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O sensacional Kevin Slavin apresentou sua mais recente realização, Starling, que mistura TV e redes sociais.

Slavin describes Starling, which will work on mobile devices, tablets and notebooks, as aiming for the sweet spot between the tight controls of Backchannel, where die-hards are happy to play, but have to register, and the current social TV behaviours, which frequently are too loose. ‘What we’ve seen from the way Twitter’s been used with televsion, there’s the problem if you don’t structure the conversation at all. How can everyone who’s chatting about Lost know the right hash tag?’

If we can provide a structure for media the way Foursquare provided a structure for location’, Slavin says, ‘That’s a win for everybody involved.’

A apresentação se deu no MIP TV e aqui você encontra um puta resumo da apresentação do Kevin. Ele falou algumas coisas muito interessantes, começando com uma alusão ao seriado friends:

His first point: “Engagement isn’t really about engagement with the show…” And he shows a clip from Scooby Doo featuring a laughter track to illustrate this. “I remember wondering as a kid, who was laughing at that? What was that studio audience sitting in front of Shaggy and Scooby?”

He says that the laugh track on TV shows is for us, the viewers, because “it’s hard to laugh alone… when the TV laughs, we laugh.” He shows a clip of Friends with the laugh track removed, which is an eerie experience with pauses where the laughs would be. “It’s like watching [Samuel] Beckett!”

Interessante, né? Daí ele fala em “limbic resonance”:

Slavin also talks about the theory of ‘limbic resonance’ – that the thrilling experience around watching, say, a movie, is about all the other thrilled people watching it around you. “The crowd that releases storytelling magic”

And he moves to the phrase ‘connected TV’, saying that “the important part is not that the TV is connected, but that the audience is connected”.

Slavin says games are ahead when it comes to putting this into practice. All games – not just video games – for centuries games have been played together as social experiences.

Um dos projetos do Kevin explora bem este conceito, e de forma brilhante:

Slavin finishes off with a clip of Area/Code’s project for MTV’s The Hills – Backchannel – which aggregated and sorted viewer comments from The Hills’ website, so they could be overlaid on the screen during repeats.

He points out that this was an early example of Area/Code’s idea of ‘co-viewing’, which is the focus for the new Starling startup. “It’s the end of the magic laugh box,” he says. “From here on in, the laughter is genuine.” And he says one reason for the decline of laugh tracks in TV comedies is the rise of the internet – “we can feel each other… that laughter is gonna come from everywhere. That’s what it was supposed to be all the time.”

How important are the game-like mechanics to all of this? I.e. the fact that The Hills Backchannel users were scored for their comments, as will Starling users. “It’s very important,” he says. “One of the reasons people play games is it’s a way to accrue social capital. Games model meritocracy, which is not that often found in everyday life.”

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