WORKSHOPS (English)

Multimodality thinking

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.

Créativité – Numérique – Progrès

GIF TRANSMEDIA FAMILIES 02
Ce qui est le plus important pour moi ce sont mes données. Certains diront “data”. certains mettront même un D majuscule : Data. Le matériel disparaît, l’immatériel prend le dessus. Je pensais que le plus important était mon ordinateur, la machine, “mais comment vivre sans mon ordi ?”, et non; après en avoir perdu quelques uns, et oui, dont 2 Macbook Pro !, j’ai trouvé moyen de tout organiser dans le “cloud” et sur des disques externes.
J’ai organisé mon organisation.
Par exemple, la gestion de mes comptes et de leurs “log-in”, ils sont si nombreux, et bien c’est organisé et accessible depuis n’importe quelle machine en cas de problème technique ! J’ai aussi accès à toutes mes idées stockées via l’application Evernote avec un éco-système de gestion des données propre à moi-même mais qui pourrait être utilisé par une autre personne si je ne pouvais plus le faire moi-même de façon à ne pas perdre des archives utiles pour les travaux de R&D ou pour des créations plus personnelles.
De plus, mes écris sont archivés et bénéficient de la créativité générée par les outils web.
De plus ma propre créativité est exacerbée par le web et par les applications que j’utilise quotidiennement. Par exemple avec Evernote (gestion de mes notes et carnets), Google Drive (archivages, commentaires, téléchargements) ou même You Tube (playlistes privées).
Scanner tous mes documents a été une nécessité car je devais pouvoir voyager légère, partout et à n’importe quel moment. Ces données doivent être accessibles, protégées, et doublement sauvegardées, si pas triplement sauvegardées en cas d’incident technique ou autre.
C’est la vie de nomade numérique ( communément : “digital nomad”) qui m’a amenée à mettre en application des idées philosophiques et vivre mes valeurs, comme
  • vouloir moins
  • rester léger en toute circonstance
  • savoir voir le savoir
  • compter sur les valeurs humaines, que je différencie de l’humanisme, devenu cliché pour moi
  • le progrès
  • le self-coaching
  • le bien commun et les “creative commons”
  • la qualité (par exemple la qualité de l’UX, des relations en ligne, du design, …)
  • etc.
Remarquez comme je suis à cheval sur l’usage des mots, de la syntaxe, de la ponctuation, c’est important pour se faire bien comprendre et pour se différencier de la norme, des contenus, de la masse de données en ligne (cf. la “longue traine” de Chris Anderson). Cette technique est un respect pout l’humain par rapport à la machine, aussi, dans le sens où le cerveau et notre comportement cognitif prend, dans tous les cas, le dessus sur les algorithmes.
C’est exactement là que la créativité du présent et du futur se place.
La créativité est présente dans les espaces libres entre les algorithmes, comme le “white space” de l’art, mais aussi de la pensée, là où l’électricité connecte les neurones, un infiniment petit et grand espace de création qui révèlent le soi, la vie et l’action sous l’emprise des émotions. Comme le disait Krishnamurti, toute vie est relation. C’est de cette relation, entre ces espaces créatifs que la forme prend. C’est aussi valable pour les relations dans la matière que dans les relations humaines, que dans les relations des neurones qui vont créer. Cette créativité que la norme pense liée aux loisirs créatifs, à l’art, mais qui oublie que c’est aussi la créativité dans tout, dans absolument tout.
Ajouter de la créativité dans tout est une expression créative et possible pour tous, il suffit d’appuyer sur le bouton “ouverture d’esprit” et de s’entraîner dans n’importe quelle discipline. La plasticité du cerveau s’occupe du reste. Dans la cuisine, le sport, le travail aussi. Tenir une boutique, une caisse, un rayon, et j’en connais un rayon. Gérer des data, mener une campagne marketing, gérer un portefeuille clients, manager un bureau, une assemblée générale, un dossier aux prud’homme…
La créativité est partout. PAR, TOUT.

Transmédia : Concept indéfinissable ?

Contexte de la définition, article commencé en 2011 et modifié (*)

(*) Article de 2011 : web.archive.org

Le concept transmédia tend à être une discipline communicationnelle et socio-culturelle, une pratique narrative créative, prenant en compte l’interaction et la participation du public par lesquelles le récit multidimensionnel se propage, se transforme et se transpose sur tous supports médiatiques complémentaires (numériques ou non).

