A new, easy to read guide

In a pleasant surprise today, a new book dropped through my letterbox. Interpretation in a Digital Age, by Paul Palmer and Neil Rathbone, is a concise, easy to read introduction and guide for Heritage professionals starting digital projects in their places. It promises "objective and practical guidance", and lives up to that promise.

It's an easy read, and neatly sums up the history of handheld guides in heritage sites as it walks the reader through concepts like: Bring Your Own Device; native, web and hybrid apps; media creation; webcams; and locational and proximity triggering. Palmer and Rathbone conclude a useful chapter on accessibility and inclusiveness with with a section on Mindfulness, wherein they argue we "need to develop more skill in the psychology of storytelling using digital media rather than blame the media". A sentiment with which, given the subject of my study, I can only agree.

There are chapters on using technology outdoors, understanding wifi, compliance and intellectual property, and project management. An optimistic chapter near the end explores some of the possibilities that "the digital toolbox" might enable, and the book ends with a jargon busting glossary that reveals the intended audience museum and cultural heritage professionals who not digital experts but are thinking of commissioning something and don't want to be fast-talked by potential suppliers.

It's not an academic work, it doesn't have references to other texts. Rather it is based on the practical experience to the two authors. So it's very good, if not technically detailed, on the how, and also offers practical advice on project management that will last longer than some of the technologies that are now current, but it lacks the why. It's not their intention (I think) to sell the concept of digital technology to heritage sites, rather it's a response to heritage sites looking to see what what is possible. Indeed in the introduction the authors refer to the "Gartner hype cycle", the tendency to over-estimate the potential of technology, and peter to be disappointed by its limitations. Given that more and more evidence I'm seeing suggests only a maximum of five percent of heritage visitors use apps or other mobile technologies, and that I heard recently that mention of an app is currently likely to kill an HLF bid stone dead, I'm still questioning whether it's possible to build a business case for the creation of digital content, let alone the purchase of hardware etc.

Pokémon Big Heritage event, Chester

It had to happen, and Big Heritage stepped up to the plate and made it happen. Tomorrow and Sunday, there will be a Pokémon Big Heritage event around the streets of Chester.

Part of Chester’s Heritage Festival, but officially in partnership with Niantic, the creators of Pokémon Go, the event was brought to my attention via the Pokemon Go app. Chester Castle will be open to the public for the first time, and there will be re-enactors a-plenty there, but there will also be Pokestops and Pokegyms. There are also two paper-based trails: a Pokémon Pastport that you can get stamped at four (currently secret, to be revealed on the day) locations; and, a ten question quiz trail that you’ll need the help of the app to solve.

Big Heritage may have been canny in approaching Niantic for an event this weekend, and it’s the first anniversary of the launch of Pokémon Go. Would Niantic be so willing to support similar events in the future at different times of the year?

My family are cast to the three corners of the country that aren’t near Chester this weekend, so I won’t be able to go. But I’ll try and drop Big Heritage a line, and see if they’ll share their evaluation. 2400 Facebook users have said that they are planning to attend. Are they all from Chester? Or are any of the travelling? Of course Niantic will know exactly where everyone comes from 😉

Digital Interpretation – changing the rules

Just in time for my thesis’ debate on affective interpretation, the excellent Steve Poole’s write up of Ghosts in the Garden,  Ghosts in the Garden: locative gameplay and
historical interpretation from below is published in International Journal of Heritage Studies. It starts of very well, by describing three ways in which digital technology has been used: “as an augmented guidebook and information resource, as a tool for enhanced simulation, and (less frequently) as a tool for changing the rules by which we construct and define historical knowledge [my emphasis] at heritage sites.” I’m feeling a little ground down by the limited scope of that my work has ended up with , which I think (I hope) is normal at this stage of the process, so it was refreshing to feel Steve’s sense of ambition.

