for innovative organisations.
The BNF is so big that it is a global perimeter of modern urban architecture with specific cultural points of access for the citizens. A neighbourhood. Kids rehearsed their dancing, tourists march in lines, students eat meals sitting on the ground, near by boats on the Seine river, beautiful skies open over the old Paris. It is the 21st century.
Epic Tolkien at the entrances. I have my eyes captured as I finish to descend the very long stairs and move forward the security portals. My eyes talk to my neuronal system: Stop. Did you notice my birth date? The exhibit is going to close on my birthday so it is written with large letters on the beautiful poster, very large, black, red and some white, with the Tolkien language and signs. Colors of my work, language of my storyworld, doors of my new life, direction for my writings. I was just saying to my little professional self that fiction is always the best for making sense… But corporations, institutions, do not deal with fiction. Except the BNF, which is her role.
In my professional and creative world, Tolkien can be used, even for communication strategies or operations and even for corporate communication. So I do not have to research more, I already have all the clues, I must just write.
I found it interesting lately, that I wanted to extract myself from the transmedia thinking process I started in 2010 and progress towards design thinking and innovation. Why? Now why. Can’t I just read the signs, trust Tolkien, and continue what I created? Can the community, the mean part of it, interrupt my world to the point where I need to switch? Fortunately, I reconnect with deep knowledge of making sense with fiction and I accept to step out of the box where I can explore, not to say exploit, proximity fields of studies that are linked to transmedia as a discipline in the great domain of communication.
If only Marshal McLuhan, Joseph Campbell and Tolkien could have this conversation.
For my birthday, the closing of the Tolkien exhibit and immersive event in Paris, I must have published my PhD proposal right here! So, let’s work. I joined a PhD incubator with the approval of a lab in the field of Innovation that has a section for Information and Communication Sciences. 7 years after meeting with the Director of the lab. After 10 versions of my proposal have been around 6 or 7 labs in France. Years I discuss whether or not I should do a PhD. Please, ask me to come teach in your town. Make it an American town. Language is not a barrier, I can progress in English, and I am still improving my native French, but I speak the language of the human mind and the human heart, as you do.
And-Joy.
TOLKIEN--VOYAGE-EN-TERRE-DU-MI_4245436470801174817

WTF a PhD?

Posted on by KH

I’ve seen the YouTubers about PhDs and it’s not what I’m looking for. But I found an interesting and well documented article on the New York Times. Well, it is the Times, indeed. It shows again the poor quality of content online and the need for reliable content (#BestPractices), even more we know that reliable content is not the same when it belongs to corporations or groups. Anyway. The topic is about doing/not doing a PhD.

Interestingly, PhD and Thesis mean two different things in French. As I am French, mixed with Belgium family and transformed by the American culture… So : PhD refers to a “Doctorate in PHilosophy” and is a result of a study in a specialised field.

The Thesis is the document a student presents to her peers at the end of the research process, it can be for a master or a PhD.

THE WHYs

For me a PhD starting after 50 years old is a complex approach. In my case, I have never learned the methodologies for research: I start from scratch. I did not have to research much for my Master degree, I used a professional project to build on and with. It took 6 years and many labs to finally come back to the former place and lab where everything started (Conservatoire des Arts et Métiers, Paris). And I am not even enrolled YET (2019).

Intellectually, it is fine, I have some comfort in terms of organisation and mentorship. But scientifically, I’m an outsider. I could secure some teaching along the way as I love being with students and I would like to teach abroad. Transmitting is valuable.

It will contribute to general progress in the field of communication and the humanities, I want to complete a knowledge base, I have so much case studies in my backpack!

Will it rise my consulting rates? Will it give this brand – Transmedia Ready – a better exposure across borders (do we need it?), will it help me work internationally as I used to do?

It pleases me to acquire more knowledge in the humanities, in management and design,  and it makes me feel great to express my ideas about experiences in the arts, content production, co-design, project management and business development from the p.o.v. of the creative industries. I also like to share knowledge on personal development and role playing in real life.

