October 30, 2013
I contacted Federico after reading a post on his blog. I don’t recall the online journey that brought me to his site but I remember vividly that I was really captivated by his passion for creating a sustainable civilization, and by his book Robots Will Steal Your Job, But That’s OK: How to Survive the Economic Collapse and Be Happy.
Federico has the fighting determination of his youth, mixed with intellectual depth and cultural qualities, unpredictable, given his young age.
I was really glad when he accepted to participate to this year’s TEDxTransmedia; but unfortunately few weeks before the event he had to turn us down for a –must attend- engagement in Taiwan. He sent us a short video on the needs of reforming the education strategy and it’s an essential video to watch for students, parents, educators, and all those who want a better future.
Besides his young age (he’s only 27) he is already an internationally known author, a social entrepreneur, a scientific educator, a lecturer, and aspiring filmmaker.
Federico has written on science, technology, Internet communities, artificial intelligence, and climate change.
He’s a graduate from Singularity University, the special program whose aim is to solve humanity’s grand challenges by leveraging exponentially growing technologies, and lately he founded Esplori, whose goal is to provide an inclusive, global learning environment, where anyone can learn anything, anywhere, without physical or language barriers.
Each time I talk to Federico, I get inspired. His ideas are contagious and I am sure he will be one of our future leaders.
October 28, 2013
Katharina is a multi-talented woman whom I met through friends. She spends hours researching, studying and learning and has a vivid concepti of what challenges creativity will face in the future. She is an expert in fashion and trends in wearable devices and very active in the online scene.
Katharina grew up in Italy, Germany, Kenya, and Switzerland. After graduating from London’s Goldsmith’s College, she covered the New York fashion scene as a correspondent for over 5 years.
In the year 2000 she opened a boutique, Septieme Etage, to bring designers to the place she felt needed it most: the decidedly un-froufrou calvinist Geneva, home of international organizations, financial institutions, and Swiss private schools forming the next generations of leaders.
She often points out interesting and amazing new fashions to me. I was really glad that our event included a conversation about fashion, and how we can create a sustainable fashion future. She has an innate grace, which covers well the strength of this remarkable woman.
Katharina is currently working on a book and a digital project for retail disruption. A secret: her wardrobe includes a dress that – unzipped – represents the silhouette of E.T.
October 27, 2013
“How to Be Wise”
In order to create momentum in the start of our TEDxTransmedia 2013 journey, we launched a teaser asking the audience who they wanted to see speaking at this year’s event. Simon came at the top of the list with lots of recommendations on Twitter and via email.
I have to confess that, not knowing Simon, I hesitated a little because I couldn’t find a spot for his expertise in this year’s program. When we finally met (online) I was so enchanted by his thinking and ease in conveying his ideas that I decided – on the spot – to have him with us this year.
Simon is a social commentator, national broadcaster and media ethics champion.
He studied Theology and after spending three years in advertising, he founded – aged at just 24 years of age, the socially driven communications agency Global Tolerance.
Simon pioneered Personal Relations (he defines it as ethical PR), Inspirational Marketing and Symbiotic Communications with the aim to spread positive social stories to hundreds of millions of people.
After 10 years working with the likes of the Dalai Lama and Gandhi’s grandson, he was the first person in the UK to decide to put a whole company on sabbatical, coinciding with the birth of his first child.
Simon is a fantastic communicator, a great professional and a wonderful person to meet. His talk is inspiring, and too strong to forget!
October 26, 2013
“Heroes and Anti Heroes of the Information Age”
Keren Elazari is an emergent star in the speaker’s ecosystem. I have been chasing Keren few times and, unfortunately, I was never able to view her talk. In order to meet with her and hear her presentation I decided to invite Keren to present at TEDxTransmedia 2013; and it was the right decision: her talk was very intense.
Remember Angelina Jolie in the film Hackers? Well, she got her inspiration by that story.
Keren has been a key member of the Israeli Cyber Security & Hacking scene in the past decade and since 2000, has been employed with leading Israeli security firms and government organizations to cover emerging security technologies.
She teaches at Tel Aviv University and at Singularity University in Palo Alto, an institution located inside NASA Research Park in Silicon Valley, aiming to “educate, inspire and empower leaders to apply exponential technologies to address humanity’s grand challenges.”
Keren is a hacker by heart; we discussed it thoroughly in preparing her TEDxTalk and the more I think about it and the more I get inspired.
She advocates on how the act of hacking is taking on new meanings and is continuing to evolve. We started debating on the transformational power of positive hackerism, the fact that hackers, with their ability to deconstruct and rebuild coding, will become the bridge between humans and machines. Keren demonstrates that data is the new currency and the owner of it holds the power.
In the age of big data, it is mission critical for broadcasters to have a deep knowledge of their audiences. How can broadcasters know more about their audiences? Is it sufficient to rely only on data provided by ratings and consumer research, or is it crucial to understand –how audiences want to be entertained- before the broadcast has occurred?
