An interview by Melanie Picard

The STORY2023 Awards Ceremony took place on September 27, 2013, following an inspiring day of transmedia talks at X Media Lab Switzerland in Lausanne. When the three winners were announced, huge smiles spread across their faces. They knew they’d just won the grand prize: a trip to San Francisco!

Derya Baris, Niklas Jung, and Lukas Steiner took first prize in the STORY2023 competition for their project, the tale of a young engineer living in San Francisco in year 2023.



Derya Baris founded his first startup at age 18 and works as tutor in the area of innovation and entrepreneurship at the University of Zurich, where he studies Business Administration. He co-founded with STORY2023 teammate Niklas Jung. Jung is a passionate entrepreneur with an eye for design. He’s a student in Business Administration also at the University of Zurich. Last but not least, Lukas Steiner is the winning team’s software engineer. He is a graduate from Zurich University of Applied Sciences. We asked for their collective opinion on a few STORY2023 related matters.

STORY2023: What inspired your vision of the future?

Michael2023 team: Digitalization, information overload, and (digital) social life are debated topics we used as a starting point. Based on current innovations, like Google Glass or Smartwatch, we wanted to focus on digital contact lenses and create a realistic future. The main story is about Michael, an engineer at a successful tech company, but we aimed to include details on technological changes, social matters, and political issues to set his daily life into the context of 2023.

STORY2023: What was the challenge of the competition for your team?

Michael2023 team: Our biggest challenge was the technical development and coding of our website. The illustrations are very detailed and it took time to create all the individual elements for the scrolling animation.

STORY2023: Is this project your first foray into transmedia?

Michael2023 team: We had already worked on transmedia marketing campaigns but we had never created such a transmedia experience. It was fun to work together as a team since we had complementary skills. Each of us had his own task list but at the same time we were able to discuss details together.

STORY2023: Will you do more transmedia in the future?

Michael2023 team: Yes, the Michael2023 project aroused our interest in transmedia and generated more ideas. There are many other types of media that we would like to integrate or experiment to enhance the user experience.


STORY2023 lives on in Switzerland thanks to our partner, the Geneva International Film Festival (Festival Tous Ecrans). The top five projects from STORY2023 will be on display at the festival from October 31st to November 7th, 2013.

In October, the winning team flies to San Francisco to be inspired by the Silicon Valley’s entrepreneurial spirit and passion for storytelling. swissnex San Francisco stands ready to receive and lead these innovators on their journey!

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By Melanie Picard

In honor of swissnex San Francisco’s 10th Anniversary, we asked students of Swiss Universities and Universities of Applied Sciences to imagine the future through a transmedia story set 10 years from now, in 2023.

The competition is over and our international jury has intensively deliberated. We now proudly present the three finalists. Who are the winners? It’s still a secret. The winners will be announced at the STORY2023 Awards Ceremony on September 27th at the X Media Lab conference in Switzerland and communicated broadly at that time.


By Chrystel Orsatti – Geneva University of Art and Design

Homes of the future will be automated and domestic robotics—or domotics—will rule our interiors. What happens when those machines start to threaten us? In 2023, the house is often the number one suspect in a crime scene.



By Niklas Jung – University of Zurich; Derya Baris – University of Zurich; and Lukas Steiner – Zurich University of Applied Sciences

Take a glance at the future through Michael’s eyes. This young engineer will take you through his daily life sharing insights about his company’s challenges, the economic situation he lives in, and even his love story with Maria.


By Roman Tschäppeler – Zurich University of the Arts

All new things somehow look familiar. The same but different, right? That’s how the world will be in 2023 if everything is a remix. Explore and shape the ingredients of your future by remixing 222 buzzwords from 2013.

By Roman Tschäppeler

Photo by Roman Tschäppeler



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Interview by Melanie Picard

Be they the finest feature films, visionary made-for-television movies, interactive documentaries, or inspiring transmedia narratives, Festival Tous Ecrans—the Geneva International Film Festival or FTE—has it all. It definitively is an indispensable stop for contemporary audiovisual creations. And it takes place in Geneva from October 31st to November 7th, 2013.

Through STORY2023, swissnex San Francisco takes part in this year’s festival by bringing a special guest (to be announced any day now! Stay tuned!) from California who will share experiences from the West Coast’s entertainment scene.

FTEEmmanuel Cuénod, the festival’s new Executive & Artistic Director is getting ready for a memorable 19th edition, this year kicking-off an international transmedia competition. As transmedia is a focus of the festival this fall, we asked him a few questions about our favorite subject.

