This document discusses how new media is influencing museum mediation and narrative storytelling. It explores four aspects of narrative under new media: 1) the changing role of the narrator, 2) perspectives and focalization, 3) the ability to cross borders of space, and 4) the relationship between the duration of the telling and the period being described. New media allows for translation, crowdsourcing, choice of media/marketing, and conversation. It also enables alternate reality games and serious games that combine physical and digital experiences.
The Recurated Museum: V. Collections Communication & StorytellingChristopher Morse
Slides from the fifth session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
The document discusses story grammar, which is a technique used in remedial reading to improve comprehension. It classifies the components of a story into setting, theme, plot, and resolution. Setting establishes the time, location, and characters. Theme introduces the initiating event and internal response. Plot includes the goal, attempt, and outcome of the protagonist's actions. Resolution provides the conclusion. An example analysis of "Goldilocks and the Three Bears" is provided to illustrate how story grammar breaks down the elements of a narrative.
Narrative poems tell a story with characters, plot, setting, and theme. Ballads are a form of narrative poem passed down orally that also have rhythm and sometimes rhyme. Characteristics of ballads include dealing with the supernatural or heroics, having a tragic outcome, presenting a single dramatic episode, including dialogue and gaps requiring inference, using short stanzas in a clear rhyme scheme often with a refrain. Due to their rhyme and rhythm, ballads are often set to music.
The document summarizes the plot, characters, conflicts, and setting of George Orwell's Animal Farm. It takes place on Manor Farm in England, where the animals grow tired of working hard with nothing to show for it. Led by the pig Old Major, they rebel against the farmer Mr. Jones. Later, the pigs Snowball and Napoleon compete for power over the farm. In the end, Napoleon establishes himself as the sole leader and turns the farm into an autocratic state, betraying the animals' original ideals of equality.
This document provides information about narrative poetry and analyzes the poem "Warren Pryor" by Alden Nowlan. It also discusses two versions of the poem "Richard Cory" - the original poem and a song adaptation. The poem "Warren Pryor" tells the story of a man who is able to escape working on his family's farm through education and getting a job at a bank. The document examines the relationship between Warren and his parents and their hopes for his future. It also discusses the differences between the original poem and song versions of "Richard Cory" and considers themes of appearance versus reality.
This document outlines the key objectives and characteristics of a unit on narrative poetry. It defines narrative poetry as poems that tell a story with characters and a conflict or problem. It discusses identifying sequence of events, rhyme schemes, alliteration, mood, figurative language, character traits, and using context clues. Examples are provided for rhyme schemes, alliteration, irony, and determining word meanings from context. Students are instructed to download and complete analysis charts for 6 poems that will be covered in the unit.
The Recurated Museum: V. Collections Communication & StorytellingChristopher Morse
Slides from the fifth session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
The document discusses story grammar, which is a technique used in remedial reading to improve comprehension. It classifies the components of a story into setting, theme, plot, and resolution. Setting establishes the time, location, and characters. Theme introduces the initiating event and internal response. Plot includes the goal, attempt, and outcome of the protagonist's actions. Resolution provides the conclusion. An example analysis of "Goldilocks and the Three Bears" is provided to illustrate how story grammar breaks down the elements of a narrative.
Narrative poems tell a story with characters, plot, setting, and theme. Ballads are a form of narrative poem passed down orally that also have rhythm and sometimes rhyme. Characteristics of ballads include dealing with the supernatural or heroics, having a tragic outcome, presenting a single dramatic episode, including dialogue and gaps requiring inference, using short stanzas in a clear rhyme scheme often with a refrain. Due to their rhyme and rhythm, ballads are often set to music.
The document summarizes the plot, characters, conflicts, and setting of George Orwell's Animal Farm. It takes place on Manor Farm in England, where the animals grow tired of working hard with nothing to show for it. Led by the pig Old Major, they rebel against the farmer Mr. Jones. Later, the pigs Snowball and Napoleon compete for power over the farm. In the end, Napoleon establishes himself as the sole leader and turns the farm into an autocratic state, betraying the animals' original ideals of equality.
This document provides information about narrative poetry and analyzes the poem "Warren Pryor" by Alden Nowlan. It also discusses two versions of the poem "Richard Cory" - the original poem and a song adaptation. The poem "Warren Pryor" tells the story of a man who is able to escape working on his family's farm through education and getting a job at a bank. The document examines the relationship between Warren and his parents and their hopes for his future. It also discusses the differences between the original poem and song versions of "Richard Cory" and considers themes of appearance versus reality.