So how does Steve propose that we use digital technology to change the rules? Well, he says it better than me, but its worth pointing out that its the ludic nature of digital story-telling that enables this rule-change: “Yet what most sets historical analysis apart from other forms of enquiry in the arts and social sciences is the fragmentary nature of the evidence around which historians build interpretative frameworks, the material irretrievability of past events (and people), and the inevitability of supposition, argument and disagreement. Construction, in other words, is as necessary a concept to historians as reconstruction. Accepting that history is a practice in which knowledge is crafted from often incomplete evidence challenges the authoritative basis on which explanation is conventionally built. Arguably, moreover, presenting the process of making history as
a craft rather than the knitting together of a series of factual certainties offers the heritage industry an opportunity to engage audiences in dialogue with the past.”

So games enable players to contruct their own understanding of history? Well I’m not entirely sure that’s the perception of the players. Ghosts in the Garden was running just as I was starting out on my own “choose you own PhD adventure”, and with the kind help of Steve’s collaborators on the project, Splash and Ripple, I surveyed a small but decent sample of visitors. I recall being particularly disappointed by responses to the question about whether their choices had changed the story. I’m forcing myself not to look at the data from my Chawton project yet, but I member taking my lunch while two participants discussed the survey at the next table. I’d asked a similar question, and these two discussed their answer. They concluded that (despite the narrative atoms they experienced, and the order they experienced them in being a lot less structured than the stories of Ghosts in the Garden), because the facts were historic there were immutable. They hadn’t changed the story with their choices, because they couldn’t change history.

Does it matter that (most) users don’t know that they are constructing the story through their choices? I don’t know. When I started out on this research, I thought it was important. Now I’m less sure.

Moving on, there’s a new reference I’ve not caught before, but which I know I must track down and read (Costikyan, G. 2006. “I Have No Words and I Must Design: Towards a Critical Vocabulary for Games.” In The Game Design Reader: A Rules of Play Anthology, edited by K. Salen and E. Zimmerman, 192–211. Cambridge, MA: MIT Press.) if only to add it to the post popular topic on this blog (yawn): Ludology vs. Narratology.

There’s a more interesting one (Gottlieb, O. 2016. “Who Really Said What? Mobile Historical Situated Documentary as Liminal Learning Space.” Gamevironments 5: 237–257) which I must also check out.

Steve goes into great details on the construction of Ghosts in the Garden, most of which I already knew, but its good to have it in a form I can reference. I did like this revelation though, making a comparison I hadn’t though of before: “The Ghosts in the Garden approach to heritage interpretation adapts some elements of first-person computer games like Call of Duty and Medal of Honour; most notably in its attempt to subjectively immerse visitors in a past reality in which they are called upon to make decisions that impact upon outcomes.”

The most important bit though, was this:

“The process by which we might identify and evaluate alternative narratives ‘from below’, in other words, in a space from which they have been traditionally excluded, was more important to the project’s purpose than using technological gadgetry to retell familiar tales about elite social space. Inevitably, it was difficult to make such a methodology clear to public participants at the start. It was reasoned however, that the intrusion of a clearly ‘inauthentic’ Time Radio as a device through which ghostly voices from the past directly addressed a modern audience, was a sufficient indication that the experience was built as much around an imaginative world as a historically
accurate one. While it was important to the project that its narratives were based on researched archival evidence, the stories did not carry the consequential gravitas of those used in World War battle games and there was little danger of any factual inaccuracies compromising public understanding of its objectives”

He goes on the mention the Splash and Ripple project at Bodiam that i had a little to do with, and which I though was let down by the lack of exactly the sort of “History from Below” that Steve provides. (Though I don’t want to be too critical of that project – I heard recently that a team from Historic Royal Palaces had checked it out before their Lost Palace project.) And he finished with one final quote which I KNOW will make it into my thesis  – because I’ve just pasted it in:

affective interpretation that privileges emotion, personal response and feeling as essential components of heritage can be a source of conflict amongst audiences for whom dispassionate factual rigour is essential to the understanding of history.

Its a great read, and a very helpful paper.

