Other non-French-Language Examples

These works represent just a fraction of the myriad of new media narratives. In selecting just a few, I’ve tried to pick the most notable as well as those that demonstrate unique narrative potentials of these new technologies.
34 north, 118 west, Knowlton, Spellman, and Hight (2003)

34n118w

  • One of the earliest locative narratives, pre-iPhone
  • Tells “hidden history” (especially labor) of Los Angeles, CA

Uncle Roy All Around You, Blast Theory (May/June 2003)

uray

  • Real-life and “online” players who could interact with each other
  • One of the first and most well-known examples of “pervasive gaming”
  • Geolocative technologies on handheld device
  • Coordinated real-time effort with actors, support staff, etc.

[murmur] (2003)

murmur

  • Green ears set around Toronto marked with telephone number
  • Calling number allowed user to record his/her own story or to listen to others’ stories recorded at that same spot
  • Now, all stories archived on website

Arcadia, Iain Pears (2015)

arcadia

  • Novel disseminated via app
  • Unlike other e-texts (with embedded media), it’s a nonlinear “metafictional meditation on storytelling”
  • Includes space and visual representation of intersecting storylines

Berlin Wall, Metaio, Timetraveler Augmented (2014)

berlin-wall

  • Augmented reality locative app
  • Signs in physical world point visitors to download app, then point their device toward preprogrammed spots
  • App superimposes historical photographs and videos onto surroundings; multiple historical layers coexist on same tablet screen, raising questions about diegetic space and time

Tales of Things (ToTem)

screen-shot-2016-11-16-at-4-03-02-pm

  • Curated database where individuals can upload stories of their things
  • User-generated content
  • Geo-locative technology allows individuals to track the movement of the “thing” in question
  • Related to PETRAS Internet of Things Hub research project conducted by 9 UK universities
  • Note on funding:”TOTeM was first funded through a £1.39 million research grant from the Digital Economy Research Councils UK. The project was a collaboration between Brunel University, Edinburgh College of Art, University College London, University of Dundee and the University of Salford.”