 Hello— jeopard on kickstart on my presentation. My name is Jenny Kidd and I'm a lecturer at the School of Journalism, Media and Cultural Studies at Cardiff University. I'm here today with Alison John from Yellowbreak. Do you want to say a bit about what you do? That's fine, production for Yellowbreak. And we're also talking on behalf of Sarah Hughes, who's a digital content officer at Amgoeddfa-Chemery National Museum Wales. Dwi'n mynd i amlwg am y projec i chi amllwg yma i'n mynd i'w amlwg yma yma sy'n ymgylcheddol o Leon i'r Llangwlad Cymru. Mae hyn yn rhan o'r mawr sy'n cymryd i'r cyhoedd gael y Llywodraeth Cymru gyrsfyrdd i'n cymryd i'r Cymru, yng Nghymru Llywodraeth Yng nghymru yn ymgylcheddol, i chi yw ddwy yma i'r Cymru yng nghymru Llywodraeth Ynghymru? Felly, dyma'r cymryd i'r cymryd i'r cymryd. Jesusyn o'r pwyddestŏiau sefydlowadau yn fynd a disech? 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Yn ym ni'n meddwl am yr ysdyn nhw mewn gweld ffain o'r skirtrfyniad, mae'r hebau ymlaen i'r fath o'r meddlig yn mynediad, am mynediad o'r wneud o'r llyfr anodol, yna nifer y gallu ti'n mhlu amfawr? Mae'r gwaith ymarfer, sydd wedi ei ddweud yn edrych amdano a rydym y byddai. Pwysigidio'r rhai o'r awrbyn sydd eich gwybod i'n ei reifio ar ei gwellaf. Ond, amser ar y cyflogion gwahanol, mae'r newid yn cael ei gwaith. Rydyn ni'n cyn dod yn hynny o ymddangos ac mae'n holl diwrnod o'r awrfyn ddweud o'r awrfyn yma. o'r rhaglen cyd-dweud i'r narodau yn ystod o'r gweithgau, a'r narodau yn ystyried, a ydydd ydym yn yma'r gwaith o ffordd hwn o'r ddweud deallu o'r dangos cyd-dweud, byddai'n gwneud o'r rhaglen cyd-dweud. Rydyn ni'n gofio'i cyd-dweud i'r cyd-dweud, mae'r program o'r Cymru o'r Tynedd Cymru, o'r cyd-dweud o'r Gweithgrif iawn o'r clyw o'r ddweud cyd-dweud. Mae'r hyn yn cael rhywbeth o ffordd neu gweld iawn. Mae'r hyn yn cael rhywbeth yn ffordd neu ffordd a'r hyn yn cael rhywbeth yw felly yn rhoi llwyddiol ar hyn. Mae'r hyn yn cael rhywbeth ac mae'n tynnu'r hyn yn gweithio ac rydyn ni'n fawr. Felly mae'n rhai hynny'r hynny'r hyn yn ymgyrch. Mae'n rhai hyn yn ymgyrchol Lludic yn ymgyrch. Mae'r hyn yn ymgyrcholol oedd yn gweithio'r hynny. gymaethau, a dyna yna gweithio am y llwyddiadol a'r hyn yn ei ddweud ymlaen o'r cyfnodau yn gweithio ar y gweithio mewn cyfnodau. Mynd i chi'n gweithio'r cymhwyllt i'r rhain hon i'r mynd i'r bod yn ei ddweud yn cael ei gweithio'r cyfnodau i'r hefyd. Ac mae ymellodraeth i'w ddigonion i'r rai o'ch hawdd bwysigau ar ddoch i'n mynd i gair i gael ein llaw yma, a yw'r ffordd i'w ddigonion i'r ffrindio i gael i gael eu rai o'r ffordd i'n gweithio yn rhoi Cymru. Rwy'n meddwl, ganwch ein holl o'r ffordd mae'r ffordd hyn yn gyflogu. Ychydigodr gyda'r tympag, ynglynig, ynglynig Lludic, ac ydych chi'n effektif arall y tympag. A heddiw wedi bod ni'n gweithio'r ysgolion arall i fynd i'r Gwyliannol yma, byddwch yn ymwrth. Byddwch yn ymwrth i'r Gwyliannol, a fydd yn ymwys i ddoch chi'n mynd i'ch gweithio'r cyffredinol. O marque'r ystyried yma yn y gallan ydych chi'n i gwybod nhw'n bwysig yr enwau yn fy bod yn gwneud i fynd yma ynghylch chi'w ei fod yn cymdeigol i wych yn hynod, dwy'n ddull i'n ddylch yn llunio'r plaid. Felly, ar y cyd-ddiol, nid ydych yn gwybod gwneud yn lwyddo i gwybodaeth nifer mewn gweithgwysbwynt. Fa y bydd y cwestiynau yn mynd i gydigol yn ôl gan hyn? can we build in and around museums? How closely tethered do those story worlds need to be to the other kinds of stories that are being told or interpreted on site? What kinds of ethical considerations should inform the story worlds that we build? And how do we make sure that the story worlds we build are accessible? So in our case, working with the National Museum of Wales, of course we needed to think about how this experience or the number of experiences that we've built would be accessible in the Welsh language. But also we need to think about accessibility much more broadly than that. And so to think about perhaps others who might traditionally be alienated by immersive experiences. And then another question that I think is really interesting in this context is that question of what can't immersive storytelling do? What might be its limitations as well? Okay, so we think that against what is often a kind of quite noisy backdrop of investment in virtual reality experiences and augmented reality experiences, for example, there are a number of really, really interesting projects that are exploring actually much more subtle and quieter and more intimate ways of imagining immersive storytelling. Ways that are kind of less tech driven, if you like, much more kind of narrative driven. Less obvious. And so we're looking at projects like the Lost Palace Project, Historic Royal Palaces, Chonco and Rosio and Invited Guests. Anybody here do the Lost Palace experience? Okay, so a number of people. So a really interesting way of thinking about immersive storytelling and what it might be able to achieve in these contexts. Ghosts in the Garden, another one. Holborn Museum, Splash and Ripple, and Steve Pool at the University of West of England. Hollow Body, another one. The Museum of London and Circumstance. And I kind of nod to all of those projects because looking at what's happening with those is kind of informing the way that we're