Apps not worth it, hard numbers

I’ve got to point people’s attention to this excellent blog post from Colleen Dilenschneider. Colleen works for a US market research firm called Impacts. They have a couple of hundred visitor facing clients, including for example, the Monterey Bay Aquarium, and they combine their data from all the research to produce the National Awareness, Attitude & Usage Study, which is informed by on-site interviews, randomly selected telephone interviews and an on-line component. So though its commercial market research, and not academically peer reviewed, the approach seems to be pretty robust. I’ve been looking for some hard numbers about the benefit (or otherwise) of mobile device interpretation, not just for my research (and my talk next week), but also for work. It was a work colleague who pointed me to post, but I’ll happy include some of the data in next week’s presentation.

I’ll let you read it for yourself. Some if it is not so surprising, when it offers some numbers to support what has already been reported anecdotally. For example, that people are more likely to use the place’s website, social media and review sites to plan a visit, than an institution’s app, or that people are more likely to use social media than an app when they are on-site (old readers will be familiar with my usual rant on this subject, now available in print 🙂 ).

But there’s one chart I want to draw out, which makes two key points (both important enough for Dilenschneider to use bold text):

People who use mobile applications onsite do not report significantly higher satisfaction rates than those who do not.

and

People who use social media or mobile web while they visit a cultural organization have a more satisfying overall experience than people who don’t use social media or mobile web during their visit.

She illustrates both points with the same graph.

Image (c) Impacts, copied from: http://colleendilen.com/2017/04/05/are-mobile-apps-worth-it-for-cultural-organizations-data/

All of which adds weight to the argument that institutions like the one I work for should prioritize  installation of free, easy to log on to, pervasive wifi over the commissioning of expensive, unused apps, and direct content development efforts towards the mobile web, in the knowledge that even then, users may prefer to publish out from a place, rather than read the content that you’ve created.

Some places get it.

 

 

Simulating ideology in storytelling

The Story Extension Process, from Mei Yii Lim and Ruth Aylett (2007) Narrative Construction in a Mobile Tour Guide

Another great piece from Ruth Aylett, this time from 2007. Here, she and collaborator Mei Yii Lim are getting closer to what I’m aiming for, if taking a different approach. They kick off by describing Terminal Time, a system that improvises documentaries according to the user’s ideological preference, and an intelligent guide for virtual environments which take into account the distance between locations, the already told story, and the affinity between the the story element and the guide’s profile when selecting the next story element and location combination to take users to. They note that this approach could bring mobile guides “a step nearer to the creation of an ‘intelligent guide with personality'” but that it “omits user [visitor] interests”. (I can think of many of a human tour guide that does the same). They also touch on a conversation agent that deals with the same issues they are exploring.

This being a 2007 conference paper, they are of course using a PDA as their medium. Equipped with GPS and text to speech software, a server does all the heavy lifting.

“After [an ice-breaking session where the guide extracts information about the user’s name
and interests], the guide chooses attractions that match the user’s interests, and plans the shortest possible route to the destinations. The guide navigates the user to the chosen locations via directional instructions as well as via an animated directional arrow. Upon arrival, it notifies the user and starts the storytelling process. The system links electronic data to actual physical locations so that stories are relevant to what is in sight. During the interaction, the user continuously expresses his/her interest in the guide’s stories and agreement to the guide’s argument through a rating bar on the graphical user interface. The user’s inputs affect the guide’s emotional state and determine the extensiveness of stories. The system’s outputs are in the form of speech, text and an animated talking head.”

So, in contrast to my own approach, this guide is still story lead, rather than directly user led, but it decides where to take the user based on their interests. But they are striving for an emotional connection with the visitor. So their story elements (SE) are composed of “semantic memories [-] facts, including location-related information” and “emotional memories […] generated through simulation of past experiences”. Each story element has a number of properties, sematic memories for example incude: name ( a coded identifier); type; subjects; objects; effects (this is interesting its lists the story elements that are caused by this story element, with variable weight); event; concepts (this that might need a further definition when fist mentioned); personnel (who was involved); division; attributes (relationship to interest areas in the ontology); location; and, text. Emotional story elements don’t include “effects and subjects attributes because the [emotional story element] itself is the effect of a SE and the guide itself is the subject.” These emotional memories are tagged with “arousal” and “valence” tags. The arousal tags are based on Emotional Tagging, while the valence tag “denotes how favourable or unfavourable an event was to the guide. When interacting with the user, the guide is engaged in meaningful reconstruction of its own past,” hmmmmm.

