The following papers, posters, presentations and other materials are available to download for personal use for interest or research purposes.
Using Games-Based Activities to Quickly Set Authentic Contexts
A paper presented at the 4th European Conference on Games Based Learning, Copenhagen, 20-21 October 2010.
- Paper [Word .doc]
- Presentation [Flash-based Prezi, opens in browser]
Citation: Moseley, A. (2010), “Roll, Move Two Steps Back, and Admire the View: Using Games-Based Activities to Quickly Set Authentic Contexts”. 4th European Conference on Games Based Learning, Copenhagen, Denmark, 20-21 October 2010.Motivation in ARGs: Implications for Education
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A paper presented at the 3rd European Conference on Games Based Learning, Graz, 12-13 October 2009.
- Presentation [Flash-based Prezi, opens in browser]
Citation: Moseley, A.; Culver, J.; Piatt, K.; Whitton, N. (2009), “Motivation in Alternate Reality Gaming Environments and Implications for Learning”. 3rd European Conference on Games Based Learning, FH JOANNEUM University of Applied Sciences, Graz, Austria, 12-13 October 2009.Reality Bytes
An article on ARGs in Academia published in Viewfinder magazine, no 75 (June 2009).
- Download Article [PDF]
Citation: Moseley, A. (2009), Reality Bytes. In: Viewfinder, Issue 75 (June 2009), pp.12-13, Journal of the British Universities Film & Video Council.Love the idea of 'thickly authentic contexts' and 'the contextual gap' - Smart Smart. I'll be working through the other presentations
Production company Electus and social media giant Facebook are teaming up on a new collaborative venture, called the “High School Heroes.” Subway will serve as the project’s sponsor.
The program will highlight inspirational teachers and students in the high school community, the three companies announced on Monday.
It also marks Facebook’s first big foray into original programming. It’s traditionally left video productions up to other platforms such as Youtube.
It is, however, precisely what the Ben Silverman headed Electus was designed to do. The production company aims to partner with advertisers earlier in the life cycle of a show, and has already teamed up with companies like Smirnoff to integrate their products into series.
The eight week program launched on Facebook on Oct. 18. In an example of corporatized crowd sourcing, Facebook visitors will get a chance to vote on their favorite heroes and mentors. , who in turn will vie for the title of ultimate High School Hero.
Winners will be announced on Dec. 16, 2010 and get a grand prize of $10,000 and an Apple iPad.
During the panel discussion, Everson said that Microsoft plans a branded entertainment program in January (possibly for Unilever or Kimberly-Clark, though she wouldn't say). "It came as a consumer insight about what working moms are doing in the digital environment these days. When we dug deeper, we saw how they multitask, what they do online. We are building a branded entertainment hub because Unilever and Kimberly-Clark asked what these consumers are dong in the digital space. 'What is the consumer insight we can build content around and who will develop content with us?'" She said the "the dirty secret in branded entertainment" is the challenge of building a real audience.
Everson echoed other panelists' argument for "de-siloing" marketing functions. "We have lots of data on what moms are doing online. And when you sit with Unilever and Kimberly-Clark and P&G with their 100 years of building brands, they also have unique data sets. Those 'ah-ha!' insights will only come from all of us sitting at the table together and sharing what we know. So I like the collaborative approach. What astounds me is how much is being done but not shared." She concluded by wondering out loud what the benefits would be if agencies and marketers stopped doing research for 30 days, "and instead spent 30 days sharing. It would be amazing."
I'd dispute the next day sales correlation model & I'd push this point further to think about what online can social do that trad. advertising can't:
"...That's fine for product volume, but what about marketers who say they want programs that build awareness and engagement, not necessarily sales volume the next day. "I love those assignments," Everson said. "Because our tools are quite good for measuring brand affiliation, awareness, attribution, pre- and post-studies, and search-behavior tendencies. I can solve for someone who says, 'I want brand awareness.' What's hard is 'Prove to me this thing works.' And the level of scrutiny by marketers is getting higher."
Kawada argued that you can't measure branded entertainment and brand integration the way you measure ads. "It's not an ad model. It's about relevance; the consumer brand has to be relevant from the network-brand standpoint. Brand perception and attributes have to be hand-in-hand with content. So the question should be, 'Does my product fit here?'"
