The Method Behind Chef Wylie Dufresne's Molecular Gastronomy Madness

via bigthink.com

“…one of the things that we like to do, one of the formats that we play with a lot and I think successfully is, we will take something very familiar and serve it in an unfamiliar way, but then we will take things unfamiliar and serve them in familiar ways…”

Most of his philosophies about food apply to any kind of creative work. His reconstructed eggs benedict are mind boggling, and delicious.

John Cleese shares the wisdom of his creative process

This is a great find and I’m glad 37 Signals posted it. It is always good to hear how great talent works. This presentation also made me realize the reason I have made my apartment into a kind of creative sanctuary is because that is my way of creating boundaries of space and time. Without realizing it I’ve created a working and living environment where I can welcome creative thinking and have complete control of interruptions.

via 37signals.com

A Storytelling & Transmedia Master Class In 10 Short Videos

Professor Henry Jenkins, coiner of the term transmedia, continues to make his teaching resources available online. 

Here are ten short videos, thoughts about the present and future of storytelling with:

Ian Condry, MIT Cambridge
Joshua Green, UCSB Santa Barbara 
Dean Jansen, Participatory Culture Foundation New York
Henry Jenkins, USC Los Angeles
Joe Lambert, Center for Digital Storytelling Berkeley
Nick Montfort, MIT Cambridge
Clay Shirky, New York University

Part 1: Changes in storytelling

 

Part 2: Storytelling and video

Part 3: Transmedia

Part 4: Potential of Social Media

Part 5: Collective storytelling

Part 6: Media revolution

Part 7: Risks of Social Media

Part 8: Motivation to participate

Part 9: Games

Part 10: Final Thoughts

The Evolution of Storytelling Revisited

Discovering a 3 part Elan Lee interview, part of the WorkBook Project, gives me a good excuse to revisit his TEDxSeattle talk on the evolution of storytelling, specifically as it relates to transmedia. Elan is one of the creators of The Beast, considered by many the very first Alternate Reality Game (ARG).

From Part I of the interview:

In the early stages of exploration, the identity of something new is not yet understood or established, so we use the language of the past to intellectually encompass the future. Even further, we use the symbols of the past to iterate what we think will be the future. 

We develop vast universes, profound characters, world changing events, the elements of which are constructed in the same way that we acquire narratives in our “real” lives – we see newspaper headlines, watch video clips, monitor facebook pages, and repost twitter feeds. There’s nothing about these activities that appear non-linear or disconnected, and yet, when we make up a story that is absorbed and distributed in these ways, it becomes somehow less easily understood, even though the behaviors stay the same.

 From Part II of the interview:

So we thought, what we really need is just kind of like, the glue between those properties. So we thought, what if we built a game that didn’t actually live on any platform, it just sorta lived everywhere. And characters could call you, and characters could send you email, and the characters that you saw in one game could hop out of that game into the real world for a while, and you’d play along with them. And then they’d hop into the next game, and that’s episode two. Episode three they’re gonna hop back out into the real world, play with you, and then episode four they jump into the next Xbox game. So we built that, and we called it The Beast, because we didn’t know what else to call it and we thought it would be cool.

From Part III of the interview:

“Storytelling is still one of the most fascinating things possible for people.  It’s essential that we adapt the way we tell stories to meet the expectations of society – figure out what it means to tell stories using the internet, your cell phone, email, etc –  the fundamental act of telling stories has, and will always work.”

Transmedia isn’t a revolution, it’s the slow and ongoing adaptation of storytelling to the possibilities created by contemporary forms of media, and, more critically, “community collaboration tools like the internet.” Now that the community can participate in the story world, and stories can be consumed in real time, creators can tweak the inputs (game mechanics, characters, pacing) as the universe unfolds. The personalized, participative, on-demand experience is empowering and emotionally rewarding in an all-encompassing way, because the boundaries of the story and real life are blurred to the point of irrelevance.

I’ve said it before, everything is a brand, everything is media, all that people remember is the story, and we are all storytellers.

Borges: The Task of Art

As he neared the end of his life, Jorge Luis Borges (1899 – 1986) offered his thoughts on the “task of art,” essentially distilling 80+ years of wisdom into a few pithy lines. He says:

The task of art is to transform what is continuously happening to us, to transform all these things into symbols, into music, into something which can last in man’s memory. That is our duty. If we don’t fulfill it, we feel unhappy. A writer or any artist has the sometimes joyful duty to transform all that into symbols. These symbols could be colors, forms or sounds. For a poet, the symbols are sounds and also words, fables, stories, poetry. The work of a poet never ends. It has nothing to do with working hours. Your are continuously receiving things from the external world. These must be transformed, and eventually will be transformed. This revelation can appear anytime. A poet never rests. He’s always working, even when he dreams. Besides, the life of a writer, is a lonely one. You think you are alone, and as the years go by, if the stars are on your side, you may discover that you are at the center of a vast circle of invisible friends whom you will never get to know but who love you. And that is an immense reward.

via openculture.com