Cncpt: Storytelling Starts With Asking Questions

elk idee, elke oplossing, toepassing en elk
verhaal begint met een vraag.

(digital) storytelling
storytelling starts with asking questions and (then)
go on a journey to seek for answers, together with
your audience.
There is a question at the very beginning of every
story.
"Storytelling is the act of bringing home the
discoveries learned from curiosity."
Ben Grazer

before the story: what is happening?

storytelling is drama
"drama is
anticipation
mingled with
uncertainty"

into the box
randvoorwaarden
mogelijkheden
beperkingen
uitdagingen

nadenken over drempels voordat je erop vastloopt

http://davidsmcnamara.typepad.com/david-mcnamara/2011/11/visual-thinking-1-5-stages-of-idea-generation.html
RESEARCH MIX IT ALL CHOOSE HAVE
CONVERSATIONS
TRY, EVALUATE,
ANALYSE, TRY
AGAIN
• Generating new ideas!

http://www.designthinkingforeducators.com/
• Design thinking

http://www.inventtolearn.com/resources/
• Experiment, make & invent to become engaged

5 terreinen
http://business.singtel.com/industry_solutions/education/images/cLc_feature.jpg
http://clalliance.org/wp-content/themes/saltermitchell2014/images/Graphic-Main-2.png
Museum
• Experiment, make & invent to become engaged

minor P&M
5 terreinen
http://connectedlearning.tv/what-is-connected-learning
• Engaging education: connected learning

<digital> storytelling </digital>
Identity - ideation phase
“Ideas aren’t self-contained things;
they’re more like ecologies and
networks.They travel in clusters.”
-Kevin Kelly,Futurist and Author of What TechnologyWants
Your Big Idea

wat hebben we nodig om ideeën
te bedenken > inzicht + creatie + …
te versterken > impulsen + professie + …
te verspreiden > samenwerking + strategie + …
… betrokkenheid?

(met) wie zijn we?
wat is onze ambitie? waarom?
voor wie doen we dit? met welk doel?
welke problemen lost dit op?
hoe pakken we het aan?
wat gaan we achtereenvolgens doen?
• wat gaan we verdienen?

waarom > bedoeling + ambitie, overtuiging,
waarden (visie + missie + relatie)
hoe > doelstelling, strategie/ aanpak (co-created
value, customer journey)
wat > specifieke doelen (targets), producten
(deliverables), transacties & interacties
• wat gaan we bedenken?

H
O
E
HOE
HOE
HOE
H
OE
WAAROM
WAT
W
AT
WAT
W
AT W
AT
WAT
WAT
W
AT
W
AT
WAT
W
A
T
W
ATWAT
WAT
WAT WAT
W
AT
WAT
WAT
W
AT
WAT
WAT
WAT
WAT
WAT
WAT
W
AT
W
AT
W
AT
W
AT
W
AT
W
AT
WAT
WAT
WAT
WAT
W
AT W
AT
W
AT
W
AT
Golden Circle (iteratief)

订婚或参与博物馆
II social engagement tool
(SET)
ENGAGEMENT IS
A MATTER OF
LIFE
AND
DEATH

SET
boardIDENTITY
vision
mission
relation
> core text (pay off / premisse)
[credibility]
title/subject
© Theo Meereboer
Stichting E30 2013
date
participants
BRAND (strategy)
values
ambition
targets
task / role
followers
[attractiveness+ appeal]
business (model)
assets
channels
customers
>> propositions
[profitability]
projects (iterative)
for each project name a.o.
- purpose
- 5 main ‘elements’ / ‘ingredients’ (what makes them
work, what happens if...)
- engagement (for whom, why)
- media (which, where, when)
- milestones (incl. targets & KPI) in visionairy terms
- time (urgency, planning, within 5/10 years)
Q: What is the relation to the upper part of the board?
And to the lower right part?
[think of sustainability]
Social
call to action
added valuetransition
participation
communication
reach
relevance
stakeholdersbelievers ambassadors
initiatives
interest
involvement
inﬂuencers
conversations
conversion
why
how
what
who
moral transactional
"wie zijn we"
hoe zien we het voor ons, wat moet er
gebeuren
hoe werkt het? wat doet het?
"voor wie doen we dit"
"wat we belangrijk vinden
wat we willen bereiken
wat onze passie is, welke taak we
op ons nemen
en wie dat interessant kan vinden"
"waar we goed
in zijn, wat we in
huis hebben
wie al klanten
zijn, kanalen en
media die we tot
onze beschikking
hebben
=> onze belofte"
o.a.
• bedoeling/ doelstelling
• 5 belangrijkste
ingrediënten /
karakteristieken
• mijlpalen
• prioriteiten en planning
• budget

