Presentation for the ACE 2008 Conference at the end of the ARCHIE project (EFRD project), conducted by the Expertise Centre for Digital Media (Hasselt University) and the Gallo-Roman Museum (Province of Limburg).
1) Augmented reality and mobile devices can be used to enhance museum experiences by providing additional interpretive content about exhibits and expanding access to information.
2) They allow for diverse interactions like on-demand translation, collaborative activities between visitors, and role-playing games that can challenge typical spatial experiences in a museum.
3) Effective implementations require considering factors like appropriate content, facilitating collaboration, intuitive interaction styles, and testing and evaluating experiences with users.
Athens Augmented: Design and Evaluation of Mobile Learning for the Parthenon ...Shelley Mannion
This document summarizes projects using mobile learning and augmented reality to engage children with the Parthenon sculptures at the British Museum. Over 18 months and with input from over 250 children, two projects were developed: a worksheet ported to mobile devices and a game using augmented reality. Key learnings included that technology was exciting but problematic, children didn't like broken sculptures, augmented reality recognition was difficult, and testing helped refine wayfinding, instructions, and collaborative use. The goal was to celebrate Athens and deliver interactive content about the Pediment and Frieze sculptures in an engaging way for children.
Transmedia Storytelling on MICE tourismMontecarlo -
My presentation at the 2nd Forum of Meeting Tourism or how Transmedia Geo-located Storytelling can help to improve the MICE (Meetings, incentives, conferences, and exhibitions, or Meetings, Incentives, Conferences, and Events) Tourism experience. Complementary presentation to "Storytelling, Events, Experiences (Designing Emotions)"
Euskadi 2nd MICE Forum Presentation. Bilbao, April, 14th, 2016. Complementary presentation to "Transmedia on MICE Tourism, New Forms of Communication".
The document discusses how museums are increasingly using mobile technologies to enhance the visitor experience. It suggests moving away from "stop-based treasure hunts" towards experiences that are active, participatory, experiential, and collaborative, while accommodating different learning styles. Examples mentioned include apps that allow visitors to record voices or draw at exhibits. The document emphasizes testing and evaluating mobile experiences using methods like user journey maps and collecting feedback to improve future designs. Overall, it promotes designing mobile experiences for museums that engage and involve visitors in interactive, collaborative, and creative ways.
Audience participation in museums: Game Design as Learning Activity Nikolaos Avouris
This document summarizes a workshop on audience engagement in museums through game design and learning activities. It discusses how games can encourage active participation from visitors rather than passive consumption of information by allowing them to construct meaning through interaction. Examples are given of mobile technologies and social media supporting user-generated content like tagging objects, recording personal stories, and linking or categorizing objects. The document also discusses engagement through connecting personal stories, serving the community as citizen curators, and building personal narratives. It describes audience engagement through community-created games and presents a game content editor tool currently in development to allow players to build games for others. In conclusion, participatory activities like game design are said to offer rich learning experiences when integrated into museum activities.
Mixed media, ubiquitous computing and augmented places as format for communic...Kjetil Sandvik
Communicating the history of Kolding (DK) through an augmented reality game using mobile phones, a web 2.0 mesh-up, a playable conspiracy plot, and the city as game universe
Presentation for the ACE 2008 Conference at the end of the ARCHIE project (EFRD project), conducted by the Expertise Centre for Digital Media (Hasselt University) and the Gallo-Roman Museum (Province of Limburg).
1) Augmented reality and mobile devices can be used to enhance museum experiences by providing additional interpretive content about exhibits and expanding access to information.
2) They allow for diverse interactions like on-demand translation, collaborative activities between visitors, and role-playing games that can challenge typical spatial experiences in a museum.
3) Effective implementations require considering factors like appropriate content, facilitating collaboration, intuitive interaction styles, and testing and evaluating experiences with users.
Athens Augmented: Design and Evaluation of Mobile Learning for the Parthenon ...Shelley Mannion
This document summarizes projects using mobile learning and augmented reality to engage children with the Parthenon sculptures at the British Museum. Over 18 months and with input from over 250 children, two projects were developed: a worksheet ported to mobile devices and a game using augmented reality. Key learnings included that technology was exciting but problematic, children didn't like broken sculptures, augmented reality recognition was difficult, and testing helped refine wayfinding, instructions, and collaborative use. The goal was to celebrate Athens and deliver interactive content about the Pediment and Frieze sculptures in an engaging way for children.
Transmedia Storytelling on MICE tourismMontecarlo -
My presentation at the 2nd Forum of Meeting Tourism or how Transmedia Geo-located Storytelling can help to improve the MICE (Meetings, incentives, conferences, and exhibitions, or Meetings, Incentives, Conferences, and Events) Tourism experience. Complementary presentation to "Storytelling, Events, Experiences (Designing Emotions)"
Euskadi 2nd MICE Forum Presentation. Bilbao, April, 14th, 2016. Complementary presentation to "Transmedia on MICE Tourism, New Forms of Communication".
The document discusses how museums are increasingly using mobile technologies to enhance the visitor experience. It suggests moving away from "stop-based treasure hunts" towards experiences that are active, participatory, experiential, and collaborative, while accommodating different learning styles. Examples mentioned include apps that allow visitors to record voices or draw at exhibits. The document emphasizes testing and evaluating mobile experiences using methods like user journey maps and collecting feedback to improve future designs. Overall, it promotes designing mobile experiences for museums that engage and involve visitors in interactive, collaborative, and creative ways.