I am informed. PhD thesis do not get read by the public, not even the target audience, rarely by the experts. If I want my knowledge and experiences to be SPREADABLE, I need to publish my books!

Now, I’ve read so much B.S. about transmedia, I even read stuff transformed from my own teaching (plagiat)!

There is a great challenge at working in the country of France, it is to survive to mediocrity. But it is the only place where I can probably do the challenge almost for free. I am even considering a crowdfunding campaign for this project as I will need to work more than ever, and dedicate 3 years at least. As if I have not done so yet! Lots of laughing.

Cheers To Peers!

 

 

 

 

 

 

 

 

7 Transmedia Families Description (English)

Posted on by KH

PLAY ROLES DESIGNING TRANSMEDIA

Designed by @CynthiaJabar @poburke @n_aya

STORYWORLD Family

The Storyworld is the universe of an enlarged story based on a synopsis and narrative framework. It encompasses all possible ramifications and constitutes the depth and richness of a transmedia creation, campaign, project or experience.

COMMUNITIES Family 

We take into account the users’ habits, needs and expectations. The analysis of the user behavior is essential to the design process and the production. Careful integration of user knowledge and practical usage in the making of the interactive experience empowers users to generate their own creative content.

DESIGN Family

A transmedia experience is meant to be lived, albeit virtually. Both the staging and the artistic directions enliven the experience. The members are translating the visions of the creator into images, apps, graphics, sounds, video and all other necessary forms, bridging the gap between reality and imagination.

GAMEPLAY Family

The game mechanics and the narrative are intricately linked. Not only do the game mechanics encourage and engender user interaction, but they also speak to the spirit of creation and engagement that characterizes the project.

MEDIAFORMS Family (former MULTIPLATFORM) 

Digital platforms and all “mediaforms” can be integrated into transmedia experiences, creation and production. Mediaforms encourage users to explore different territories. Some are easily accessible, some should be in real life, and others can put even the biggest geek into a passionate transmedia storyworld. But technology still isn’t the most important character, guess what? Story is more important.

BUSINESS MODELS Family

Finding its roots in the creative industry, a transmedia project is ad-hoc and is meant to be reinvented and reconfigured. Its greatest challenge is thus accommodating diverse contributors and users in the hopes of finding a project that promises sound financial return.

 

PRODUCTION Family

Professionals from creative industries and their respective organizations work hand-in-hand with collaborators in the conceptualization, the management, and the production of a transmedia project. Thus we are exploring new methods of collaborative work.

Creative People of the 2011 Prototype: 
Writer & Producer: Karine Halpern Twitter @KHenthusiasm – Artistic Director & Designer: @CynthiaJabar – Designers:  @poburke  @n_aya – Advisors have been instrumental with feedback & support: @anitaondine @maudule @guerillakitchen @simon_staffans @prospexity @InLibroVeritas @fernandocarrion @HoppingFun @StephenDinehart @TStoryteller and many others…

7 Transmedia Families Introduction (English)

Posted on by KH

A Card Game? A Coaching Tool? A very slow Alternate Reality Game or just a Serious Game ?

The 7 Transmedia Families propose professional roles within the design of a transmedia campaign, creation or experience. A total of 42 cards and roles to co-design, co-create, co-produce.

The serious game raises awareness among practitioners and thinkers about the concepts and methodologies for transmedia creation and design, online and offline communication, design thinking, co-creation and communication strategies. It features ideas for optimising a project from conception to activation. It is a fun thinking tool aimed at everyone who plays, or want to play, a role in content production process. The game contributes to develop creativity and expertise.

In 2014, we have experienced a proof of concept with the Institute for Research and Innovation of the Centre Pompidou. An ebook is going to be published here as the feedback of this extraordinary collaborative and long term event (stay tuned!). We are now looking at creating the new version of the game for commercial use so you can buy your own deck of cards and workbook to hack and transform your creative marketing campaign and all projects.