STORY2023: Tell us a little bit about yourself.

Emmanuel Cuénod: I am a Swiss born journalist and producer who recently turned into a film festival director. In short: a lucky guy.

STORY2023: Transmedia is a focus for this year’s festival, why?

EC: Actually, transmedia was already part of our program the last few years but we decided to reinforce it with two strong initiatives: an international transmedia competition—with an international jury and a truly rewarding prize—and a new professional program of conferences called “Workflow – transmedia.” We hope that both will help the Swiss audience understand how transmedia transforms our way of producing images and stories. Also, we observed that even if artists can participate in transmedia labs or pitch session there are only very few international prizes to foster creativity in this field. We felt it was much needed.

STORY2023: Talking transmedia projects, do you have favorites?

EC: My favorites are for sure the twelve that we have competing at the next FTE edition but unfortunately I can’t say a word until our press conference on October 8th.

Last year, I really enjoyed Highrise from Katarina Cizek, a brilliant way to approach the complex reality of life in skyscrapers all around the world.

The crowdsourced web documentary 18 days in Egypt also fascinated me because it felt so fair politically. I strongly believe that a film about a revolution should not be made by one person but by all those who struggle. It is transmedia in its participatory component and definitively changed my way of seeing the links between art and politics.

STORY2023: Is transmedia a buzz word?

EC: Transmedia is a word that we NEED. We all need a global and simple word to define all those new ways to tell stories. Wrong or wright is not the question; we need it and have to let it grow in the public’s mind.

STORY2023: FTE also has a web series competition. Web series are everywhere these days; do you think they are changing the audiovisual production landscape?

EC: I don’t think so but this might change in the future if we see stronger propositions from the authors and more artistic risks taken on the producers’ side. For now, it allows young filmmakers and creators to emerge and make a breakthrough in the mainstream market.

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By Melanie Picard

Opportunities and challenges for media producers in an open digital world. 

Wikipedia—itself a remix—defines remix culture as “a society that allows and encourages derivative works by combining or editing existing materials to produce a new product.”

From Bob Dylan’s songs to Henry Ford’s theories to Steve Jobs’ revolutionary iPod, “Everything is a remix,” claims Kirby Ferguson, author of a four-part web documentary on creative culture, in his popular TED talk. Is he right?

We certainly are in the midst of an era in which media content becomes technically accessible to everyone and thus open for remix. Openness is a key word in this epoch, but what opportunities and challenges does it generate for media producers in terms of creativity and monetization?

I explored the prospects for media content and media producers with San Francisco based stakeholders—Elliot Harmon from Creative Commons and Joe Hanson, science video producer for PBS Digital Studios.

Creating a gray zone

Elliot Harmon is the communications manager at Creative Commons. He reminds us how Creative Commons’ licenses lead the way in this new legal world between public domain and all rights reserved.

Embracing the remix

Joe Hanson produces science videos called It’s Okay To Be Smart for PBS Digital Studios and is a summer fellow at WIRED. He shares insights about how important open media is for him to produce his show. He truly embraces the remix.

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Be part of the future of radio

Interview by Melanie Picard

Samuel Vuillermoz 2012Radio enthusiast Samuel Vuillermoz strongly believes that old media still deserves a spot in the digital world. He’s working to preserve it with mx3, a Swiss music portal at the crossroad between musicians, fans, venues, clubs, and labels, where national radio stations can discover new Swiss talent and broadcast what they find. The platform is operated by Bern-based mxlab. Vuillermoz explains.

STORY2023: What is mx3 and how did it start?

SV: An intense brainstorming in 2005 led to a single thought: music unites the young generation. mx3 was born. Originally an inter-regional Swiss radio project with the challenging goal of renewing young people’s interest in radio, we decided to create a Swiss music platform where the public service radio stations could discover new bands, download songs, or broadcast them directly. Today, is certainly the only inter-regional success of this kind. The platform gathers 20,000 bands and over 70,000 songs, which means more than six months non-stop music. We have an average of five bands a day registering and one new song every 30 minutes uploaded on

STORY2023: Tell us how the platform started to include videos and why.

SV: Until last year, mx3’s media content was exclusively mp3 songs. But we’ve been asked by the German speaking public Swiss television to be the music video portal for their music show, Roboclip, so since December 2012, mx3 is also a video platform with HD files that we provide to Swiss public television for live broadcasting.
In 2014, mx3 should be the official video music portal of the three Swiss national TV broadcasters. This means a totally new design (that you can preview) integrating much more visual material and a unified player able to play either audio or video, promising new relevant user experiences.

STORY2023: What is next for mx3?

SV: The continuous pursuit of innovation, which I touched on in the previous question, is only one step in a long-term objective. is the mothership of many innovations that mxlab has developed in the past five years. In an ever-changing world and an unpredictable Internet market, only fundamentals can guide you. At the moment, we are working on an exciting project you will know more about in the upcoming months. Stay tuned!

STORY2023: How can the participants of the STORY2023 competition use your platform?

SV: They can use it to relax and enjoy good music they might not have suspected to exist or, in a more active way, they can find great material to use for their interactive work with the artist’s permission. mx3 is an open platform; they are obviously welcome!

More about Samuel Vuillermoz

Samuel Vuillermoz is an accomplished journalist and speaker. He has been working at the radio Couleur 3 for ten years and was a project manager for the Swiss music platform until 2006. He now leads mxlab, a spin-off of the Swiss public service operating mx3.

Passionate and driven by media, he has studied printing, journalism, directed humoristic TV shows and short movies, and has devoted his spare time to radio since 1993.

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Transmedia—it’s all about anticipation!

Interview by Victoria Marchand

Nat_CamargueNatalia Tsarkova is Editor of HDTV iConcerts, a cross-media entertainment channel dedicated to live music, managed by Swiss-based Transmedia Communications. She has just set up a subsidiary—iCE or iConcerts Entertainment—for creating original content and integrating new media better.

Victoria Marchand: You completed your studies at the MIT Media Lab in 1998. Fifteen years ago, students there were already working on the idea of transmedia. Nowadays everything is “transmedia.” Is the concept still the same, or has it evolved?

Natalia Tsarkova: Well, you have to admit that the word is “in.” I receive applications for internships from people with all sorts of backgrounds just because the parent company of iConcerts is called Transmedia.
To answer your question, I think that people’s acceptance of the term today is rather limited. At the MIT Media Lab, transmedia wasn’t just seen as a tool, which could be reproduced across all media, but rather as a kind of architecture underlying media evolution of all kinds.

VM: What do you mean?

NT: Let’s take the field I’m in—television. The cornerstone is the information itself as well as the broadcasting rights for current and future distribution channels. That’s the problem! Ten years ago no one imagined the extent of social media or mobile communications in media consumption, yet, they should have been included in the contracts.
Also important is how the content is written. While it’s essential to format content according to currently available tools, you also have to think about future modes of consumption. That’s why I created iCE, with the challenging goal to enhance iConcerts to adapt to current languages and anticipate tomorrow’s new television formats at the same time.

VM: iConcerts offers 24/7 pay-TV and services on demand. Plus, you broadcast to more than 80 countries. How do you stay in touch with the different audiences and meet such diverse expectations?

NT: Being a mass media doesn’t mean you have to address audiences in just one way. At the MIT Media Lab I learned the importance of properly packaging content to address different needs. It’s obvious that you don’t watch a program in the same way on television, on a tablet, or on a mobile phone. Times and places are different and you have to take that into account when producing content.
In the record industry, linear consumption imposed by records’ format has given way to people listening to music and buying only what they want via iTunes and other online vendors. This goes along with music networks for sharing knowledge and co-creating, and other social networks that allow individual items of music to circulate rather than sets of related pieces.

VM: How will this fragmentation pan out in the future?

NT: Same as with press. As news alone is no longer enough, listening to music is only part of the experience. In order to offer more, I created ViPass, a digital production format that brings more reality and thus enhances the user’s experience.

VM: Artists such as Prince have decided to distance themselves from record companies and to pursue their careers with only rare appearances, one-off concerts with no broadcasts, and refusing to publish new albums. If this tendency continues, how can you offer more with less to work with?

NT: For the time being the artists are there, and it’s up to us as broadcasters to provide interesting news about them, to promote their records, tell people about their concerts, stimulate interest and get the fans going. Things that have value don’t necessarily cost, and things that cost don’t necessarily have value. That’s what makes it fun!

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Drew Beam is Director of Innovation at Free Range, a famous storytelling studio based in Oakland. He is part of our wonderful jury.

STORY2023: What is your vision of 2023?

DB: Today, our technology is truly helping us to express our stories in magical ways that many of us couldn’t have dreamed up or afford to produce just 20 years ago. Imagine producing an animation, a film, or video game in 1993? You would have needed a lot of support and funds to make that happen. New affordable production tools are springing up, many of which are free, allowing us to make beautiful immersive worlds, code games, and generate rich media for the masses. Take Instagram plus our cell phones, for example—we no longer have to take photography courses to operate our cameras and develop images. Thanks to filters, even the most novice photographer has a good chance of making a pleasing image. I think Instagram, PS, html5, Flash, aftereffects, and the many other impressive production tools are just the tip of iceberg in regards to helping us produce rich media.

In fact, I believe by 2023 we will look back at these tools and remember when our creative expression was limited to a select number of features and buttons we had to press. 2023 isn’t that far away, yet our technology makes ten years feel like 10,000 years if we continue at this rate of innovation. In ten years, the average person will be able to ask a computer to produce:

“Computer, make me a duck animated in the style of Looney Toons.”
“Actually, scratch that and make it like Pixar.”
“Give him a walk like my uncle Larry.”
“And, give him Bill Murray’s voice.”
“Make our duck open a porthole and turn it into a game.”

What I’m getting at with this wild scenario is that creative production will be just a thought away. We will be able to make anything we dream up and all programming will be automated.

What are we left to create, you might think? My answer is stories. They are our cultural DNA. We may not need to go to art or film school to make a pretty picture in the future but we will all need to be great storytellers. No matter how beautiful and easy it is to make, in the end if it’s not a great story—providing meaning, values, and hint at new lenses of thinking—our creativity will just be decorative and entertaining for a brief moment, not legendary.

STORY2023: How did transmedia enter your life?

DB: Transmedia entered my life at the young age of five. My father was a transmedia story creator long before there was a word for it. One day, he brought home Excalibur the movie. We watched it with much delight and were so inspired by the story that we made our own swords and fought. I remember saying to my father, “I wish Merlin was still alive so I could become a wizard like him.” And he said, “Well, he is still alive. Wizards don’t die. Do you want to write him?” That’s how I began exchanging letters with Merlin and passionately keeping the story of Excalibur alive and evolving. My father is a great man for creating this experience.

My professional career was shaped by my relationship to the story experience of Excalibur. When I entered the field of innovation, I was continually challenged by how to take an idea to a real world or virtual experience. Most importantly, taking that idea and crafting a grand story so that others are seduced by its magic and relate to its values to transform and remix it so that it is no longer my story but ours or theirs.

STORY2023: Your advice for STORY2023 participants?

DB: Study the great stories that remain relevant throughout time. Very few things are left from ancient cultures, but amazingly stories have survived intact. Explore how stories and myths provide meaning and explanation to how the world works. The basic structures for creating a great story seem to remain relevant today in this ever-changing digital world. I ask that you focus on a breakthrough story before you playfully align the mediums that can best carry out your narrative. Allow the users to feel it’s their story and not yours. I ask that we all push ourselves to deeply explore the craft of creating more empowering stories driving bigger cultural leaps. More values, less pretty bells n’ whistles.

More about Drew

drewbeamDrew combines his deep experience with a dash of amazing to bring brand visions to life. With over 12 years in top branding and innovation firms, his outputs are truly multimedia, from billboards, fine art and videos, to amusement park rides and sneakers, all based on a profound understanding of today’s marketplace of products and ideas. But what he really loves to do is tell stories. By applying his unique approach to method branding, he lives, eats and breathes your brand to help create breakthroughs in how you tell your story so others will not only listen but participate, and ask for more.

In addition to partnering on many of Free Range’s key branding engagements he creates complex and rich illustrations, designs interactive games and art directs everything from videos to wacky business cards. After getting his BFA from the Rhode Island School of Design and spending a beloved decade in Brooklyn, this San Francisco native enjoys being back among the neighborhoods and landscapes that helped shape him. When he’s not working he’s likely to be sculpting, studying falconry, archery writing music or teaching Stuart, his part Lab, part Chihuahua, how to put his toys away.

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There is no doubt that technologies are changing the face of advertising, the question is how?

VMThe 60th Cannes Lions International Festival of Creativity, which took place mid June, strongly reflected the evolution in media advertising. Victoria Marchand, editor of Cominmag and—a B2B media magazine in the French-speaking part of Switzerland—was there. In this article, she shares insights from the field.

