Hyv was originally short for Hypervideo when I coined it 6 years ago. It became an architectural (both content architecture and technical architecture) term for the teams I work with for use of and implementation of interactive tv/film/transmedia interface… …where in the data/metadata that would be in the hypervideo would be transportable/interoperable. Further taking it to be “layerable” We have pushed for half a decade for browsers to implement transparent synced layers. The “hyv” layer then would have metadata etc for implementation both with HTML5 & the Hyv layers…making it transferrable to other medium and artifacts. It makes it easier in our specific implementation for interactive film/television, game development that is heavily based on video and platforms outside the screen including augmented reality, transmedia and multi-platform and artifacts in the real world. It has lead to us creating what we call portkeys, wormholes, & horcruxes (artifacts that are keys in the real world)…That are portals within and into and between stories and productions, that link to the outside world and that link to integrated retail. It has also raised the spectre of varying timecodes/timeclocks in story/audience worlds.
We also have been lately using the term in naming an initiative we have been forming between game developers, filmmakers, journalists, web development etc… to Innovate Storycube content architecture via Transmedia and more integrated forms of Content with geo-location, the cloud, the browser, augmented reality and inventing a new writing format for story inception.
The Passion of Alan Turing
by dl willson
open to :
A hand… an apple is picked up from a pile. It is held. It is injected with a syringe. It is slowly about to be placed on an old kitchen table. Diane Birch’s “Magic View” plays
Ext. Turing Home – Sunrise
We open on a house, in the words of Joyce’s Araby, “at the blind end, detached from its neighbours in a square ground.” Tracking in slowly we hear a mumble
…and the year,”1954″, appears on the screen. Like pings of noise, or Brad Pitt in Fight Club …there are flashes of frames of the violence of WWII, the holocaust, the great strike, upheaval in India, computer keys being typed, the noise of the city, the iPhone, computers, city streets, celebrations of D-Day, gay pride, Iran twitter feeds, etc.
…and silence, again, as the tracking stops,… framing the lonely English house.
Int. Bedroom – continuous
We cut inside to a partial view of a man mumbling in his sleep as the sun is trying to creep around the pulled shades. We see a glimpse of what may seem like a breast…but it is definitively a man’s voice whispering a man’s name.
We see his shadow wake and exit.
Int. Kitchen – moments later
Apples sit on the table in a disorganized kitchen. The figure passes them.
We see running shoes packed behind others and the figure passes them and steps back into frame looking at them.
Ext. Turing House – soon after
The sun is just rising as Alan Turing, 41, is exiting in proper running clothing, the shape of what seems like breasts show through his thin running shirt. As he is walking to the road a day worker comes around the corner. Turing sees him and stares for just a moment before heading back into the house.
Ext. Turing’s House – later
Turing is about to run from his front yard, when a worker comes walking up the road. Turing turns to head back in. He drops a large sweater he was carrying but decides not to retrieve it. The worker notices Turing drop the sweater and retrieves it.
Turing stops and half turns. Smiling large like that of a man who helped his country defeat the biggest evil the modern world had ever seen.
You dropped your sweater, it’d be big enough
you’d think yo…
The man notices Turing’s small breasts… …and stares before his reaction changes. Turing sees his reaction but ignores it.
yes. Well, …I am getting older
Turing chuckles to the man staring in disgust.
I seem to forget things… Well thank you
What the bollocks is wrong with your…
Turing turns to enter back to his house.
He heads back toward the house as the man continues on his way.
Int. Turing Kitchen – moments later
The apple is in Turing’s hands as he places it down on the table near the pile from which he had gotten it. He goes to the window to see if anyone is now in sight. He puts on the sweater.
We see him running sweating profusely from wearing a large over-sized sweater in the middle of the summer. His feet get louder as poem rolls over in his head.
