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International Journal of Transmedia Literacy From Storytelling to Intercreativity in the Era of Distributed Authorship Edited by Matteo Ciastellardi Giovanna Di Rosario Contributes: Amorós, L. Arana, E. Bazzarin, B. Bonacho, F. Ciancia, M. De Kerckhove, D. Jenkins, H. Kinder, M. Koskimaa, R. Landow, G. P. López-Varela, A. Manovich, L. Mimenza, L. Narbaiza, B. Pedranti, G. Roig Telo, A. San Cornelio, G. Tavares, S. Tosca, S. December 2015 Issue | 01 Hydrogen INTERNATIONAL JOURNAL OF TRANSMEDIA LITERACY Editor in chief MATTEO CIASTELLARDI Managing Editor Giovanna Di Rosario Board Commitee Alan Albarran Rogério Barbosa Da Silva Giovanni Baule Laura Borràs Castanyer Derrick de Kerckhove Henry Jenkins Marsha Kinder Raine Koskimaa George Landow Paul Levinson Asún López-Varela Lev Manovich Nick Montfort Marcos Novak Massimo Parodi Bruce W. Powe Kate Pullinger Marie-Laure Ryan Alexandra Saemmer Carlos Scolari Susana Tosca Alessandro Zinna SUBSCRIPTIONS One year € 42,00 – One issue € 30,00 + expedition fees LED Edizioni Universitarie - Via Cervignano, 4 - 20137 Milano Tel. +39 02 59902055 Fax +39 02 55193636 e-mail: [email protected] Bank transfer Banca Popolare Commercio Industria IBAN IT27 V050 4801 6570 0000 0000 998 Swift BLOPIT22 Send by fax the payment receipt Credit card (Visa - Mastercard - American Express) Send by e-mail or by fax the credit card number and expiration date Cover Image: Screenshot from the transmedia story ‘Inanimate Alice’ A BradField Company Production: http://inanimatealice.com © 2015 Via Cervignano 4 - Milano - www.lededizioni.com - [email protected] International Journal of Transmedia Literacy – 1.1 - December 2015 http://www.ledonline.it/transmedialiteracy/ 1 From Storytelling to Intercreativity in the Era of Distributed Authorship 1.1 Hydrogen December 2015 Edited by Matteo Ciastellardi and Giovanna Di Rosario Foreword: Transmediature 5 Derrick De Kerckhove Transmedia Literacy. A Premise 7 Matteo Ciastellardi - Giovanna Di Rosario Part One – Articles Playing with Time in Digital Fiction 19 Raine Koskimaa We Have Always Wanted More 35 Susana Tosca Transmedial Ekphrasis. From Analogic to Digital Formats 45 Asunción López-Varela Azcárate International Journal of Transmedia Literacy – 1.1 - December 2015 http://www.ledonline.it/transmedialiteracy/ 3 Sommario We Have Always Had Mashups, or Mashing Up Transmediality 67 George P. Landow Being Lucky. Transmedia and Co-Creation Practices in Music Video-Clips 85 Gemma San Cornelio - Antoni Roig Telo Is the Community a Medium? Is “That’s Me!” the Message? 101 The Story of #Placevent: We Are Using Social Media to Hack the Academy Valentina Bazzarin Korrika, a Transmedia View 117 Edorta Arana - Bea Narbaiza - Libe Mimenza Transmedia Design Framework. 131 Design-Oriented Approach to Transmedia Research Mariana Ciancia Friends, Partners & Co: A Sustainable Model for the Media? 147 Gabriela Pedranti Paratextual Prometheus. 175 Digital Paratexts on YouTube, Vimeo and Prometheus Transmedia Campaign Sérgio Tavares New Technologies On the Street. CINEMATIC 197 Lucía Amorós Alice’s Anima: The Obligation of a Transmedia Reading 209 Fernanda Bonacho Part Two – Transmedia Grassroots Cinema as a Cultural Interface (1997) 221 Lev Manovich Wandering Through the Labyrinth: 253 An Interview with USC’s Marsha Kinder by Henry Jenkins (2015) Henry Jenkins - Marsha Kinder International Journal of Transmedia Literacy – 1.1 - December 2015 http://www.ledonline.it/transmedialiteracy/ 4 Foreword: Transmediature By Derrick de Kerckhove Transmediature is the literature of the age of digital media. Not only is it devel- oping an esthetic but, just like the old fiction it has a mind bending purpose. Media shape heads, we know that now, but art makes that shape. We became what we read, we now become what we watch, what we trigger, and what we share. Transmediature picks up from where medieval theatre left off when the printing press rendered obsolete the practices of the manuscript culture. Trans- media share a number of key features with sacred plays that were performed outside the church on the town square. These performances involved the public, using the media available at the time. They involved participation, games, storytelling, local news and politics and their various stages would operate simultaneously. There presented too a kind of hypertextual layout in that people could choose to go from place to place without any particular order unless they preferred to follow the Magister Ludis. Like transmedia today, they were based on a world, the Earth in relationship to Heaven and Hell and allowed for much improvisation on the part of the actors. Transmedia educates us to hypertextual cognition and multimedia imagi- nation. Breaking the linear imperative, mashup