Story-Lab Team (dialogs/diary)

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Story Lab Team (dialogs/diary)

NOTE: Where-ever possible, i have tried to credit the originator of an idea, discussion, etc with CREDIT. If you spot something that is "un-claimed" that is yours, please let one of the librarians known, -- Frank. On this page:

Brain-storming Sessions

Jim Innocent: Inviting participation; on-line pipe-line story. on-line forum (round-robin story building/modification) generative story generator David virtual game -- the room with the red table you can decorate the space -- other elemetns can be connected with the story. conversation experience -- eg, dinner with andre Jerry shiner bock, double strength blog -- Miguel -- image, visuals, music hyper-text links to music, etc. non-linear manner -- cross linked. LOOK UP: Hyper media Nathan sequential art (comics), movies, oral, upload different stories and stuff. comment and create a dialog that why. arron (Kyle) Living stories. node (starts off) wiki anyone can modify/clone/extend authorship but not ownership sandbox (trial area) (ie, ref to wiki) Lee -- footprints? dancing (videos, or dance steps) written story, video of a person telling the story (perf) stickmen -- and the web site IS the story -- Mary-ellen - the story site is evolving expression: non-linear, fragment a conglomerate of stories being generated. composed of the pieces of the many. Skim the site (swimming pool cleaner) delivery of the story is then choice of authoring thomas: vocabulary -- we've only re-arranged things the web site becomes a sentient being. attractors -- and the story will keep evolving. --30-- Anyway, just a few quick notes about "life on-line". Frank: (entered into the record) At this point (2005.09.02), I have been *actively* involved on-line with the HitchHiker's Guide to The Galaxy fan-site (, now defunct, moved (more-or-less) to These are a few of my experiences (albeit, i would be the first (or certainly among the first ten) to admit that my experiences are not very extensive. e-friends --The concept of e-friends develops quite naturally as you meet various people. For the most part, people are pretty much as they are "in real life" (IRL). Of course, i think that each of us spins a bit of a yarn about ourselves (disclosing less than we might in TRW (the real world). Naturally, though, as each person finds out more about each other, bonds develop that in some ways are stronger than those of people around us. After all, we tend to talk about much more personal problems and such to these "perfect strangers" than we do to people that we work with. Thus, if for example "Eric the Red" was in town and needed a place to stay, i would have no problem with putting him up for as long as he needed. That's how strong the e-friend bond is. Of course, this depends upon the level of integrity of the group; ie, classic "clique" concept. e-trolls -- Trolls (or various names, my fav being bullah beasts) are people who get off (power trip) on playing mind games, swearing at, or otherwise abusing, dissing, etc people on line. Usually the rest of the community will come to the defence of any of the "usual gang" when they are attacked by a bullah beastie. This probably excites the troll even more, since they thrive on attention, best if they can you or someone else to swear back at them -- ie, winning by getting you to play on *their* terms. Some of them get pretty nasty. The best thing is to just totally ignore them. lurkers -- People who monitor the site either by not logging in with a user-name, or log on using fairly bogus identification info. There are lurkers good and bad, often trolls (bullahs) will lurk and then log on when they feel they can do some damage. web-masters -- The web master is ostensibly the person (or persons) who put the site "up" in the first place. Again, the integrity of the web-master must be of the highest order to build an on-line community where the participants feel comfortable. In addition, the web-master can assign certain people to help monitor activity as well. These are again e-friends of the web-master and known "good guys". 2005.0922 Nathan story seed flip chart thingie (fliping them around gives us a totally diff look and feel you see a screen, and then *dhoose* something, and then when you flip back to the other side, some things may (prob) be changed. Frank -- presented the King & Queen "Story grid" Nathan roots - main nav for the site links to other people the branches are the produced stories a forest of trees each set is a "group" Lee Earth, layers (strata) First layer of lines that look like ther earth, as the story is modified, a new layer is created colors (this could bring in the idea of "aging" colours as well -- fade to black, and of course the ability to re-stimulate a line or segment thingie. The story would create the lines, (pos based on the content, words like "suicide" "death" "firing squad" would bring up a certain colours and strength of lines or