The Internet’s dominant role in recent years has caused a change in the relationship between media producers, suppliers and consumers in the traditional media landscape. The cultural sector must therefore decide what to do with today’s digital media in response to the general public’s changing role, and for the purpose of improving accessibility. The use of multiple media resources and particularly resources like the Internet and mobile telephony seems to be inevitable. The only question that remains is: how? This paper addresses this question by focussing on social tagging and storytelling, and reports the results of an empirical study on tagging behaviour using the social tagging platform (see also Van Vliet et al., 2010).
We De Try: Creative Methods of Storylistening and Storytelling tells the story of a research journey the author underwent in trying to gain a better understanding of diversity and inclusion in higher education. Through insights generated by the exploration of methods of storytelling and storylistening, the research problematises using stories as tools for diversity and inclusion in higher educational institutions. In order to be transformed by that which emerges (storylistening) in a manner that is non-extractive, avoids reinforcing existing power imbalances, and recognises that stories transcend time and space asks for exploring questions relating to practicing care, generosity, and honouring and catering to different needs.
The evolution of digital media has fostered the emergence of new and adapted forms of storytelling. Journalism combines classic narrative resources with technology and interactive strategies to inform, explain and represent reality. After an initial stage of adaptation and experimentation, it is necessary to reflect on the contribution of the new formats to contemporary, quality journalism for new active audiences. This chapter summarizes the evolution of digital journalistic narrative to identify the differentiating elements that have come from the intersection of documentary and journalism, as well as the new approaches that have arisen from immersive technologies. A panoramic vision will allow us to establish a roadmap to advance the production and research of storytelling for a complex world.
We had been involved in the redesign of the 4 Period Rooms of the Marquise Palace, also called the Palace of Secrets, in Bergen op Zoom. This design was based on the biography of a historical figure: Marie Anne van Arenberg, whose dramatic life was marked by secrets. Each of the 4 rooms represents a turning moment in Marie Anne’s story: the official marriage, the secret marriage and the betrayal, the dilemma and choice, with, in a final room, the epilogue. These different episodes are reflected in the way the rooms are furnished: the ballroom, the bedroom, the dining room. The Secret Marquise as design and exhibition has brought more visitors to the museum. As designers and researchers, however, we were interested in understanding more about this success, and, in particular, in understanding the visitors experience, both emotionally and sensorially at different moments/situations during the story-driven experience.In the fall of 2021, the visitors’ lived experience was evaluated using different approaches: a quantitative approach using biometric measurements to register people’s emotions during their visit, and a qualitative one consisting of a combination of observations, visual imagery, and interpretative phenomenological analysis (IPA).Qualitatively, our aim was to understand how respondents made sense of Marie Anne’s story in the way in which this was presented throughout the exhibition. We specifically looked at the personal context and frame of reference (e.g., previous experiences, connection to the visitor’s own life story, associations with other stories from other sources). In the design of the rooms, we used a combination of digital/interactive elements (such as a talking portrait, an interactive dinner table, an interactive family painting), and traditional physical objects (some 17th century original objects, some reproductions from that time). The second focal point of the study is to understand how these different elements lead the visitors experience.
Er bestaat groeiende belangstelling bij musea, goede doelen en grote festivals voor Virtual Reality. Deze instellingen hebben vaak interesse voor complexere interactieve VR-installaties met een duidelijke persuasieve intentie, zoals attitude- of gedragsverandering bij het publiek. Dit onderzoeksvoorstel richt zich op de ontwikkeling van een ‘grammatica’ voor het ontwerpen van interactieve VR installaties die zich richten op ‘reflection’ en ‘persuasion’. Uitgangspunt daarvoor is het ‘model for dimensions of interaction in VR’ dat in een eerder Raak MKB project is ontwikkeld. Het model beschrijft vier verschillende vormen van interactie in VR. Met dit onderzoek wordt een belangrijke nieuwe stap gezet door het conceptuele model te concretiseren en te onderzoeken in hoeverre deze ingezet kunnen worden voor de doelen persuasion en reflection. In hoeverre kunnen interactieve design elementen bijdragen aan het effect van VR als ‘perspective shifter’? In Fase 1 wordt het conceptuele model ingekleurd door een analyse van interactie strategieën in bestaande VR-installaties. De analyse van de installaties wordt vergezeld door interviews met de makers waarbij gevraagd wordt naar hun motief voor de implementatie van deze interactieve elementen en hun reflectie daarop. In Fase 2 worden de aldus verkregen inzichten en hypothesen gekoppeld aan theorie over media effecten, toewerkend naar een format voor VR als perspective shifter. Dit format vormt de basis voor Fase 3, waarin in samenwerking met kennispartners een concept voor een VR installatie met het thema VR for Diversity wordt ontwikkeld. Deze installatie wordt geproduceerd door één van de consortiumpartners en zal ingezet worden voor een serie experimenten waarmee wordt nagegaan hoe VR als perspective shifter kan dienen en welke rol interactieve (verhaal)elementen daarbij kunnen spelen. Parallel aan het onderzoekstraject worden experts meetings en workshops georganiseerd en zal de verkregen kennis worden bestendigd binnen onderwijsafdelingen aan de Hogeschool van Amsterdam en Hogeschool voor de Kunsten in Utrecht.
