Design for Audience Engagement

Audience Design-wertvolles Marketing-Tool oder teure Arbeitsbeschaffungsmaßnahme? Als ich das erste Mal von dem Begriff Audience Design im Zusammenhang mit Filmproduktion hörte, dachte ich: ‚super, noch mehr Social Media Zeugs, um das ich mich kümmern muss. Kann ich nicht einfach meinen Job machen?' Aber so einfach ist Audience Design nicht einzuordnen, denn der Ansatz ist, entgegen meiner Erwartungen, ein völlig anderer. Ob er so simpel wie genial ist, oder einfach nur mehr Arbeit für die Produzent*innen bedeutet, wird Frage dieses kurzen Referats sein.

The outcomes of the workshop have been summarized in the infographic document on page (iii). The infographic acts as a contents page with links to the authors' papers. Hopefully this publication of the workshop proceedings will serve to stimulate further debate on designing for audience engagement.

The outcomes of the workshop have been summarized in the infographic document on page (iii). The infographic acts as a contents page with links to the authors' papers. Hopefully this publication of the workshop proceedings will serve to stimulate further debate on designing for audience engagement.

The outcomes of the workshop have been summarized in the infographic document on page (iii). The infographic acts as a contents page with links to the authors' papers. Hopefully this publication of the workshop proceedings will serve to stimulate further debate on designing for audience engagement.

The Digital Shadow Play is an interactive multimedia interface design, expected to be the new form of artistic expression of the traditional leather puppet. Because of the complex cultural context of the heritage, there had been few design case studies of the social interfaces of the digital shadow play for cultural heritage exhibitions. This study aims to design and validate prototypes of social interface of the digital shadow play based on a design case study exhibited in museums, which, in turn to define the design principle for future study.

Transmedia storytelling is a rising phenomenon, demand for which is caused by media convergence and participatory culture, along with technological progress. Its interactive and engaging features landed it in numerous fields, including the educational sector.

Although transmedia storytelling is commonly used in the entertainment industry, it can also have social benefits and a rise of transmedia learning can be noted. Transmedia learning experiences include a narrative and a storyworld that place a certain educational theme in the centre. These types of transmedia narratives allow students to engage with educational topics, keeping their attention and promoting creativity. Thus, a question arises: What is transmedia learning, and how can it benefit the educational process?

In this paper, I aim to investigate what aspects of transmedia learning can positively influence the educational process for students. Moreover, I seek to analyse how a particular structural and audience-centric approach impacts learning practices. Based on the literature investigation of media scholars such as Henry Jenkins, Robert Pratten, Pamela Rutledge, Harry Pence and others, I will outline how transmedia learning can contribute to shaping an interactive learning environment and what values it promotes. Moreover, I will examine multi-platform narrative psychology of transmedia storytelling and elucidate what it means for transmedia learning. The paper also examines the influence of the COVID-19 pandemic on media literacy and its implications for transmedia learning.

The outcomes of the workshop have been summarized in the infographic document on page (iii). The infographic acts as a contents page with links to the authors' papers. Hopefully this publication of the workshop proceedings will serve to stimulate further debate on designing for audience engagement.

The outcomes of the workshop have been summarized in the infographic document on page (iii). The infographic acts as a contents page with links to the authors' papers. Hopefully this publication of the workshop proceedings will serve to stimulate further debate on designing for audience engagement.

The outcomes of the workshop have been summarized in the infographic document on page (iii). The infographic acts as a contents page with links to the authors' papers. Hopefully this publication of the workshop proceedings will serve to stimulate further debate on designing for audience engagement.

This paper is the product of 12 months of intensive study applying game design to the challenges of journalism and news community management. After conducting interviews and site visits with a wide variety of leaders in major print, web, television and news organizations, primary observations were made. The goal was to understand how the increasingly challenged news media industry could benefit from the knowledge that has sustained the success of the game industry. Our findings indicate that the formal practice of game design offers three key foci that may likely prove useful to industries and practices concerned with improving their audience engagement strategies. These three foci are experience, agency and play. We suggest that these three elements are the key to engagement in non-game contexts and are a likely path to improving the struggles facing not only the news industry, but other domains like activism, social impact, and civic participation.