Audience participation in museums: Game Design as Learning Activity Nikolaos Avouris
This document summarizes a workshop on audience engagement in museums through game design and learning activities. It discusses how games can encourage active participation from visitors rather than passive consumption of information by allowing them to construct meaning through interaction. Examples are given of mobile technologies and social media supporting user-generated content like tagging objects, recording personal stories, and linking or categorizing objects. The document also discusses engagement through connecting personal stories, serving the community as citizen curators, and building personal narratives. It describes audience engagement through community-created games and presents a game content editor tool currently in development to allow players to build games for others. In conclusion, participatory activities like game design are said to offer rich learning experiences when integrated into museum activities.
Mixed media, ubiquitous computing and augmented places as format for communic...Kjetil Sandvik
Communicating the history of Kolding (DK) through an augmented reality game using mobile phones, a web 2.0 mesh-up, a playable conspiracy plot, and the city as game universe
Documenting Venice (DoVe) is a pilot project of the Municipality of Venice that aims to enhance the archival heritage of Venice through participatory documentation of the city. Residents, commuters, temporary residents, and tourists can contribute multimedia stories about specific urban sites and experiences in Venice, creating layered narratives around the city. The project seeks to connect people's direct experiences of the city to its cultural and documentary history through geo-referenced storytelling. It also aims to promote dialog between citizens and the city administration and support Venice's cultural development and "city branding". The project coordinates documentation efforts and provides contacts for those interested in participating.
Steven Lubar keynote presentation: Transport and Mobility on Display Steven Lubar
Presentation to the 9th International Conference of the International Association
for the History of Transport Traffic and Mobility: Transport and Mobility on Display
Trust No-one! - a conspiracy play in the King's KoldingKjetil Sandvik
The document discusses a project called "Trust No-One!" that uses augmented reality and mobile phones to communicate the history and culture of Renaissance-era Kolding, Denmark. It will do this by:
1) Creating an interactive story that places historical characters and events in specific locations around the city.
2) Using mobile devices to blend the physical city space with a virtual narrative world, overlaying historical information on top of present-day locations.
3) Treating buildings and streets not just as physical spaces but as "media" that carry cultural meaning and stories that can be experienced through augmented reality.
Stories are deeply ingrained in human nature as we are evolutionarily wired to think in terms of stories. Stories give us a sense of community and shared identity by allowing us to pass down cultural beliefs, traditions, and history. They also help teach values, share understanding with others, and make sense of experiences by helping us store and construct information and knowledge about the world in a narrative form. Stories captivate audiences and inspire people to take action by connecting them emotionally.
This document explores using various media like posters, websites, and social media to promote a story about microbreweries in Melbourne, Australia. It discusses converging different media types to craft and tell the story, with the goal of tapping into the culture of the local microbrewery scene and connecting with a community through shared interests and storytelling across networked platforms. The document references how this strategy relates to ideas of convergence theory and forming connections in virtual "knowledge communities".
This document discusses transmedia and analyzes the digital text "Inanimate Alice" as a transmedia artifact. It defines transmedia as conveying stories across multiple media platforms. Henry Jenkins views it as stories with roles and goals for readers to enact aspects of the story. "Inanimate Alice" uses multiple platforms like its digital novel, games, social media, and print versions. It qualifies as transmedia by requiring readers to drive the narrative forward at their own pace and interact across languages, cultures, and personal experiences. Its well-planned use of different media engages learners and encourages community.
Chronos, un proyecto educativo transmedia en el Museo NavalDolores Galindo
Este documento describe el proyecto educativo transmedia Chronos en el Museo Naval de Madrid. El proyecto utiliza narrativas inmersivas e interconectadas a través de una aplicación móvil y juegos para involucrar a los niños en la exploración y comprensión del museo de una manera activa. El objetivo es fomentar la participación de los niños y ver los museos como plataformas de contenido interactivo.
El documento resume el Renacimiento en España. Se caracterizó por el descubrimiento de la antigüedad clásica y su imitación. Llegó a España en el siglo XV desde Italia. Trajo el humanismo, con un enfoque en lo humano más que en lo religioso. La poesía renacentista se basó en las formas italianas como el soneto y canción, y trató temas como el amor y la naturaleza. El poeta Garcilaso de la Vega ayudó a introducir estas nuevas formas poéticas a España.
El Neoclasicismo surgió en Francia en el siglo XVII y se extendió por Europa. Se caracterizó por un retorno a las normas literarias clásicas griegas y romanas, con énfasis en lo racional. Algunos de sus principales representantes fueron Molière, Jean de la Fontaine y Daniel Defoe, quienes se destacaron en los géneros de la comedia, la fábula y la narrativa, respectivamente.
Narrativas Transmedia: contar para compartir - Festival Audiovisual Creative ...Montecarlo -
Slideshare de mi ponencia para el Festival Audiovisual Creative Commons Barranquilla - 2013 / Narrativas Transmedia: contar para compartir (24 octubre 2013)
Storytelling, transmedia, gamification y otros trending topicMontecarlo -
El documento repite la fecha "domingo, 26 de mayo de 13" más de 50 veces, indicando que se trata de un documento que no proporciona información sustancial.
Dossier about a transmedia communication project. The subject is violence, and the objective is to give visibility to the victims and establish direct cooperation ties between them and people of developed countries.
