When Games & Web Services Can Read Your Emotions – Sony Says Within This Decade – Situated Research Blog

Via Scoop.itPervasive Entertainment Times

“In ten years’ time I’d like to think we’ll be able to form a map of the player, combining other sorts of sensory data together, from facial expressions to heart rate,” he continued. “You can see how, over a period of time, you can form a map of the player and their emotional state, whether they’re sad or happy. Maybe people in their social network can comment on it. The more accurate that map can become, the more we can tailor it to the experience.”Hocking seems to hope that AI in ten year’s time won’t still feel like “acting,” but will react more naturally, independent of scripts and pre-determined movements. “In Uncharted you can see games are getting closer to lifelike actor performances, but [despite] the more accurate they are becoming as an acting performance, it’s still acting. Will we have AI that allows us to talk to and truly interact with a character? Will we be able to show the character objects it can recognize?”
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Supernatural Gamified Transmedia: Join the Secret War ARG to get in early on conspiracy action

Via Scoop.itPervasive Entertainment Times

Wake-up call, citizen. The world you live in is a shallow simulacrum of the real one, with secret societies and back-room backstabbers controlling how you live, work and think. And now you’ve got the chance to play a videogame about them! Funcom’s action-MMORPG, The Secret World, is gearing up for its upcoming beta, and it wouldn’t be a conspiracy-themed supernatural thriller if there weren’t some sort of ARG component to the proceedings. Want in on the beta? You’ll have to jump through some game-ified, social-media, alternate-reality, welcome-to-2011 hoops for it.  – you’ll have to work to build the robust, high-visibility online presence coveted by all secret societies by enlisting friends, sharing Secret World assets and info, and further blurring the boundaries between the ancient quest for global domination and a really long-running game of Farmville.
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Are Social Films the Next Big Thing in Hollywood? | Excerpt: via The Next Great Generation

By Nate Goldman on Aug 27, 2011

“…Directed by DJ Caruso and starring Emily Rossum, Inside follows young twentysomething Christina Perasso as she awakes in a strange room with nothing but the clothes on her back, a Toshiba laptop and no recollection of how she got there. Over the next 11 days, Christina frantically reaches out to her friends on Facebook, Twitter and YouTube, begging them to help her figure out an escape. Now, her life is in your hands, and its your job to solve clues left by her captor in order to set her free. This phenomenon, where a story interacts with its audience to help progress the action, is called social film.

“It’s sort of the first integration of how the Internet and social media can work in conjunction with a film,” Inside director DJ Caruso said in an interview with YNN Austin. “You can experience this film and watch as it unfolds in an episodic way, and participate in the outcome via social media.”

A few social films have been made before, but none with such breadth and big-brand sponsorship. The first social film, Him, Her & Them, was distributed just a few months ago, in April, by the New York-based studio Murmur. The film interweaves both fixed and interactive scenes, utilizing Facebook API to incorporate the “social” aspect of the social film. And while Murmur’s social film is certainly a wonderful example of 21st century storytelling, Inside has a few more working parts.

Using multiple social platforms and real-time audience interaction, Inside does a wonderful job at harnessing the power of the audience to influence plotlines. For instance, in episode 3, the captor leaves Christina a note that reads, “If you want food or water you need your ‘friends’ help. Post a plea and if you get enough ‘likes’… you will eat.” Christina then posts a video to YouTube asking that people ‘Like’ the video so she can get a decent meal. The result? Over 4,200 likes. And in the next episode, Christina was rewarded with a delicious-looking cheeseburger….”

Hat Tip Ted Hope! How Would You Use All 27 New Platforms Available For Direct (aka DIY/DIWO) Distribution? #infdist

> via Hope for Film – Excerpt from Ted Hope’s mega-list

“…I [Ted Hope] am having a bit of a hard time coming up with the proper discriptions for the tools and services. This is very much a Work In Progress.  If you have a better definition, please let me know.  Several services show up in different categories.  There are definitely suppliers that I have forgotten or neglected to mention (my apologies, but this is a public service and not my job job).