This document outlines the key objectives and characteristics of a unit on narrative poetry. It defines narrative poetry as poems that tell a story with characters and a conflict or problem. It discusses identifying sequence of events, rhyme schemes, alliteration, mood, figurative language, character traits, and using context clues. Examples are provided for rhyme schemes, alliteration, irony, and determining word meanings from context. Students are instructed to download and complete analysis charts for 6 poems that will be covered in the unit.
This document provides an overview of transmedia storytelling and concepts related to exploring stories across multiple platforms. It discusses early narrative films, the definition of "art" and how it varies by culture. It also examines moving beyond traditional theatrical structures like the fourth wall and three unities. Additional topics covered include the relationship between crossmedia and transmedia, audience participation, and new business models in transmedia.
Baudrillard argues that digitality pervades modern society through messages and signs, most concretely seen in tests, questions/answers, and stimuli/responses. Digitality "haunts" contemporary communication.
Locative Histories: exploring the continued influence of early Locative Media...Conor McGarrigle
Presentation for the Techno Ecologies panel at Media Art Histories 2013 conference Riga. Full paper to follow. More information here http://renew.rixc.lv/sessions/techno-ecologies.php?s=conor-mcgarrigle and conormcgarrigle.com
- Digital storytelling enhances traditional storytelling by allowing for interactivity, co-creation, non-linear structures, and cross-platform storytelling. It enables audience participation and engagement.
- For museums, digital storytelling can help them become more socially relevant by starting conversations about important issues and questions in society. It allows the museum to listen as well as share stories.
- The key is not the "digital" aspect, but using various media to make storytelling more engaging for audiences. Storytelling remains the most important element.
This document discusses using 3D visualization techniques to create virtual museums. It describes how digitizing museum collections and artifacts allows them to be shared online and remixed in new ways. The document presents examples of virtual tours created for Taiwanese museums and collections. It argues that virtual museums can preserve cultural heritage, promote access and participation, and make connections across boundaries of space, time, culture and discipline. The goal is for museums to become multidimensional spaces that engage both online and real-world communities.
Reading on the Holodeck: Ray Bradbury, Ivan Sutherland, and the Future of Books. An exploration of the consequences of immersive media environments on IP policy, libraries, and creative arts.
The document discusses digital storytelling and how to develop and share big ideas. It suggests that a big idea is defined by its vision, mission, and relationship to its audience. A big idea can shift paradigms and should be summarized in one sentence that encompasses why the organization exists and who it exists for. The document also discusses how a big idea can be developed through an ideation process and can happen through gaining support and participation from an audience in a process of change.
Lego Beowulf and the Web of Hands and Hearts, for the Danish national museum ...Michael Edson
This is the text version of the talk.
A PowerPoint version of this talk is at http://www.slideshare.net/edsonm/michael-edson-lego-beowulf-and-the-web-of-hands-and-hearts-for-the-danish-national-museum-awards
This talk was delivered at the awards ceremony for the 2012 Bikuben Foundation Danish Museum Prize (Bikubenfondens Museumspriser) in Copenhagen, Denmark.
Ideas about what museums are, who they serve, and the role they play in society are changing with dramatic speed, driven largely by social media and the participatory culture of global networks.
Denmark supports world-class museums, with remarkable collections, expert staff, and beautiful architecture. But how can museum leaders balance the traditional concepts of organizational mission and outcomes with the disruptive possibilities being demonstrated by those who love and use museums in new ways?
This document discusses the fundamentals of digital storytelling. It provides 20 revelations about using digital storytelling and new media to support literacy, learning, and creativity. Some key points are that digital storytelling allows students to pursue academic content in their own language and helps develop important skills like planning, creativity, and media literacy. Teachers play an important role in guiding students and ensuring technology enhances stories.
Twenty Revelations about Digital Storytelling in Education- Jason OhlerJason Ohler
The document discusses the fundamentals of digital storytelling. It provides 20 revelations about how digital storytelling can transform literacy and learning by allowing students to tell stories using their own tools and language. It emphasizes that teachers should guide students and help assess new media projects rather than focus on clicks and tricks.