Hyperboloids of wondrous Light
Rolling for aye through Space and Time
Harbour those Waves which somehow Might
Play out God’s holy pantomime
He repeats this over and over to the rhythm of his feet. As we watch the feet…
Ext. Railroad Tracks – Day
…they become a child’s over railroad tracks. We hear Indian dialects shouting like a market merging and fading from his poem. We see Turing at 8 years old running along tracks with a note in his hand. It is a telegraph from his parents… He falls.
Superimposed image. of the scene his mother is describing in the telegraph- India in the 20′s and we follow a man arguing with a group of Indian men to place the railroad ties correctly…as they sit watching. It is Julius Turing…
The future is owned by those who own the cubic story real estate, the skill to build it and it’s production. Hyv, Tu-Is, the Storycube and ‘intragrated’ retail. (As opposed to integrated retail).April 26, 2013
Very happy to read (like a cheshire cat) > “Guide CEO: Minority Report TV Interactions Coming In Next Five Years” http://thenextweb.com/video/2013/04/26/guide-ceo-freddie-laker-total-recall-and-minority-report-tv-interactions-coming-in-next-five-years/ < it's actually about content/narrative architecture and who controls 'story(emotional) real estate' where retailers want to interactively sell their wares- in 2 years we (Hyv) already are prepped (lots of content) to lead …far ahead of anyone. < not to boast but the past 10years of this was all about building that. A long, slow and steady road in the face and through a lot of people who called me crazy, egotistical and a fraud… I just have been doing & sensing what I knew/know was the right path…the sun is just starting to shine on that hard road I made us choose/stay on.
Morning discussion online with the Hyv & Cubers > To ‘storycube’ means we build worlds; we build journeys. Not flat visions but tall ones. Long ones. Thick ones. Reactionary ones. Deep ones. Listening ones. We build worlds with their own currents, magnetism and flow. Not like a game, not like a film, not just chopped up platforms that jar you purposelessly out of the 4th wall but interface that is organic to the 4th wall and your contract for the suspension of disbelief.
That is why I/we work so hard for so long to get them all right. Unlike web technology or apps or software… We get one shot. One 1st time discovery. One birth or that contract is broken.
My hardest sell in talking to retail integration partners is the hype around data over trust and sensitivity of emotion. The only way retail integration works is that your audience trusts you #1… & the atmosphere and experience are trustable #1. Everything else about data can be thrown out the window if people aren’t comfortable and thrilled to come into a storycube. (The problem is all these sales & ‘business development VP” guys at location apps, video platform apps, hypers renaming ancillary markets & marketing as ‘transmedia’ and agencies trying to handle the disruptive paradigm shift… have now hyped and latched onto ‘data’ over trust and experience ..just like they hyped eyeballs and ‘clicks’ with banner ads when they didn’t have the foresight then to understand how destructive “annoyance” is to the people they want as customers. Like a bad pick-up line from over needy loser. ) -whining done.
Two of the biggest lessons that I learned in filmmaking came on the first film I worked on… Boxing Helena.
The first was from the line producer. On the production assistants’ first day he called us in and said “Keep your ears open and your mouth shut unless directed.” Over the next few years I followed that advice and as film students came and went voicing their opinions, talking about when they made their film & how they would do it this way, etc.. Carrying a chip on their shoulder that they knew something better about how to make films… I learned… Lots. I took every job (to this day when you look at people’s resumes I gained so much from cleaning toilets and reading scripts to assisting everyone from producer to make-up & set dressers… To eventually the jobs I had worked toward quietly at all my life, acting, (directing) & writing). To this day I continue to watch as the young people (& many older) who succeed at being a FILMMAKER or become ‘experts’ at it…are the people who try harder to learn while they work, more than they try to explain their opinion and their expertise (most experts selling their wares haven’t really spent enough time making things before they start trying to be experts). Film & TV …video, complex, collaborative media… is always a learning lesson. There are very few experts.