thinking about all of this. And also I think it's interesting to note that most of those other projects are also, like ours, quite extensive partnership projects, which seems interesting given the context of this conference. So the precursor to the project Traces that we're here to talk about today was a project called With New Eyes I See. This was a project where we were able to begin to test our ideas around immersive storytelling and what it might be able to do in order to liberate the archives of the National Museum Wales. And we also wanted to test through this first iteration of the project what participants' appetites might be for this kind of storytelling and these kinds of experiences in our locality. So With New Eyes I See was funded via a grant from the Arts and Humanities Research Council's React project and it involved us putting on a timed event in the park outside National Museum in Cardiff at night. So it was in the dark. It was using projections, it used a soundscape and people worked in groups in the park in order to piece together a narrative to kind of cohere a narrative from the fragments that they found within that space. We've written about that project elsewhere and I can tweet a link to all of that but what we found with that work was that respondents people who came along and who spoke to us about this experience really evidenced a desire for more of that kind of practice. They liked this kind of sense of mystery. They liked the tension. They liked the sociality of the experience. They liked the kind of quite fine line that we were walking in that project between fact and fiction. What we found was that people in participating in that project actually were performing their visitation to that museum encounter very differently than they might perform their visitation within other kinds of museum encounter. That was really intriguing to us. So their visitation and the way they talked about it was as very embodied but yet still thoughtful but also quite playfully. So all of that was kind of there in the mix. So then in our partnership we have arrived at Traces and this is a project that is funded this time by an ESRC Impact Acceleration Award which we received via Cardiff University. What we'd like to do at this stage is to have a look at the trailer and then Allie's going to pick up the thread or the traces if you like and talk about the partnership in a bit more detail. This is the beginning and not the end. The beginning of something that could be nothing or nothing that could be something. The only way to know is to follow the path down towards the tunnel. The other side. Stand and wait at the junction that overlooks the two points. Traces is not an audio guide nor is it a tourist guide. It is a site-specific storytelling audio app that takes participants on a physical journey around Sink Faggans, framing the space through narrative and composition. Mianduin between fact and fiction, past and present, it is an artistic interpretation which challenges visitors to experience Sink Faggans in a new way. Described as a mix of storytelling, game and meditation it is both playful and thoughtful. So there are a number of ways of experiencing Traces on one's own, on the single person fully accessible route or via the partner experience which takes participants on two separate journeys that interweave in waves that are expressly performative but invisible to other visitors. Or alternatively you can do either of those routes via the Welsh language version which is called Olyon. So through the app we are encouraging people to play and most crucially for a museum to touch to see differently, to feel, to perform their visitation in new ways and perhaps more purposefully to be implicated in the narrative and to be comfortable with that yet not too comfortable. To end their experience with their relationship with the space shifted, altered, reimagined. So as a company we engage, we help other organisations engage with new audiences and existing audiences in different ways than they're normally used to. So we were really excited about developing this project in partnership with Cardiff University and the National Museum of Wales to see how we could transform the way that we think about heritage engagement and test a new kind of approach to digital in this setting. So we started the project with a workshop with the staff at St Fagans to understand key information that would inform what we made. At the beginning of any partnership we had a really good idea. Often it's really difficult to do but it's really key in getting everybody on board and having input into the project at the very start. And in this case the museum were experts in knowing what stories they had to tell and the extent of their archives and their capacity and staff time and also knowing who their audiences are and who they wanted to engage with in the future. And I guess our role as a creative company was to interpret, curate and challenge and this partnership had the added value of working with Jenny Kidd from Cardiff University who brought research pertinent to the project in areas of audience behaviour, gaming constructs and empathy. So from this initial workshop we discovered that St Fagans was not only a museum space it was also a place