jbenedict pro211 week5 slide presentation v01.2

8/14/2019 JBenedict PRO211 Week5 Slide Presentation v01.2

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MULTIVERSE: PRACTICAL

APPLICABILITY,INTANGIBLE RESOURCES,

AND VIABILITY

DEMONSTRATION OF ANEW NARRATIVE SETTING

byJoel D. Benedict


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Introduction

This project presents an innovative new narrativesetting valuable to expert writers and creatorsthe porous multiverse. While narratives haveenabled individual characters to travel between

alternate universes, none have given all charactersof the entire storyworld the ability to go to anysetting.

The idea is proven viable by a plan for an onlineseries of demonstration shorts. The SIP structure

will organize in an emergent management model,with executive leaders and assistant contributors.


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Overview

This presentation summarizes the main sections andarguments of the Senior Innovation Project (SIP)proposal.

The main sections covered describe the innovation and

argue the demand and viability of the innovation basedon related materials. Part 1: About the innovation describes what the

innovation is, the current situation the innovation willimprove, and the plan for development.

Part 2: Related materials argues three points relatedto the SIP: communication of real world ideas throughexperiential narratives have practical application,narratives produce intangible practical resources, andorganization of production of the SIP is feasible.


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Part 1: About the Innovation

The first part consists of three

sections: innovation, a description ofthe innovation; todays situation, thecontext the innovation will improve;

and innovation inquiry, the plan forfuture research.


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Innovation: description

This senior innovation brief plans the inventionof a new fictional story setting: the porous

multiverse. A multiverse is a set of universesthat originate from common traits. The currentstory models feature closed multiversestraversable by a limited set of lead characters.

Porous multiverses are open to travel by any

lead or non-lead characters without a plotexplanation for each trip. The porousmultiverse differs from current multiversalstory settings by virtue of decentralization.


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Innovation: development

The goal of the invention is to support the story with afinished short series developed by diverse content

creators. To support the invention of a new storydevice, a short film series will demonstrate the storypossibilities offered by universal freedom.

The brief will fully develop a treatment, script,screenplay, storyboard, animatic, and finished short

movie series. Due to the high concept idea, explanations of the

transportation technology, and target audience, thegenre of the shorts is science fiction.


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Todays situation:description

Contemporary science fiction uses the closedmultiverse setting to expand the central universe of

lead characters. Porous multiverse fiction differs from contemporary

fiction in flexibility of travel, decentralization ofembarkation, and freedom of movement.

Television science fiction such as Sliders,Andromeda,

and Stargate SG-1 are centralized multiverses. Theporous multiverse is decentralized. A central nexus ortransit station has been shown, but omni-dimensional,freely available travel between dimensions has not.


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Todays situation:development

Online series of shorts such as Red vs. Blue, HappyTree Friends, and Homestarrunner.com arerepresentative of the comedic genre of animatedseries produced by current independent contentonline. Dramatic science fiction serials such asStargate SG-1 andAndromeda are confined to thestudio model due in part to production costs.

This project differs from both network and online

serialsit is both a dramatic science fiction series andfreely available user-created content. Thecontributions of creative assistants will be entirelyvolunteered, and thus any production costs willoriginate from project leaders.


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Innovation inquiry: researchgoals

To accomplish the goal of a new fictional story setting,this project will develop an online series of shortscience fiction movies based on the porousmultiverse. Research will cover the requirements ofdevelopment and completion. Inquiries will continueuntil completion of the last PRO course.

The SIP examines the production models of moviestudios. Interviews with experts in the field of

animation, literature, games, and television will beconducted by a small group of hosts to give personalexamples and objectives to project leaders. Expertsfrom professional employment fields as well asindependent online content producers will be involvedshort term in the project as consultants.


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Innovation inquiry:development

The SIP shows research of studio and

independent productionmanagement models.

Recruitment of a core group of

production leaders will be based onprevious performance and level ofpotential involvement.


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Part 2: Related materials

Part 2: Related materials argues

three points related to the SIP:communication of real world ideasthrough experiential narratives havepractical application, narrativesproduce intangible practicalresources, and organization ofproduction of the SIP is feasible.


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Section 1: Practicalapplicability of narratives

This review argues that narrative is a central messagedelivered in the context of a storyworld told with storylogic that enhances perspective by use internalfictional frames described with general schematicproperties.

Narrative is separated from documentary reports byexperientiality, or central message emulated via astory: narrative is a perceptual activity that organizes

data into a special pattern which represents andexplains experience (Jahn). Environment iscommunicated better through narrative than throughdocumentary reports due to the experientiality ofnarrative environments.


