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Peabody Announces Award Winners for Digital and Interactive Storytelling

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Today, the Peabody Awards Interactive Board of Jurors unveiled 12 winning digital and interactive projects alongside four Special Awardees that have achieved outstanding feats in storytelling across interactive, immersive and new media categories. The distinguished “Legacy class” of winners whose mediums altogether span Virtual and Augmented Reality, Gaming, Interactive Journalism, Social Video, Interactive Documentary, Transmedia Storytelling, and more, demonstrate the depth of these digital formats and emphasize the foundational standards for future award recipients.
“To recognize the present and future of storytelling in digital spaces, Peabody has taken the unusual step of looking backwards, recognizing landmark pioneering projects that have shaped and defined powerful stories in interactive and immersive media forms,” said Dr. Jeffrey Jones, executive director of Peabody. “We are honored to highlight these legacy projects and their creators, all of which signal the type of meaningful stories we will be recognizing each year going forward.”
Unanimously selected by the novel board of jurors, the legacy winners celebrate innovators who have long paved the way in diversifying storytelling experiences and communities, including four special awards . Phil Yu was named winner of the Trailblazer Award for his Angry Asian Man blog, a groundbreaking work at the forefront of amplifying Asian American voices in media and combating cultural stereotypes. Known as the “Godmother of Virtual Reality,” Nonny de la Peña received the Field Builder Award for her contributions to advancements in VR and immersive journalism, inspiring new modes of interactive storytelling that are now widely adopted. Peña and Yu’s awards were presented by Alejandro González Iñárritu and Daniel Dae Kim respectively.
The computer program ELIZA, developed in 1964-66, was honored with the Foundational Award for elevating software as a tool not just for business or science, but also for emotional interactions, empathy, and connection. Forensic Architecture received an Institutional Award for its evidentiary techniques known as “counter-forensics” to advance justice and to expose state, military, police, and corporate crimes of magnitude.
“By honoring these legacy projects and creative innovators, we celebrate dynamic stories that push the limit of what we know storytelling to be across all mediums,” said Diana Williams, chairwoman of the new Peabody Interactive Board. “And we also continue to uphold the Peabody’s mission of supporting visionaries who tell stories that illuminate the world around us and can perhaps evoke societal change.”
All winning projects are now featured on the Peabody Awards’ interactive website, peabodyawards.com/interactive/legacy, for audiences to explore firsthand and to learn about their historical impact. Designed to honor and respect Peabody recipients within their medium, and created with accessibility in mind, audiences can view, share and engage with these legacy projects and the site’s exclusive content.
The formalization of the new awards category follows a tradition of past Peabody honorees recognized for their digital innovation and storytelling, including “Snow Fall: The Avalanche at Tunnel Creek (2012), “A Short History of the Highrise” (2013), and “That Dragon Cancer” (2016). Legacy winners were identified and handpicked by the Board as projects released prior to 2019. Any projects headed or led by jurors were removed from consideration. The bodies of work and profiles of the Peabody Interactive Board of Jurors is available on the Peabody website.
The first entry submission window for recent projects is slated to open late June 2022. Entry guidelines and eligibility rules will be available on the Peabody website beginning in May.
The full list of legacy winners is below (listed by the four special awards, followed by 12 projects in alphabetical order):
Peabody Award Legacy Winners for Digital & Interactive:
Trailblazer Award
Like many people of color coming up in the 1980s and ‘90s, Phil Yu had grown accustomed to not seeing himself in mass media. But unlike many, Yu also got angry, and then he found a way to channel it. Angry Asian Man is a blog whose name is an ironic play on the model minority trope and asks: Why aren’t Asians allowed or expected to be angry? The blog began as a way for Yu to express himself and work through how he felt about not seeing his community reflected in media, but found further purpose after successfully helping to mobilize against a clothing company that had released T-shirts featuring racist caricatures of Asian people. This changed the blog’s course from criticism to also include calls to action, providing a look, via an Asian American lens, at everything from pop culture to politics to music to academia. As it became a destination for others seeking community, the blog again transformed into a type of short form conversation. The speed in which today’s audience can call out media for stereotypical representations and/or erasure was built off of the work that Yu has been doing for the last 20 years. He spoke up when others did not. He amplified the work of organizations covering Asian American issues so that they could find broader coalitions. With the message as important as the delivery and consumption medium, Phil continues to shine a light on Asian American issues beyond his blog and into podcasts and publishing. Mainstream media is listening now.