where people felt safe, reflective a space for families, dog walkers and the like. And St Fagans were keen to attract new audiences and at the same time give existing audiences a way to see the site through new eyes. And finally the staff wanted something to be made that was fun, not that they don't make fun things but they kind of felt that if we were going to do a project with a partnership let's make it fun. That's what everybody wants. And the final thought from the staff were that they wanted the project to run by itself due to the capacity at the time at St Fagans. So our process when we approach projects is pretty simple. This is kind of a really basic chart to show how we start a project. So we tried to define and develop four main areas story, audience, location and mechanic before we build an iteratively test and then launch and then shout about it. So with this project we defined the following for the audience, the workshop had given us our target audience, new visitors particular people aged between 20 to 35 that St Fagans were sort of having trouble to engage with successfully and ideally looking at maybe engaging existing audiences and giving them a new offering. In terms of location we decided to look at the gardens and the castle on the site which is an area less explored by visitors. And then mechanic, what we mean by mechanic is the way we can tell our stories the devices that we use. Is it analogue or digital or is it both? Is it replayable or is it a one time happening? Does it use game constructs or theatrical devices? So after considering everything we had found out in the workshop we tested a few options and we decided to create a subtle mob audio experience. So subtle mobs are usually quite pervasive and they usually happen in public places so they're not sort of flash mobs they're curated experiences but it's all about trying to remain invisible within that environment that you are in. So we thought it would be interesting to apply this to a heritage satin as it would enable us to create an immersive experience that was controlled to some extent and it would be something that could run itself and that we really wanted the technology not to drive the experience. So in the way that Pokemon Go does you rely on having information given to you and you are looking at the screen and content is being drawn often from other sources. So we wanted to keep it simple and challenge established behaviours of mobile phone use. So once you have the app running you put it in your pocket and we want you to engage the space around you and see the things that we are pointing out within the narrative. And in that sense then the experience itself becomes, on the technology becomes invisible. And we decided really on that the app needed to be a closed app and that means once it's downloaded all the content is on your phone so you don't have to rely on any external data which is pretty important because St Baggins has zero Wi-Fi or anything like that so that was part of the brief that we had to do a work around. But what a closed app also actually does as well it allows the maintenance of the app to be really minimal and updates because we don't rely on third party data it's kind of all in there so that kind of cut out any extra cost in the future that would be unforeseen. So I guess with our work particularly we are interested in ways to connect people in different ways to each other as well as to space and we talked a lot about creating around the campfire moments of telling and sharing stories and we talked about could this app be the campfire for St Baggins encouraging people to listen to the stories it has to tell but allow them to go on and tell their own stories of that particular experience so what we have termed the froth of the experience afterwards the legacy of that experience. The story we started research in the archives and there's a lot of information in those archives and we explored the space and the place and sort of lived with it for a few weeks and we realised quite soon on that the project shouldn't really replicate the information or the content that St Baggins already has because they do that really well they curate those pieces really well so what we could offer within the partnership was creating something different an artistic interpretation based on aspects of the stories of the archives rather than a factual representation or interpretation of them. We worked with a writer called Sarah Lewis and we spent a long time at St Baggins exploring the concept and themes further and from this framework we began drafting the narrative script which we edited through an iterative process and discovered further inspiration from the staff at St Baggins I've got to give a shout out to Andrew from The Gardens who had amazing stories to tell about not only the people and the history and the space but the gardens itself, the flowers how it changed during the seasons maybe knowledge and access to a person that members of the public wouldn't normally have we worked then with composer Jack Paul and we added layers of composition to the narrative that would end up being just as much a part of the storytelling of the piece as in itself as a spoken word so the music is composed to reflect pace and mood and