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
Wystąpienie z 24 IX 2010 w czasie Sommerakademie: Neue Medien in den Geschichts- und Osteuropawissenschaften organizowanej przez Hereder-Institut w Marburgu [20-26 IX 2010]
Andreas Fickers: Transmedia Storytelling and Media HistoryEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The presentation focuses on the challenges and opportunities of transmedia storytelling in media history.
The massive digitization of historical sources and their online availability have a deep impact on the practice of doing history in the digital age and require new forms of historical research and storytelling. Drawing from studies in digital storytelling and multimedia narratives, this lecture aims at exploring new forms of non-linear historical storytelling online. In addition, it will address tensions between disciplinary traditions and a lack of scholarly recognition of new genres and formats of online scholarship.
Erik Champion, Curtin University PISA 9 SEPTEMBER 2014
heritage visualisation and serious game design
• major concepts and issues in the field
• learning from game design
• problems that arise when entertainment, heritage,
history and education collide
Advocating the use of the Event class in order to express the dynamics of things happening. This may be particularly useful when connecting concepts across domain boundaries
Wystąpienie z 24 IX 2010 w czasie Sommerakademie: Neue Medien in den Geschichts- und Osteuropawissenschaften organizowanej przez Hereder-Institut w Marburgu [20-26 IX 2010]
Andreas Fickers: Transmedia Storytelling and Media HistoryEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The presentation focuses on the challenges and opportunities of transmedia storytelling in media history.
The massive digitization of historical sources and their online availability have a deep impact on the practice of doing history in the digital age and require new forms of historical research and storytelling. Drawing from studies in digital storytelling and multimedia narratives, this lecture aims at exploring new forms of non-linear historical storytelling online. In addition, it will address tensions between disciplinary traditions and a lack of scholarly recognition of new genres and formats of online scholarship.
Erik Champion, Curtin University PISA 9 SEPTEMBER 2014
heritage visualisation and serious game design
• major concepts and issues in the field
• learning from game design
• problems that arise when entertainment, heritage,
history and education collide
Advocating the use of the Event class in order to express the dynamics of things happening. This may be particularly useful when connecting concepts across domain boundaries
Paper together with Dorthe Refslund Christensen as part of the panel "Everyday digital media use in a life course perspective" at the ECREA 2016 conference in Prague November 12th 2016.
Leg og læring: workshop på Moesgaard MuseumKjetil Sandvik
Fokus:
Deltagende publikum: opgør med envejs-kommunikation: formidling som overførsel af information fra museet til museumsgæsten
Publikum får mulighed til at engagere sig og være i dialog med udstillingen og dens indhold og måske endda den måde som udstillingen er blevet til på.
Publikum er mere end blot modtagere som skal informeres og (ud)dannes: de får rollen som medspillere, som medskabere og deltagere i interaktive processer hvor fokus er på hvad fx kulturhistorie er for noget, hvordan vi har fået viden om den, hvad vi ved, hvad vi ikke ved, hvad vi gætter os til…
En legende tilgang til museumsformidling er at sætte sin viden og ekspertise på/i spil
Heterotopic relations between media and materiality in children's online memo...Kjetil Sandvik
In this paper we analyze how bereaved parents make use of various media-strategies on online memorial sites and on children’s graves when performing processes of grief and commemoration for their stillborns and infants, and how these processes are not just linked to one particular media but take place across media. We show how the death of an infant can lead to mediation, remediation and mediatization strategies which involves both the uses and arrangement of objects on memorial pages and on children’s graves as well as uses of new social technologies, that produce, negotiate and develop social relations, belonging and coherence that are both individual and relational and that are made possible by ritually establishing online memorials and graves as heterotopic interfaces that opens certain communicational flows and accesses specific communicative spaces concerning most prominently the ongoing relations with the dead child and the (re)negotiating of parenthood.
We understand media as a function of an object reflected in human practices and embedded and structured by the different materialities they are intertwined with. We argue that the use of media and materiality online and on the graves are, in various ways, a remediation of everyday parental practices and we demonstrate how such practices and relations are structured in some basic social matrices of how to perform parenthood, both in relation to the dead child and in relation to achieving social appreciation of the missing child and the role as being parents even when the child has died.
To quote Swedish media scholar Oscar Westlund, news consumption is changing rapidly, and thus there is a need for continuous studies into its shifting nature. There is a need for both quantitative and qualitative research into how news consumption across media is transforming, among the public as well as among specific groups. Ideally, such research should attempt to study changes over time in different geographical contexts, or even better, making cross-cultural comparisons to create a more comprehensive understanding of contemporary news consumption. And an important part of such studies is focusing on how news consumption have gained a participatory and co-creative dimension: consumption is also about users sharing, spreading, commenting and even creating content that feeds into to the circuits of news production.
