Hearing Voices: An Overview of Augmented Reality AudioTim Haynes
A look at the current state of augmented reality audio, the major players, inflection points on the horizon, and specific ways geotagged audio can apply to travel -- both today and in the future.
Hearing Voices: An Overview of Augmented Reality AudioTim Haynes
A look at the current state of augmented reality audio, the major players, inflection points on the horizon, and specific ways geotagged audio can apply to travel -- both today and in the future.
MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...museums and the web
A presentation from Museums and the Web 2010.
Acknowledging that the only constant in technology is change, this paper proposes ways of ‘thinking outside the audio tour box’ in developing mobile interpretation programs in museums: instead of making mobile interpretation a question of which device, platform, or app the museum should invest in, it puts the focus on cross-platform content and experience design.Putting audiences at the center of museums’ mobile content and experience designs make it possible to engage them through the media consumption practices and platforms that they already use outside of the museum.
Based on research conducted at the Smithsonian American Art Museum, the Indianapolis Museum of Art, and with the principals of SmartHistory.org, this paper offers a ‘question-based’ methodology for developing an interpretive strategy that starts with mapping visitors’ queries in the galleries. From this conceptual map we can derive a matrix of platforms, media, and narrative voices that work cross-platform. The traditional audio tour, with its analog ‘linear’ content and random access ‘stops’, offers important paradigms for ‘mobile 2.0’ content design: on the one hand, conceptual overviews and immersive ‘soundtracks’ provide a ‘score’ for the museum experience, and on the other hand, ‘soundbites’ in a range of media (audio, multimedia, or text) can be searched, saved, shared and favorited in multiple contexts. From social media, we can also learn how to integrate links, apps and user-generated content into the mobile mix. Finally, the paper considers how content style impacts shelf-life. What is the enduring legacy of creating ‘quick & dirty’ interpretive ‘snacks’ versus investing in more nutritional fare? How can museums best allocate their mobile content budgets in this light?
Session: Mobiles: A Panel [mobile]
see http://www.archimuse.com/mw2010/abstracts/prg_335002342.html
Video of this presentation given at Power to the Pixel, London Film Festival, 2009 is available at: http://www.babelgum.com/4005320/what-did-they-lessons-learned-crossmedia-christy-dena.html. Event details are at http://www.PowertothePixel.com
Transmedia is a buzz word that’s been in use for a while now, and the idea behind it goes back many decades. But from Hollywood to Madison Avenue, we’re seeing more and more content creators adopting transmedia practices: creating stories, characters or themes that arc over various platforms, providing consumers with multiple entry points. For marketers, transmedia presents new opportunities for creatively engaging audiences—with the potential to enhance brand mythology and create more brand evangelists.
This report takes a look at why this trend is bubbling up right now, how it’s significant for marketers and where it’s going. It includes a half-dozen case studies, insights from transmedia experts, a guide to finding more information (from events to podcasts to books and video clips) and a timeline charting some milestones in transmedia’s evolution.
You can download the full report here: http://www.jwtintelligence.com/trendletters2/
Presented on November 9, 2009 as a part of the Seminar for Historical Administration surrounding the idea of how the changing media landscape has (and will continue to) alter the mission and behaviors of museums around the world.
A Blended Space for Heritage StorytellingEffective
Presented at the British 2014 HCI conference by Brian O’Keefe, lead experience architect
This presentation explores the role of Blending Theory as a framework to aid in design decisions while deploying mobile experiences for heritage storytelling. Blending Theory provides a structured way of thinking about how digital and physical spaces can be brought together to create new experiences in blended spaces. In this presentation, we describe the development of an app that aims to enhance the visitor experience to a heritage destination in New York State. We show how the blended spaces framework was used to guide the development of the app and provide evaluation data that highlights the effective UX that resulted. Heritage stories and augmented digital characters are used to guide a visitor from one point of interest to another, providing an engaging user experience.
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
MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...museums and the web
A presentation from Museums and the Web 2010.
Acknowledging that the only constant in technology is change, this paper proposes ways of ‘thinking outside the audio tour box’ in developing mobile interpretation programs in museums: instead of making mobile interpretation a question of which device, platform, or app the museum should invest in, it puts the focus on cross-platform content and experience design.Putting audiences at the center of museums’ mobile content and experience designs make it possible to engage them through the media consumption practices and platforms that they already use outside of the museum.
Based on research conducted at the Smithsonian American Art Museum, the Indianapolis Museum of Art, and with the principals of SmartHistory.org, this paper offers a ‘question-based’ methodology for developing an interpretive strategy that starts with mapping visitors’ queries in the galleries. From this conceptual map we can derive a matrix of platforms, media, and narrative voices that work cross-platform. The traditional audio tour, with its analog ‘linear’ content and random access ‘stops’, offers important paradigms for ‘mobile 2.0’ content design: on the one hand, conceptual overviews and immersive ‘soundtracks’ provide a ‘score’ for the museum experience, and on the other hand, ‘soundbites’ in a range of media (audio, multimedia, or text) can be searched, saved, shared and favorited in multiple contexts. From social media, we can also learn how to integrate links, apps and user-generated content into the mobile mix. Finally, the paper considers how content style impacts shelf-life. What is the enduring legacy of creating ‘quick & dirty’ interpretive ‘snacks’ versus investing in more nutritional fare? How can museums best allocate their mobile content budgets in this light?