Field Builder Award
Nonny de la Peña has been at the forefront of emerging media throughout her career, earning the title of “Godmother of VR.” She was an important contributor during a historic period of discovery in beyond-broadcast digital media. Her example catalyzed a generation of storytellers and innovators to invest their genius towards meaning-making in emerging media forms. De la Peña brought important insights to the critiques that virtual reality is too immersive for certain content while making compelling arguments for VR journalism, offering eye-opening examples, and providing best practices for designing embodied experiences of challenging events. Collaborations with leading news organizations set standards in transparency, accuracy, and sourcing for new media. Significant areas of her innovation include room-scale 5DoF immersion; data visualization; flat game-engine storytelling; techniques to bring flat media documentation into immersive space, stimulating technologists to make VR headsets mobile, higher quality, and less expensive; and a platform that democratizes the immersive power of volumetric VR. Her pieces help audiences become intimately aware of the nuances of news issues and events spanning critical subjects like abortion, LGBTQ+ youth, police brutality, conflict zones, solitary confinement, melting ice caps, the Black Lives Matter movement, and more.
Foundational Award
ELIZA (1964)
Primary Credits: Joseph Weizenbaum, MIT Artificial Intelligence Laboratory
In 1966, Joseph Weizenbaum saw the potential in the computers of his day to create a program for the purpose not of processing information or doing scientific calculations, but for the sole intention of making a relationship. This program was ELIZA. ELIZA took the form of what we now call a chatbot. She was presented as a “mock (Rogerian) psychotherapist.” Participants would write to her and she would respond with relevant questions or statements that fueled further conversation. The perception of empathy from ELIZA was so strong that participants often requested privacy while talking to her. It can be easy these days to mistake ELIZA for her descendants—natural language personal assistants like Siri or Alexa. While this software has advanced considerably in the course of the last 50 years, the change in focus to transactional interactions—language as interface—obscures the revolutionary personal narratives that ELIZA created. ELIZA showed the world that a simple computer script could evoke not just one story, but as many stories as there were people who interacted with her. She opened the door to software as a tool not just for business or science, but also for emotional interactions, empathy, and connection.
Institutional Award
Primary Credits: Eyal Weizman
In the 21st century, states’ and corporations’ arsenals include drones, chemical gasses, computational surveillance, sensors, and disinformation, which are launched at targets remotely through complex computer interfaces and dizzying transnational networks. In these next-level true crimes, there is no obvious smoking gun. Conventional forensics cannot adequately find, collect, analyze, and present evidence to make a case against perpetrators. For the last decade, Forensic Architecture has directed a spectacular coordinated response, led by architect Eyal Weizman. The group has written a new language of evidentiary techniques called “counter-forensics” to advance justice and expose state, military, police, and corporate crimes of magnitude on behalf of advocates and affected communities. Using sophisticated architectural techniques such as lidar, radar, photogrammetry, and advanced platform software, for each case they build an elaborate digital 3D model of the scene of the crime. The team then situates individual pieces of evidence “on stage” within frameworks such as open-source data, satellite data, surveillance footage, citizen video, audio, mobile phone meta-data, allowing for the study of the relational dynamics. Forensic Architecture has co-created an entire new academic field and emergent media practice, using digital 3D modeling for human rights investigation and documentary, to speak truth to computational power on a planetary scale.
Fields & Forms: Interactive Documentary, Game+Play, XR
Primary Credits: Jacqueline Olive
Additional Production Credits & Partners: Tell It Media, Bay Area Video Coalition
The creators of the virtual project Always in Season Island sought to confront the ongoing legacy of American racial terror following their 2019 documentary film (Always in Season) on the history of the lynching of African Americans, They recreated, in virtual life, the setting of the 1930 lynching in Marion, Indiana, when 10,000 white men, women, and children came to watch the torture and murder of two African American men. Avoiding gratuitous violence, “Always in Season Island” offered visitors tasks to complete and prompts to consider that either encouraged or stopped the lynching from occurring, ultimately pushing the conventions of the documentary form and challenging audiences to intimately examine their own capacities for both dehumanization and change.
The Beast, A.I. Transmedia Experience (2001)
Fields & Forms: Transmedia Storytelling
Primary Credits: Jordan Weisman, Sean Stewart, Pete Fenlon, and Elan Lee
