This article describes how the 4 period rooms of the city museum in the Dutch town of Bergen op Zoom were redesigned using storytelling and how this design has been received by visitors. For this redesign, rooms were reframed as sets of the story of Marie Anne van Arenberg, Marquise of Bergen op Zoom, and the objects as props to stage her story, which was full of secrets and of unexpected turning points. The visitor is enticed to discover cues to unlock these secrets in order to get a grip on her story while exploring the museum space. This is however not a treasure hunt, nor simply a game, but an exploration in which visitors are invited to discover and to create meaning and a journey into what matters to them. To this end, they have indeed to resort to their own frame of reference and to their personal life story in order to come to a narrative closure at the end of their visit. We used Interpretative Phenomenological Analysis to understand the visitors’ lived experience, both emotionally and sensorially at different moments and situations during the story-driven experience and to understand how the chosen design helps tell the story and how visitors use their personal context and frame of reference to make sense of it.
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Ga in gesprek met ooggetuigen van de Tweede Wereldoorlog ín oorlogstijd bij Erfgoed ’s-Hertogenbosch vanaf 16 november. Via interactieve portretten sta je oog in oog met de Bosschenaren Roosje, Fientje en Jan tijdens gebeurtenissen die hun leven veranderen.De bezoeker ontmoet de Bosschenaren Roosje, Fientje en Jan in de interactieve expositie en kan met hen in gesprek gaan. De Tweede Wereldoorlog krijgt in deze vernieuwende publiekspresentatie vanuit verschillende perspectieven gezicht. Diverse thema's zoals het dagelijks leven, verzet, collaboratie, vervolging en bevrijding komen aan bod. De personen worden geïntroduceerd door historica en Andere Tijden-presentatrice Astrid Sy. De inzet van innovatieve technieken, zoals spraakherkenning, maakt het mogelijk om virtueel een actief gesprek te voeren met de persoon uit de Tweede Wereldoorlog. Iets dat in het echt nauwelijks meer mogelijk is, omdat bijna alle ooggetuigen van de oorlog zijn overleden.
De inzendingen voor het Gouden Kalf Interactive beslaan dit jaar een breed en gevarieerd veld op het gebied van digital storytelling. Zo is er een Virtual Reality-installatie die zicht richt op soldaten in een stammenstrijd in Uganda en hen de leefwereld van hun vijand toont; een interactieve webdocumentaire die een caleidoscopisch overzicht geeft van de Nederlandse drugsindustrie; een real-time berichtenstroom in WhatsApp die volgers laat meereizen met de nachtelijke busrit die familieleden van Amerikaanse gevangen regelmatig moeten ondernemen om hun geliefden op te kunnen zoeken; en een viral socialmediaproject dat wereldwijd het maatschappelijk debat over machogedrag in de openbare ruimte op scherp zet.
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This Professional Doctorate (PD) project explores the intersection of artistic research, digital heritage, and interactive media, focusing on the reimagining of medieval Persian bestiaries through high dark fantasy and game-making. The research investigates how the process of creation with interactive 3D media can function as a memory practice. At its core, the project treats bestiaries—pre-modern collections of real and imaginary classifications of the world—as a window into West and Central Asian flora, fauna, and the landscape of memory, serving as both repositories of knowledge and imaginative, cosmological accounts of the more-than-human world. As tools for exploring non-human pre-modern agency, bestiaries offer a medium of speculative storytelling, and explicate the unstable nature of memory in diasporic contexts. By integrating these themes into an interactive digital world, the research develops new methodologies for artistic research, treating world-building as a technique of attunement to heritage. Using a practice-based approach, the project aligns with MERIAN’s emphasis on "research in the wild," where artistic and scientific inquiries merge in experimental ways. It engages with hard-core game mechanics, mythopoetic decompressed environmental storytelling, and hand-crafted detailed intentional world-building to offer new ways of interacting with the past that challenges nostalgia and monumentalization. How can a cultural practice do justice to other, more experimental forms of remembering and encountering cultural pasts, particularly those that embrace the interconnections between human and non-human entities? Specifically, how can artistic practice, through the medium of a virtual, bestiary-inspired dark fantasy interactive media, allow for new modes of remembering that resist idealized and monumentalized histories? What forms of inquiry can emerge when technology (3D media, open-world interactive digital media) becomes a tool of attention and a site of experimental attunement to cosmological heritage?
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.
Deze aanvraag betreft de productie van een viertal experimenten, uitgevoerd in samenwerking met MKB partners, op gebied van interactive storytelling voor 360 graden media. In deze video-experimenten gaat het om het testen van elementen voor de nieuwe beeldtaal, die vereist is voor 360 graden film. Gedurende de looptijd van het project worden drie symposia georganiseerd waarop alle betrokkenen de studies bespreken. Naast MKB hebben ook de omroepen VPRO en AVRO/TROS zich aan dit voorstel verbonden, alsmede de VU, UvA,TU Delft en de Nederlandse Filmacademie.