IDEA
[identity]
relation
vision
mission
PROJECT
[opportunity
+ sustainability]
purpose
urgency
process
technique
ingredients
deliverables
title/subject
© Theo Meereboer
Stichting E30 2015
date
participants
follow
ers
fans
c
o
m
m
u
n
ity
team
visito
rs
participants custom
ers
friends
b
e
n
e
fa
c
to
rs
stakehold
ers
partners
su
p
p
lie
rs
CONTEXT
[credibility]
turmoil & trends
tasks & roles
ambition
values
SOCIAL
[participatory]
attention
needs
questions
co-creation
BUSINESS
[profitability]
assets
channels
resources
propositions
+
SET
board

"wie zijn we"
hoe zien we het voor ons, wat moet er
gebeuren (bedoeling)
hoe werkt het? wat doet het?
"voor wie doen we dit"
"wat we belangrijk vinden
wat we willen bereiken
(doelstelling)
wat onze passie is, welke taak we
op ons nemen
en wie dat interessant kan vinden"
"waar we goed
in zijn, wat we in
huis hebben
wie al klanten
zijn, kanalen en
media die we tot
onze beschikking
hebben
(doelmatigheid)
=> onze belofte"
o.a.
• bedoeling/ doelstelling
> doelen
• 5 belangrijkste
ingrediënten /
karakteristieken
• mijlpalen
• prioriteiten en planning
• budget

visie: wenkend vermogen
WAARHEEN - kompas | verbeeldend + beïnvloedend
aandacht vragen / richting geven
missie: werkend vermogen
WAAROM - barometer | waarde gevend
bewustwording (identiteit) / opdracht /
probleemoplossen
relatie:
wervend vermogen
(met/voor) WIE - magneet |
verbindend
gedragsverandering /
participatie
strategie

strategy
strategy
strategy
• powersource
vision
beckoning power
imaginative + influencing
draw attention / give direction
mission
working power
creating solutions + awareness
problem solving / promise
relation
recruiting power
connecting, behavioral
change, participation
core text that defines
the organization
(Look:)
(,because)
(and so…)

• powersource, 3 layers
vision
beckoning power
mission
working power
relation
recruiting power
core text
core text
core text
1. organization 2. project/
exhibition
3. visitor
perspective
Look
because
and so…
I see
how it
works
it means
to me

• powersource / idea
1. describe the powersource of your organisation, using:
• visionairy/beckoning power (“look!”) 
• missionairy/working power (“because...”)
• relational/recruiting power  
(“and so, that means for you”)
summarize them in one sentence… 
we are going to answer the questions. You can do it on your own or
discuss it with your neighbour(s). But everyone can write down the
questions (or number them) and answer them.

• powersource
Step 1: write the core text that defines your museum
vision
mission
relation
Try to make a version that is more easy to understand and can
be put in 3 sentences maximum.
Step 2: write the core text that defines your project
(Look:)
> What do you or does the visitor actually see?
(,because)
> why is this important, how does it work? What is the meaning?
(and so…)
> why should your visitor care? What does it mean to your visitor, how
can the visitor contribute?
Be brief, be imaginative, be true.
Compare those two versions. Do they match? Do you have to change
something?

• context
2. What is concerning your audience, what is concerning the society?
3. What are the core values, considering your heritage?
4. What is the most daring ambition of your organisation?
5. Why are these values/issues/topics important for your fans?
6. Describe an issue your visitor is facing when dealing with daily life,
information overflow, technology, media literacy, etc.

• business / proposition
7. What is the value your museums is creating?
8. What are the main assets of your museum, what are you good at
9. What are the main activities?
10. How about your resources, how will they help?
11. Describe the most important relationships
12. Which distribution channels (“venues or meeting places”) does
your museum use?

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strategie
wat moet je weten voor een strategie?

