2. Programa
1. La historia de las historias
2. La comunicación: El largo y sinuoso viaje del siglo XX al
siglo XXI
3. Otros cambios que nos afectan
4. Qué es el Storytelling
5. Cómo funciona
6. Su aplicación en el mundo de los museos: ejemplos
21. El fin del producto
El fin del original como objeto único
El fin del objeto tangible
De la posesión al uso
Movilidad / dispositivos: smartphones, tablets,
consolas…
24. Industria
Del objeto al producto
Contenidos, contenedores y formas de consumo
Cómo sobrevivir en una sociedad neoliberal
Modelos de financiación
Transformación de los modelos de negocio
Nuevas oportunidades
42. UX
user experience
noun
noun: user experience; plural noun: user
experiences
1. the overall experience of a person using a
product such as a website or computer application,
especially in terms of how easy or pleasing it is to use."if
a website degrades the user experience too much, people
will simply stay away"
43. HOW UX IS TYPICALLY SEEN
Field research
Face to face interviewing
Creation of user tests
Gathering and organising statistics
Creating personas
Product design
Feature writing
Requirement writing
Graphic arts
Interaction design
Information architecture
Usability
Prototyping
Interface layout
Interface design
Visual design
Taxonomy creation
Terminology creation
Copywriting
Presenting and speaking
Working tightly with programmers
Brainstorm coordination
Design culture evangelism
HOW UX WANTS TO BE SEEN
Field research
Face to face interviewing
Creation of user tests
Gathering and organising statistics
Creating personas
Product design
Feature writing
Requirement writing
Graphic arts
Interaction design
Information architecture
Usability
Prototyping
Interface layout
Interface design
Visual design
Taxonomy creation
Terminology creation
Copywriting
Presenting and speaking
Working tightly with programmers
Brainstorm coordination
Design culture evangelism
44. La experiencia de usuario
debería ser digna de
compartir
(en forma de historia ;-)
(en forma de historia ;-)
(en forma de historia ;-)
45. “UX is the intangible design of a
strategy that brings us to a solution.”
Erik Flowers
70. “Opening Museums”:
• Access – to collections, archives and knowledge.
• Dialog – between the museum as an institution and its
visitors, discourses around exhibitions and about
museum practices.
• Participation – visitors interacting with exhibited
artifacts, museum staff and each other.
• Education – as a participatory practice, in which
museums focus on providing environments that offer
learning-by-doing opportunities, rather than being the
singular voice of authority.
• Making of meaning – visitors co-creating knowledge.
71.
72.
73.
74.
75.
76.
77.
78.
79.
80.
81.
82. Resumen
• Las historias dan sentido a nuestra experiencia
• El mundo ha cambiado:
• La tecnología nos permite añadir capas a la
experiencia
• Storytelling es un proceso que incluye:
• Story Harvesting
• Story Listening
• Story Mapping
• Story Shaping
• Story Telling
• Story Questioning
• Nuestro próximo reto es crear experiencias
dignas de ser contadas.
En realidad, probablemente, se parecía más a la película “La Guerre du Feu” (The Quest for Fire) de Jean-Jacques Annaud [1981]
William Caxton showing specimens of his printing to King Edward IV and his Queen. Published in The Grabhic in 1877 refering to The Caxton Celebration. The Caxton Celebration, commemorating the 400th anniversary of the first printed book in England, took place in London in the summer of 1877.
The Graphic, June 30, 1877, p617. Retrieved from old-print.com
Dibujar árbol
Los puntos son personas, siempre.
Las líneas son experiencias / historias compartidas.
Dibujar un universo de museo (MNAC).
Expectador más activo.
Inmersión + autonomía
La tecnología permite que cada uno experimentemos la historia desde nuestro propio PoV.
Construimos mundos (universos) a modo de jardines y el usuario elige su camino.
AR y geolocalización añaden capas a la realidad sensorial.
http://www.helloerik.com/ux-is-not-ui
http://semanticstudios.com/uxtreasuremap.pdf
Mission Statement
Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world.
Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit.
Central to The Museum of Modern Art's mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves.
To achieve its goals The Museum of Modern Art recognizes:
That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today.
That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era.
That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum's varied collection.
That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present.
That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art.
That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum's tradition, which encourages openness and a willingness to evolve and change.
In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.
Recopilar material (en bruto, como el trigo).
Escuchar para descubrir las historias. Poner intención para que se revelen.
Anotar todos los temas que surjan y buscar patrones.
Serie Z. Sillas electrificadas, odorama, actores en el cine, ghost viewers (para ver espíritus en determinados momentos), Mr. Sardonicus (1961). The audience could vote on the villain's fate in a "punishment poll" during the climax
House on Haunted Hill (1959). Filmed in "Emergo". A skeleton attached to wire floated over the audience in the final moments of some showings of the film
http://www.phantomcity.org
Louvre 2009
Biggar - biggest interactive sculpture on earth - SNDRV
Stedelijk museum Amsterdam + Layar