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presentatie bij de workshop over narrativiteit tijdens het congres Museum Mediation in Transition in Mus

presentatie bij de workshop over narrativiteit tijdens het congres Museum Mediation in Transition in Mus

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  • 1. ‘Tales of treasure, time and trespassers’ n a r r a t i v i t y under the influence of new media Museum Mediation in Transition Leuven 2012 Theo Meereboer en Simone Stoltz Stichting E30woensdag 19 december 12
  • 2. narrativity we zijn geboren verhalenvertellerswoensdag 19 december 12
  • 3. Four aspects of a narrative storyline under influence of new media 1: the narrator and its changing rolewoensdag 19 december 12
  • 4. Four aspects of a narrative storyline under influence of new media 2: point of view and its focalizationwoensdag 19 december 12
  • 5. Four aspects of a narrative storyline under influence of new media 3: space with possibility of crossing borderswoensdag 19 december 12
  • 6. 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.woensdag 19 december 12
  • 7. narrativity we zijn ervaren verhalenvertellers en krijgen er gereedschappen bijwoensdag 19 december 12
  • 8. Four aspects of a narrative storyline under influence of new media translationwoensdag 19 december 12
  • 9. Four aspects of a narrative storyline under influence of new media crowdsourcingwoensdag 19 december 12
  • 10. Four aspects of a narrative storyline under influence of new media mediakeuze en marketingwoensdag 19 december 12
  • 11. Four aspects of a narrative storyline under influence of new media conversation?woensdag 19 december 12
  • 12. app’s with locations, events in time, historical contentwoensdag 19 december 12
  • 13. Serious Games ”woensdag 19 december 12
  • 14. 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)woensdag 19 december 12
  • 15. 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?woensdag 19 december 12
  • 16. 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?woensdag 19 december 12
  • 17. 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.woensdag 19 december 12
  • 18. erfgoed to go & to do A heritage institution is cross-media based There 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.woensdag 19 december 12
  • 19. crosssmedia - conversations - meeting places (agora) - interactionwoensdag 19 december 12
  • 20. transmedia* - parallel and intersecting routes - Transfer and moments of choice - 24/7 integration daily life - Participation / involvement * see a.o. Henry Jenkins, Christy Denawoensdag 19 december 12
  • 21. 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.woensdag 19 december 12
  • 22. transmedia storytelling:meer links http://www.youtube.com/watch? v=61g72U9ZEsY&feature=PlayList&p=4482DCE2474A1653&playnext=1&playnex t_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/16338woensdag 19 december 12
  • 23. S.T.I.P. model S ocial Interaction conver sations st gs or (meta) tin ie I nformation/ mee s Interface (real)T ime/ moment expe riences (location) P osition/ Placewoensdag 19 december 12
  • 24. 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) 2005woensdag 19 december 12
  • 25. waar waren we ook alweer? in- situ? ex situ?woensdag 19 december 12
  • 26. waar waren we ook alweer? digitized! accessible!woensdag 19 december 12
  • 27. waar waren we ook alweer? cal Co mbine physi (events), intangible ral (stories, o d history) an e, dig ital (onlin mobile)woensdag 19 december 12
  • 28. heritage to go: trans-situ! continuously changing stories, perspectives and experiences to sharewoensdag 19 december 12
  • 29. the future of the mediation: visitors interacting with technology and eachother? ”woensdag 19 december 12
  • 30. Alternate Reality Game (transmedia)woensdag 19 december 12
  • 31. Alternate Reality Game (crowd sourced ARG fiction )woensdag 19 december 12
  • 32. focus on connections between both media and people (connectivity) identity (concept + values​​) determine the course work process oriented and in permanent beta gebruik de 5 pijlers van P.E.R.M.A.* voor de sociale (media) aanpak: Positieve emotions Engagement Relations Meaning and purpose Accomplishment relations are leading act analogue think excentric ** * Martin Seligman ** de publicatie SCCS! komt in oktober online beschikbaarwoensdag 19 december 12
  • 33. thank you for your attention! more on Erfgoed20.nl StichtingE30.nl collectiewijzer.nl Inheritage.eu Vragen? theo@stichtingE30.nlwoensdag 19 december 12