How to design for exploration through emergent narratives

Digital Creativity ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/ndcr20 How to design for exploration through emergent narratives Kristina Maria Madsen , Mette Skov & Peter Vistisen To cite this article: Kristina Maria Madsen , Mette Skov & Peter Vistisen (2020): How to design for exploration through emergent narratives, Digital Creativity, DOI: 10.1080/14626268.2020.1784233 To link to this article: https://doi.org/10.1080/14626268.2020.1784233 Published online: 25 Jun 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ndcr20 DIGITAL CREATIVITY https://doi.org/10.1080/14626268.2020.1784233 RESEARCH ARTICLE How to design for exploration through emergent narratives Kristina Maria Madsen a , Mette Skov b and Peter Vistisen c a Department of Business & Management, Business Design LAB, Aalborg University, Aalborg, Denmark; bDepartment of Communication & Psychology, E-Learning Lab, Aalborg University, Aalborg, Denmark; cDepartment of Communication & Psychology, Center for Interactive Digital Media and Experience Design, Aalborg University, Aalborg, Denmark ABSTRACT KEYWORDS This paper presents emergent narratives from theory on game design as a model for designing cultural heritage exhibitions and discusses how criteria of emergent narratives can support exploratory user behaviour. We propose that emergent narratives can be transferred to the design of interactive digital exhibitions, thereby removing constraints and allow for more personalized and potentially structure-breaking user experiences. Whereas exhibition design often either focuses on form or content, we propose that by designing for exploration through criteria of emergent narratives, a balance can be found between content and form that encourages explorative behaviour in the exhibition. This adds to the discourse of design principles for using principles from closed digital environments, such as games, in open physical spaces of exhibitions. This paper answers the research question of how theory of emergent narratives can be used to design for exploration. Design; exploration; exhibition; emergent; narratives Introduction In game design, open storyworlds leave the creation of the narrative up to the gradual emergence of how the user plays the game—as opposed to the user progressing through a firmly set structure (Juul 2002). In open world games, players can either follow a structured narrative or explore the game mechanics possible impacts on the world, setting their own quests and paths. Like game design, exhibition design is another context that relies heavily on narratives. Exhibitions use narratives to communicate knowledge to their users. Some museum narratives are reproductions of written history, while others communicate a historical period, artefact, or event through fictionalization of historical facts and CONTACT Kristina Maria Madsen [email protected] University, Fibigerstræde 11, 9220, Aalborg, Denmark © 2020 Informa UK Limited, trading as Taylor & Francis Group objects to recreate or represent history and constitute a coherent representational universe (Macdonald and Silverstone 1990). MacLeod, Dodd, and Duncan (2015) described the cross-section of design research and cultural heritage exhibition design as museum design research (314), as including design fields such as museum architecture, exhibition design, and experience or interpretive design. MacLeod, Dodd, and Duncan (2015) describe the narrative approaches in museum design research as understanding users as narrative, meaning-making beings who make sense through both body and mind. This paper explores the potentials and challenges of designing for emergent narrative structures in digitally augmented exhibition Department of Business & Management, Business Design LAB, Aalborg 2 K. M. MADSEN ET AL. design, as a specific approach, inspired by theory on narratives for open story world games. The theory of emergent gameplay and narratives is described by Aylett (1999) as narrative structures, constituted by, or generated from underlying processes of the user’s experience. Aylett (1999) challenges different narrative approaches to understand how far the predetermined nature of narratives can be relaxed by approaching the behaviour of emergence narratives as bottom-up experiences that happen through the interactions between essential, but simple, components in virtual environments. Based on Aylett (1999, 2000), Swartjes (2010), and Madsen and Vistisen (2019), we point to four main characteristics of emergent narratives and discuss them in the context of digitally augmented exhibition design. The aim is to explore how emergent narratives and the idea of open world building can improve the exploration potential of the museum experience. The potentials and challenges with emergent and interactive narratives are explored in other recent studies such as Ryan, Mateas, and Wardrip-Fruin (2015), Estupiñán and Szilas (2019) and Gjøl, Jørgensen, and Bruni (2019). These studies approach the analysis of different aspects of interactive or emergent narratives in a digital or game realm to understand user engagement, narrative potentials and challenges. These studies propose interesting perspectives on the design challenges and user engagement in interactive digital narratives. However, as Aylett (1999, 2000) and Swartjes (2010), these studies are mainly based on virtual environments. The focus in this paper is to explore the potentials of emergent narratives in design of physical spaces such as museum exhibitions, which frames a specific understanding of terms such as agency. Nevertheless, we acknowledge that there are many discussions and perspectives on interactive narratives and the understanding of agency, that we can not unfold in this paper. Instead, focus is on exploring the potentials of agency in emergent narratives when moving from a digital to a physical realm. The origin of emergent narratives Goldstein describes emergence as a construct ‘[…] arising of novel and coherent structures, patterns and properties during the process of self-organization in complex systems’ (1999, 49). Aylett (1999) further describes emergent narratives as structures constituted by-, or generated from, underlying processes of a user’s experiences. Jenkins (2004) argues that emergent narratives are not pre-structured but take shape through game play by having spaces that are designed to be rich with narrative potential. That is, even though emergent narratives are unstructured, they are not ‘[…] as unstructured, chaotic, and frustrating as life itself’ (Jenkins 2004, 684). Following Jenkins, Juul (2005) describes emergent narratives in a game design by simplifying emergent narratives by describing the term as a player’s experience of a game, or rather the stories that a player has created playing a game. Swartjes (2010) notes this complexity of interactive stories where emergence is ‘[…] addressing the paradox between free-form interactivity from a first-person perspective and narrative structure, and as a design approach’ (Swartjes 2010). It is thus evident how emergence is a radical departure from the classical structure of a narrative where content is employed as a linear structure. Contrary to linear narratives, Swartjes (2010) describes how a narrative is emergent if there is no predetermined plot in the experience and when the narrative is the result of how the user accumulate past actions and events as coherent and meaningful. Emergent narratives may exist alongside a traditional plot structure, as long as a meaningful experience is possible outside the plot. Walsh (2011) focuses not only on emergent narratives but also on emergent behaviour, arguing that a story arises from behaviour, and behaviour is enabled by forming narrative meaning. Finally, Madsen DIGITAL CREATIVITY and Vistisen (2019) identify four strategies for emergent interactions in exhibitions which are either user driven or design driven. They argue that if emergent interactions can be identified either through a design process or in user behaviour, these interactions can be used to inform exhibition design. The previous contributions share the notion of emergent narratives as an unstructured approach to letting users form their own narratives within a specific, often digital, environment. As such, the main thesis of emergent gameplay is that meaning arises not through the lack of structure but despite the existence of structure. Narrative model and structure The potential of designing for exploration through emergent narratives lies in the structure of the narrative: balancing between communicating a linear core narrative, and providing choices that emanate from the structured narrative and unfold through the user’s interactions. The point of departure for approaching emergent narratives in exhibitions is not to remove structure altogether. Rather, the aim is to create meaning despite of- and across structure and let user exploration result in narratives emerging from a structured narrative. We build on two of Ryan’s (2015) nine narrative models describing option of choice in narratives to visualize the structure of explorable storyworlds for exhibitions. The vector with side branches narrative model (Figure 1) is described by Ryan: as ‘[…] giving no choice but to move forward but becomes interactive through optional side branches that lead to “roadside attractions”’ (2015, 165–166). Thus, we have the structured narrative as the core from which the side branches’ narratives unfold. The flowchart narrative model (Figure 2) has a […] horizontal progression corresponding to chronological sequence, while the branches superposed on the vertical axis represent the choices offered to the user. The system prescribes an itinerary through the storyworld, 3 Figure 1. The vector with side branches narrative model redrawn based on Ryan (2015, 167). but the user is granted some freedom in connecting the various stages of his journey. (Ryan 2015, 171) This is a narrative structure that requires the core narrative and all alternative narratives to tie in at the end to ensure a meaningful experience for the user. Understanding the potential narrative model and structure creates the foundation for visualizing and discussing potential emergent narrative structures, which option of narrative choices we want to provide users with, and how this will be supported through designed features. Identifying the criteria of emergent narratives Apart from the narrative structure, the idea of emergent narratives provides an intriguing discussion of ways to facilitate exploration. Based on Aylett (1999, 2000), Swartjes (2010), and Figure 2. The flowchart narrative model redrawn based on Ryan (2015, 172). 4 K. M. MADSEN ET AL. Madsen and Vistisen (2019), we point to four main criteria for emergent narratives in this paper and discuss their application and potential in the physical context of museums. These four characteristics are storification, narrative closure, agency, and user mindset. Storification Storification was first described by Aylett (2000) as a type of participative narrative. Swartjes (2010) frames storification as a subjective assimilation of events unfolded dependent on a user’s actions in an environment to create narrative understanding. Users do not respond passively in an exhibition but personalize their experiences by engaging in the environment and selecting the elements that they find interesting to interact with and interpret to make sense of what they see (Falk and Dierking 2013). In theory, this creates the opportunity for storification to occur in a museum. However, Swartjes (2010) also points out that storification goes beyond one-dimensional messages, which can be a challenge for exhibitions. Often, exhibitions only provide binary choices for the user—e.g. to read a label or not, or to interact with an installation or not, etc. Such binary provides little narrative choice as a consequence. This stands in contrast to the idea of emergent narratives that calls for open and free choices in an environment, using a simple set of mechanics to enable multiple actions. Narrative closure For narratives to be desirable, they must have an ending (Swartjes 2010). When creating emergent narratives, the narratives can in principle go on forever, which will leave the user with many questions at the end of an experience (Swartjes 2010). Swartjes proposes that a way to achieve closure is by having a narrator debrief the user at the end of the experience or by creating the opportunity for a discussion with another character, be it digital or human. The principle of narrative closure is not far from the idea of ‘meaning making’ in museum user studies (Falk 2009). Another perspective on the narrative closure is when users act and make choices in the environment they are building towards a necessary ending, but determined by the emergent actions the user has taken (Swartjes 2010). Such endings cannot be predicted because of the emergent nature of the experience that allows for limitless potential at the start of an experience. This creates a challenge since the debrief cannot be generic, but should be either personalized to each individual or have an omniscient perspective (Swartjes 2010). Agency Agency refers to a user’s ability to act and interact in an environment. Swartjes (2010) explains that to evoke a user’s agency, the user must be able to interact freely in a storyworld and have a social presence in the environment. By giving users a social role in a given environment, social conventions follow and give the user a frame of action to be able to take meaningful actions in their own narrative. If we look at the potential of agency in museums, Falk and Dierking (2013) describe how visitors do not respond passively to exhibitions but choose their own experience by selecting what they find interesting to learn more about. They state that no matter the exhibition designer’s intentions, the visitors will not be controlled and will always choose the path they find most interesting. As such, museums should create space for agency. Agency is closely connected to user mindset. If the users do not want, or do not realize, the opportunity to ‘play along’, explore, or engage, no opportunity of agency will get them to interact or act in the environment. User studies often refer to motivation and meaning making (Drotner et al. 2011; Falk 2009; Falk and Dierking DIGITAL CREATIVITY 2013; Simon 2010) as important factors when designing interactive exhibitions. At the same time, experiences are subjective (Muscari 1985), and only the individual that engages in an experience will be able to determine what motivates and gives them meaning. Based on Simon (2010) and Falk and Dierking (2013), we can theoretically assume that most museum visitors want to participate and explore by actively choosing their own path and storyline. This optimizes the potential of introducing the idea of designing for emergent narratives because the basis for agency is present in the museum structure. Thus, we consider how agency can be supported in an exhibition design, free for the user to leverage. User mindset For an emergent narrative to be created, a user has to be willing to explore the storyworld that they are presented with (Aylett 1999). Aylett argues that for a user to be willing to explore, curiosity has to drive them. Exploration is a natural state of mind for human beings and is one of the ways that we learn. Often a mindset of exploration is based on a sense of curiosity, or wanting to understand a subject, object, or challenge. Exploration is not a new subject for museums. In 2009, Falk described five common user types based on what motivates the users coming to a museum. One of them is the explorer, described as curiosity driven with an interest in the content of the museum. This group of users comes to the museum with the right mindset, but the tricky part is sparking their curiosity. Museum users have a predisposed expectation to what a museum experience is and what to expect. Falk and Dierking describe how: ‘[…] most visitors come to museums specifically to see exhibitions and do “museumy” kind of things’ (2013, 104). Strong conventions about how to behave as a museum visitor can be a challenge for applying the idea of emergent narratives to exhibitions; it causes 5 users to break with the conventions and structures of museum culture. There may be explorers whose curiosity is sparked by exhibitions today, but how can we challenge users’ mindsets to encourage exploration? Case study of the Limfjord museum The motivation for introducing emergent narratives to exhibition design originated from a research project collaboration with the Limfjord Museum in the northern part of Denmark, which posed a challenge in balancing enlightenment and experience between their different activities. At the museum, there exists a clear contrast between the indoor exhibition and outside activities where the latter encourages a higher level of participation, and willingness to explore, contrary to the more passive indoor exhibition encouraging more passive reading and seeing. This contrast motivated us to explore the idea of designing exhibitions based on open world building and free exploration to open new learning and experience possibilities for users. Through this case study, the four criteria of emergent narratives were applied in the exhibition design process. The aim was to create an exhibition that encourages exploratory user behaviour and test how emergent narratives criteria can be used in an exhibition design. The applied design criteria of emergent narratives This section examines the transition of the four criteria of emergent narratives to a physical exhibition. Emergent narratives are not prestructured but take shape through game play by having game spaces that are designed to be rich with narrative potential (Madsen and Vistisen 2019). By providing multiple explorable narratives (Figure 3) which are connected to the structured storyline, we design a space rich in narrative potential which the user can explore to create their own emergent narrative. Thus, emergent narratives are the sum of a 6 K. M. MADSEN ET AL. Figure 3. A modified ‘The Vector with Side Branches’ (Ryan 2015, 167). The vector represents a structured narrative, and the side branches represent the explorable narratives. The figure is based on Ryan’s model but is redrawn and modified for this paper. user’s collective experience of their explored journey through an exhibition, which exists alongside the structured narrative. Walsh (2011) describes this as the accumulative structure of emergence. The criteria for emergent narratives become relevant in the design process, when we start to give shape to the conceptual idea, and all the way to the final design. A process that we will unfold in the following sections. Storification by design In creating exploration through emergent narratives, the core criteria is creating options of choice or multiple layers of storylines, either explicit or implicit. Creating option of choice is highly relevant to allow for the user’s storification, because it represents the user’s potential to choose freely. The multiple layers allow users to tap into different parts and stories related to the core narrative by either breaking or challenging the way that they usually approach exhibitions. The concept of storification focused on how to create multiple layers of information that could only be discovered by users actively exploring the exhibition—that is, explorable narratives that connect to the structured narrative and for the users to tap into. In the present case, the options for storification are limited because the exhibition space is small. Therefore, the focus for storification fell on how we could create options through narratives. The multiple layers of information and stories were manifested into the exhibition as small notes hidden around the artefacts with ‘Did you know … ’ facts, bottles with messages, sensor-activated audio stories and personal letters from fishermen to their loved ones. Together with the traditional explanatory posters, these branching narratives gave the users an option of choice of which narratives they wanted to read and follow, thereby creating their own storification. The branching narratives are relevant to the core narrative and consist of information not given elsewhere in the exhibit. If a user passively walked through the exhibition, reading informational posters and looking at objects, (s)he would still, most likely, activate audio stories through movement sensors with two personal tales. Aside from that, three more types of narrative side branches were added. The small ‘Did you know … ’ facts were handwritten on manila tags (Figure 4, pictures 1 and 3), which normally are used for filing objects and therefore were rather camouflaged in the exhibition. The handwritten letters (Figure 4, picture 2) were folded up into envelopes and placed randomly on or by objects. Lastly, messages were rolled up in bottles and placed in the sand covering the floor. All DIGITAL CREATIVITY 7 Figure 4. Potential for storification through options of choice in the narrative exploration. three types of narrative side branches called for users’ curiosity and willingness to explore. However, providing users the option of choice to form their own storification is not enough to actually encourage exploration, which we will get back to in the sections on agency and user mindset. In comparison to the emergent gameplay in virtual games, physical exhibition spaces do not make it possible to remove the structure and binary choices completely. But by creating options of choice in the narratives and by removing the constraints of limited accessibility to objects (described below), the users are provided more freedom to both interact freely with the exhibition and assimilate events throughout their visit to make their subjective storification of The Amazing Eel’s significance on life around the Limfjord. Narrative closure by design Narrative closure was in this exhibition design discussed as a debrief. Debriefing became a question of getting the users to reflect on their experience and what they had taken away from the exhibition. Apart from these reflections, another goal was to have the debrief lead the user onwards to set the exhibition in context with the rest of the museum’s activities and other exhibitions. Thus, the debriefing is a point of connecting the exhibition to the museum as a whole and getting the user to reflect. The solution for the debrief was the question ‘What can you tell about the eel?’ placed on the top, and Post-its with users’ responses reflected on the question (Figure 5). The second picture (Figure 5) shows signs sending people to other exhibitions or activities at the museum. The debrief for narrative closure was located right before the users left the exhibition. ‘At the end’ is where the structured narrative comes to a close, as visualized in both of Ryan’s (2015) narrative models. Both models (Figures 1 and 2) come together in a collective ending wheeling in the branches, and this is where the narrative closure is situated. So, the debrief has to provide the user with a narrative closure no matter which narrative emerged. We wanted the user to leave the exhibition with an understanding of the eels’ significance for life around the Limfjord, no matter which narratives they followed. The debrief aimed to provoke users to reflect upon their own storification of the eels’ significance to create a relatable, reflective, and meaningful closure. Agency by design The most important aspect was how to provide users the ability to feel, touch, and act throughout the exhibition and to encourage exploration in contrast to placing objects behind glass. The exhibition encourages exploration through interactivity ‘by chance’, meaning that stories, sounds, etc., are activated by touch or movement, without being marked by a sign. When discussing agency, it became clear that this criterion is closely connected to user mindset. If a user does not want to or is not aware of the potential for actively exploring the exhibition, 8 K. M. MADSEN ET AL. Figure 5. Picture 1 shows the debrief board, and picture 2 shows signs to other activities. no amount of agency will get the user to interact with the exhibition. Agency was applied to The Amazing Eel exhibition by removing all glass displays and placing artefacts openly in the exhibition. Some artefacts were placed in ways that forced users to interact with them. All artefacts were up for grabs and could be touched, held, felt, or tested. All objects in the exhibition were original historic objects placed with connected information posters, pictures, and related objects. By leaving everything up for grabs to be touched, held, felt, or tested, we give users the agency to create their own narratives based on the way they choose to explore the exhibition space. User mindset by design The exhibition design should motivate users to actively participate to create their own narratives through exploration of the exhibition space. Consequently, user mindset becomes a question of not only providing agency and interactive potential but also briefing users to set the stage of their experience. The aim was to challenge the user while walking through the exhibition. Objects were placed in their way to encourage interaction, etc. Working with the concepts of user mindset and exploration, we aimed to create an exhibition space with explorable content, but it is up to the users themselves to create their own experience and narrative through the exhibition. User mindset was the most challenging principle. In an attempt to affect user mindset, setting the stage and briefing the users became of utmost importance. The exhibition facilitated user agency, but users should also be informed of how we expected them to approach the exhibition. First, we decided to have a custodian brief the users by informing them on how they are expected to act and interact: be curious, explore, touch, and interact. Next, users meet a large poster (Figure 7, picture 1), with both a photograph DIGITAL CREATIVITY 9 Figure 6. Agency through the opportunity to explore all objects. The first picture shows two thumb gloves on an ice sled. The second picture shows traditional eel catching tools from the Limfjord. The third picture is clog boots and another type of eel gig. of a fisherman with an eel and text introducing the exhibition theme and briefing users on how to explore, touch, do, and feel. This onboarding experience resembles the ‘how to play’ guidelines from video games but are here adapted to the physical, and less controlled, context of the exhibition. Discussion Inspired by theory on emergence in game design, we derive four essential criteria for emergent narratives, which we show can be applied to physical exhibition contexts, such as museums, zoos, and art galleries. With these four criteria, we propose guidelines for designing for exploration through emergent narratives by opening up an exhibition’s narrative model and encouraging free exploration by users. We argue that if we approach exhibition design through emergent narratives, we can encourage exploration in the exhibition space by examining how meaning can be formed despite structure, and let explorable narratives emanate Figure 7. These images show some of the exhibition elements that were installed to affect the user mindset. 10 K. M. MADSEN ET AL. from the structured core narrative. The analysis empathises why it is important not to enforce emergence in exhibitions, but rather design around the proposed criteria for exploratory behaviour, which are open for, but not dependent of the forming of emergent narratives forming from the users behaviour. Even though we cannot control emergence, we can try to create an exhibition with a rich storyworld that requires exploration, thus supporting users in their creatively play with the exhibition and negotiate the multiple possible, and equally relevant, readings of the exhibition. This point to the limitations of this study, since we focus on deconstructing the exhibition design, and not on evaluating user experiences of exploration through emergent narratives. Thus, to expand the study further studies should include interviews from concerned parties as museum professionels, users and exhibition designers. Building on this study’s analytical conclusions, we argue that this type of narrative model can best be developed through digitally augmented exhibition design, where digital and analogue media are combined to provide an as rich as possible narrative for users to explore. Disclosure statement No potential conflict of interest was reported by the author(s). Notes on contributors Kristina Maria Madsen, PhD is a research assistant at Aalborg University with a research interest in the intersection between strategic design, experience design and exhibition design. Kristina’s research focuses on exploring experience design as a strategic design approach for designing exhibitions. Mette Skov, PhD, is associate professor at Aalborg University, Denmark. Mette’s fields of research include visitor studies, experience and interaction design. In the museum field, she is working with the walk-along method to study user experience and has also studied online museum visitors’ information-seeking practices. Peter Vistisen, PhD, is associate professor at Aalborg University with a research interest in the intersection between technology and the liberal arts. Peter’s research focuses on developing design approaches for early exploration of the viability, feasibility and desirability of digital technologies. ORCID Kristina Maria Madsen http://orcid.org/00000003-4691-1144 Mette Skov http://orcid.org/0000-0002-8821-0314 http://orcid.org/0000-0002-9194Peter Vistisen 2946 References Aylett, Ruth. 1999. “Narrative in Virtual Environments—Towards Emergent Narrative.” In Proceedings of the AAAI Fall Symposium on Narrative Intelligence, 83–86. Aylett, Ruth. 2000. “Emergent Narrative, Social Immersion and ‘Storification.” In Proceedings of the 1st International Workshop on Narrative and Interactive Learning Environments, 35–44. Drotner, Kirsten, Berit Anne Larsen, Anne Sophie Warberg Løssing, and Christina Papsø Weber. 2011. “Introduktion: Interaktive museer: hvordan og hvorfor” (Introduction: Interactive Museums: How and Why).” In Introduction in Det Interaktive Museum, edited by K. Drotner, C. Papsø Weber, B. A. Larsen, and A. S. Warberg Løssing, 11–23. Denmark: Samfundslitteratur. Estupiñán, Sergio, and Nicolas Szilas. 2019. “When Did I Lose Them? 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