Invited contribution to Elizabeth Strickler’s (Georgia State University) curated theme of ‘Transmedia Now’ for In Media Res: In this 1972 documentary, The Computer Generation, by John Musilli, artist Stan Vanderbeek talks about the possibility of computers as an artist tool. My aim with drawing on this documentary is to compare the current state of transmedia with … Read more‘TEST TEST TEST Transmedia’ for In Media Res
My chapter for Drew Davidson’s book discusses ways you can create quality cross-media experiences. This is one of the earliest ‘how-to’ books on cross-media published. This text is an introduction to the future of mass media and mass communications – cross-media communications. Cross-media is explained through the presentation and analysis of contemporary examples and project-based … Read more‘Creating Quality Cross-Media Experiences’ for Cross-Media Communications
Commissioned review/article on the panel ‘What happened to new media art?’ chaired by Darren Tofts at the 4th Australasian Conference on Interactive Entertainment. ON THE LAST DAY OF THE FOURTH AUSTRALASIAN CONFERENCE ON INTERACTIVE ENTERTAINMENT AT RMIT IN MELBOURNE DARREN TOFTS CHAIRED A PANEL DISCUSSION THAT BROUGHT TOGETHER A SMALL GROUP OF PRACTITIONERS, CURATORS, EDUCATORS, … Read more‘Playing the Moon: Christy Dena on the Fate of New Media Art’ for Real Time Arts
Commissioned review of Anne Friedberg’s The Virtual Window: From Alberti to Microsoft for editor David Silver and the Resource Center for Cyberculture Studies. ‘Review of Anne Friedberg’s The Virtual Window: From Alberti to Microsoft‘, Cyberculture Studies, March.
A few days ago I published a post highlighting one possible reason why alternate reality games are perceived as hoaxes by some, and posited one strategy to circumvent the problem. The point seemed to caused a little confusion, as some thought I was saying that all the content and marketing should be targeted to the ARG community only. [Steve was right, this would be quicker over a beer at a conference.] To be clear, that is not how I see a launch operates in any scenario. Launches require putting lots of content out into different communities of interest. My point was that a work that looks indistinguishable from real content would benefit from having a community that identifies it as fiction early in the launch process. That is: to target the ARG community in the first wave. Whether other communities are targeted at the same time or slightly after is a design approach relative to the creator — but the point is to include an ARG community early.
But, since focusing on one strategy in isolation is evidently not the most effective approach, I will step back and look at the bigger picture. One of the issues with ARGs is that they are often referred to as hoaxes, and sometimes (rarely) experienced as hoaxes. So my questions have been:
1) Are ARGs hoaxes?
2) Why are ARGs referred to hoaxes?
3) Why are some ARGs experienced as a hoax?
4) Why is it most ARGs not experienced as hoaxes?