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strategie
strategie als verandering (-s proces)
verandering = het verschil tussen de huidige situatie en de
wenselijke situatie.
Om dit verschil te overbruggen kun je bijvoorbeeld een
stappenplan uitvoeren, met begin en einde, maar het ook
benaderen als veranderingsproces (dat voortduurt, ook nadat
jij weg bent). In dat geval ga je met betrokkenen en
stakeholders aan de slag om de verandering te
bewerkstelligen. Zorg dan voor een design sessie, workshop
of eventueel een complete campagne.  
Gebruik daarbij het ‘maken van een app’ als methode om
keuzes te maken, te prioriteren, een flowchart te maken (hoe
je van A naar B komt, hoe je een route aflegt door de
geboden of gezochte informatie).
Dit uitkomst van dit proces en de belangrijke stappen kunnen
je helpen bij het bepalen van je (media)strategie.

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Geeldrukdenken
Witdrukdenken
Groendrukdenken
Rooddrukdenken
Blauwdrukdenken
•
denken in macht
•
draagvlak
•
opties openhouden
•
netwerken
•
alles op papier
politiek
afspraak is afspraak
SMART BSC PI’s
druk brengt mensen
in beweging
declarabele dagen
targets
structuur
•
HRM-denken
•
family feeling
•
samenwerken
•
communiceren
•
immaterieel ruilen
sociaal
• leren
• verbinden
• procesdenken
• mensen op een ander been zetten
leren
• eigenwijs
• zelf kiezen
• panta rhei
• chaostheorie
• eigen verantwoordelijkheid
• intuïtie
ﬁlosoﬁsch

E
Geeldruk denken
één ronde tafel
zodat mensen er gezamenlijk aan gaan zitten met elkaar zullen praten en onderhandelen
tot gezamenlijke beleidskeuzen komen en die gaan uitvoeren
N.B. veel tafels van Raden van Bestuur, van politieke organen dragen deze kenmerken
Blauwdruk denken
meerdere tafels, zodanig dat men elkaar niet stoort, van sober materiaal makkelijk te onderhouden
zodat je er efficiënt aan kunt werken (goede oppervlakte , goede hoogte) zodat opeenvolgende activiteiten
snel kunnen worden overgegeven
N.B. De reproductieruimte of de uitgiftebalie van een bedrijfsrestaurant dragen vaak deze kenmerken
Rooddruk denken
zulke tafels en een zodanig arrangement dat mensen zich prettig voelen in een
aangename omgeving gemaakt van materiaal met een warme uitstraling zodat mensen uitgedaagd worden
tot prestaties
N.B. Sommige concepten van het ‘kantoor van de toekomst’ (een aangename, prettige omgeving) hebben
hiervan kenmerken
Groendruk denken
zulke tafels en zo neergezet dat je van elkaar kunt leren
dat je effectief denkbeelden en betekenissen kunt uitwisselen
N.B. Een tafel met een ‘decision-support system’ of met allerlei hulpmiddelen voor leren en uitwisselen (flip-
over/overheadprojector etc.) is hiervan een voorbeeld
Witdruk denken
tafels op zijn kop zetten
zodat er iets onverwachts en creatiefs kan gebeuren
je in elk geval niet lekker zit en nog veel overlaat…….
N.B. Multifunctionele inrichtingen of landschapsopvattingen bevatten vaak kenmerken hiervan
De Tafelschikking

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5. draagvlak
1. aandacht
2. ontvankelijk
3. begrip
4. acceptatie
participatie: is vaak ook veranderingsproces
bijvoorbeeld van nauwelijks of afstandelijk museumbezoek naar
betrokkenheid bij het museum
6. participatie

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MOTIVATIE CAPACITEIT GELEGENHEID
Wil men het?
Iets leuk vinden Belang
ervan inzien
(Verwachte) voldoening
Waardering/erkenning
Opdracht/instructie
•Beloning/straf
Kan men het?
Fysiek
•Cognitief
•Financieel
•(Materieel)
Is men in de
gelegenheid?
Beschikbare tijd
•Beschikbare faciliteiten
•Fysieke omgeving
(materieel)
•Sociale omstandigheden
Alleen als alle drie de factoren goed
scoren zal de gewenste verandering optreden

zorg voor een open mindset & maak het zinvol
doe research, ga op zoek naar inspiratie en voorbeelden
genereer ideeën: associeer, verbeeld, maak verbindingen, schrap en voeg toe
ga ermee aan de slag: maak keuzes en prototypes
pas het toe, test het, observeer, analyseer, evalueer, verbeter het (opnieuw)
design thinking

combineer, maak crossovers
t r a n s f e r r y u m m

werk samen, zoek partners, producten
productprocesklantbenadering

aanpassingsvermogen (blijvertje)

integrale, gezamenlijke aanpak (win-win)

digital engagement /
participation in museums
订婚或参与博物馆

• build true relations
YOUR
MUSEUM

first a movement, then followers?
http://www.ted.com/talks/derek_sivers_how_to_start_a_movement
Look at all the things TED.com is offering (live events, videos, website,
publications…) Could your museum do the same and establish authority?
• nurture your followers

