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SEARCHING FOR MILK HARES Evaluating a web-based tool for location-based storytelling within cultural heritage

Master Degree Project in Media, Aesthetics and Narration A1E One year Level 30 ECTS Spring term 2020

Niclas Dristig

Supervisor: Lars Vipsjö Examiner: Lissa Holloway-Attaway Abstract

This report details an attempt to create an interactive Location-based storytelling- experience for mobile devices using QR-codes, and an investigation into the feasibility of such an approach. The underlying purpose of the study is to explore web-based methods of developing interactive Location-based story-telling experiences as a cost- efficient alternative to mobile app-development. A secondary goal of the study was to inform the development of a future Location-based game within a public cultural heritage project directed at children.

Keywords: Location-based storytelling, Location-based games, Transmedia storytelling, Cultural heritage, KLUB

Table of Contents

1 Introduction ...... 1 2 Background ...... 2 2.1 Location-based Storytelling ...... 2 2.1.1 Location-based Mobile Games...... 2 2.1.2 Web-based solutions ...... 3 2.2 Location-based software development ...... 4 2.2.1 LBG-development for cultural heritage ...... 4 2.3 Transmedia Storytelling ...... 5 2.3.1 Transmedia and cultural heritage ...... 6 2.4 KLUB – Kira’s and Luppe’s Bestiary...... 6 2.4.1 Transmedia storytelling in KLUB ...... 7 2.4.2 The collaborative development process of KLUB ...... 8 2.4.3 KLUB and milk hares ...... 9 3 Problem ...... 10 3.1.1 The needs of the client ...... 10 3.1.2 Research question ...... 10 3.2 Method ...... 11 3.2.1 Artefact ...... 11 3.2.2 Locations ...... 11 3.2.3 Target audience and personae ...... 12 3.2.4 Evaluation method ...... 13 4 Implementation ...... 14 4.1 Artefact ...... 14 4.1.1 Webpage library ...... 14 4.1.2 QR-codes ...... 15 4.1.3 Narrative context ...... 16 5 Evaluation ...... 18 5.1 Description of the study...... 18 5.2 Testers ...... 18 5.3 Interviews...... 19 5.3.1 Interviews with the professional group...... 19 5.3.2 Interviews with the target audience group ...... 20 5.4 Testing sessions ...... 21 5.4.1 Location test 1: Helénsparken ...... 21 5.4.2 Location test 2: Fornbyn ...... 26 5.4.3 Location test 3: Slottsskogen ...... 30 5.4.4 Location test 4A: Slottsskogen with children ...... 34 5.4.5 Location test 4B: Slottsskogen with children ...... 35 6 Analysis ...... 37 6.1 Location-specificity ...... 37 6.1.1 Images, location and context ...... 38 6.1.2 Text, location and context ...... 38 6.2 Narrative analysis ...... 39 6.2.1 Narrative in a location-specific context ...... 39 6.3 Technical analysis ...... 40 6.3.1 Advantages ...... 40 6.3.2 Drawbacks ...... 40 6.4 Summary and recommendations ...... 41 7 Conclusions ...... 43 7.1 Summary ...... 43 7.2 Discussion ...... 43 7.3 Future Work ...... 45 References ...... 47

1 Introduction

Location-based storytelling is a practice of telling stories, in which the reader progress through the story by moving around between locations in the physical world. This concept has been utilized in Location-based games, where the progression of not only the story but the game state is dependant upon the player’s ability to move around their physical environment. These games often runs on mobile devices, where the ability to track the player’s location is already built into the system.

Despite the prevalence of digital devices and software in the modern society, software development usually comes with great costs attached. In the cultural heritage domain, an area dominated by public actors, these costs often present an obstacle to software implementation. This study endeavours to explore an accessible and cost-efficient web-based solution for location-based storytelling within the cultural heritage domain. The client for this study is KASTiS, a collaborative cultural heritage project within the Skaraborg subregion of Sweden.

The artefact used to explore this approach consists of a set of QR-codes placed around locations of cultural historic importance, linking the user to pages in an online web-library. The interaction is triggered by the user through scanning the QR-code with a mobile camera. The narrative presented takes part within the transmedia universe of KLUB, and revolves around the user trying to catch mischievous milk hares (creatures from traditional Swedish folklore).

The artefact was tested by both professionals within the cultural heritage domain, the envisioned implementors of the tool, and children of the defined target audience, the envisioned end-users of the tool. After the artefact tests, semi-structured interviews were conducted where the testers were asked about their user experience with the artefact, and in the case of the professionals, what possibilities of implementation they saw with a tool like it.

The results of the study suggests that the artefact can be used effectively to facilitate a perceived connection between the real world environments of the user and the on-screen content. It also suggests that the artefact is a technically accessible to tool, to both users and implementors, which may find practical use within the cultural heritage domain.

The results also showed that the narrative presented in the artefact was not very successful in engaging the users. The choice of including circus themed-milk hares, which was informed by the narrative context of KLUB, resulted in a feeling of disconnect when the user encountered them in a cultural historic environment. This illustrates the challenge of implementing a transmedia narrative in a Location-based game over many different locations, as the recommendation put forth in this study, informed by the result, is that location-specific considerations should take precedence over narrative ones in the implementation of the tool.

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2 Background

This chapter will present the theoretical concepts and scientific theories which are relevant for the study.

2.1 Location-based Storytelling It’s been the case for some time now that personal mobile devices no longer simply offer flexibility in communication between individual users. Apps are increasingly becoming location-aware, tracking the position of users and tailoring available services accordingly (Millard & Harwood, 2015). Through the use of cameras, sensors and other input-devices, the user can interact with an increasingly responsive environment. QR-codes, GPS-markers and other methods of interaction mark locations of interest, providing the user access to information stored on the internet or contained locally within an app. This concept of location- based services has been implemented within a wide array of domains, from virtual tour guides at cultural heritage sites (Bekele, 2018) to augmented reality games.

This practice of placing out such access-points to information has opened up the possibility of conveying narratives in a way different from traditional media outlets. Whereas before the users’ access to a narrative was restricted by their proximity to the media outlet, in Location- based narratives their access to the narrative is dependant upon their proximity to a specific geographical position.

When defining Location-based storytelling, it might be pedagogical to use the concept of Location-based mobile games (LBMGs) for clarity. Location-based games is a game genre, in which the player’s progression is linked to their geographical location in the real world. Progression in the game is therefore dependant upon the player’s ability to move between locations in the real world. Location-based storytelling is a mode of storytelling that builds on the same principle: access and progression through the story is dependant upon the “reader” being able to move between locations in the real world.

In this subsection, I will describe how Location-based storytelling has been previously utilized in a number of areas relevant for the study.

2.1.1 Location-based Mobile Games Location-based storytelling may or may not be focused on the actual location the narrative is being conveyed in. In the Location-based mobile game Pokémon Go (Niantic, 2016) for example, the player needs to move into a certain proximity of a virtual Pokémon (whose geographical location is determined by GPS-coordinates) in order to catch it. The same is true for other places of interactions in the game, such as “PokéStops” and “Pokémon Gyms”, which are often located at places of general interest (Cosimano, 2016). However, the actual location of these places of interactions in the real world is not referenced in the game.

By contrast, the narrative in the pervasive LBG The Mystery of Elin (Alvarez Díaz, 2014) directs the player’s attention towards places of cultural and historic interest in the city of Skövde, Sweden. A study from 2012 concludes that narratives set in the real world milieus they purport to depict might elevate the user´s sense of immersion (Karapanos et al., 2012). Even settings that might share the atmosphere of the place depicted in a narrative might have this effect, albeit to a slightly lesser degree.

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Karapanos’s conclusions are supported by findings made by other scholars engaged in LBG- projects, such as The Viking Ghost Hunt (Carrigy et al., 2010). In this game, the players take on the role of paranormal investigators, attempting to track down ghosts associated with Viking-ruled Dublin (ca 800-1169 ad). The players played the game by using an app downloaded to their mobile phones and walking around historical sites in the city. In the results, the authors note that:

“A significant finding of the user study was the impact that the location had on player engagement and immersion. Almost all of the participants agree (84%) that the location contributed to the overall experience because the historical significance of the main site gave context to the narrative, while the atmosphere of the place enhanced the player’s perception of the supernatural theme of the game” Carrigy et al., 2010, page 97

2.1.2 Web-based solutions Not all interactive location-based narratives are accessed through mobile apps. By tracking certain QR-codes and other kinds of markers with a mobile camera, users can be directed to webpages in the internet client on their devices. Such techniques have been implemented at the Sukiennice Museum in Kraków, Poland (Hudson & Hudson, 2017). Scanning QR-codes next to the paintings displayed will direct the user to a video, where actors playing the author will tell the story behind the painting.

Another example is the zoo of Borås Djurpark in Borås, Sweden. QR-codes on information plaques next to the animal enclosures will direct the user to a website with information on the specific animal. This allows the interested visitor to complement their visual experience of the animal with more information.

Figure 1 Trackable QR-code in Borås Djurpark, directing the player to more information on the African wild dog.

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The ability of QR-codes to link the user’s device directly to online content has many areas of application. It does however also raise security concerns, as several recent studies has shown that QR-codes in public settings can be exploited (Zhou et al., 2019; Pan et al., 2018). The URL contained in the QR-code can be manipulated, linking the user’s device with online content other than that the creator of the QR-code intended, sometimes to malignant ends. Such security issues needs to be considered when working with QR-codes.

Such web-based solutions to Location-based storytelling might not require the same skillset to develop as app-based ones. The next subsection will explain the challenges of developing location-aware apps.

2.2 Location-based software development Depending on the purpose of the intended program, software development might require specific skillsets found in a wide array of disciplines. Jacques Barnard has studied the challenges of developing Location-based game-apps for mobile devices in order to “develop a systems development methodology that can aid in the development of location-based games” (Barnard et al., 2018, p. 2), citing a lack of a specialized SDM (System Development Methodology) for LBGs.

While LBGs may differ between each other in terms of functionality and media affordances, Barnard lists eight elements commonly found in LBGs:

• Interaction: The ability to facilitate interaction between players and/or the game world. • Graphics, sound and AR: Immersive elements and feedback systems. • Artificial intelligence: The ability to simulate intelligence in characters or other agents. • Mobility: The ability to run the program on a mobile platform. • Location: The ability to determine the location of the player (here Barnard refers specifically to the built-in components found in many mobile phones, such as GPS- emitters). • Tracking: The ability to track the location of the player (here Barnard refers to systems found outside the mobile phone, such as GPS-tracking devices found on satellites). • Communication: The ability to facilitate communication between the local device and outside systems (such as GPS-satellites or the Game server). • Game server: The ability to manage the game state of several players playing simultaneously (only necessary for multiplayer).

To accomplish these affordances, Barnard describes an organization divided into departments, each tasked with different areas of responsibility. Within this organization, Barnard lists a number of desired specialist roles, ranging from the strictly technical (software programmers, network engineers, graphics programmers), artistic (graphics artists/designers, sound engineers) business-oriented (managers, marketing specialists) and quality assurance testers.

2.2.1 LBG-development for cultural heritage The findings in Barnards article is intended to provide guidance for independent development teams. One could probably equate this to small-to-medium scale game companies, possibly new start-ups, looking to develop commercially viable LBGs (the listing of business savvy as a

4 desirable competence seems to suggest this anyway). If one were to apply Barnard’s organizational models to projects relating to cultural heritage (where they are applicable), several practical problems emerge.

Providing the public with knowledge about its cultural heritage generally fall under the purview of public actors. This domain differs from the commercial gaming market in that financial profit is not necessarily the content providers’ primary aim. While public content providers might not aim to produce LBGs of the same scope and polish necessary to make them commercially viable, it might also be the case that the cost of deploying all the listed expertise would be too high for such actors. While precise financial development costs fall outside the scope of Barnard’s article, one could probably assume that the deployment of the listed expertise would come at significant prices.

An alternative approach to creating Location-based games might be to eschew app-based methods and adopt a web-based solution. Web-based images, sound and AR-content can be loaded into the interface of modern mobile devices’ internet clients. Depending on the specifications of the project, there might not be a need to develop mechanisms of tracking or to program an artificial intelligence for simulating virtual agents.

One of the needs for the client of this study was to find a method of producing an interactive Location-based narrative within manageable financial limits. The models proposed by Barnard reveals the challenges to accomplishing this aim via the customary approach of app- based software development.

2.3 Transmedia Storytelling Transmedia storytelling is the concept of telling different stories through distributed media platforms, that all take part in the same fictional universe (Jenkins, 2006). In chapter 3 of Convergence Culture: Where old and new media collide (2006) Jenkins uses the franchise of The Matrix to conceptualize Transmedia storytelling. The stories of The Matrix universe plays out not only in feature films, but in an anthology of short animéfilms (Morimoto, 2003), in comic book-form (Darrow, 2003) and in digital games (Shiny Entertainment, 2003; Monolith Productions, 2004).

In Jenkins’s view, this practice of creating separate yet relatable stories across distributed media sustains a depth of experiences. Ideally, each contribution to the narrative universe is done in a way that takes advantage of the affordances available to the specific media. Pokémon Go (Niantic, 2016) might be a fitting example to use; while the game doesn’t actively continue the story of the Pokémon-trainer Ash Ketchum from the animé-series (Hidaka, 1997-2006) it allows the player to assume the role of a Pokémon-trainer themselves, literally wandering the world in search of Pokémon.

In chapter 3 of his book, Jenkins emphasizes the potential depth of the storytelling told through out connected works of transmedia franchises. As no one work will hold all answers or information about the shared universe, the reader must experience more works in order to widen his or her knowledge about the fictional universe. Less emphasis is put by Jenkins on the metaphorical width of the franchise following, i.e. does the fact that the fictional universe can be accessed through many media forms result in an increased overall interest in the franchise?

