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So, I’ve been a little lax on blogging the past few weeks. Part of it is that I’ve been working incredibly long hours during the week, and spent the last three weekends in a row shuttling back and forth between NYC and Cambridge, MA for a series of very interesting events (more on that in a bit). But another big part of it is that I’ve been making something of a life transition: as of this week morning, I’m working as a Digital Brand Strategist in Weber Shandwick’s NYC headquarters.

It’s quite a change coming from the academic world and a series of mercenary consultancy gigs into the world’s leading PR agency, though a really thrilling one. I’ll have to wait until I’ve been there a bit longer before I can reflect on the adaptation process. All I can say right now is that, having always worked in shared spaces, you are hyper-aware of how decisions that are natural in office environments (like whether or not to close my office door) transforms your space and work mentality.

Altogether a very exciting development, and should lead to a much needed new layer to my thinking.

I hope to get back to blogging regularly again once I get settled, though I suspect that it will take some time to really hit my stride with how frequently I will be writing more lengthy, involved pieces. But in the immediate future, please look forward to a recap of the three great events I attended at MIT the last three weeks. First was the Comparative Media Studies 10-year anniversay, where I sat on a panel about media globalization with Aswin Punathambekar, Ana Domb, Orit Kuritsky, and Jing Wang. Then the weekend before last, I moderating a panel on “Running the Tubes” at ROFLcon, which featured a fascinating group of speakers that run the “behind-the-curtain” social and commercial infrastructure of your LULZ, including Jef Sewell (Despair.com, Amplifier), Aaron Peckham (Urban Dictionary), Larry Oji (OverClocked Remix), and Pete Hottelet (Omni Consumer Products). Finally, last weekend, I attended the always fantastic Convergence Culture Consortium retreat, where super smart folks presenting on everything from Swedish indie labels to transmedia lions (the lion is metaphor . . . I think) to how piracy can save media business models.

So once I get my bearings, keep an eye out for that, along with the long-promised thoughts on geolocation and public space.

As the summer winds down, it’s time again to start gearing up for the Convergence Culture Consortium (C3)’s annual Futures of Entertainment Conference. This November 20th and 21st will be the 4th installment of our biggest and most public event, featuring key thinkers from across industry and academia, hashing it out on a range of pressing topics about our shifting media landscape and where it’s headed (and why, and how, and what we can do when we get there).

This time around, we’re cycling back to a featured topic from our first ever Futures of Entertainment (and a much-beloved subject of C3 in general): Transmedia.

Since our first conference in 2006, transmedia has gone from an emerging form to an industry buzzword. The term and the form have both inspired significant developments, expansions, and confusion. Given that, we decided to devote an entire day to discussing various aspects beyond simply defining it. He hope both to dig deep into the nuts and bolts of how to build and sustain transmedia experiences as well as pull up and reexamine some of the larger implications of the form, how it has changed and grown, and what it’s value is now and in the future.

Our second day will cover other topics that are part of the Consortium’s core interests, such as fan activism, new media business models, and the ever-changing relationship between platforms, communities, users, consumers, producers, and brands.

Be sure to check out the official website for updates and details, and follow as at Futuresof on twitter.

For those who haven’t had the opportunity to join us before, be sure to check out videos, liveblogs, and panel descriptions from the previous years: FOE1, FOE2, FOE3 and at the C3 Blog.