How to Survive the Apocalypse: Using Film, Television, and Video Games As Gateways to Self-analysis

This thesis serves as an investigation on the use of film, television, and video games as access points for personal analysis in imagined scenarios. When creating a fictional world, characters\u27 motivations and behaviors are often based on real-life experiences. In the apocalypse genre, understanding how a character might behave in such an extreme circumstance can be difficult to predict, considering few have lived through comparable conditions. To supplement personal experiences and observations, a creator might use other stories as gateways to self-examination. The investigation begins in film, exploring how stories provide a viewer with new experiences that they can then apply to real-life scenarios. The \u27art house horror\u27 effect is examined, exploring how the safety of a theater allows a viewer to process traumatic experiences in a controlled environment. Real-world applications of the \u27art house horror\u27 effect are considered and their effectiveness is brought into question. The analysis then moves on to interactive specials (television programs that allow for real-time user input), examining the importance of input from the user on the ability to learn from actions. Finally, the study shifts to video games as the most interactive of the three media explored. The correlation between in-game choices and real-life choices is debated, considering the reward systems offered by games that may influence behavior. In addition, the COVID-19 pandemic is examined from the same perspective—as a means to infer human behavior in extreme contexts. The author then concludes with a brief explanation on how these thought experiments and pandemic experiences were incorporated into the development of an original apocalyptic narrative and corresponding illustrations

Fans and Adaptation: An Analysis of the Use of Interactive Storytelling in The Lizzie Bennet Diaries

By using adaptations of Jane Austen’s classic novel Pride and Prejudice (1813) as a frame of reference, my thesis will demonstrate that transmedia narratives are most effective in tandem with original texts that have a history of successful adaptations due to the perpetual audience of fans and their previous knowledge of the story to meaningfully, as well as canonically, interact with the narrative. This thesis will first introduce theories surrounding adaptations and look at previous Pride and Prejudice adaptations in light of a devoted fan base. It will then introduce the concept of transmedia narratives and examine the culture of fans and their interactions with texts in the digital age. Lastly, I will analyze the success of the Internet production company Pemberley Digital and their transmedia YouTube adaptation of Pride and Prejudice that boasts a view count of 82.2 million views and secured an Emmy. This analysis will apply the theories on transmedia, fandom, and adaptation introduced in the first three sections to demonstrate that interactive transmedia narratives are most effective when they have an established fan base, which is most easily found in popular texts prone to adaptations. Digital storytelling will only continue to grow, especially as upcoming generations favor online streaming and independent producers as opposed to the cable television shows created by the larger media corporations. The research contained within this thesis will show the importance of appealing to wider audiences by creating richer, more immersive narratives through transmedia and paratexts that encourage collective authorship

Capturing the Visitor Profile for a Personalized Mobile Museum Experience: an Indirect Approach

An increasing number of museums and cultural institutions around the world use personalized, mostly mobile, museum guides to enhance visitor experiences. However since a typical museum visit may last a few minutes and visitors might only visit once, the personalization processes need to be quick and efficient, ensuring the engagement of the visitor. In this paper we investigate the use of indirect profiling methods through a visitor quiz, in order to provide the visitor with specific museum content. Building on our experience of a first study aimed at the design, implementation and user testing of a short quiz version at the Acropolis Museum, a second parallel study was devised. This paper introduces this research, which collected and analyzed data from two environments: the Acropolis Museum and social media (i.e. Facebook). Key profiling issues are identified, results are presented, and guidelines towards a generalized approach for the profiling needs of cultural institutions are discussed

Symbolic Activities in Virtual Spaces

This paper presents an approach to combine concepts ofsymbolic acting and virtual storytelling with the support ofcooperative processes. We will motivate why symboliclanguages are relevant in the social context of awarenessapplications. We will describe different symbolicpresentations and illustrate their application in three differentprototypes

PLACE Events 2016-2017

This document describes PLACE events at Linfield College for 2016-2017

Gaming the heart of darkness

The history of Joseph Conrad’s Heart of Darkness has been one of adaptation and change. The enduring story is based upon Conrad’s experiences in the Congo in the 1890s and has been published as a novella in 1902. Since then the story has been criticised for racism by Nigerian writer Chinua Achebe (1975) and relocated to Vietnam by Francis Ford Coppola as Apocalypse Now (1979), influencing computer games such as Far Cry 2 (2008) and Spec Ops: The Line (2012). In examining the adaptations of Heart of Darkness we can consider how the story evolves from the passive reading of post-colonial narratives through to the active participation in morally ambiguous decisions and virtual war crimes through digital games: examining Conrad’s story as it has been adapted for other mediums provides a unique lens in which to view storytelling and retelling within the context of how we interpret the world. This paper compares the source material to its adaptations, considering the blending of historical fact and original fiction, the distortion of the original story for the purpose of creating new meaning, and reflects on whether interactivity impacts upon the feeling of immersion and sense of responsibility in audiences of different narratives