Originally developed by a small team at Microsoft Games as a marketing campaign to support the 2001 film A.I.: Artificial Intelligence, “The Beast” played out over a massive network of fictional websites and other forms of media that combined to tell a sprawling tale set in the world of A.I.: Artificial Intelligence. Following clues hidden in the movie’s trailer and poster, those who found their way into the network were immersed in the storyworld and challenged with puzzles to unlock the next pieces of narrative. This mass-distributed form of storytelling, later dubbed an “Alternate Reality Game,” provided a template for a new way to tell stories over the internet and connected media.
Fields & Forms: Interactive Journalism
Primary Credits: Steven Rich, Julie Tate, David Fallis
Additional Production Credits & Partners: The Washington Post
Amid outrage over the 2014 police killing of Michael Brown in Ferguson, Missouri, reporter Wesley Lowery suggested that The Post count every fatal police shooting in America. We now know that American police officers shoot and kill about 1,000 people a year, and The Post has consistently made the data accessible through graphics that show with stunning clarity how victims are disproportionately Black—more than a third of unarmed people—and overwhelmingly young and male. The most salient and impactful works of data journalism fill a void and answer crucial questions that the government or private sector choose not to. With the Fatal Force database, The Post’s work over seven years is an unwavering public service in the fight for criminal justice.
Fields & Forms: Social Video
Primary Credits:  Anita Sarkeesian
Following the 2009 launch of her feminist media criticism website by the same name, Anita Sarkeesian advanced our conservations about popular culture, and specifically the representation of gender in media and “geek” and gamer culture, through her Feminist Frequency YouTube channel. Her lightning rod series “Tropes vs. Women in Video Games,” exposed the persistent denigration of women in one of the most popular media forms in the world and angered parts of the largely male gamer demographic, prompting the #GamerGate scandal when she endured vicious online harassment and death threats. Through it all, she continued to tell stories in service of manifesting a better world for women, queers, and other marginalized people.
Fields & Forms: Interactive Journalism
Primary Credits: Josh Katz, Wilson Andrews
Additional Production Credits & Partners: The New York Times
The New York Times’ work “How Y’all, Youse and You Guys Talk”—or, because of its sheer ubiquity, simply the “dialect quiz”—became a cultural touchstone immediately after its launch in 2013. After answering a series of questions about the words you use, the interactive graphic returns a map that, more often than not, pinpoints where you live or grew up. What started as a personal side project of graphics editor Josh Katz was used by tens of millions of visitors over the span of a few weeks and quickly became at the time the most-viewed piece of content in New York Times history for its ability to tell individuals a personal story about themselves while also drawing a limitless set of maps of cultural geography that still delights new readers today.
Journey (2012)
Fields & Forms: Interactive Narrative
Primary Credits: Jenova Chen
Additional Production Credits & Partners: SONY Computer Entertainment, Santa Monica Studio Developer: THATGAMECOMPANY INC
Journey is quiet, abstract, and spiritual, yet riveting. As a player you are a robed figure, seemingly lost, while meeting anonymous strangers, other players searching for what they do not know. Journey shook the gaming world when it was released a decade ago, crystallizing the spirit of a burgeoning generation of indie game developers, whose tender, artisanal works recalled the wonder of the earliest days of gaming. In Journey we are encouraged to collaborate with anonymous strangers as opposed to shouting at them for competition or clout. We are asked to slow down, stop talking, and pay attention to history and the ecosystem around us.
Fields & Forms: Interactive Narrative
Primary Credits: Sean Vesce, Alan Gershenfeld, Gloria O’Neill
Additional Production Credits & Partners: Cook Inlet Tribal Council, Inc. E-Line Media
“Kunuuksaayuka,” a traditional Alaskan Iñupiat tale, follows a young girl, Nuna, who fights against an eternal winter storm threatening her community’s survival. For the 2014 atmospheric puzzle-platformer Kisima Inŋitchuŋa, this epic journey has been adapted by writer, storyteller, and poet Ishmael Hope (Iñupiaq and Tlingit) into an artful and accessible educational game. Throughout the game, players encounter powerful video vignettes of interviews with 40 Iñupiat Elders who share legends, cultural practices, and traditional world-views. Importantly, the project originated with Upper One Games, a for-profit subsidiary of Cook Inlet Tribal Council established in 2012 as the first Indigenous-owned commercial game company in the United States.
Fields & Forms: XR
Primary Credits: Arnaud Colinart, Amaury Laburth, Pete Middleton, James Spinney
Additional Production Credits & Partners: Archer’s Mark, Ex Nihiloin collaboration with Audiogaming, Novelab ARTE France With the Support of CNC
Notes on Blindness: Into Darkness is a beautifully crafted landmark 360 film project that premiered in 2016 in collaboration with an acclaimed flat feature film documentary. While the feature film (Notes on Blindness) told the story of an articulate professor documenting his transition from being a sighted to an unsighted person, the immersive piece gave audiences an experience of echolocation. In effect, the tables were turned, where sighted people shifted from sympathy for someone who “lost” a sense, to a realization that they have been so dominated by eye data inputs to their brain they have become “sound blind. The experience answered the “why immersion?” question with innovative design technique, a compelling experience, an emotional journey, and transcendent aesthetics—all elements of an excellent story.