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2.3.1 Transmedia and cultural heritage The CULTE project (Cultural Urban Learning Transmedia Experience) is a French cultural project with the goal of creating a pervasive transmedia game to complement the exhibitions of the Musée du Quay Branly in Paris (Chenu, German, Gressier-Soudan, Levillain, Astic, Roirand, 2014). The members of the project hopes to “attract new kinds of visitors and lead visitors to become museum ambassadors” (Chenu et al., 2014, p. 8). Since the authors cite a low frequency of museum visits among young people as a motivating factor behind the project, one can assume that the term “new visitors” in this case means “young people” (although the age of the prospective visitors is not specified). Like Jenkins (2006), the authors see a special potential in the deployment of transmedia storytelling techniques to attract a younger audience:

“Thus, if museums want to welcome young people, they should adapt themselves to these new ways of accessing culture, using audience’s favorite activities as a means to attract them into the institution” Chenu et al., 2014, page 2

It is worth noting that the CULTE project seeks to use transmedia techniques in educational purposes, not only as a means of creating a rich narrative context. This use of transmedia storytelling techniques, as pedagogical tools, adds a dimension of complexity to the already interdisciplinary nature of the project. The CULTE project aspires to provide recommendations to stakeholders within the cultural heritage domain. Until such results are presented, it remains unclear whether or not transmedia storytelling techniques can effectively be utilized to educational ends. Nonetheless, it is interesting for this project to take into account the ambition to utilize distributed modern media applications to this end.

It might be conceivable that different experiences will attract different readers, even though they all take part within the narrative context of a shared fictional universe. This project takes part within the framework of the KLUB project, a cultural project in which transmedia storytelling techniques are used to increase the interest of children in aspects of local cultural heritage (KLUB and KASTiS are described closer in the next subsection). As this reports aims to explore a technical solution for an interactive Location-based narrative for mobile devices within the KLUB franchise, the question of whether such a solution could contribute to the interest in the KLUB project is highly relevant.

2.4 KLUB – Kira’s and Luppe’s Bestiary KASTiS (https://www.his.se/en/research/informatics/media-technology-and- culture/KASTiS/) is the name of a collaborative cultural project within the historical subregion of Skaraborg, a geographical area in the greater administrative region of Västra Götaland, Sweden. Its stakeholders include the 15 municipalities of Skaraborg, the overarching Municipal association of Skaraborg and the University of Skövde. The aim of the project is to spread knowledge and cultivate interest about the local cultural heritage of the subregion utilising digital and interactive technology. KASTiS represents the client of this project.

A subproject within the KASTiS-umbrella is KLUB, a narrative project with children as its target audience. A number of children’s books have been produced within the KLUB-project, following the two protagonists Kira (a vampire girl) and Luppe (a shapeshifter boy) and their attempts to thwart the malevolent plans of the Circus director (who’s also a mountain troll),

6 which usually revolves around capturing creatures of local folk-lore for his circus. Each book is set in one of the municipalities of Skaraborg, and includes mythical elements of that particular municipality’s folk-lore and cultural heritage. The 15th book in the series is set in Essunga, and deals with the mythical milk hares (mjölkhare in Swedish), creatures created through witchcraft traditionally for the purpose of stealing milk from neighbouring farms (Vipsjö, publication pending).

Figure 2 AR-figure of the mythical creature Näcken, seen in the KLUB-book set in Tibro municipality (Vipsjö, 2017).

2.4.1 Transmedia storytelling in KLUB KLUB is a transmedia project, aiming to relay the fictional universe through distributed media outlets. Apart from storytelling in the traditional form, the books also contain markers for AR. A separate mobile app superimposes three-dimensional characters upon the markers when they are tracked by the camera of the device. Such markers also exists on cultural heritage sites and museums. Plans exists for a boardgame within the KLUB-franchise, as well as an interactive mobile experience.

As per Jenkins’ definition of transmedia storytelling as a mode of storytelling distributed across several forms of media (2006), no one component of the KLUB project provides the reader with a complete experience of the fictional universe. The books provide narrative context to the reader and can by all means be read separately. The mobile app however “interacts both with figures in the book, bringing characters to life through animated 3D- images in, but also on location at heritage sites in the region” (Holloway-Attaway, Vipsjö & Erlandson, 2018, page 30). The app further allows the reader to “collect” creatures by tracking their respective AR-marker, and provides additional information about them contained in local folklore.

The books depict fictional events taking place at real locations, featuring characters and creatures related to these locales through the traditions of local folklore. This enables the

7 reader to visit the locations and heritage sites referenced in the books, and experience them as part of a cohesive yet distributed narrative. The act of interacting with the AR-markers, by use of the mobile app, introduces a performative element into the experience. Collectively, the distributed components of the KLUB franchise sustains a depth of experiences that invites the reader to not only take in the adventures of Kira and Luppe but to embody the fictional universe and learn more about the cultural heritage it’s based upon.

This study is intended to explore a possible technical solution for such an interactive mobile experience, through implementing a Location-based interactive narrative. This solution is informed by the needs of the KASTiS project, which in turned are shaped by prior experiences of using the mobile app to facilitate a transmedia experience between physical children’s books, virtual AR-content and real world locations.

Figure 3 Superimposed AR-figure at the Askeberga stenar heritage site.

2.4.2 The collaborative development process of KLUB The KLUB project is interdisciplinary in nature, combining expertise found in an array of fields. As noted by Holloway-Attaway, Vipsjö and Erlandson, development of the books has included both researchers and students (graphic artists, game writers) from the University of Skövde alongside heritage experts, local schools and libraries (2018). The mobile app in turn was developed by a local software development company, and the information contained within about creatures from the local folklore informed by historians, local librarians and

8 other heritage experts. Holloway-Attaway further describes the project as “transcultural” to denote the diversity of the interests and people involved in its development:

“It moves in and out of many institutional domains and finds allegiance with many “masters” and knowledge-keepers, refusing a single authority” Holloway-Attaway, 2018, page 37

2.4.3 KLUB and milk hares The KLUB-books are set in the municipalities of Skaraborg and features creatures and phenomena tied to the local folklore of those places. As previously mentioned, Kira and Luppe comes into contact with milk hares in the KLUB-book set in Essunga municipality (Vipsjö, publication pending). In the book, the circus director has created milk hares through witchcraft, in order to steal milk from the surrounding area. The stolen milk is then used to create milk shakes, to be sold to the visitors of the circus.

This premise is based on the concept of a magical milk-stealing creature, which according to Jan Wall’s research exists in folklore throughout the nordic countries (1978). In Wall’s dissertation Tjuvmjölkande väsen II: Yngre nordisk tradition (1978), he tracks the occurrence of milk-stealing creatures in nordic folklore from the 17th century to the 20th. According to Wall, 23 different names for these milk-stealing creatures has been documented across this area during this time period (Wall, 1978, p.16), often with variations in the description of the creatures appearances and abilities. Out of these 23 names, Wall claims that 10 are used across larger areas while the use of the other 13 appears to be more narrowly localized. Among the more common 10, Wall lists mjölkhare (English: “milk hare”, “milk hare”) as the most common name in an area of western Sweden, including Skaraborg. Essunga is one of the places where descriptions of milk hares has been documented (Wall, 1978, p.16-29 [signifiers for Essunga are Vgl 99-104 as noted on page 156]), although by no means the only place.

While some stories from this geographical area portrays the milk-stealing creature as other animals, or sometimes as otherwise inanimate objects (like balls of yarn), the majority of the documented stories portray the milk-thieves as hares (Wall, 1978, p. 19). Wall suggests that the occurrence of hares around cultivated land, especially in combination with low milk production among the cattle, might have lent credibility to established narratives of milk- stealing hares among the agricultural community of the period (1978, p.25).

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3 Problem

The client for this project is KASTiS (described closer in 2.5). The idea of this project is to find a model of creating interactive Location-based narratives in a way that is sustainable to a smaller organization that lack the specialist-expertise outlined by Barnard (2018) and the realistic ability of funding the deployment of those. This can be conceptualized as a minor public actor operating within the domain of cultural heritage.

The objective of the project is to investigate how an interactive Location-based game can be developed according to the needs of KASTiS (these are specified under 3.1.1 below). To accomplish this, an artifact in the form of a web-based LBG for mobile devices will be developed and implemented. The use of a web-based tool instead of an app-based one means that the artefact cannot rely on app-specific markers in order to initiate user interaction. Instead, QR-codes will be used to trigger the interaction. The artefact is described in greater detail under 3.2.1. Artefact.

The target audience for this study would be children, age 10-12. Evaluation would be done through semi-structured interviews with the testers upon finishing the artefact-test.

3.1.1 The needs of the client A mobile app was previously developed for the KLUB-project in conjunction with the book series. This app enabled AR-functionality in KLUB-products and on designated locations, such as cultural sites and museums. In preparation for this study, discussions were held with the client to ascertain their needs. During these discussions, the client outlined several problems related to the mobile app.

Among the issues mentioned were technical problems related to updates of the operating systems running on the user’s mobile devices. New updates to the operating system (OS) sometimes lead to performance issues with the app since it had not been configured for the new version of the OS. In addition, the client relied on a third party in updating the app itself, in order to implement new or refined features (this was done for example following the release of a new book instalment in the children’s book series). While the use of such expertise enabled the KLUB-project to make use of fairly complex technology, it also imposed a financial burden on the project in the form of regular development costs.

For the future mobile experience, the client desires a technical framework which they can control, update and scale through the digital infrastructure already in place. Preferably, it would be technically accessible to the extent that the existing staff of the University of Skövde or other KASTiS-stakeholders would be able interact with it. It should also be modular in nature, so that the content could easily be updated (for example in conjunction with festivities and public holidays). This modularity would also allow the client to scale up the project, and incorporate more locations of interest using the existing framework.

3.1.2 Research question The research question this study will attempt to answer is:

How can a location-based game for mobile devices be created using a web-based solution?

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3.2 Method The following subheadings will discuss the method used in the survey.

3.2.1 Artefact The artefact for this project will be a solution for a narrative web-based LBG for mobile devices, set in the KLUB universe. This solution will include several components. Firstly, a library of webpages will be created which will contain and present the narrative to the player. The narrative will be presented in text form which alongside accompanying imagery will serve to explain the narrative situation of the player. Text and images will be in the style of the KLUB books, to maintain the impression that the narrative of the game takes part in the same fictional universe as the KLUB books.

Secondly, a set of QR-codes will be produced and printed into physical form. The QR-codes will contain links to the previously described webpages, allowing the user to access the narrative content of the artefact on their mobile devices. Like the AR-markers of previous KLUB works, these QR-codes will serve as points of interaction. Similarly, the user will be required to track the QR-codes with the camera of their mobile device.

Unlike the AR-makers of the KLUB books, QR-codes cannot be altered much in appearance, since the camera reacts to the shape of the symbol. As such, the imaginative and thematic shapes of the KLUB AR-markers cannot be implemented in this solution. To maintain transmedia cohesion between the QR-markers and the narrative of the game, the QR-markers will be framed inside a thematically fitting image. This way, the QR-codes retain their functionality while not conflicting with the KLUB aesthetics.

The story of the artefact would revolve around Kira and Luppe, and their attempts to contain the mischiefs of loose milk hares. As presented under 2.4.3 KLUB and milk hares, milk hares are milk-stealing creatures native to the folklore of an area in western Sweden, including Skaraborg (Wall, 1978). The narrative context of the story would play out after the events in the Essunga-book of the KLUB-series (Vipsjö, publication pending), where it is revealed that the Circus director has acquired the arcane knowledge of how to create milk hares. In the narrative of the artefact, there are milk hares unaccounted for who are running around and causing grief in the local area.

KLUB is primarily geared towards children in the ages of 7-11, and the content of the artefact would reflect this consideration. The story about magical hares running amuck has comical potential, which along with the mythical protagonists hopefully will prove effective in evoking the interest and imagination of young users. This approach might bear some associative similarities to the popular Pokémon Go (Niantic, 2016), where the user also wanders the real world searching for odd creatures.

3.2.2 Locations One idea underlying the concept of the artefact is that it’s supposed to be customizable; the web-page library should allow for adding, switching and editing content according to the context in question. To test this customizability, testing will be carried out on different locations, where changes to the artefact may be implemented between testing sessions. In this way, while the ambition will be to make a location-specific version to each test site, the solution in itself won’t be location-specific. It will rather be general in its flexibility.

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One suitable location for this study would be Fornbyn (Old village) in Skara. Fornbyn is a part of the Västergötland museum. The museum is dedicated to preserve tangible and intangible cultural artefacts from the Skaraborg region. As part of the museum, Fornbyn is a standing outdoors exhibition featuring buildings and structures from the 19th century agricultural society of the local region. The building have been transported from various places across the region and are displayed in an open park area next to the museum in Skara.

Even though the buildings of Fornbyn originates from many places across Skaraborg, they are structured and displayed together, seemingly like a 19th century village. This creates a setting with historical ties to the community in which the traditions of local folklore existed. The aesthetics of the setting might work well in tandem to the narrative context of KLUB.

Fornbyn was the original location kept in mind prior to developing the artefact. During development, two more locations was decided upon as testing grounds: Helénsparken in Skövde and Slottsskogen in Gothenburg. Before testing commenced, the content of the artefact would be edited to suit the specific locations. All testing locations are described in more detail in the evaluation.

3.2.3 Target audience and personae The general target audience for KLUB consists of children within the ages of 7-11 in Skaraborg. Generally speaking, the goal of this project is to produce a product which might interest this group. As previously mentioned, KLUB AR-makers have been placed at cultural heritage sites and other locations referenced in the books. According to scholars involved with the KLUB project, this was done with the idea in mind that children who read the books would visit such sites with their parents (Holloway-Attaway, Vipsjö & Erlandson, 2018). As such, the target audience of this project represent the high end of the age spectra of KLUB’s target audience. Based on this, two personae has been constructed that will represent the intended end-users of the artefact.

