Podcast appearances and mentions of lance weiler

In an attempt to show what's been going on underground and potentially expose Moleman to the world, Greg starts filming a documentary. Despite watching The Last Broadcast as an example of what he's looking to do, the boys can't really grasp how to properly film a "confessional." Leave us a 30 second voicemail and if we like it we'll play it on the show: (949) 4-STABBY (949-478-2229)Next movie announced every Wednesday. New episodes every Monday. Follow us on the things: Linktree: https://www.linktr.ee/stabbystabbyInstagram:  @stabbypod  https://www.instagram.com/stabbypod/Letterboxd:   https://boxd.it/dp1ACMerch: https://www.big-other.com/shop/stabby-stabby

In 2019, Lance Weiler premiered Where There's Smoke at Tribeca Immersive, which has since had four major iterations focusing on different innovations in immersive storytelling. It's a very personal story where Weiler interviews his father about his life and passion of taking amateur photos of fires while his father was dying from stage four colon cancer. I had a chance to speak about his 17-year journey with this project after his world premiere in 2019, and then the next episode is an update after continually iterating on this project four and a half years later. It's a piece that asks us to reflect upon our lives, our mortality, the most meaningful objects in our lives and how they often reflect our memories or identities in a unique way. Where There's Smoke has had elements of a community grieving ritual that has evolved over the years, but the core seeds of that are also contained within the original installation that showed in New York City for Tribeca Immersive in 2019 where this conversation takes place. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Lance Weiler's Where There's Smoke is an immersive experience that he used to process his grief from losing his father, who was a volunteer firefighter and amateur photographer who would take pictures of fires and take Lance with him on these excursions. Weiler always wondered if his father had more involvement in any of these fires than merely observing and documenting them, and there was always some ambiguity in getting to the bottom of this question. As he says in his synopsis “Weiler unravels the secrets of his enigmatic father… and two devastating fires that struck the Weiler family in the early 1980s. In the final months of his battle with colon cancer, his father invites Lance to interview him, and these conversations reignite 30 years of wondering… were those fires more than tragic accidents?” The previous episode featured an interview with Weiler during his world premiere of the piece at Tribeca Immersive in 2019, and he has had three other major iterations of the project since then. It showed at IDFA DocLab in 2020 during the pandemic as a virtual grieving ritual within a Miro board, and then translated into a physical installation in New Jersey, and just recently Weiler showed an interactive and generative cinematic version at Portland Art Museum's Center for an Untold Tomorrow's (PAM CUT) new Tomorrow Theater space in November 2023. I had a chance to catch up Weiler just after his prototyping session at PAM CUT to catch up on how the piece has evolved over the past four and a half years of constant iteration. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Today’s guest is Stefan Avalos, who was once profiled by Wired magazine as “one of the twenty five people helping to reinvent entertainment”. Together with Lance Weiler, he wrote, produced, directed and starred in the found footage thriller THE LAST BROADCAST, a film which they also shot, edited and scored themselves – and which became the first feature film that was released digitally in commercial cinemas in 1998. The film is a true crime documentary about the two hosts of a cable access show called Fact or Fiction who disappear in search of the mythical Jersey Devil creature. A strange… The post #33: “We Didn’t Think Anyone Would Watch 1½ Hours of Crappy Video of Running Around in the Woods”: Stefan Avalos on Found Footage Precursor THE LAST BROADCAST appeared first on Talking Pictures.

The spooky season is upon us! Naturally, that means it's time for TRAPPO to talk about scary movies! This time around, we wanted to bring some much-needed attention to what is, sadly, a largely forgotten pioneer of the "found footage" genre, 1998's The Last Broadcast, directed by DIY cinematic trailblazers Lance Weiler and Stefan Avalos. We think it's a movie that deserves a reappraisal, and we sincerely hope that you'll give it a chance this Halloween when you're looking for something to watch that will send shivers up your spine. It's currently on SHUDDER, AMC+ and Tubi for your viewing pleasure, so if you haven't already ventured into the Pine Barrens to search for the Jersey Devil with the "Fact or Fiction" crew, take a chance this October. You'll be glad you did. There's a conversation going on right now at the official TRAPPO blog (CLICK HERE to visit), and we want you, yes YOU, to be a part of it! Head on over to our blog (CLICK HERE) and tell us what you think of The Last Broadcast, share some of your favorite found footage titles, or just tell us what you think of the current state of horror cinema. We'd love to hear your feedback. And if you're feeling more verbose, you can always share that feedback in the form of a long-winded email (CLICK HERE), which is always much appreciated. We're also on BlueSky (CLICK) and Instagram (CLICK) if you're interested in the whole social media thing. Thanks for listening, and don't forget to join us next week as we share another seasonally appropriate broadcast from our favorite fiends over at 66.6 KTRP... --- Send in a voice message: https://podcasters.spotify.com/pod/show/trappo/message

Technology has defined the form and function of storytelling since the beginning of time. In this episode, storyteller, artist, and professor Lance Weiler offers an optimistic perspective on how blockchain, AI, and other frontier technologies will affect storytellers across mediums. Rather than discussing the tech behind NFTs on Solana, Lance shows us what it's like for an artist to apply that technology to human expression. He considers on how models of IP may evolve to be more "open source," the role of technology in art education, and more.  DISCLAIMERThe content herein is provided for educational, informational, and entertainment purposes only, and does not constitute an offer to sell or a solicitation of an offer to buy any securities, options, futures, or other derivatives related to securities in any jurisdiction, nor should not be relied upon as advice to buy, sell or hold any of the foregoing. This content is intended to be general in nature and is not specific to you, the user or anyone else. You should not make any decision, financial, investment, trading or otherwise, based on any of the information presented without undertaking independent due diligence and consultation with a professional advisor.  Solana Foundation Foundation and its agents, advisors, council members, officers and employees (the “Foundation Parties”) make no representation or warranties, expressed or implied, as to the accuracy of the information herein and expressly disclaims any and all liability that may be based on such information or any errors or omissions therein. The Foundation Parties shall have no liability whatsoever, under contract, tort, trust or otherwise, to any person arising from or related to the content or any use of the information contained herein by you or any of your representatives. All opinions expressed herein are the speakers' own personal opinions and do not reflect the opinions of any entities.  

This week Nick Fortugno, The Director of Gaming Pathways at City College of New York, slips into the host chair to interview an artist he's collaborated with for years now: filmmaker and Director of Columbia University's Digital Storytelling Lab Lance Weiler, whose critically acclaimed immersive storytelling experience Where There's Smoke is currently running at ArtYard in Frenchtown, New Jersey through Oct. 1st with an upcoming artist talk on September 30th.Nick and Lance have been working together for a long time now, and we thought it would be a unique opportunity to play with the NoPro format and have artistic collaborators take a deep dive into a piece of work. We're pretty happy with how it turned out!SHOW NOTESWhere There's Smoke at ARTYardWhere There's Smoke Artist Talk (Sep. 30)Gaming Pathways at City College of New YorkReview Rundown for 8.8.23American Dreams Are Just Out of Reach in Stunning ‘Port of Entry' (The NoPro Review)CALL SHEET AUGUST 2023This week No Proscenium is brought to you by SEE TICKETS, which has proudly supported thousands of clients across the globe in areas as diverse as historic attractions like Stonehenge, immersive theater like The Burnt City, and important cultural touchstones like LA Pride. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

NOW AVAILABLE ON FOWL PLAYERS RADIO!! www.fowlplayersradio.comDirect Link to episode: https://www.buzzsprout.com/175423/11551789Please welcome Eric Carter and Jamil A.C. Mangan to Fowl Players Radio!!Eric and Jamil will be appearing in August Wilson's "Fences" at Playhouse on Park in West Hartford, CT from November 2 through November 20. Alfred and I discussed with them this play, as well as some other projects they had been involved in; for Eric, Law and Order Organized Crime, FBI Most Wanted, and Bull, and for Jamil we discussed Blue Bloods, Gotham (Season 4 Episode 3) and one of my favorite movies of all time- Lance Weiler's Head Trauma. For information on tickets for "Fences", please see the links in the show notes.www.playhouseonpark.orgJamil's IMDb page: https://www.imdb.com/name/nm1796745/Eric's IMDb page: https://www.imdb.com/name/nm2276422/?ref_=nv_sr_srsg_0If you are watching this, you are likely watching this on YouTube and can see that I have the greatest face in the world for radio. Here is some exciting news! Over the next few months  we will be relaunching some of our classic episodes, and placing them on our new youtube channel! Remember, Fowl Players Radio can be heard on our main website, www.fowlplayersradio.com, or any platform where podcasts can be found, such as Apple, Stitcher, Spotify, IHeartRadio, Amazon Music, and many more, as well as on our new YouTube Channel! No matter where you listen, please remember to hit the subscribe and like buttons, and give us a good review. www.fowlplayersradio.com.The Fowl Players of Perryville have a few shows left this fall- we will be performing on the Western Maryland Scenic Railroad  October 29, and New Year's Eve!Tickets are available at www.wmsr.com- also- don't forget your tickets for the Polar Express which runs on the Western Maryland Scenic Railroad on selected dates from the Friday after Thanksgiving until Christmas Eve-www.wmsr.comThe Fowl Players of Perryville will also be performing at 5th Company Brewing in Perryville MD on December 10. Tickets are available at 5thcompanybrewing.com. Stick around!! Eric Carter and Jamil AC Mangan are coming right up!!#Ericcarter #cpmtalent #michaelspedden #alfredguy #Jamilacmangan #gotham #augustwilsonfences #augustwilsonsfences #playhouseonpark #lawandorderorganizedcrime #fowlplayersradio #fowlplayersofperryville #lanceweilersheadtrauma #headtrauma #bluebloods #5thcompanybrewing #wmsrwww.fowlplayersradio.comwww.thefowlplayersofperryville.com#michaelspedden#fowlplayersradio#fowlplayersofperryville@fowl_radio@SpeddenMichaelFor YouTube Channelhttps://www.youtube.com/channel/UCy2kTPvrJRqwuYQDwDI64Sw

Welcome to the FuturePerfect Podcast where we talk with compelling people breaking new ground in art, media, and entertainment. This podcast is produced by FuturePerfect Studio, an extended reality studio creating immersive experiences for global audiences. Episodes are released every two weeks, visit our website futureperfect.studio for more details.The text version of this interview has been edited for length and clarity. Find the full audio version above or in your favorite podcast app.For episode 005, Wayne Ashley interviews Nick Fortugno, co-founder of the New York-based game studio Playmatics and designer of numerous digital and non-digital projects, including board games, collectible card games, large-scale social games, and theater.INTRODUCTION AND ROLEPLAYINGHey Nick, thanks for joining us. I'm really excited to dig into some of your background, ideas, projects, and particularly your alternative vision for a future of theater. I see you as a catalyst, a kind of cultural interlocutor making links across different forms of knowledge and practice, and the work you've done really attests to this. You've designed video and board games as well as outdoor public games. You're the co-founder of Playmatics, a New York game studio and the lead designer on many theater works, including Frankenstein AI and The Raven. And of course, one of the lead creators of the blockbuster mobile game Diner Dash. But first I want to go back a bit. Your cousin introduced you to roleplaying when you were quite young and you ran your first game of Dungeons and Dragons at six years old. Is it too much to assume that roleplaying is one of the most critical activities for you, if not a central organizing practice leaking into everything you do? Give us a sense of how roleplaying has activated much of your thinking and practice.Nick Fortugno: I think a central organizing principle is like a good way of thinking about it. It doesn't inform all of my work in a literal sense, but it's the heart of how I think about aesthetics. In Dungeons and Dragons, essentially what you do is you tell stories with other people and you use a rule system to adjudicate disagreement. You have a lot of “I hit you”—“no you didn't” stuff in roleplaying so you need rules to deal with that. When you're storytelling in that system and you're the person responsible for making the story, you don't story-tell the way you do in other forms where you have an idea of the story in your head and you're figuring out how to implement it in a way that will affect the audience. Instead, the players or the protagonists are interacting with you and they're changing it constantly. And so you don't know where the story is going. You have ideas of where you could go, you have ideas of what you might want to happen, but you're really in this collaborative process. And so this idea of improvising and using systems to generate things and being responsive to the interactions of other people is very much at the heart of my work. It's how I teach, how I think about storytelling centrally, and it informs a lot of my aesthetics. So yeah I would not be the person I was today if my cousin Joey didn't teach me D&D (Dungeons and Dragons) in Glen Ellyn, Illinois.DESIGN THINKINGYou're also a prolific researcher, not only of games, but of literature, theme parks, new technologies, and performance. I'm thinking about a previous discussion we had where in one breath you mentioned cultural forms that most people would never bring together in the same conversation. The list is long, but indulge me here: the British theater company Gob Squad, Galaxy's Edge at Disneyland, Harry Potter hotel, the theater collective The Wooster Group, the blockbuster event Sleep No More, the novels of Joyce and Pynchon, Evermore Park in Utah, and the epic video game Elden Ring. This cluster excites me because it's how we think as well, across these kinds of groupings. You also use this concept of affordances to enable you to think systematically across all these activities. Can you say more about that?NF: Affordance is a concept from design thinking, Donald Norman really popularized it. It's the idea that a form has features about it that lead to certain kinds of use. There are things that are intuitive in a way, or natural in a way, that come from a form. If I put a handle in a certain place, you hold the handle and that changes your use of the device. That idea that the forms start speaking to certain kinds of use cases is very central to thinking about interactive design. Because when you're a designer in those spaces you make the affordances. You don't tell users what to do. You give them something and you have them do it. That's why it's interactive. It's not like a roller coaster where I strap myself in and I just ride the rails that were put out in front of me. It's more like a theme park where there's just a bunch of stuff. But I don't go wandering off into the most boring part of the theme park. I go towards the lights, I go towards the sound, I go towards the interactive things. The design of those things that attract me, the things that challenge me, the obstacles and the rewards, all of that stuff moves me around in those spaces. This is central to the way I think about my practice.LITERATURE, PLAY AND AMBIGUITYYou have a BA in graduate study and literature. In our previous conversation, you noted an overlapping relationship between post-war American literature and the kinds of interactive narratives found in gaming. Do I have that right?In our other podcasts I've been really interested in what brings disparate people to these emerging hybrid media spaces. They come from film, dance, theater, visual art, and gaming. I think you're the first person in our podcast series making connections between Pynchon and James Joyce with interactive gaming structures. I'm curious about how you came to make these connections.NF: When I got interested in literature I was drawn to postwar postmodernist approaches to writing, like I'm thinking fifties, sixties, and seventies. But really you could stretch it from a Borgesian and Joycean and Steinean space up through the modern day. There's still authors like Ali Smith doing stuff like this. But when you look at like things like Pynchon and Nabokov in particular, their works start becoming a little bit obsessed with interpretation. Interpretation becomes the center of the novel. The novels become games about interpretations. There are other authors in that space who are really breaking down the sense of what you're supposed to consume from the story because they are, in a meta way, thinking about the fact that you're interpreting them. Whether it's Crying of Lot 49 asking you to think about what communication systems are and then challenging you on how we interpret conspiracies. And that's also all over Foucault's Pendulum. Or a book like Lolita, which is basically laughing in your face about your attempts to understand it. Or Pale Fire for that matter, which I think is an even deeper experiment. What you see over and over again is this idea that the novel is a game that the reader is playing with the novelist. It's not a puzzle. You're not going to get the answer out of it. That's not the point. And certainly postmodern poetry and people like Asbury would argue that if you got one meaning out of a poem, you didn't really read the poem anyway. The work becomes something that you as the audience have some ownership of because it is open to you and because it's an ambiguous object that you have to work with. That's what got me. I was already, just from roleplaying, very used to the idea that I participate in stories and that they come from this relationship with me and the text.So I don't like talking about interactive narrative. I think that's a bad phrase because I I'm always interacting with story. That's not new, what's new is the types of affordances of interaction that I get from stories, and what the possibilities for changing those stories are, and how much the story is a fixed thing that I encounter, and how much the story is flexible to my input. To me, the literature study was partly just giving me an outlet for stories and a place where stories can actually be quite experimental because when you just write it's cheap to make crazy worlds. It's the same amount of ink to write a crazy world as it is to write a realistic one. You can go very far with literature in a way that would be harder to do in film because you have to shoot all that stuff. The drive of novels from the modernist period on has been a drive towards more and more stylistic experimentation and that has been really engaging to me because you start seeing it as almost a formal thing. You can look at it like a structure and then you can see that the structure is doing something. Joyce's Ulysses is an excellent example of that. Each chapter is written stylistically and formally different. There are chapters that are dialogues, there are chapters where the stream of consciousness changes radically, there are chapters that drift, and that's part of the narrative. If you go back to the Oulipo experimentation that Calvino and other French and Italian authors were doing, they were literally creating that whole idea of branching trees. You start to see that there are patterns of structures of story that we can start to establish.That's the approach I take to this question of rhetoric. Exploration is a set of tropes, and branching is a set of tropes. It's similar, whether you're branching in a YouTube video or branching in a choose your own adventure, or branching in a game like Until Dawn. The branching is similar, it has similar tropes. So we can look at it structurally and say, well, what does the structure do? How do the choices in the design of the structure change things independent of content. And then what is the intersection between the content and the structure?DYNAMIC STRUCTURES AND GAMESIt's interesting to note how the strategies found in avant-garde and experimental literature have leaked into, or have become one of the dominant ways of constructing narrative within popular culture, video games, and even marketing. What was on the periphery has, in a sense, moved to the center and become part of the entertainment industry.NF: I think so because as you start moving into more dynamic and particularly digitally dynamic work it starts to have to be structural. Although that spills back into the analog, especially as internet of things (IOT) becomes very reduced in size and cost and technology starts coming back into the real world. You start seeing this there too.I'm riffing a lot on arguments in a book called Expressive Processing by Noah Wardrip-Fruin. If I make a piece of work that changes with every user and produces a different outcome, then the output of that work is not really an analysis of that work. If the work has a hundred thousand possibilities, one possibility is such a small segment of what it could be. That it gives me information as a user, but I can't really critique the work from that perspective. I have to look at the structure because it's procedural, it's not predetermined. And I think as we start moving into works that are like that, and since computers enable us to do that, that's what computers are good at is that kind of dynamic procedural, then we start to see that structural analysis and system design become more and more important. As it does, and we see the affordances that has, we can start pulling those affordances into other forms where we see similar audience relationships. So I don't think: does theater need this? Does film need this? Does installation need this? No, It doesn't need it. You can make good art without it, and obviously we have made thousands of years of good art without it, but the possibilities of the art change when you start seeing those things. That's why I think it's starting to permeate. Digital games are a very big industry and there's been a lot of really interesting storytelling in them. I don't think all people who study this stuff know that because it's locked a bit behind barriers of picking up a PlayStation 4 controller and trying to get through it. Shadow of Colossus, for example, is one of the most important digital works ever made. But not many people experience it because it's a really hard digital game. And it has to be hard. That's part of its aesthetic. But I think that the people who have bridged this are starting to see that you can inherit things from those forms into these other spaces. That's just changing the way we think and then you start to see work in the world that is just more procedural. Work that does just become more dynamic in its nature. Then you end up with stuff like LARP (Live action role-playing) where, you can't make LARP the way you make theater because I don't know what the players are gonna do. So my scripts in LARP can't be like a theater script, it doesn't make sense. I need a structure that will support 40 people running around doing random things.PARTICIPATORY EXPERIENCES DRIVEN BY TECHNOLOGYThis brings me to theater, particularly two participatory theatrical installations that you co-created. First, Frankenstein AI: a monster made by many which was an AI powered immersive experience that premiered at the 2018 Sundance Film Festival. And The Raven, which was performed as part of the Lincoln Center's New York Film Festival in 2019. Tell us what audiences might have experienced when they participated in Frankenstein AI and what was the genesis of that work?NF: Frankenstein AI has had a couple of different forms. Its original form was a small audience immersive experience where you came into a room and you interacted with another audience member at a surface computer that was like built into a table. It was formulated as an artificial intelligence asking you questions about what it was like to be human and you're sort of marking values on the table using a physical computing device that looked like an ouija board. That information was sent to an actual AI that was in a cloud which was used as the seed to determine a mood that the AI had. And then when you finished that exercise, you were brought into a room that was mapped with projections and IOT procedurally played drums and you would have a chance to talk to the artificial intelligence. The artificial intelligence would generate a question and then it would be delivered in text to speech to the audience in the room. And then the audience in the room would direct the docent to type a question into a typewriter and that would be sent back to the AI. This was all formulated where there's this AI that's been created, it has escaped into the internet and it is trying to understand what it is and what humanity is. And it's using the narrative of Frankenstein as this thing that was created that doesn't understand its role as a seed to understand where it's going. The whole thing was essentially a meditation on two things. One is this question of what is AI and what should we be worried about AI? These were the conversations that I had with Lance Weiler and Rachel Eve Ginsburg who were the co-creators of that project. My big argument was that everyone worries about Terminator, but what we should really be worried about is Kafka. AI is not a monster that takes us over. AI is a thing that doesn't understand us and then just acts procedurally in ways we don't understand.This is around the time that Microsoft had released an AI that became wildly racist and we were thinking about what it meant that we're teaching AI and how could we make a piece that gets people to reflect on the idea that we're engaged with artificial intelligence in the world? We are training it and we are going to teach the AI what it does. So if that's the case, what is our responsibility? The whole piece was kind of a meditation on that process. I did the creative technology design on that and some of the interactive narrative design of the sequencing of it. I'm very proud of that piece personally, because it was the first piece of creative technology that I ever actually showed in an exhibit. I worked on the technology that connected all of devices. So it meant that when the AI changed mood, the projections changed, and the drums changed and it pulled the AI's response and then fed that into the speech to text and delivered it into the room. So I basically did the technology that connected the surface tables to the AI, to the projectors, and to the drums. This was a topic of research I've had for a long time about how technology could be used to create these like kind of seamless connections between things. You didn't see anything happen, you just asked a question and suddenly the projections and drums changed. I call that seamless technology—technology that doesn't have clear lines where it connects. I think that could be a kind of magic and that was important to me. What did you learn from producing Frankenstein AI that changed your approaches when you then began to develop The Raven? How does The Raven work as an experience that grew from or built upon your previous work?NF: The Raven was an immersive performance where we allowed an audience into The American Irish Historical Society where they experienced a magically real story of Edgar Allan Poe's The Raven. The center of the technology of the piece was that every user had a lantern that they carried around with them. The lantern was an IOT device that was reading beacons in the space and connected to a central system. The audience also had a set of headphones that were playing audio for them. So most of the audio that was present in the piece came from the headset that was being played based on where they were and based on a character they picked at the beginning of the piece. Everyone was sort of playing a performer in the piece. The performer Ava Lee Scott, who was playing Poe and co-wrote the piece, was moving through the space as Poe meditating with these characters. But you, as the audience, were one of the people that Poe knew from his life or his creations. What Lance Weiler and I carried from Frankenstein AI was this idea that we could create a central technology system that was guiding all these users without having to have actors on top of those users moving them around. And that the storytelling could really be based on their decisions, because it was in part based on where you went and what you encountered. The other thing that Frankenstein AI taught me, in a real sense, was that these technologies could be stable. The work had a server system, that's how it ran, it was a server that was running on a small piece of technology called the Raspberry Pi. We turned it on and on the first day when we were running it we just didn't turn it off. We wanted to see if it would stay up overnight. And then we didn't turn it off for two full weeks. It just ran nonstop for two weeks and it never broke. We never had to restart it. So that taught me these things can be made battle ready. We brought a similar kind of technology to The Raven. There were obviously different technical constraints to The Raven and there were different bugs we were facing, but we went through a similar process of creating a central system that guided the narrative. If we do that right and we have the right affordances to connect to the audience that can take the place of a bunch of docents, a bunch of rules, a bunch of structures, and people can just explore. Then through that exploration they can find story. I should say that we worked with pretty robust technologies on that project. We were in partnership with Microsoft and we were using pretty heavy Azure servers and things like that, but it was not for heavy lifting stuff. It was for reliability of the delivery of the material. And then we built this gigantic XML file that was the branching script of the entire piece so that we knew where people were. We could time lights and sound cues and things like that.THE LIMITS OF THEATERWhat I find compelling about both of these projects is their capacity to posit alternative models for theater's future. They either directly or implicitly suggest that theater needs to be remediated or fixed. For the purposes of this discussion, can I make that assertion?NF: Yeah, I will also defend traditional theater, but… [laughs]That's good [laughs], but what is it about certain kinds of theater that need to be remediated and how are your explorations accomplishing this? I'm very careful to say alternative models and I'm not asking you to generalize. I think from our audience's perspective, people are going to ask: what's wrong with the kind of theater that I do? And why do I need these other systems? Why do I need to even consider these technologies? All these kinds of questions are implied, for better or worse, in the kind of work that you're proposing and the kind of exciting research that you're carrying out.NF: First of all, there's just aesthetic possibilities that are very hard to create in a linear format like theater. Guilt is hard to create in an audience. Triumph is hard to create in an audience because they don't do anything. You can get to shame, but there's types of shame you can't get to. So there's aesthetics that become possible just when someone is culpable and when someone has the ability to achieve. That becomes kind of interesting. Games have lots of emotions attached to victory and failure that can be leveraged in all sorts of interesting and weird ways. There are pieces like The Privilege of Escape, which was an escape room that was a meditation on systemic bias. That's an interesting example of a piece where the designer was trying to use the affordances of games to demonstrate a problem in the world. And games typically do that. There's just pure emotions that are inaccessible to linear media. I think because there aren't affordances for the audience to access them, despite the diversity of emotions that these forms can create. The second possibility is, it's a question of how you want to engage with your audience. As an artist, I don't really like telling people stories, that doesn't really engage me.You're the second person we've interviewed who has talked disparagingly about stories and storytelling. Say more about that.NF: I don't mind being blunt about this. I'm not that interested in my biology. I'm not that interested in my history. I don't find those things that interesting. I don't think I have a vision of storytelling that's so powerful that some muse came to me uniquely and now the word of heaven is coming through my body or something. And this isn't to knock people who do that, there are geniuses who make that work, but that's not how I create and that's not what I do. What I want is to play with you. I want to be able to engage with you and you know, catch the ball you throw and throw it back. And this isn't altruistic just to be really clear, I mean I like doing that with people, but it's also really fun to catch a bunch of balls coming at you in crazy directions and keep the whole thing on track. There's an artistry to that. That's what running an RPG is, it's like throwing track in front of a moving train. So I think that's really powerful and you get things that you would never get otherwise. Similarly, if you jam you get something that you would never get when you compose. The improvisation and the participation of other people leads you to create something new and you can do that with audiences. And you can do that with audiences in ways that don't make crappy, thin, gray, over-democratized work. Because I'm not saying that's not a problem, if you just let everybody come in and cook in the kitchen then you get no food or you get bland food or inedible stuff. Structures make it possible for people to participate in ways that are meaningful, but controlled, that fit within the aesthetic. So people understand what kinds of creations are possible in this space. And that is a whole set of techniques that then allows audiences to come in completely ignorant of what you're doing and then tell a story that they helped make that is still in the aesthetic you wanted. There's a magic to that that I think is really powerful. It opens up whole new kinds of forms and it's a different way of engaging with the world for the audience and I think that's powerful because we haven't really seen it before. There are some experiences like that, but they tend to be very high demand on the creativity or they tend to be gate-kept or they're high skill-based. And what immersive theater can do that I think is unique and independent of digital games and LARPs, is that they can be approachable. I can show up and not really know much and still participate. And I think that's a space that's really powerful. And then the third beat that I just have to mention all the time is that tickets are very expensive to these things. They charge a lot of money to get people into those things. I think that there's opportunity, from a business perspective, if you can figure out the scaling. You're seeing pieces like Particle Ink in Las Vegas which is a piece with projection mapping and dance where they're starting to figure out how to grow the audiences in ways that don't hurt the piece. You start looking at genuine business models for keeping those things up. What are other business models that can keep dancers, actors, and set designers involved? Because none of those people are going away in immersive theater, we need all of those people. We need them the same way we need them in other forms. It's a parallel skill if not an identical skill right. So we're not telling actors they're out of work. We had actors in The Raven, the actor was the center of The Raven in a lot of ways, but the actor was supplemented by all of these other things to create a new form where people can explore and make choices and feel directly engaged.NEW FORMS OF PEDAGOGYGiven this technologically seamless environment within which performance might take place, do you see the training of actors taking a different path? Or different ways for how writers produce scripts? Do we need new kinds of training for scenographers, sound and lighting designers that will accommodate and respond to these ideas and new approaches to performance? NF: Well acting, for example, in these kinds of cases, has a lot more improvisation in it. It's much more deeply based in that kind of improvisation, but it's also a lot about vulnerability. This is something that I'm just going to riff off of a writer and actor that I know Char Simpson would talk about. Char was part of the Blackout Haunted House for many years and talks very much about how they created vulnerability and that the creation of vulnerability was really important. That becomes a different way of thinking about acting. But also the idea that an audience member might ask you your favorite color and you need an answer that seems natural. That's a more roleplaying kind of acting than I think some actors are trained in, of course some actors are good at that. You don't know what's going to happen so you can't write a script the way you would normally write a script. It has to have some variation in it. You have to think about it more like story, like world building. I think directing changes because I don't know when we're gonna hit a specific moment or I don't know what perspective I'm gonna be coming from in a specific moment. So I have to think differently about that too. And you see that in digital games which will sometimes have cut scenes that are very film-like, but they'll also have scenes where users can walk around and watch what's happening. Which is why when we talk about VR we talk more about immersive theater because the viewpoint is not singular, it is a multiple viewpoint environment. So I'm thinking about it more from that perspective. Theater in the round is also relevant here. Again, that's not a new form, but it solved this problem. So maybe VR should look at theater in the round and then learn some lessons for how you keep an audience's attention in a broad space. And in fact, we're getting that big, we could think about station-based theater where people are really just drifting over a whole plaza and engaged in an experience. Are these forms going to change acting, writing, directing and set design? Sure, of course they are because the affordances of the audience are going be different and that's going to lead to different outputs. But it's not like we made up all this stuff just because the technology came along. We had happenings, we had station-based theater, we had rituals.I'm thinking about the Ramlila which I participated in India many decades ago in Varanasi. This is a month-long event that is played out over the entire city in which the inhabitants take on all the various roles. The city performs and becomes an immersive ritual and religious space. So there are absolutely precedences that are centuries old that we can draw upon. I'm thinking about how the pedagogical needs of theater will continue to change in response to these new forms that are becoming more and more central to our lives.NF: Yeah I teach immersive and dynamic narrative and I teach it in the way that we've been talking about. I teach it in this very broad, cut-across-media way. Media does not matter for the purpose of the class, that's not what it's about. It's about the tropes that the media use and how those things relate. And then you see this in disciplines like narratology where people are really coming at narrative from lots of different directions and trying to figure out how stories get told.Another point that's just very important to me is in the intersection of these forms. Because you're not going to get immersive theater from theater alone. There's a bunch of pieces that theater doesn't really know about like interaction design and a sort of multiple viewpoint about the pacing for that kind of stuff. Games understand that, but games don't understand what theater's good at. Games don't understand how you create scenes or understand how you create dramatic power, and games don't understand the value of liveness, frankly. Some of that we can get from LARPs, but LARPs aren't theater either. So it really is in the intersection of all of these fields.I think more of this is happening. You're seeing escape rooms get more theatrical. I think it's too slow, like way too slow. We could have gotten to where we are five years ago and we could be five years ahead of where we are right now. But you're starting to see some of that thinking happen. You're starting to see immersive pieces that are bringing some game elements into them. You can have conversations with people about VR where you talk about digital games and they don't scoff. This focuses again on the ideas of interaction and affordance and how those relate to storytelling that changes the orbit of everything. And then the skills that people have been learning, like the acting, writing, directing, set design, costuming, they all have a place. They're all going to be there, they're just going to circle around a different sun. And that sun is this audience member who can change what you do. That's different.Nick, thanks for all of the conversations we've had. I look forward to working with you. I think you're a really important thinker and maker, and your experiments and research bring a lot of insight into the future of performance.NF: Thank you, I appreciate that there are people like you that are thinking about these problems and working in these problems. Like with your own wonderful work and that podcasts like this exist to have these conversations. I look forward to a really bright future because there's other people like you in it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit futureperfect.substack.com