By Victoria Marchand

The old days

Before the advent of Web 2.0, brand communication was built on a creative concept. Once the concept was found, it was duplicated across various media. The choice of support was generally decided afterwards by a media agency that received the campaign from the advertising agency. The choice was simple: television, billboard, press, direct marketing—that’s it. To reach the right target, media refining was done within those categories. The only thing left to do was to choose the right channel and the right time slot.

The new world

The development of the web tore that whole edifice down. First with search engines offering contextualized advertising, then with social networks that offer advertising space indexed to algorithms. As a result, one-way communication has lost ground to a personalized conversation. Brands have gradually been relegated to the role of receptacles where users have become the new publishers and thus masters of the game. That’s enough to scare many marketing directors who, after hesitating to jump into the hot water of Web 2.0, had no choice but to keep up with the rules of Facebook, Twitter, Pinterest, YouTube, tumblr, and others.

In a context like this, we can’t communicate the way we did before. With a constantly expanding number of social networks, it’s no longer about applying one idea to an infinite number of formats. Now, it’s about building a story or a narrative universe that can be adapted to every media outlet. That’s how the concept of transmedia storytelling—developed in 2002 by MIT professor Henry Jenkins—emerged as the only approach capable of grasping a fragmented media universe.

Quote Henry Jenkins

“Talk to me about me…”

Let’s look at an example from the 2013 Grand Prix in the Cyber and Branded Content & Entertainment categories. Peireira & O’Dell won in both for “The Beauty Inside” a social film campaign presented by Intel and Toshiba.

How do you communicate about a computer and a microprocessor? How do you do it well? That’s the brief the San Francisco-based agency received. We all know it’s difficult to bond with objects if we don’t humanize them. In this campaign, the unifying (and humanizing) theme is a computer that becomes a different person everyday, like the millions of Toshiba owners, all unique.
“The Beauty Inside” is a social film broken up in six episodes telling the story of Alex. He is always the same inside but wakes up everyday looking like a different person. To reflect that human mosaic, the episodes were produced in part with videos from fans who, after castings through Facebook and webcam auditions, played Alex and proposed ideas for his role. A flawless co-scripted storytelling operation “inspired by Intel Inside, featuring the Toshiba Ultrabook, and starring the audience.” The results were immediate: 70 million views (website, mobile, YouTube), 97 percent YouTube approval rating, and 13.5 million Facebook interactions.

Another award in the Branded Content & Entertainment category was the campaign for Ridley Scott’s Prometheus. It started as a fake TED talk (happening in the year 2023!) and was relayed by an advertising video on Mashable where we could discover the android David 8 (10 million views). The website presented itself as a center for cognitive research on the birth of a man-machine, and the guerilla marketing operation launched on LinkedIn to recruit media influencers. The result: two billion media impressions on the website and tens of millions of views.

When reality is augmented

“If you want to change people’s opinion, don’t tell them but let them discover it for themselves.” That was the starting point for the development of McDonald’s Australia and DDB Sydney’s web app that used augmented reality to provide complete transparency on the traceability of the chain’s products. With “Track my Macca’s,” you just scan the barcode on the meal’s packaging and a host of information, videos, and games appear. It’s an opportunity to create millions of stories that are all different, but that all substantiate the brand’s intentions.

While some advertisers thought that the web was going to kill advertising, the new tools actually offer designers an endless supply of solutions. But one question remains as crucial as ever: do the millions of views lead to millions of sales? In other words, does effectiveness increase with the number of tools? Does transmedia make campaigns more expensive, even if it increases the visibility and notoriety of a brand?
Has nothing changed since Rockefeller considered throwing half of his communications budget out the window each time he launched a new advertising campaign? No, things have changed. Web tools make it possible to track the evolution of sales. With time, the scope of communication techniques will diminish and they will become more and more effective.

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Q&A with Christian Ströhle, transmedia consultant and producer

If you search for knowledge about the transmedia scene in Switzerland, it won’t take long for Christian Ströhle’s name to pop up. He is one of the pioneers of Swiss transmedia projects.

Besides working on different long-term transmedia projects, he also organizes events in Switzerland that introduce transmedia to a broader audience. His goal: build up an international network and provide international expertise and know-how to the Swiss film and media industry. His next event takes place at the Imaging the Future symposium—part of the Neuchatel International Fantastic Film Festival—and shows new possibilities for mobile multi-platform storytelling. He is also organizing a conference about Motion Comics, a creative combination of comics, illustration, animation, sound, interaction, and game design, for the International Animation Film Festival Fantoche. Stay tuned!