The primary personae is defined as follows:

• Name: Anna • Age: 10 • Interests: Reading (fantasy in particular), socializing with friends, casual digital games • Relationship to KLUB: No prior knowledge

The primary personae represents a person that might realistically be interested in other KLUB-products, especially the children’s books, through interaction with the artefact. In this case it is assumed that the person has no prior knowledge of KLUB, since reliance on the assumption that the users are already familiar with KLUB might affect the design choices in a detrimental way to new users.

The secondary persona is defined as follows:

• Name: Linus • Age: 12 • Interests: Sports, digital games, memes • Relationship to KLUB: No prior knowledge of KLUB (If he knew about it, he might consider it a bit childish)

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The secondary personae represents a person who might not be particularly interested in KLUB as a whole, but who might still have an interest in interaction with an interactive mobile narrative. Even though the person is a bit older than the intended target audience of KLUB, chances are that he might find an interest in it (or at least in the stories concerning local cultural heritage) after interacting with the artefact.

3.2.4 Evaluation method This project attempts to implement a web-based LBG solution for mobile devices and explore the feasibility of such an approach as an alternative to app-based ones. A motivating factor behind the project is a need of technical simplicity in implementation and maintenance from the client. Evaluation therefore needs to not only consider the performance, affordances or user experience of the artefact, but also the process of implementing and maintaining it as a tool.

To evaluate these different aspects of the artefact, evaluation will be conducted with experts within cultural heritage and cultural tourism in the Skaraborg region. The evaluation will consist of the testers trying out the artefact at location, followed by semi-structured interviews (Østbye et al., 2008). Before the interview, the work process behind the artefact will be described.

This project intends to explore the possibilities of a tool of relative technical simplicity for use within Location-based cultural storytelling. The testers for this artefact are representatives for operations in which the artefact is envisioned to potentially be of use. The testers will be asked about the experience as a user and its usability as a tool within their professional role.

In order to evaluate the experience of the envisioned end users, tests will also be held with members of the defined target audience. The user experience of this group might also be of importance for the client if the artefact, or a version of it, is later adopted within KASTiS.

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4 Implementation

This chapter details the process of crafting the artefact, and the reasoning behind the questions asked in the evaluation.

4.1 Artefact Practically, the artefact consists of three components: The web-page library which constitutes the mobile interface, the QR-codes which the player tracks with their camera to access the web-pages and the setting the session takes place in. Development of the narrative context was done in tandem with the more practical aspects of the artefact, but the process of developing it has been separated into its own subsection for ease of documentation.

4.1.1 Webpage library For the purpose of this project, the webpage library would be stored at the University of Skövde’s servers. The webpages therefore needed to accommodate text and imagery in a format which supported online publication on the university servers. There is a plethora of software programs able to support creation of such presentations, but the need for technical simplicity and availability of use narrowed the field of suitable options. Before the need for technical simplicity was specified, Adobe Indesign (Adobe Systems, 2019) was considered as a tool for the project. It was however discarded due to its relative complexity.

Microsoft PowerPoint (Microsoft, 2019) was instead chosen as a creation tool for the webpage library. PowerPoint is a staple of the Microsoft Office suite, and it was assumed that this was a more available and easy-to-use tool for the KASTiS project members (the assumption was also made that PC was the standard operating platform in KASTiS). Further more, PowerPoint allows the user to save presentations in the PDF-format, which can easily be used for web- publication.

Figure 4 Two web-pages, created in PowerPoint. Left: A circus-themed milk hare encountered early. Right: A later web-page, featuring a milk hare created with DNA from the Swedish folklore creature Näcken.

The images for the artefact were produced by a university faculty member already involved with the development of KLUB. This was done to maintain the established art style of the KLUB books. Some images, specifically those featuring the circus-themed milk hares, were produced specifically for this artefact. Other ones were selected from a pool of existing milk hare images originally drawn for a KLUB exhibition at a local museum. The inclusion of the

14 exhibition-milk hares affected the narrative context, since they introduced milk hares created with DNA from other folklore creatures (4.1.3 Narrative context).

The game starts with player tracking the first QR-code, leading to an introductory web-page with Lovis, a troll researcher in the KLUB universe. Lovis serves as the narrator in the game, and can also provide information about the narrative context and the role of the milk hares in traditional folklore. Since it was felt that a single web-page containing all this information might be somewhat text-dense, separate web-pages were created for these other subjects. These web-pages can be accessed from Lovis introduction via hyperlinks, and the player can also return to Lovis after having read the available information provided by these pages.

Figure 5 Early version of the introduction with Lovis. The blue text represents hyperlinks, leading to other pages where information about different subject matters are presented.

4.1.2 QR-codes

Figure 6 QR-code and milk hare frame. During testing, the testers would locate and interact with printed versions of these QR-codes.

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The QR-codes were created using the free online tool QR-code monkey (found at http://www.qrcode-monkey.com), which generates QR-codes and encodes links to online addresses. As mentioned, QR-codes work through optical pattern recognition found in modern mobile cameras. This means that QR-codes cannot easily be altered appearance-wise.

Early on, the appearance of the QR-code was identified as a potential flaw for the artefact. QR- codes have an appearance which might be associated with technology and the modern day. This might be counterintuitive to the transmedia universe of KLUB, where the stories revolve around mystical creatures and phenomena from folklore.

To offset the modern appearance of the QR-codes, frames were drawn in the shape of milk hares. As with the images in the web-library, the frames were drawn in an art style resembling the aesthetic found in the existing KLUB books.

When using QR-codes, there are potential security issues to take into account. As have been shown, there have been accounts of covert disruptions of QR-codes (Zhou et al., 2019), where the link encoded in the QR-code is effectively redirected to another address. Such manipulation can reportedly be implemented to malignant ends, without either the creator or the user of the QR-code finding out about it until later. As the testing of this artefact will only be carried out over the course of a limited time, without any public notification going out about where or when the tests will be held, the risks of such manipulation seem negligible. Future, more permanent, implementations based on this artefact will however have to bear such risks in mind and work to find solutions to them.

4.1.3 Narrative context The story of the art takes place after the KLUB book set in Essunga (Vipsjö, publication pending), where Kira and Luppe first encounter milk hares. The milk hares are creatures created through witchcraft. The circus director has somehow acquired the knowledge necessary for creating such beings, as is evident by Kira’s and Luppe’s discovery of a note detailing the creation process. The milk hare encountered in this story shares many characteristics with the milk hares in local folklore (Wall, 1978; af Klintberg, 1977) in that it steals milk. In the end of the story, the circus director references plans for the creation of other milk hares. The note details these plans to include milk hares with a circus theme; milk hares who look like clowns, acrobats etc.

In this project, it is revealed that the circus director has continued his experimentations of creating milk hares. His reasons for doing this is to improve the quality of his circus acts, with thematic milk hares taking over acts usually performed by other trolls of the circus. The narrative explanation to these variants of milk hares, provided in the artefact by Lovis, is that DNA is required in the creation process of milk hares. Depending on the creature the DNA was sampled from, the resulting milk hare will share features and characteristics with the original creature.

This narrative background was the subject of discussions with the client, as it differs from the dramatic setup used in the KLUB books. With the exception of the first book set in Skara (Vipsjö, 2016), where Kira and Luppe are introduced to Lovis and the circus director, the events in the KLUB books are not chronologically determined. One book doesn’t reference events played out in another, again with the exception of the first. This means that readers can chose to start with any book and keep on reading them in any sequence, without having to rely upon information introduced in another. As the client wished to include milk hares in the

16 planned mobile game, a diversion from this formula was agreed upon (since the Essunga book doesn’t reference a previous encounter with milk hares, it is logical the artefact portrays events happening after that book).

During the creation of the artefact, plans where made within KASTiS to create a children’s exhibition featuring KLUB material at a local museum. This exhibition was to feature variants of milk hares created with DNA from other creatures of traditional folklore (for example giants, vampires and lindworms). This material fit into the already established context in which the circus director creates milk hares with DNA from other creatures and his reference in the Essunga book (albeit just in passing) about future, unspecified plans for milk hares. The new material was in the same art style as other assets in the artefact, and readily available for use. The addition to the narrative context of the new milk hares was convenient, both from a practical standpoint and from a storytelling one as they reference other creatures from the KLUB universe.

This once again meant having to consider the narrative context of the artefact within KLUB, as the inclusion of the new hares raised questions about where and when the circus director acquired the DNA from these creatures. If it was stated specifically that the DNA was acquired in previous encounters with the beings, it could potentially entangle the books the creatures appeared in in a post hoc timeline which runs counter to KLUB formula of a non-specified chronology between the works. It was deemed preferable to avoid this scenario, therefore it is left open to the players’ interpretation.

Instead of featuring Kira and Luppe as protagonists in the artefact, the player assumes the role of Lovis’s assistant in capturing the escaped milk hares. The artefact starts with Lovis explaining the narrative context in an introductory web-page. The player is then directed towards QR-codes in the environment, where tracking a QR-code with his or her mobile camera means capturing a milk hare. The web-page linked with the QR-code in question reveals what kind of milk hare the player has caught.

A total of six milk hares can be caught through this interaction. The first three are milk hares with a circus theme and the last three are milk hares created through sampling DNA from folklore creatures. The capture of the fourth milk hare reveals that the circus director has created milk hares which differ from the first three. In choosing among milk hares from the pool of the ones drawn for the exhibition, conceptual variety was prioritized, to show the player milk hares of different appearances. This hints at a broader KLUB context, where variants of milk hares can be created from creatures appearing in the KLUB-books.

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5 Evaluation

This chapter details the testing procedure of the study, the considerations taken into account for the tests and the results gathered from each testing session.

5.1 Description of the study This study intends to explore a web-based LBG solution for mobile devices, within the context of cultural heritage. The research question this study seeks to answer is: How can a location- based game for mobile devices be created using a web-based solution? To answer this question, a prototype for such a solution was implemented at three different locations; Helénstugan in Skövde, Fornbyn in Skara and Slottsskogen in Gothenburg.

The prototype was then tested by cultural heritage professionals as well as children of the intended target audience of the prototype, where each tester would use their own mobile device to interact with the prototype. After each testing session, the testers were interviewed about their experiences and, in the case of the professionals, their thoughts about the utility of the solution as a tool within their line of work. The result gathered through these interviews was then supplemented by observations of the testers behaviours gathered during the test. In total, five tests were conducted on location in this manner. Five cultural heritage professionals (Two groups of two and one alone) and five children (one group of three and one group of two) partook in the study.

5.2 Testers The testers can broadly be divided into two groups; Cultural heritage professionals and members of the target audience, the target audience being children in the ages 10-12 (see 3.2.3 Target audience and personae for further details). The inclusion of these two groups in the study has been made with a respective purpose in mind.

The professionals within cultural heritage represents the group of people which may utilize the artefact (or a future version based of it) within the professional roles of their domain. As such, this group was consulted in order to get their thoughts on the usability of the solution.

The original planning for the tests involved supplementing the data from the location tests with remote concept testing, in which the questions and QR-codes would be mailed out to more cultural heritage professionals. While such tests wouldn’t be carried out in an operative environment for the artefact, it would allow supplementing the data from the location tests with thoughts on the overall concept. In the end, the answers from those remote tests were not included in the result, as they didn’t add much to the data from the location tests. It was also a practical consideration, since processing the data from the location tests proved more time consuming than anticipated.

Tests were also performed with children within the defined target audience for the artefact. The purpose of including this group in the testing was to gather first-hand impressions of the user experience. As this group represents the envisioned end users of the solution, their user experience might influence recommendations on continued development of the artefact or other web-based LBGs.

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The testers are anonymized in this study. To keep track of the answers from the interviews, each tester has been assigned a number (T1, T2, etc). The table below provides an overview of the testers, their group affiliation within the study (Professional (P) or Target audience (TA)) and the test they took part in.

Table 1 Overview of the testers involved in this study. Tester Group (occupation or Test participation age)

T1 P (museum educator) Location test 1: Helénstugan

T2 P (web administrator) Location test 2: Helénstugan

T3 P (project developer) Location test 2: Fornbyn

T4 P (architectural antiquarian) Location test 2: Fornbyn

T5 P (developer) Location test 3: Slottsskogen

T6 TA (age 10) Location test 4A: Slottsskogen

T7 TA (age 10) Location test 4A: Slottsskogen

T8 TA (age 12) Location test 4A: Slottsskogen

T9 TA (age 10) Location test 4B: Slottsskogen

T10 TA (age 11) Location test 4B: Slottsskogen

5.3 Interviews The method of evaluation used for this study (3.2.4. Method of Evaluation) involved qualitative interviews with the testers after the artefact tests. The interviews were recorded and later transcribed. All participating testers consented to being recorded. In the case of the children, consent was granted by both the children themselves and their care giver. The care givers were also present during both the artefact tests and the interviews. To ensure the anonymity of the testers, the testers were anonymized in all transcribed documents according to the above table. The audio files were stored on a portable hard drive for increased security.

5.3.1 Interviews with the professional group Because the two groups of testers were asked to participate in the study for different reasons, different questions were asked to the respective groups. In the case of the professionals, questions were asked regarding A) their user experience of the artefact (both regarding the specific KLUB narrative presented and in the technical interaction), B) potential ways of

19 implementation, C) the possibilities of using the solution to develop their own interactive Location-based experience for mobile devices, D) the possibilities for continual updating and maintenance of the solution within their institution and finally E) general tips for improvements. These areas were deemed relevant for answering the research question.