This document summarizes two collaborative projects between elementary and high school students focused on creative writing and digital art. The first project, Pandora's Box, had high school students collaborate with 3rd graders to illustrate and digitally publish a story. They worked on storytelling, illustration, audio recording, and publishing across print, ebooks and video. The second project focused on a story about unicorns. Both provided opportunities for imagination, problem-solving, and cross-age collaboration between students. The document discusses the process, technology skills developed, and positive impact on both student groups.
Games as Serious Visualisation Tools For Digital Humanities, Cultural Heritage and Immersive Literacy
Are there social and cultural issues raised by virtual, mixed and augmented reality technologies of particular interest to Digital Humanities researchers? I will also discuss related emerging and merging themes in serious game research and a relatively new concept, immersive literacy.
The document discusses various aspects of digital storytelling. It touches on how storytelling can be used in museums to engage audiences, bridge cultural heritage to the present, and encourage co-creation of narratives. It provides examples of different storytelling tools that can be used both digitally and non-digitally, such as narrative flow, copywriting, drama/tension, visuals, games, VR/AR, social media, and activities. It also discusses principles of good storytelling like focusing on people, passion, and interactive story arcs.
1. The document discusses using augmented reality and mobile media to communicate the history of Vejle, Denmark through an interactive game called "The 23 Sculls".
2. In the game, players take on the role of journalists investigating clues left behind by a missing museum inspector about a conspiracy throughout Vejle's history. Players uncover clues in both the physical city and online media to piece together the story.
3. By blending the physical spaces of Vejle with a narrative and online information layers, the game transforms the city into a "mixed reality" for players to investigate as an "augmented place". The physical architecture and infrastructure of the city communicate cultural meaning and stories that players can access through mobile devices
Provides instruction on how to create a multimedia DLO by describing the components of DLOs (introduction learning objective, explanation, examples, relevant concepts, assessment and summary), showing how various multi media additions can enhance the DLO, offering three different examples to show the process and how the various components can be arranged to create a learning object.
The document summarizes highlights from the 10th annual EuroIA conference in Brussels from September 25-27, 2014. It includes summaries of various workshops and presentations on topics related to information architecture, user experience, and interaction design. Attendees had opportunities to participate in workshops led by experts and learn about designing for liminal spaces, service design, expert evaluations, and more. The document shares insights and lessons from the various sessions through pictures and anecdotes from Brussels.
The document discusses how digitizing manuscripts can help turn them into cultural heritage by enabling scholarly work like modeling, aggregation, and annotation. It provides examples of projects that have developed tools and standards to publish digitized collections as linked open data, including Europeana and DM2E. The goal is to advance beyond simply emulating manuscripts and instead use semantic technologies to facilitate new digital humanities research through contextualization, reasoning over triple sets, and generating digital heuristics.
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.
Sustainable Development Goals and Values for MuseumErfgoed 2.0
How museums can engage their audiences and work together with them on Sustainable Development Goals, based on their core Values and storytelling, by using the GIVE-model
This document provides an overview of transmedia storytelling and concepts related to exploring stories across multiple platforms. It discusses early narrative films, the definition of "art" and how it varies by culture. It also examines moving beyond traditional theatrical structures like the fourth wall and three unities. Additional topics covered include the relationship between crossmedia and transmedia, audience participation, and new business models in transmedia.
Baudrillard argues that digitality pervades modern society through messages and signs, most concretely seen in tests, questions/answers, and stimuli/responses. Digitality "haunts" contemporary communication.
Locative Histories: exploring the continued influence of early Locative Media...Conor McGarrigle
Presentation for the Techno Ecologies panel at Media Art Histories 2013 conference Riga. Full paper to follow. More information here http://renew.rixc.lv/sessions/techno-ecologies.php?s=conor-mcgarrigle and conormcgarrigle.com
- Digital storytelling enhances traditional storytelling by allowing for interactivity, co-creation, non-linear structures, and cross-platform storytelling. It enables audience participation and engagement.
- For museums, digital storytelling can help them become more socially relevant by starting conversations about important issues and questions in society. It allows the museum to listen as well as share stories.
- The key is not the "digital" aspect, but using various media to make storytelling more engaging for audiences. Storytelling remains the most important element.
This document discusses using 3D visualization techniques to create virtual museums. It describes how digitizing museum collections and artifacts allows them to be shared online and remixed in new ways. The document presents examples of virtual tours created for Taiwanese museums and collections. It argues that virtual museums can preserve cultural heritage, promote access and participation, and make connections across boundaries of space, time, culture and discipline. The goal is for museums to become multidimensional spaces that engage both online and real-world communities.