Well, Keren ends her talk with a powerful, somehow scary, “Hack the planet” and it is a joy to listen to her.
October 25, 2013
It’s always overwhelming, dead-tiring, but so rewarding to organize a TEDx event (a taste of it with this backstage video by my friend Silvia Iannuzzi)
This year, being a “veteran” of the event, I felt, more than ever, the need to take responsibility for creating a programme of remarkable ideas to be shared; therefore, besides finding a catchy title, Dangerously Ethical, I decided to focus on the ethical values that need to be restored in order to build an attractive future.
We study ethics for improving our lives: the principal concern is the nature of human well-being, or as Aristotle conceived – eudemonia – a lasting state that embraces all aspects of life. The inclusion of the word ‘dangerously’ focuses the attention on the pace and the direction of the current technological (r)evolution and its power to shape humanity.
Every action has a consequence. Experiments to prolong life; drugs that enhance memory; the means to alter our appearance; modify the genetics of future generations: all has an impact.
With a multidisciplinary approach, we are entering a transhuman era, where the acceleration of technology will influence human evolution. With this year’s event, we hoped we’ve giventhe opportunity to reflect on how technology will impact our evolution. Basically, can we foresee a happier life?
Believe me, it was an enthusiastic journey. Here the photostream
P.S. Every year, starting a week before the event, I say to my friends, colleagues and team: this is the last one! Please, if next year I want to do another one… make me change my mind! But then, few hours after the event is completed, well, I want to do another one. What’s the title of TEDxTransmedia 2014? … posterity will judge…
July 24, 2013
Young audiences represent the future of the media industry. Securing their interest is no mean feat – mainly because the market is so fickle. Diversity is key, and they flip from one platform to another, from cell phone to tablets, from media player to gaming device, from TV to laptop. Nothing holds their interest for long.
Exploring the non-linear, transmedia approach opens new ways to engage young audiences whose lives centre on social media and online communities. They’re drawn to content that has no pre-defined beginning or end, embracing it in a highly personalized way.
Providers of on-demand internet streaming services and connected TV know what PSM have recently discovered – that young audiences have already won the battle for the living room. Is there a magic formula to win them back to TV? Amazon and Netflix have identified their target groups and laid plans.
Cord cutting, initiated and practiced by youth audiences, (at least in the US with 60 million Americans relying on just free over-the-air TV) continues to grow. While according to Nielsen’s Fourth-Quarter 2012 Cross-Platform Report, the U.S. had more than five million Zero-TV households in 2013, up from just over two million in 2007.
TV itself isn’t obsolete. More than 75 per cent of these homes still have at least one TV. But these households also used to watch DVDs, play games and surf the Net. When it comes to video content, a growing number of households now use other devices.
The solution may lie in reaching out to young audiences, not merely as spectators; PSM needs to recruit young people as allies, content advisors and eventually as ambassadors of PSM.
Broadcasters are still too focused on making content that they “think” young audiences want to see. They need to involve them in a more concrete and creative way, developing a strategy that involves young people in the making process.
Sharing and seeking feedback via a YouTube pilot with a parallel social media strategy may be enough to demonstrate a more open attitude.
How do we engage young audiences? Ask them!
February 17, 2013
Last year, at TED Global, I met my first cyborg, Neil Harbisson. Born in Northern Ireland and raised in Catalonia, Neil is a contemporary artist, composer, and cyborg activist who is best known for his self-extended capacity to perceive colours outside the range of human vision.
Born with a condition called “monochromatism”, he wears a prosthetic device – which he calls an “eyeborg” – that allows him to hear audible conversions of the colour frequencies that the human eye cannot see.
Until his encounter with cybernetics expert Adam Montandon, Neil was an artist who lived in a black and white world.
Now, thanks to his prosthesis – a narrow, flexible arm that ends with an eye-like apparatus starting from the top of his head and ending at his forehead – Neil can ‘hear’ colours; sometimes, like when he contemplates a Picasso painting, the sounds of the colours merge to form a synesthetic symphony.
I became interested in the cyborg world last year, when I got the opportunity to read the works of Amber Case, a Canadian anthropologist who studies the interaction between humans and computers and how our relationship with information is changing the way cultures think, act, and understand their worlds. Amber believes that humans are already low-tech cyborgs because we spend most of the day connected to machines such as cars, computers, telephones, radios, TVs, and so on.
The word “cyborg,” short for “cybernetic organism”, describes a living entity that has been augmented with exogenous components in order to adapt to new environments. By definition, the entity must contain both organic and inorganic elements.
