Developing Interactive Narratives for Mobile Technologies Emma Whittaker

Developing Interactive Narratives for Mobile Technologies Emma Whittaker University of Plymouth, South Devon College emma. whittaker@plymouth. ac. uk May 9 2011 University of Birmingham

HELP CETL Teaching Fellowship 2010/11 ‘Developing Interactive Narratives for Mobile Technologies, within Arts Education’ This research took a constructivist perspective and employed action research. The research has four main elements: 1. Investigating the critical contexts of interactive locative narrative (ILN), 2. The development of ILNs 3. Devising and running level 4/5 module in ILN development for arts students. 4. Developing a lecturing ‘toolkit’ in ILN development

What is an ILN? An interactive locative narrative. Is a fiction or non-fictional narrative that is experienced by the audience in a particular location, often using mobile technologies

Background Research • With growing interest and development in mobile technologies (BIS 2009), this investigation builds upon arts and educational research (Loveless 2002, 2007) (Belshaw 2010). • Functionality of smart phones, affordances for creative practices. • Interactive narrative (Ryan 2001, 2006) – Computer games (Mateas & Stern Facade) – Improvisational theatre (Augusto Boal) – Digital/non-digital books (On-line + Choose your Own Adventure) – Pervasive games, LARPs (Carl Heath) – Artists (Duncan Speakman)

Background Research • Degree and nature of interactivity. • Relationship between interactivity and immersion. • ‘Planning Model’ and ‘Abstraction’ (Spierling In Aylett 2010: 299) utilised by computer games and artificial intelligence developers.

Background Research The working criteria for the development of ILN using mobile technologies fell into five main categories: 1. 2. 3. 4. 5. Devising the structure of the narrative. Establishing the type and extent of interactivity. Ensuring good production quality of the content (particularly sound). Establishing the relationship of the narrative node to its specific location; Ensuring good usability - ease of the audience use of the technology.

Development of the ILN module for undergraduate arts students. Aim • The overarching aim of the ILN module was for students to extend their creative practice by developing collaborative interactive locative narratives and to develop their critical and evaluative skills. Methods • • Case study Observation Questionnaires & semi-structured interviews Analysis & Interpretation

Development of the ILN module for undergraduate arts students. How the module was devised: • The ILN module was ‘slotted into’ existing modules, cross reference aims & outcomes. • Group project. • Shared roles and individual production roles. • 12 week module (building on existing students skills) • Interative design process. Analysis and reflection integral to the process. • Assessment on portfolio of background and supporting work, reflection & evaluation, teacher observation.

Development of the ILN module for undergraduate arts students. Key features of the module: • Theory

Development of the ILN module for undergraduate arts students. Key features of the module: • Experience of testing ILNs at the beginning of the project (week 2)

Development of the ILN module for undergraduate arts students. Key features of the module: • Researching the story/content of the ILN.

Development of the ILN module for undergraduate arts students. Key features of the module: • Devising the interactive script

Performing Arts students using the devising process to develop characters, in script development. Media Arts students would use ideas discussion and storyboarding, that is more applicable to their working practices.

Development of the ILN module for undergraduate arts students. Key features of the module: • Allocating production roles. • Recording the content.

Development of the ILN module for undergraduate arts students. Key features of the module: • Repeated Testing Students develop a criteria, in relation to their expectations for an ILN, to evaluate its current effectiveness.

Development of the ILN module for undergraduate arts students. Key features of the module: • Event planning and launch of the App.

Cold Case 1866 Event launch April 2011

Development of the ILN module for undergraduate arts students. Key features of the module: • Evaluation

Development of the ILN module for undergraduate arts students. Interpretation of data collected 1. The student experience 2. Technical development

Development of the ILN module for undergraduate arts students. The student experience, cross cutting themes: • • • Relevance “another string to my bow” Live project Content, particularly like performance Technical Problems – “copyright” Assessment

Development of the ILN module for undergraduate arts students. Technical Issues: • Software for non-technical users • Augmented reality browsers • Issues for generalisation, future software, platforms (Calvium, Campus. M)

Conclusions • The module offered students: – Understanding of narrative structures – Devising a script – Working with historical resources/research – Technical production of content – Testing and understanding of the user experience – Event management – Collaboration in development of live project and App – Critical reflective process

Conclusions • Engagement in the process - frustration with technology, their work and each other • Lack of time to develop skills • Broad relevance to arts courses and more generally (University of Plymouth research in the EL CETL use mediascapes for students to use, rather than develop (Geographers), work of Jason Truscott • Tailoring to subject specialisms. Outcomes • A teaching/lecturing toolkit • There are two further development of this project: • An on-line resource that brings together the expertise of practitioners in the field. • A long term research project that investigates the subjective experience of ILNs.

References • • • AYLETT, R et al. 2010. Interactive Storytelling: Third Joint International Conference on Interactive Digital Storytelling, ICIDS 2010: Proceedings. Edinburgh, UK: Springer. BELSHAW, D. 2010. Mobile & Wireless Technology Review. London: JISC Advance BENNETT, T. 2010. Interactive Places [WWW] http: //www. interactiveplaces. co. uk (12. 04. 10) BOAL, A. 2000. Theatre of the Oppressed. New ed. London: Pluto. DEPARTMENT FOR INNOVATION, UNIVERSITIES & SKILLS. 2009 a. The Learning Revolution. [PDF] http: //www. dius. gov. uk/Policies/further-education-skills/engaging-learners/informal-adultlearning/white-paper (12. 04. 10) FAUX, F. et al. 2006. Handhelds: Learning with Handheld Technologies. [PDF] Future. Labs http: //www. futurelab. org. uk/resources/documents/handbooks/handhelds_handbook. pdf (12. 04. 10) HANSEN, F. A. KORTBECK, K, GRØNBÆK, K. 2008. Mobile Urban Drama – Setting the Stage with Location Based Technologies. In: SPIERLING, U. & SZILAS, N. 2008. Interactive Storytelling: First Joint International Conference on Interactive Digital Storytelling, ICIDS 2008: Proceedings. Erfurt, Germany: Springer. LOVELESS, A. M. 2007. Report 4 update: Creativity, technology and learning – a review of recent literature. [PDF] Future. Labs. http: //www. futurelab. org. uk/resources/documents/lit_reviews/Creativity_Review_update. pdf (12. 04. 10) LOVELESS, A. M. 2002. Literature Review in Creativity, New Technologies and Learning. [PDF] Future. Labs. http: //www. futurelab. org. uk/resources/documents/lit_reviews/Creativity_Review. pdf (12. 04. 10)

emma. whittaker@plymouth. ac. uk www. culturedebate. org www. coldcase 1866. org http: //itunes. apple. com/us/app/coldcase-1866/id 428238003? mt=8