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--- groworld_directions [2008-02-25 05:52] – nik
+++ groworld_directions [2008-10-14 16:10] – 81.188.78.24
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 ==== Storytelling / ARG / emergent situations ====
+ARG - a story that happens all around you; planning + player agency; in-game education & instruction; what is the intention? frame the context; what happens with spontaneity and improvisation?;  as a medium to tie things together; unwittingly getting tricked into situations of experimenting with possible societies; stories about plants and eco-systems - plants as raw material for paper & stories themselves; plants myths and histories; plants in love letters; Integrating characters and realities; Tricksters to help the creative juices - curiosity and mischief; Working site-specific with narrow places and desolate spaces; working with non-verbal, pre-linguistic modes of communication; carnivals; look at trickster plants (in today's mythology); what games do plants play?; puzzles to communicate with the vegetal mind - looking for things that are not there; creative competitions - live action replays of elements of the garden; events: seasonal festivals; map - permaculture diagrams? formalised structure (pataphysics); robotic musical boxes mimicking crickets in city-parks; pairing: flavours, scents, pair programming, companion-planting; plant myths - soma plant (Indian), persian myth about medical plants, pre-helenic poppy-goddess, Celtic family living in a plant, sweet potato god; satisfaction from re-incorporation of different elements (recognition); multiple story arcs going on at the same time; gameplay & narrative gestalt; social aspects, multiple entries & paths, re-runs; atmosphere, poetry, multiple perspectives, RT; patterns - through repetition (recognition & novelty); a magic circle - safe zone to come out of character; what are the points of intimacy; transformation: personal, spatial, cultural; technologies as a storytelling device; ARG as a tool to become more aware of everyday life; recognition through emotional contact; who is the observer if the audience becomes the player?; characters are the ingredients and their relationships, long term patterns - structures over time - a character is something that engages u, through an emotional response; a character is expressed through action - what can a character do - a pattern of verbs evoking emotions; a character causes changes of events; physicalisation defines characters, relationships are shown through actions; ; narration through intensity (Pelkin) - it's not important what's happening in the image, but what's the relationship between the images; a live game needs spontaneity to incorporate mistakes; "adjustifying reality"; character in performance <-> character in game; role-playing & socialising (not many people roleplay any more); stories as atmospheres; listening to trees - a hidden message inside - using trees as transducers (implant something while the tree is small (for fast-growing trees); stories to help us think ecologically;
+LARP - westland's core of larp: equipment, technology & costume / socialising, coziness & comfort / drama, effects & story / physicality, openness & lay participants; + locative - walk through dramaturgy, networks of possible discovery
+improvisation (notes from Bronwynn on Narrative Strategies workshop: http://timesup.org/laboratory/NarrativeStrategies/) - what is the story that's in the room - being spontaneous together; 'word at a time story; building a house together, everyone brings one brick; always furthering ideas, not bringing them down; audiences will create narrative bridges; work with myths and archetypes - true across cultures; monomyth (http://en.wikipedia.org/wiki/Monomyth) vs. science fiction (http://en.wikipedia.org/wiki/Science_fiction); think about the dramatic arc - it depends on the energy level in the room; audience constructs a story, actors play it out; characters - have to be people we care about - stereotyping, with depth; played out honestly (think about which aspect of yourself relates to the character); people always have an anticipation & expectation - reaction is either satisfaction or surprise; characters and people are always developed in relationship to someone / something; what's fun in a game - taking risks that we wouldn't in real life; "there are no mistakes"; cross-cultural improv - more physical, almost dance-like, using visual forms; it's much more exciting to make a claim than to ask a question in improv
 to do (maggie, maja, nik):
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   * check resource feasibility (people, skills, time, funds)
   * think about possible topics, sites, methods...
-  * prepare concrete proposals for design week in october
+  * do a situational map of the field and the forces acting on it + forecast most promising avenues
-  * do a situational map of the field and the forces acting on it + forecast most promissing avenues