So their prototype, a guide to the Los Alamos site of the Manhatten project, the guide could be either “a scientist who is interested in topics related to Science and Politics, and a member of the military who is interested in topics related to Military and Politics. Both guides also have General knowledge about the attractions.” I’m not convinced by the artifice of layering onto the interpretation two different points of view – as both such are being authored by a team who in their creation of the two points of view will, even if striving to be objective, will make editorial decisions that reveal a third, authentic PoV.

When selecting which SE to tell next, the guide filters out the ones that are not connected to the current location. Then “three scores corresponding to: previously told stories; the guide’s interests; and the user’s interests are calculated. A SE with the highest overall
score will become the starting spot for extension.” The authors present a pleasingly simple (for a non-coder like me) algorithm for working out which SE goes next. But the semantic elements are not the only story elements that get told. The guide also measures the Emotional, Ideological story elements against the user’s initial questionnaire answers and reactions to previous story elements and decides whether or not to add the guide’s “own” ideological experience on to the interpretation, a bit like a human guide might. So you might be told:

Estimates place the number of deaths caused by Little Boy in Hiroshima up to the end of 1945 at one hundred and forty thousands where the dying continued, five-year deaths related to the bombing reached two hundred thousands.

Or, if the guide’s algorithms think you’ll appreciate it’s ideological perspective, you could hear:

Estimates place the number of deaths caused by Little Boy in Hiroshima up to the end of 1945 at one hundred and forty thousands where the dying continued, five-year deaths related to the bombing reached two hundred thousands. The experience of Hiroshima and Nagasaki bombing was the opening chapter to the possible annihilation of mankind. For men to choose to kill the innocent as a means to their ends, is always murder, and murder is one of the worst of human action. In the bombing of Japanese cities it was certainly decided to kill the innocent as a means to an end.

I guess that’s the scientist personality talking, perhaps the military personality would  instead add a different ideological interpretation of the means to an end. As I mentioned before, I’m not convinced that two (or more) faux points of view are required when the whole project and every story element that the guide gets to choose from are already authored with a true point of view. But in many other aspects this paper is really useful and will get a good deal of referencing in my thesis.

Abstract: Digital Personalisation for Heritage Consumers

I’m speaking at the upcoming Academy of Marketing E-Marketing SIG Symposium: ‘Exploring the digital customer experience:  Smart devices, automation and augmentation’ on May 23 2017. This is what I wrote for my abstract:

Relevance to Call: Provocation, Smart Devices. Augmentation of the Customer Experience

Objective: A work-in-progress research development project at Chawton House explores narrative structure, extending the concept of story Kernels and Satellites to imagine the cultural heritage site as a collection of narrative atoms, or Natoms, both physical (spaces, collection) and ephemeral (text, video, music etc.). Can we use story-gaming techniques and digital mobile technology to help physical and ephemeral natoms interact in a way that escapes the confines of the device’s screen?

Overview: This provocation reviews the place of mobile and location technologies in the heritage market. Digital technology and social media are in the process of transforming the way that the days out market is attracted to cultural heritage places. But on site, the transformation is yet to start. New digital interventions in the heritage product have not caught on with the majority of heritage consumers. The presentation will survey the current state of digital heritage interpretation and especially the use location-aware technologies such as Bluetooth LE, NFC, or GPS. Most such systems deliver interpretation media to the device itself, over the air or via a prior app download. We explore some of the barriers to the use of mobile devices in the heritage visit – the reluctance to download proprietary apps, mobile signal and wifi complexities and most importantly, the “presence antithesis” the danger that the screen of the device becomes a window that confines and limits the user’s sensation of being in the place and among the objects that they have come to see. Also, while attempts to harness mobile technology in the heritage visit display interpretation that is both more relevant, and in some cases more personalised to the needs of the user, they also tend towards a “narrative paradox” – the more the media is tailored to the movements of the user around the site, the less coherent and engaging the narrative becomes.

