I finally got to the V&A today, for their exhibition You Say You Want a Revolution ...
Today I’m trying to finish all the documentation I need to Ethics Committee approval for the Chawton Untours. Right now, I’m looking in particular at the information sheet I’ll give participants before they agree to be part of the experiment. Looking at and writing all this over and over again mains me sort of “sense-blind”, and so though I think this is all written in plain English and is understandable to the man on the street, I’m not sure.
Among the mince pies and over-cooked turkey over Christmas, I managed to find a little time to read an interesting paper. #Scanners: Exploring the Control of Adaptive Films using Brain-Computer Interaction shows once again, that the cool people are all at the University of Nottingham. What these particular four cool guys did was put a mini cinema in an old caravan. But this particular cinema wasn’t showing an ordinary film.
Last weekend, I found myself running up and down stairs in a disused shopping mall in Reading, getting chased by, and shooting zombies. To celebrate a friend’s fiftieth (and mine, as my friends clubbed together to buy ticket as a present for my upcoming big birthday) we were participating in an immersive experience run by Zed Events.
I’m doing my ERGO application today. That’s the University’s Ethics risk and approval system, and they’ve worked hard to make it as simple as possible, but it does take time. And so its time to pass on a useful tip to those starting out on their PhD studies. This is the third approval I will have got (and I’m pretty sure to get it, its low risk ethics-wise), during my time here.
Just drafted an abstract for my Sound Heritage presentation: This presentation explores what computer games can teach us about emotional engagement in cultural heritage interpretation. Beginning with a model of emotional affect drawn from the work of Panksepp and Biven (Panksepp, 2012), Lazarro (Lazarro, 2009), Sylvester (Sylvester, 2013)and Hamari et al (Hamari et al., 2014), it reveals how music especially has become a versatile emotional trigger in game design.
A very quick post today, to share a video brought to my attention by my excellent colleague Ed Holland: ...
Last week I was at London’s Digital Catapult centre, building on the discussion we started with the thinkathon in Winchester. This time round, we wanted to bring in some other voices from outside the academic sector, so I invited Lindsey Green from Frankly Green and Webb, and Kevin Bacon from who I met when he organised a fun workshop for the heritage sector. We also had Jake Berger from the BBC, David Tarrant from the Open Data Institute and Nigel Smith from FutureLearn.
Yesterday I attended and spoke at the third of the Sound Heritage study days, at the marvellous Tatton Park, in Knutsford, near Manchester. The day started (after introductions) with a presentation from Candace Bailey, Performing Paris in Antebellum Charleston. She is currently exploring the domestic music of women across the Southern United States in the 19th century. Not just white women, but also (after the civil war and emancipation) women of colour.
Last week my wife and I went to San Francisco. Our second full day there was mostly spent within SF MOMA, the San Francisco Museum of Modern Art. And for the first time ever, I used a museum/heritage app that actually enhanced my visit. Part of what made it so successful was the infrastructure that made it easy to download and use. I didn’t have to plan in advance and download it before my visit.
It’s a funny feeling time. The calendar pages seem to flicker by as the year rushes towards its end, the the deadlines for various aspects of the Chawton project loom ominously. On one level I worry I have achieved so little and yet, on an other so much has gone on. So it seems inevitable that this post will consist of a number of short catch-ups on various aspects. Untours First of all, I’ve got a name for what we offer the public next year.
Last week, went to Winchester School of Art to meet with some university colleagues to join a couple of facilitators from We Are Open, for a Thinkathon.
In the afternoon Graham Festenstein, lighting consultant, kicked off a discussion about using lighting as a tool for interpretation. New technology, he said, especially LED, presents new opportunities, “new revolution” in lighting. It’s smaller, with better optics, and control. And also more affordable! He used cave paintings as an example.
Yesterday I attended a workshop organised by the museums association and hosted by Stephen Cannon-Brookes, of UCL Bartlett School of Architecture and lighting consultant. I was there for work, but found it useful for my studies too. To be honest, it wasn’t all about “New Perspectives” as such, it covered a lot of the the established ground too. But for a non expert like me, that was incredibly useful.
I haven’t written a post for some time. And I’ll be frank, it because I’m struggling with the stories at Chawton. (As well as dealing with the last couple of weeks of the school holidays, and making a run to Southampton Uni, for work, on my day off – but that’s another story.) My struggles have made me think about the whole philosophy of heritage storytelling.
Working on the narratives for the Chawton Project, I’m taking a break and catching up on reading. Paul Mulholland (with Annika Wolff, Eoin Kilfeather, Mark Maguire and Danielle o’Donovan) recently contributed a relevant first chapter to Artificial Intelligence for Cultural Heritage (ed Bordoni, Mele and Sorgente). Mulholland et al’s chapter is titled Modelling Museum Narratives to Support Visitor Interpretation.
A Ratatta in a glass, Jerry mouse he ain’t. Photo: Tom Tyler-Jones I was talking with my son about Pokemon Go today, and I thought it might be useful to run the game though my model of affect and affordances.
A week or two back, I had an interesting conversation with my supervisor, which I didn’t think I should mention on-line until, today, he invoked the “inverse fight club rule”. So I can now reveal that P.O.R.T.U.S stands for Portus Open Research Technologies User Study – yes, I know, as Graeme said “recursive-acronym-me-up baby.
In my exploration of interactive storytelling I’ve concentrated on computer games, because I’m exploring the digital delivery of story. But I’ve already decided that for my experiment at Chawton next year, I’m going to “wizard of Oz” it – use actual people instead of trying to write a computer program to deliver the interactive narrative. I’ve been thinking about the issues around that.
Today, or rather this evening, was the first part of the short Management, Leadership and Teamworking course I’ve joined. Organised by the University, it’s designed for early career Post-Docs, but PhD candidates like me were invited too. There are twenty of us on the course, from all over the world. My team of five (up the Reds!) includes people from China, Iran (via Turkey) and Spain. After our briefing, and a far better YMCA supper than I was expecting.