5 x R:
1. Research (audience / agora / themes / topics)
2. Resources (content, creation, crowd)
3. Reach/realm (media choice, timing, communities)
4. Relations / responsibility
5. Relevance!
13.who to follow and who to involve using social media: why and how
could your organisation participate in society? 
14.Who are the greatest fans and how can you maintain a (co-
creation) relationship with them?  
What’s it worth? (visits, contributions / co-creation, meta-data,
money, etc.)

15. Does every step, every interaction in the journey strengthen the
‘bold promise’ of your organisation? How can you make the world
a better place , which relationships can be restored? 
 
16. Are all your (digital) channels fit to have conversations about this
'bold promise'? Who is talking?
17.think of one item in your collection, one exhibition, one
educational effort… and create it again, but this time with digital
media.

• your newest idea
• base it on the outcome you generated with the Social Engagement
Tool
• use a story arc

• engagement versus outreach
Engagement and outreach are the pinnacle elements 
of any digital engagement strategy. although very similar, there’s a
fundamental difference between both concepts. In our experience this is
a key determining factor in success with any digital activity: Does it focus
on strengthening relationships with your existing audience (engagement),
or does the activity try to make contact with new and fresh target groups
(outreach)?
It is very dif cult to design activities that address both engagement and
outreach at the same time. also, it is crucial for your organisation’s digital
success to balance both. Too much focus on outreach might alienate your
existing audience, whereas no outreach at all limits your target audience
to your existing audience.

Outreach is about connecting with new target groups that might never
have heard of you and are certainly not regular to your place. Outreach
activities use your assets to connect with new target groups. Successful
outreach starts with identifying where your target audience is and then
setting up activities that make contact with them there.
Outreach is usually done outside of the safety of your organisation’s
building, website and social media presence. Outreach is successful
when the target audience knows you exist and acts upon this knowledge.

Engagement on the other hand are all activities that take audiences
already connected with you and turn them into enthusiasts for your
organisation’s assets. Engagement activities go through a xed number of
phases: Great content (see next part) turns contacts into interested
customers who you will facilitate, invite and inspire to become engaged.
Empowering engaged people and providing them with timely feedback
might create enthusiasts. On an average for every 1,000 contacts you’ll
have 1 enthusiast.

We will work in 5 groups of ± 5 people. There are 4 things we are going
to do.
1. Value creation
2. Develop the engagement journey
3. Define the activities
4. Make step by step plan
You will have ± 1.5 hour to work on this. I will be around to help you, you
can ask me questions.
There will be 45 minutes do discuss the outcome of your work.

• develop the journey
1. Start small, keep it simple
2. it is about the purpose and the content, not the technique
3. think about conversations and connectivity
4. rely on passion
5. make the story nowadays and attach it to the past (historytelling)
6. make sure the story can be told again by others
7. link, relate, dare to be onconventional
8. reuse existing successes

• How: value creation
What is the
contribution
of your
organization?
What is the
value of your
proposition?
Who is going
to contribute
and why,
how, what?
Remember what your organization is about from the previous workshop.
Use the powersource, the brand and the simpliﬁed business model
inspiredbycoffee.com/2015/03/consumer-journey-boardgame

• Why: value creation - V&A
• do we have the capability of delivering this, according to our
assets and our existing content?
• will it deliver on organisational priorities to grow revenue, reach
and reputation?
• will users love it? (or people, as they’re commonly known).
users love it,
it meets their
needs
fits with the museum
(core text/powersource)
grows revenue
and reputation
YES! http://www.vam.ac.uk/blog/
digital-media/thinking-small-
how-small-changes-can-get-
big-results

• how: engagement journey (= story arc?)

