Today we had a guest researcher’s seminar in HTK. I have taken some notes from his ideas.
doctoral student of Lapland Uni
Artistic search as new source of innovation. In Finland there are Sibelius academy and Fine Art academy where you can do artistic research related to domains such as opera etc. In Aalto University and Univ. of Lapland there are artistic research methods applied to art and design research.
Interactive narratives you can find in videogames.
To understand interactivity the narrativity in interactive television must be cut down to mental representation dimension, so narrative is emerging in the spectator’s mind through the interaction with the film.
Social media is a lot about storytelling. Traditional telephone conversation has changed from professional interaction to domestic enjoinment in time. In core it is a lot about telling stories, skipping technological functionalities. Same we see in modern social media services such as Twitter, Blogspot, Myspace etc.
Always when you watch narrative you are willing to see the narrative, the will to hear is the will to be seen. When we experience the story we also tell the story.
Not so many interactive, sustainable television programs exist (quiz games, chatting programs), it is quite new phenomena in TV.
Regular interactive TV programs have been around a decade. Lottery TV program is interactive if you participate with your ticket.
Big question is: What kind of experiences can be transmitted in TV to audience interaction?
Almost non-existing narrative
Akvaario program in Finland.
Mind Saver (interactivity of taming a wild animal)
The age of Garbage (work in progress) (birds are recycling garbage in TV screen, if you call the program contacts you and the birds can come to your telephone and you can interactively control the game in your phone). television + game + story (it might be a Facebook application)
Control interactivity is established with phonecalls
A story between stories: algorithmic and audience control of video segments in an experimental interactive television programme
Chris Hales; Teijo Pellinen; Markus Castrén
2006, Vol. 17, No. 4, pp. 234–242
TV and art are polarised, antagonistic. You cannot say i do art in TV.
If i want to develop interactive TV programs, a good way is to make an artistic research. Methodology should grow from research.
Three models are applied in interactive art research of Teijo:
a) Kari Kuuti 1996 activity theory model
We think how individual is related with the community?
How individual is related with the target?
The reflection – how the target is related with the community creates the communal aspect of the interactive TV program?
b) Eija Timonen’s Practical based research model
According to this model we can create knowledge in artistic research, theoretical work is growing and shaping the practical research. The research question is still changing all the time, but eventually it will be fixed.
c) The relation of art and research (the relation of design and research)
Research about art
Research for art
Research through art
Results of Teijo’s studies
Sheep TV: people were willing to interact with the program and were long time interested in interaction. Question why are people willing to interact? Is it a game, a social game, is it just looping nature video that is attractive? Quite often 2 people started interaction (dialogie) with eac other (2 telefone numbers) to control the lamb.
The Mind Saver included database to record interaction.
The popularity of the program was surprising, a lot of software components crashed by the amount of interactivity.
Many callers called several times.
What to do with the data? The data indicate that people are really willing to interact.
In the Mind Saver there were more than 100 000 telephone calls, website got 2 000 entries. I assume that the website didnt get enough entertainment value as a component in interactive television.
What kind of experiences can we transmit through audience interaction?
Is repetition key to new way of narrative?
This point i loved the most, because it is really related with the ontospacial view of writing digital narratives i have tried to explore. Practically, in ontospacial view we see repetition emerge in spacial terms, people come back and interact with the certain spaces meaningful or them in ontospace.
Repetitive action can be basis for new routine
Interactivity brings intimacy