Mar 312011

How does a country encourage its creative producers to innovate media projects & services? Many leave it to commercial forces only, where it is an innovate or die, sales driven culture. Some though with small or fledgling production communities have to rely on government subsidy and kick-start funding to get most ‘innovative’ projects off the ground. I have looked and been involved in the latter for many years as Multi-Platform producer devising initiatives, director of training units and lecturer in education sectors which include several European countries, Canada, Australia, UK and US. How can we better divvy up millions of tax payers dollars and spread it between heritage and multi-platform?

Below are a few excerpts of a longer article/paper & book chapter (full of juicy stats & facts!) on public tax payers funding of global multi-platform media projects from a perspective of “are we giving it a ‘fair-go’” – as they say down under. It is focused on all government creative funding agencies who help divide up ‘new and old’ screen culture funds in their respective countries. Its intention is to help multi-platform (as opposed to the vagary ‘digital’) move forward rather than be held back by analog thinking or status quo market approaches. I will PDF and link later…

As some of this sails close to one or two of my ‘day jobs’ (some of my credentials in this area are listed at the bottom of the post) I have kept it as generic as possible, without any intentional finger pointing. I hope some top level ideas I suggest to help fix something that has been broken for decades, may not fall on deaf ears.

Preface – Traditional Media vs Multi-Platform: Where’s the engagement?

To choose an excerpt or ‘why multi-platform’ this old argument about the old vs the new is appropriate here. There are many who say we are in a golden era of TV and Film. Audiences both love and trust these mediums and growth is strong across the board. So naturally “we must find and fund new talent and projects in these areas for the good of our culture”. Telling stories through film, tv, galleries, concert halls and books is the only real media to take into consideration. Or is it? This is the status quo, most public funds for media are for localised film and TV and ‘culturally’ significant ‘art’ projects. The ‘other stuff’ oft called multi-platform or digital or online is still not taken seriously. I suggest it still does not reflect what and how its people are consuming media and how they are engaged in that usage.

To give a sense of this disparity, for example in Australia last years total spend (note this includes commercial investment) on film was US $336mill yet overall funds for ‘multi-platform’ creative projects across all public agencies amounted to approx $12-15mill – with the largest funder in the space Screen Australia about to provide approx $4mill annually for creative multi-platform. If we also add TV funding into the mix and think of other territories also (UK film spend US $1.48 bill) we can get to an estimate ratio of around 9:1 of traditional media funding vs multi-platform. Note this is about creative ‘story-centric’ projects vs digital business or hardware enterprise. That means around 9 times more is publicly granted/invested in Film & TV than Multi-Platform or it’s storytelling child, transmedia. I am still adding up figures from other regions which may alter that slightly and although I would like to, don’t get me started on the balance spent on training and education across these two sectors!

As I presented in my last post/article (Navigating the World of Multi-Platform) the media landscape has now significantly fragmented from the 1970-90s yet those in control of the ‘funding’ & educational mechanisms are, I would suggest, still basing decision from those days by funding what is effectively just ‘linear video stories’ – vs more interactive across multiple media channels. Sure there are a lot of statistics that on the surface back this up – for example, TV viewing has remained static and even growing regardless of the increase of  video watching on the web or games usage and box office is strong even with illegal digital distribution and on and on. But when you look at some sectors, print and music for example, who themselves were saying ‘business as usual’ 2 years ago, it tells a completely different story purely from a sales perspective – due to online distribution (eBooks & mp3 torrents) traditional sales are falling at between 10-30% annually.

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Jan 172011

Social media is a humbling experience much of the time. For one it is a super fast barometer of many aspects of our digital persona made up partly of a) our online influence, b) what people ‘feel’ about you (sentiment) and c) who we are connected too but more recently with the introduction of Twitter Lists we now have an element of ‘labelling’ aka ‘tagging’. Like most I am not keen on being pigeon holed, filed and rubber stamped as ‘this kind’ of person or someone who only ‘thinks/creates/is involved’ in those things, but I was fascinated this morning in doing what Laurel Papworth did some months ago, looking at how others saw me based only on my Twitter activity.

I have currently been added to 700 lists (which I think is up in the top 10% or so?) –

the key of course is that these lists are created un-prompted by those they follow, they have selected ‘you’ quietly in the background to be a part of a personal filter, carefully structured by users who want a way to distill the vastness of a 140 character universe of noise, that is twitter – making lists for themselves of a few key personal influencers through to hundreds of sharing tweeters across several lists on quite broad topics, the lists themselves followed by thousands.

There were over 6.5 million twitter lists at the start of 2010 so I suspect at least double that for 2011 according to TNW and there are hundreds of tList directories on the web now such as ListAtlas that focuses on the most popular lists such as 22 000 following the @bieberarmy :: justinfollowplease list of 91 fans who “want to be followed” by JB himself or  38 verified world leaders compiled into this list @verified :: World Leaders followed by 15 000 or so. But back to my own little world…I am not sure if the lists below represent ‘who I am’, especially as 75% of my twitter activity is sharing links, but they certainly represent areas I work in and am interested by.