Session: Mobiles: A Panel [mobile]
see http://www.archimuse.com/mw2010/abstracts/prg_335002342.html
Video of this presentation given at Power to the Pixel, London Film Festival, 2009 is available at: http://www.babelgum.com/4005320/what-did-they-lessons-learned-crossmedia-christy-dena.html. Event details are at http://www.PowertothePixel.com
Transmedia is a buzz word that’s been in use for a while now, and the idea behind it goes back many decades. But from Hollywood to Madison Avenue, we’re seeing more and more content creators adopting transmedia practices: creating stories, characters or themes that arc over various platforms, providing consumers with multiple entry points. For marketers, transmedia presents new opportunities for creatively engaging audiences—with the potential to enhance brand mythology and create more brand evangelists.
This report takes a look at why this trend is bubbling up right now, how it’s significant for marketers and where it’s going. It includes a half-dozen case studies, insights from transmedia experts, a guide to finding more information (from events to podcasts to books and video clips) and a timeline charting some milestones in transmedia’s evolution.
You can download the full report here: http://www.jwtintelligence.com/trendletters2/
Presented on November 9, 2009 as a part of the Seminar for Historical Administration surrounding the idea of how the changing media landscape has (and will continue to) alter the mission and behaviors of museums around the world.
A Blended Space for Heritage StorytellingEffective
Presented at the British 2014 HCI conference by Brian O’Keefe, lead experience architect
This presentation explores the role of Blending Theory as a framework to aid in design decisions while deploying mobile experiences for heritage storytelling. Blending Theory provides a structured way of thinking about how digital and physical spaces can be brought together to create new experiences in blended spaces. In this presentation, we describe the development of an app that aims to enhance the visitor experience to a heritage destination in New York State. We show how the blended spaces framework was used to guide the development of the app and provide evaluation data that highlights the effective UX that resulted. Heritage stories and augmented digital characters are used to guide a visitor from one point of interest to another, providing an engaging user experience.
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
The Pixel Lab 2015 | Loc Dao's Lessons Learned in Interactive Documentary power to the pixel
The NFB's Head of Digital Content shares lessons learned around story and form from award-winning, groundbreaking interactive projects Seven Digital Deadly Sins, Circa 1948, The Last Hunt, Bear 71 and Welcome to Pinepoint.
Design and technology meets story and documentary.
Teaching Old Brands New Tricks with Transmedia Storytelling (1/2) Henri Weijo
Henri Weijo (PhD candidate at Aalto University School of Economics, Department of Marketing) explores transmedia storytelling, showing how many of its practices have already become commonplace in today’s marketing. However, at the end of the presentation I outline ideas on where brands should be going next to really leverage transmedia. Part 1 / 2.
2. Created by Michael Simons and Paul
Shoebridge (Goggles)
Initial Release in 2010
Pine Point is a powerful melancholic
Project about place and memory, a beautiful
story about a town that no longer exists
3.
4. Background
Pine point was established in the 1950's
Only stood until the 1980's
The project is ‘part book, part film, part
website’ or an interactive documentary.
5. “An interactive documentary is a transmedia
project that exists across multiple
platforms and allows a non-linear
experience to users. Unlike linear/traditional
documentaries--an experience viewed by a
captive audience that encourages little
participation--interactive documentaries
encourage viewers to explore the stories and
geography in their own unique
way.” (McMillion 2012)
6. Origins
Was originally intended to be a book
The creators felt they could create much
more meaning and depth through an
Interactive transmedia site.
12. Narrative Gaps
Long (2007) points out that “the art of building
strategic gaps into a narrative to evoke a
delicious sense of ‘uncertainty, mystery, or
doubt’ in the audience.”
There is no proof, other than memories of the
town that once was
13.
14. As Andrea Phillips proposes, audience interaction
"requires or allows audience action to learn more
about the story"
The audience must move through the documentary
at their own pace
T The designers have
deliberately set up the
site to minimise the
amount of ‘clickable’
items
16. Interesting Elements of the Site
- Utilizes audio, still imagery and video
- Has various interactive elements that
benefit from a high level of engagement,
but would suffer if users choose to skim
the site.
- The video content would take around 30
minutes to watch
24. Reception
100,000 visitors only 3 months after its launch
2 Webby awards
Banff World Media award
Sheffield Innovation Jury Award
Favourite Websites Awards Site Of The Day (FWA SOTD).
25. Bibliography
• http://interactive.nfb.ca/#/pinepoint
• http://pinepointrevisited.homestead.com/
• Andrea Phillips (2012). A creator's guide to transmedia
storytelling: how to captivate and engage audiences across
multiple platforms. 1st. ed. United States: McGraw-Hill.
• Long, G. A. (2007) . On Toys and Transmedia Storytelling.
Tip of the Quill. Reproduced at http://www.geoffreylong.com/
miscellany/actionfigures.php.
• McMillion, E. (2012) Hollow: An Interactive Documentary [online]
Available at: http://www.kickstarter.com/projects/elainemcmillion/
hollow-an-interactive-documentary[Accessed: 30 Apr 2013]
• Jenkins, H. (2013) T is for Transmedia…. [online] Available at:
http://henryjenkins.org/2013/03/t-is-for-transmedia.html [Accessed:
13 Apr 2013].