A cette pratique innovante et collaborative, peuvent s’ajouter toutes pratiques artistiques, des mécaniques de jeu, du web social et des évènements en temps réel.

Une création transmédia  – ou une campagne de communication transmédia – compose un univers narratif : le « Storyworld » de notre jeu des 7 familles transmédia.  Le Storyworld tire le meilleur de chaque médium utilisé, donc de tous les média, y compris analogiques.

Les “Mediaforms“, formes médiatiques, demeurent des supports de diffusion et propagation. Le récit est trans-porté et trans-formé par son audience qui peut devenir pro-active. Le concept transmédia se base sur la combinaison de liens tissés dans le récit associé à une communauté. La culture participative prend possession de l’histoire, du récit, de l’œuvre.

La narration transmédia existe lorsque certaines conditions sont remplies et ce puis l’antiquité. Ce qui rend le concept nouveau à nos yeux du 21ème siècle ce sont les outils numériques, les vitesses de dissémination et les modes communicationnels émergents.

En 2010 j’ai créé la page Wikipédia du terme transmédia en français à l’occasion d’une expérimentation transmédiatique en résidence d’artiste. J’ai alors proposé plusieurs définitions en anglais dans le but d’amorcer une discussion globale et ouverte :

  • Transmedia involves a creative community and happens when STORYTELLING and EXPERIENCE come together in a creation designed for multiple devices, formats and platforms.
  • It is a concept, an adjective, a complex notion that is understood viscerally by each individual within a community of associated professionals and practitioners.
  • A project can be defined as taking a transmedia approach when both STORYTELLING and  EXPERIENCE are interwoven. Transmedia properties are those which tell different parts of the story across multiple devices on multiple “mediaforms”. A true transmedia experience would enlist the participation of a community.

Au fur et à mesure de ma recherche pratique et indépendante, avec beaucoup de rencontres professionnelles dans plusieurs pays, et notamment nos Meetup ouverts à tous, 2010 – 2015, je proposais le sens du concept à partir de 3 notions principales qui s’entremêlent pour réaliser une expérience transmédia :

  1. les campagnes en réseaux sociaux (le fameux “social media marketing”)
  2. le récit transmédiatique (le fameux “transmedia storytelling”)
  3. la production et création multi-formats (ce que j’appelle aujourd’hui les “Mediaforms“).

Notre postulat : transformer, transcender, hacker

Malgré mon postulat et les efforts soutenus dans la culture et l’innovation numérique pendant plus de 5 ans, et ce sur le plan international, les internautes, et les francophones en particulier, confondent le sujet de la création et communication transmédia avec d’autres sujets connexes tels que :

  • la production multiplateforme,
  • le contenu augmenté (et donc aussi la réalité virtuelle),
  • la franchise dans le secteur du divertissement,
  • le jeu (notamment les jeux vidéo),
  • les parcours animés,
  • l’expérience utilisateur,
  • le web social et les communautés (notamment la curation, le management de communautés),
  • le marketing et le « branded content »,
  • le web-documentaire, le documentaire interactif.

Une hésitation se fait toujours sentir à propos de l’usage du terme. Notamment en ce qui concerne la façon dont l’utilisateur passe de contenu en contenu (de données en données) sans faire attention au fond du message qui influe son action, ni à ses gestes avec un outil numérique ou non. Et c’est sans compter le flou engendré par la partie historique et drôle qui met en scène les acteurs de l’innovation industrielle, la recherche et les opportunistes, mais çà c’est une autre histoire qui sera traduite dans ce blog.

Il est encore possible d’entendre et lire des blogueurs, des prestataires de service en herbe ou expérimentés, séparer avec assurance l’idée de crossmédia du terme transmédia, et de se positionner très fort sur un axe commercial autour du concept flou dont personne ne détient les réelles valeurs académiques, historiques ou professionnelles. Alors, comme habitude et mimétisme, ils citent HENRY JENKINS, comme si ce sujet ne repose que sur une personne, un seul chemin de travail.

S’il vous est important de vérifier les travaux sur le concept transmédia, référez-vous à la thèse de CHRISTY DENA et reportez-vous à TRANSMEDIA RESOURCE KIT, du Canada, en plus des évidentes pages WIKIPEDIA dont nous avons pu garder vivante la version française grâce à nos actions en 2011. JULIE STRATTON est une des toutes premières à avoir travaillé sur ce sujet en créant Transmediaresources.com, et SCOTT WALKER le premier à recenser les évènements sur le sujet, la formation de groupes de réflexion, et avoir proposé un fil de ressources documentaires. Il est également un des pionniers sur le thème de la narration, qui donc définit le concept transmédia avec la notion de SHARED STORYWORLD.

