Manzanita School

On the first day, after a brief presentation of the project, we observe how a stories and leading characters are introduced in nonlinear and multimedia plot. Let's find out what measures the author adopts to make us meet his narrative and subject for the first time.
• In the second part we reveal the process we named Ænigma, a technique of composition made up of physical evidences and digital clues. Ænigma is a prototype of 'real mosaic' that engages us in the discovery and construction of original narrative and provides a channel to understand virtual information 'embedded' in physical objects. As such, solving it involve

Investigate the proposed material by observing its evocative meaning and examine objects and clues by relating them to each other. As they are assembled, we have turned the puzzle game into a storytelling activity. At the same time, our puzzle interface can be assembled in many different ways, and has thus enabled an interactive story structure that encompasses multiple different story paths and conclusions.
• Group work. Our narrative structure promotes different characters with distinct personalities and unique points-of-view used as the primary source for constructing stories. We now begin to create nonlinear short stories in fragments that jump around from one point in time to another rather than in a straight line.

NoiseBoard: we pre-visualize the work by entering into the tones of the narrative structure. We illustrate our ideas generating a table of images using clippings of newspapers, magazines, pictures from the Web and photos of physical objects, joined together to represent a mood, an atmosphere, a feeling.

The framework of interactive storytelling is different from the conventional linear story. A linear story follows a track from start to finish. In contrast, interactive storytelling focuses on providing diverse dramatic possibilities, perspectives or outcomes.
• Story mapping is an engaging activity where all participants are involved in the process of building a Story World. Story mapping starts from an overarching vision. We create a diagram, a visual representation of information that includes a central idea surrounded by linked branches of associated topics and connections betweens words, ideas and images.

Now that our narrative structure is completed we venture into it. Our work is again deconstructed to become digital or performative. Site-specific, immersive, video, sound, kinetic, interactive. We animate objects and give them a voice. Imagine space and sounds. We trace the missing fragments. We complete the work. Action!