shapes (eg, red blobs with harsh black zig-zag lines. Also the ability to create pictures/paintings/sounds/etc that are *inspired* by the story. Sounds libraries (eg, sounds of nature, rocks crashing, etc, hurican, etc, massive change mechanisms And the story could be an un-enfolding of complexity that might (eg) end up with a picture of Lee's grandfather. Scott what responsibility do we have as authors to the readeer. More than writing. A prompted "read" the words are projected onto the screen (spelled out like the old cursor CRT's), Frank: AI: Maybe even have it make misteaks and then back up and correct the letters. "beating" content? content? You have different rooms (env's) the slow-reader room, the floating words room, Tool kit for the line creation s/w Mary Ellen's the "dots" could go to different web sites Thomas -- giving up the control, that we thus have more options and opens up our creativeness. You can't get back, can't return to a given point Your image slsls was viewed by a user today. Make mystery -- we're are losing mystery. We no longer have control. Miguel i/a zooming in of an image, each part of the body represented some part of nature or even using alchemy as a structure Kyle links to story web links digital post cards of their confessions -- images matched with text (sound?) scripts that take google image and randomly based on meta data to form a grid FranK could do this with text or subject matter two versions of a chapter: one that is updated by the orig author, and the other where some one has mod'd the file giving their spin on the text. and they could add an audio or imgs etc graphics can be essentially infinite -- bouundless pages <------ 80,000 characters wide ---> +------------------------------------+ 6 | | 0 | | 0 | x | <-- you start here! LINES | | TAll +------------------------------------+ Lee: to dig down deep into the web area should have Kyle: Shuffle (samplers) Jim scenarios -- deciding the various characters are created. the story workiing its way through the bubbles that we choose to go thru *** Misc notes; date un-known ***' Scott: story of the rock's story (a story with a story) Thomas: following convention Rod Serling A Rock's story - a journey motif Two serial killer (ghost story) "monster" Satisfication -- predictabile frame-work (cultural view of reality; eg, cause-effect, etc) Frank: advertising; eg, 3 exposures to make the product recognisable Thomas The progression of the story mirrors how we (as a culture) view reality. We bring our own expectations. playing off the conventional structures. -- content -- presentation Layering story 1, 2, 3, (the order in which they are told, and their inter-dependencies) -- again common cultureal b/g The moral of the story -- as gift to the listener. Conventional b/g behind the story Moral tales Eric Ericsson -- using story as therapy in psych. READING, ETC... Articles: Eagle wolf messenger feast *** NEED LINK ***** Assignment: 3 minutes from your own family myth. 2005.10.13 What is narrative. Thomas: If a person comes into the lab and sees us just sitting here, they birng a negative to us -- a policeman a small child -- each brings David: each story is associated with a specific place, even where they are presented Kyle everyone brings an abstract thing -- the difference explicit and implicit; Sally and bob goes to the mall. Thomas - yes but your image of mall is diff from my Kyle -- yes, but an author will paint a pretty explicit picture of what is going on. Thomas: So we are bringing more concretes to it. Kyle and we will devlop a common vocat (if we're not colour blind), but outside of those superficial things, we all bring something radically diff. And thus, the less that we interpret out of. Thomas: We are inter-changable between narrative and stroy. Kyle: A narrative is a happens and then b happens, and you are sort of told. Thomas -- plot structure, Narrative, story, plot Nathan: narrative is the voice or the thoughts of a third party inner thoughts of the character, or a date some people use it as direction or thoughts (presented orally). Frank: Our town. ------------ narration ---- --- story --- ---- plot --- Homer's voice is talking about Odysius, the hero is succeeding in a series of plot moments. narrative implies that there is a story. Someone can present the story in a possitive way, someone else in a negative way. It's not objective; narration is perspective. David: but you have to vibe to what the symbols mean. Thomas: the story is us. the plot is that we meet at 3pm the 4-year-old coming in (or the police men, the janitor) where's the trash can *** How to kill your neighbor's dog *** than a student coming in late kyle: narrative is a message that tells the particulars of an act or a course of events; eg, theatre. kyle: the narrative only has existence when we talk about what we are doing (sitting here). thomas: you filtered the history of atech and filtered thru the success of your narration will depend upon how well you articulate your