The following questions were asked to the professional group:

1. What was your experience of the protoype? Was it easy to use? Easy to understand? (A) 2. Do you believe the narrative premise can engage users of the target audience? (A) 3. Do you believe the target audience can be motivated to find the milk hares by the narrative? (A) 4. Do you believe the target audience understands the concept – that they should interact with the QR-codes? (A) 5. Do you believe the illustrations around the QR-codes helps the user to understand their functions? (A) 6. Do you think the pop-up window that appears after the QR-code has been scanned negatively impacts the experience? 7. Did you experience any technical difficulties in using the prototype? (A) 8. An idea with the concept of the milk hares is that most of them could be applied at many different locations. When needed, a specific QR-code can be produced and the text commenting on the hare may be made location-specific. A further step could be to make the hare specific for a type of place, or even unique to for one location. Do you think this arrangement is a strength, or do you believe the institution you represent would prefer to use this tool completely location-specifically? 9. What possibilities of implementation do you see with this kind of tool? (B) 10. What limitations/perils do you see with this kind of tool? (B) 11. Do you think you could use this tool to develop a location-based experience within your institution? (C) 12. Do you think you could update/maintain this kind of tool within your institution? (D) 13. Do you have any tips or ideas that could make the interaction more fun or pedagogic? (E)

Question 8 is considerably longer than the others. The thought behind this specific question is twofold: First, it is supposed to make the tester

5.3.2 Interviews with the target audience group The questions for the target audience testers focused mainly on their user experience. Tests with the professionals was planned to take place before the tests with the children. This allowed for assessments of which aspects of the solution was of higher importance and relevance to the institutions represented by the professionals, and which possibilities the professionals saw in implementing it. Such considerations were then taken into account when deciding which questions were asked to the children during the interviews with them. For example, as will be shown in results of the location tests conducted with the professionals below, on every one of these tests at least one of the participating professionals would stress the importance of a perceived connection between the geographical place of the user and the content presented in the web-page library. This informed the question of whether the children reflected over the location they inhabited when interacting with the artefact.

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It could be argued that the reverse order would have been motivated, in where the result of the interviews with the target audience would shape the questions asked to the professionals. This way, the aspects deemed important and relevant to the user experience of the end user could have been brought to the potential implementor of the solution for consideration. The idea to start with the professionals was informed by the considerations taken into account in the research question: “How can a location-based game for mobile devices be created using a web-based solution?”. The answer to how such a solution can be implemented would be limited to what the practical realities of the implementor allows. Therefore, having the questions about the user experience of the target audience being informed by the limitations of what is realistically possible to achieve (or at least what the professionals approximate that to be) seems more likely to produce constructive answers to the research question than the other way around.

The following questions were asked to the target audience group:

1. What did you think about the game? 2. Did you find the game easy to use? 3. When you scanned the QR-codes and got the milk hare, did you look around at the location you were at? 4. If this game was available at other places, with more and different milk hares, would you like to go there? 5. Did you read the texts or did you only look at the pictures? 6. Do you have any ideas or tips to make the game more fun or more interesting?

5.4 Testing sessions The tests conducted in this study are described under their respective subheading below. The subheadings detailing the location tests include relevant descriptions of the location, as well as observations made during the artefact tests and a list of the specific milk hares used (these are listed in the order they were presented). The responses to the interview questions have been summarized and relevant quotes from the testers have been used to highlight responses of interest. The full transcripts from the interviews can be found in appendix A.

5.4.1 Location test 1: Helénsparken Location test 1 took part at Helénsparken in Skövde. Helénsparken is a park in central Skövde, featuring a set of historic buildings as part of a permanent exhibition administered by the City museum of Skövde. One of these is Helénsstugan, the oldest remaining residential building in Skövde, notable as one of the few buildings in the city which survived the fire of 1759. It has the status of listed building in Sweden.

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Figure 7 Pictures of Helénsparken. Left: Music stage where the Näcken hare was placed. Right: Buildings in Helénsparken, including the House of handicraft on the right. Between the houses is the forked tree, where the Tightrope-dance hare was placed.

The testers involved in this test was a museum educator (T1) and web administrator (T2), both part of the City museum of Skövde.

Six QR-codes were used in this test:

1. Intro with Lovis 2. Clown hare 3. Acrobat hare (placed near a tree) 4. Tightrope-dance hare (placed between the forks of a forked tree) 5. Näcken hare (placed near an old music stage) 6. Lindworm hare

Observations made during tests:

• The mobile cameras of the testers were able to scan the QR-codes. • T1 remarked that Helénsparken might be too small an area to be suitable for the artefact. • T1 noticed and remarked on the location of the tightrope-dancer hare.

Question 1: What was your experience of the protoype? Was it easy to use? Easy to understand?

Both testers felt that the prototype was easy to use and easy to understand.

T2: T2 noted however that the instructions provided during the test helped in understanding the interaction.

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Question 2: Do you believe the narrative premise can engage users of the target audience?

T1: T1 answered that this was difficult to predict. T1 later noted the lack of concrete rewards to the user. When asked whether or not they believed such reward mechanisms would be a good thing to include in a more developed version of the prototype, T1 responded yes, and that this might make the game easier to understand. T1 also noted that there was little perceived connection between the circus-themed milk hares presented and the location of the test. T1: “There was a gap between what you found and the environment you happened to be in”. With the Näcken hare and the Lindworm hare on the other hand, T1 felt that there was a “cultural historic red thread” between them and the location.

T2: T2 believed that this would depend upon the form the narrative would be presented in. To present the narrative using images and text, as was the case with this artefact, might not be an ideal narrative form to capture the engagement of the target audience. The arrangement in the intro with Lovis, in which the user can explore different aspects of the myths behind the milk hares and the narrative context of the artefact, was further experienced as somewhat limiting in terms of engagement according to T2. “I believe it might become difficult for them [the target audience] when they should click and search for information, I think they would prefer to have the information told to them more fluently”.

T2 further believed that the ability to “collect” the milk hares, and to be able to view one’s collection, was important: “I think that’s really important, to have an index over… what ever it is you’re looking for”.

Question 3: Do you believe the target audience can be motivated to find the milk hares by the narrative?

T2: T2 believes that the target audience can indeed be motivated by the narrative to look for milk hares. The search in itself can function as a game mechanic, which T2 believes could be highly engaging to the target audience. T2 also believes that it would be beneficial to the user experience if the users could track their progression through the game in some way.

T1: T1 agrees with T2 in that the search (T1 uses the word “the hunt”) for milk hares could be engaging to the target audience. T1 further believes that a beneficial interchange could be achieved if the object the user found could be related to the user’s location, a location which in itself might have interesting stories to tell.

Question 4: Do you believe the target audience understands the concept – that they should interact with the QR-codes?

T1: T1 believes that the target audience would understand how to interact with the QR-codes, at minimum given an explanation. T1 also notes that this requires the user to be able to read, but expects most members of the target audience to be literate.

T2: T2 also believes that the target audience would understand the interaction. T2 estimates that their own children would be able to use the artefact, even though they are some years younger than what’s specified in the definition of the target audience.

Question 5: Do you believe the illustrations around the QR-codes helps the user to understand their functions?

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Both testers believe the illustrations around the QR-codes helps the user to understand their functions.

T2: T2 adds that illustrations like the ones used is good way to indicate connection between the QR-codes and the digital content of the artefact.

Question 6: Do you think the pop-up window that appears after the QR-code has been scanned negatively impacts the experience?

T1: T1 didn’t mind the pop-up window much.

T2: T2 stopped noticing the pop-up window before too long. T2 noted however that the web- based approached meant that the user had to transition between apps in their mobile devices (from the camera to the web-browser and back), which might not be an intuitive interaction for all users. T2 adds that this would be an advantage with an app, since the interface of an app might make this transition more intuitive.

Question 7: Did you experience any technical difficulties in using the prototype?

T1: T1 didn’t experience any technical difficulties. T1 felt that the interaction was “surprisingly flexible”.

T2: T2 did not have anything to add to this question.

Question 8: An idea with the concept of the milk hares is that most of them could be applied at many different locations. When needed a specific QR-code can be produced and the text commenting on the hare may be made location-specific. A further step could be to make the hare specific for a type of place, or even unique to for one location. Do you think this arrangement is a strength, or do you believe the institution you represent would prefer to use this tool completely location- specifically?

T1: T1 believes that unique characters might be of interest to institutions like museums, as a way of marketing the exhibitions. T1 adds to this though that this kind of tool would probably serve more as a complement to the visitor experience rather than attracting new visitors.

T2: T2 continues on T1:s trail of thought, and suggests a fabricant as potential character or mascot for the City museum of Skövde (Note: The City museum of Skövde is housed in a historic industrial building).

(Note: It seems unclear whether the testers understood the question, since they don’t comment on the concept of reoccurring milk hares)

Question 9: What possibilities of implementation do you see with this kind of tool?

T1: T1 recognises that there are certain advantages to be gained with the web-based approach to developing a LBG. In T1:s estimation, The City museum of Skövde could probably use such a tool, whereas implementing an app would require a higher degree of technical expertise and probably be a more expensive investment. T1 reiterates that text might not be an ideal form of narrative to engage the target audience, although the text used in the artefact seemed

24 approachable. In a more developed version, more graphical elements, such as thematic fonts, might make the texts more engaging.

T2: T2 says that the museum has tried to find efficient ways to highlight interesting historic objects in it’s collection, and that using this kind of solution (with QR-codes linking to a website) might be a way of accomplishing this. T2 also suggests that a way to make such a tool more approachable for those of impaired sight might be to add a recitation function, like the one found on the municipality’s home page, that could read out the text vocally. Such a function might also serve to improve the user experience of the target audience in general, and for those who have trouble reading.

Question 10: What limitations/perils do you see with this kind of tool?

T1: T1 does not specify any particular limitation the tool might suffer from. T1 says they view this tool as useful for communicating intangible cultural heritage to the target audience, such as stories and myths from the past. It could further serve to activate children during the museum visit. T1: “It becomes a way to provide the children with an opportunity to do something. To say that, ‘you’re allowed to do this, you’re allowed to test this game’. The alternative would be that you tell them what they’re forbidden to do”.

T2: T2 does not specify any particular limitation of the tool either. T2 believes that the tool would work well as a complement to exhibitions in a museum environment. The tool provides opportunities for “micro pauses”, which T2 believes could aid in absorbing the information presented in the exhibitions, as museums can be intensely impression-rich environments.

Question 11: Do you think you could use this tool to develop a location-based experience within your institution?

T1: T1 believes that the City museum of Skövde could indeed use the solution to develop their own location-based experience. The museum could probably manage to produce graphical assets as well as using the technologies involved.

T2: T2 claims to have experience working with both the web-platform (wordpress) and QR- codes. T2: “That’s the kind of things I work with”. While the museum possesses the resources and the expertise to implement a solution like this, T2 adds that it would be dependant upon allocation of work time.

Question 12: Do you think you could update/maintain this kind of tool within your institution?

T1: T1 diverts the question to T2, as the issue would fall inside T2:s professional role.

T2: T2 is positive that a tool like the artefact could be updated and maintained. T2 reiterates that work time allocation is the issue that would need to be resolved.

Question 13: Do you have any tips or ideas that could make the interaction more fun or pedagogic?

T1: T1 believes the artefact might generate a more engaging experience to the target audience if it featured more “cool” features, such as the AR-functionality found in the existing KLUB- app. T1: “That would produce a cooler experience. Which… Well, children might demand these days”. T1 also reiterates that a recitation function might be useful to his end, but also admits

25 that the inclusion of such features might make it more problematic for a museum to implement and maintain. T1 also suggests an interaction in which the player is supposed to create a milk hare instead of searching for them.

T2: T2 reiterates the point made earlier about the users being able to see their progression in some way. T2: “I mean, it could be enough if you just jump from one dot [in the interface] to the next. But just the sense that you’re moving along. I think that would help.”

5.4.2 Location test 2: Fornbyn Location test 2 took part at Fornbyn in Skara. Fornbyn is an open-air museum, administered as part of the Västergötlands museum. Fornbyn features a collection of 19th century buildings, around 30 in total, gathered from around the region. The buildings are brought together to resemble an old village.

Figure 8 Pictures from Fornbyn. Left: Gate house, entrance to Fornbyn where the QR-code to the intro with Lovis was posted. Right: The mill, where the mill gnome was posted, and the undergound storehouse, where the vampire hare was posted.

The testers involved with this test was a project developer (T3) and an architectural antiquarian (T4), both part of Västergötlands museum.

Eight QR-codes were used in this test:

1. Intro with Lovis (placed near the Gate house) 2. Clown hare 3. Acrobat hare (placed near a tree) 4. Tightrope-dancer hare (placed near a high 1918 power transformer) 5. Mill gnome (placed near an old mill) 6. Vampire hare (placed near an old underground storehouse) 7. Näcken hare (placed near an old dance-floor)

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8. Lindworm hare

Observations made during tests:

• The tester’s mobile cameras could not interact with the QR-codes at first. This was resolved by the testers downloading a QR-reading app. The app allowed the testers to proceed with the test. • The testers reacted and commented on some of the location-specific milk hares (The Mill gnome, the Vampire hare, the Näcken hare (specifically the violin represented))

Question 1: What was your experience of the protoype? Was it easy to use? Easy to understand?

Both testers agreed that the prototype was easy to use and easy to understand, despite the fact that they needed to download an external app for reading the QR-codes.

T3: T3 noted the pop-up window that facilitates transition between the mobile camera and the web-page library. T3 asked if it was possible to remove this interaction and go straight to the web-page (Note: I answered that as far I knew this would be challenging since the pop-up windows are administered internally in the device).

Question 2: Do you believe the narrative premise can engage users of the target audience?

T3: T3 did not think they had a good answer to this question initially, as they claimed to not know much about the preferences of the target audience. T3 did think that it would be beneficial if the user was familiar with KLUB and its narrative context, which might happen if the solution was adopted at many locations. T3 also thought the solution had the advantage of presenting the target audience with something to do at locations like Fornbyn if the exhibitions at hand didn’t interest them to begin with.

T4: T4 also thinks the question is difficult to answer.

Question 3: Do you believe the target audience can be motivated to find the milk hares by the narrative?

