So much of how we talk about transmedia centers around production, but so much of what makes transmedia what it is happens through new practices of reception and participation. Given that, I guess my question is: what does a transmedia audienceship look like? How is transmedia shaping how audiences form and interact, how they identify themselves and their cultural stakes? And conversely, how are the increasingly visible and explicit narrative interventions on the part of audiences shaping how we think about the way stories are told as they move across platforms, cultural spaces, borders of all manner? - Tom Himpe from Bookmarklet

This is the part of the whole Purefold idea that really interests me. I'm a longtime Star Wars fan who has watched the movies, read the novels and comics and played the roleplaying games. When I think of shared universes, it seems like the classic example. With Star Wars, of course, there are different levels of canon. The movies come first, followed by specific novels and comics, and then other publications, and after that the fan fiction and the stories that develop from my RPG campaigns. While the last group there could never be official, it adds to the sense of connection that my players and I have with the setting. It is intriguing, then, that an open source multimedia endeavor like Purefold would have no specific canon, but would be something that people around the world could experience and develop in their own ways. - Nathanael Mathias Christe

PureFold is the nearest thing I've seen to an aggregator of interest and of interests in events as-yet unseen. "Attribution has far greater value than cash in the bank." This quality of (r)evolutionary thinking makes it very difficult to wait for your Futures of Entertainment case study next week. - Scott Ellington