F for Fake
ESPERIMENTODISEGNATE UNA RAPINA IN BANCA
o fate un elenco di elementi che si trovano in una rapina, tra cose che vedete, odorate, sentite, toccate, percepite,
e le cose che sapete sul funzionamento di una rapina, i suoi personaggi
Go and organize a fake hold up. Be sure to check that your weapons are harmless, and take the most trustworthy hostage, so that no life is in danger (otherwise you risk committing an offence). Demand ransom, and arrange it so that the operation creates the
greatest commotion possible. In brief, stay close to the truth, so as to test the reaction of the apparatus to a perfect simulation. But you wont succeed: the web of art)ficial signs will be inextricably mixed up with real elements (a police officer will really shoot on sight; a
bank customer will faint and die of a heart attack; they will really turn the phoney ransom over to you). In brief, you will unwittingly find
yourself immediately in the real, one of whose functions is precisely to devour every attempt at simulation, to reduce everything to some
reality: thats exactly how the established order is, well before institutions and justice come into play.
Jean Baudrillard Simulacra and Simulation
segni, segnali, indizi
Thus all hold ups, hijacks and the like are now as it were simulation hold ups, in the sense that they are inscribed in advance in the
decoding and orchestration rituals of the media, anticipated in their mode of presentation and possible consequences.
Jean Baudrillard Simulacra and Simulation
I dont need to actually be in a bank hold up because, through media of multiple types, I have been there a million times already.
Invisible cities, by Christian Marc Schmidt and Liangjie Xia
ESPERIMENTOPRENDETE UNA CITT A CASO DEL PIANETA
in quella citt scegliete un quartiere o una zona
cercate di sapere pi cose possibili di quel quartiere
(luoghi, fatti, curiosit, cose che vi appassionano, cosa ne pensano le persone di quella zona o di qualcosa si trovi in quellarea, cosa fanno i turisti e i cittadini,
cosa avverr nel futuro, cosa avvenuto nel passato, e cosa sta avvenendo proprio adesso)
CHE CITT QUESTA?
ESPERIMENTOVI HANNO BENDATO E PORTATO IN UNA CITT
vi levano la benda e vi hanno lasciano l, in mezzo alla strada nessuno parla la vostra lingua (non la capite proprio)
avete uno smartphone
come riuscite a capire dove siete? cosa fate?
quanti sensi hai?
ESPERIMENTOQUANTI SENSI AVETE?
fare una lista di sensi, inclusi quelli che sono stati modificati o che sono addirittura nati attraverso le tecnologie.
ESPERIMENTOERO SOLO, SULLOCEANO
cosa sta succedendo?
la STORIA nella MENTEe la creiamo noi, unendo indizi che vengono da tanti media differenti
Nine Moderns, scattered along two hundred miles of the Sprawl, had simultaneously dialed MAX EMERG from pay
phones.Nine different police departments and public security agencies were absorbing the information that an obscure subsect of militant Christian fundamentalists had just taken credit for having introduced clinical levels of an outlawed psychoactive agent known as Blue Nine into the
ventilation system of the Sense/Net Pyramid. Blue Nine had been shown to produce acute paranoia and homicidal
psychosis in eight-five percent of experimental subjects.
In the narrative, the Panther Moderns combine multiple media and modalities to stimulate as many perceptive modalities as possible to make the people in the Sense/Net building believe that a fundamentalists have infected
the building with a powerful hallucinogenic drug, thus causing violence and horror.
9 phone emergency calls trigger an emergency response by the police forces, who actually go to the building
showing video footage inside Sense/Net that triggers seizures in a certain percentage of employees
introducing images of contamination in the CCTV circuit
diffusing in the sound system of the building audio of a news segment dealing with a dangerous human growth hormone
the characters are placed in a situation in which they fail to distinguish reality from simulation: all the signals
and hints from the surrounding environment suggest a version of reality which, technically, is not true, but which,
in perception, is a real as they can perceive it.
a transmedia story represents the integration of entertainment experiences across a range of different media platforms
Henry Jenkins, 2007
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.
Henry Jenkins, 2007
The films trilogy : The Matrix , Matrix Reloaded and Matrix Revolutions
A series of animated shorts : Animatrix https://www.youtube.com/watch?v=cTLMjHrb_w4
Two video games : Enter the Matrix and The Matrix : Path of Neo
A MMORPG game: The Matrix Online
An anthological graphic novel: The Art of the Matrix
A series of comics : The Matrix Comics
the Human Preservation Project
the actively engaged real-time viewer who must find satisfaction in each single episode and the more reflective long-term
audience who look for coherent patterns in the story as a whole () [and] the navigational viewer who takes pleasure in following
the connections between different parts of the story and in discovering multiple arrangements of the same material.
When applied to storytelling, negative capability is the art of building strategic gaps into a narrative to evoke a delicious sense
of uncertainty, mystery or doubt in the audience.
Simple references to people, places or events external to the current narrative provide hints to the history of the characters and
the larger world in which the story takes place.
This empowers the audience to fill in the gaps in their own imaginations while leaving them curious to find out more.
A Migratory Cue, thus, is the stimulus to change media, to follow one of the hyperlinks exposed by the transmedia narrative, and to engage in a different chunk of the world
which it refers to and actively manages to build.
We can think of transmedia storytelling as a hyperbolic version of the serial, where the chunks of meaningful engaging story information have been dispersed not
simply across multiple segments within the same medium, but rather across multiple media systems.
The notion of different subjectivities participating to forming the overall narrative has, too, already been
mentioned in the previous sections. For example while making the example of Marvel Comics and their
continuity, in which the same story is viewed from different points of view.
Transmedia narratives often explore the central narrative through new eyes, such as secondary characters or
the ability of transmedia extensions to lead to fan produced performances that can become part of the
transmedia narrative itself.
Cultural Attractors: draw together a community of people who share common interests.
Cultural Activators: give that community something to do.
TA-DAAAAAA!il tema di questanno!