Fields & Forms: Game + Play
Primary Credits: Lucas Pope
Additional Production Credits & Partners: Developer and Publisher: 3909 LLC
First released in 2013, Papers, Please puts players in a position of authority in a dystopian police state. In this strategy simulation video game, the player is in the shoes of an immigration officer stationed in a country bordered by hostile neighbors. With little time to review and process documents, the player must make fast-paced decisions to determine who can cross the border. And with each wrong decision, the consequences can be dire, resulting in life or death stakes for your family who are dependent on your earnings. Papers, Please breaks away from the traditional tropes of kill or be killed but instead focuses on the ever-present complex, intricate, and personal choices resulting from geopolitical forces.
Quipu (2015)
Fields & Forms: Interactive Documentary, Audio
Primary Credits: Maria Ignacia Court, Rosemarie Lerner
Additional Production Credits & Partners: Chaka Studios
In the 2015 web-based online documentary Quipu Project audiences click on colored-dot icons, each representing testimonies of more than 100 women from remote mountainous locations across Peru, who share their anonymous stories in voice messages after dialing a free phone number. In recording after recording, they recount being among the nearly 300,000 women (and thousands of men) brutally subjected to sterilization under the government of former president Alberto Fujimori in the 1990s. Quipu Project elegantly fused low-tech phone technology for recording with a high-tech digital interface for the user experience, brilliantly weaving together ancient and new technologies to create a powerful and poetic online collection of co-created, participatory oral histories in a movement for justice and survivor support.
Fields & Forms: Co-Creation
Primary Credits: Casey Pugh
Additional Production Credits & Partners: Jamie Wilkinson, Chad Pugh, Annelise Pruitt, Bryan Pugh, Aaron Valdez, KK Apple, Todd Roman, Ivan Askwith
Star Wars Uncut—a 2010 online film produced, edited, and directed by Casey Pugh—is a
crowdsourced shot-for-shot re-creation of Star Wars Episode IV: A New Hope, consisting of 473 segments, 15 seconds each, created and submitted by fans from all over the globe. In 2009, Pugh created a website where fans could sign up to re-create scenes from the original Star Wars film. When there were multiple contenders, there was a vote to determine whose work made it into the final film, which would then be altered in real time. Star Wars Uncut is a great example of fanfiction involving a beloved IP, a best-in-class show of how crowdsourced content can not only entertain, but also make a familiar story delightful in a new way.
Fields & Forms: Co-Creation, Transmedia Storytelling
Primary Credits: Ken Eklund
Additional Production Credits & Partners: Electric Shadows, Independent Lens, ITVS Interactive, Writerguy official credits: http://writerguy.com/wwo/metacontact.htm 
Unfolding online in 2007, World Without Oil simulated a global oil shortage. Over the 32 days the game ran, each day played out one week of events, charting worldwide ramifications of a global oil shock. The game invited players from around the world to tell their own stories of how the oil shortage was affecting their lives, through blog posts, voice recordings, pictures, video, and other user-generated content. Collaborating on potential solutions to a global crisis, the players together helped create a fictional documentary, raising important questions of sustainability and resiliency.
For more information visit peabodyawards.com and follow #PeabodyAwards #StoriesThatMatter across Peabody Awards social media channels:
About Peabody Awards
Respected for its integrity and revered for its standards of excellence, the Peabody is an honor like no other for television, podcast/radio, interactive and digital media. Chosen each year by a diverse Board of Jurors through unanimous vote, Peabody Awards are given in the categories of entertainment, documentary, news, podcast/radio, arts, children’s and youth, and public service programming. The annual Peabody winners are a collection of stories that powerfully reflect the pressing social issues and the vibrant emerging voices of our day. From major productions to local journalism, the Peabody Awards shine a light on the Stories That Matter and are a testament to the power of art and reportage in the push for truth, social justice, and equity. The Peabody Awards were founded in 1940 at the Grady College of Journalism and Mass Communication at the University of Georgia and are still based in Athens today.
About Black Heart 🖤
Black Heart is a worker-owned creative agency in the Extended Reality (XR) space dedicated to centering Black creators and stories. As a group of collaborators, strategists, and thought leaders, the goal of Black Heart is simple – create an agency built on the principles of the Black community through amazing storytelling, innovative thinking, anti-racist beliefs, a commitment to lifting each other, our clients, our neighbors. We do this in the service of our clients, of you, like-minded individuals and organizations wishing and working to create a better world through action.
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MICHAEL MCINTYRE CONFIRMS SOUTH AFRICAN DATES FOR HIS “MACNIFICENT” COMEDY TOUR