T3: “Every activity where you can collect [something] is good, because there is… Somewhere in the triune brain, a will to collect, and what that is specifically doesn’t matter very much”. T3 believes that this desire to collect can be utilized in a solution like the artefact. T3 also thinks it might be beneficial that the web-based approach allows for customisations at holidays and other such occasions, since new, thematic milk hares (or whatever the object of collection would be) could be introduced then.

T4: T4 believes that the target audience can be motivated to find the milk hares by the narrative. T4 describes a hypothetical situation were a school class would visit Fornbyn as a school-related activity. In this context, the artefact could present an activity for the children to take part in. T4: “In this context, this [the artefact] would be a constant”.

Question 4: Do you believe the target audience understands the concept – that they should interact with the QR-codes?

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T3: T3 believes that the target audience is digitally proficient enough to understand how to interact with the QR-codes, at least haven been given an introductory explanation be accompanying adults. The web-page linked to in the introduction with Lovis which explains how to interact with the QR-codes might also offer a sufficient explanation, but accompanying adults might need to encourage users among the target audience to initiate that interaction.

T4: T4 believes that accompanying adults might have to encourage young users to start interacting with the QR-codes, but after that T4 expects the target audience to be able to perform the interactions in an independent manner. T4 also believes that strong colours might help to guide the user towards the QR-codes in general and the introductory one in particular.

Question 5: Do you believe the illustrations around the QR-codes helps the user to understand their functions?

T3: T3 believes this is a good practice, and something to consider if the museum decides to implement their own web-based LBG solution. If that happens, T3 thinks that thematic illustrations may be a way to raise the visibility of the LBG and its content.

T4: T4 is positive towards the illustrations around the QR-codes, and believe they can help the user to understand the context they are used in. T4 believes there is a pedagogical quality to be gained from presenting the QR-codes with thematically fitting illustrations.

Question 6: Do you think the pop-up window that appears after the QR-code has been scanned negatively impacts the experience?

T3: T3 reiterates that it would have been preferable if the pop-up window didn’t need to appear, but that it probably can be accepted as part of the experience. Furthermore, T3 believes the older generation may be the one who would experience the most difficulty in using a solution like the artefact.

T4: T4 says that while pop-up windows can be a nuisance, the fact that the user has already initiated the interaction by scanning the QR-code might reduce the possible sense of frustration. In the end T4 felt that it didn’t affect the experience in a substantial way. T4 also said that in another context, they might have been a bit weary of scanning a QR-code they didn’t know the contents of. If a solution like the artefact, or a future iteration of it, would have been implemented at Fornbyn, T4 speculates that it might be a good idea to post some sort of guarantee informing the visitor that the digital content is benign.

Question 7: Did you experience any technical difficulties in using the prototype?

Both testers points out that their mobile devices could not interact with the QR-codes to begin with. They agree though that the problem was easy to get around, by downloading a QR- reading app. They speculate that the problem might have stemmed from them having somewhat outdated mobile devices.

Question 8: An idea with the concept of the milk hares is that most of them could be applied at many different locations. When needed a specific QR-code can be produced and the text commenting on the hare may be made location-specific. A further step could be to make the hare specific for a type of place, or even unique to for one location. Do you think this arrangement is a strength, or do you believe

28 the institution you represent would prefer to use this tool completely location- specifically?

T3: T3 sees advantages to having both location-unique and more generalized content. The advantage with the latter is that it might be more recognisable to the visitor. The advantage with the former might be that the visitor would be more motivated to visit Fornbyn specifically, and collect the milk hares (or other entities) found only there. T3 uses the Mill gnome, placed near the old mill in Fornbyn, as an example of a creature who fitted in well with the environment and felt unique. T3 further thinks that milk hares might work in Fornbyn to make some otherwise not particularly interesting buildings in the environment more interesting to explore.

T4: T4 thinks the milk hares would be best utilized if they were tailored to the specific context of Fornbyn. T4 does agree with T3 though about the advantages of having the milk hares as part of a wider context.

Question 9: What possibilities of implementation do you see with this kind of tool?

Both testers expresses optimism in implementing a solution like the artefact at Fornbyn. They recollect past discussions about introducing digital tools to Fornbyn, and can see advantages to implementing both an LBG as well as more strictly informative QR-links about the history of the buildings in the open-air museum, or the descriptions of what life would have been like for the people who once lived in them.

T3: When the discussion about what forms of media could be implemented using a web-based solution focuses on video, T3 suggests that links could be directed to dramatizations made in cooperation with the local drama school Skara Skolscen.

T4: T4 adds that the overall concept with a web-based approach probably is a technically accessible way of implementing interactive location-based content in a context like Fornbyn. Wordpress in particular might be an approachable tool to use to this end.

Question 10: What limitations/perils do you see with this kind of tool?

T3: T3 does not mention any particular limitations with the tool. T3 does point out that the groups who might not be inclined to use the tool (as a response to T4:s concerns) are free to not do so if they wish. T3 adds that any way of communicating more information for the interested visitor is welcome, since there is not much material of that sort available in Fornbyn today.

T4: T4 appreciates that a web-based tool would allow for the visitor to access more information about Fornbyn without putting up large signs in a cultural historic environment. T4 however also sees some risks that older visitors might be frustrated by the implementation of digital technology they don’t necessarily understand how to interact with.

Question 11: Do you think you could use this tool to develop a location-based experience within your institution?

Both testers agree that, for the time being, their institution does not have the expertise needed to implement a tool like the artefact. According to the testers, Västragötalands museum does

29 not currently administer it’s own web-page. This is instead a service purchased by a third party.

T3: “No, I don’t think we have that skillset in house. So, I don’t think we would manage that”.

T4: “Not as of today, anyway, we lack almost… I would say, almost entirely digital competence”.

The testers do agree that the institution possesses the expertise needed to produce relevant content for the solution, both in terms of knowledge and imagery. The main obstacle seems to be technical know-how.

Question 12: Do you think you could update/maintain this kind of tool within your institution?

T3: T3 believes that while implementing the solution without outside help would be problematic, maintenance and updates might realistically be achieved within the institution. T3 explains that they have some prior experience in maintaining a web-site, which may allow them to carry out such work.

T4: T4 believes that if the process of maintaining the web-page library is on a basic technical level, this might be possible to carry out within the institution.

Question 13: Do you have any tips or ideas that could make the interaction more fun or pedagogic?

T3: T3 suggests that implementing interactions in which the user can simulate activities performed in the agrarian society of the 19th century, such as grinding seeds in the mill or feeding the cattle, might be a way to increase the visitor’s understanding of the living conditions during that time period.

T4: T4 believes that more location-specific content would be desirable, but in a way that still connects to a wider regional context (Note: like KLUB). T4 reiterates that collecting milk hares might be enjoyable to the target audience, and uses Pokémon Go (Niantic, 2016) as a comparison.

5.4.3 Location test 3: Slottsskogen Location test 3 was done in Slottsskogen in Gothenburg. Slottsskogen is a public park area within the city of Gothenburg. The park contains a number of animal enclosures, including ponds with seals and Humboldt penguins.

For this test, location-specific milk hares where made: A Seal hare and a pair of Humboldt penguin hares (Humboldt penguins mate for life with their partners). The Seal hare was placed near the seal pond. Since the walking distance to the penguin pond was deemed too long, the Humboldt penguin hares were placed at the children’s zoo. This placing made the Humboldt penguin hares less location-specific, but it allowed the test to be carried out in an acceptable timeframe. These decisions also brought about changes to the narrative context, which now specified that the circus director had created milk hares with DNA from real animals.

Upon scouting Slottsskogen before the test, a circular hedge maze near the museum of natural history was noticed. The text for the Clown hare was altered to indicate that the hare rode it’s unicycle around in this maze, in order to make the hare more specific to the location.

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Figure 9 Pictures from Slottsskogen. Left: The hedge maze where the Clown hare was placed. Right: Seals at the seal pond, where the Seal hare was placed.

Unlike the previous location tests, this test only involved one tester (T5). The tester was a developer at the Administration for Cultural Development in the Västra Götaland region. The ACD operates at a regional level and administers a number of cultural heritage sites, including the museum of natural history in Gothenburg at the edge of Slottsskogen. The artefact test started near the museum.

Seven QR-codes were used in this test:

1. Intro with Lovis 2. Clown hare (Placed near the hedge maze described above) 3. Acrobat hare (Placed near a tree with “climbable” branches) 4. Näcken hare (Placed near a pond) 5. Tightrope-dancer hare (Placed near a lamp pole) 6. Humboldt penguin hares (Placed near the children’s zoo) 7. Seal hare (Placed near the seal pond)

Observations made during the test:

• The tester’s mobile camera was able to scan the QR-codes. • The tester reacted and commented on some of the location-specific milk hares (the Clown hare, the Näcken hare, the Seal hare).

Question 1: What was your experience of the protoype? Was it easy to use? Easy to understand?

T5: T5 felt that the prototype was easy to use and understand. T5: “It was pretty self- explanatory with the QR-codes”.

Question 2: Do you believe the narrative premise can engage users of the target audience?

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T5: T5 felt that this aspect of the artefact might need to be developed somewhat. The tester felt that the narrative premise might require more content to allow the user to understand the context. Moreover, the tester felt that the overall tone of the storytelling may need to changed to capture the imagination of the target audience.

Question 3: Do you believe the target audience can be motivated to find the milk hares by the narrative?

T5: T5 is positive that the target audience can be motivated to look for the milk hares by the narrative. T5: “I mean, this hunt, that will trigger the children”.

Question 4: Do you believe the target audience understands the concept – that they should interact with the QR-codes?

T5: T5 believes the target audience wouldn’t have any problems understanding the interactions with the QR-codes.

Question 5: Do you believe the illustrations around the QR-codes helps the user to understand their functions?

T5: T5 believes that the illustrations can help the user understand that scanning the QR-codes will lead to them finding a milk hare. T5 further believes that the illustrations will help the user separate the QR-codes used in the solution from other QR-codes that might be found in the environment.

Question 6: Do you think the pop-up window that appears after the QR-code has been scanned negatively impacts the experience?

T5: T5 was not disturbed by the pop-up windows. According to T5, they are quite accustomed to interacting with QR-codes in this manner. T5 does have some reservations to the transitions between apps in the mobile device, but on the whole they did not experience this as a major problem.

Question 7: Did you experience any technical difficulties in using the prototype?

T5: T5 did not experience any technical difficulties during the artefact test.

Question 8: An idea with the concept of the milk hares is that most of them could be applied at many different locations. When needed a specific QR-code can be produced and the text commenting on the hare may be made location-specific. A further step could be to make the hare specific for a type of place, or even unique to for one location. Do you think this arrangement is a strength, or do you believe the institution you represent would prefer to use this tool completely location- specifically?

T5: T5 believes that location-specific content is an important aspect of a tool like the artefact. More specifically, the content should relate to the reason the user visits the institution. T5 felt that the Clown hare, the Näcken hare and the Seal hare worked well in these regards. The other milk hares did not have the same sense of location-specificity.

Question 9: What possibilities of implementation do you see with this kind of tool?

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T5: T5 believes there are many potentially effective ways of implementing a tool like the artefact, they describe the possibilities of implementation as “limitless”. According to T5, there has been efforts within their organisation to implement digital tools akin to the artefact, utilizing QR-codes and a web-based approach. T5 focuses on the uses for a tool like the artefact at smaller cultural heritage sites, which often runs on a voluntary basis, limiting opening hours. In that context, a tool like the artefact could improve accessibility for the user. T5: “You could go there and… look in, even when it is closed. So to speak”.

T5 uses an old mill near their place of residence as an example of a location that could be made more accessible to visitors by a tool like the artefact. Upon hearing about the Mill gnome used at the mill in Fornbyn, T5 says “Precisely, something like that which would make it (the location) more… animated”.

Question 10: What limitations/perils do you see with this kind of tool?

T5: T5 finds it difficult to point to any particular limitations with this kind of tool. T5 does feel that if the concept with milk hares is to be used effectively, it will be necessary to adapt them to the location in question. Otherwise T5 believes the content might appear farfetched to the user.

T5 does eventually point out that the use of text and imagery alone would be limiting to visually impaired users.

Question 11: Do you think you could use this tool to develop a location-based experience within your institution?

T5: T5 is positive that a tool like the artefact could be used within her professional context to develop a location-based experience. T5 thinks there are advantages to using a web-based approach rather than an app-based one, such as the fact that the visitor brings the required equipment, that is to say their mobile devices.

T5 recounts that they’re aware of projects similar to the artefact developed by a partner organisation, which aims to use the technology to make exhibitions more attractive to children and families. T5 thinks the concept of the milk hares might work in that context.

One limiting factor T5 draws to mind is the fact that a lot of the staff on the smaller heritage sites is of an older generation, which might think the concept of milk hares would be somewhat questionable.

Question 12: Do you think you could update/maintain this kind of tool within your institution?

T5: T5 is positive such a tool could be maintained within their organisation. As to the small heritage sites previously mentioned, T5 believes at least some of them would able to maintain the tool.

Question 13: Do you have any tips or ideas that could make the interaction more fun or pedagogic?

T5: T5 believes the ability to collect the milk hares, and to be able to view one’s collection, would make for a fun user experience. This concept could be used to link together many minor heritage sites, where a visit to one would yield another milk hare for the user’s collection.

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5.4.4 Location test 4A: Slottsskogen with children Location test 4A was carried out in Slottsskogen, primarily due to practical reasons. In this test, members of the target audience would test the artefact under the same test parameters (same milk hares, same placements) as location test 3.

Three testers were involved with this test, T6 (10 years old), T7 (10 years old) and T8 (12 years old). The testers knew each other well, and were all male. They all played digital games regularly and were used to playing mobile games. The testers were accompanied by parents during the test.

Observations during the test:

• The tester’s mobile devices were able to scan the QR-codes. • The testers combined the testing session with playing Pokémon Go (Niantic, 2016). • The parents noticed and reacted to some of the location-specific milk hares (the Clown hare, the Näcken hare, the Seal hare). • The testers did not express the same awareness about the location-specific content.

