Cncpt

zijn er nog vragen?

?

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?

TED als idea

storytelling is drama

"drama is anticipation mingled with uncertainty"

make me care

into the box

randvoorwaarden mogelijkheden beperkingen uitdagingen

nadenken over drempels voordat je erop vastloopt

http://www.knooppuntinnovatie.nl/documenten/sit%2520tijdschriftmarketing.pdf

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.jpghttp://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 Technology Wants

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?

HOEHOE

HOE

HOE

HOE

WAAROM

WAT

WAT

WAT

WAT WATWAT

WAT

WAT

WATWAT

WAT

WAT

WAT

WAT

WAT WAT

WAT

WAT

WAT

WAT

WAT

WAT

WAT

WAT

WAT

WATWAT

WAT

WAT

WAT

WAT

WAT

WAT

WAT

WAT

WAT

WAT W

AT

WAT

WAT

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 MeereboerStichting 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]

purposeurgencyprocesstechniqueingredientsdeliverables

title/subject

© Theo MeereboerStichting E30 2015

dateparticipants

follo

wer

s

fans

com

mun

ity

team

visito

rs

participants customers

friends

benefactors

stakeholders

partners

suppliers

CONTEXT

[credibility]

turmoil & trends

tasks & roles

ambition

valuesSOCIAL[participatory]

attentionneeds

questionsco-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

stra

tegy

stra

teg

y

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 textcore 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.

• powersourceStep 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?

• business model canvas

• 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.Describeanissueyourvisitorisfacingwhendealingwithdailylife,informationoverflow,technology,medialiteracy,etc.

• business / proposition7. 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?

Estrategie

wat moet je weten voor een strategie?

Estrategie

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 fe

eling

•

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

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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

Iteration & Agile proces

combineer, maak crossovers

t r a n s f e r r y u m m

werk samen, zoek partners, producten

productprocesklantbenadering

aanpassingsvermogen (blijvertje)

connectiviteit (krijgertje)

overbrugging (wijzertje)

integrale, gezamenlijke aanpak (win-win)

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

• make people care

• build true relations

YOURMUSEUM

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

• human

• business / proposition5 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.)

• business / proposition15. 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 outreachEngagement and outreach are the pinnacle elementsof 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.

• engagement versus outreach

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 versus outreach

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.

• engagement versus outreachWe 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?)

inspiredbycoffee.com/2015/03/consumer-journey-boardgame

• how: engagement journey

inspiredbycoffee.com/2015/03/consumer-journey-boardgame

• 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: activitiesOnce 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

Emobiliteit 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

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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

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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

eigenbelangargument

z

aanname

feit

denk- en leerproces

waarom?

hoe?

wat?

open data

vertellen

participeren

inlevenhouding

vraag!

gezamenlijk belang

bespreek-, doe- en leerproces

<digital> storytelling </digital> 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?

<digital> storytelling </digital> my story?

<digital> storytelling </digital> I love to make museums more engagingI love to make museumsI make museumsI make

<digital> storytelling </digital> I love to make museums more engaging

<digital> storytelling </digital>

“I am not interested in erecting a building, but in […] presenting to myself the foundations of all possible buildings.” Ludwig Wittgenstein

schoolslibrariesmuseums

makers followers customers

museum in the making: in the cloud, reaching out with satellite buildings

<digital> storytelling </digital> back to the questions: Jennifer Brandel

https://www.youtube.com/watch?v=Cmf193gtC-k&feature=youtu.be

<digital> storytelling </digital>

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> storytelling </digital> digital: big names (but hardly any women)

<digital> storytelling </digital> storytelling ≠ knowledge exposure

a lot of text but hardly any story

<digital> storytelling </digital>

#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

<digital> storytelling </digital> Storytelling = using imagination, experience, knowledge… and curiosity

http://jalopnik.com/5854568/amazing-pictures-of-an-outdoor-russian-car-museum/

<digital> storytelling </digital> imagination vs. fantasy

<digital> storytelling </digital> storytelling, try to be true

#network #innovation #connectivity #exchange #adaptability #swarm #share #credibility #tastemakers #audience #relations

<digital> storytelling </digital> digital storytellingCarlyn 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> storytelling </digital> 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

<digital> storytelling </digital> telling history? Connectivity

Metcalfe's law: n(n − 1)/2

also counts for digital

1

5 10

12 66

500 124750

<digital> storytelling </digital> telling history? excentricity

we're here

This is where it happens!

Think excentric! contribute to important issues, trends, networks, startups, dare to distinguish

<digital> storytelling </digital>

- 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

<digital> storytelling </digital> 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 lI 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 nc e s

c o n v e r s at i o n s

<digital> storytelling </digital>

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

<digital> storytelling </digital> 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

<digital> storytelling </digital>

value exchange, value (co)creationWhy 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

<digital> storytelling </digital>

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

telling history?

<digital> storytelling </digital> telling history?

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

<digital> storytelling </digital>

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

working on narrativity

<digital> storytelling </digital>

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

working on narrativity

<digital> storytelling </digital>

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

from identity to storytelling

<digital> storytelling </digital> 6 x L ( 3 x 2) x L

Loose

Listen

Like-wise

Learn (lifelong)

(L.A.T.) relations

be Loved Loyalty And Trust

<digital> storytelling </digital>

“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

<digital> storytelling </digital> the narrator and his changing role

<digital> storytelling </digital>

matter of perspective

standpoint and focalisation

<digital> storytelling </digital>

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)

<digital> storytelling </digital>

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

duration and period

<digital> storytelling </digital>

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

duration and period

<digital> storytelling </digital> 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:

<digital> storytelling </digital>

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

<digital> storytelling </digital>

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

<digital> storytelling </digital> How to engage with your writingsBe 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!

<digital> storytelling </digital> The art of copywriting

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

<digital> storytelling </digital> From museum text to copy

"Communication is conversation. Not dictating, but speaking with. And listening."

<digital> storytelling </digital> how to tell?

<digital> storytelling </digital> from entertainment to serious gaming

<digital> storytelling </digital> from loosing memories to remembrance

<digital> storytelling </digital> 3D reproduction and markers: smart replicas

<digital> storytelling </digital> co-creation in telling stories

<digital> storytelling </digital> you choose, we show

<digital> storytelling </digital> 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…

?