Method: Story-games can show us how to create an experience that balances interactivity and engaging story, giving the user complete freedom of movement around the site while delivering the kernels of the narrative in an emotionally engaging order. At Chawton we plan to “wizard of oz” an adaptive narrative narrative for that place’s visitors.

Findings: Work so far demonstrates that a primary challenge for an automated system will be negotiating the contended needs of different groups and individuals within the same space. The work at Chawton looks to address this.

**

This is the first time I’ve written an abstract in this format, and I found it quite a challenge. What you add in and leave out is always a difficult decision, and this format, which was limited to one side, had me opting to leave out the references which I might have made room for if I had not had to write something under each of the prescribed headings. It’s also the first time I have had formal feedback on an abstract, which I share below:

Relevance to call: Good fit Smart devices, user experience,
augmentation, culture (5)
Objective: A practical case example of augmentation in a
heritage setting (5)
Lit rev: No indication of theory used, as this is a practical
case study (n/a)
Method: A specific case of Chawton House presented. (5)
Results: Interesting findings re barriers to use of mobile
devices in heritage, and the experience evaluation (4)
Generalisations: Interesting and original context of heritage
institution using augmentation, can extend to
other heritage sector applications. (4)
Total 23/25

**

So, not a bad score, but I wonder what I would have got (out of 30?) if I had included the references. Does the bibliography count within the one page limit? Or, could I have included it on a second side?

Still, not time for those questions. I have the write the actual presentation now. 🙂

Could this be … the first decent museum app?

sfmoma

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. I wasn’t even aware of it before I went, but if I had been, I would have been unlikely to download it, because our hotel’s free wifi only allowed one of us to use our device each four hour lease period.

We’d started our visit walking through the museum to the opposite entrance to contemplate the Richard Serra sculpture. It was early in the day, the museum was just opening, and there was a team-brief on the tiered seating that surround the piece. But they moved on and we sat for a moment to contemplate the enormous steel structure (I can’t deny the meditative quality of Serra’s work, or the calming impact it seems on have on the psyche when encountered, but really I sometimes feel “seen one, seen them all”) and to plan our day.

My wife noted a label on the wall directing people who wanted to know more about the art to SFMOMA’s app, and helpfully pointing out that you could log into the museum’s free wifi to download it. I think it said that it was iOS only, but if you didn’t have a suitable device, you could borrow one.

The first pleasure was logging onto the wifi. This was possibly the most hassle-free process I’ve ever encountered on public wifi. The signal was strong (everywhere), reliable and speedy too. The app downloaded quickly, and upon opening gave me three screens introducing what it offered, such as the one below:

It wanted access to my location services (of course), camera and, unusually, to my activity (the “healthy living” function of more recent versions of iOS), but having been so pleasantly surprised and satisfied by the process so far, I was very happy to allow both. All this had taken very little time, but enough time for my wife to have wandered away towards the elevators to begin our exploration of the museum, so I hurried after her, scanning what was on offer from the app as I went.

There’s a highlights function, which includes “Our picks for forty must-see artworks that are currently on view”, a timeline function that enables you to record and share your visit, and section on other “things to do”, and of course the ability to buy tickets, membership etc. At the core of the app are “Immersive Walks”: a range of fifteen to 45 minute audio tours of the galleries.

On no! I’d left my earphones back at the hotel.

But that wasn’t a problem, because as I caught my wife up by the elevators, I saw a stand stacked high with cases of SFMOMA-orange ear-buds. These were given away free and of a somewhat disposable quality, but good enough to last the day (and to pass on to my son when we got back from the holiday) with in-line volume controls for ease of use. The thought and effort that SFMOMA put into the infrastructure around the app deserves to be commended.