Gamificeret undervisning - metoder og erfaringerKjetil Sandvik
Leg og spil er grundlæggende elementer i børns tidlige læring. Fra Vygotski og Piaget ved vi at forskellige lege- og spilaktiviteter udvikler børns forskellige kompetencer. Med andre ord: leg og spil har et stort potentiale som læringsredskaber. Det samme syn på leg og spils læringspotentiale gør sig i mindre grad gældende når vi når op i uddannelsessystemet til trods for at der er gode pædagogiske og didaktiske grunde til at sætte den indlevelse og det engagement som spil-aktiviteter rummer i undervisningens tjeneste – selv på universitetet. Nok findes der læringsspil, som anvendes i undervisningen, men disse er typisk eksotiske indslag i et undervisningsforløb og ikke noget, der udgør basis for selve forløbet og den måde det tilrettelægges på. Dette paper omhandler en række erfaringer fra forskningsprojektet Spil og scenario-baserede læringsmoduler (2016-projektet Online and Blended Learning, Københavns Universitet 2014-2016) med at ’gamificere’ universitetsundervisning, dvs. at anvende spilelementer og spilformater som pædagogiske værktøjer i tilrettelæggelse og gennemførelse af kurser eller kursuselementer.
Gamificeret undervisning - metoder og erfaringerKjetil Sandvik
Paper på Dansk Universitetetspædagogisk Netværk konference 17.-18. maj 2016 med udgangspunkt i forsknings- og udviklingsprojektet Online and Blended Learning: Spil og scenariobaserede undervisningsmoduler, Københavns Universitet
Improving profitability for small businessBen Wann
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This insightful presentation is designed to equip entrepreneurs with the essential knowledge and tools needed to accurately value their businesses. Understanding business valuation is crucial for making informed decisions, whether you're seeking investment, planning to sell, or simply want to gauge your company's worth.
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What are the main advantages of using HR recruiter services.pdfHumanResourceDimensi1
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3.0 Project 2_ Developing My Brand Identity Kit.pptxtanyjahb
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Affordable Stationery Printing Services in Jaipur | Navpack n PrintNavpack & Print
Looking for professional printing services in Jaipur? Navpack n Print offers high-quality and affordable stationery printing for all your business needs. Stand out with custom stationery designs and fast turnaround times. Contact us today for a quote!
India Orthopedic Devices Market: Unlocking Growth Secrets, Trends and Develop...Kumar Satyam
According to TechSci Research report, “India Orthopedic Devices Market -Industry Size, Share, Trends, Competition Forecast & Opportunities, 2030”, the India Orthopedic Devices Market stood at USD 1,280.54 Million in 2024 and is anticipated to grow with a CAGR of 7.84% in the forecast period, 2026-2030F. The India Orthopedic Devices Market is being driven by several factors. The most prominent ones include an increase in the elderly population, who are more prone to orthopedic conditions such as osteoporosis and arthritis. Moreover, the rise in sports injuries and road accidents are also contributing to the demand for orthopedic devices. Advances in technology and the introduction of innovative implants and prosthetics have further propelled the market growth. Additionally, government initiatives aimed at improving healthcare infrastructure and the increasing prevalence of lifestyle diseases have led to an upward trend in orthopedic surgeries, thereby fueling the market demand for these devices.
Putting the SPARK into Virtual Training.pptxCynthia Clay
This 60-minute webinar, sponsored by Adobe, was delivered for the Training Mag Network. It explored the five elements of SPARK: Storytelling, Purpose, Action, Relationships, and Kudos. Knowing how to tell a well-structured story is key to building long-term memory. Stating a clear purpose that doesn't take away from the discovery learning process is critical. Ensuring that people move from theory to practical application is imperative. Creating strong social learning is the key to commitment and engagement. Validating and affirming participants' comments is the way to create a positive learning environment.
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Unveiling the Secrets How Does Generative AI Work.pdfSam H
At its core, generative artificial intelligence relies on the concept of generative models, which serve as engines that churn out entirely new data resembling their training data. It is like a sculptor who has studied so many forms found in nature and then uses this knowledge to create sculptures from his imagination that have never been seen before anywhere else. If taken to cyberspace, gans work almost the same way.
"𝑩𝑬𝑮𝑼𝑵 𝑾𝑰𝑻𝑯 𝑻𝑱 𝑰𝑺 𝑯𝑨𝑳𝑭 𝑫𝑶𝑵𝑬"
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Attending a job Interview for B1 and B2 Englsih learnersErika906060
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Accpac to QuickBooks Conversion Navigating the Transition with Online Account...PaulBryant58
This article provides a comprehensive guide on how to
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Set off and carry forward of losses and assessment of individuals.pptx
Mixed media, ubiquitous computing and augmented places as format for communicating culture
1. Trust no-one!
A conspiracy play in the King’s
Kolding
“Mixed media, ubiquitous computing
and augmented places as format for
communicating culture”
Mobile Communication Workshop, AU 29.-30.3. 2012
Kjetil Sandvik, University of Copenhagen
2. Project scope
• Mobile phones (smart phones) used for
communicating culture
• Fiction used for communicating history
• Experiments with Augmented Reality
• Creating an unorthodox city walk
3. Project scope
• Mixed media:
– mobile phone as ’swizz army knife’
– mash-up of variety of services
• Ubiquitous computing:
– not so much embedded in the fabric of physical
location
– but accessible everywhere by ways of…
• Mobile and location sensitive media:
• Over-layering locations with digital information:
• Augmentation!