narrative. a small groups of character, or a movie trailer. thomas: like review of a play. they are narrating the same story very very differently. in the midsts of it then we are in it, but not narrating it. ' Scott: but when you're talking now, you *are* narrating. frank: the narration doesn't have to be oral (context is that the janitor is a spy for the Tsar!) kyle: scott: narrative gets down to colour, etc. kyle: the story gets to that thomas: we as 9post modern) are very self-aware. lincoln, has been dead, but they can use psychanlaysis, hair samples, and re-narrate lincoln's story. self-aware of us in a story thomas: because are very aware of context. Frank: narrativ e narrrative narrative narrative thomas: self aware -- analysis of story telling and scott: was mihai using event thomas: everying is story. frannk: an event we focus on. thomas: i drop the card as an event. david: if he didn't have the words. some one is narraitng "i see what rodin was doing" but i (as a sculptor) say what are they seing? we're being bombarded by visuals i'm not sure if we "got" what scott was trhing to say. frank; right thomas: what you're doing now is going into criticism and trying to see how well the "flip cards" tell the story. We look at the choices that scott made; eg, movement, do they build on each other, is there a motif intellectually, originality, juxtaposition (post modern) and how we start descerning how the critiquing is internal of a haning ideal. i prefer to critique something on its own terms. frank: the student portfolio at smu on 5-hole punch paper. thomas: expectation in terms of the cannon, the format. frank: andy warhol thomas: duchamp -- it was monumental what he did when he placed the urinal into the context of high art. he's saying its all about context. what is presented here is a point of reference. but, culture has become so charged that the context is omni-present. nathan: story what is being played on the field, the sports casters provide the narrative. thomas: the olympic frank: rothko -- you have to know the thomas: art as selfl-contained story. david: scott's work is provoking a discussion about narrative. like that alaskan wolf story -- it was group narrative with four (not just one) and there was the prompter -- it was not just thomas: it's a 5000 year old and it was told in a gymnasmi scott: a shared narration; the purpose is to share the narration. david: it is a quantum release of ideas into expanding spheres. into broader contexts, and dialog of the community. commenting on whole thng --> critique 3 text paing asound <--- narrative ---> context 2 exetn <-- story 1 david: the Indian kyle: branding (thomas: narrative on steroids) they are telling a story, and wanting you to think something and emotionally connected. thomas: but as a modern, we are savy to the branding process what they are doing is accessing california dreaming (affluencing) Marin County. kyle: brand identiy nathan: imagary, music, freedom; age group target scott: still give me an example that doesn't have narrative. kyle: frank: narrative without content thomas: wee bring narrative to it. david: isn't with atech what is the new narrative, another story to be told on different levels. thomas: technology is the story; how you use the scott (points to the top #3) art creates commentary on something kyle: do you see a difference beween a novel, and a print, and a commercial scott: degress of narration kyle: nathan: the viewer marry ellen -- if you didn't have narration, you brain would be dead jerry -- if your heart doesn't have rhythms then you're dead. kyle: i don't think happy is an event. i don't think you have to have a narrative for expressing emotions. david: 2046 (movie) nathan: abstract art isn't necessary a story. it can be a frame of mind, a direction. thomas: art can go beyond; eg, rothko -- large, colours, it's almost like a story that you can involve art or to get beyond the narrative. collages, warhol -- commenting on narrative. Christo: what is he doing by wrapping things, is he doing that by wrapping something (we see the wrapping) or we now no-longer see the thing. david: the absurdity of the common place. thomas: reality tv; that we have gotten so much into commenting of things, we want something of a narrative to seeking something real. we're interested in native works -- it's stripped away and it's intensely visceral. we step way out (satlelite view) to see what context are we in. we're conscious of being conscious. davvid: if the chip was just discovered what would we do? would we look into the mirror in terms of b/g and history? thomas: film -- there are so many that self referential and refer to other things. first we have to know the terrain. nathan: when the elections come on, and we get all of the interrpretaions. thomas: it's always modulated. david: we go to the movies, tv watchers. frank: police story. It's about linking 3 guys. one sentence that describes Shaving the Yak. 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