• how: engagement journey

• how: develop the journey
1. What are all the ways in which you reach your audience?
2. What assets and content do you use & how to interest them?
3. What interactivity will you use to involve your audience?
4. How will you activate your audience to create value?

• what: activities
Once you know where you want to go, you’ll have to figure out what the
activities, campaigns and projects are that will get you there. This what-
question comprises two organisation-driven elements (your assets and
audience) and two action-driven elements (engagement and outreach).
Together these four form the bulk of the DEF and the scaffolding for
your digital engagement strategy.
• Does each individual activity strive towards one or more of the goals
you specified?
• Are the combined activities enough to reach your ambition?
• Do all your activities acknowledge your values?
A1
A3
A5
A4
A7
A6
A8
A2

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strategie
3. in een stappenplan
de stappen die je zet in je strategie kunnen van tevoren
bepaald worden, als een route om je doel te bereiken.  
Bedenk dat er veel stappenplannen te bedenken zijn, maar
dat het proces zelden lineair verloopt.

• step by step define the identity & core text
formulate the purpose + ambition
define your followers (who, where)
define the (inter)actions
where is the action, when, how much, how long?
define the (cross)media usage
content (resources)
monitoring, what should be the result (KPI)
organization, who's doing what?
planning
Budget: cost & earnings
define the co-created value
develop the customer journey

• why, how, what
A1
A3
A5
A4
A7
A6
A8
A2
define the identity & core text
formulate the purpose + ambition
define your followers (who, where)
define the (inter)actions
where is the action, when, how much, how long?
define the (cross)media usage
content (resources)
monitoring, what should be the result (KPI)
organization, who's doing what?
planning
Budget: cost & earnings
define the co-created value
dvelop the customer journey

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2. doel-/ volggroep
(+ insights)
3. creatief concept
verbinding vraag +
aanbod
0. identiteit (organisatie; visie / missie / relatie)
4. content (waarover,
bron, tone of voice)
5. (cross) media (keuze
+ inzet)6.
begroting / budget
7. planning
9. conversie
(wat levert ‘t op)
11. KPI + meten/
analyse
12. (recapitu)leren
(social) media klok
1. doelstellingen
10.verbinden
(partners / participanten)
8. activeren
(voor/met wie)

Ehoe werk je met de social media klok?
• je kunt een volgorde van 1 t/m 12 aanhouden als stappenplan
• na 12 begin je weer met 1; het is immers een doorgaand proces
• of gebruik de ‘geforceerde associatie’: kijk hoe laat het is, kies zomaar een tijd,
combineer met de wijzers verschillende nummers en bedenk wat de implicaties
zijn van desbetreffende combinatie
• gebruik het ook als checklist: heb je over alle consequenties nagedacht?

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strategie : KPI
4. resultaten
wat wil je eigenlijk bereiken. Wanneer is je project geslaagd:
bepaal Key Performance Indicators?  
Wat maakt dat je project gaat slagen (criteria) 
En wat nu als alles boven verwachting lukt...? Wat betekent dat
voor je strategie. Stel je dan je doelen bij?
Wat helpt je om die resultaten te bereiken en intussen op het
juiste spoor te blijven?
Maak lijstjes, in volgorde van belangrijkheid. Beperk ze. Stel
prioriteiten. etc.
Kunnen de resultaten je doelstellingen beïnvloeden?

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Mens
Motivatie (passie, betrokkenheid, waarden)
Maker(s) (co-creatie / crowdsourcing)
Mixen en remixen (mash-ups, crossovers, interactie)
Merk & Mare (social marketing / storytelling)
Moment (aandacht, bezigheid, relevantie)
Medium (bereik)
Mobiliteit (van idee en memes)
Mogelijkheden (kansen; topics, techniek, meeliften, issue surfen)
Meten (weten, analyseren, leren)
strategie: 10 x M

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mobiliteit in toekomstvisie?

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Nancy Proctor over succesfactoren
As an indispensible part of the 2.0 museum, mobile supports the
key indices of the museum’s success vis-à-vis its core mission
and responsibility to the public good:
• Relevance: the museum’s responsibility to make its
collections, content and activities meaningful and accessible
to the broadest possible audiences;
• Quality: the museum’s mission to collect, preserve and
interpret the invaluable artifacts and key stories, ideas and
concepts that represent human culture and creativity;
• Sustainability: the museum’s enduring obligation to
deliver both quality and relevance to its audiences—forever.
 
