Its exactly the points of intersection and means by which social tesseracting lifts cinematic experience out of the realm of traditionally cinematic environs and into the everyday that got me so excited about your ideas! After reading your entry and reflecting, it would compel me to write a follow up at some point which reframes this continuum into the social mediascape beyond cinema. Of course cinema as a term is nice because it means “movement” which is generally speaking a reasonably malleable concept to bring into the 21st century

The Quantinuity piece is admittedly proposed as some sort of formal system for navigating and constructing transmedia storyworlds; I do indeed have a specific interest/focus on cinema in my theoretical writing.

However, Hypercubism is proposed as more of a definition of the era we are in as a whole and would be poised to encompass the social-tesseracting that you have so elegantly articulated

My most recent thoughts on Hypercubism have been geared towards seeing it as a quickly passing evolutionary era that in all of its cloud-like ephemerality will give way to a more seamless future mediascape. We could potentially call this next phase Holographic, as I think it will signify the total merging of reality and its augmentations. Whether this is 5 or 20 years off is not clear, however I expect some cosmopolitan places on Earth will reach this state sooner than later.

Could you elaborate on what you mean by the term “synths” as you used it in the opening sentence of your reply? — I was just the other day having a discussion with a friend in London about terminology and we very nearly came to outlining a description for a “synthetic conductor” as someone who facilitates and encourages transmedia collaboration — perhaps in earlier times called a “creative producer” or something similarly vague

I really like the term synthesis in the way that it points to the essentially transformational and constructive nature of the hypercubist era (as opposed to a postmodernist critical stance which is analytical and breaks things into pieces) but at the same time I wish there was a word that didn’t have the connotations of artificiality that synthetic has (any ideas?) so as to be more warmly regarded by people not as technology-friendly. Speaking of which, have you heard of these “next nature” guys in Amsterdam? They’re pretty far out!

http://www.nextnature.net/

Let’s keep the dialogue going!
Gabriel

thanks for ur feedback + excellent 2 find like-minded synths working synchronously!

i’m just reading through ur ideas on _Quantinuity_ now. there’s significant overlap between the idea of Social_Tesseracting and ur propositions regarding _Quantinuity_. i do c our approaches differing in how this type of extended synthetic interaction + data formation/formulation occur[s]. 4 instance, ur emphasis on:
“Quantinuity (quantum + continuity) is a theory which attempts to create grammar of a particlized cinema”
ie a modification of the micro_message_unit that allows cinema 2 expand tesseractically in2 “the new spacetime of hypercubist cinema” illustrates a pinpointing thru a method of artistic/entertainment focus [cinema] whereby my use points 2wards an entirely new system of inter/action + the gritty building-block mechanics? Social_Tesseracting doesn’t exclusively elaborate on standard methods of cultural production [such as cinema] – no matter how meta-modified – but rather examines + [synthetically] maps an emergent + gradual dissolving of categories such as “culture”/”information”/”documents” + corresponding sociosynthetic impacts?

whereas u end ur _Quantinuity_ treatise with:
“These are just a few examples of a rapidly increasing trend of hypercubist cinema to incorporate social networks which accelerate the implosion of the entire celluloid film making apparatus, from writing through production all the way to distribution and merchandising.”…this is where – IMO – Social_Tesseracting begins?

chunks,
mez

I would be interested to know your thoughts of my use of the term Tesseracting (as a replacement for the word editing) to describe the manipulation of hypercubes in digital media. I have my own Hypercubist theory of digital narrative called Quantinuity. You can read about it here on my blog Quantum Cinema — “Quantinuity: Towards a Theory of Continuity for Hypercubist Cinema” — http://tr.im/pfuA

Greetings from Berlin!
Gabriel

- Alan