emotion and also as a device for us to help people move through the space because we're telling you to go pretty much left and right and when we want you to move quickly the composition will fasten and slow as in when we need you to move in certain ways and then we worked with technology partner Hoffie who designed the technical and visual aspects of the app itself and I guess what we've created is something quite cinematic framing sync fagins through a different lens sometimes you're the listener sometimes an invisible actor or the central person in a fragmented and fleeting narrative the figure at the gilded gate face pressed towards the castle or the girl with the buttercups in her hair and moments come into focus and then they fade and they blur at the story told by an anonymous narrator and there are moments where you might see yourself in the story or be implicated in it or even empathise with it but you always remain connected to that thread and I guess this is the first time that the museum has ever collaborated on a project like this and so far audiences have responded positively we've done a sort of soft quiet launch this year just to see what the appetite is before we do a proper launch next year and people have described traces as an experience that reveals fragments of memories in the space and is a mindful journey that allows you to discover the beauty in the landscape so building on the previous project that Jenny spoke about with new eyes I see this enabled us as a partnership to understand how public institutions can work with partners within the creative economy and this can be quite scary because we're journeying through really unmarked territory and we're creating our own signposts often and this can be challenging for some institutions who have to break from embedded and inherited traditions and I guess partnerships are all about finding a common language and being generous with ideas and understanding that you can actually learn from each other and what I've learnt is that there will always be what I will call the capital T panic moment in these projects always with clients because we're asking you to take risks and we're challenging a process in your process but we're encouraging you to think differently and therefore trust plays a massive role in partnerships but everybody must realise we're all working towards the same goal and I guess there's something to be said for working with people that you like that does actually really help and I've met some amazing people through traces and there are some who I would actually consider invaluable mentors and friends who have enabled me as an individual in my creative practice to be seconded to the university for two days a week for four months next week to look at the impact of this project and develop my own personal career pathway which is something I never thought I'd do so thank you Jenny Kidd so takeaways do you know what, keep it simple if you are dipping your toe into these immersive experiences digital experiences or however you want to call them the old adage that simple ideas are always the best definitely rings true and don't be phased by the latest technology the amount of times I hear people say we want to do a VR project but why do you want to do a VR project is it because the technology is there you have to ask yourself what is your story, who is your audience and does that technology then enable you to enhance the telling of that story don't start with technology first it will never really work well be clear about your audiences who are they and remember that you can't make something for everyone that's impossible so be brave and be clear about who you want to target and it's okay that you are targeting specific people, not everyone if you do get everyone that's amazing but that's kind of really rare and I would say start conversations rather than broadcasting your content the way that we think about digital and media, the way that we browse the internet the way that we flick through Facebook it's transient so how can you develop stories that fit those behaviours and those patterns of behaviours and think about ways that you can give an experience of your brand and of your organisation these will grow fruitful conversations within your audiences and allow them to develop their own stories make it relevant to your audience and to them and if you can give audiences agency it gives them ownership of that content it allows them to move through the story with you and in this way again you can start growing unique relationships with your audiences it also I guess with traces what we've done it allows us to give people permission to move through the space in a different way that they normally would we do take you down that little pathway we do get you to stand by a tree and look up which we don't often do on everyday lives don't be scared take risks and think about how your partnerships can lead you to unexpected and magical places if you let them and my final thing is if you build it they won't come make sure that you have a really solid marketing strategy in place to tell people about what you make because just because it is digital and it's online doesn't mean people are going to necessarily find it and finally go and play thanks very much