fiction has shattered video in fragments. The job is to re-member them. Connected intelligence ties contents and people over time and space in networks. Transmedia Literacy is putting Humpty Dumpty together again. International Journal of Transmedia Literacy – 1.1 - December 2015 http://www.ledonline.it/transmedialiteracy/ 5 Transmedia Literacy: A Premise Matteo Ciastellardi Politecnico di Milano Giovanna Di Rosario Université Catholique de Louvain doi: 00000000000000 [email protected] [email protected] For several years now, when thinking of education and literature, we have seen that cultural references and practices are in a continuous process of trans- formation and redefinition, both because of the available digital tools, and because of several emerging channels of dissemination and distribution that reflect the increasingly dynamic abilities of mass (self)-production. In a 2005 study by Amanda Lenhart and Mary Madden reported by Henry Jenkins, research emerged demonstrating that “more than one-half of all teens have created media content, and roughly one-third of teens who use the Internet have shared content they produced. In many cases, these teens are actively involved in what we are calling participatory cultures”. (Jenkins 2009, XI) The participatory culture that Jenkins discusses represents an important milestone in the process of self-awareness and personal engagement in cultural production. The way people maintain a lifelong learning process no longer depends strictly on hierarchical structures devoted to educative purposes, but mostly on the socio-cultural environment of interpersonal and intermediated communication. Jenkins’ definition of participatory culture underlines specific aspects of this paradigm shift: A participatory culture is a culture with relatively low barriers to artistic expression and civic engagement, strong support for creating and sharing creations, and some type of informal mentorship whereby experienced participants pass along knowl- edge to novices. In a participatory culture, members also believe their contributions matter and feel some degree of social connection with one another and, at the least, members care about others’ opinions of what they have created. (Jenkins 2009, XI) International Journal of Transmedia Literacy – 1.1 - December 2015 http://www.ledonline.it/transmedialiteracy/ 7 Matteo Ciastellardi - Giovanna Di Rosario If, on the one hand, this definition perfectly suits the attitudes of digital natives, conversely, it can be considered the most reliable definition of “prosuming audiences”, meaning people, of different ages, active in the production of creative content versus being passive consumers. If we reflect on the evolution of cultural technologies and the possibili- ties that different supports have offered in terms of expression, circulation, and engagement, we notice an exponential transformation of what is today called Media Literacy. If the birth of language represented the first footstep into a new social dimension of consciousness and communication, then such has undergone exponential growth with media-based literacy. Three hundred generations ago writing reframed the principal social patterns of everyday life. Almost thirty generations ago, the printing press led to another step toward mass communication and improved pedagogical tools. Then, suddenly, from the eighteenth century to the turn of the nineteenth and twentieth centuries, the industrial revolution led to shortened lines of relation, interpersonal commu- nication, and greater participation between people. With the constant growth of “new” new media (telegraph, photography, telephone, cinema, radio, televi- sion, web, computer, mobile, wearable devices, etc.) what has changed is not only the possibility extending knowledge in unpredictable directions, but also the ability to explore new frontiers of communication. What has changed is the architecture of intelligence itself (De Kerckhove 2001) and the intellectual development of the brain. (Wolf 2007) Moving a step backward, in order to gradually interpret this change through the lens of media history, according to Castells (1996), we can say that we have started this paradigm shift by moving from the model of the “Guten- berg Galaxy” (press, mass distribution), to the revolution of the “McLuhan Galaxy” (new media, hypertext, collective participation, etc.). The first result of top-down driven communication spread through mass- media channels (television, newspapers, radio and cinema among the most popular) and this created a specific kind of media spectatorship, educated and trained to comply with monolithic aspects of “pretailored” consumption. The emergence of a networked society (Castells 1996; Taylor 2001)
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