GUIDELINES are to be re-invented by you as well!

By playing the 7 Transmedia Families game, practionners become transmedia ready in a number of ways:

  • They see the scope and scale of a multi-platform production and creation using associated MEDIAFORMS.
  • They gain insights developing a project with a creative approach.
  • They explore our methodology, ideas and strategies for execution in : marketing and communication,  innovation, collective intelligence, agility, design thinking…
  • They better understand how to coordinate the collaborative work, understand the concept of TRANSIENT GROUPS and generate better practices.

THE CARDS

The card game feature 7 Transmedia suits, or topic, of 6 family members, or characters: 2 grandparents, 2 parents, a son and a daughter. Example: in the StoryWorld family, I am looking for the Mother, and the Mother is the Writer.

The goal is to collect and match complete families of 6 and show them to the other players, the team. But, of course, we propose much more… The game is designed for a small group and works also for a larger group as players can pair up in multiple teams and change roles along the ride.

> GO TO FAMILIES’ DESCRIPTION <

  1. Storyworld
  2. Communities
  3. Design
  4. Gameplay
  5. Mediaforms (former Multiplatforms)
  6. Business Model
  7. Production

CLASSIC RULES of the 7 FAMILIES

It sounds like Rummy or Go Fish without the fishing… Deal all the cards to the players (no card left with the dealer). The player to the dealer’s left takes the 1st turn. Play continues clockwise. To take a turn, a player asks another one of his choice for a specific card, naming the Family and the Character. But in order to do so, he or she must hold at least 1 card of the same family. Example : In StoryWorld, I ask for the Son. If the asked player has the requested card in his hands, he or she must give it away. If not, he or she says, “not in production”. Next turn. Play continues until someone collects a complete family and is ready to use it to pitch a transmedia project.

The same card can be requested again by any other player, and so on… It is very important to give attention to the collaborative play: use your memory, your sense of observation and details, find out where are the “skills”, thus the missing cards.

VARIATIONS

There is a variation where the players save cards for a pile. Many variations will then help to develop the conceptual approach of the game as an educational and training tool. Example: add a quiz for each card. Sequels and digital applications of the game are planned, our work in progress includes the new version of the cards with artist isabel chiara and a glossary.

2010 – 2017 : Pourquoi ma stratégie des 7 familles transmédia à marché.

Posted on by KH
7 années, “cette année”, de recul : 2017, l’avenir en perspectives, au pluriel. 
Lors du lancement du jeu des 7 familles transmédia en décembre 2010, ce fut le chaos de la créativité pro-active et le début d’une communauté de chercheurs et praticiens en design transmédia à travers le monde.
En effet, plusieurs zones géographiques ont été couvertes volontairement, et, grâce à l’aide du réalisateur transmédia canadien, pionnier, Pierre Côté, j’ai pu réaliser une expérimentation originale, amusante, utile, collaborative et généreuse. Merci à tous ceux qui ont bénévolement contribué, donné de leur temps et de leur savoir.
Quand on commence à surfer sur la vague de la co-création, sans cadre et de façon très ouverte, à la mode “Open Source” et dans un but d’innovation, soyons clairs : on en prend plein la gueule. Pourtant, les affres de l’expérimentation et de la création sont compensés par les bonheurs des relations fructueuses et des résultats intellectuels mis en valeur par les communautés qui communiquent entre elles.
Ce type de communication entre communautés durables ou éphémères, dispersées sur la toile, trans-culturelles, je les appelle les “Groupes Transients”. Ils sont la famille “Communautés” du jeu des 7 familles transmédia. Ce thème fera l’objet d’un article à part entière. Je souhaite faire référence au concept de “Return on Relationships” – @R_onR , qui, petit à petit, fait son chemin vers le ROI – Return On Investment.
Tous les concepts que j’ai appris à observer depuis la crise mondiale de 2008, dans la trans-disciplinarité, se conjuguent, pour atteindre un objectif commun sans le savoir au départ. Cet objectif, c’est ce que j’appelle la “Slow Revolution”.
Aujourd’hui, en 2017, on parle de transition numérique, de conduite du changement, de l’innovation ouverte, … C’est un tout, un éco-système, transient aussi, volubile, qui s’adapte à l’actualité, mais qui ne cesse de progresser vers cette nouvelle civilisation dont parlait Edgar Morin, servie par l’intelligence collective, dont parlait Pierre Levy, qui elle est disparate en fonction des rôles professionnels que chacun prend et va prendre :
  • industries et secteurs professionnels,
  • cultures et géolocalisation,
  • rôles socio-culturels et leur communication interpersonnelle.