Reading on the Holodeck: Ray Bradbury, Ivan Sutherland, and the Future of Books. An exploration of the consequences of immersive media environments on IP policy, libraries, and creative arts.
The document discusses digital storytelling and how to develop and share big ideas. It suggests that a big idea is defined by its vision, mission, and relationship to its audience. A big idea can shift paradigms and should be summarized in one sentence that encompasses why the organization exists and who it exists for. The document also discusses how a big idea can be developed through an ideation process and can happen through gaining support and participation from an audience in a process of change.
Lego Beowulf and the Web of Hands and Hearts, for the Danish national museum ...Michael Edson
This is the text version of the talk.
A PowerPoint version of this talk is at http://www.slideshare.net/edsonm/michael-edson-lego-beowulf-and-the-web-of-hands-and-hearts-for-the-danish-national-museum-awards
This talk was delivered at the awards ceremony for the 2012 Bikuben Foundation Danish Museum Prize (Bikubenfondens Museumspriser) in Copenhagen, Denmark.
Ideas about what museums are, who they serve, and the role they play in society are changing with dramatic speed, driven largely by social media and the participatory culture of global networks.
Denmark supports world-class museums, with remarkable collections, expert staff, and beautiful architecture. But how can museum leaders balance the traditional concepts of organizational mission and outcomes with the disruptive possibilities being demonstrated by those who love and use museums in new ways?
This document discusses the fundamentals of digital storytelling. It provides 20 revelations about using digital storytelling and new media to support literacy, learning, and creativity. Some key points are that digital storytelling allows students to pursue academic content in their own language and helps develop important skills like planning, creativity, and media literacy. Teachers play an important role in guiding students and ensuring technology enhances stories.
Twenty Revelations about Digital Storytelling in Education- Jason OhlerJason Ohler
The document discusses the fundamentals of digital storytelling. It provides 20 revelations about how digital storytelling can transform literacy and learning by allowing students to tell stories using their own tools and language. It emphasizes that teachers should guide students and help assess new media projects rather than focus on clicks and tricks.
This document summarizes two collaborative projects between elementary and high school students focused on creative writing and digital art. The first project, Pandora's Box, had high school students collaborate with 3rd graders to illustrate and digitally publish a story. They worked on storytelling, illustration, audio recording, and publishing across print, ebooks and video. The second project focused on a story about unicorns. Both provided opportunities for imagination, problem-solving, and cross-age collaboration between students. The document discusses the process, technology skills developed, and positive impact on both student groups.
Games as Serious Visualisation Tools For Digital Humanities, Cultural Heritage and Immersive Literacy
Are there social and cultural issues raised by virtual, mixed and augmented reality technologies of particular interest to Digital Humanities researchers? I will also discuss related emerging and merging themes in serious game research and a relatively new concept, immersive literacy.
The document discusses various aspects of digital storytelling. It touches on how storytelling can be used in museums to engage audiences, bridge cultural heritage to the present, and encourage co-creation of narratives. It provides examples of different storytelling tools that can be used both digitally and non-digitally, such as narrative flow, copywriting, drama/tension, visuals, games, VR/AR, social media, and activities. It also discusses principles of good storytelling like focusing on people, passion, and interactive story arcs.
1. The document discusses using augmented reality and mobile media to communicate the history of Vejle, Denmark through an interactive game called "The 23 Sculls".
2. In the game, players take on the role of journalists investigating clues left behind by a missing museum inspector about a conspiracy throughout Vejle's history. Players uncover clues in both the physical city and online media to piece together the story.
3. By blending the physical spaces of Vejle with a narrative and online information layers, the game transforms the city into a "mixed reality" for players to investigate as an "augmented place". The physical architecture and infrastructure of the city communicate cultural meaning and stories that players can access through mobile devices
Provides instruction on how to create a multimedia DLO by describing the components of DLOs (introduction learning objective, explanation, examples, relevant concepts, assessment and summary), showing how various multi media additions can enhance the DLO, offering three different examples to show the process and how the various components can be arranged to create a learning object.
The document summarizes highlights from the 10th annual EuroIA conference in Brussels from September 25-27, 2014. It includes summaries of various workshops and presentations on topics related to information architecture, user experience, and interaction design. Attendees had opportunities to participate in workshops led by experts and learn about designing for liminal spaces, service design, expert evaluations, and more. The document shares insights and lessons from the various sessions through pictures and anecdotes from Brussels.