This document discusses how to co-create transmedia narratives with an audience through seven questions:
1) About communication and moving from one-way to two-way interaction.
2) About media and allowing the audience to participate across different platforms.
3) About building brand universes that include customers, stakeholders, and competition.
4) About collaborative storytelling to build community.
5) About creating narrative universes with consistent rules, mechanics, and aesthetics for stories.
6) About rethinking laws of authorship, ownership, and rights to enable audience participation.
7) About transforming from consumers to co-creators and influencers through peer interaction.
Transmedia Storytelling - Second Thoughts About Cultural ManagementMontecarlo -
Slides of my presentation at cultural association "Espais Escrits": a reflection about the changes that technology has brought to society, with special focus on the cultural arena, and how transmedia storytelling articulates a new, more complex discussion.
Este documento describe los cambios en la industria audiovisual debido a la digitalización y la convergencia de medios. La tecnología digital ha transformado la producción, distribución y consumo de contenidos audiovisuales, reduciendo los ciclos de vida comercial y cambiando los hábitos del público, especialmente los más jóvenes. Sin embargo, también ha abierto nuevas posibilidades creativas como el video 360°, realidad aumentada y realidad virtual. El futuro del sector dependerá de su capacidad para adaptarse a estos cambios.
Managment of Social Network EnterntainmentMontecarlo -
The document discusses the management of social networks in entertainment. It covers topics such as the shift from analog to digital media, the rise of social networks and digital identities, using social networks to engage brands and games communities, social media storytelling and transmedia experiences, co-creation with audiences, and harnessing collective intelligence through crowdfunding, crowdsourcing, and participatory fan cultures. The presentation took place in Barcelona, Spain on October 24, 2012.
La literatura medieval en España estuvo influenciada por tres culturas: la cristiana, la musulmana y la judía. Los principales géneros literarios fueron la lírica popular, la épica (como los romances) y la religiosa (mester de clerecía). La prosa no se desarrolló hasta el siglo XII con obras de Alfonso X, mientras que la literatura se transmitió primero de forma oral.
This document summarizes the key aspects of the Transmedia Storytelling presentation. It discusses (1) an overview of the "Lowlifes" transmedia project, including its crime mystery story and characters told across a novella, web series and blog; (2) how each character's story is the focus of their own media platform; and (3) how the project was designed for mobile and free digital distribution, with optional paid content, to maximize audience engagement and drive the franchise forward.
Este documento presenta una lista de autores ecuatorianos del arte de los siglos XVI al XVIII, incluyendo sus nombres, períodos de actividad y obras notables. Algunos de los artistas más destacados son Jorge de la Cruz, constructor del claustro principal del convento de San Francisco en el siglo XVI; Francisco Morocho, arquitecto del templo de San Francisco; y Bernardo de Legarda, escultor y pintor del siglo XVIII conocido por su Virgen María. El documento proporciona información sobre la contribución de estos aut
Documenting Venice (DoVe) is a pilot project of the Municipality of Venice that aims to enhance the archival heritage of Venice through participatory documentation of the city. Residents, commuters, temporary residents, and tourists can contribute multimedia stories about specific urban sites and experiences in Venice, creating layered narratives around the city. The project seeks to connect people's direct experiences of the city to its cultural and documentary history through geo-referenced storytelling. It also aims to promote dialog between citizens and the city administration and support Venice's cultural development and "city branding". The project coordinates documentation efforts and provides contacts for those interested in participating.
Steven Lubar keynote presentation: Transport and Mobility on Display Steven Lubar
Presentation to the 9th International Conference of the International Association
for the History of Transport Traffic and Mobility: Transport and Mobility on Display
Trust No-one! - a conspiracy play in the King's KoldingKjetil Sandvik
The document discusses a project called "Trust No-One!" that uses augmented reality and mobile phones to communicate the history and culture of Renaissance-era Kolding, Denmark. It will do this by:
1) Creating an interactive story that places historical characters and events in specific locations around the city.
2) Using mobile devices to blend the physical city space with a virtual narrative world, overlaying historical information on top of present-day locations.
3) Treating buildings and streets not just as physical spaces but as "media" that carry cultural meaning and stories that can be experienced through augmented reality.
Stories are deeply ingrained in human nature as we are evolutionarily wired to think in terms of stories. Stories give us a sense of community and shared identity by allowing us to pass down cultural beliefs, traditions, and history. They also help teach values, share understanding with others, and make sense of experiences by helping us store and construct information and knowledge about the world in a narrative form. Stories captivate audiences and inspire people to take action by connecting them emotionally.
This document explores using various media like posters, websites, and social media to promote a story about microbreweries in Melbourne, Australia. It discusses converging different media types to craft and tell the story, with the goal of tapping into the culture of the local microbrewery scene and connecting with a community through shared interests and storytelling across networked platforms. The document references how this strategy relates to ideas of convergence theory and forming connections in virtual "knowledge communities".
This document discusses transmedia and analyzes the digital text "Inanimate Alice" as a transmedia artifact. It defines transmedia as conveying stories across multiple media platforms. Henry Jenkins views it as stories with roles and goals for readers to enact aspects of the story. "Inanimate Alice" uses multiple platforms like its digital novel, games, social media, and print versions. It qualifies as transmedia by requiring readers to drive the narrative forward at their own pace and interact across languages, cultures, and personal experiences. Its well-planned use of different media engages learners and encourages community.