4.
5. Augmentation
• an informational, aesthetical and/or
emotional enhancement of our sense and
experience of place by use of various framing
strategies (e.g. Ian Rankin’s Edinburgh) and
media technologies (e.g. a guided Rebus Tour).
6. Augmented places
• Places which has gotten a certain surplus of
meaning, a certain kind of narrative
embedded into it.
• The characteristics of these places have been
enhanced in that a certain mode, atmosphere
or story has been added to them as an extra
layer of meaning.
• Our project is applying 3 different ways of
augmenting places.
6
7. Augmentation of places
• A process of storytelling
• the place constitutes a scene for the
performance or staged re-enactment of
‘true’ stories,
• actual events which at some point have
taken place at the specific location.
• Traversing the specific location and at the
same time having a specific narrated story
linked to the location
7
8. The staging of the Jack the Ripper-story
runs through and organizes urban space
of today’s London and thus changing it
into a specific place with a specific
atmosphere and a specific plot:
the scene of the crime.
8
9. Augmentation of places
• Storytelling
• A process of fictionalization
• the actual place is working as a setting for
fictions, which again influence our
perception of the place.
9
10. When tourists embark on one of this tours, they are taken on a guided
walk through parts of the actual towns working as ‘scenes of the crime’
(Milan, Paris…) in Brown’s novel, but following the trails laid out not by
some historical person or chain of historical events (like in the case of
the Jack the Ripper-tour ) but by fictional characters and their actions
and thus the actual places have become augmented as a result of
fictionalization.
10
11. Augmentation of places
• Storytelling
• Fictionalization
• Construction of a kind of mixed reality
• the place has a status both as an actual
location in the physical world and as a
storyspace
• blend of fact and fiction
• blend of physical and mediated space
11
13. Split reality vs Mixed reality
• Split reality: switching between mediated space
(e.g. inside the mobile phone) and physical space
• Mixed reality: blending between mediated and
physical space (e.g. looking at physical space
through an ‘augumented reality browser’ on the
mobile phone)
• Mixed reality implies a certain way of telling
stories connecting the actual and the fictional
space/the physical space and the mediated space
• (this is where Hikuin’s Vendetta goes wrong – and we try to
make things right)
13
16. Kolding as augmented storyspace
• Creating a dramatic meta-story connecting different location
specific narrative tableaus containing various actual historical
characters and events
– (e.g. the co-operation between the public executioner and the
pharmacist selling human fat and crushed sculls for medical use)
• within the same fiction frame providing connections between the
narrative tableaus
– (the castle is on fire (which is an actual event), a messenger is found
murdered, a conspiracy against the King may be afoot).
• The tale is taking place in the city space and interfaces with specific
locations with historical significance
– (e.g. the square where executions took place, the building housing the
pharmacy)
• Thus: a mediated version of renaissance Kolding is mapped onto the
physical – and present-day – version of the city.
18. Kolding as augmented storyspace
• Creating a dramatic meta-story connecting different location
specific narrative tableaus containing various actual historical
characters and events
– (e.g. the co-operation between the public executioner and the
pharmacist selling human fat and crushed sculls for medical use)
• within the same fiction frame providing connections between the
narrative tableaus
– (the castle is on fire (which is an actual event), a messenger is found
murdered, a conspiracy against the King may be afoot).
• The tale is taking place in the city space and interfaces with specific
locations with historical significance
– (e.g. the square where executions took place, the building housing the
pharmacy)
• Thus: a mediated version of renaissance Kolding is mapped onto the
physical – and present-day – version of the city.
19. Kolding as augmented storyspace
• For the participants the city has been altered,
it has been augmented by the interplay
between and interweaving of the mediated
(and semi-fictionalized) renaissance city and
the actual physical city of today.
19
20. Physical space as media
• The physical space is to some degree
functioning as media communicating specific
types of information, specific types of stories.
• the city quarters with its streets, alleys, buildings,
ornamentations such as statues, gargoyles and so on
function as a narrative architecture like a
theme/themed park like Disneyland including buildings
and landscapes known from the catalog of Disney
fairytales
• Several parts of the city of Kolding used as
location for the “Trust No-one!” project have
these qualities of being media in themselves,
as carriers of the story of Kolding. 20
21.
22. Physical space as media
• With the use of mobile phones equipped with
navigation tools and augmented reality
browsers this information residing in the very
architecture and infrastructure of the city may
be pulled forth and made visible, accessible
and interactive from the perspective of
communicating history and cultural heritage.
22
28. Summing up
• Augmentation makes us see things in new
ways:
• Buildings are not just buildings, streets are not
just streets – the carry stories, they carry
cultural meaning
• This meaning may be experienced through an
interplay between the physical locations of
the city and the ubiquitous and locative
information layers provided by mobile media.
29. Project participants
• Kolding Libraries
• Kolding City Archive
• VIFIN – knowledge center for integration
(Vejle)
• Dept. of Media, Cognition and
Communication,, University of Copenhhagen
• Knowledge center for Children and Youth
Culture, VIA University College
30. Visit the project on Facebook
• https://www.facebook.com//Stolpaaingen#!/S
tolpaaingen