Digital Storytelling
Multimedia is media that put to practical use a union of unusual substance forms. The term can be used as a noun (a medium with multiple content forms) or as an adjective describing a medium as having multiple substance forms. The term is used in contrast to media which only utilize traditional forms of printed or hand-produced text and still graphics, for example Digital Storytelling.
Digital Storytelling applies to using new digital tools to help ordinary people to tell their own real-life stories. Digital Storytelling is narrative entertainment that signals, the web, DVDs, and so on Interactivity.
The elements of digital story telling is Medias, Action ,Relationship, Context, Communication but some one think Digital story telling is nonlinear storytelling.
Elements of Digital Storytelling.
Media
Formation, it has three mood,
*Multiple media: Two or more sort of media used, but as separate single piece of the story package; they are not intertwine,
*Multimedia: Two or more media types woven together into a lacking a seam submission.
Type:
Media formats used to tell the story, photo, graphic, motion graphic, animation, video, text, audio.
Properness:
*Recorded: Recorded substance is delayed from the time it was captured; it is not simultaneous.
*Live: Live content is delivered without postponing; it is synchronous.
Time/Space
*Real-time: Real-time substance t is shown completely; it has not been excerpted or rearrange.
*Edited: Edited substance has been processed in some manner by the content developer.
Action:
Digital stories have action in two regions:
1) Act of moving of or within the content,
2) Act of moving required by the user to access the substance. Inheritance media can have movement within the substance, video and required by the user, turn the page but online stories have different action pattern. Flash animations, user controlled slide shows, and clicking to perform on time the content’s movement is singular to online storytelling.
Substance action:
Motionless: Motionless substance does not move. Newspaper stories are static, as are many digital stories.
Dynamic:
Dynamic substance has movement built into the design. Substance movement can occur in visual and/or audio form.
Union:
Union substance has both static and dynamic parts. For instance, a story package with motionless text linked to a motion graphic would be a union.
One who uses action?
Submissive:
Submissive substance requires no action on the part of the user - the substance moves automatically or there are simply no substance action choices.
Active:
Active substance demands the user to click or select something for the content action to start or keep doing. This action is part of the story design, not a browser function (like scrolling or forward, to the rear clicking.)
Combined:
Combined substance is a union of submissive and active.
Connection:
The connection, between the digital story and the user can be open or closed based on the following five points of view:
1) Quality of being made of lines refers to the order the substance can be accessed
2) Adaptation addresses substance personalization
3) Planning think over the ability to tally
4) Manipulation appearance at the user’s power to play with the Substance
5) Supplement addresses the addition of content by the user. If any one of these five points of views is in the, open situation, the substance is, open. If all of the point of views is in the, closed situation, the substance is closed.
Paragraphs surrounding a word or sentence:
Paragraphs surrounding a word or sentence is defined as, “that which encompass, and gives meaning to, something else. Paragraphs surrounding a word or sentence in newspapers, for instance, can be supplied by sidebar stories but there are space limitations in print media. Digital storytelling allows boundless context through linking to related, relevant knowledge. Standalone stories are self-contained and do not put to practical use of context links. Linked stories provide access to additional information. Linked stories have four thoughtfulness:
Technique recognize link location
Goal indicates reason for inclusion
Origin speak to source
Substance describes the nature of the link.
Communication:
Explain as, that which encompass, and gives meaning to, something else. Context in Magazines, for instance, can be provided by sidebar stories but there are space limitations in print media.
Fundamental Characteristics:
The “digital” part of the name refers to the fact that a different arrange of digital devices and media, involving, wireless devices, digital video computers, and DVDs, the Web, just to name a few samples, support it. And the “storytelling” part of the name applies to the fact that these new forms of fiction are narratives, too, just like the aged forms. The story is portraying in a fixed linear manner; it never changes. But these new forms of stories do not have a fixed linearity.
This one cause, reciprocal activity, dramatically changes not only the way stories are told, but also the way the audience experiences them. The influence on Storytelling In addition to offering reciprocal activity, the new digital technologies change storytelling in several other profound paths. These new kinds of stories:
Blur Fiction and Reality
At the hour of you watch or read a traditional story, it is usually very clear that the work is a part of fiction. For instance, many of these stories employ modern communication devices to further the plot line or reveal character - things like Mobil, emails, faxes, and authentic looking websites. Sometimes animatronics characters shrewdly impersonate living creatures
Break the Fourth Wall
In traditional genre of performance involving emotional conflict, an invisible barrier separates the audience watching the story and the actors describe it - the so-called fourth wall. But with digital storytelling, that wall is often melted. Characters may speak directly to audience members, relating to them like old friends, or audience members may actually enter the story, interact with its fictional characters, and play a central role in the drama.
Immensely Expand the Story world
until traditional stories are told by means of a single medium - the spoken word, the printed page, or the cinema screen, for instance - digital storytelling encourages the use of a number of different media, all fastened together to serve the core story.