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Michael McIntyre remains one of the top-selling comedy tours ever in SA and will perform September 2024, on Thursday 12th at Sunbet Arena at Times Square, Menlyn and Friday 13th at GrandWest, Cape Town.

Much has happened in the five years since his last tour and Michael will be making mirth from the madness of it all. Michael is the host of two of the BBC’s most successful entertainment shows, the BAFTA-winning Michael McIntyre’s Big Show and The Wheel, which he devised and also hosts for NBC in America. His previous tours have sold over four million tickets and broken box-office records around the world. Michael’s return to stand-up is not to be missed!

Age restriction: STRICTLY 14+. Children younger than this will not be admitted even if accompanied by an adult Tickets available at TicketPro.co.za.

Pre-sales from 10 am THURSDAY 28th March.

Follow Real Artist Management on Facebook for access to pre-sales for Michael McIntyre with a code MACNIFICENT for the Menlyn and Cape Town shows.

General Public on sale from 11am Tues 2nd April – i.e. no code required

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Beast of Two Worlds (Ajakaju) Movie Premiere: Where Cinema Meets Couture

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On Sunday, March 25, 2024, the Nollywood industry saw a historic moment as the much-awaited debut of Beast of Two Worlds (Ajakaju) took center stage at Film House Cinemas, Circle Mall, Lekki. The film’s grand premiere, which was produced by Eniola Ajao in association with Anthill Studios, was a momentous occasion in the history of epic blockbuster movies.

Beast of Two Worlds (Ajakaju) had its much-awaited debut attracting a star-studded cast of industry professionals. A bit of star power was added to the premiere by the presence of well-known people like Toyin Abraham, Mercy Aigbe, Odunlade Adekola, Femi Adebayo, Iyabo Ojo, Yomi Fash-Lanso, Gbenga Adeyinka, Ronke Oshodi-Oke, Denrele Edun, Rukayat Lawal, Wasila Coded, Wumi Toriola, Phyna, Peju Ogunmola, Dayo Amusa, Iyabo Ojo, Antar Laniyan, and others.

Beast of Two Worlds (Ajakaju) opened with a grandiose fashion show that went above and beyond the usual moviegoing experience. The red carpet was a glistening display of avant-garde and opulent looks that added even more excitement to the evening’s festivities.

Directed by Odunlade Adekola and Adebayo Tijani, “Beast of Two Worlds” looks at the life of a desperate king facing banishment due to his three wives’ inability to produce a son, he takes a new wife from another world who promises him an heir but her arrival brings unforeseen chaos to the kingdom forcing the king to confront his fears and fight to secure his dynasty future.

The cast includes Odunlade Adekola, Eniola Ajao, Sola Sobowale,  Femi Adebayo, Lateef Adedimeji, Mercy Aigbe, Bimbo Akintola, Fathia Balogun, Ibrahim Chatta, amongst others.

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Beast of Two Worlds is set to show nationwide in cinemas from March 29, 2024, and distributed by Film One.

Watch the trailer here:

https://www.youtube.com/watch?v=17aQ8ibDXVg 

About Beast of Two Worlds

Beast of Two Worlds looks at the life of a desperate king facing banishment due to his three wives’ inability to produce a son, he takes a new wife from another world who promises him an heir but her arrival brings unforeseen chaos to the kingdom forcing the king to confront his fears and fight to secure his dynasty future. 

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Electric Forest Announces Additional Artists for Sold Out 2024 Edition

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New Additions Feature Seven Lions, Sara Landry, G Jones, Hiatus Kaiyote, ODD MOB & OMNOM present HYPERBEAM, Layton Giordani, Boogie T, Cannabliss, Levity, Chaos in the CBD, Emo Nite, Brandi Cyrus + Many More

Taking Place June 20-23 in Rothbury, Michigan

Limited Wristbands Back On Sale Friday, March 29

https://www.electricforest.com

Today, Electric Forest announces 40+ additional artists joining the lineup for its sold out 2024 edition. Taking place June 20-23 in Rothbury, Michigan, Electric Forest remains one of the world’s most interactive festivals, fostering an immersive atmosphere of connection and discovery upheld by the pillars of community, creation, and inclusion.

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Electric Forest’s new lineup additions include melodic bass maestro Seven Lions, experimental bass veteran G Jones, high priestess of hard techno Sara Landry, and Grammy-nominated band Hiatus Kaiyote. The billing expands with techno new school selector Layton Giordani, post-punk revivalists Emo Nite,Nashville’s Brandi Cyrus, Kiwi brother-duo Chaos in the CBD, multi-instrumentalist live legend Boogie T,  Chicago’s rising electronic trio Levity, and the new collaborative project of tech house sensations ODD MOB & OMNOM present HYPERBEAM.

Electric Forest’s latest additions join a stacked roster of headliners including Forest favorite Pretty Lights, the bone-rattling sounds of Excision, and Cyclops Recordings founder Subtronics. A variety of rare collaborative artist sets are also on deck, including EVERYTHING ALWAYS (Dom Dolla + John Summit), LSZEE (CloZee + LSDREAM), and Big Gigantic and NGHTMRE teaming up for their Gigantic NGHTMRE project.

Jam fans can rejoice as The String Cheese Incident returns to perform two Incidents, plus sets from fellow torchbearers of the genre The Disco Biscuits and Umphrey’s McGee. Some of the more unexpected names on the lineup include Grammy-winning singer Nelly Furtado and famed Atlanta hip-hop artist Ludacris, each bringing their iconic sounds to the forest. The list of headliners is rounded out by Belgian techno queen Charlotte de Witte, a solo set from John Summit, and performances by Black Tiger Sex Machine, Ben Böhmer, and Knock2.

This year, Electric Forest will continue its offering of elevated culinary experience add-ons. Highlights include breakfast with a side of sass at the Drag Brunch, a four course meal inspired by the Forest, seasonal produce, and mystical creatures at Forest Feast, Buena Vida, an Agave spirits interactive cocktail tasting experience, and Wig Out Pig Out, a wig wearing authentic BBQ. Additional offerings include Brie Our Guest, Champagne French Fry, The Gouda Life, Forest Food Tour, and Good Life Brunch with Chef Sarah.

Fans will also be able to purchase exclusive guided tour experiences, allowing them to explore Sherwood Forest or experience the Dream Emporium before festival gates officially open. The exclusive tours will give fans an exclusive sneak peek at the new art, installations, and surprises the Forest has to offer while learning about the artists, history, and production process of the festival directly from the Electric Forest team. Sherwood Forest tours will conclude at TheWoodlands Bar for happy hour and are extremely limited capacity.