… without further ado – I quickly used TextWrangler to pull out key words and broke the 700 lists (I am on) into smaller ‘categorised’ batches. This serves as a one stop shop for me to dip in and out and decide which lists I will follow and for you to possibly find ones you may find of interest.

What do your lists say about you?


  1. The most listed Tweeters on 37 lists about Transmedia
  2.!/aliciakan/transmediatweeps Teaching me a little bit more about transmedia, everyday
  4.!/matthanson/screen-bleed Media theories & futures in a multiplatform world.
  5.!/brand_candy/transmedia-storytelling People interested in transmedia storytelling
  6.!/bulldogmi/isthistransmedia A list of crossmedia, transmedia and storytelling tweets
  11.!/FilmThreat/transmedia-artists A self-updating filtered list of people I follow (generated by!/formulists)
  12.!/FLB_AlainThys/media-innovation tweets about media innovation, crossmedia, transmedia and other interesting media developments
  13.!/frank_tentler/transmedia-avangard List of Transmedia and Transmedia Storytelling Avangard on Twitter
  14.!/geoffreylong/transmedia Scholars and practitioners in transmedia.
  15.!/helloflow/worldoftransmedia all people you want to follow on transmedia storytelling!
  16.!/ivanovitch/transmedia People working in, interested in, thinking about Transmedia.
  17.!/jlsimons/transmedia TM
  18.!/KH_enthu_Ziasm/transmedia well, are you transmedia ready ?
  19.!/melaniemcbride/gaming-transmedia-10 Makers, observers, researchers and players of games/transmedia.
  21.!/nwangpr/transmedia This list follows those who are exploring new storytelling opportunities for brands and agencies.
  23.!/onceuponaword/transmedia A list of people who regularly tweet smart things on transmedia
  26.!/Pixel8studio/transmedia Stories to be told.
  27.!/pseudonymDK/transmedia Important people to follow to learn more about transmedia
  32.!/nativeshell/trans-incidental Transmedia news and peeps


  1.!/thatgreg/new-media-2 People actively changing the way media is created and ultimately consumed.


  1.!/AaronMarshall/augmented-reality Cool folks tweeting interesting things about Augmented Reality.
  3.!/Balubab/augmented-reality Augmented Reality universe
  6.!/chrisgrayson/augmented-reality-peeps People & Companies involved in Augmented Reality, as well as AR Blogs
  18.!/siyann/immersive virtual worlds, augmented reality, immersive experiences
  19.!/dromescu/ar Augmented Reality
  20.!/jlapoutre/mobile-ar Mobile Augmented Reality


  2.!/9dimension/brightside bright ppl
  3.!/owlark/interesting-people-a1 Great people: listed or interested
  4.!/InShot/thought-leadership James Grant Hay’s Thinking Out Aloud
  10.!/LMurphy140/from-far-far-away non local interesting
  13.!/MikeFreyParadux/bloggers Bloggers! Check these wonderful blogs by interesting tweeps.
  14.!/OwenKelly/people a miscellaneous assortment of interesting people
  15.!/paolonieddu/insight-and-cool-shit Links to interesting stuff

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Aug 282009

Was going to call this Augmented Reality Story Environments but…:)

It is fascinating to see how quickly Augmented Reality (AR) is permeating our lives and the blogosphere. But what will the mass adoption of mobile devices that allow you to layer ‘virtual story worlds’ over the real world mean for new forms of entertainment & marketing? Also what will it mean when celebrities and audience/users, begin to merge – avatars appearing in broadcast TV and film/gamestars composited into our homes?


I have posted about the cross-reality evolution over the last 3 years on this blog under a general mixed-reality umbrella. Now we have every blogger & journalist talking about their AR engaged iPhone, DSi, PSP or smart mobile as if they have discovered some advanced alien technology. But is it really is a game changer, a new playground for storytellers? A window to another world at one end through to a simple layered utility at the other. Actors and fantasy characters deliver lines, embedded in real world scenes, you find the hidden virtual treasure, the historical or future backstories and clues, video, sound, images – even fellow ‘players’ morph into strange aliens or dissapear, you leave red herrings or leave help for other players the possiblities, endless.

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Jun 292009

au·then·tic (ô-thĕn’tĭk) adj.

  • worthy of acceptance or belief as conforming to or based on fact – paints an authentic picture of our society
  • conforming to an original so as to reproduce essential features
  • made or done the same way as an original
  • not false or imitation : real, actual
  • true to one’s own personality, spirit, or character

abridged definition from merriam webster

What does it mean to be real online? One of the biggest issues facing individuals and organisations in the new order that is social media (and web 2/3.0)  is the problem of being human, appearing real, having personality and authenticity. Add to this the fact that we all ‘lie’ in real life and the issue of this manifesting online. The question of authenticity is at the core of social media and one that causes much disagreement between old school media/marketing types and those who are attempting to engage more ‘deeply’ online with communities and customers. Whether it is about the integrity of your blogging, the energy of your tweeting or how your overall package of Flickr, YouTube, Facebook etc: this post addresses some of the philosophy and asks practical questions which will hopefully get you thinking about the true value of authenticity.

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