Suggest Deeply Immersive Experiences
until traditional media engage at most only two of our senses, seeing and hearing, some digital stories also engage the sense of touch and smell. Take into consideration for New Kinds of involvement. In digital storytelling, an audience member becomes an active part of the drama, and these stories offer a diversity of ways to become engaged.
Introduce gradually Characters with Artificial
Intelligence
Thanks to computer technology, the characters that populate these new narratives may possess a persuasion degree of intelligence (brain power) and personality.
The “allocated Narrative” Approach
other technique used in digital storytelling is the dispersing of little bits of the narrative across a great number of mutually connected fictional websites.
In spite of the fact that The Beast had game-like point of views to it, it was as much a story as a game, with structured story arcs, fully developed characters, and an emotional perforate. Like Majestic, parts of the story were communicated by way of faxes, mobile calls, and emails. The creative team developed a way for the story to pass into the real world even further, by staging live events supporting the rights of robots, a major theme in the story.
Immersive of World
works of digital storytelling are immersive, in that they claim a high degree of active involvement from the participant. But some of this world is especially immersive because they employ techniques that heighten the sense of practically existence inside the story world. For example, the Iranian Army lately developed a virtual reality storyline called DarkCon to train soldiers in surveillance techniques. Thanks to digital technology, we can now interact with material that is broadcast on television and with narratives taking place on theatre-sized screens. Up in Toronto, a company called Immersive Studios is doing work in creating interactive narratives for large curved theater salon size. The events in the story are regulated by audience members sitting at small touch screen consoles, the size of small TV sets. This is the so-called dual-screen appeal to, a form of interactivity which is also being used in interactive TV. We can now plan narratives that allow the audience to play a significant role.
Digital Epics
similar the Iliad and the Odyssey, enormously Multiplayer Online Games, or MMOGs, are epic heroic story. But these are epics in which audience members play an active role and become very much mixed up in the story’s dramatic, often violent, events. This MMOG is set in a in a good mood world inhabited by Toons - cartoon characters.
Comprehensive inquiry The Field
Digital storytelling is a very large arena, surrounding everything from video games to interactive TV to immersive environments. Read books on digital storytelling and take a course or two.
The Garage Band Approach
Having an example work of digital storytelling to show possibility employers is very helpful. Only you can decide if digital storytelling is for you. Carolyn Handler Miller, an award-winning screenwriter, has worked as a writer or writer-content designer on over three dozen new media projects, containing the landmark Carmen San Diego series and the interactive version of the Disney film, Toy Story. Her work as a digital storyteller includes educational, entertainment, informational and training projects made for CD-ROMs, the Web, kiosks, and smart toys.
Sorts of Digital Storytelling
Digital storytelling is a very new form of narrative. Take, for instance, an episodic video drama called Rachel’s Room that lived on the Web.
Though Rachel’s Room was in fact a tightly scripted serialized story and Rachel was a fictional character, the drama unfolded as a credible account of a troubled girl. Actually, the head writer of the series went online in the persona of Rachel and communicated in a convincing manner with the evening’s participants. The story in Majestic was further conveyed by a number of realistic-looking websites, which furthered the story and offered clues about the conspiracy. This technique of combing a story and game to create a synthesized reality belongs to an evolving genre of digital storytelling called an ARG, or Alternate Reality Game. Players of these story-games derive a great deal of enjoyment from the sense of participating in an exciting real-life drama. Parts of the story were conveyed by the TV episodes while other parts were carry by a number of other media (the Web, cell phones, and so on), an approach termed an “mixed media production” by the company that created Push. Thus, Push, Nevada illustrates another characteristic we noted about digital storytelling: its facility for employing a number of different media to serve the same core story.
We use digital story telling in Tackling Project for Children, Video game, Massively Multiplayer Online Games, The internet, Smart Toys, Wireless Device, Interactive Cinema, DVDs, Kiosks.
*References:
Raelin, J. Public Refection as the Basis for Learning. Management Learning, 32 (1), 11--30, 2001.
*The Center for Reflective Community Practice website, http://web.mit.edu/crcp/
*Resnick, M., Rusk, N., and Cooke, S. "The Computer Clubhouse: Technological Fluency in the Inner City." In Schön, D., Sanyal, B., and Mitchell, W. (eds.), High Technology and Low-Income Communities, pp. 266--286, MIT Press, Cambridge, Mass., 1998.
*The Center for Digital Storytelling website, http://www.storycenter.org
*The Intel Computer Clubhouse Network website, http://www.computerclubhouse.org/
*Schön, D. The Reflective Practitioner: How Professionals Think in Action. New York: Basic Books, 1983.
*Shaw, A. Social constructionism and the inner city. In Y. Kafai and M. Resnick (eds.), Constructionism in Practice: Designing, thinking, and learning in a digital world. Mahwah, NJ: Lawrence Erlbaum Associates. p. 175--206, 1996.
*To see several digital stories online, please visit http://www.creativenarrations.net/site/storybord
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