Question 1. What did you think about the game?

The testers agree that the artefact was fun to use (or “pretty fun” in the case of T8).

T8: T8 thought the game was “pretty fun”, but that it lacked features. T8 thought that the inclusion of a map roughly showing the locations of the milk hares would make the user experience more fun. The milk hares might have been more fun to search for, T8 says.

Question 2. Did you find the game easy to use?

The testers all agree that the artefact was easy to use. T8 uses the word “welcoming” to describe it.

Question 3. When you scanned the QR-codes and got the milk hare, did you look around at the location you were at?

The testers all claimed to have looked around the location of QR-codes after having scanned them.

T8: T8 thought that it was easier to understand what some of the milk hares were doing at their locations than others. He uses the Seal hare as an example, as the seals the hare was created from could be seen from the location of the QR-code.

T6: T6 adds that the Näcken hare was also understandable in this regard, as it’s QR-code was located near water (the image of the Näcken hare shows it sitting near water).

Question 4. If this game was available at other locations, with more and different milk hares, would you like to go there?

All testers answers yes to this question.

Question 5. Did you read the texts or did you just look at the pictures?

The testers mostly agree that they both read the texts and looked at the images. T8 says that he looked at all the pictures, but did not read the full text on about every milk hare.

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Question 6. Do you have any tips or ideas to make the game more fun or interesting?

T8 reiterates the idea about including a map, and the others agree with him.

5.4.5 Location test 4B: Slottsskogen with children Location test 4B was carried out under the same test parameters as location test 4A and location test 3. Two testers were involved in this test, T9 (10 years old) and T10 (11 years old). The tester knew each other well and both were female. They were both somewhat accustomed to playing digital games, both mobile and stationary. The testers were accompanied by parents.

Observations made during the test:

• T10 were able to use her mobile camera to interact with the QR-codes. T9 used a QR- reading app to interact with the QR-codes already installed on her mobile device. • The parents noticed and reacted to some of the location-specific milk hares (the Clown hare, the Näcken hare, the Seal hare). • The testers did not express the same awareness about the location-specific content.

Question 1. What did you think about the game?

T9: T9 thought the artefact was fun to interact with.

T10: T10 thought the artefact was “so-so” to interact with. T10 believes it would have been more fun if they had been given the opportunity to search more actively for the QR-codes.

Question 2. Did you find the game easy to use?

T9: T9 understood how to use the artefact, but complained about the lack of surprise in the interaction. T9: “The scientist just said ‘look for these.’ Then nothing else really happened”.

T10: T10 thought it was easy to understand how to use the artefact, but difficult to understand what the point of it was.

Question 3. When you scanned the QR-codes and got the milk hare, did you look around at the location you were at?

Both testers say they looked around a bit.

T9: T9 notes that she looked around at the QR-code of the Seal hare, since she understood the connection between the milk hare and the location.

Question 4. If this game was available at other locations, with more and different milk hares, would you like to go there?

T9: “Yes, I think so”.

T1o: “Yes, that would have been fun. Then you could collect them.”

Question 5. Did you read the texts or did you just look at the pictures?

Both testers answered that they read the texts and looked at the pictures.

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Question 6. Do you have any tips or ideas to make the game more fun or interesting?

T9: T9 believes that more interactions would have made the artefact mor fun to engage with. Tasks to solve, questions to answer or clues about how to find the next milk hare.

T10: T10 thinks that a map might make artefact more fun to interact with.

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6 Analysis

This chapter will present the analysis of the results. In order to utilize the gathered results, the transcripts were used to identify common themes and concepts among the answers gathered. These concepts have been compiled in the table below.

Table 2 Compilation of concepts. Concepts (times mentioned) Tester (question)

Ease of use (10) T1, T2, T3, T4, T5, T7, T8, T9

Location-specific content important (14) T1, T2, T3, T4, T5, T6, T8, T9

Collect (6) T1, T2, T3, T5, T9

Search/Hunt (8) T1, T2, T4, T5, T8, T10

Map (3) T8, T10

View progression (2) T2

Audible presentation (4) T1, T2

Tasks (3) T3, T4, T9

Clues (2) T1, T9

Attract visitors (3 (8*)) T3, T4, T5 (T6, T7, T8, T9, T10)

Transitions between apps (3) T2, T5

Strong colours (2) T4

Limitations for the illiterate (4) T1, T2,

Limitations for the visually impaired (2) T2, T5

Limitations for the elderly (2) T3, T4

*The children answered that they would like to visit places with more/different milk hares.

6.1 Location-specificity The subject of location-specific content was brought up spontaneously in every interview performed in this study. Almost every tester made some reference to the perceived connection between the location of the QR-code and the material it linked to (or, in some cases, the lack of connection). When the testers described the experience of this connection, they would tend to use positively charged phrases. The prevalence of this theme in the results of this study suggests it be given some attention in the analysis.

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6.1.1 Images, location and context Some combinations of QR-code locations and milk hares clearly produced a stronger sense of connection than others. The Seal hare and the Humboldt penguin hares were specifically made for the tests in Slottsskogen, to comment upon features of that environment and context. The Seal hare was placed at the seal pond, from where the users hade the seals in full view. The original plan was to replicate this with the Humboldt penguin hares and place them near the penguin pond. Because of practical reasons, the Humboldt penguin hares were instead placed at the children’s zoo (which due to the covid-19 outbreak was empty at the time of the test). During the interview sessions in Slottsskogen, both the professional and the children would express that the placement of Seal hare near the seal pond made sense to them.

The repeatably expressed sentiment that some connections “made sense” to the users indicate the connection between location and on-screen content is governed by an internal logic. The realization that the content depicted on-screen fits into the real world context the user inhabits seems to make it more noteworthy. Images that the user perceives to portray their surroundings, or include some feature of it, seems to be useful in implementing this logic.

This also extended to some of the less location-specific milk hares, like the Näcken hare. In Slottsskogen, both the professional and some of the children noted that the Näcken hare QR- code was placed near a body of water. This corresponded with the imagery presented, in which the hare sat near a stream. It was never made clear whether the traditional motif of Näcken playing his violin near a stream (af Klintberg, 1977) contributed to establishing this sense of connection between location and on-screen content, or if the testers simply reacted to visual similarities between the two. In the test at Fornbyn, there was no body of water available to place the Näcken hare near. Instead, the Näcken hare was placed near an old dance-floor, with the thought that the violin in the image might produce a sense of connection between location and content. This seems to have worked, as the testers did comment on the milk hare, and they specifically noted the connection between the violin as a music instrument and the dance- floor as a venue for playing music. This connection might however also have been helped by the fact that the violin is referenced in the text accompanying the image. The role of the texts in the location-specific content is analyzed under the next subheading.

6.1.2 Text, location and context Based on the result of the study, it seems credible to assume that the ability of imagery to visualize concepts can be used in an interactive location-based experience to draw attention to features in the user’s environment, at least if the user experiences a connection between the location and the on-screen content. The results of the study also suggest however that text can be used to a similar effect.

The Clown hare was used on all testing locations. In Helénsparken and Fornbyn, the Clown hare proved difficult to place in a location-specific context. For the test in Slottsskogen, the text accompanying the milk hare image was changed to indicate that the hare rode around its unicycle inside a circular hedge maze. The professional tester involved with the Slottsskogen test (T5) commented on the Clown hare in the interview: “You could envision it, ‘the hare cycles around in here’. That was fun”. While the children didn’t mention the Clown hare during their tests, the accompanying parents expressed similar sentiments when scanning the QR- code.

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6.2 Narrative analysis The narrative context of the artefact is connected to events in the KLUB-book set in Essunga (Vipsjö, publication pending). In this book, it is revealed that the circus director has found a way to create milk hares. These are used in accordance with their role in traditional folklore as milk thieves (Klintberg, 1977), with the modern twist inserted that the stolen milk is used to create milkshakes sold at the circus. The content featured in web-pages library-component of the artefact (the milk hares) is based on this premise.

Most of the milk hares were supposed to be generic in the sense that they could be deployed on many different locations (the circus-themed milk hares and the folklore-themed milk hares). The thought was that the inclusion of these milk hares would be made logical to the user by the narrative context. The results of the study however suggests that this has mostly not been the case. This was specifically apparent in the test at Helénsparken, where both testers (T1 and T2) complained about the lack of connection between the milk hares presented and the location of the test. T1 expressed this in the terms of there being “a disconnect” between the content and the real world environment. T1 noted in this though that they thought that the inclusion of the folklore-themed milk hares made more sense since there was a “cultural historic red thread” between them and the location.

The result shows a diverse range of reactions to the narrative. T1 and T2 felt in Helénsparken that text and imagery might not be an impactful form in which to convey the narrative context to the target audience. This might be reflected in the target audience interview in Slottsskogen during location test 4B, in which T9 felt that “nothing happened” after the introduction with Lovis, and T10 felt that it was difficult to “understand the point” of the experience. In location test 3, T5 expresses that the narrative background in the introduction with Lovis might need to be “fleshed out” since most users who try out the artefact won’t be familiar with the KLUB- universe. To summarize, the narrative of the artefact doesn’t seem to have had much of an engaging effect on the testers in itself. The result does indicate though that it has functioned as a framework, in which location-specific connections has been supported.

6.2.1 Narrative in a location-specific context Considering that the importance of perceived connection between the real world location and the on-screen content was brought up more often by the testers (even at times when it wasn’t specifically asked about in the question posed) than the narrative experience, it seems fair to assume that this sense of connection was a more palpable part of the user experience than the narrative. One can also however draw the conclusion that narrative and perceived location- specific connection can work in tandem with one another.

Based on the result of study, it seems reasonable to recommend that location-specific considerations should take precedence over ones relating to the narrative context when implementing a tool like the artefact. There can be valid exceptions to this principle, if the implementor is confident the narrative presented can be engaging enough to offset the fact that it’s presented through just imagery and text. Other forms of presentation, such as video or audio, might aid in making the narrative more engaging, but implementing such features depends upon their availability and the implementor’s digital competence being sufficient to implement them in the tool.

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6.3 Technical analysis The artefact employed in this study was a web-based LBG for mobile devices. One motivating factor to explore this kind of tool was the client’s need for a technically accessible, modular and scalable solution that wouldn’t have the same drawbacks as an app-based tool. These considerations were made with the knowledge that such a tool would be technically simplistic in comparison with an app. The result highlights that this approach to implementing an LBG comes with both advantages and drawbacks.

6.3.1 Advantages All testers agreed that the artefact was easy to use, both the professionals and the target audience testers. This ease of use, and the prevalence of mobile devices among the modern population, indicates a high level of accessibility.

In some cases, the testers’ mobile cameras could not automatically interact with the QR-codes employed. Even in those instances, downloading a QR-reading app allowed the interaction to take place and the test to proceed. This would suggest that as long as the user is in possession of a mobile device with a camera, interaction should be possible (barring technical malfunction).

It was easy enough to edit the content of the artefact’s web-page library. This was done before the test in Slottsskogen, when the text of the Clown hare was edited to match the location of the hedge maze. The artefact was also clearly scalable, since new milk hares were added to the web-page library as the tests progressed. This flexibility of implementation shows that as a tool, it can be made to fit a multitude of purposes. Although the test group of the professionals share the fact that they operate in the cultural heritage domain, their professional contexts varied from each other. When the professional testers were asked what possibilities of implementation they saw with a tool like the artefact, many different ideas came up, ideas that were informed of the particular circumstances of their professional roles. Even though the circumstances of their professional roles differed, all of them could come up with an idea of how to implement it in way suitable to them.

The difference in work conditions was also clear when they were asked whether or not the professionals could implement or maintain the tool within their institutions. The testers in Helénsparken and Slottsskogen believed this was possible (with reservations for allocated worktime), whilst the testers in Fornbyn did not believe their institutions could manage this due to a lack of digital expertise.

6.3.2 Drawbacks While the artefact’s ease of use would indicate a high level of general accessibility, the testers do point out in the result that it is limited to users who are both literate and visually unimpaired. Tester T2 suggests that this might be mitigated through the use of a recitation tool. In it’s current form, the artefact does not support audible presentation. Some professional testers did also worry about how a tool like the artefact would be received by the older generation, who might lack the digital literacy to use or understand it.

Audible presentation is perhaps not only an issue in regards to accessibility; It might also be detrimental to the engagement of the target audience. The lack of audible presentation was first brought up by testers T1 and T2 at Helénsparken. It was suggested that the engagement of the target audience might be increased if the narrative was presented in audio form, as the

40 use of imagery and text alone might not prove attractive to a generation used to interacting with more sophisticated digital tools. Audible presentation might be possible to implement in the current framework, and might have the added benefit of reinforcing the narrative context with thematic voice acting. This would however necessitate a recording process of that audio material.

One disadvantage with a web-based setup is that it necessitates transitions between applications on the mobile device. Upon scanning a QR-code, the linked web-page can be accessed in a web browser by clicking a pop-up window. When a new QR-code is reached, the user needs to switch back to the mobile camera, and restart the process. This is probably difficult to do much about, given that it is a process administered internally on the mobile device (and not managed through the administration of a web-site). The answers from the testers suggests that although it might prove a lesser inconvenience, it could be accepted as part of the experience. Nonetheless, it must be acknowledged that the lack of transitions is an advantage for app-based solutions, since transitions between functionalities can be integrated into the application.

During the evaluations, several suggestions for new features were brought up. The idea of including a dynamic map for orientation came up in both target audience tests. This might relate to most of the target audience testers also wanting to be able to actively search for the milk hares rather than be led around a circuit. It may also be the case that the experience of the artefact brought about associations to Pokémon Go (Niantic, 2016) which includes a dynamic map interface. The male group of target audience testers combined testing the artefact with playing Pokémon Go in Slottsskogen. In any case, the inclusion of such a map isn’t realistic within the current framework (at least not if the solution is to maintain its technical accessibility to its maintainer).