This paper is the product of 12 months of intensive study applying game design to the challenges of journalism and news community management. After conducting interviews and site visits with a wide variety of leaders in major print, web, television and news organizations, primary observations were made. The goal was to understand how the increasingly challenged news media industry could benefit from the knowledge that has sustained the success of the game industry. Our findings indicate that the formal practice of game design offers three key foci that may likely prove useful to industries and practices concerned with improving their audience engagement strategies. These three foci are experience, agency and play. We suggest that these three elements are the key to engagement in non-game contexts and are a likely path to improving the struggles facing not only the news industry, but other domains like activism, social impact, and civic participation.

This thesis forms 60% of my practice-led doctoral submission and provides an in-depth account of a collaborative and inclusive approach in the professional design of heritage site interpretation. Reflecting on my practice as a professional heritage site interpretation designer, I wanted to understand whether the gaps in curator/designer/visitor communication I experienced was the same for other heritage site interpretation design practices. This initial reflection led to my thesis focus and research question. My design practice in crafting the 3D interactive, kiosk-based, heritage site interpretation for the Cistercian Abbey at Beaulieu in Hampshire is presented as 40% of my doctoral submission. This is portrayed through my ‘Talking Walls- Reflection on Practice’ website. A series of galleries, posts, including the kiosk interpretation, forms the online exhibition submission which can be explored through this link.

The new model for ‘Collaborative Heritage Site Interpretation Design’ developed through Action Research, Practice-led design and Design Thinking approaches, contributes to the field of heritage interpretation design for historic houses, as a business model as well as academic contribution. The model extends a user-centred design and participatory design process to include a consistent curatorial, design and visitors team for the design and development of heritage site interpretation, with the intention of enhancing visitors’ engagement and experiences at heritage sites. The literature review focused on analysing existing heritage site interpretation design practice definitions and theories across three themes: curation, designing for interpretation, and the
importance of visitors’ experiences in shaping heritage interpretation. A lack of heritage site interpretation design literature meant this needed to include literature for interpretation design at museums. Museums are generally more advanced than heritage sites in their participatory/co-design interpretation approaches, yet can be considerably different in the context of space, story-telling and interpretative portrayal of historic sites. This includes the use of digital technology, for which the kiosk interpretation was an early advocate in the use of 3D reconstructions and choice of content on mobile platforms at heritage sites.

Recommendations for future research include potential impact in the use of the Collaborative Heritage Site Interpretation Design model and design process for heritage site interpretation design. New technological developments for heritage sites and museums can build upon the collaborative and multi-disciplinary nature of the model. The thesis and model adds value to the field of heritage site interpretation design, providing a method and process for smaller heritage sites and academic research to follow. The growth in practice-led and practice-based design research PhDs is notable, for which this thesis may also be of value to future design students.

The outcomes of the workshop have been summarized in the infographic document on page (iii). The infographic acts as a contents page with links to the authors' papers. Hopefully this publication of the workshop proceedings will serve to stimulate further debate on designing for audience engagement.

This paper is the product of 12 months of intensive study applying game design to the challenges of journalism and news community management. After conducting interviews and site visits with a wide variety of leaders in major print, web, television and news organizations, primary observations were made. The goal was to understand how the increasingly challenged news media industry could benefit from the knowledge that has sustained the success of the game industry. Our findings indicate that the formal practice of game design offers three key foci that may likely prove useful to industries and practices concerned with improving their audience engagement strategies. These three foci are experience, agency and play. We suggest that these three elements are the key to engagement in non-game contexts and are a likely path to improving the struggles facing not only the news industry, but other domains like activism, social impact, and civic participation.