Edward Burns says digital is future of indie films(AP) – 3 days ago
NEW YORK (AP) — Edward Burns revisits his indie roots — with a modern twist — in his latest project, "Nice Guy Johnny."
The 42-year-old actor-filmmaker leaped onto the scene in 1995 with the Sundance Film Festival darling "The Brothers McMullen." Fresh out of college, Burns said he used anything he could for free: He filmed in his parents' home and used editing facilities at "Entertainment Tonight," where he was working as a production assistant.
Fifteen years later, the star of "Saving Private Ryan" and "27 Dresses" has gone back to basics with another small-budget project.
"I decided we wanted to capture a little bit of that renegade sprit that we had on 'Brothers McMullen,'" says Burns. "So we set some parameters on this film. We wouldn't spend more than $25,000, we'd only work with a three-man crew, we wanted to hire all unknowns, and there would be no hair, no makeup, wear your own clothes, shot in my parents' house again."
"Nice Guy Johnny" is the story of sports radio host Johnny Rizzo, who must choose between following his broadcasting dreams or satisfying his fiancee by taking a well-paid corporate gig.
Burns, who wrote, directed and stars in the film, says the story was born from his own dilemma.
"I had to wrestle with a very similar decision," Burns said. "Do I keep trying to make these little movies, or do I go and get a job with benefits?"
But he says digital platforms have helped ease some of the financial pressure, allowing films like "Johnny" to reach millions of viewers at home and online. Instead of a costly theatrical release, the film will be released Oct. 26 on iTunes, Netflix and Video on Demand.
"Distribution models are starting to dismantle. For every indie film that does a decent number at the box office, there are dozens who do no business," he says. "If these new revenue streams weren't being uncovered, I know I would be out of business. The kind of stories I like to tell, I would be incapable of telling them."
Diana Kerekes, Comcast's VP of Entertainment Services, says the company's number of indie offerings on demand has grown from 26 films in 2006 to more than 2,000. And with more than 200,000 indie purchases a month, she says the appetite for niche films is growing.
"There's a real thirst for these stories," Burns says. "The great filmmakers of tomorrow, they get their start by scraping together a couple of thousand dollars, making that first film, getting some exposure. And all of a sudden you're the kid who made a little movie and now you're directing 'X-Men' a la Bryan Singer. If we haven't figured out a way to monetize these smaller stories, do we find the next Bryan Singer? Maybe not."
iTunes is owned by Apple Inc.
On the Net:Copyright © 2010 The Associated Press. All rights reserved.
Today we announce the jury selection for YouTube Play. A Biennial of Creative Video with the Guggenheim.
It was our goal to reach the widest possible audience, inviting individuals from around the world to submit a video for consideration. While our original goal had been to select 20, the jury was so moved by the quality of work submitted that we decided to honor a final list of 25. We believe the end result is 25 of the most unique and innovative video work to be created and distributed online during the past two years.
Tonight we will be celebrating this announcement with a live streamed event: YouTube Play. Live from the Guggenheim. Head to youtube.com/play for the live stream and for highlights after the event.
1. Auspice
Bryce Kretschmann, b. 1974 in California, USA, lives in Newark, NJ, USA.
2. Bear untitled - D.O. Edit
Christen Bach, b. 1978 in Kolding, Denmark, lives in Berlin, Germany.
3. Bathtub IV
Keith Loutit, b. 1973 in Melbourne, Australia, lives in Coogee, Australia.
4. Birds on the Wires
Jarbas Agnelli, b. 1963 in Sao Paulo, Brazil, where he still lives.
5. Birdy Nam Nam ‘The Parachute Ending’
Steve Scott (Director), b. 1970 in Plymouth, UK, lives in London, UK. Will Sweeney (Art Director and Illustration) b.1973 in London, UK, where he still lives.
6. deuce
Monica Cook, b. 1974 in Dalton, Georgia, USA, lives in Brooklyn, NY, USA.
7. Die Antwoord – Zef Side
Sean Metelerkamp, b. 1984 in Knysna, South Africa, lives in Cape Town, South Africa.
8. Gardyn
Pogo (Nick Bertke), b. 1988 in Capetown, South Africa, lives in Perth, Australia.9. I Met the Walrus
Josh Raskin (Director and Animator), b. 1980 in Toronto, Canada, where he still lives. James Braithwaite (Drawings), b. 1978 in Edmonton, Canada, lives in Montreal, Canada. Alex Kurina (Computer illustration), b. 1981 in Calgary, Alberta, Canada, lives in Toronto, Canada. Jerry Levitan (story and voice), b. 1954 in Toronto, Canada, where he still lives.