Chronos, un proyecto educativo transmedia en el Museo NavalDolores Galindo
Este documento describe el proyecto educativo transmedia Chronos en el Museo Naval de Madrid. El proyecto utiliza narrativas inmersivas e interconectadas a través de una aplicación móvil y juegos para involucrar a los niños en la exploración y comprensión del museo de una manera activa. El objetivo es fomentar la participación de los niños y ver los museos como plataformas de contenido interactivo.
El documento resume el Renacimiento en España. Se caracterizó por el descubrimiento de la antigüedad clásica y su imitación. Llegó a España en el siglo XV desde Italia. Trajo el humanismo, con un enfoque en lo humano más que en lo religioso. La poesía renacentista se basó en las formas italianas como el soneto y canción, y trató temas como el amor y la naturaleza. El poeta Garcilaso de la Vega ayudó a introducir estas nuevas formas poéticas a España.
El Neoclasicismo surgió en Francia en el siglo XVII y se extendió por Europa. Se caracterizó por un retorno a las normas literarias clásicas griegas y romanas, con énfasis en lo racional. Algunos de sus principales representantes fueron Molière, Jean de la Fontaine y Daniel Defoe, quienes se destacaron en los géneros de la comedia, la fábula y la narrativa, respectivamente.
Narrativas Transmedia: contar para compartir - Festival Audiovisual Creative ...Montecarlo -
Slideshare de mi ponencia para el Festival Audiovisual Creative Commons Barranquilla - 2013 / Narrativas Transmedia: contar para compartir (24 octubre 2013)
Storytelling, transmedia, gamification y otros trending topicMontecarlo -
El documento repite la fecha "domingo, 26 de mayo de 13" más de 50 veces, indicando que se trata de un documento que no proporciona información sustancial.
Dossier about a transmedia communication project. The subject is violence, and the objective is to give visibility to the victims and establish direct cooperation ties between them and people of developed countries.
This document discusses how to co-create transmedia narratives with an audience through seven questions:
1) About communication and moving from one-way to two-way interaction.
2) About media and allowing the audience to participate across different platforms.
3) About building brand universes that include customers, stakeholders, and competition.
4) About collaborative storytelling to build community.
5) About creating narrative universes with consistent rules, mechanics, and aesthetics for stories.
6) About rethinking laws of authorship, ownership, and rights to enable audience participation.
7) About transforming from consumers to co-creators and influencers through peer interaction.
Transmedia Storytelling - Second Thoughts About Cultural ManagementMontecarlo -
Slides of my presentation at cultural association "Espais Escrits": a reflection about the changes that technology has brought to society, with special focus on the cultural arena, and how transmedia storytelling articulates a new, more complex discussion.
Este documento describe los cambios en la industria audiovisual debido a la digitalización y la convergencia de medios. La tecnología digital ha transformado la producción, distribución y consumo de contenidos audiovisuales, reduciendo los ciclos de vida comercial y cambiando los hábitos del público, especialmente los más jóvenes. Sin embargo, también ha abierto nuevas posibilidades creativas como el video 360°, realidad aumentada y realidad virtual. El futuro del sector dependerá de su capacidad para adaptarse a estos cambios.
Managment of Social Network EnterntainmentMontecarlo -
The document discusses the management of social networks in entertainment. It covers topics such as the shift from analog to digital media, the rise of social networks and digital identities, using social networks to engage brands and games communities, social media storytelling and transmedia experiences, co-creation with audiences, and harnessing collective intelligence through crowdfunding, crowdsourcing, and participatory fan cultures. The presentation took place in Barcelona, Spain on October 24, 2012.
La literatura medieval en España estuvo influenciada por tres culturas: la cristiana, la musulmana y la judía. Los principales géneros literarios fueron la lírica popular, la épica (como los romances) y la religiosa (mester de clerecía). La prosa no se desarrolló hasta el siglo XII con obras de Alfonso X, mientras que la literatura se transmitió primero de forma oral.
This document summarizes the key aspects of the Transmedia Storytelling presentation. It discusses (1) an overview of the "Lowlifes" transmedia project, including its crime mystery story and characters told across a novella, web series and blog; (2) how each character's story is the focus of their own media platform; and (3) how the project was designed for mobile and free digital distribution, with optional paid content, to maximize audience engagement and drive the franchise forward.
Este documento presenta una lista de autores ecuatorianos del arte de los siglos XVI al XVIII, incluyendo sus nombres, períodos de actividad y obras notables. Algunos de los artistas más destacados son Jorge de la Cruz, constructor del claustro principal del convento de San Francisco en el siglo XVI; Francisco Morocho, arquitecto del templo de San Francisco; y Bernardo de Legarda, escultor y pintor del siglo XVIII conocido por su Virgen María. El documento proporciona información sobre la contribución de estos aut
Our team has experience creating branded apps for cultural institutions like the Museo Naval. We developed an app called "Chronos, adventure in the Naval Museum" for Samsung Store to make the museum more engaging for children through interactive storytelling and games. The app was a success and received recognition as an innovative project, bringing more children to museum workshops and reinforcing the museum's educational offerings.
1) The document discusses interaction design projects focused on public libraries, including transforming library spaces into interactive areas for play and learning.