Grâce à notre confrère STEPHEN DINEHART nous avons pu obtenir une référence afin d’éviter qu’une seule définition, un seul nom, voire une date, ne soit utilisée dans les blogs francophones. Il s’agit du livre de MARSHA KINDER –  Playing with Power in Movies, Television, and Video Games, 1991 University of California Press. Cette communication a été partagée sur les réseaux et reprises par des agences et blogueurs sans mention. Petit à petit la définition qui s’est propagée en français est restée basée sur peu de chose et invite les internautes francophones à une vision réduite du concept. Ce pourquoi nous agissons en élargissant notre réflexion et en mettant à profit nos années d’expérience et notre réseau de praticiens.

Un nombre, qui allait en grandissant, d’entreprises a tenté l’aventure du concept transmédia en le positionnant en tant que genre ou action de marketing, ce qu’il n’est pas seulement. Je le positionne en tant que discipline en faisant référence à la TRANSDISCIPLINARITE, qui, comme son nom l’indique, à un besoin de compétences multiples associées et combinées, pour la création ou communication transmédia.

Ce concept demande une telle ouverture d’esprit, qu’il faut y aller avec ses tripes.

Le jeu des 7 familles transmédia, 2010 créé par Karine Halpern

Nos archives nourrissent nos réflexions que nous partageons via des réseaux sociaux depuis 2010. Beaucoup ont été reprises, souvent sans mention ou citation des sources. Il m’a été donné de surveiller comment les praticiens et les entrepreneurs allaient prendre possession puis lâcher ce concept. J’ai donc créé ma méthode d’accompagnement au projet transmédia qui se fonde sur la maïeutique et introduit la notion de groupes  « transients ».

Nous, au sein de l’association Transmedia Ready, restons fidèles aux pionniers loyaux et faisons le plaidoyer pour le concept transmédia en tant que discipline socio-culturelle et artistique, en tant que pratique communicationnelle, avec un point de vue anthropologique, voire philosophique, dans le respect des travaux de qualité. Nous avons une vision post révolution numérique et prônons une éthique des pratiques numériques.

Pour valider nos idées, j’ai rencontré personnellement les praticiens, experts et chercheurs, pour les interroger et vérifier nos réflexions. Mon travail se base aussi sur une carrière de plus de 25 ans ans dans la culture et la communication, la coopération internationale et la production de contenu artistique ou de commande.

Du point de vue de la terminologie, la langue choisie pour exprimer le concept étant très importante dans le résultat de sens, je mets parfois deux versions en parallèle quand c’est à propos (français et anglais).

En français, nous ne pouvons PAS dire « LE transmédia », encore moins l’écrire avec un T majuscule : il ne s’agit pas d’un nom propre mais d’un adjectif.

Merci à EMMANUEL BETHOUX, (@EmmanuelBethoux), professeur documentaliste, pour sa recherche et son intégrité. Le terme s’accorde donc avec un nom et si vous appliquez cette règle linguistique, vous aurez alors plus de facilité à comprendre et vous approprier le concept. Le terme ne peut donc pas prétendre à une discipline qui serait  ”Le Transmédia”, restant un adjectif nous dirions donc : la narration transmédia, la communication transmédia, la production, la pratique, l’œuvre, un dispositif ou une expérience transmédia, ou encore transmédiatique.

Un concept peut donné lieu à une discipline, qui elle donne lieu à des pratiques, puis des méthodologies.

Pour identifier une bonne pratique il faut déjà repérer les mauvaises pratiques, spécialement autour d’une discipline nouvelle, souvent mal analysée. Dans la discipline que nous revendiquons, se confondent les genres et les prismes et c’est à partir de ces observations que nous avons identifié une série de CATEGORIES listées dès 2012 qui se vérifient au fur et à mesure des avancées technologiques et des usages du numérique.