Noses—and their ability to detect smell—may not be as celebrated in words and songs as our other human senses—but Saskia Wilson-Brown says scents tell stories, too.  Wilson-Brown began her career in music video and production design, going on to serve as festival co-director for Los Angeles' seminal Silver Lake Film Festival, launching the festival's visionary media arm, MP4Fest, in 2005.  She went on to work as an independent producer and a film distribution strategist, producing events including the Open Video Alliance Filmmaker Summit, several of Lance Weiler's DIY Days events, and the TEDActive Innovation Lab.  Wilson-Brown founded The Institute for Art and Olfaction in 2012.  A 501(c)3 non-profit arts organization, the institute is devoted to experimentation and cross-media projects with a focus on scent.  In 2013, she created and launched one of the institute's flagship programs, The Art and Olfaction Awards, an international, blindly judged awards mechanism for independent and artisan perfumers, and experimental practitioners with scent.  In 2020, she launched the institute's online division, allowing it to continue its mission to facilitate access to the tools and information of perfumery, while reaching an even wider audience through online education.  In 2019 and 2020, Wilson-Brown was a visiting lecturer at the Royal College of Art in London, teaching about scent-making as a creative practice in the MA Fashion program.  She is currently producing a documentary about ownership and historic reconstruction in the field of perfumery, while pursuing a Ph.D. about the relationship between perfume, access and power.  She earned her BA from the University of California, Berkeley and her MFA at Central Saint Martin's College in London. See omnystudio.com/listener for privacy information.

Enthusiastic podcast hosts recruit an old friend to accompany them on a venture into their collective past, in search of the mythical and horrifying Kobayashi Maru. On Episode 479 of Trick or Treat Radio we have another Patreon Takeover, this time it is our old friend Double D! He selects two found footage films for us to discuss; The Last Broadcast from 1998 and The Tunnel from 2011! We also reminisce a bunch, talk about the early days of internet marketing, and play the game, which idea came first! So grab a bottle of Mama Juana, charge up your camcorder batteries, and strap on for the world's most dangerous podcast!Stuff we talk about: Live from the Derelict Dormitory, the legend of the Kobayashi Maru, Found Footage films, NCW history, White Claw, Dr. Joey Tron, backyard wrestling, the infamous trip to New Orleans, calling your spots, the best of 3-disc set, BB40, booking your own matches, The Bronze God, grill match, Destitute Park, Necronomicon MA, Jerry Lewis, Quarantine Titans, Star Wars Comics, Lobot, Morris Day and Jerome, Ravenshadow's roof revamp, Mama Juana, The Last Broadcast, Stefan Avalos, Lance Weiler, The Blair Witch Project, IRC, Jersey Devil, early internet marketing campaigns, Broadcast News, Forensic Files, Doom Patrol, X-Men, investigative reports, Cannibal Holocaust, Unsolved Mysteries, Current Affair, talking heads, Fact or Fiction, The Tunnel, Carlo Ledesma, Enzo Tedeschi, The Descent, As Above So Below, Grave Encounters, The Devil's Doorway, David Byrne, 31 Days of Halloween, The Divine Comedy, Dachra, seeing the monster, sight shaming, flashlight talk, Lovecraftian Horror, revealing the monster, methadone mile, The Wire, Michael Hutchence, INXS, Luke Arnold, Paranormal Activity, Nightshot, V/H/S/94, Shudder, Ryan Prows, Timo Tjahjanto, Simon Barrett, Chloe Okuno, Jersey Shore Devil, Jennifer Reeder, Conor Sweeney, mockumentaries, Prince of the City, The Crypt Keeper, Treat Williams, and The Kobayashi Marunion.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: https://discord.gg/ETE79ZkSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show (https://www.patreon.com/trickortreatradio)

Storytelling helps us structure to our ideas, make sense of our experiences, and connect around a shared vision. In this podcast, APQC's Lauren Trees talks to storytelling expert Lance Weiler about the evolution of narrative and how organizations can use storytelling techniques engage groups in virtual and hybrid settings. Weiler is the Director of the Columbia University's Digital Storytelling Lab and a keynote speaker at APQC's 2021 Process and Knowledge Management Conference. Subscribe to us on iTunes or wherever you get your podcasts! Register for APQC's Process & Knowledge Management Conference! 

Segunda entrega de Keep Rolling, el especial de El Calabozo del Reverendo Wilson que durante estos días repasa algunas de las obras más importantes del mockumentary y el found footage. "The Last Broadcast" se apropia de ambas formas narrativas para inmiscuirse a través de la leyenda del Jersey Devil, uno de los mitos folclóricos más importantes de la (contra)cultura norteamericana. Enjoy! Si te ha gustado el programa, recuerda que tienes la posibilidad de ayudar a El Calabozo del Reverendo Wilson dándole a "Me gusta". ¡Gracias y feed the cvlt!

Louise dives into the artistic process of Lance Weiler, a storyteller working in film, TV, games and code (and founding director of Columbia University's Digital Storytelling Lab) and learns about the profound power of the pause. Lance would choose to step inside the mind of 20th century inventor and visionary Buckminster Fuller, to explore the way he was viewing and seeing the world and thinking about complex systems. Follow Lance on Twitter here or on Instagram here. You can learn more about Lance and his work via his website lanceweiler.com. 

Hosted By Michael Rau This Podcast is supported by the Office of the Vice President for the Arts and Stanford TAPS. The statements in this podcast are the opinions of the speakers. This Week's Episode of Intersections features Lance Weiler. You can learn more about Lance at http://lanceweiler.com/about/

03 Closing by Lance Weiler

01 Entrance by Lance Weiler

01 Exploration by Lance Weiler

Moving forward with our Found Footage arc, we get into the movie THE LAST BROADCAST (1998, dir. Stefan Avalos and Lance Weiler). We give some context about why this film was technologically revolutionary at the time, and how they could remake this movie for contemporary horror. This episode is sponsored by Shaker & Spoon. Follow Jump Scare on Facebook, Twitter, and Instagram. Email us at JumpScarePod@gmail.com to suggest new movies or arcs! Check out the rest of the episodes in the FOUND FOOTAGE arc here. Keep an ear out for our upcoming arc on FOUND FOOTAGE horror movies. Make sure to subscribe and leave a review for us! Edited by Aaron Souza  // Hosted by Shanyce Lora and Will Redden References Lance Weiler's Website “Blair Witch” v. “Last Broadcast” The clip from the beginning of the episode is from the 1998 film THE LAST BROADCAST.

The following episode of Columbia DSL's Sandbox was recorded live at Film at Lincoln Center. Lance Weiler sits down with Loren Hammonds (Senior Programmer Film & Immersive, Tribeca Film Festival) for a fireside chat on balancing story and interactivity.

A Dinner with Frankenstein AI had its world premiere at IDFA earlier this month. Over the course of two intimate evenings A Dinner with Frankenstein dug deeply into the tensions between human and machine in an immersive, multi­sensory environment that mixed food, conversation and artificial intelligence. This interactive dinner experience is created by pioneers in storytelling and technology Lance Weiler, Rachel Ginsberg and Nick Fortugno, and presented in cooperation with the National Theatre's Immersive Storytelling Studio and IDFA DocLab. A multi-year research project, Frankenstein AI challenges commonly dystopian narratives around artificial intelligence, and seeks to provoke and broaden conversation around the trajectory of this rapidly emerging technology. Beginning with the Sundance Film Festival this past January and over the course of next two years, we'll invite the public into our process as collaborators through an evolving series of activations and experiences both online and off, that will traverse immersive theatre, browser-based interactions, community design, and other performative and experiential media. Developed and produced in collaboration with the Columbia University School of the Arts' Digital Storytelling Lab, Frankenstein AI: a monster made by many is a creative system– a network of projects around a central narrative – designed to provoke exploration around possible shared futures for artificial intelligence. For more information please visit [Frankenstein AI][1] [1]: http://frankenstein.ai Preview A Dinner with Frankenstein AI had its world premiere at IDFA earlier this month. Over the course of two intimate evenings A Dinner with Frankenstein dug deeply into the tensions between human and machine in an immersive, multi­sensory environment that mixed food, conversation and artificial intelligence. This interactive dinner experience is created by pioneers in storytelling and technology Lance Weiler, Rachel Ginsberg and Nick Fortugno, and presented in cooperation with the National Theatre's Immersive Storytelling Studio and IDFA DocLab. A multi-year research project, Frankenstein AI challenges commonly dystopian narratives around artificial intelligence, and seeks to provoke and broaden conversation around the trajectory of this rapidly emerging technology. Beginning with the Sundance Film Festival this past January and over the course of next two years, we'll invite the public into our process as collaborators through an evolving series of activations and experiences both online and off, that will traverse immersive theatre, browser-based interactions, community design, and other performative and experiential media. Developed and produced in collaboration with the Columbia University School of the Arts' Digital Storytelling Lab, Frankenstein AI: a monster made by many is a creative system– a network of projects around a central narrative – designed to provoke exploration around possible shared futures for artificial intelligence. For more information please visit http://Frankenstein AI

Nick Fortugno (interactive narrative designer/co-founder Playmatics) and Lance Weiler (storyteller/director Columbia DSL) sit down for a candid convo about Frankenstein AI. This marks the first in a series of discussions that will pull back the curtain on the next iteration of the project entitled, "A Dinner with Frankenstein AI." Topics covered include conversational design, prototyping challenges and preparation for an upcoming world premiere at IDFA in Amsterdam. For more on Dinner with Frankenstein AI challenge visit - https://medium.com/columbia-dsl/dinner-with-frankenstein-ai-global-challenge-design-brief-102801deca0d Interested in exploring new forms and functions of storytelling and emergent technology? The Columbia University School of the Arts' Digital Storytelling Lab has a new global prototyping community. http://columbiadsl.mn.co/

Shooting BTS (behind-the-scenes), or http://creativeskillset.org/job_roles/3838_epk_directorproducer (EPK )(electronic press kit) as it's known in the film industry, can be a great and a rather appropriate way for a documentary filmmaker to make some additional income.   I mean, who else to better create short promotional-type videos or vignettes than a filmmaker who owns their own gear, can conduct and shoot an interview, shoot some broll, then edit into a small concise package for quick delivery?   In this episode, we examine the position that is tailor-made for the documentary filmmaker, how to get into it, and how what you are already doing in your doc life makes you the perfect candidate for this industry position.   Podcast Conversation For our shared conversation segment, I am honoured to have on feature and documentary film director, http://www.stefanavalos.com/ (Stefan Avalos). You may remember Avalos from the very early days of digital film. And with a good reason, since he and fellow filmmaker http://lanceweiler.com/ (Lance Weiler) were true pioneers in the digital film field, with their ground-breaking feature, https://www.youtube.com/watch?v=q8NzDgFtlrU (The Last Broadcast). And now, with his new film, http://www.stradstyle.com/ (Strad Style), winner of http://www.slamdance.com/ (Grand Jury and Audience Awards), Avalos enters the hallowed halls of documentary. To say that this was one of my favourite conversations with a doc industry guest in recent times, would be putting it lightly. Topics like his hand in digital cinema history, the influence of a doc like https://www.youtube.com/watch?v=zMFZOu8rDUQ (American Movie) on his work, and the various headscarfs that his lead subject in Strad Style was prone to wearing. It's enlightening, hilarious, and inspiring all at once. So yeah, not an episode to be missed!   Related Resources In the first segment of the episode, I mentioned the work of documentary filmmaker, http://lesblank.com/ (Les Blank), in particular his documentary film, https://en.wikipedia.org/wiki/Burden_of_Dreams (Burden of Dreams), which was basically the making-of http://www.wernerherzog.com/ (Werner Herzog)‘s http://www.rogerebert.com/reviews/great-movie-fitzcarraldo-1982 (Fitzcarraldo). Enjoy the trailer for the film: https://www.youtube.com/watch?v=FYOYi9WLLVU   Stefan Avalos' digital feature film, The Last Broadcast, was not only a massive influence on my filmmaking career, but really digital cinema, as a whole. Here's a trailer for the film: https://www.youtube.com/watch?v=OSCptQ1M7Rs   And now, we can all be thankful, that Avalos has decided to make his first feature documentary, the brilliant, Strad Style! Check out the trailer: https://www.youtube.com/watch?v=sSlUiXHrpnI   Subscribehttps://podcasts.apple.com/us/podcast/the-documentary-life/id1112679868 (Apple) | https://open.spotify.com/show/0wYlYHJzyk3Y7fHzDDwvmp (Spotify) | https://www.stitcher.com/podcast/thedocumentarylife/the-documentary-life (Stitcher) |  Rate and ReviewIf you have found value in this podcast please leave a review so it can become more visible to others. Simply click the https://itunes.apple.com/us/podcast/documentary-life-filmmaking-documentary-films-documentary/id1112679868?mt=2 (link) and then click on the Ratings and Reviews tab to make your entry. Thank you for your support!    

Lance Weiler discusses the project Sherlock Holmes & Internet of Things, a collaborative storytelling experiment that brings people together around the world to explore the internet of things, rethink the way we tell stories and create a connected crime scene. This project is run by the Digital Storytelling Lab at Columbia University School of the Arts. Website: http://2016.sherlockholmes.io/ Lance Weiler: @LanceWeiler  Interview by: Robert Pratten @robpratten 

  Welcome back to The Documentary Life podcast. In episode #2, a major topic of discussion revolves around one of the essential aspects of the show: inspiration. We discuss why it's important for the show to inspire its listeners. Chris also discusses the films and filmmakers that have inspired his documentary filmmaking journey, including narrative films like Gus Van Sant's https://www.youtube.com/watch?v=xA0U0otWuzE (My Own Private Idaho) and early digital cinema pioneers, http://www.stefanavalos.com/ (Stefan Avalos) and http://www.lanceweiler.com/ (Lance Weiler), and their groundbreaking digital film https://www.youtube.com/watch?v=OSCptQ1M7Rs (The Last Broadcast).   As he discusses specifically the documentary genre, he mentions filmmakers like http://www.wernerherzog.com/ (Werner Herzog) and https://en.wikipedia.org/wiki/Rithy_Panh (Rithy Panh), who both seamlessly inhabit the narrative and documentary genres. Included are the films https://www.youtube.com/watch?v=FYOYi9WLLVU (Burden of Dreams )and https://www.youtube.com/watch?v=GBsf1TvX_WI (The Missing Picture).   The second half of the podcast delves into what Chris' approach has been to film and video cameras for his projects. He traces his family tree of the cameras that he has used for his documentary and narrative film projects. He offers the suggestion that you should use what you have, trusting that you will have what you need, later on.   Subscribehttps://podcasts.apple.com/us/podcast/the-documentary-life/id1112679868 (Apple) | https://open.spotify.com/show/0wYlYHJzyk3Y7fHzDDwvmp (Spotify) | https://www.stitcher.com/podcast/thedocumentarylife/the-documentary-life (Stitcher) |  Rate and ReviewIf you have found value in this podcast please leave a review so it can become more visible to others. Simply click the https://itunes.apple.com/us/podcast/documentary-life-filmmaking-documentary-films-documentary/id1112679868?mt=2 (link) and then click on the Ratings and Reviews tab to make your entry. Thank you for your support!    

The Columbia University School of the Arts' Digital Storytelling Lab has a new monthly podcast entitled Crossroads. A collaboration with the Film Society of Lincoln Center, Crossroads is recorded in front a live audience at the Elinor Bunin Munroe Auditorium. The monthly podcast is a mixture of talks, interviews, fireside chats and lab project updates that explore new forms and functions of storytelling.  Our first episode was recorded earlier this year in front of a live audience at the Film Society of Lincoln Center. Hosted by storytelling pioneer Lance Weiler, Director of the Columbia Digital Storytelling Lab, and Frank Rose, author of The Art of Immersion and Senior Fellow at Columbia University School of the Arts, the evening included a brief presentation on the “Digital Dozen” followed by two roundtable discussions inspired by its selections. Rose leads a conversation on journalism in the digital age with Adam Moss, Editor in Chief of New York, and Bill Wasik, deputy editor of The New York Times Magazine and author of And Then There's This. Both publications were honored in the Digital Dozen, New York for its National Magazine Award-winning interactive narrative “This Is the Story of One Block in Bed-Stuy, Brooklyn” and the Times Magazine for its pioneering virtual reality report on the global refugee crisis, “The Displaced.” Lauren Cornell, Curator and Associate Director, Technology Initiatives at the New Museum and Co-curator of its highly successful 2015 Triennial, and Zach Kaplan, Director of the digital art organization Rhizome, a New Museum affiliate, then join Rose for a discussion of art and technology sparked by “Freedom,” an installation by Josh Kline that was commissioned for the Triennial and chosen by the Lab as one of its Digital Dozen. Music by Kim Lightyear from the track Alone. For more visit - https://soundcloud.com/kim-lightyear/alone

This special episode features Lance Weiler – writer, director & experience designer. Lance is creator of movies The Last Broadcast(1998) and Head Trauma (2005). WIRED magazine named him ‘one of 25 people helping to re-invent entertainment and change the...

Igniting the Imagination of Many, Architecting Story Worlds - Lance Weiler - Lance looks at new form storytelling and a less talked about attribute, value. He explores how in the attention economy it is important that story has utility, still entertaining but also have purpose and intention. He reiterates his Pandemic and Head Trauma transmedia case study in this context and social or community exploration and talks further about the balance between hyperlocal and global world building (how local can cause global effect) in reference to Hope is Missing (sci-fi horror) and Laika. Lance shows how his worlds can easily extend to physical space and story focused shareable objects - where the social connected objects and communication devices connects users to actual characters and draws them into the narrative. He introduces his collaborative social benefit project called Igniting the Imagination of Many, kids problem solving world issues together and the importance of having a solid set of design principles before setting out on complex multiplatform story telling. He finishes on 6 key tips to create transmedia story including 'taking time', 'why are you doing it', 'let go of a single point of view' and more crucial words of advice. Igniting the Imagination of Many, Architecting Story Worlds - A presentation by Lance Weiler, given at the StoryLabs & Screen Australia Film 3.0 labs and digital ignition seminar held in Sydney in late Nov 2012. StoryLab's Podcasts: Recorded and Produced by Gary P Hayes Lance Weiler is a storyteller, entrepreneur and thought leader. An alumni of the Sundance Screenwriting Lab, he is recognized as a pioneer because of the way he mixes storytelling and technology. WIRED magazine named him “one of 25 people helping to re-invent entertainment and change the face of Hollywood.” He sits on a World Economic Forum steering committee for the future of content creation and teaches at Columbia University on the art, craft and business of storytelling in the 21st Century. Lance is currently working on a trilogy of participatory storytelling projects the first of which took place this past Fall and included an actual space launch.

The Creative Story World Process – How transmedia is both commercial and real, the studio and broadcast system and how to create stories that engage and extend across platforms. Exploring services evolving from one to another using key case study of how Head Trauma moved into Pandemic and other projects. A presentation from Lance given at the inaugural Screen Australia, StoryLabs digital ignition lab held in Robertson in late November 2011. Podcast Recorded and Produced by Gary P Hayes. Lance Weiler (US) http://lanceweiler.com/press is recognised as a pioneer in mixing storytelling and technology. Businessweek named him “one of the 18 who changed Hollywood” alongside the likes of George Lucas and Steve Jobs. His films include The Last Broadcast and Head Trauma, around which he also made an acclaimed ARG (alternate reality game), and an online documentary series, Radar, which was nominated for a Streamy Award. In 2011, Lance’s Pandemic, an immersive storytelling project, was official selection of the New Frontier section of the Sundance Film Festival. He sits on a World Economic Forum steering committee for the future of content creation, and teaches at Columbia University on the art, craft and business of storytelling in the 21st century. Lance is founder of the Workbook Project, an open creative network, and writes a regular column for Filmmaker magazine on the impact of tech on entertainment.

In this special Do Some Damage episode, Jay Stringer chats with Chuch Wendig.Here's who Chuck Wendig claims he is:Chuck writes because he can do nothing else.Chuck is a 30-something freelance penmonkey.He is a novelist:His novel, Blackbirds, is repped by Stacia Decker, super-agent of the Donald Maass Literary Agency.He is a screenwriter:He mentored with Stephen Susco (The Grudge, Grudge 2, Red). He’s written a handful of spec screenplays both alone and with writing partner Lance Weiler. Their most recent film effort, HiM, won the Arte France Cinema Award at CineMart and was recently selected for the Sundance Screenwriters Lab in January 2010. Together, Weiler and Wendig are also helping to develop an as-yet-unannounced television property.He is a short story writer:He’s had a number of short stories published across a small array of journals and zines (Not One of Us, 69 Flavors of Paranoia, Whispers from the Shatterered Forum, The Town Drunk, etc.).He is a game designer:He’s been working in the pen-and-paper RPG industry for a third of his life (over a decade), and has contributed to over 85 game books during this time, serving as writer, developer, or both. He developed, for instance, the entire Hunter: The Vigil game line for White Wolf Game Studios. He’s done some work on video game properties, which at present he cannot mention. He’s contributed script work for web content, which at present he cannot identify. Don’t even ask him about the Android app.He is all over the map:Chuck is considering branching out into comic books, take-out menus, religious pamphlets, or witty doormats. Give him a wide berth, as he might be drunk and untrustworthy.He is on the East Coast:Wendig currently lives in the wilds of Pennsyltucky with a wonderful wife and two very cute-but-stupid dogs. PS: You can get the podcast by:1. Right-clicking on the title up there at the top (or, if you have one of those Apple computers, whatever you people do)2. Visiting the iTunes music storeor3. Visiting the Feedburner page.

Producing a feature-length motion picture is a daunting task especially if you do it without the support of a major studio using money you have raised yourself. But according to independent filmmaker Lance Weiler ”the real struggle” comes after the film is completed. Distributing a theatrical feature -- and doing so profitably -- poses an even greater challenge. As Weiler noted during a recent interview with Knowledge at Wharton ”making the film is easy in comparison.” Yet Weiler believes he has a solution. By expanding the movie into an interactive theatrical event Weiler has carved out a niche that he believes offers an economically viable model for independent cinema. See acast.com/privacy for privacy and opt-out information.

Grab your compass and camcorder because this week on the Nightmare on Film Street Horror Movie Podcast, we're heading deep into the Pine Barrens with The Last Broadcast (1998)! Your hosts Kimmi & Jon are unraveling the mystery of the Jersey Devil, celebrating a pioneering effort in found footage horror, and unburying a mystery hidden behind the shadow of The Blair Witch Project.In The Last Broadcast (1998), a small-town public access show takes a terrifying turn (for our benefit) when its hosts set out to capture the elusive Jersey Devil on tape - LIVE! We'll dissect the eerie mix of mockumentary style, early internet sleuthing, and the chilling conclusion that makes this flick a must-watch. Plus, we'll marvel at how Stefan Avalos and Lance Weiler made horror history on a shoestring budget.Tune in as we chat about the film's innovative storytelling, its impact on the found footage phenomenon, and whether the Jersey Devil might be lurking outside your window right now. Better go feed it. Don't miss this episode—it's gonna be devilishly good!Join uss... // SUPPORT THE SHOW //Nightmare on Film Street is a labor of love - and Terror! Support us on Patreon to unlock frightfully good rewards; like shoutouts on the show and social media, access to our episode archive, producer credits, bonus episodes, and much more! www.nofspodcast.com/fiendclub // SUPPORT THE SHOW //Nightmare on Film Street is a labor of love - and Terror! Support us on Patreon to unlock frightfully good rewards; like shoutouts on the show and social media, access to our episode archive, producer credits, bonus episodes, and much more! www.nofspodcast.com/fiendclubGET MORE HORROR:https://nofspodcast.com/goAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy