thoughts on museums, content, design, and why they matter
So, I’m not in Iceland as I’d planned to be. A cracked cockpit windshield, several hours of waiting, and a determinedly cheerful, “Flight cancelled! Come
Collaborations between gaming and cultural heritage professionals have tremendous potential to generate new and valuable kinds of experiences.
Given what we know about play, games, and learning, what can we pull out of the mass of research? For me, the two biggest tools I’ve come across are the concepts of the magic circle and the interaction alibi. These powerful ideas have caused me to reframe a lot of what I thought I knew about museum experience design, and their potential in the heritage sector is vast, and as yet largely untapped methinks.
An examination of some of the qualities of heritage experiences that I have experienced to be particularly germane to this discussion.
“Play” is a very big idea. Game playing is a very engaging activity, one that evokes a level of commitment and concentration in players that
Part Two of this series explores the definitions and characteristics of games and how they differ fr cultural heritage experiences.