But lets get to the meat of the app’s functionality. The key thing here is indoor positioning. I’m guessing it’s achieved through wifi mobile location analytics, but I haven’t confirmed that. I can confirm that its pretty accurate, though with a little bit of lag, so it takes a while after walking into a gallery, and then standing still for a moment, before your device can deliver to you the buttons for the content relevant to the artworks on the gallery. Some, but not all, of the artworks are accompanied by a specific bit of media (mostly audio) to offer more in-depth insight into the work. This can include commentary, reviews or snippets of interviews with the artist.

I also took an immersive walk. I chose German to Me, a personal exploration of post-war German artists from radio journalist Luisa Beck, in which she shares her reaction on some of the works in the collection and interviews for mother, grandmother and cousin to uncover more about her own German-American identity. As the tour progresses you are guided, not just by Luisa’s spoken directions, but also by the app’s indoor positioning, as shown below.

I have to say, I would have given these galleries the most cursory of glances, had I not been captured by Luisa’s tour. As it was, her (wholly un-sensational) story, and her commentary upon the art engaged me emotionally to a degree I wasn’t expecting. It enhanced my visit like no other app has achieved.

The phone also recorded my “timeline”, my journey through the museum, on-line so that I can share with others the photos I took, the artworks that caught my attention enough to seek more information from the app, and the tours I went you. As you can see, I spent three and a half hours with the app, walking 3,369 steps (or 1.7 miles). This timeline is the only slightly disappointing aspect of the app – I would have like to have clicked through this on-line version to listen to some of the media again, now that I am back home, maybe even to be reminded (though the apps abilities to determine location) who made some of things that I took photos of.

You’ll know that I’m not a massive fan of looking at things through my phone, but this app did well enough to almost convince me otherwise.

The museum had other digital interventions of interest. You might have spotted in my timelime that one of the first things we looked at was a surveillance culture-inspired artwork by Julia Scher that turned the museum in to Responsive Environment, changing according to visitors actions.

img_6792

There was also a fun activity in one of the cafe’s that allowed you to create your own digital artwork, printing it out on thermal paper instantly, but also linking to a hi-res online version, which I used for the illustration at the top of this post (you will note that those free earbuds are the stars of that piece).

SFMOMA, with their technology partners Detour on the app, and the support of Bloomberg Philanthropies, are doing good things in the digital sphere. If you’re there, you should check them out.

Pokemon Go: Why is it such an extraordinary success?

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. Would it reveal why this game is so spectacularly popular, given the barriers to engagement that locatative games have had in the past?

My son pointed out that one thing the game has, especially over its Niantic stablemate, Ingress, is the Pokemon brand, which two or three generations have grown up with since the mid-nineties. Speaking as someone who didn’t grow up with Pokemon however I could not believe this was the only reason for its success.

A huge difference from Ingress is ease of entry. As my survey a couple of years ago may have indicated (though I could not disprove the null hypothesis) here-to-fore locatative games have only held any interest for Hard Fun (otherwise Hardcore) gamers. Pokemon seems to be the first truly casual locatative game (though some might give that honour to Foursquare, I don’t think it was much of a game).

So lets run it though the model:

Game Affects stripped

Leaderboards – Although Pokemon Go doesn’t have a leaderboard as such, it does have Gyms. Just today with my 11 year old son’s advice I managed to (very temporarily) take over a local gym from some quite high powered Pokemon of an opposing team.  So a few minutes after that, I was indeed at the top of a very local leaderboard.

Badges – There are a huge variety of medals you can win for achievements like, for example, collecting ten Pokemon of a particular type.

Rewards – Pokemon Go has LOADS of rewards. For a start, visit a Pokestop, and spin the dial and you will acquire a randomly generated reward of Pokeballs, Eggs, and Potions etc, all of which will be useful in the game. Take over a Gym (as I did this afternoon) and you can claim a reward of 10 Pokecoins every day that you keep the Gym under your control.  Capture a Pokemon, and not only can you add it to your collection, but you are also rewarded with Stardust and Evolution Candy. Every time you go up a level you also earn rewards such as new equipment.