Something that might be worth exploring from a in future iterations of the artefact is the ability to collect milk hares, and the ability to view one’s collection. This was suggested in several tests, both by professionals and target audience. It would require a web-site design able to track prior interactions of the individual user. While an implementation like this might not be out of reach for a person skilled in web-coding, such deployment of expertise runs counter to the motivation behind this study of exploring a technically accessible tool for implementing an interactive LBG. Nonetheless, the result indicates that there might be good reasons to explore the possibilities of including such functionality in future versions of the artefact.

6.4 Summary and recommendations The result indicates that the artefact is technically accessible to both adults and the intended target audience. When asked whether or not their institutions could implement or maintain an LBG using the technical solution of web-pages and QR-codes, the answers differed somewhat between the professionals. In location tests 1 and 3, the testers believed this was possible (with some reservations for allocated work time). In location test 2, the testers did not believe their institution could manage this currently. Taken as a whole, these results indicate that at least some cultural heritage actors could make practical use of the solution.

The results indicate that the artefact is best utilized as a tool to facilitate experiences of location-specific connection. This can be used to focus the user’s interest to features in the environment, which should be compatible with the purposes of many cultural heritage institutions. Since the connection between the real world location and the on-screen content

41 seems to be of high importance for the user experience, it is recommended that the real world location be considered a component of it’s own in the implementation of this tool. This is a change from the original conceptualization of the tool, as it specified three components: A) The QR-codes, B) The web-page library and C) The narrative context.

Furthermore, the flexibility of the tool means that it can be tailored to suit many different exhibitions and stakeholders. The tool is modular, in that the content of a web-page linked to by a QR-code, can be edited at will. It is also scalable, as new web-pages and QR-codes can be added to the solution when necessary.

The narrative of the artefact, set in the KLUB-universe, was not in itself very engaging to the testers. Several testers expressed a feeling of disconnect between the narrative context and their environments. This shows the challenges of creating a narrative context that is universal across many locations. Based on this, the recommendation put forth is that the narrative told through future iterations of the artefact should be carefully informed by the real world location it is being used in. The flexibility of the tool allows for a broad range of narratives to be told.

The study also revealed aspects of the artefact with potential for improvement. The idea that the user would be able to collect the milk hares was prevalent among the testers, both the professionals and the target audience members. It was also frequently suggested that future iterations of the artefact would have a stronger focus on the user searching (or “hunting”) for the milk hares. This specific aspect relates primarily to the placing of QR-codes in the real world environment, but could also be considered when producing the web-page content (text or images containing clues to the location of other QR-codes). Several testers also suggested the future inclusion of audio content, both as a way to make the presentation of the narrative more engaging and as a way to allow users of limited literacy or eye sight to use the solution.

The web-based approach to interactive LBGs also necessitates repeated transitions between apps on the mobile device (between camera/QR-reader and web-browser). While the results of the tests suggest that these transitions can be accepted as part of the experience, some testers proposed there is a possible risk of this technical interaction being a point of frustration for users with limited digital fluency.

The research question for this study was: How can a location-based game for mobile devices be created using a web-based solution? The results of the study indicates that a web-based LBG can effectively be implemented using QR-codes that links with web-pages through the user’s mobile device. Such a solution has both advantages and drawbacks compared to app- based solutions. Considerations regarding the real world environment and any narrative presented should be carefully considered, as the results indicate these are factors that affect the experience for the end-user.

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7 Conclusions

This chapter presents the conclusions drawn from the results of the study, and discusses them in relation to the research background.

7.1 Summary The research questions for this study was: How can a location-based game for mobile devices be created using a web-based solution?

This question is a very open-ended one, with a multitude of conceivable answers. It was motivated by the needs of the client (KASTiS), the challenges involved in implementing an LBG through an app-based approach (Barnard, 2018) and… During the process of this study, an artefact in the form of a web-based LBG has been developed in order to explore a possible solution to this question.

The artefact was a web-based LBG for mobile devices, composed of three components: A) QR- codes which the user interacted with through their mobile cameras, linking them to B) A web- page library, containing the content presented in the user’s web-browser, and finally C) The narrative context presented in the web-page library. During the evaluation of the tests, the importance of the perceived connection between the real world location and the on-screen content was highlighted as particularly important to the user experience. Therefore the conceptualization of the tool was changed to also include D) The real world environment of the user, which should be logically linked to the other components in implementation.

The artefact was tested at three locations. Testers included both professionals within the cultural heritage domain (the envisioned implementors of the tool) and members of the defined target audience, children aged 10-12 (the envisioned end-users of the tool). After the artefact test, the testers were interviewed. The professional testers were interviewed about their user experience and their thoughts about implementing the tool within their professional roles. The target audience was interviewed about their user experience.

The results from these tests suggested that the tool could be used effectively to establish the sense of perceived connection between the real world environment and the on-screen content, according to an internal logic through which the interaction made sense to the testers. The narrative was not very engaging, and would sometimes clash with the tester’s experience of the real world surroundings. Based on this result, the recommendation is put forth that location-specific considerations should have precedence in situations where they clash with narrative considerations, and that careful planning should be undertaken so that the real world environment and the narrative presented work in tandem with each other.

7.2 Discussion The web-based approach to developing LBGs explored in this study was motivated in part by the challenges presented by an app-based approach. The client KASTiS expressed at the outset of the project that their prior experiences of an AR-app to the KLUB-books involved the problems of high financial development costs and reoccurring performance issues. The assumption has been made in this study that the cost of developing an app (and an LBG-app in particular) is caused by the necessity of skilled expertise in it’s development, specified by Barnard (2018).

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Barnard identifies eight commonly found elements in mobile-based LBGs: Interaction, GSAR (Graphics, sound and AR), Artificial intelligence, Mobility, Location, Tracking, Communication and Game server (2018), each element requiring special expertise to implement. This list of elements however is based on the app-based approach. Adapted to the web-based approach, where interaction is facilitated by QR-codes and the camera of the mobile device, some of these elements no longer become necessary to implement:

• Interaction: The ability to facilitate interaction between players and/or the game world. The core interaction in the artefact, where the player scans a QR-code with their mobile camera, does not need to be developed by the implementor of a web- based LBG. Other sorts of interactions, such as collecting milk hares in an index or other game mechanics, must be developed by the implementor. • Graphics, sound and AR: Immersive elements and feedback systems. Such elements still need to be developed by the implementor of a web-based LBG. • Artificial intelligence: The ability to simulate intelligence in characters or other agents. Still needs to be developed, but the need of AI in a web-based LBG in a cultural heritage context is probably low. • Mobility: The ability to run the program on a mobile platform. As long as the mobile device is equipped with a camera and a web-browser, such functionality is already enabled by the system. • Location: The ability to determine the location of the player (here Barnard refers specifically to the built-in components found in many mobile phones, such as GPS- emitters). In a web-based LBG with QR-codes, such functionality is redundant. • Tracking: The ability to track the location of the player (here Barnard refers to systems found outside the mobile phone, such as GPS-tracking devices found on satellites). In a web-based LBG with QR-codes, such functionality is redundant. • Communication: The ability to facilitate communication between the local device and outside systems (such as GPS-satellites or the Game server). Provided the mobile device of the user is equipped to facilitate an internet-connection, this ability should come with the phone. • Game server: The ability to manage the game state of several players playing simultaneously (only necessary for multiplayer). Unless multiplayer functionality of some sort is a requirement from the implementor, such functionality is redundant. Implementing such functionality with a web-based approach is a technical question outside the scope of this study.

As listed above, many of these elements does not need to be implemented in a web-based solution, since much of that functionality is already integrated in a modern mobile device. This is probably an important reason to why most of the professional testers believed the artefact to be technically accessible in development, implementation and maintenance.

Karapanos suggests in his study from 2012 that LBGs which plays out in the real world environment they purport to depict in their narrative context creates a greater sense of immersion than those who depict a narrative outside of the real world location of the user (Karapanos et al., 2012). While this study has not specifically attempted to explore the user’s sense of immersion in using the artefact, the results suggests that there is some meaning- making process in play when the user perceives a connection between their environment and the content presented on-screen.

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The result showed that the narrative of the artefact generally did not engage the testers very much. Some testers, notably T1, T2 and T5, expressed the notion that the narrative did not match the physical surroundings of the test sites. These results can be compared to the study involving the LBG The Viking Ghost Hunt (Carrigy et al., 2012), where the result showed that the historic locations visited in the test served to reinforce the narrative context presented on- screen. This suggests that narrative can indeed be used to enhance the user experience of an LBG, if it is implemented with the context of a specific location in mind.

This comparison also serves to illustrate the challenges of implementing a more generalized narrative over many dispersed locations. The circus themed milk hares might indeed not fit in a cultural historic setting, unless measures are taken to adapt their presentation to the real world surroundings. For example, the text of the Clown hare was edited for the tests in Slottsskogen so that it would fit in the circular hedge maze outside the museum of natural history, something that several testers seemed to approve of. However, the location-specific milk hares were often met with praise.

As Holloway-Attaway notes, the transmedia universe of KLUB “finds allegiance with many “masters” and knowledge-keepers, refusing a single authority” (2018, p.37). A future LBG set in the KLUB-universe, implemented using a tool like the artefact, might find practical use in continuing with this philosophy; By including cultural heritage professionals connected to relevant locations in the design process, the narrative context of the product might more easily be tailored to that location. Such an approach could result in a web of interconnected yet locally distributed and varied LBG-experiences in Skaraborg, similar to the concept of the KLUB-books. Collecting escaped milk hares across these locations might serve as an overarching task for the player (if functionality supporting such an interaction would be possible to implement), but circus themed milk hares would not be a necessary inclusion. Instead, the milk hares would be specific to each location and tied to the cultural or historic context of that location, encouraging the players to visit all locations and experience them.

7.3 Future Work The artefact that was developed in this study can be considered a prototype for a web-based LBG for mobile devices. As shown by the study, there seems to be realistic opportunities for a tool like this to see practical implementation within the cultural heritage domain. While some recommendations have been put forth in this study concerning how the tool would be best utilized, implementor’s might benefit from a more robust methodological framework in developing and implementing their own iteration of the tool. Basically an equivalent to Barnard’s methodology for app-based LBG-development (2018).

Had this study been extended for a longer amount of time, it might have allowed for further development of the artefact. Solutions to some of the features suggested by the testers might have been explored, such as audible narration or the ability to collect and index the milk hares. While this would have resulted in a less technically accessible tool, it could also have highlighted more potential possibilities of implementation.

The study has furthermore revealed some of the narrative challenges in location-based storytelling. The implementor cannot take for granted that any narrative presented in this mode of storytelling will resonate with the audience; careful consideration need to be taken when crafting the narrative, so that a logical connection can be drawn from it to the real world

45 location of the user. Future research may focus on the nature of this connection, and explore how an engaging narrative can be incorporated effectively into an LBG.

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Appendix A - Transcript, Location test 1

Observationer • Testpersonernas mobilkameror fungerade (Tomas strulade lite grann vid Lindansarharen) • Tomas anmärkte på att Helénstugan kan vara för litet testområde • Tomas lade märke till att Lindansarharens placering gjordes med anledning av att platsen passade (mellan två träd)

Transkribering av intervju:

- Hur upplevde du spelprototypen, till exempel: o Lätt / Svår - att använda/förstå?

T1: Lätt att använda tycker jag, lätt att förstå. Faktiskt… (skratt) Alltså, den… ehm… Sen en annan sak som jag tänkte på men det har inte så mycket med… Själva funktionen tyckte jag var enkel.

T2: Jo men jag tycker också att själva funktionen funkar ju, enkelt med kameran, QR-kod, hitta till hemsidan… Sen har vi ju dig som guidar nu liksom, får man den helt fritt utan, då blir det ju en annan grej men det här är också en prototyp så att…

ND: Mm. Precis…

- Tror du att grundberättelsen fungerar till att engagera yngre användare? o Intro-upplägget med att be om hjälp, kort bakgrundsbeskrivning?

T1: Eh… Det tycker jag är så svårt att veta. Jag vet inte om jag kan svara på det. Mina barn är inte i den åldern [10-12 år] så jag kan inte riktigt… Oj [Barn i närheten halkar omkull, T1 kollar så att det gick bra] Eh… Så jag, jag vet inte riktigt det. Ehm… [Paus] Så jag kan nog inte riktigt svara på det. Jag vågar inte chansa på det [skratt].

T2: [skratt] Jag tror det beror helt och hållet på hur dem får till sig informationen.

ND: Mm.

T2: Eh… Och hur man får, alltså får man det som bild och text, då tror jag det blir svårare, får man det som en animerad berättelse… Där du blir inbjuden… Då skulle i alla fall mina barn nappa på det. Tror jag. Eh, men jag tror dem har svårare för när det liksom är… Om du ska klicka och leta information utan dem vill få det berättat för sig flytande. Då tror jag dem sen kan gå runt och leta själva.

ND: Okej.

T2: Och sen liksom att själva hitta QR-koderna och få upp informationen. Ehm… Och sen tror jag också att… Dom vill nog gärna samla dom? Så man ser vilka man har hittat. Det tror jag är jätteviktigt, att du kan få ett kartotek med… Vad det är du har hittat för nånting.

ND: Mm.

T2: Och sen gärna vad dem kan göra, om dem [barnen] kan göra nånting med dem [trollhararna]. Efteråt…

I

T1: Ja, för vad var… Vad var belöningen? Om man ser det som ett spel?

ND: [harkling]

T1: Det kanske inte är ett spel, men… En aktivitet… Vad var målet?

ND: Eh… Just i… Ja, i det här prototypstadiet så är väl det… Eh… Finns det ju inte så mycket spelelement så. Jag vet inte om ni noterade det men, det fanns ju… Eh, så här… Numrerade små harar under dem ni hittade, och det skulle väl kanske vara någon sorts indikation på att man… Hittade fler, eller kommit framåt i berättelsen eller så…

T1: Ah, okej. Samla, så…

ND: Men i… Eh… Tror ni att… I en mer utvecklad form, tror ni att det hade… [paus] varit bra med eh… Den sortens… Vad ska man säga… Spelmekaniker?

