A Quote by Margaret Atwood
Short forms are returning online. Interactivity is coming back; it was always there in oral storytelling.
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Short forms are returning online. Interactivity is coming back; it was always there in oral storytelling. Each form has its pluses and its minuses.
The future of narrative? Built in, part of the human template. Not going away. The future of the codex book, with pages and so forth? A platform for transmitting narratives. There are others. The scroll is coming back (Twitter is a scroll.) Short forms are returning online. Interactivity is coming back; it was always there in oral storytelling. Each form has its pluses and its minuses.
I'm saying that the domain of poetry includes both oral & written forms, that poetry goes back to a pre-literate situation & would survive a post-literate situation, that human speech is a near-endless source of poetic forms, that there has always been more oral than written poetry, & that we can no longer pretend to a knowledge of poetry if we deny its oral dimension.
I am not against songs in films. We come from an oral tradition of storytelling. I have grown up listening to epics in oral rendition and oral rendition always had music.
Oral storytelling goes back so long ago, and those stories that were told orally were always layered and changed with time.
This was not a good idea coming home for Christmas. I'm too old. Years ago, coming back from schools or trips, I always expected some sort of new perspective or fresh insight about the family on returning. That doesn't happen anymore-the days of revelation about my parents, at least, are over... its time to move on. I think we'd all appreciate that.
It is true that short forms of poetry have been cultivated in the Far East more than in modern Europe; but in all European literature short forms of poetry are to be found - indeed quite as short as anything in Japanese.
(On returning to Austin to run at his collegiate stadium) It is almost like coming home with the crowd, the people, and it just brings it home for me. For me, it is a very special place, it is great energy, and again I always seem to run very well here. So I love coming back.
Look at the people who are coming to television Ridley Scott, Ang Lee or Guillermo del Toro - all these great filmmakers - actively put themselves back into TV. That's because the environment is very encouraging for bold storytelling, storytelling that you've never seen before.
The best memoirs - like This Boy's Life, or Crazy Brave [by Joy Harjo], for instance - bring you through a private river of storytelling that joins a major ocean of human struggle and joy. The act of enunciation - the forms and strategies of storytelling - are every bit as literarily serious as they are in poetry or other prose forms.
Back in the day, you'd walk down to a street corner and see some people making a story with a hat in front of them. It's ancient entertainment, ancient storytelling and oral history - now we're doing it on YouTube.
People always ask why I stay in the online space versus going to TV or film, like most people would do, and the answer is that there's opportunity for innovation online - not only innovation in storytelling, but also innovation in how you interact with your audience and that is very fulfilling to me personally.
I have said many times before, interactivity is the equivalent of radioactivity. For interactivity effects a kind of disintegration, a kind of rupture.
I don't differentiate game design and script; it is one and only document. I think that one of the biggest problem with storytelling in games is that people tend to separate story and interactivity. Both should be conceived as one entity, each using the other.
Human beings are born solitary, but everywhere they are in chains - daisy chains - of interactivity. Social actions are makeshift forms, often courageous, sometimes ridiculous, always strange. And in a way, every social action is a negotiation, a compromise between 'his,' 'her' or 'their' wish and yours.
The storytelling mind is allergic to uncertainty, randomness, and coincidence. It is addicted to meaning. If the storytelling mind cannot find meaningful patterns in the world, it will try to impose them. In short, the storytelling mind is a factory that churns out true stories when it can, but will manufacture lies when it can’t.
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