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Elements of communication

Schemas define the properties of storyelements: broad, abstract structures that give

general conditions for the object in question.We have schemas for genres, for characters,for imagery, for dialogue, and so on (Hogan,2003, p. 71). Every element of a narrative isdefined by the value held by a correspondent

abstract structure. Specification of schema will happen in any

narrative, regardless of genre or reality.Schemas define elements of a topic, as anypractical technical blueprint does.


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Interpretation by discourse

Discourse models are an abstract discussionand interpretation of literal concepts framed

indirectly by the story. As practical inventionsare aware of design complications, flaws, orimplications for further development, so too dodiscourse models interpret the environment,schemas, and story logic of a narrative.

Discourse models give interpretation within thenarrative. Story logic, however, givesinterpretation of extra-narrative, real worldissues via the narrative.


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Perspective by story logic

Story logic gives perspective to real world events. Storylogic is an the logical knowledge an author has of thereal world transferred to story format: Story logic, in this

sense, is the logic by virtue of which people (includingwriters) know when, how, and why to use stories toenable themselves and others to find their way in theworld (Herman, p. 24).

Story logic means that stories are consistent withinternally logical events and are logical arguments for

real world issues. The interpretations of story logic giveperspective to real world events not offered bydocumentary reports. The practical equivalent is anapplication assessment of a technical invention.


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Section 2: Real world impact

In summary of the first section, narrativeconsists of real world ideas translated to

fiction, framed internally and specificallydescribed by schemas. The passage of realworld ideas through fiction and back intoreality are addressed by the next section.

This project will create a series of shortmovies to put the setting innovation intopractice. The specific narrative formatdemonstrated by this project is the animated

short.


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The medium for the SIPdemonstration

Film, literature, and games are

narratives that use story logic toconvey a message.

The medium of movies is chosen for

this project because of the story logicand discourse not possible in othernarrative media. Films and theanimated cartoon in particular distill

schemas to basic prototypes.


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Human impact

While film production does not contribute practicalgoods to the world of industry, films produce

intangible resources. The legislature of Trinidadand Tobago funded a government film companybecause of the intangible resources: The filmindustry is of national importance on four levels,social, cultural, political, and economic (Trinidad,2005). The intangible resources were an

investment in the development of the country. The proposed innovation project will focus on the

social arena of movie production, to communicatethe idea of a new story setting. The movieindustry distributes ideas faster than practical

goods industries, so the project will distribute theidea by the media of movies.


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Effect of collaborartion

While the story setting innovation is not a technologicalinvention, this project will use modern technology andcreative contributors to demonstrate the effectiveness of

the story innovation. The innovation of the new storysetting innovation of a porous multiverse is viable due tocollaboration of creators.

The film medium chosen by this innovation project isideal for the dissemination of the idea among creatorsdue to a level of collaboration not seen in practical goods

industries: As an art form, filmmaking is also a highlycollaborative effort involving a combination of manydiverse creative and specialized skills (Wong). Thediversity and specialization of contributors will spread theidea throughout industries outside of the film industry.


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Section 3: Developmentplan

This third section describes the

organization of the project in threetopics: the development plan, thedeveloper structure, and individualcontributor selection.


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Development topics

The project in pre-production is diverse in ideaswith phases that overlap, but after pre-production

is finalized in ideas with sequential phases. First, the project producer and contributor

community that form the developer structure willfirst select a core group of executive leaders.

Second, executive leaders will complete thehierarchical development structure with selectionof assistant contributors. The model ofdevelopment schedules goals and departmentalactivity.


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The development model

Web designers Lynch & Horton describe

the hybrid model in practice: manydesign iterations are encouraged early inthe process but are strongly discouragedlater in the development and testing

phases (2009, Ch. 2, p. 6). Early in movie pre-production, diverse

creative ideas frequently change. Onceproduction begins, ideas are developedinto a final product.


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The management model

The overall developer structure is madeof executive leaders and creativeassistants in an emergent managementmodel.

In pre-production, goals are defined byleads with the input of assistants. Afterpre-production, assistants will decide howto meet the previously defined goals.Leaders will grant final approval to thedecisions of decentralized assistants.


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The hierarchical studiorecruitment model

The traditional studio industry method ofrecruitment begins from the top down, with lead

department positions chosen first by an executiveproducer. The core group of lead developers isthe screenplay writer, the producer, and thedirector.

In a studio, crew is allocated by a studio

committee. The crew structure of independentlyfunded films is hierarchical, like studios.

This project will select the core group in the sameway studio the studio structure leads crew

hierarchies.


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The independent productionrecruitment model

Once an independent film producer has securedfinances for production of a story, the producer selectscore lead developersthe screenplay writer, thedirector, the unit production manager (UPM), and firstassistant director (first AD).