Un univers narratif, donc un récit multidimensionnel, est suffisamment large pour être relié avec d’autres récits complémentaires (« side-stories »). Notre confrère ULRICH FISCHER parle justement de « récit combinatoire ». Cet univers narratif transmédia peut être abordé par plusieurs points d’entrée distincts et indépendants les uns des autres, donc les éléments narratifs qui constituent une œuvre ou une campagne de communication transmédia peuvent être explorés indépendamment les uns des autres par le public. L’interaction, le partage, est une condition du concept transmédia, peu importe le niveau de cette interaction : non-actif, actif, ré-actif, pro-actif, rétro-actif.

Une plateforme fait référence à un site Internet de diffusion de contenu(s), cela ne donne pas le degré d’interaction possible pour le public. Un MEDIUM est un canal de communication dirigé vers un récepteur depuis son émetteur, donc aussi un support de diffusion. Il n’y a pas d’obligation pour ce canal d’être connecté à l’Internet. Le médium existe de façon analogique. Le travail de MARSHALL McLUHAN n’est pas du tout obsolète, au contraire ! Quand il invite à penser au médium en tant que message, c’est toute une leçon de bonne pratique qui reste encore à explorée.

Cette redéfinition est rendue complexe du fait de la nécessité de symbiose entre des disciplines artistiques et professionnelles qui se coordonnent dans une pratique transmédia.

Il convient de non seulement re-contextualiser, mais de prévoir des ponts entre les spécialités de chacun des praticiens, des co-créateurs, avec leurs compétences qui tiennent compte du vocabulaire, des usages et des outils, tout en identifiant les bonnes pratiques dans un contexte trans-culturel. Il n’y a pas de règles dans la création transmédia, chacun est libre de créer, coopérer, ou non.

Dans le cadre de notre pratique et démarche, chacun est invité à réfléchir par lui-même à la définition en favorisant les possibilités intellectuelles et créatives.

Ci-dessous, un travail sur la problématique de la définition en 2012, effectué pendant mon cours pour le “Master Transmédia” de Sciences Po, IEP de Grenoble. Vous pouvez observer comment chacun définit et orthographie le terme, ce qui donne une indication concernant l’appropriation du concept.

Henry Jenkins, 2006, in “Convergence Culture” :

“Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes its own unique contribution to the unfolding of the story.

“… transmedia storytelling as storytelling across multiple forms of media with each element making distinctive contributions to a fan’s understanding of the story world.”

Révisé :

« A transmedia story unfolds across multiple media platforms with each new text making a distinctive and valuable contribution to the whole. In the ideal form of transmedia storytelling, each medium does what it does best »

Traduction de Karine Halpern, origine : blog Transmedia Ready, Owni 2010 :

Un récit transmédia se déploie avec chaque élément narratif contribuant distinctement à l’ensemble du récit à travers de multiples supports médiatiques. Dans sa forme idéale, la narration transmédia permet à chaque support de faire ce qu’il sait faire de mieux.

Jeff Gomez, Starlight Runner Entertainment, USA :

“The art of conveying messages, themes or storylines to mass audiences through the artful and well planned use of multiple media-platforms.”

Traduction et note Karine Halpern :

L’art de communiquer des messages, thèmes et récits narratifs à un public de masse, grâce à une stratégie artistique qui utilise la multiplicité des supports de diffusion.

Jeff Gomez nous invite à la notion de récit narratif multidimensionnel – “Multi-Dimensional Storytelling” – et de changement de Paradigme. En 2010 l’agence J. Walter Thompson publia une définition sans mentionner sa source dans “100 Things to Watch in 2011″,  Voyez par vous-mêmes :

“The art of communicating messages, themes and story lines to mass audiences through strategically planned use of multiple Transmedia platforms”.

Avec Gomez nous sommes dans la catégorie “franchise”, ce qu’il a utilisé comme concept pour influer sur la Producers Guild of America pour faire admettre le terme « transmedia » avec le métier de “Transmedia Producer”. Cette action déclenché une polémique sur la définition (Filmmaker Magazine, USA, 2010). Depuis, les choses ont changé, cela peut faire l’objet d’un article dédié.

Alison Norrington, auteure et consultante, Storycentral, UK :

Transmedia storytelling is the successful organic flow of narrative over a host of platforms, each one excelling at what it does best… the complex approach to telling a story over multiple platforms (both on and offline)… There are a host of elements to consider that reach far beyond traditional, linear storytelling.

Tweet de @SimonPulman, avocat, USA :

It is a generally accepted principle that collaboration and cooperation are critical elements when taking a transmedia approach to content creation and IP development.”

