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.

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
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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historical
content
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13. Serious
Games
”
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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)
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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?
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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?
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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.
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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.
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19. crosssmedia
- conversations
- meeting places (agora)
- interaction
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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.
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22. transmedia storytelling:meer links
http://www.youtube.com/watch?
v=61g72U9ZEsY&feature=PlayList&p=4482DCE2474A1653&playnext=1&playnex
t_from=PL&index=6
http://www.youtube.com/watch?v=Mn-vO1mi2eQ&feature=related
http://www.slideshare.net/jgerst1111/digital-storytelling-1303268
http://www.geheugenvanalmere.nl/
http://www.disappearingplaces.net/tags/
http://www.frankwatching.com/archive/2007/03/11/digital-
storytelling-de-kunst-van-het-toevoegen/
http://storiesforchange.net/
http://en.wikipedia.org/wiki/The_Truth_About_Marika
http://www.youtube.com/watch?v=iX_ZJkwvKR8
http://www.brooklynmuseum.org/opencollection/tag_game/start.php
http://blog.programmableweb.com/2009/04/01/hack-the-brooklyn-museum/
http://www.dutchcowboys.nl/events/16338
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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!
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27. waar waren we ook alweer?
cal
Co mbine physi
(events),
intangible
ral
(stories, o
d
history) an
e,
dig ital (onlin
mobile)
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28. heritage to go: trans-situ!
continuously changing
stories, perspectives and
experiences to share
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29. the future
of the
mediation:
visitors
interacting
with
technology
and
eachother?
”
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30. Alternate
Reality Game
(transmedia)
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31. Alternate
Reality Game
(crowd sourced
ARG fiction )
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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
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33. thank you for your
attention!
more on
Erfgoed20.nl
StichtingE30.nl
collectiewijzer.nl
Inheritage.eu
Vragen?
theo@stichtingE30.nl
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