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Electric Forest also recently announced the full programming for its beloved Plug In Programs, offering fans the unique opportunity to contribute and collaborate directly with the festival’s production teams. Highlights include the Art Installation Sponsorship Program, allowing artists to bring their creations to life in the forest, The Brainery which offers educational workshops and classes, The Wish Machine which grants a wish in exchange for inspirational and charitable deeds done in the community, and the Electric Forest Radio On Air ExtraordinAIRE Program for aspiring radio personalities, show hosts, behind-the-scenes technicians, fan interviewers, and more.

Since 2011, Electric Forest has remained committed to the constant reimagination of what a festival experience can be. It’s this thoughtful and innovative approach to production and programming that has helped foster one of the world’s most dedicated festival communities. It’s a place where acceptance, safety, and self-expression are the most valuable currency, surprise and wonder hide around every corner, and no two journeys are the same.

Wristbands for Electric Forest 2024 are currently sold-out, but limited wristbands will go back on sale this Friday, March 29 at 12pm EST. More information can be found at ElectricForest.com.  Add-Ons, Vehicle Passes, Early Arrival, Group Camping, Shuttles, Lockers, and more can be found here.

The complete list of Electric Forest 2024 artists is available below.

Electric Forest 2024 Lineup (A-Z)

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ACRAZE

ALLEYCVT

ATLiens

AYYBO

Baggi

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Barclay Crenshaw

Ben Böhmer

Black Tiger Sex Machine

Boogie T

Brandi Cyrus

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Calussa

Cannabliss

Cannons

Caspa

Cassian

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Chaos in the CBD

Charlotte De Witte

Chase & Status

Coco & Breezy

Cuco (DJ Set)

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Dimension

Dirtwire

Dixon’s Violin

DJ Susan

DJ Tennis

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DRAMA

Dumpstaphunk

Eggy

Emo Nite

Equanimous

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EVERYTHING ALWAYS (Dom Dolla + John Summit)

Excision

G Jones

Gigantic NGHTMRE

Green Velvet

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Hamdi

Hiatus Kaiyote

INZO

it’s murph

Jenna Shaw

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JJUUJJUU

John Summit

Juelz

Kenny Beats

Kiltro

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Knock2

Layton Giordani

Levity

Le Youth

Lettuce

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LEVEL UP

Levity

Libianca

Little Stranger

LP Giobbi

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LSZEE (CloZee + LSDREAM)

Luci

Ludacris

LYNY

Maddy O’Neal

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MÆSØNIC

Major League Djz

Mascolo

Marsh

Matroda

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Mau P

Michaël Brun

Mojave Grey

NEIL FRANCES

Nelly Furtado

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Neoma

ODD MOB & OMNOM present HYPERBEAM

ODEN & Fatzo

Only Fire

PAPERWATER

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Peach Tree Rascals

Polyrhythmics

Pretty Lights

Próxima Parada

Ranger Trucco

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Rawayana

Redrum

Sammy Virji

Sara Landry

Seven Lions

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Shae District

Slayyyter

Subtronics

Sultan + Shepard

Super Future

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SWAYLÓ

The Disco Biscuits

The String Cheese Incident

Thought Process

Tripp St.

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TSHA

Umphrey’s McGee

Unusual Demont

venbee

Vini Vici

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VNSSA B2B Nala

Westend

Whyte Fang

Will Clarke

Wooli

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Zen Selekta

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Diddy reportedly sells off all his Revolt TV shares to anonymous buyer amidst home raids

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One day after Homeland Security descended upon his residences in Los Angeles and Miami, Diddy has reportedly relinquished his Revolt TV shares. (more…)

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Titanic’s door frame prop that helped Rose stay afloat sells for $718,750

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The floating piece of wood that kept Titanic’s Rose alive has been sold for $718,750 (£569,739) at auction. (more…)

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Sean ‘Diddy’ Combs breaks silence after federal agents raid his homes

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Sean ‘Diddy’ Combs’ team breaks their silence just over 24 hours after Homeland Security raided his homes. (more…)

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