Gif by Isabel Chiara for #NextLeap 2017
Gif by Isabel Chiara for NextLeap 2017

En 2010, en résidence d’artiste, je savais pertinemment ce que je faisais, et donc je savais que je ne connaitrais jamais tous les résultats, que je lançais un caillou dans l’eau en espérant me nourrir des ondes. Je faisais don au bien commun (les Commons) d’une partie de mes travaux pour contribuer à la révolution lente qui avait déjà commencée. Pour moi le peak était le rapport Stiglitz – @JosephEStiglitz, prix Nobel d’économie, rapport remis à Sarkozy, en 2009 présentant notamment les travaux sur l’indice de bonheur, donc la prise en compte de paramètres originaux et humanistes, en phase avec les pratiques qui allaient venir dans les organisations et chez chacun des humains cultivés et en recherche.
Sachant qu’Edgar Morin, inventeur de la pensée complexe et maître de la trans-disciplinarité, que j’ai eu le plaisir de rencontré, avait été convié à donné son avis au gouvernement, je me sentais à l’aise avec l’idée de ne plus être dans un positionnement politique typiquement français, droite ou gauche, mais de rester non seulement au centre, mais sans ou ne plus appartenir à un parti, tant que la conscience collective n’avait pas progressé sur le changement de civilisation (idée de Morin, reprise par Sarkozy).
L’heure est venue. N’est ce pas ?
De dizaines d’années en dizaines d’années, on finit quand même par se rendre compte des choses. Pendant ce temps là, on a mal éduqué les générations présentes et à venir. Alors le paquet doit être mis sur l’éducation et tous les apprentissages. On le sait depuis l’antiquité. Je suis heureuse, chaque semaine, de voir que des indépendants, des créatifs, des experts, changent le monde de l’éducation, y compris en France. De même, je suis heureuse de voir que les idées et pratiques innovantes sont maintenant dans les entreprises et les organisations (cf. l’entreprise dite libérée). Le changement s’est immiscé partout de façon subtile, grâce à l’acharnement de certains d’entre nous. Ne lâchons pas. Le temps arrive. Bien sûr, je le subis aussi chaque semaine, il manque le Savoir et la mise en pratique dans 80% des cas, mais les petits 20% dont nous faisons partie suffisent à nous recadrer quand on doit se remettre au travail. Ne lâchons rien.
Dans une pratique indépendante de recherche et de développement, on subit les trahisons et le manque de loyauté en tout genre, c’est un classique dans le monde des affaires, mais aussi dans les industries créatives. Encore plus en France qui est la nation de la protection du droit d’auteur ! Alors, quand on jongle avec des licences appelées Creative Commons ou même Copyleft, on devient à la fois une pionnière et un mouton à 5 pattes, donc l’artiste qu’il faut abattre pour les industriels. Je me suis battue contre des mastodontes, pas des moindres puisque Orange avait déposé le mot transmédia à l’INPI, entre autres termes usuels du vocabulaire français. Battue aussi pour maintenir le niveau intellectuel pour faire face à des mauvaises pratiques professionnelles, voire douteuses, tant par les privés (petites agences, freelances), que dans le secteur public (agences de l’état, organisations subventionnées). Je vois d’ailleurs l’argent des contribuables toujours aussi mal réinvesti, surtout dans le domaine des média et de l’innovation numérique. Ah, tiens, pendant que j’y suis, ayant fait partie des startups de la fameuse French Tech, je peux témoigner que c’est beaucoup de paroles et peu de concret, que ce sont les créatifs indépendants, autonomes et non subventionnés,qui servent bien les intérêts des politiques et pas l’inverse.
