1. “Defiance” could be the first successful co-development of an MMO and TV show, and a gateway for transmedia-based content in mainstream entertainment.  Here’s a look at the making of “Defiance” and a new frontier on the rise…

  2. »  A visual explanation of crowdsourcing [infographic] - Holy Kaw!

    transmediaresources:

    make sense now? : )

  3. newkid-tumblr:

    ASTONISHING INTERACTIVE SHOW INSTALLATION OF CHRIS MILK IN COLLABORATION WITH ARCADE FIRE

  4. »  HTML Game: Music Can Be Fun

    The magic of HTML5 brings you this interactive way to listen, create and play to RA RA RIOT by The Orchard.  Have fun :)

  5. And who says Transmedia methodologies can’t be applied to photography and sculpture?   Some years back, photographer, artist and innovator David Meanix was commissioned by Alan Ball and the Producers of “Six Feet Under” to create a Photosculpture series for the character of “Claire Fisher,” played by Lauren Ambrose.  Photosculpture had been innovated by Meanix as his own unique method of cross-breeding photography and sculpture, and was a perfect fit with the show’s soul-searching theme of mortality. David is shown above working on actor Michael C. Hall, now the star of “Dexter.” Though the show ended several years back now, I bring this up to point out how Transmedia methodologies can span traditional art forms we wouldn’t normally expect. Already a hybrid medium, writer Alan Ball went as far as to incorporate Meanix’s input on the Photosculpture process in his development of the overall story structure, as well as the character arc and motivations of Claire Fisher. In fact, Meanix’s Photosculpture captured the psychogeographic landscape of the characters themselves - something the main driving content couldn’t on its own - and allowed fans to engage in that extended narrative beyond the show’s airing by being placed online.  If that isn’t deep, and an earlier form of Transmedia methodologies at work, I don’t know what is! *You can still find David Meanix’s work on Six Feet Under available on his website - check it out!

    And who says Transmedia methodologies can’t be applied to photography and sculpture?  

    Some years back, photographer, artist and innovator David Meanix was commissioned by Alan Ball and the Producers of “Six Feet Under” to create a Photosculpture series for the character of “Claire Fisher,” played by Lauren Ambrose.  Photosculpture had been innovated by Meanix as his own unique method of cross-breeding photography and sculpture, and was a perfect fit with the show’s soul-searching theme of mortality. David is shown above working on actor Michael C. Hall, now the star of “Dexter.”

    Though the show ended several years back now, I bring this up to point out how Transmedia methodologies can span traditional art forms we wouldn’t normally expect. Already a hybrid medium, writer Alan Ball went as far as to incorporate Meanix’s input on the Photosculpture process in his development of the overall story structure, as well as the character arc and motivations of Claire Fisher.

    In fact, Meanix’s Photosculpture captured the psychogeographic landscape of the characters themselves - something the main driving content couldn’t on its own - and allowed fans to engage in that extended narrative beyond the show’s airing by being placed online.  If that isn’t deep, and an earlier form of Transmedia methodologies at work, I don’t know what is!

    *You can still find David Meanix’s work on Six Feet Under available on his website - check it out!

  6. So you know those funny little squares on the sides of bus stops called “QR Code?” Turns out they’re not just wallpaper anymore.  Pet Shop Boys invites you, or more accurately implores and bombards you, with their “Integral” music video and show us that QR Code isn’t just useful, it’s a dynamic, expressive if not beautiful artistic form.

  7. Here’s a fantastic interview with Scott Prindle of CP+B by Edward Boches on the role of the Creative Technologist in creating brand narratives.  A lot of Prindle’s discussion about the role of Creative Technologists could easily be interchanged with that of Transmedia Producers and Strategists. The difference between the two is emphasis - Creative Technologists lean more heavily on their expertise in technology as it pertains to creative pursuits, and Transmedia experts start with the narrative process and consider ways in which technology can enhance the fan (“consumer”) experience and still drive revenue.  

    But beyond defining our roles, Prindle and Boches offer us this directive: to fuse ourselves as experts who understand the technology and art of storytelling into the brand narrative process as part of the agency team.  Sounds great.  But in order to accomplish this we recognize that most industry views us as evangelizers, philosophers and, at best, teachers - not the builders we actually are.  

    Positioning technologies in the creative concepting process IS the correct move and will bring significant and mutual benefits to the agency process (digital and traditional). But getting agencies to listen to our evangelizing is easy. It’s asking them to put their money where their mouth is by reorganizing and incorporating Transmedia experts and creative technologists to their internal teams that they suddenly cringe and run for cover.  

    So where does this bring us in Transmedia? Do we simply look down our noses and point our fingers at the advertising lemmings headed for the cliff?  Maybe we should instead take a long look at ourselves and realize that jumping up and down and defining the cliff isn’t going to get them to stop.  That in fact, Transmedia is being driven toward its own demise due to our own lack of consideration for company perspectives on organizational design and change management.  

    We have, for the most part, thrown up our hands at considering the issues on the business side of Transmedia, and then bitterly complain that we’ve been left on the bench.  It is impossible to consider taking the next intelligent steps toward becoming internal team members of established systems, such as ad agencies, film studios, and music labels, when we amongst ourselves cannot manage a discussion about how to design a Transmedia business.  

    I have offered on several occasions to speak on organizational design for Transmedia.  Not once have I ever been taken up on it - instead, I’ve been asked to discuss definitions for Transmedia Storytelling, Transmedia Marketing, Franchising, Social Media Analytics, and Project Execution.  How can any of that matter if we don’t help to create the companies that foster these ideas?  Many Transmedia companies are popping up who do not even know how to design their own organizational structures. How do you expect to tell others to change how they function, when you can’t even figure it out for yourselves?

    So, yes, I know, I’ve been harsh here.  But it’s for good reason.  When we can have an intelligent discussion about the business of Transmedia rather than the definition(s) of Transmedia, we can then ask others to follow our lead.  Until then, we’re full of hot air.

  8. "If it doesn’t spread, it’s dead."
    Henry Jenkins

About me

Hi I'm Blerime. I know. It's hard to pronounce. You can call me Blu until you get it.

I am a strategic advisor to entertainment, advertising, telco and emerging tech clients on everything from business development and convergence to marketing and transmedia.

I also run a company called Brand Band Inc., a collective of creative and technology partnerships helping architect and execute story-led fan experiences. Brand Band Inc. is also developing an agency to help brands and artists monetize the metadata collected through the long-term cultivation of their fan communities.

I'm attempting to remedy my gypsy ways in Los Angeles but on occasion you can find me haunting the streets of New York, Boston and London.