We are happy to count Christian as a juror! We asked him a few questions to help us learn more about him:

STORY2023: What is your vision of STORY2023?

CS: Ten years from now we will communicate in new ways through physical interfaces that will not only capture our movements but our emotions as well.

STORY2023: How did transmedia enter your life?

CS: In the 80s, my father bought our first computer. From then on, I was totally hooked on writing my own code lines. At the same period, my friends and I started to record our first music compilations on tapes, the same tapes I used to record and play my code. When I look back at this, I realize this might be my first experience with media convergence and transmedia.

STORY2023: Your advice to STORY2023 participants?

CS: Have a clear understanding of what you are communicating and keep it simple!

More about Christian

Christian.StroehleChristian Ströhle has been working at the Swiss Federal Office of Culture for five years in the film funding section. He was head of film culture and all topics related to trends in movies, multimedia, and games. He also works as an independent transmedia project manager and consultant at mxlab, a research and development company in traditional and new media, and he is about to found a transmedia entertainment company. In 2012, he initiated a series of transmedia events at different film festivals, kick-starting a transmedia movement in Switzerland. He is fascinated by all sorts of communications and has studied cinema, linguistics, and history of art. He devotes most of his free time discovering multimedia applications.

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Interview by Melanie Picard

Nicoletta Iacobacci, Head of Strategy and Future Media at the European Broadcasting Union in Geneva, joins our international jury to select the best stories. A new media scout and story producer herself, she has been an immersive storytelling advocate since 2007. She shares her vision of 2023 along with insights about ethics in transmedia:

STORY2023: What is your vision of the year 2023?

NI: I have a pretty radical vision! If we are bold enough to learn coding, the new universal language, we will not only read new technologies but also be able to create them. In 2023, we will express ourselves and communicate with content that will be spread out on different platforms with a non-linear storytelling strategy. Thus, instead of asking ourselves what will be the role of media in the future, we should think about us being media.

STORY2023: How did transmedia enter your life?

NI: It was 2007 when I met the makers of The Truth about Marika, which is still, in my opinion, the most self-explanatory TV production showing the reaching power of transmedia. Even though I was teaching and producing interactive storytelling myself, I consider Marika’s creators as real transmedia mentors. From then on, I became an advocate of immersive and non-linear narratives. In today’s digital age, audiences are fragmented in several small niches. In order to access them, we need dynamic techniques adapted to people’s attention span, which flows effortlessly from computer to tablet, from TV to mobile, etc.

STORY2023: Where do ethics enter into the future of transmedia?

NI: I believe that transmedia is here to stay and will become more and more successful in the future. Authors and content creators face a big challenge in engaging their audiences in rich media experiences. If they manage to lighten up viewers’ environment with a well-crafted multiplatform story, if they reward them and reinforce their values, they will succeed.

Screen Shot 2013-06-26 at 2.58.45 PMEthics is an important issue to keep in mind though. In order to reach an audience, storytellers have to be more and more pervasive. Who sets the limits of ubiquity? If you enrich your story with almost-real elements, you should not forget ethical considerations. Is it ethical to blur fiction into everyday life? How do you make sure that people will recognize that your story is fictional? How far can you go satisfying the audience’s social and psychological needs?

STORY2023: Your advice to STORY2023 participants?

NI: Think about a powerful story before you think about technologies you could use. The story has to be strong and original enough to flourish through different media. Non-linear narratives can be fulfilling and powerful ways to tell stories, but it should be done cautiously (and smartly) as transmedia has the power to create formidable communities. If the message is consistent and sustainable, these communities can become proactive and contribute. Entertainment, engagement, and sustainability, if well balanced, can be explosive and enhance change.

Suggested reading: 7 myths of Transmedia storytelling by Henry Jenkins

More about Nicoletta

Nicoletta I.Born in Rome, Italy, she received a bachelor’s degree  in Fine Arts then moved to the US, where she stayed until 2002. In 1987, she got an MCA at the New York Institute of Technology, majoring in computer graphics and studying the convergence between Radio/TV and online properties. She also managed several R&D digital labs in both the US and Italy while also teaching interactive storytelling and production. Today, she is the Head of Strategy and Future Media at the European Broadcasting Union (80 public service broadcasters around the world). A PhD researcher at the European Graduate Studies, she coordinates and supports the most interesting and innovative TV professionals of European Public Service Media in order to create a call-to-action for shaping the future of a socially responsible public service media.

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