The document discusses how digitizing manuscripts can help turn them into cultural heritage by enabling scholarly work like modeling, aggregation, and annotation. It provides examples of projects that have developed tools and standards to publish digitized collections as linked open data, including Europeana and DM2E. The goal is to advance beyond simply emulating manuscripts and instead use semantic technologies to facilitate new digital humanities research through contextualization, reasoning over triple sets, and generating digital heuristics.
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.
Sustainable Development Goals and Values for MuseumErfgoed 2.0
How museums can engage their audiences and work together with them on Sustainable Development Goals, based on their core Values and storytelling, by using the GIVE-model
the GIVE board (social Goals, Idea&Identity, Values, Engagement / empathy / Education, previously known as -SET-) will help you with your organisation's identity, social (responsibility) approach, communication and supporting storytelling, based on core values and sustainable development goals, by discussing why and how to build relations, attract followers / fans and make your efforts profitable. The GIVE model will be part of the Ready SET Go! handbook, which is (still) a work in progress.
presentation of the GIVE model during ICOM CECA conference 2018 in Tbilisi, how museums education & cultural action, sustainable development goals and storytelling lead to value. Use this model to discuss the values of your organization and how action can be designed accordingly
8 digitale en sociale vaardigheden die kinderen moeten meekrijgenErfgoed 2.0
presentatie voor de (verkorte) workshop van Theo Meereboer over de 8 digitale en de sociale vaardigheden en competenties die kinderen moeten meekrijgen om in de 21e eeuw digitale intelligent te zijn en te handelen. Tijdens Mediawijsheid Congres 2018
The document discusses digital storytelling. Some key points include:
- Storytelling is a social and cultural activity of sharing stories through various media to educate and build community.
- Effective storytelling uses techniques like narrative structure, characters, point of view, drama and visual elements.
- New digital tools allow for interactive and immersive storytelling experiences through games, VR/AR, social media and mobile applications.
- Museums can use storytelling to make collections more engaging and meaningful by putting people and their motivations and emotions at the center.
presentatie voor Postgraduaat Erfgoedondernemer aan de Erasmus Hogeschool in Brussel. Onderdeel: co-creatie en het SET model voor het ontwikkelen van het (museale) principe in de organisatie, vanwaaruit betekenisvolle 'product-markt-combinaties 'in co-creatie kunnen ontstaan.
The document discusses digital storytelling and engagement in museums. It emphasizes that every story begins with a question and encourages seeking answers together with an audience. Storytelling starts by asking questions and going on a journey to find answers. Engagement is a process that can bring audiences from simply visiting a museum to becoming more involved with the institution. The document provides questions to guide developing an identity, projects, social engagement strategies, and business models for museums.
Gender and Mental Health - Counselling and Family Therapy Applications and In...PsychoTech Services
A proprietary approach developed by bringing together the best of learning theories from Psychology, design principles from the world of visualization, and pedagogical methods from over a decade of training experience, that enables you to: Learn better, faster!
A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Chapter wise All Notes of First year Basic Civil Engineering.pptx
Narrativity
1. ‘Tales of treasure, time
and trespassers’
n a r r a t i v i t y
under the influence of new media
Museum Mediation in Transition
Leuven 2012
Theo Meereboer en Simone Stoltz
Stichting E30
woensdag 19 december 12
2. narrativity
we zijn geboren verhalenvertellers
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3. Four aspects of a narrative storyline under influence of new media
1: the narrator and its changing role
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4. Four aspects of a narrative storyline under influence of new media
2: point of view and its focalization
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5. Four aspects of a narrative storyline under influence of new media
3: space with possibility of crossing borders
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6. Four aspects of a narrative storyline under influence of new media
4: the intercommunication between the duration
of telling the story and the period being told.
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7. narrativity
we zijn ervaren verhalenvertellers
en krijgen er gereedschappen bij
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8. Four aspects of a narrative storyline under influence of new media
translation
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9. Four aspects of a narrative storyline under influence of new media
crowdsourcing
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10. Four aspects of a narrative storyline under influence of new media
mediakeuze en
marketing
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11. Four aspects of a narrative storyline under influence of new media
conversation?
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12. app’s with
locations,
events in
time,
historical
content
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14. narrativity
Narrativity is a term that describes
the degree of “storyness” of a text.