2) Key projects include an interactive children's library with installations for browsing and selecting books, a "time music machine" and treasure hunts to encourage family play at libraries.
3) The goal is to research how new play concepts and interactive spaces can better support families and engage children at libraries by intertwining services, play, and exploration of physical and digital resources.
Today video games represent an important cultural and artistic expression; they have entered the permanent collections of museums (MOMA), videogames museum are born (Computerspiele Museum in Berlin) and they are an embody evidence of new intangible heritage.
Furthemore they represent an extraordinary tool to support cultural policies (audience development, audience engagement, audience activism...)
This document discusses the role and purpose of museums in society from the perspective of the Dutch Open Air Museum (NOM). It addresses how NOM is perceived as focusing on nostalgia and attractions. It explores how NOM can remain relevant by telling more inclusive stories, engaging in societal issues, and taking a more active role in building connections. The document advocates using the GIVE model of storytelling to focus on values, meaning, and actions that achieve societal goals through empathy, emotions, and co-creation with audiences.
The Interactive culture in the XXI centuryFabio Viola
What does it mean culture today? Where, how, why the younger generations are producing and consuming "culture"? Instagram, Wattpad, videogames are models and rivals of museums and theaters today? Slides from the Fabio Viola's talk at the European Commission meeting in Prague about the Future of Heritage.
The document discusses how museums can reimagine themselves for the future by embracing new technologies and engaging younger audiences. It provides examples of museums using augmented and virtual reality to provide immersive digital experiences that bring visitors closer to the artwork. This allows more people to experience the museums from anywhere. The document also suggests that museums focus on interactive, hands-on, and visual experiences that appeal to younger visitors and keep them engaged by making the exhibits feel relevant and shareable on social media. Reaching out to local youth and reconsidering opening times are also recommended to attract new, younger audiences.
Engagement, Art, & Often Children: Gobal Exhibit Forum SwedenMaria Mortati
Known locally as Intensivdagarna:
"Intensivdagarna is Sweden’s largest conference and prime meeting place for professionals working with the exhibition medium.
"The conference takes place in the premises of Swedish Exhibition Agency on the island of Gotland in December 2012. The programme containes more than 60 lectures and workshops focused on everything from new technology, audience involvement, marketing and contemporary art to trend-spotting for future exhibitions and global perspectives."
http://www.riksutstallningar.se/content/global-exhibit-forum-2012-0?language=en
Digital storytelling allows for new forms of nonlinear, contextual narratives across multiple media platforms. Stories can take fractal paths as audiences participate in cocreating and sharing content. While some online stories are fleeting, context and communities help form coherent narratives. Effective digital storytelling considers the audience experience, engages fan participation, and integrates personal stories across platforms to bring people together.
This report is a product of Arup Foresight + Research + Innovation. The Arup F+R+I Team identifies and monitors the trends and issues likely to have a significant impact upon the built environment and society at large. We research and raise awareness about the major challenges affecting the built environment and their implications. We help clients think more creatively about the long-term future, and manage risk and uncertainty more effectively.
The document is a program for the MuseumNext conference in Barcelona, Spain in 2012. It provides details on the various sessions to be held over multiple days, including keynote speakers, topics of discussion, and event locations. Some of the sessions will explore using new technologies like augmented reality, mobile apps, and games to enhance audience engagement. Others will focus on analytics, collaboration, and developing digital strategies. The overall conference aims to bring museum professionals together to share best practices and push the boundaries of incorporating new media and participation.
From the Cabinets of Curiosities to Museums as a Social ExperienceCostas Papadopoulos
This document outlines a lecture on the evolution of museums from early cabinets of curiosities to modern institutions that serve social and cultural experiences. It discusses the transition from private wonder chambers to established museums in the 17th-18th centuries aimed at building national identities and promoting science. In the 20th century, wars, recession, and reassessment led museums to focus on being societal institutions supporting social and cultural resources. The lecture will next discuss how digital technologies and mobile apps are transforming museum experiences and engaging visitors through personal, social, and physical contexts.
Us and Them | Me and You | from swerve of shore to bend of bay: Take Down the...Martin Kalfatovic
Us and Them | Me and You | from swerve of shore to bend of bay: Take Down the Fences … Here Comes the Crowd. Martin R. Kalfatovic. IMLS Focus: Inspiration and Innovation in Libraries and museums 2015. New Orleans. 16 November 2015
This document discusses the potential for educational apps to engage children in learning and to promote museums. It describes how apps can provide interactive, narrative experiences that incorporate multiple literacies and intelligences to deeply engage children. Examples are given of apps for museums that turn them into platforms for non-formal education, cultural content creation and participation, and promoters of cultural products online and offline. The document advocates that apps can help spread culture, values and tourism in an engaging way for families and children.
Beyond Artifacts: The Evolving Role of Museums in Modern Societyjaafarshaikh
In the digital age, museums are undergoing a seismic shift, transcending their traditional roles as static repositories of artefacts to become dynamic centres of cultural exchange and innovation.
Traditional Tales and Contemporary Art to Promote Multiple LiteraciesLiteracyCenter
1. The document discusses storytelling-based art projects conducted by Morgan Schatz Blackrose and Roman W. Schatz to promote multiple literacies in children.
2. The projects use traditional tales and storytelling combined with visual art activities to challenge prejudices, celebrate diversity, and promote resilience. They also help develop language and cultural understanding.
3. Examples are given of projects conducted in international schools around the world involving weaving, book making, instrument making, and more. The projects use folktales from various cultures to both affirm diversity and find common humanity.
This presentation provided an opening look at the topic of digital-age storytelling in museums, with an emphasis on web and social media outreach and the ways in which museums can be both storytellers as well as platforms for stories. I served as moderator for the panel discussion which featured 3 other case studies from the National Museum of African American History and Culture, the National Museum of American History, and the Harpers Ferry National Historic Park.
Journey Through Hallowed Ground
The Cutting Edge of Public History: New Directions in Interpretation Symposium
March 28, 2018
Keynote address for the cultural heritage hackathon Coding da Vinci Schleswig-Holstein, 11 June 2021
https://codingdavinci.de/de/events/schleswig-holstein
@CdVSH21
@codingdavinci
Cover slide: still from Lucio Arese, Les Dieux Changeants, 2021 https://www.youtube.com/watch?v=rAHmAj0QrHk&t=1s
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
La Unión Europea ha acordado un paquete de sanciones contra Rusia por su invasión de Ucrania. Las sanciones incluyen restricciones a las importaciones de productos rusos de alta tecnología y a las exportaciones de bienes de lujo a Rusia. Además, se congelarán los activos de varios oligarcas rusos y se prohibirá el acceso de los bancos rusos a los mercados financieros de la UE.
Dragones de Lavapiés, football for sustainable developmentDolores Galindo
In the middle of the city, in Lavapies, one of the most multicultural neighbourhoods of Europe, a football club (Dragones) empowers children with global awareness and the Global Goals.
Credits of the pictures: 1,2,9,10,12,13 Jesús Gabaldón
7 Danone Nations Cup, 19 Ted Talks Youth, 20 Donosti Cup
Alexandra Humboldt, una
Flash, para la Generalitat
otros autores, la ilustración del libro
sobre la figura del alpinista francés
exploradora virtual que ayuda a los
Valenciana sobre la historia de
“Cuentos de la frontera” de la editorial
Pierre Briet.
niños a descubrir el patrimonio
Valencia.
Pirineos Sur.
natural y cultural.
Proyectos transmedia en el museo: niños que cuentanDolores Galindo
Las herramientas transmedia en los museos ayudan a los niños a interesarse por los contenidos del museo y a aprender. La creación de mascotas y juegos en los museos acercan al público joven a una institución en plena transformación. El museo plataforma de contenidosy de creación ayuda a los niños a contar más en el museo y en la sociedad.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
Thinking of getting a dog? Be aware that breeds like Pit Bulls, Rottweilers, and German Shepherds can be loyal and dangerous. Proper training and socialization are crucial to preventing aggressive behaviors. Ensure safety by understanding their needs and always supervising interactions. Stay safe, and enjoy your furry friends!
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
5. Museum as
-non formal education centre
-content platform, fostering
participation and creation
-brander of cultural products
on-line and off-line
6. “We believe that transmedia has the potential to be a valuable tool for
expanded learning that addresses some of the most pressing
challenges facing education today. Through immersive,
interconnected, and dynamic narratives, transmedia engages multiple
literacies, including textual, visual, and media literacies, as well as
multiple intelligences. It is highly engaging and allows for important
social sharing among collaborators”.
The Joan Ganz Cooney Center
11. +They’re fun. It’s like hearing
from a knowledgeable, witty
friend who just happens to be
extinct and living in an
educational institution.
+Look smart. On Facebook
and Twitter, it’s pretty easy to
see who your friends follow.
In addition to following
celebrities and news outlets,
impress your contacts by
flaunting your friendship with
a T-rex or blobfish.
+December 6th
Museum´s Mascot´s Day
Erin Blasco http://
museumdiary.com/2012/02/27/
the-top-5-reasons-to-follow-amuseum-mascot-on-social/
17. A suggestive character
born to be remixed and
expanded and a teaser:
the time travel.
+Kids in the Armada:
midshipmen
+The misterious gaze of a
future king
+A time traveller: captain
Telmo and Chronos
spacecraft
20. Astrolabe-map
The map has been central in the entire
project: it is a located game
Evolution of the character
21. Red Head, linking
Humpback
anglerfish
bioluminscent in the
deep blue see
with San Telmo fire
a
helm to sail in time
Smile
unabashed.
Suggesting courage
In the future man and
nature will live in a
simbiotic way
Shoulder patch
Logo of the
as
captain in the Armada
Armada
White uniform
clean, simple
and with a starring blue vest
Blue Vest that´s the
Blue Vest that´s the
corporative colour of
corporative colour of
the Museum
the Museum
24. Museo Naval family
friendly adventure tour
The mascot is a
guide, explaining
stories about the
artifacts and
fostering games
and participation
Shortlist
key
artifacts in
a large
collection
AUTOGUIDED
TOUR
Makes families
engaged
IMPROVES
ACCESIBILITY OF
KIDS AND FAMILY
TO THE EXHIBITIONS
AND TO THE
INSTITUTION
New visits and families participation is
New visits and families participation is
encouraged
encouraged
25. App "Chronos, adventure in the Naval Museum",
published in Samsung Store.
A selected project
and sponsored by :
t
27. PORTABILITY
Multiplataform, fully responsive.
We work with frameworks that allow to create native
apps for both Android and iOS with a single
development.