People, Land, Arts, Culture and Engagement: Taking Stock of the Place Initiative

This report serves as a point of entry into creative placemaking as defined and supported by the Tucson Pima Arts Council's PLACE Initiative. To assess how and to what degree the PLACE projects were helping to transform communities, TPAC was asked by the Kresge Foundation to undertake a comprehensive evaluation. This involved discussion with stakeholders about support mechanisms, professional development, investment, and impact of the PLACE Initiative in Tucson, Arizona, and the Southwest regionally and the gathering of qualitative and quantitative data to develop indicators and method for evaluating the social impact of the arts in TPAC's grantmaking. The report documents one year of observations and research by the PLACE research team, outside researchers and reviewers, local and regional working groups, TPAC staff, and TPAC constituency. It considers data from the first four years of PLACE Initiative funding, including learning exchanges, focus groups, individual interviews, grantmaking, and all reporting. It is also informed by evaluation and assessment that occurred in the development of the PLACE Initiative, in particular, Maribel Alvarez's Two-Way Mirror: Ethnography as a Way to Assess Civic Impact of Arts-Based Engagement in Tucson, Arizona (2009), and Mark Stern and Susan Seifert's Documenting Civic Engagement: A Plan for the Tucson Pima Arts Council (2009). Both of these publications were supported by Animating Democracy, a program of Americans for the Arts, that promotes arts and culture as potent contributors to community, civic, and social change. Both publications describe how TPAC approaches evaluation strategies associated with social impact of the arts in Tucson and Pima County. This report outlines the local context and historical antecedents of the PLACE Initiative in the region with an emphasis on the concept of "belonging" as a primary characteristic of PLACE projects and policy. It describes PLACE projects as well as the role of TPAC in creating and facilitating the Initiative. Based on the collective understanding of the research team, impacts of the PLACE Initiative are organized into three main realms -- institutions, artists, and communities. These realms are further addressed in case studies from select grantees, whose narratives offer rich, detailed perspectives about PLACE projects in context, with all their successes, rewards, and challenges for artists, communities, and institutions. Lastly, the report offers preliminary research findings on PLACE by TPAC in collaboration with Dr. James Roebuck, codirector of the University of Arizona's ERAD (Evaluation Research and Development) Program

Investigating situated cultural practices through cross-sectoral digital collaborations: policies, processes, insights

The (Belfast) Good Friday Agreement represents a major milestone in Northern Ireland's recent political history, with complex conditions allowing for formation of a ‘cross-community’ system of government enabling power sharing between parties representing Protestant/loyalist and Catholic/nationalist constituencies. This article examines the apparent flourishing of community-focused digital practices over the subsequent ‘post-conflict’ decade, galvanised by Northern Irish and EU policy initiatives armed with consolidating the peace process. Numerous digital heritage and storytelling projects have been catalysed within programmes aiming to foster social processes, community cohesion and cross-community exchange. The article outlines two projects—‘digital memory boxes’ and ‘interactive galleon’—developed during 2007–2008 within practice-led PhD enquiry conducted in collaboration with the Nerve Centre, a third-sector media education organisation. The article goes on to critically examine the processes involved in practically realising, and creatively and theoretically reconciling, community-engaged digital production in a particular socio-political context of academic-community collaboration

Curate and storyspace: an ontology and web-based environment for describing curatorial narratives

Existing metadata schemes and content management systems used by museums focus on describing the heritage objects that the museum holds in its collection. These are used to manage and describe individual heritage objects according to properties such as artist, date and preservation requirements. Curatorial narratives, such as physical or online exhibitions tell a story that spans across heritage objects and have a meaning that does not necessarily reside in the individual heritage objects themselves. Here we present curate, an ontology for describing curatorial narratives. This draws on structuralist accounts that distinguish the narrative from the story and plot, and also a detailed analysis of two museum exhibitions and the curatorial processes that contributed to them. Storyspace, our web based interface and API to the ontology, is being used by curatorial staff in two museums to model curatorial narratives and the processes through which they are constructed

Memory texts and memory work: Performances of memory in and with visual media

The online version of this article can be found at: http://mss.sagepub.com/content/early/2010/05/24/175069801037003