storytelling   33199

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Slices | Stories for the web
"Create and publish interactive multimedia stories for any screen size. Share, embed or integrate anywhere on the web. Built for journalists, visual storytellers and brands."



"Stories for the Web
Create and publish interactive multimedia stories for any screen size. Share, embed or integrate anywhere on the web. Built for journalists, visual storytellers and brands.

Start. Slice. Serve.
Publish your story in three simple steps. We take care of the rest.

Built for Storytellers
We don't like steep learning curves or comprehensive manuals. Whether you're a writer, photographer, or art director, Slices is easy to use right from the start.

Mobile Matters
Smartphone and tablet users make up more than 60% of all web browsing. We make sure your audience has a solid and optimised experience both on the small and the large screen.

Publish the way you want
Share, embed or fully integrate your stories on your website or app. We offer various integration and download options that fit your publishing needs."
web  online  storytelling  onlinetoolkit  stories  format  form  interactive  webdesign  ebdev 
19 hours ago by robertogreco
despite all my rage i am still just big scary dave on Twitter: "The "expert guesses" videos are actually legit culinary educational content. What makes something good, why, how to find it, what's worth paying for, why industrial food can lack it-- really
"The experts often show incredible respect for the cheap industrial version. I think it was the bread one where he kept talking about how cheap industrial bread feeds the world, and it's vital. We can't forget that as we strive for a fairer, tastier, more sustainable food future."
Youtube  Storytelling  marketing 
yesterday by theessentialman
Greg Leppert on Twitter: "The @epicurious channel is a case study in a brand figuring out Youtube. A year ago they were posting mostly recipes. Avg views: ~5k. The outlier was a “Kids Try 100 years of X” series. Now their entire channel is “try” a
"The @epicurious channel is a case study in a brand figuring out Youtube. A year ago they were posting mostly recipes. Avg views: ~5k. The outlier was a “Kids Try 100 years of X” series. Now their entire channel is “try” and “guess” vids and nearly every one breaks mils of views."
Storytelling  youtube  Marketing 
2 days ago by theessentialman
‘Hamlet’ in Virtual Reality Casts the Viewer in the Play - The New York Times
Hamlet is in a bathtub with water up to his neck delivering “To be, or not to be.” Look to your right and you’ll see his mother, Gertrude, in her bedroom putting on makeup. Look in the distance, and you’ll see Laertes, practicing with his sword.
design  technology  storytelling 
2 days ago by sew245
The role of stories in data storytelling
How do you make sense of a mass of data, to gain insights and inspire people to change? Learn how story techniques can help the data analysis process.
data  storytelling 
2 days ago by jbrok
Pixar's 22 Rules of Storytelling | Open Culture
Everyone from Kurt Vonnegut to Ernest Hemingway has shared his ideas on crafting solid narrative writing. One of the most recent sages to join the canon is Emma Coates, Pixar’s former story artist. Her list of the 22 Rules of Good Storytelling gleaned on the job has been gaining Internet traction since it was published last June.
writing  Storytelling 
3 days ago by cogdog
(PDF) Curating Simulated Storyworlds
So, how can the pain of emergent narrative be alleviated while simultaneously maintaining the pleasure? This dissertation introduces a refined approach to the form, called curationist emergent narrative (or just curationism), that aims to provide an answer to this question. Instead of treating the raw material of simulation as a story, in curationism that material is curated to construct an actual narrative artifact that is then mounted in a full-fledged media experience (to enable human encounter with the artifact). This recasts story generation as an act of recounting, rather than invention. I believe that curationism can also explain how both wild successes and phenomenal failures have entered the oeuvre of emergent narrative: in successful works, humans have taken on the burden of curating an ongoing simulation to construct a storied understanding of what has happened, while in the failures humans have not been willing to do the necessary curation. Without curation, actual stories cannot obtain in emergent narrative. But what if a storyworld could curate itself? That is, can we build systems that automatically recount what has happened in simulated worlds? In the second half of this dissertation, I provide an autoethnography and a collection of case studies that recount my own personal (and collaborative) exploration of automatic curation over the course of the last six years.
interactivenarrative  theory  narrative  storytelling  catharsis  froth  academic  toread 
4 days ago by mildlydiverting
Multilingual Folk Tale Database
Online searching and browsing of the Aarne–Thompson–Uther classification system
culture  folklore  language  worldbuilding  storytelling 
5 days ago by dogrover
New American Outline 1
"These days, the mirrors we most often use to check our makeup or see if there’s gunk in our teeth are found on our phones — “smart” devices that coordinate an array of sensors and cutting-edge “image display” and “image capture” technologies to render reality within the boundaries of a powered physical display.