(bron: Nancy Proctor Mobile Apps for Museums (e-Book: epub version))

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strategie
5. en dus…
hoe zorgen we voor relevantie?
welke effecten kunnen we verwachten van onze strategie?
hoe maken we het duurzaam?
hoe zorgen we voor (voortdurende) kwaliteit?
welke bijdrage kunnen we leveren aan het
‘verbeteren van de wereld’?
welke relaties maken, herstellen of onderhouden
we hiermee?

Imagination is more important than knowledge. Knowledge
is limited. Imagination encircles the world.
Albert Einstein
waar maken

E
1.‘t is de beleving (niet de technologie) > functie & design > effectiviteit
2. ontwerpplan: definieer uitgangspunten (waarom > wat), publiek (wie) >
gebruikers perspectief, een mobiele ervaring kan niet alles voor iedereen zijn
3. focus op sterke kanten & unieke kwaliteiten van mobiel (persoonlijk,
verbonden, locatief, ‘real time’, ‘imagineering’, interacief MAAR hou ‘t simpel)
4. manage verwachtingen (workshops met stakeholders...)
5. hou ‘t uiterst simpel! wat zijn de 3 belangrijkste dingen waar uw app goed in is?
6. duurzaam: onderschat niet de creatie van inhoud, tijd- geld en menskracht
verslindende moderatie. Hoe kan de organisatie zich voortzetting veroorloven?
7. Iteratief & wendbaar: Test en evalueer gedurende de ontwikkeling en
implementatie
APP: Aanpak, Proces, Product
Loïc Tallon (Pocket-Proof: planning, development, procurement and evaluation of all types of mobile
interpretation tools)

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1. wat ga je ermee verdienen? > aandacht voor standpunt van publiek, wie is dit
publiek, hoe kan jij participeren, hoe geef jij aandacht en hoe verdien jij aandacht
terug?
2. werk telkens kleine stappen uit na kort intensief beraad. wees alert op voldoende
aanpassingsvermogen (iteratief werken)
3. maak het duurzaam. zorg voor kleine processtappen en deel jouw succes (ook als
het een misser was). Zet je partners op een sokkel. Zorg voor inkomsten (voor
stakeholders en partners), zo kan je de doorontwikkeling financieren
4. hoe vul je de 5 belangrijkste functies in? (de rest kun je voorlopig schrappen)
• waar ben je en wat is er te vinden
• klopt de informatie?
• is het relevant?
• heb je iets toe te voegen / bij te dragen?
• delen met vrienden / familie / overige platforms
5. zorg voor een unieke gebruikerservaring, baseer u op bestaande successen
6. promotie, PR, communicatie & community management, promotie, PR.....
APP: Aanpak, Proces, Product

E
1. research (publiek / gebruikers, ontmoetingsplekken, onderwerpen / topics)
2. reach (media keuze, timing)
3. resources (content, creatie, crowd)
4. relevance!
Gebruik de methode waarmee je een app zou ontwikkelen ook eens voor een
herziening van je website, tentoonstelling, afdeling educatie, webwinkel,
organisatie... maar vooral om tot een goede, vereenvoudigde en vooral heldere
dienst / service te komen
4 x R; de app als denkmethode

wendbaarheid (ook in samenstellingen)

data
dogmaautoriteit
stokpaardje
eigenbelang
argument
z
aanname
feit
denken leerproces

waarom?
hoe?
wat?
open data
vertellen
participeren
inleven
houding
vraag!
gezamenlijk belang
bespreek-, doe- en leerproces

telling history?
Digital Storytelling means how to create immersive, interactive
narratives across a multitude of platforms, devices, and media,
including transmedia storytelling, video games, mobile apps, and
second screen experiences.
The way a story is told, a message is delivered, or a narrative is
navigated has changed dramatically over the last few years. Stories
are told through video games, interactive books, and social media.
Stories are told on all sorts of different platforms and through all
sorts of different devices. They're letting the user interact with the
story and letting the user enter the story and (re)shape it
themselves.
How to plan processes for developing interactive narratives for all
forms of entertainment and non-fiction purposes: education,
training, information and promotion?

my story?

