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Technology (4 I’s of Storytelling – Latitude (Immersion (set in a real…

- - - - • Efficiency
        
        the optimal method for accomplishing a task. In this context
      - • Calculability
        
        objective should be quantifiable (e.g., sales) rather than subjective (e.g., taste).
      - • Predictability
        
        No matter where a person goes, they will receive the same service and receive the same product every time
      - • Control
        
        standardized and uniform employees, replacement of human by non-human technologies
      - With these four principles of the fast food industry, a strategy which is rational within a narrow scope can lead to outcomes that are harmful or irrational. As these processes spread to other parts of society, modern society’s new social and cultural characteristics are created. For example, as McDonald’s enters a country and consumer patterns are unified, cultural hybridization occurs.
- - - - • We can now scoot away to another channel without having to get up, turn a dial and adjust the rabbit ears. DVRs liberate us even more profoundly from the narrative trance.
      - • We can pause, go back and forward. The storyteller no longer calls all the shots.
      - • We can now scoot away to another channel without having to get up, turn a dial and adjust the rabbit ears. DVRs liberate us even more profoundly from the narrative trance. We can pause, go back and forward. The storyteller no longer calls all the shots.
    - - • Video games are more consonant with the digital experience. Instead of being conveyed through a story by a narrator (as in a book), the player directs his or her own experience through a world. In a massively networked game, like World of Warcraft, there's no beginning, middle or end. Players don't play to "win" -- there's no such thing. They play for the pure fun of it. The object of the game is to keep the game going.
      - • Even books have taken on this quality of game culture, where fans of a certain series go to websites where they write their own "fan fiction" and add on to the universe of the original books. This, too, is more like a video game or a "fantasy role playing" game than it is like traditional narrative fiction. The original narrative may get broken, but everyone participates in a new kind of story.
- - - - • Affiliations
        
        memberships, formal and informal, in online communities centered around various forms of media, such as Friendster, Facebook, message boards, metagaming, game clans, or MySpace).
      - • Expressions
        
        producing new creative forms, such as digital sampling, skinning and modding, fan video making, fan fiction writing, zines, mash-ups).
      - • Collaborative Problem-solving
        
        working together in teams, formal and informal, to complete tasks and develop new knowledge (such as through Wikipedia, alternative reality gaming, spoiling).
      - • Circulations
        
        Shaping the flow of media (such as podcasting, blogging)
- - - - • McLuhan proposes that a medium itself, not the content it carries, should be the focus of study. He said that a medium affects the society in which it plays a role not only by the content delivered over the medium, but also by the characteristics of the medium itself.
      - • McLuhan argued that modern electronic communications (including radio, television, films, and computers) would have far-reaching sociological, aesthetic, and philosophical consequences, to the point of actually altering the ways in which we experience the world.
    - - • Imagine a deep well in the middle of a vast desert. The well is our medium (as the radio or Web would be), and the water is our message. A rich and reliable well in the middle of the desert would naturally become the hub of travel routes and even a sustainable population. The water by itself is of no use without the well. If it were inaccessible or people were unaware of its existence, it could not support life. The well, as a medium, delivers water to the people passing by or living nearby. As a result, the well becomes synonymous with water and life, despite really being just a hole in the ground.
    - - • Let’s compare a feature film to a website as we know them today. Communicating the same general content to the user in both media is possible. However, because the media are inherently different, we experience the content in entirely different ways.
      - • A film is a linear experience. Everyone watching the film participates in the same preset series of a beginning, middle and end. We watch characters and stories unfold over the timeline, working towards a conclusion. Since the creation of film, this idea has been integral to the planning and development phases. All of this is determined by the medium, regardless of what the message may be.
      - • Move the same content over to a website and the experience changes dramatically. In the context of a website, information is rarely passed to the user as a linear experience. Instead, character traits, back story and plot points might all be split up into different pages or sections. It is up to the user to decide how to consume the information and reach a conclusion. Just as a beginning, middle and end are a part of the entire film process, this segmentation and fluidity should be a part of the planning stages of a Web project.