What’s interesting about smart-devices-as-mirrors is that the eventual representation of the “image of the world” is explicitly and wholly a “model” of the world — a “model” meaning a “ human-constructed representation (abstraction) of something that exists in reality”. Physical mirrors are interesting because they have the ability to render reality and even warp it, but what they depict is “a physical reality” in the truest sense; The physical qualities of a mirror can be seen as akin to seeing the world through air, or seeing the world through water. While a human being can physically manipulate a physical mirror to alter the final reflection, the reflection in and of itself is a product of the physical world and unalterable in totality.

To a degree, film photography was an extension of this physical realization (rendering) of reality. At a certain point, what else is the capture of light on paper but a wholly physical process? While people intervened in the path of light’s travel with lenses and apertures and specifically-designed crystal-studded paper, what emerges as a process is less a constructed model of reality and more a continually warped representation of what actually exists in the world. Film and paper photography was a deeply labor-intensive art, full of cutting and cropping and poisoning and brushwork, all serving the act of rendering what was once a beam of light into an image-rendering of a particular summer day. Impressionism lives on in this sense.

It wasn’t until recently that most photographs became literal abstractions or literal models of thought with the advent of digital photographic capture. While the earliest digital photographs presented terrible image quality/resolution, they were possibly the most honest representations of what they actually were: a product of humans manipulating bits through clever mathematic compression to render blocks of color accordingly.

“How can mirrors be real if our eyes aren’t real?”

What we “see” in our screens is wholly a model of reality, wholly an abstraction of the natural world, wholly determined and manufactured by people sitting in an office in California somewhere, typing away at an IDE. When we strip away the image rendered on a screen, when we deconstruct an algorithm, what’s left?

What does it mean when most models (abstractions) of our digital representations are constructed in California, or completely in America for that matter?

When I look at myself on my phone camera, why do I get the haunting feeling I’m not situated in New York anymore? When I scroll through all the photos of friends and strangers on Facebook or Twitter, why does it all feel so flat? When I tap through my friend’s stories on Instagram and get interrupted by an ad for shoes, why does the shoe ad feel more real than the stories it’s sandwiched between?"



"New American Interfaces

When we talk about “New American Interfaces”, it’s important to expand upon the meaning of each word for a complete sense of the conceptual picture we’re trying to paint.

We should imagine “New American Interfaces” to be less a definition, more an expansion. Less an encircling and more an arrangement collage [https://www.are.na/block/736425 ] of existing realities.

“New”ness is a direct reference to developments in human technology that span the last 10 years or so. “New” American technology does not refer to technology that was developed in the 1970s. “New” American Technology is not a reference to networking protocols or personal computers proliferating in the 90s. “Newness” refers to mobile phones finding themselves in billions of people’s hands and pockets. “Newness” refers to the viability of video streaming over wireless networks. “New” implies cameras directly imbued with the capability to re-model reality and assign social value through “the arrangement of certain interfaces” only found in the most cutting-edge devices. “New”ness implies the forgetting of the massive stacks of technology that exist to show us images of our friends and their lives in chronological order.

“America” speaks to the “Americanness” of the current world. Totalizing global governance, military might, far-reaching memetic saturation the rest of the world cannot escape from. “America” means pop culture, “America” means world police. “America” retains the ability to wobble the economy of the world when executives shitpost on Twitter. When we talk about “America”, we mean the hegemonic cultural-economic infrastructure the rest of the world rests upon whether they like it or not.

“Interfaces” speak to not any button, slider, or like button physical or digital or otherwise. “Interfaces” in the sense of “New American” interfaces refer to what Kevin Systrom meant when he called Snapchat a “format”. A replicable stack(s) of technology is an “interface”. An “interface” under this definition means every chat application is fundamentally the same and completely interchangeable. Linear conversation will always be linear conversation, and the pattern of linear conversation is what we call a messaging app, and we call this an “interface”. Every search interface is the same, every index is the same, every captive portal is the same. To take our example to the physical world, imagine this scene:

You see two chairs side by side with one another. From afar, they are completely the same. You inspect them close and they are the same, you notice they both are built from the same beautiful ash wood, every single detail is perfectly mirrored in both chairs.

One of these chairs was wholly made by human hands and the other was cut to shape by a machine, assembled by people on a factory line, and produced in the millions.

One of these chairs is an interface —"
édouardurcades  mirrors  interfaces  ui  ux  cameras  stories  instagram  storytelling  reality  2019  snapchat  multimedia  media  kevinsystrom  format  form  newness  technology  smartphones  mobile  phones  images  imagery  buttons  jadensmith  lukaswinklerprins 
5 days ago by robertogreco

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