10. Ladybirds' Requiem (digest version)
Akino Kondoh, b. 1980 in Chiba Prefecture, Japan, lives in New York, USA.11. Le Syndrome du Timide
Pierre-Axel Vuillaume-Prézeau, b. 1986 in Nalliers (Vendée), France, lives in Paris, France.
12. Luis
Joaquín Cociña, b. 1980 in Concepción, Chile, lives in Amsterdam, Netherlands. Cristóbal León, b. 1980 in Santiago, Chile, lives in Amsterdam, Netherlands. Niles Atallah, b. 1978 in Sacramento, California, USA, lives in Santiago, Chile.13. Man with a Movie Camera: The Global Remake
Perry Bard, b. 1944 in Quebec City, Canada, lives in New York, USA.
14. Moonwalk
Martin Kohout, b. 1984 in Prague, Czech Republic, lives in Berlin, Germany.15. Noteboek
Evelien Lohbeck, b. 1983 in Rotterdam, The Netherlands, lives in Tilburg, The Netherlands.16. Post Newtonianism (War Footage/Call of Duty 4 Modern Warfare Footage)
Josh Bricker, b. 1980 in Torrance, CA, USA, lives in New York, USA.17. Scenic Jogging
Jillian Mayer, b. 1984 in Florida, USA, where she still lives.18. Seaweed
Remi Weekes and Luke White, both b. 1987 in London, UK, where they still live.19. Strindberg and Helium at the Beach
Eun-Ha Paek (Director, Animator and Artist), b. 1974 in Seoul, South Korea, lives in New York, USA. Erin Perkins (Writer and Voice of Helium), b. 1977 in Duluth, MN, USA, lives in Oakland, CA, USA. James Bewley (Voice of Strindberg), b. 1975 in West Chester, PA, USA, lives in New York, USA.20. Synesthesia
Terri Timely (Corey Creasey and Ian Kibbey). Corey Creasey: b. 1979 in Long Beach, CA, USA, lives in Oakland, USA. Ian Kibbey: b. 1980 in Berkeley CA, USA, lives in Oakland, USA.21. Taxi III Stand Up and Cry Like a Man
Lisa Byrne, b. 1973 in Town – Newry, Northern Ireland, lives in London, England.22. The Huber Experiments
Erik Huber, b. 1984 in Atlanta, USA, where he still lives. Matthew Huber, b. 1973 in Atlanta, USA, lives in New York, USA.23. This Aborted Earth: The Quest Begins
Michael Banowetz, b. 1955 in Wichita, KS, USA, lives in Denver, CO, USA. Noah Sodano, b. 1981 in Denver, CO, USA, lives in Denver, CO, USA.
24. Wonderland Mafia
Lindsay Scoggins, b. 1985 in Gainesville Florida, USA, lives in Tampa, USA.
25. WORDS
Everynone (Will Hoffman, Daniel Mercadante, and Julius Metoyer III) Will Hoffman: b. 1985 on Staten Island, New York, USA, lives in New York, USA. Daniel Mercadante: b. 1984 in Farmington, Connecticut, USA, lives in New York, USA. Julius Metoyer III: b. 1985 in Los Angeles, USA, where he still lives.The YouTube Play Team
From the site:
"OWN A PIECE OF "LEMONADE: DETROIT" FOR $1/FRAME. We're inviting you to purchase individual frames of "Lemonade: Detroit" and become an IMDB-credited producer in the process. For $1/frame, $24/second, or $1440/minute, you can play a huge part in making the film. Join the movement now by clicking "Become a Producer."
276 producers have funded 8,349 frames."
I wonder if you get to choose your frames?
Simon Pulman has an excellent post here. Points covered are:
A New Business Model
Why You Should Care
1. Music Videos are Telling Stories
2. Music Videos are Hitting The Production Sweet Spot
3. Music Videos – Led By VEVO – Are Solving The Monetization Dilemma
4. Creating Cohesive Artist-Brands
5. Music Videos Can – And Will – Be Used to Promote Your Story
I was having similar thoughts back in May following the M.I.A. long video Born Free & posted on that here:
http://1001tales.posterous.com/the-digital-writing-is-on-the-wall