I love to make museums more engagingI love to make museumsI make museumsI make

I love to make museums more engaging

“I am not interested in
erecting a building,
but in […] presenting
to myself the
foundations of all
possible buildings.” 
Ludwig Wittgenstein
schools
libraries
museums
makers
followers
customers
museum in the making: in the cloud,
reaching out with satellite buildings

back to the questions: Jennifer Brandel
https://www.youtube.com/watch?v=Cmf193gtC-k&feature=youtu.be

Very often we try the invite visitors to participate in our museums.
Which is good of course. Yet, it is mainly the museums that have
to participate in society, by sharing their stories and moreover
by listening to stories, issues and questions in society.
If museums can start conversations about these subjects and
formulate answers together with their audience, they will
become more relevant to their audience.
This way, storytelling might lead to more relevancy.
engagement: museum and society

digital: big names (but hardly any women)

storytelling ≠ knowledge exposure
a lot of text
but hardly
any story

#text
#context
#knowledge
#objects
#intangible
#oral
#history
#value
#experience
#game
# …?
Telling history ≠ spelling history
http://i.ebayimg.com/00/s/MTIwMFgxNjAw/z/8r4AAOSw3ydV6yPO/$_3.JPG

Storytelling = using imagination, experience,
knowledge… and curiosity
http://jalopnik.com/5854568/amazing-pictures-of-an-outdoor-russian-car-museum/

imagination vs. fantasy

storytelling, try to be true
#network
#innovation
#connectivity
#exchange
#adaptability
#swarm
#share
#credibility
#tastemakers
#audience
#relations

digital storytelling
Carlyn Handler Miller: "The 'digital' part of the name refers to the fact that it is supported by a
diverse array of digital devices and media, including computers, digital video, the Web,
wireless devices, and DVDs, just to name a few examples. And the 'storytelling' part of the
name refers to the fact that these new forms of fiction are narratives, too, just like the older
forms. They depict characters in a series of compelling events, following the action from the
inception of the drama to the conclusion."
Interactivity changes everything.
[…]"older forms of narrative, events happen in a fixed order: A follows B follows C and so on.
The story is depicted in a fixed linear manner; it never changes. But these new types of stories
do not have a fixed linearity. Instead, they call for back-and-forth communication between the
audience and the material, wherein the story changes and is shaped by these communications.
In other words, audience members have an active relationship with the narrative. They are
expected to make choices as the story unfolds, and these choices have the potential to
determine a number of critical things about the characters they encounter and the story they
are moving through."
"This one factor, interactivity, dramatically changes not only the way stories are told, but also
the way the audience experiences them. The relationship between the audience and story is so
different from linear narrative, so much more intimate and personal, that we cannot even
comfortably use the word 'audience' here. Instead, we use terms like 'user', 'player', or
'participant'."

digital media
Impact on Storytelling
* Break the Fourth Wall
* Blur Fiction and Reality
* Vastly Expand the Story Universe
* Offer Deeply Immersive Experiences
* Allow for New Kinds of Participation
* Instill Characters with Artificial Intelligence
Types of Digital Storytelling
* Making Make-Believe "Real"
* The "Distributed Narrative" Approach
* Immersive Worlds
https://www.writersstore.com/tales-from-the-digital-frontier-breakthroughs-in-storytelling/

toepassing
thema
plot
personages
en/of
objecten
tijd
setting /
situatie
dramatische
wending
oplossing
visie / beeld
media

telling history? Connectivity
Metcalfe's law:
n(n − 1)/2
also counts for
digital
1
5
10
12
66
500
124750

telling history? excentricity
we're
here
This is where
it happens!
Think excentric! contribute to
important issues, trends, networks,
startups, dare to distinguish

- Stories can enable us to find similarities between ourselves and
others, real, virtual, imagined…
- Stories can confirm a truth that enhances our sense of who we are
as human beings, to confirm stories of who we are (we all want
confirmation that makes sense of our lives)
- Stories can let us care about - really emotional, intellectual,
aesthetic - things that are valuable for us; there is no one you can't
love, once you've heard their story
- ensure there is a constant directive, a road map, a route that
includes the central theme
- give your audience not 4, but 2 + 2. Encourage the urge to finish the
story, to help, to care, to fill in ...
- stories have to contain the most important ingredient: surprise
- Stories can bridge the boundaries of time, they can connect the
past, the present and the future. Stories can connect. museums
should connect.
The power of stories