1. Artist Direct Distribution / Platforms:  Ooyala, Viddler,

2. Artist Direct Distribution / Players: Distrify, Dynamo Player (Review), EggUp (review), FansOfFIlm.tv (still in Beta) , Groupee, OpenFilm,

3. Artist Direct Distribution / Services: Sundance’s Artist Services,

4. Audience Aggregation, Analytics, & Commerce: FanBridge, TopspinMedia

5. Audience Participation: LiveFanChat, Kickstarter, IndieGoGo, Social Guide, SoKap, Watchitoo

6. CrowdFunding/Audience Participation: IndieGoGo, Kickstarter, RocketHub, SoKap, and 10 others listed here.

7. Digital Distribution Access Providers: Brainstorm,  Distribber (analysis), Gravitas, Inception Digital Services, Might Entertainment, New Video, Premiere Digital,

8. Digital Download & Streaming Aggregators: Amazon, CinemaNow (aka BestBuy), iTunes, Vudu, XFinityTV (aka Comcast),YouTube

9. Digital Limited Run US Theatrical Exhibition: Cinedigm, FathomEvents, Screenvision

10. Digital Streaming Aggregators FREECrackle, Snag (Owners of IndieWIre, host of my blog), Vimeo, YouTube

11. Distribution/New Model: PreScreen

12. E-commerce: E-Junkie (shopping cart)

13. Educational Market: An Overview, Educational Market Streaming

14. Exhibition/New Model: Emerging’s Digital Repertory Program, Specticast

15. Free Peer to Peer: VoDo, BitTorrent

16. Fulfillment: Amazon Services, Amplifier, theConneXtion, CreateSpace, FilmBaby, IndieBlitz,Kufala Recordings, Paid, Transit Media,  I got a lot more when I did a search but I don’t know one from the other.

17. Influencer / Social Media Analytics: Klout, PeerIndex, Trakkd, Twitalyzer,

18. Mobile Phone & Tablet Film App Builders: Mopix (see demo here) Stonehenge

19. Mobile Video Sharing: Thwapr,

20. Platforms: Playstation, RokuRoxioNow, XBox

21. Search (for SEO): Ask, Bing, Google, Yahoo

22. Social Networks: Facebook, Google+, LinkedIn, Twitter, Weibo

23. Stream To View Transactional (Pay): Constellation, Prescreen (review)

24. Streaming Subscription: Amazon, Fandor, LoveFilms, Hulu, Netflix,

25. Video Conferencing / Multi-party (for Fan Engagement & Remote Appearances): Watchitoo

26. VOD Aggregation: itzon.tv,

27. VOD Channels: Multichannel Video Programmers (note: not all offer VOD), FilmBuff

Awesome list!

thank you Ted Hope! – indie filmmakers everywhere thank you!

Gunther Sonnedfeld: Part V of FIVE EASY PIECES: Nurturing Holistic Media Ecosystems. Excerpt- #transmedia #curation #culture #journalism – A Literacy of the Imagination

Part V of FIVE EASY PIECES: Nurturing Holistic Media Ecosystems #transmedia #curation #culture #journalism

The role of transmedial thinking (building stories in open frameworks).

Human metadata as meta-value.

The last four posts examined the rubrics of curation, exploring different functional dynamics that head towards an understanding of how media can affect business. Clearly, there is a powerful notion in using stories to not only change business, but to change or shift cultural perceptions and associated behaviors. Journalism will continue to play a significant hand in this; just today AOL announced its acquisition of The Huffington Post, to which Arianna Huffington stated that the goal was to stay on “… The cutting edge of creating news that is social…”

HuffPo happens to create some pretty engaging content, and uses real journalists and real subject matter experts to generate its stories, but what exactly do we mean when we say news is social? And what about all the other self-proclaimed online “news” outlets? What value do they bring to stories that are culturally relevant or disruptive? Do they provide an economic alternative for businesses of all types?

read the full post on Gunther’s blog: