I will be running a workshop at the RIDERS Summer School on "How To Record and Edit Good Audio" - most film experts will agree with me that good audio is even more important than good visuals in a film, but that's one to chat through with Andrew Murchie, the RIDERS 3D film expert at Summer School... from my part, I want to prepare you to make your audio really great and to sound the very best you can, while using everyday mobile technology.  

Workshop session 1 - In the first session, you'll learn what makes a good, useable recording and how to make it using basic equipment. You'll learn how to get the best sound under various conditions, what to look for when choosing somewhere to record, how to deal with less than optimal environments, learn more on foreground and background sound, and how different sound qualities may suit different stories. Ideally, you will bring an iPhone / iPad with the app Voice Recorder HD installed.You can get this here

You may instead want to use a dedicated audio recorder (Zoom or similar) or you may instead want to use your Android devices. That is fine, although, there may be less detailed instructions on the device in that case.

Workshop session 2 - The second session will look at using sound to tell a story. You will learn to work with the audio you have collected in the first session, using Reaper, a popular digital audio workstation (DAW). You will begin learning how to edit and process audio with Reaper and will be introduced to some techniques for getting the best from whatever you have recorded. You will look at mixing audio, editing and preparing the sound for output. Please bring along a laptop, as you will need one to work on, and you should install Reaper onto it before you arrive. It is not open source, but there is a long, unrestricted free trial period. You can get it here

Luke Clancy - Radio Producer

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When I first spoke to the the good people at RIDERS about interactive comics, I had to make a disclaimer: I am not an expert on interactive comics...

They interest me greatly. I’ve done a bit of reading on the subject, debated with creators, and I’ve handled more than a few interactive comics. Some completely astounded me with their elegance and creativity, or knocked me sideways with their untapped potential, and then there were those barely deserving of the term “interactive” - or “comic” for that matter.

It’s very possible, and even likely, to read two different interactive comics successively, and not feel as if the two works are even part of the same medium. My explanation for this phenomenon of unaffixed media lurch is what motivated me to disclaim that I am not an expert in the field and even speculate that there are no experts in interactive comics. What causes me to make such outlandish proclamations?

Simple:Interactive Comics are not a thing...at least, not yet. Understanding what interactive comics are for, their role in our culture, and how people best read them, is what will make them a storytelling medium, rather than simply an amusing technology. But that understanding only starts to take shape when we start asking the right questions.

At the RIDERS Summer School, I’m going to invite audience members to come along on a adventure to find those questions, so that we can start asking them together. Starting with my experiences as a comics creator and my formal training as a creative writer, we’ll trace connective lines between some seemingly unrelated academic disciplines, hear legends about our mysterious questions from colorful characters who’ve sought them before, and examine some artifacts that have been unearthed along the way. If there aren’t any real experts on interactive comics yet, I’m hoping that by the end of our time together, the first ones may be sitting in the audience. See you at Summer School...

Errol Rivera

StoryStorm: A Collaborative Exchange of Methods for Storytelling - 1 day workshop at Designing Interactive Systems 2014 to be held in Vancouver, June 22nd 2014.



 This one-day workshop will identify and map the range of conscious and unconscious storytelling tools adopted in all stages of research, including design processes (e.g. Personas and Scenarios, Forum Theatre, and Design Fictions) and artifacts (e.g. Visualisation, Internet of Things, 3D printing). Together we will explore emerging digital means of capturing, sharing and experiencing stories as a methodological tool and by drawing on participant expertise will initiate development of visual aids to distill and encode these practices for use in academia and beyond.
 We welcome applications from multidisciplinary researchers and practitioners across HCI, UX, design, art, psychology, design ethnography, and from the worlds of design, art, film, photography, or storytelling. Interested participants should provide either a positioning paper in CHI Extended Abstract format (maximum 4 pages, pdf) or a storytelling artifact (e.g. visual, film, object, documented performative evidence).

Submission deadline: 10th March 2014.


More information and deadlines here:

CIRCLE website 

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Here is a list of some resources and a couple of examples of the huge amounts of excellent work that has been done in appropriation as ways of encoding and decoding text.  Below that I'm including some of the tools I have used in my own work which I encourage people to experiment with!

 

RESOURCES / EXAMPLES

DAY by Kenneth Goldsmith

UNSOUND METHOD by Tim Etchells

TWIXT THE CUP AND THE LIP by Curt Cloninger

A HUMUMENT 

LITTLE RED RIDING HOOD by Ross Sutherland

EMOJIDICK

 

TOOLS

text mechanic

monoglot

online text summary

ark tv

 

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In a dynamic digital medium, onscreen text is free to be expressive on multiple levels. As reader-players, we process the content of the text, the meaning of the words, and we simultaneously process text as visual material, yet this modality tends to be underexploited in many text-based playable narrative forms. For example, could the way text performs on screen, its appearance and animation, be an objective correlative for the nuanced way lines might be delivered by a human actor, inflecting the words with subtleties of meaning and emotion? This talk will begin to explore some of the ways text might be used more expressively in the service of storytelling.

Christine Wilks is a digital writer, artist and developer of playable stories. Her digital fiction, Underbelly, won the New Media Writing Prize 2010 and her work is published and exhibited internationally, appearing in anthologies of electronic literature, online journals, conferences and festivals. Christine’s practice-based PhD research explores using expressive processing to create a character-driven playable narrative.



RIDERS | Heriot Watt University (Riccarton Campus) | Currie | Midlothian | EH14 4AP