All designs are customizable to different resolutions
and screen. Mobile and tablets
That way you get almost 95% of market Apps devices
running at optimal performance and reducing
production costs to a minimum
Software firms: Corona SDK, Unity
28.
29. Based Located Game
The map is real so
you can use the
game as a guide
or as a shortlister
Objectives:
Create, learn,
share, play
30.
31. Identity card, to welcome and invite to be part of the game. You can customize
it. You can also use the pen Samsung wanted us to promote.
32. Old artifacts remixed
with the game frame.
This historical
characters are
enrolled in the Chronos.
They are real sailors and
act like guides, giving
advice and hints.
42. Institute for the
Future
Kids are in some ways
ideally prepared to deal with
change, and may have more
to say and more power to
influence the world than at
any other time in history.
44.
…2.0 & transmedia
British Museum Samsung Discovery
Centre
Kids creating their own guides
45.
46. At the end of
this project…
We have discovered that we want to contribute to
improve education through apps that actively involve
children in exploring, understanding and building
reality.
We understand the role of museums as
content platforms and we think we can be the
right partner for museum branded content.
47. coming soon…
Touristic guides for children and
families
Promoting values, encouraging
activities out of the screen and social
games
Located based games
Enhancing family touristic experiences
Three years ago, when we started the project we are sharing with you today, we didn´t know about transmedia theories. Not even had heard about Henry Jenkins!.
What we knew is that if we wanted to share stories with young people in the museum, we would have to go to many places and learn a lot. We had some ideas about what education should be and a strong cross-media storytelling background.
We observed that museum media strategies all over the world were becoming more and more diversified. Museums are branding cultural products as documentaries, apps or even toys. Some of the cultural products are created by the institution itself, others are only inspired-by and developped by firms with its approval . The Smithsonian, a museum of many museums can be a paradigmatic example: with a broad range of magazines, documentaries, youtube channels, and a bunch of apps for mobile devices developped by them or in partnership with firms like Oceanhouse Media.
Nancy Proctor, the head of Mobile Strategy and Initiatives of the Smithsonian Institution is an authority on digital engagement and, as we should expect, shares in internet many interesting resources: @nancyproctor
As you probably know, the Smithsonian and its objects were brought to life in a Hollywood feature film: A Night in the Museum (and in its sequel). The Smithsonian created a webpage with a downloadable map of the “artifacts that inspired the movie”. http://www.gosmithsonian.com/nightatthemuseummovie/ showing its awareness of cultural creativity and the intertwinings between the plots of the film and of the museum.
This is how we understand museums. We share the view of Nina Simon and her participatory museum: Museum 2.0. http://www.participatorymuseum.org/
And we think that the “social museum” and the “inclusive museum” are the logical consequences of this concept.
And this is what we considered worth mimicking for expanding museum contents for the kids. Sesame Street was in our mind as a reference from our childhood . Many years later, we discovered their achievements helping children not only to learn facts but to improve their social competence, tolerance of diversity, etc. It was not a big surprise that the Joan Ganz Cooney Center, the research center named after the TV show producer and created by her, did this report about transmedia and learning “T is for transmedia”: http://www.joanganzcooneycenter.org/publication/t-is-for-transmedia/ written by Becky Herr-Stephenson and Meryl Alper. The authors say “Through immersive, interconnected, and dynamic narratives, transmedia engages multiple literacies, including textual, visual, and media literacies, as well as multiple intelligences. It is highly engaging and allows for important social sharing among collaborators”
So we were going to try to engage children in the museum. Museums and its artifacts can be expanded in unsuspected ways but when the brand of the museum is involved, veracity is a must. Museums are committed with this convention that we call reality to a bold extent. This rubber duck is an example: the customizable rubber duck toy designers had to cut the horns of this viking duck sold in the British Museum in order to be more accurate to historical truth (Vikings helmet didn´t have horns).
In our benchmarking process we discovered some interesting uses of youtube channels by museums to deliver pieces of their “branded content” to children. Here we show you two different examples: the Brain Scoop is a webserie where a young girl, Emily Graslie explores the Field Museum scientific collections in a very active and involved way (she even performs forensic practices). On the other hand, Know your Nelson is a very polite serie with some quizz-style scripts. Starring is Alfie, a character created by the Royal Museums Greenwich and performed by a lovely boy dressed as a royal navy officer. We have to outline that three years ago Alfie hadn´t been born yet because it has some resemblances with our mascot.
Here we have a pinterest board with Museum mascots. They can be artifacts that have become the visitor´s favourites, as William in the MET (actually a hippopotamus Egyptian blue statuette).
Or exterior elements of the museum, as Puppy, the Guggenheim´s mascot in Bilbao or animals like Owney, the dog which is the American Postal Service mascot. Can you spot any museum mascot you know in the board?
Being linked to the brand mascots are a good merchandisng theme, but let me read just a few words of Jonathan Gray in his book Show Sold Separately: Promos, Spoilers, and Other Media Paratexts and you may not disdain them as learning tools. Gray says: “Whereas cultural critics have long seen licensed toys as a particularly egregious instance of mindless and manipulative consumerism, I argue that the toys became a viable source of the text, framing and intensifying many of the films themes...”
And of course museum mascots are eager to engage in the digital realm. In Twitter this can be quite interesting, when the Kalamazoo Valley Museum mascot, a Mummy interacts with Maurice the Miner, the mascot of the National Coal Mining Museum. I have to say that particularly these mascots seem to interact more between them than with the public but we have other more succesful mascots as Miguelón, the Atapuerca mascot.