(not of an object, or a (historic) person, site or
event)
woensdag 19 december 12
15. narrativity
Object means ‘treasure’,
not the object itself, but what we remember,
think, discus or tell eachother about it; the
treasure is valuated by our common
perspective. And so the object is made a
subject of importance?
woensdag 19 december 12
16. narrativity
If we translate historic event to ‘time’
The more time, the more distance, the greater the distance
the less disturbing? The less disturbing, the greater the
empathy?
woensdag 19 december 12
17. narrativity
New media brings narratvity (back)
to common grounds.
When it is detached in a journey through several new
media (as in transmedia) text may incite
'trespassing'; crossing borders of not just the
media, but of values and context as well. And not
the text itself, but the information transfer,
interaction and altering perception will do the
trick.
woensdag 19 december 12
18. erfgoed to go & to do
A heritage institution is
cross-media based
There is almost always a physical location +
exhibitions, print, audio / video /
multimedia, web. The trick is to to apply this
in a cross-media manner. Game elements can be
really helpful.
woensdag 19 december 12
20. transmedia*
- parallel and intersecting routes
- Transfer and moments of choice
- 24/7 integration daily life
- Participation / involvement
* see a.o. Henry Jenkins, Christy Dena
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21. 7 Lessons about Transmedia Stories: Christy Dena
1: Quality and Speed means Costs.
2: It’s never as easy as you think it will be.
3: Have a plan or outline for the whole project before you
begin. Know thematic elements as well as the look and feel of a
project. And know when a project ‘ends’.
4: Set the stage so the audience knows what they are committing
to structurally (their time and commitment) as well as the
‘story’ elements.
5: Everything in your transmedia story has a potential barrier
to entry. For example, having to register to use the site,
moving across platforms etc.
6: Everything is a balancing act, for example, between audience
size, audience engagement, audience contribution, accessibility
etc. Don’t make the bonus content — the music, the audio play,
the game, and whatever else I devise — necessary to follow the
story.
7: Promote yourself.
Your own networks aren’t enough. Go where your audience is, to
forums and blogs and news sites and put your stuff in front of
eyeballs.
woensdag 19 december 12
23. S.T.I.P. model S ocial
Interaction
conver sations
st
gs
or
(meta)
tin
ie
I nformation/
mee
s
Interface
(real)T ime/
moment
expe riences
(location)
P osition/ Place
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24. The dimensions of time and space were in crisis at the end of
the 20th century. There was the acceleration of transport and
information but not widely access to it. Internet is the answer
to this crisis and therefore so successful.
Digital interaction has transformed the archaic dimensions Space
and Time into operational interaction in which information,
position and Time/ moment are aligned. These STIP dimensions are
mutually reinforcing; from Google Earth and Layar to Foursquare
and TomTom. Digital interaction makes the Here and Now for all
of us to an emotional dimension that can be experienced and
operationalized. From the Now man builds his world. The man who
originated a spatial entity has media at his disposal which he
can connect him to the world, can help him build this world and
influence it from there and then.
Johannes Bongers (Bureau Stalingrad) 2005
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25. waar waren we ook alweer?
in- situ?
ex situ?
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26. waar waren we ook alweer?
digitized!
accessible!
woensdag 19 december 12
27. waar waren we ook alweer?
cal
Co mbine physi
(events),
intangible
ral
(stories, o
d
history) an
e,
dig ital (onlin
mobile)
woensdag 19 december 12
28. heritage to go: trans-situ!
continuously changing
stories, perspectives and
experiences to share
woensdag 19 december 12
29. the future
of the
mediation:
visitors
interacting
with
technology
and
eachother?
”
woensdag 19 december 12
30. Alternate
Reality Game
(transmedia)
woensdag 19 december 12
31. Alternate
Reality Game
(crowd sourced
ARG fiction )
woensdag 19 december 12
32. focus on connections between
both media and people
(connectivity)
identity (concept + values)
determine the course
work process oriented and in
permanent beta
gebruik de 5 pijlers van
P.E.R.M.A.* voor de sociale
(media) aanpak:
Positieve emotions
Engagement
Relations
Meaning and purpose
Accomplishment
relations are leading
act analogue
think excentric
**
* Martin Seligman
** de publicatie SCCS! komt in oktober online beschikbaar
woensdag 19 december 12
33. thank you for your
attention!
more on
Erfgoed20.nl
StichtingE30.nl
collectiewijzer.nl
Inheritage.eu
Vragen?
theo@stichtingE30.nl
woensdag 19 december 12