Goodell says the similar roles of logistics and creativemanagement are what necessitate the early hire ofboth: The production manager's work is closely

coupled with that of the first assistant director (firstAD), and both should be hired as early as possible(1998, p. 104). The UPM will complete the productionhierarchy with the selection of department leads.

This project will hire the core leaders based on level ofinvolvement and previous performance.


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The online short movierecruitment model

Because the structure of online shortproducers selects fewer contributors than

studio hierarchies select, online shortproducers hire based on familiarity andcontributor experience prior to pre-production.

This project will use the online short method ofwell-known contributor selection for leaders,and the studio hierarchy model to approvecreations completed by assistant contributors.


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Summary of relatedmaterials

In summary, this review argues threepoints: real world ideas translated tonarrative have real world application, theintangible resources narratives produceare practical, and organization of the SIPnarrative production is viable.

The execution of the developmentstructure will take place in the learningprocess in the next PRO series course.


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Conclusion

This proposal shows the story setting

of the porous multiverse is a newinnovation with practical application.The organizational development planof the innovation demonstration isproof of the viability of the porousmultiverse.


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References from the SIP 1 of5

Burke, B. (19 June 2008). Architecting theemergent enterprise: New game, new rules.

Gartner, Inc. Retrieved July 4, 2009 from Gartnerdatabase access: http://www.gartner.com/

Calvino, I. (1987). The uses of literature: Essays.(P. Creagh, Trans.). San Diego: Harcourt Brace

Jovanovich.

Chapman, Matt. (26 April 2007). Homestarrunnercomes to the GT library. [presentation transcript].Homestar Runner Wiki. Retrieved 15 December,2009 from

http://www.hrwiki.org/wiki/Georgia_Tech_-_26_Apr_2
http://www.gartner.com/http://www.hrwiki.org/wiki/Georgia_Tech_-_26_Apr_2007http://www.hrwiki.org/wiki/Georgia_Tech_-_26_Apr_2007http://www.gartner.com/


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Goodell, G. (1998). Independent featurefilm production: A complete guide from

concept through distribution. New York: St.Martin's Griffin. Herman, D. (2004). Story logic: Problems

and possibilities of narrative. Lincoln, NE:University of Nebraska press. Retrieved 6November, 2009 from http://bit.ly/6FvD4S

Hogan, P.C. (2003). Cognitive science,literature, and the arts. New York, NY:

Taylor & Francis Books.
http://bit.ly/6FvD4Shttp://bit.ly/6FvD4S


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Jahn, M. (2005). Narratology: A guide to the theory ofnarrative. Cologne, Germany: University of Cologne.

Retrieved 5 November, 2009 fromhttp://www.uni-koeln.de/~ame02/pppn.htm

Lynch, P.J., & Horton, S. (2009). Web style guide (3rd ed.). Retrieved July 1, 2009 fromhttp://www.webstyleguide.com

Perron, P., & Danesi, M. (1993).A.J. Greimas andnarrative cognition. Monograph series of the TSC, no.11. Toronto: Toronto Semiotic Circle.
http://www.uni-koeln.de/~ame02/pppn.htmhttp://www.webstyleguide.com/http://www.webstyleguide.com/http://www.uni-koeln.de/~ame02/pppn.htm


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Trinidad and Tobago industry final report.2005. Strategic plan for the film industry of

Trinidad and Tobago. Prepared for the PrimeMinisters Standing Committee on BusinessDevelopment (SCBD) by the Film IndustryTeam, 3 January 2005. Retrieved 28 November,2009 from http://www.tradeind.gov.tt

Valve Corporation, Inc. (8 August 2009). ThePyro update. Bellevue, WA: Valve Corporation.Retrieved 14 December, 2009 fromhttp://www.teamfortress.com
http://www.tradeind.gov.tt/http://www.teamfortress.com/http://www.teamfortress.com/http://www.tradeind.gov.tt/


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Wong, C., & Matthews, J.H. (2007). Challenges ofnew technologies on the animation and film

industry: the case of Singapore. In Radnor, Zoeand Thomas, Howard and Cartwright, Susan,Eds. Proceedings 2007 Conference British

Academy of Management ManagementResearch, Education and Business Success: Isthe Future as Clear as the Past?, pages pp. 1-36,Warwick, United Kingdom. Retrieved 28November, 2009 from First Search database.http://www.hrwiki.org/wiki/Georgia_Tech_-_26_Apr_
http://www.hrwiki.org/wiki/Georgia_Tech_-_26_Apr_2007http://www.hrwiki.org/wiki/Georgia_Tech_-_26_Apr_2007

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