<digital> storytelling </digital> who's story? no single story? new identities

<digital> storytelling </digital> true and fair stories to beleive in

Why digital? the L.I.S.T. model
( r e a l ) T i m e /
m o m e n t
S o c i a l
I 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
( p o s i t i o n )
L o c a t i o n /
P l a c e
meetings
stories
e x p e r i e n c e s
c o n v e r s a t i o n s

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 (LIST)
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 S.) 2005
Why digital? the L.I.S.T. model

Significant value of storytelling
value exchange, value (co)creation
Aesthetic Value
Historic Value
Scientific Value
Social Value
Nature of Significance
Degree of Significance
Rarity
Representativeness
The Assessment Criteria for Cultural Heritage Significance

value exchange, value (co)creation
Why storytelling?
• do we have the capability of delivering this, according to our
assets and our existing content?
• will it deliver on organisational priorities to grow revenue, reach
and reputation?
• will users love it? (or people, as they’re commonly known).
users love it,
it meets their
needs
fits with the museum
(core text/powersource)
grows revenue
and reputation
YES! http://www.vam.ac.uk/blog/
digital-media/thinking-small-
how-small-changes-can-get-
big-results

http://www.citejournal.org/vol10/iss1/languagearts/article3.cfm
telling history?

telling history?
http://edtechteacher.org/8-steps-to-great-digital-storytelling-from-samantha-on-edudemic/

http://www.slideshare.net/mungo13/writing-narratives?related=2
working on narrativity

www.slideshare.net/nightkitcheninteractive/is-it-working?qid=dc5a64dc-567e-49b9-b8a7-20bddcd10954&v=qf1&b=&from_search=4
from identity to storytelling

6 x L ( 3 x 2) x L
Loose
Listen
Like-wise
Learn (lifelong)
(L.A.T.) relations
be Loved
Loyalty And Trust

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

the narrator and his changing role

matter of perspective
standpoint and focalisation

space and possibility to cross borders (philosophicly)
How can stories be folded onto physical
space in order to create memorable human
experiences and produce places that have
distinct identities? 
How can theories of space and theories of
narrative inform each other? How can
physical and virtual worlds be combined,
to produce multi-sensory environments?
Where is the agency and who or what are
the actants? What is the role of user
participation? How can narrative
environments address social, economic
and environmental sustainability?
narrativity in context (of location)

communication between the duration of the telling and the
period of the story being told
duration and period

Your story short
maybe they search for instant identity?
Think about the most precious, famous or
otherwise spectacular object or cultural
heritage you know or own… 
write a tweet about this, in which you
summarise the utmost essence in 140
characters…
example:

How did you use twitter?
For whom was it? did you think of followers or an audience?
Was it a stand alone text, or did it contain a link? Did you shorten
this link?
Did you mention someone?
Was your tweet engaging? How?
Was there dynamic in the conversation?
Did you write (think) intuitively?
Why is this important?
Like you

Be concise
What difference does it make if you live in a pisturesque little
outhouse surrounded by 300 feeble minded goats and youre
faitthful dog…? The question is: can you write?
Ernest Hemingway
How to write for the episodes of your story
Be imaginative
You have to try very hard not to imagine that the iron horse is a
real creature. You hear it breathing when it rests, groaning when
it has to leave, and yapping when it's under way… Along the
track it jettisons its dung of burning coals and its urine of boiling
water; … its breath passes over your head in beautiful clouds of
white smoke which are torn to shreds on the trackside trees.
Novelist Victor Hugo, describing a train

How to engage with your writings
Be brief
I have made this letter longer than usual only because I have not
had the time to make it shorter
Blaise Pascal, 17th-century philosopher
(Winston Churchill quoted him)
Be direct
I am hurt. A plague o'both your houses! I am sped.
Mercutio in Romeo and Juliet
Be curious, true, thoughtful, interested, generous…
Do you like our redesign? Our intern Marlieke made it in our
MuseumLab!

The art of copywriting
writing is thinking visual (with a small amount of text),
is looking through the eyes of your audience

From museum text to copy
"Communication
is conversation.
Not dictating, but
speaking with.
And listening."

how to tell?

from entertainment to serious gaming

from loosing memories to remembrance

3D reproduction and markers: smart replicas

co-creation in telling stories

you choose, we show

the art of listening (to chairs)

E
vraagarticulatie:
maar wat was nu precies je vraag?
heb ik je goed begrepen als ik
het versta als…
?

Cncpt: Storytelling Starts With Asking Questions

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Cncpt: Storytelling Starts With Asking Questions