But we are not only cyborg. Today, humans are altering the course of evolution; we are increasingly shaping our environment and ourselves as well as other species. Today’s world is one in which the human body harbors 100 times more microbial cells than human cells, where a gene cocktail can allow almost anyone to climb an 8,000 meter peak without oxygen, and where—given the right drug—one could have a 77% chance of becoming a centenarian. (Juan Enriquez, Homo Evolutis)
My question is whether or not this “nanoscience society” imposes a physical and mental standard on individuals? If human self-modification – known as “modding” – transcends sex, age, race, physical health and even death, can we still call this individual “human”?
And where does media fit in?
For more than a decade we have been promised a world of devices and services delivered into everyday life and personalized based on the situation being experienced at a given moment. And here we are, where communication technology has shaped a world in which people carry small, powerful, wireless devices that are connected to the internet almost all of the time from almost anywhere, making Media ubiquitous.
Being permanently connected enables the development and delivery of targeted, personalized content. It’s called Pervasive Media, which is basically any experience that uses sensors and/or mobile/wireless networks to bring you content (movies, radio, TV, music, pictures, games, and so on) that’s sensitive to your situation, which could be where you are, who you’re with or how you are feeling.
In this context, what role will media play when, for example, smart /connected TV is standard? What if a broadcaster transmitted a regular TV program and, using a smart TV, could modify the content on the fly for each of us based on feelings, moods or shared private moments, in a word, modifying our cognitive behavior?
Will media become a protagonist in this era of subliminal cognitive manipulation? What will be the role of public service media in this scenario? Can public service media be the guardian that delineates the ethical parameters of pervasive media?
(Photo: James Duncan Davidson /TED Blog)
December 20, 2012
I was invited to be one of the jurors at Pitch Up! at BAFTA, a crossmedia/transmedia pitching session taking place in the home of the famous British Academy of Film and Television Arts (BAFTA), an organization which supports, promotes and develops the art form of the moving image film, television and video games—by identifying and rewarding excellence, inspiring practitioners, and otherwise benefiting the public.
Transmedia is an approach to story delivery that aggregates fragmented audiences by adapting productions to new modes of presentation and social integration. The execution of a transmedia production weaves together diverse storylines, across multiple outlets, as parts of an overarching narrative structure. These elements are distributed through both traditional and new media outlets (Seize the Media)
The ugly term “transmedia” has been accepted not only by Hollywood (when the Writers Guild of America decided to coin a new working profession called the transmedia producer, but also by the British establishment (BAFTA). There’s no turning back anymore, and even if it isn’t worthwhile or necessary to apply transmedia strategy to every project, the opportunity to extend the narrative in order to engage all audiences with a well-structured and well-planned transmedia echosystem can result in the significant reward of brand promotion and an increasingly engaged audience.
While the term “transmedia” is new, the practice is not. People have been telling stories across multiple, diverse platforms for thousands of years. It started when people began to paint what they saw via paleolithic cave paintings, probably sometimes after they began sharing stories orally. As humankind became more civilized, they began writing stories, and then technology flourished.
Writers have long been engaged in the creation of worlds that go beyond the page. In 1900, for example, L. Frank Baum’s novel The Wonderful Wizard of Oz was adapted into a musical, and the story was expanded in several other books.
The first known transmedia exercise where a story is spread across multiple media platforms probably occurred in religion. Some good example are the Bible and the Koran—religious texts which have been transformed into pictures, tapestries, cloisonné windows, word of mouth, prayers, prayer beads, songs, live events, etc. and all with the same story to extend and experience.
Today’s documentary filmmakers using transmedia can not only reach new audiences, but they can also create unique educational components to enhance their documentary’s message and provide a stronger meaning to their story.
Entertainment can also easily make use of transmedia by creating interesting parallel stories related to the main project but delivered through a variety of different media and presented to a much larger potential fan base than the one previously engaged via a single storytelling medium.
Even news can take advantage of immersive storytelling. Transmedia can give news the opportunity to verify sources, to extend the context of a story, and to enlarge the information context. The most interesting ingredient in transmedia journalism is social media, which plays a powerful role in shaping news stories, making news reports nearly instantaneous, affecting how news is covered, and increasing the effect news has on society.
Expert communicators, content developers, and broadcasting professionals should embrace this trend, where the transmedia writer is the versatile Swiss Army Knife who can create his/her narrative with several tools in a single “property” thereby becoming an orchestra director who masterminds his/her “musicians” (web developers, engineers, game designer, writers, and social media managers) and their “music” (the transmedia content).
In my opinion, a good, subtle transmedia strategy is difficult to create; you have visionaries, cult leaders (and their cultists), authors, skeptics, disbelievers, dreamers, and techies, but it’s still a small community where Public Service Media is making its entrance with great projects like SWR Alpha 07, the BBC Sherlock and, of course, Dr. Who.
Nonetheless, by using transmedia strategy, Public Service Media has the opportunity to reach all audiences and to aggregate new, powerful, and proactive communities that—if strategically supported and guided—can do the world good and promote change.
To know more, here
(transmedia picture: Le blog de NOP)
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photography by Ignas Butenas