Points and Levels – To level up, you need to earn experience points, which you get for pretty much everything you do, collecting Pokemon, especially new types, spinning Pokestops, hatching eggs, earning badges, evolving Pokemon, battling in gyms, etc.

Story/theme – There isn’t much of a story inherent within the Pokemon Go game, but players who have been brought up on the other computer games and TV series, will know of quite a complex backstory. However, not knowing this story does not seem to be a disadvantage to players. Story knowledge isn’t essential to play, and the lack of story within the game seems to attract (or at least not be a barrier to) players of all generations, many too old to have been captured by the original Pokemon game. My son also points out that as you play you do procedurally generate a story of your own trainer avatar, even if that is only in your head, as Sylvester describes.

Progress – As you go up in level, you do get better equipment, and are more like to catch Pokemon with higher combat power, and you are more likely to encounter rarer Pokemon.

Feedback – The game is casual enough that you don’t need to be looking at the screen all the time, but because the game does not allow you to put your device into sleep mode, you end up holding it, waiting for the tell-tale buzz of nearby Pokemon.

Spectacle and Environment – The graphics and Augmented reality are not very sophisticated, but they are fun. Two things make it so. One is that creatures that only exist in fiction now appear in our real life world. The other is that they can (with some luck and an little movement of the screen) appear in amusing places (on your knee, in your dinner or drink, on your friend’s head), and if they do, you can take and keep a photo.

Challenge – There isn’t much skill based challenge in the gameplay. Capturing rare Pokemon, is more of a feat of luck than skill. There is a real-world challenge of sorts though, and that is to walk around, which is the only way to hatch eggs. Some eggs only require two kilometer walks, but other more rewarding eggs require ten kilometres.

The game lacks (or doesn’t make the most of) a number of emotional triggers:

Music – My son likes the music, but I turned it off early in my play. The music isn’t a very sophisticated feedback generator. One track plays pretty much continuously, and the only changes are for evolution cut-scenes (my boy likes this track best) and Pokemon encounters.

Insight – There  is very little learning through play. My son teaches me most of what I need to learn, and he has leaned most of that through YouTube.

There is no Threat or Sex (even when you capture Male and Female Nidoran), and no real character arc.

So, given the affordancies listed above, we can predict which emotions players will be feeling: playful Amusement (from humorously placed AR Pokemon); the social emotions Fiero and Naches (because though the gameplay isn’t inherently social there are enough players currently on the streets for conversation; advice and insight; and even a degree of cooperation; to take place); the seeking emotions, Excitement and Curiosity (especially when find new types of Pokemon); Frustration, a rage affect (when Pokemon randomly break out of your Pokemon); and some degree of Care (from nicknaming, nuturing and powering up your stable of Pokemon).

And let us not forget the Panic/grief, when nothing makes your phone buzz -you are out of mobile reception or have a weak signal, and especially when your phone battery is running low!

Petworth Park and Pokemon too

Yesterday’s post was timely, it turns out, because today, Pokemon Go was released in the wild. I downloaded it and caught my first two Pokemon in the Great Hall at Chawton, waiting for a meeting that I’ll write more about tomorrow. But after that meeting I was off down to Petworth to have a go with the new(ish) Park Explorer.


The Park Explorer is one of the outputs of a three year long archeology project, exploring what’s under the Capability Brown landscape that survives today. I have some responsibility for the way it works. When my colleague Tom explained his plan to build a mobile application, I dissuaded him. There is little evidence that many people  download apps in advance of their visit to Heritage sites. And even fewer wish to deplete their data allowance on the mobile network to download it on site.

Together, we came up with an alternative – using solar powered Info-points to create wifi hotspots around the park that could deliver media to any phone capable of logging on to wifi, and browsing the web. Though in this case it’s not the World Wide Web, but a series of basic webpages offering maps, AV, etc. We’re running this installation as a bit of an experiment to gauge demand, to see, if it’s offered, how many people actually log on.

