Thanks to @SteveCase – http://www.politico.com/news/stories/0312/74501.html

Steve avoided a lot of people who are incredibly misinformed and misunderstanding of the weaknesses and strengths long term of crowd-funding. Coming up with a very good situation for an open INDIE market… but one where crap, that doesn’t have an audience worthy of the investment, might less likely be repeatedly funded and destroy the model. No industry more than independent art, (specifically film and publishing) will receive a better healthy boost to the potential of their industry than this bill.  An industry can not rely solely on charity in the face of a predominance of lack of quality. When everyone wants to make films, it becomes easier technically to do… ..the percentages of crap goes through the roof. This establishes an industry and economy… charity does not = economy… it allows artists who are worthy of acknowledgment to create something that touches souls for their career… without relying on gatekeepers or panhandling to the masses. If you create something worthy, that people (not just some tribe you convince they have responsibility to) want to watch what you make… you should have an Industry and economy that backs that up.

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A Universe – we…all… need an initial content/cube infrastructure

People wonder why I had to do so many projects and so many hyperlinking things with them before I can release any of them into the public view… Well, what is coming down the pipeline (this year) from a couple of behemoths will clear up a lot to a lot of people. A lot of interactive TV work is being built that hasn’t got the “content infrastructure” to use what they are building for. The networks and studios don’t even have it. & on top of that…no one knows how to.

But I/we get one shot with all of these projects I have been making and putting in the closet for almost 10 years now.

One shot…you can’t go back and re-release or try to tell/sell the same story. One time to have interface layered, immersive story sent out into the wild. I tell everyone making cubes … no matter what you are making all storycubes are layers/versions of the same universe, the same universe we are watching them from, the same universe in the commercials, the same universe in the animated work as in the newspaper… and therefore all connected. That is how we have a content infrastructure coming together.

THAT is the genius of the storycube.

The New Skill: The Storycube/Cube is harder than anything we have seen yet.

Storycubes are harder than films or TV shows or games. They can’t be hokey, a gimmick, or an advertisement. They have to have propulsion and current through arcs of tension. They should use reality to strengthen the 4th wall not break it. They must not be work for the audience… And the disruption of a platform must be minimized and/or purposeful. They must build under the understanding of action through reaction. They should be able to stand as a layback in any state without interface whenever possible. They should attempt to look at the depth of field and layer in interface, portkeys and Hyv (Hypervideo/AR) architecture. They should realize the singularity of story can be over run by another with the lack of plurality in choices as much as any choices should be unobtrusive to the field of story the audience is there for.

Storycubes are more difficult to pirate.  They also will be more enabled to be shared freely.  They are stickier.  They are more apt to encourage collaboration, crowdsourcing and be more immersive.  They are inherently in a format that our brains are not trained to think of yet.  They are cubic.  Storyline>storycube.

Storycubes work on platforms that are converging…not media that attempts to “jump” randomly across platforms.
Storycubes… Cubes.. …Are the new media.. They are harder and a skill few if any have yet. & NO ONE is an expert on. Attaching transmedia to an existing medium is not a Storycube/Cube. Which is most likely, almost inherently marketing and/or ancillary.

The New Skill: The Storycube/Cube is harder than anything we have seen yet.

Storycubes are harder than films or TV shows or games. They can’t be hokey, a gimmick, or an advertisement. They have to have propulsion and current through arcs of tension. They should use reality to strengthen the 4th wall not break it. They must not be work for the audience… And the disruption of a platform must be minimized and/or purposeful. They must build under the understanding of action through reaction. They should be able to stand as a layback in any state without interface whenever possible. They should attempt to look at the depth of field and layer in interface, portkeys and Hyv (Hypervideo/AR) architecture. They should realize the singularity of story can be over run by another with the lack of plurality in choices as much as any choices should be unobtrusive to the field of story the audience is there for.

Storycubes are more difficult to pirate.  They also will be more enabled to be shared freely.  They are stickier.  They are more apt to encourage collaboration, crowdsourcing and be more immersive.  They are inherently in a format that our brains are not trained to think of yet.  They are cubic.  Storyline>storycube.

Storycubes work on platforms that are converging…not media that attempts to “jump” randomly across platforms.
Storycubes… Cubes… ..Are the new media.. They are harder and a skill few if any have yet. & NO ONE is an expert on.  Attaching transmedia to an existing medium is not a Storycube/Cube. Which is most likely, almost inherently marketing and/or ancillary.

Storycube … The birth of thickness.

Filmmakers need to understand story first. Human sense, appetite and emotion second. And now third ..the basic workings of the cloud, new interface/hypervideo/AR/NFC, cubism in storyline, platforms and version/skills/examples of “action via reaction” implementations. This is what happens when the screen becomes touchable and the fourth wall and it’s portals are permeable, dissectible and transportable.