A quoi me sert la “French Tech” dont je fais partie
pour l’art du message, du récit, de la création ?
Aujourd’hui, l’aspect socio-culturel que j’ai toujours prôné est repris dans les industries créatives. Les industriels et marketers eux se rabattent, comme prévu, sur la réalité virtuelle : VR, nouvel eldorado. Tant mieux. D’une part les vrais transmédiateurs vont pouvoir exercer, et on a commencé, d’autre part, il faut bien se coller au nouveau paradigme de la réalité virtuelle.
Tout un nouveau pan de l’art du message, du récit, de la création, doit être revu pour tous les métiers de la communication, au sens large. Encore plus pour les outils et dispositifs qui émergents. On va pouvoir enfin bénéficier de notre lente révolution pour travailler avec les “groupes transients“, en “open source” (et donc avec une certaine mise en application de notre philosophie et de la “culture ouverte“), dans un univers narratif étendu, où les “contenus générés par utilisateurs” ne sont pas que l’apanage des agences de publicités, qui de toute façon vont finir par disparaître… Dans 10 ans, les créatifs seront à l’intérieur des entreprises et organisations, les designers transmédia seront des transmédiateurs au bénéfice des équipes agiles, ce qui sera moins couteux et plus efficace. Y compris pour tout ce qui sera le “brand content”, la culture de marque, la communication interne et externe, en BtoB et en BtoC. On a déjà commencé… L’intelligence collective prend le dessus. Le manque de savoir faire en bonnes et meilleures pratiques va se ressentir encore plus. Vient le temps des consultants experts, qui ont vraiment une expertise et pas seulement de l’audace et des doigts pour les claviers.
Qualité, polyvalence, éthique.
Grâce à la pertinence de certains de mes choix éthiques, les parasites sont partis d’eux mêmes, comme à chaque fois. Mais ce n’est pas sans douleur. J’ai constaté aussi que mes idées sur le concept transmédia avaient délibérément influencé des praticiens et chercheurs, en France et à l’étranger, jusqu’à Hollywood et Bolywood, auprès des doctorants, et que certaines idées avaient été appliquées. Bien sur il manque les mentions, références et citations pour la plupart du temps. Parfois même, le regard de ceux qui m’ont abusée tombe devant moi quand je les regarde en face. Mais j’ai gardé le bon relationnel avec les alter égo, ceux qui sont dans la même mouvance, transparence et loyauté. Comme par hasard, je constate que ceux-ci sont les plus doués aussi. Je retrouve ainsi toute la pertinence des choix et des crédo de 2011 quand je proposais des concepts bien au delà de la production de contenus ou des plateformes interactives pour ces contenus. Quand j’annonçais le retour de la “qualité”, je parlais d’un label de qualité, qui reste à créer, et non des valeurs, qui sont deux choses différentes. L’avenir ira dans le sens du besoin de qualité. Quand je parlais du retour de la polyvalence, je parlais des talents dans le sens des ressources humaines, ce qui n’exclut en rien le besoin d’expertise, mais je mets ainsi en valeur les atouts des personnes d’expérience, douées, qui travaillent à se former. La polyvalence est d’ailleurs devenu un pré-requis, surtout quand vous lisez les profils de postes sur les sites de recherches d’emploi !
Qualité, polyvalence, éthique, seront les piliers qui vont permettre de codifier des pratiques professionnelles créatives du monde qui vient déjà, où l’on va différencier la collaboration de la coopération, de la co-création, tâche difficile que les 7 familles transmédia ont commencée en 2010.