‘Tales of treasure, time and trespassers’

n a r r a t i v i t yunder the influence of new mediaMuseum Mediation in Transition

Leuven 2012Theo Meereboer en Simone Stoltz

Stichting E30

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narrativity

we zijn geboren verhalenvertellers

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Four aspects of a narrative storyline under influence of new media

1: the narrator and its changing role

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Four aspects of a narrative storyline under influence of new media

2: point of view and its focalization

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Four aspects of a narrative storyline under influence of new media

3: space with possibility of crossing borders

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Four aspects of a narrative storyline under influence of new media

4: the intercommunication between the duration of telling the story and the period being told.

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narrativity

we zijn ervaren verhalenvertellersen krijgen er gereedschappen bij

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Four aspects of a narrative storyline under influence of new media

translation

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Four aspects of a narrative storyline under influence of new media

crowdsourcing

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Four aspects of a narrative storyline under influence of new media

mediakeuze en marketing

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Four aspects of a narrative storyline under influence of new media

conversation?

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app’s with locations, events in time, historical content

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”

Serious Games

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narrativity

Narrativity is a term that describes the degree of “storyness” of a text. (not of an object, or a (historic) person, site or event)

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narrativity

Object means ‘treasure’, not the object itself, but what we remember, think, discus or tell eachother about it; the treasure is valuated by our common perspective. And so the object is made a subject of importance?

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narrativity

If we translate historic event to ‘time’ The more time, the more distance, the greater the distance the less disturbing? The less disturbing, the greater the empathy?

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narrativity

New media brings narratvity (back) to common grounds. When it is detached in a journey through several new media (as in transmedia) text may incite 'trespassing'; crossing borders of not just the media, but of values and context as well. And not the text itself, but the information transfer, interaction and altering perception will do the trick.

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erfgoed to go & to do

A heritage institution is cross-media basedThere is almost always a physical location + exhibitions, print, audio / video / multimedia, web. The trick is to to apply this in a cross-media manner. Game elements can be really helpful.

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crosssmedia- conversations- meeting places (agora)- interaction

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transmedia*- parallel and intersecting routes- Transfer and moments of choice- 24/7 integration daily life- Participation / involvement

* see a.o. Henry Jenkins, Christy Dena

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7 Lessons about Transmedia Stories: Christy Dena

1: Quality and Speed means Costs.2: It’s never as easy as you think it will be.

3: Have a plan or outline for the whole project before you begin. Know thematic elements as well as the look and feel of a project. And know when a project ‘ends’.

4: Set the stage so the audience knows what they are committing to structurally (their time and commitment) as well as the ‘story’ elements.

5: Everything in your transmedia story has a potential barrier to entry. For example, having to register to use the site, moving across platforms etc.

6: Everything is a balancing act, for example, between audience size, audience engagement, audience contribution, accessibility etc. Don’t make the bonus content — the music, the audio play, the game, and whatever else I devise — necessary to follow the story.

7: Promote yourself.Your own networks aren’t enough. Go where your audience is, to forums and blogs and news sites and put your stuff in front of eyeballs.

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transmedia storytelling:meer links

http://www.youtube.com/watch?v=61g72U9ZEsY&feature=PlayList&p=4482DCE2474A1653&playnext=1&playnext_from=PL&index=6

http://www.youtube.com/watch?v=Mn-vO1mi2eQ&feature=related

http://www.slideshare.net/jgerst1111/digital-storytelling-1303268

http://www.geheugenvanalmere.nl/

http://www.disappearingplaces.net/tags/

http://www.frankwatching.com/archive/2007/03/11/digital-storytelling-de-kunst-van-het-toevoegen/

http://storiesforchange.net/

http://en.wikipedia.org/wiki/The_Truth_About_Marika

http://www.youtube.com/watch?v=iX_ZJkwvKR8

http://www.brooklynmuseum.org/opencollection/tag_game/start.php

http://blog.programmableweb.com/2009/04/01/hack-the-brooklyn-museum/

http://www.dutchcowboys.nl/events/16338

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( r e a l )T i m e / m o m e n t

S o c i a lI n t e r a c t i o n

( m e t a )

I n f o r m a t i o n / I n t e r f a c e

( l o c a t i o n )

P o s i t i o n / P l a c e

meetings

stories

e x p e r i e nc e s

c o n v e r s at i o n s

S.T.I.P. model

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The dimensions of time and space were in crisis at the end of the 20th century. There was the acceleration of transport and information but not widely access to it. Internet is the answer to this crisis and therefore so successful.

Digital interaction has transformed the archaic dimensions Space and Time into operational interaction in which information, position and Time/ moment are aligned. These STIP dimensions are mutually reinforcing; from Google Earth and Layar to Foursquare and TomTom. Digital interaction makes the Here and Now for all of us to an emotional dimension that can be experienced and operationalized. From the Now man builds his world. The man who originated a spatial entity has media at his disposal which he can connect him to the world, can help him build this world and influence it from there and then.

Johannes Bongers (Bureau Stalingrad) 2005

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in- situ?

ex situ?

waar waren we ook alweer?

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digitized!

accessible!

waar waren we ook alweer?

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waar waren we ook alweer?

Combine physical

(events),

intangible

(stories, oral

history) and

digital (online,

mobile)

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continuously changing stories, perspectives and experiences to share

heritage to go: trans-situ!

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”

the future of the mediation: visitors interacting with technology and eachother?

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Alternate Reality Game(transmedia)

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Alternate Reality Game(crowd sourced ARG fiction )

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focus on connections between both media and people (connectivity)identity (concept + values ) determine the coursework process oriented and in permanent betagebruik de 5 pijlers van P.E.R.M.A.* voor de sociale (media) aanpak:Positieve emotionsEngagementRelations Meaning and purposeAccomplishment

relations are leadingact analoguethink excentric

* Martin Seligman

** de publicatie SCCS! komt in oktober online beschikbaar

**

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thank you for your attention!

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Vragen?theo@stichtingE30.nl

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