Pokemon Go demonstrated why the technology might be useful. With the app newly downloaded on my phone I, of course, wanted to try it out in Petworth’s pleasure grounds. I’d guessed right, the garden’s Ionic Rotunda and Doric Temple are both Pokestops.  But the wireless signal is so weak and patchy (on O2 at least) that the game could hardly log on, let alone do anything when I got within range. After a frustrating few minutes I gave up and returned to the local wifi.

That crummy phone signal is one of the reasons we went to solar powered local wifi. Once I logged on I was soon listening to the voice of my colleague Tom as he explained some of the archeology of the garden, watching an animated film of the development of the park and scrubbing away a photo of the current three person gardening team and their power tools to reveal a black and white photo of the small  army of gardeners that used to work here.

All of this was very good. But there are some issues that I think need to be addressed if the idea is to catch on. First of all, finding the wifi signal and logging on isn’t as intuitive as I’d hoped. Your browser need to be pointed at 10.0.0.1 to find the home page. The home page design leaves something to be desired. The floating button to change text size seems an afterthought that annoyingly obscures the text its trying to clarify. Navigation isn’t intuitive (no obvious way forward from the welcome splash pictured above, for example) or that well organised – I’d hoped that I’d be offered media that was closest to my position (as identified by the hotspot I was logged into), but the browse button just led to a list of things. Switching to the map view was easier, but it showed the design lacked a degree of responsiveness – see below how the word “Map” is partially obscured by the tile with the actual map on. The pins that link to different media suggest that its good to be standing in particular places to view that media, but on the few that I tried around the pleasure grounds, there seemed to be no discernible benefit to being in the right spot. In the end I settled under a spreading Oak to sit and work my way through what was on offer.

One feature that worked well to compare old and new and see change over the centuries was the scrub away photo feature. Even here though there was a fault in the responsiveness of the design. If I turned the phone into landscape mode, the picture became full screen and I lost the ability to reset it.

This slideshow requires JavaScript.

I imagined how good it would be, if it looked and felt (and responded) like the National Trust’s current website. Maybe, with a bit of work, it can.

More work would be and investment though, so, first of all though we need to interrogate the system’s solar powered servers, and see how many people are giving it a try.

Heritage managers, you need to be thinking about Pokemon Go

I don’t normally post on Wednesdays, but I am driven to write tonight, because something is happening that seems to be an actual phenomenon. Pokemon Go, the locatative game from Niantic, using IP from Nintendo keeps breaking records. It is apparently already the biggest mobile game ever in the US. Not just the biggest locatative game, this game is bigger than Candy Crush.

Long-time readers may remember the post I wrote introducing some research into attitudes to locatative gaming. I’d run an internet survey pushed towards gamers from all around the world. At the time, the biggest locatative game around was Niantic’s Ingress. I’d asked everyone what they knew of a list of different digital games. I’d got about 220 responses. 178 respondents had never even heard of Ingress, which was at the time “taking the world by storm”. A site called Android Headlines said that. Let me tell you AH (I can call you AH can I?), you don’t know storms.

Another post on that same survey concluded “I can’t yet claim from this research, that the world is ready and waiting for locatative games.”

Well maybe it is now.

What does that mean for heritage sites? Well, I don’t think it means heritage organisations should rush out their own AR scavenger hunts. But it does mean that people are already using your sites to play games. A few weeks ago, a team member from one of the places I’m currently spending time at for work told me about a security alert. In the middle of the night they went to investigate and found three people who had broken into the gardens. The people explained that they were there to take control of an Ingress portal.

Heritage locations are already, without their knowledge, Ingress portals. They are very likely already “Pokestops” too. This may be a problem for some sites’ spirit of place. Its already being seen as an opportunity. [EDIT: This article on what you can do if you find that your place is a Pokestop is also interesting.] I bet there already many more Pokemon Go players in the UK than there are players of Ingress, and it hasn’t even been released in this country yet.

Its happening. Its big, very big. Heritage Managers, you need to be thinking about this.