Paratexts are elements that interpretate texts as literary theorist Gérard Gennet defined. In a literary context mascots could be considered paratexts. And these images here could be too paratexts.
These are some examples of memes where works of art have been remixed in popular and complex formulae to be delivered in social media. User generated content usually have a more relaxed approach than the institutional, and some institutions are more encouraging than others towards this participation.
Being reflective and even self-reflective as they are supposed to be, museums are trying to understand what the selfies (pictures taken by oneself) mean in the museum. There´s a web collecting this selfies: http://museumselfies.tumblr.com/ by Allie Burness just in case someone wants to help in the research.
Now we have to talk about the hypotext, or the world we had to expand: the Museo Naval in Madrid. On this institution we shall highlight that hosts an incredible collection, with at least an artifact relevant worldwide: the first map of America, Juan de la Cosa´s Chart, dated in 1500. Juan de la Cosa was the skipper of the Santa María, a learned man who expressed in his chart the geographical discoveries of his time, and, besides, a rich late-medieval iconograpy.The Museo Naval is a national museum, dependent on the Spanish Defense Ministry. One of its mission statements is “to serve as a tool of communication and education of the Spanish Maritime History to safeguard its traditions and to promote the national maritime awareness”.
When we started the Chronos project we were thinking in two different young audiences: those who were enrolled in the museum activities and those who were potetial visitors and would came with their families by themselves.
Since the beginning we knew that we would tell stories but that we would also listen to kids. We were ready to let children ellaborate their own stories, fostering their imagination. And the first thing we had to do was creating a character. Thats where our team, Wunderkammer, started to work.
We rely on visually attractive characters who also have an interesting inner life! Storytelling is our strong point.
This portrait of a boy in a cabin imitation in the museum was our inspiration for the mascot. Telmo is an alter ego of this boy, much later we discovered it was to be the king Alfonso XII
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We were inspired too by Jules Verne and his novels. We dived in the world of underwater travels and time machines. Steampunk aesthetic also was very appealing to us.
On the plot we shall say that the travel time is a very known hypotext that is used by museums as the British in its last game and also by transmedia edition houses as Scholastic (Infinity Ring is a serie of books, games and apps).
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In the Museum the communication team thought Telmo was ok but suggested some changes: one of the shells in the head was from an Earth snail! It had to be a sea snail and we changed it. Do you remember the viking duck in the British Museum? The uniform also was turned into blue and white. The astrolabe map was considered a complex tool and concept here and rejected.
The fish-shaped submarine (Monturiol style) was changed into a spacecraft.
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And here we have the unfolded brochure with the map who is like a control panel or a GPS now. The cover is in the middle and Chronos, Telmo´s spacecraft is opposed to the training ship Juan Sebastián Elcano.
Our target are advanced readers and their families. We didn´t want a too childish aesthetic and we chosed strong and dark colours.
In the other side of the brochure we have seven games that shorlist the museums collection. In the games you can find information of the artifacts and several puzzles.
The museo naval family friendly adventure tour was an autoguided tour that improved accesibility of kids and families to the exhibition and to the institution, shortlisting key artifacts in a large collection.
Then we had the idea of creating a game that could be played in a mobile device. Samsung believed in our project and thanks to this, we developped the application “Chronos”in partnership with the Museo Naval.
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The app has keep the colours and the aesthetic experience of the brochure. That allows some recycling!
We had to work with resolutions and formats, which in Samsung is something big because there are many different phones and tablets.
We used Corona, a SDK that allows to create native apps for Android and iOs with a single development, though our app is only available in the Samsung store by now.
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Here you can see the cover of the brochure and the cover of the app game.
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This are some of the games inspired by the games we have developped in the paper brochure. The novelty was Telmo, who was animated. We had also music composed for the games.
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We designed this dentity card, to welcome the kids and to invite them to be part of the game.
You can customize it. You can also use the pen Samsung wanted us to promote.
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To sum up, in our project for the Museo Naval we just threw the dice!: The storytelling dice
As a result we got some gamification
Some drama and some artcraft
And a hook to talk to historical characters.
Not everybody likes games
But we think they have a great engaging power and a big potential in museums. This game is an example. It was developped by the Thought Den in the National Museums Scotland.
And this scarvenger hut in the British Museum.
As Ghost of a chance proved in the Smithsonian, museums are also a good place for augmented reality games. Our ARG plot was around the resolution of a misterious forecast supposedly made by Torres Villarroel three centuries ago and recovered in a youtube film. The scientific mind of Jorge Juan helped the kids to discover the truth through different puzzles in the museum.
We believe in kids
We have seen them making amazing things, as in here, making a documentary in the Rastro.
We know that in some museums children are empowered through digital tools, that is the case of the British Museum Discovery Centre, where kids have a very active role playing, mixing and creating with software
Toontastic, Voicethread, iStopMotion y Silent Film Director: this are some awesome apps for storytelling with kids in the museum that transmedia kids would need.
So we have created Wunderkammer Apps to do all these things.
And we enjoy the work of others that are doing great things in the field of transmedia and located based games, that´s the case of this project launched by Arte Channel that is a film on the building of Strasbourg cathedral, a based located game and audioguide and a web game that is a fake architecture contest.