The second lesson was from Carl Mazzocone, the producer who gave me so much of my initial breaks in the industry. One day I offered to be the PA at the 5am dailies viewing (in addition to my 12-13 hr days on the set). The projector broke down the first day. I had no idea how to fix it. Carl came running back and, like a scene from Cinema Paradiso, he turned to me as the strip started moving again and said “If you want to be good at storytelling, you need to understand every aspect of the process… From the wheels that run this projector to the legal ramifications when pen hits paper.” It was the exact opposite of what so many people said in the industry. Again, I went on to take a job at almost every position in filmmaking. How a broadcast works helps me understand editing… and that helps me understand acting (both my own & others’) & vice versa. It all helps my writing & directing.
Today, the new interface, the web and story structure has made that second lesson even more so… The past 5 years studying programming, the platform battles, the social interface & processes are informed by those film jobs. (& yes, my studies in social and interpersonal communication architectures at Ithaca are still a big factor in how we build) …
How we frame, how we store, how we react, how UX = production design… Understanding all of it is more important now than ever in building story experience.
When audience can now step in and touch a story… When the user sometimes just wants to be an audience member.. & knowing the rhythm of the difference… Means you have to understand ALL of the parts.
CISPA… Until the model for media & platform changes… Storycube is standard… it will keep coming back until it wins.March 21, 2013
As I have said ad nauseum for 7..8 years; Until we change the revenue model for media from make more money by limiting to make more money by spreading the actual media, CISPA, etc. will keep coming up in some form until it passes. I have been working for ten years to change that model from restrict to spread. Storycube structure with organic integrated retail that is precedented with better, closer retail flow opportunity and lower up front risk using the plurality of screen interface to minimize obtrusiveness with layers of unobtrusive hypervideo/audio/AR; Is the model that will do that. Until then the content industry (the second largest export industry of the US) will not relent on attempts to change the law. & sooner or later they’ll win if the model does not change sooner
hyv, characters and audience eye readers. discussion this evening using some of the projects to highlight.March 19, 2013
Using the Wynter Transplay with the Hyv link integration to explain tonight (for Storycube Hyv mtg) how eye tracking will be a very very cool tool for character reaction & audience UX/UI. To hide secrets but tease them or to hunt for the secondary narratives etc.
This is the future> Audience as ‘actor’, therefore you need to understand an actor’s state of ‘action via reaction’ (what that means, what that feels like and what creates it), “you don’t start with ‘z’”, and the complexity of the third dimension with the inclusion of the audience pathos to continue story flow…March 4, 2013
If a filmmaker or a group of filmmakers don’t understand the actor’s concept of ‘action via reaction’ & what drives that… (Both on a complex interaction and arrays of emotion…) They are building stories for yesterday’s screen not tomorrow’s touchable one. (Same goes for game devs and journalists)
The most important transformation in film and television to the future is not in changing director’s abilities first… It is first & foremost in the screenplay. So many are starting at h or t or z… When it all starts before a.
If you don’t have control of script/story structure at inception you are (9x out of 10) doing interactive TV/film like a gimmick hypervideo layer.
Along those lines …Imho …this presentation (below) by Danny Hillis regarding “Plan B” …is related. A new flow of communication, a new grammar and format for message… One that sees the audience as an actor…is inherently needing a different architecture than the present internet flow… Therefore… Plan B. for the internet… ..is baked into Hyv (hypervideo/hyperaudio,AR layered production and delivery systems) & Tu-Is (Convergent ‘Transmedia user interface system’). Another reason Why Hyv & Tu-Is are more of the future and matter more than people understand … The safety of hybrid, interoperable structures delivered through multiple pipes and coming from layers of sources.
RT @allthingsd: #ATDWeekInReview: “We Need a Plan B for the Internet,” Warns Internet Pioneer Danny Hillis http://t.co/cHUhR9BmwD
Portsmouth is hands down the coolest small city in America. If you shrunk San Francisco down, gave it better beaches, more trees, kept the same range of restaurants, theater, and outdoor activities, a better Christmas, Halloween, Easter, 4th of July, dropped their taxes through the floor, moved it next to Boston/Cambridge, gave it more access to skiing, the cape, the vineyard, NYC, gave them all great professional sports teams to route for…and had every Presidential candidate accessible every 2 -4 years… You might come close.