Morgan Bouchet, Orange, France :

A la différence du Cross-media qui décline un contenu principal sur des médias complémentaires, le transmedia articule un univers narratif original sur différents médias. Cet univers est porté par différents supports qui apportent, grâce à leur spécificité d’usage et leur capacité technologique, un regard nouveau et complémentaire sur l’univers et l’histoire.”

Claire et Manon, étudiantes, France :

Le Transmédia est une forme de narration qui inclut l’utilisation de plusieurs supports médiatiques de manière complémentaire, afin de développer un univers narratif. Il est basé sur la participation de l’utilisateur, et la naissance d’une communauté autour de l’univers. Qu’en pensez vous ?”

Scott Walker, Shared Storyworlds, auteur, consultant, curateur, USA :

In general, I view transmedia as the telling of a story (or a set of stories in a shared world) across multiple platforms and mediums. However, we are still far from agreement over both the term and its definition.

The practice of transmedia predates the term by decades or even centuries. In many ways, we’re still experimenting with it, working our way towards both a vocabulary and a refined set of practices. And it’s important to understand that transmedia isn’t limited to science fiction/fantasy or even entertainment. Transmedia can be applied to documentary filmmaking, education, politics, non-profit, etc. We truly are just beginning to understand its full possibilities and promises.

Transmedia Diaries #02

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

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?

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!

 

 

 

 

 

 

 

 

Workshops (English)

We provide creative workshops formulas for organizations, civil society, corporations, students and researchers, startupers, artists and consultants.

Become transmedia ready by playing the serious game of the 7 transmedia families… A real life game

Seminars, incentives, bootcamps, trainings, masterclasses, innovative activities that are transforming your project, your marketing and/or communication campaign, your prototype, into a transmedia experience. We design the experience together, with our methodology and directory.

Perform & customize your workshop formula, pick a format:
  • BARCAMPS* and HACKATHON**
  • TRANDMEDIA MIX format = Barcamp + Hackathon + the 7 Transmedia Families. Check out the press release for our proof of concept with the Institute for Research & Innovation of the Centre Pompidou, Paris, 2014 > bit.ly/1orXTp8
  • MASTERCLASSES – Check out the work by Karine Halpern > Slideshare.net/KHpresentations
  • MASTERMIND GROUPS (custom and on demand, excellent for transmedia projects follow ups)
  • The “TRANSMEDIA BOOST” and “SOCIAL MEDIA BOOST” are available only with the CREATIVE PROJECTS COACHING formula, it is an extension of the workshop to help you sustain your project.

Our emphasis is on how each one is making its own appreciation (or assessment) of the transmedia concept. We help build this asset, and find the right strategy for the customized projects. We advocate for transmedia storytelling, participatory culture, sense making, sustainability and change management.

“Try not to become a man of success, but rather try to become a man of value”  A. Einstein
  • Create, improve, sustain
  • Use Design Thinking to optimize your project
  • Create the ad-hoc ecosystem for your team
  • Insert creativity at all stages
  • Transfert the evolving knowledge of the social web to your production
  • Foster and sharp inception and/or optimization of social media campaigns
  • Benefit from our community, our international Directory of experts and practitioners.
KICK START YOUR WORKSHOP

From 1/2 day to 3 days. Our formats work for a stakeholder with or without a prepared project. Facilitation starts before the workshop to set up your parameters.

OUTCOMES & BENEFITS
  • Reading grids for the improvement of your project, clarification
  • Inception or optimisation of your own community  
  • Your own strategy and design with the Participatory Culture
  • Your project transformed into an efficient creative discovery
  • Better understanding of the digital media usages, tips & traps, and understanding of transmedia storytelling
  • Professionalism and better communication practice
  • Team building and talent scouting
  • Cross cultural and international dimension
  • Storytelling, brand culture, strategised narratives
  • Forecast, project management with sense making and vision

BARCAMPS: Inspired by Open Innovation, this format gets everyone to participate, because everyone think & do > We add value to enhance the uniqueness of each participant > Wikipedia

** HACKATHONSCoders code, hackers hack, geeks ping & poke. But what is it for the non coders and creative minds? > We make sure that participants with no technological expertise use their specialties by getting immersed into the wild of creative production >  Wikipedia

°-° OPT IN & subscribe to our newsletter, get tips, bonuses, exposure, more

7 Transmedia Families Description (English)

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…