T1: Ja, jag… Ja men ja, det tror jag. Jag gillar när det är enkelt att förstå. Eh… Så… Sen det jag tror skulle behövas är väl den här… [paus] Kopplingen mellan en kulturmiljö som man går runt i… Som till exempel den här… och sen att man hittar dem här trollhararna, och sen så var det ju… Eh… Dem här trollhararna man hittade, dom ju liksom vilka som helst. Så här, det var en lindansare och en eh… Och så var det vissa som var mer ett folktroväsen inblandat… Det finns en sån kulturhistorisk röd tråd där. Men i andra fall så var jag lite… Så var det liksom ett glapp emellan… Mellan vad man hittade och mellan miljön man kan råka befinna sig i. Så jag… Det vill till en tydligare… [paus] Ett tydligare sammanhang kanske. Tror jag då, för att det ska… För att det ska ge en ökad förståelse för miljön och så där eller…

ND: Mm. Eeh…

T1: …om det nu går.

ND: Mm.

- Tror du yngre användare kan bli motiverade att leta efter trollharar utifrån berättelsen? o Allmänt / under specifika omständigheter – t.ex. pedagogiska, museum eller annat platsspecifikt sammanhang?

T2: Jag tror det, alltså för själva letandet blir ju en eh… En form av spelmoment ändå, så du letar dig fram i historien. Eh… Och det tror jag kan vara väldigt medryckande. Och sen så gillar ju jag själv… [skratt] Jag spelar gärna såna spel. Där det inte är jättemycket spelmoment utan där man… Där själva spelet går ut på att man upplever en historia genom att ta dig fram och hitta någonting nytt. Ehm… Och mina barn gillar också det. [paus] Så jag antar att jag kanske gnuggar av mig lite… [skratt] på dem. Men… Så länge man har en bra historia i grunden så tror jag definitivt att det… Att det kan fungera. Sen tror jag att det kan vara… Alltså, att på nått sätt kunna se på nått sätt vart du har varit någonstans kan också vara ett sätt att kunna, alltså om du glömmer av, om du gör det här under en period eller om man kommer tillbaka… Så kanske det kan vara bra att kunna se ”men vad har jag hittat för nånting”. Eh… Nu har det gått sju harar, vad var det egentligen grunden… Alltså man måste antingen ha en väldigt tydlig linje eller en möjlighet att gå tillbaka och återuppleva… Där man har varit så att säga. Också för att kunna ta upp nånting ifall man måste kunna ta en fika på en kvart. För då är det inte säkert att man kommer ihåg exakt var man var nånstans i historien efteråt.

II T1: Och som du sa, det… Nu testade vi ju mekaniken men det var ju… Det behövs nog ett, eh… Det är väl också nån slags växelverkan man kan komma åt då. Att om man, om man… För jag tror också att den här jakten… Det kan intressera, och få barn att komma igång, att man… Leka detektiv och liksom upptäcka detaljer och så där. Men också kanske att man, om man hittar… Om dem där hararna man hittar säger nånting om platsen man är på… Så att man, så att det ger nånting tillbaka då till letandet som eh… Så att det inte bara blir att man letar… Vilka ledtrådar som helst, liksom, på en plats som i sig kanske har mycket spännande att berätta utan att det är… Det får en att liksom lära sig nånting om, och vilja veta mer om den här platsen där man är, upptäcka sånt som… om platsen i sig. Så att, om man kan använda det på det sättet, då tror jag man kan… Eh… öka upplevelsen, göra en bättre upplevelse än om…

ND: Mm. Vi har, eh, vi hann inte ta fram några platsspecifika harar då för Skövde, men eh…

T1: Nä, det kan jag tänka mig.

ND: Men det kommer vi pröva i Skara och Göteborg.

T1: Ah.

- Tror du att yngre användare förstår konceptet – att de ska interagera med QR-koderna? o Trolig åldersgräns?

T2: Nä, jag tror inte det [som svar på om det kan finnas någon lämplig åldersgräns][skratt] Dem jobbar ju, om man tittar… Mina kids jobbar ju… [NAMN] är 7, och dem har jobbat med det här i skolan i ett år, sen dem började förskoleklass. Han vet… Sen QR-kod vet jag inte, får man det förklarat för sig en gång så kommer dem sätta det. I alla fall…

T1: Ah, det tror jag också.

T2: Ja. Då är det liksom lugnt. Så det tror inte jag är ett problem.

T1: Nä. [paus] Nä, dem behöver bara kunna läsa. Alltså det är väl… Det är väl det. Att man själv ska kunna läsa det som står kanske, det är ju… mycket lättare då så man kan… Det gör man väl när man är 11, 12 år.

T2: Mm.

- Tror du att illustrationen runt QR-koderna underlättar för användaren att förstå dess funktion?

T1: Eh… [paus]

ND: Eller vad som avses liksom.

T1: Ja men det gör den väl, alltså… [paus] Ja, det är ju… Det är en trollhare, alltså den… Ja.

T2: Jag tror också det är en bra koppling till spelet. Liksom… Och ha nån form av… symbol som utlyser att dem liksom… den här QR-koden hör till… det här spelet.

- Tror du att pop-up fönstret som dyker upp när man scannar QR-koderna inverkar negativt på upplevelsen?

III o Förstör det intrycket helt, eller kan det accepteras som del av upplevelsen?

T2: Jag tänkte bort den rätt fort.

T1: Nä, jag…

T2: Alltså den kom, klicka, sen var den… Sen var man ju borta från den, liksom. [paus] Det enda jag kan tänka mig, det är… Alltså när man scannat QR-koden, då kommer du till sidan… Att det inte är helt självklart att du måste klicka tillbaka till… Hur du kommer tillbaka till kameran.

T1: Ja, det är sant, det tänkte jag faktiskt också på.

T2: Eh, så det var det enda jag tänkte på att… Att.. Att det hade varit… Hade man haft en app, där kameran in… eh, är i appen… så att du kan liksom, du kan lätt i appen hitta tillbaka till kameran, alltså att du aktiverar den i… precis som du gör i snapchat liksom… det tror jag skulle underlätta jättemycket. Kontra att du måste gå ur… gå in i kameran… scanna nästa kod. Så att säga.

T1: För visst blir det så att, eh… Om du vill ha hela historien sen… Alla hararna och så där, så måste du… Som det är nu så finns det inget sätt att få dem samlade då egentligen då eller?

ND: Eh, inte nu.

T1: Men det, ah, det är tänkt så kanske, ja.

ND: Mm.

- Upplevde du några tekniska problem i användningen av artefakten? o Vad kändes negativt?

T1: Nä det… Nä, det gjorde jag inte. Det gick förvånansvärt smidigt. Så, liksom snabbt så.

- En tanke med just detta koncept, trollhararna, är att de flesta ska fungera på många olika platser. o Vid behov kan det göras en specifik QR-kod och texten som kommenterar haren kan vara platsspecifik. o Ytterligare ett steg i det platsspecifika kan vara att haren är specifik för typ av plats, eller till och med att den är unik för en plats. ▪ Tror du detta upplägg är en styrka, eller tänker du att den typ av verksamhet du företräder hellre använder denna typ av verktyg helt platsspecifikt?

T1: Ingen trollhare då, utan något helt platsspecifikt då? Som en maskot, en symbol för muséet?

ND: Ah, eller nått sånt.

T1: Det skulle möjligtvis ett muséum kunna ha intresse av. Eh, att sälja sig självt. Men, eh… Jag undrar om det har någon betydelse för målgruppen egentligen. Det tror jag inte riktigt. Nu gällde inte frågan det kanske, men eh… Alltså det… Det är väl snarare så kanske att man genomför det här på plats, på till exempel muséer, så då är man ju redan här liksom, då har man redan gjort besöket… Annars skulle man kunna försöka locka folk till muséet, men det ser jag inte, vi har inte riktigt…

T2: Nä, det är väl om man får en platsspecifik hare som är väldigt specifik för… [paus]

IV T1: Skövde, då kanske?

T2: En fabrikör till exempel.

T1: Mm, ja…

T2: [skratt] Till fabriken. Men det ser… Men det är inte avgörande så.

T1: Näe.

- Vilka implementationsmöjligheter ser du med den här typen av verktyg? o Alltså även för helt andra teman än trollharar och KLUB...

T1: Det, det är väl… Det finns väl mycket som man kan… [paus] Om jag förstått rätt liksom hur det här är uppbyggt då, att det finns… att man… Att det finns vissa vinster i att inte behöva göra en app… så är det ju smidigt. För då tänker jag, att då skulle det kunna betyda att till och med någon på muséet skulle kunna använda en… skulle kunna skapa en websida… Eh… eller vidareutveckla en hemsida då. Alltså… vilket hade behövt lite [ohörbart] för liksom uppdatera en app motsvarande antar jag. Det känns ju liksom lättare. Och… Och… Betydligt billigare än att förlita sig på en applikation. Men alltså… Man skulle kunna ta fram en utställning eller en tillfällig utställning och [paus] förändra den här sidan då liksom. För att kunna använda den, så det tycker jag känns… Som man skulle kunna använda den.

T2: Jag tänker också att man skulle kunna använda… Man skulle kunna lyfta till exempel, ja men just till utställningarna. Man skulle kunna lyfta vissa föremål till exempel med hjälp av QR-koder till utställningen. Det har vi ju redan pratat om, fast kopplat till annat.

T1: Ja.

T2: Ehm… Just för att… Vi har så otroligt mycket föremål men man har inte informationen på plats och då kan det vara svårt att hitta den liksom, och då… Har vi pratat om att lyfta dom föremålen vi har mer information om. Och då skulle man kunna jobba med det här. Hittar du en QR-kod, liksom… Ta den. Ehm… Så har du en möjlighet att läsa om föremålet direkt i din telefon.

T1: Ja.

T2: Eller på din läsplatta. [paus] Kan då dessutom lägga en uppläsningsfunktion… På sidan… Som till exempel kommunen har på sin hemsida, så skulle det kunna vara ett sätt att tillgängliggöra… Föremålen för dem som kanske inte läser. Eller som… Ser. Dem kan läsa, sen kan dem läsa upp… På sin platta eller telefon då.

T1: Ja.

ND: Mm. Just det.

T2: Och det kanske också skulle kunna vara ett sätt, om man tänker på mindre barn som gärna skulle vilja göra det här som kanske inte läser så jättefort… Eh… För den funktionen finns ju för vanliga hemsidor också. Alltså att man helt enkelt bara har en lyssnarknapp. Som läser upp det som står. På det sättet skulle ju appen då kunna… Man skulle kunna bredda målgruppen. Och nå dem som kanske inte läser så jättesnabbt eller som, eh, kanske inte läser alls. Som ändå då kan… Använda sig av funktionen. Och spelet. Eller ja…

V ND: Mm. Ni har varit inne lite grann på det här, eh… Med texten innan men… Hade… Eh… Upplevde ni att ehm… Att nått med just text… Specifikt texten i prototypen som kan göra det… Svårt eller avtändande för barn att använda? Eller är det att den var… För lång, eller för krånglig eller så, eller är det text överlag liksom som… [paus]

T1: Ah, det skulle kunna vara text överlag då. Nu spelar… Mina barn spelar inte så mycket… Spel sådär… Men det dem spelar, det har ju tal… Hon ska bli 7, min äldsta. Och då är det ju, som du [T2] var inne på då, tal… Talat. Alltihopa, det är direkta instruktioner så här som… Som dem förstår väldigt snabbt. Det kan ju vara nått som… Som… Blir ett motstånd då. Att det är text. [paus] Men kanske inte på ordvalen eller sådär, texten var ju inte svår.

ND: Mm. Eh… [Börjar på nästa fråga, avbryts av T1]

T1: Men man kan tänka sig… Jag kan tänka mig att man kommer utveckla det lite grafiskt. Typsnitt och teckensnitt och… Och sådär. Kan behövas för att göra det mer lockande tror jag också.

T2: Det enda jag tänkte på, det var den här absolut första sidan du kommer till… När du behöver liksom klicka dig vidare ett steg till…

T1: Ja.

T2: Där tror jag det kan finnas ett motstånd. Just så att du behöver ta ett steg till för att hamna där, ”ska jag klicka på länkarna, hur kommer jag tillbaka”… Jag tror att man, att det är bättre om man liksom kan scanna och sen få informationen som man får sen… När man liksom scannar dem senare, då får du ju den direkt. Poof säger det bara! Och sen så vet jag, ah det var det här det var. Eh… Det tror jag skulle underlätta… Sen vet jag inte hur vi ska göra det på ett smidigt sätt för det är ju det att det är en del text också. Men… Jag tror det är lättare om man får den direkt.

T1: Ja. Mm.

T2: Eller i alla fall får en introduktionstext där det kanske står att man ska klicka vidare. Ehm… Jag tror att min… [NAMN] som blir 10, hon hade nog klarat den. Utan problem. Och [NAMN] som är 7, där är det nog lite svårare. Även om han kommit [ohörbart]. Sen är ju mina spelbarn…

T1: Ja.

T2: Så dem har… en viss fördel när det kommer till såna… [skratt].

T1: Men det… Dem flesta kanske ändå är det.

T2: Ja.

- Vilka begräsningar/faror ser du i att implementera den här typen av verktyg? Exempelvis: o Svårt för målgrupp att ta till sig? o Tar bort intresse från museets, besöksmålets syfte? Svårt göra pedagogiskt?

T1: Inga faror… [skratt] Inga livsfaror i alla fall. Men, men… Nä, det tycker jag inte. Det kan jag inte se.

VI ND: Ni tror inte att det kan ta bort intresset från Muséet eller besöksmålets syfte eller… Just själva interaktionen?

T1: Nä, men man får nog liksom, ehm… Förstå att liksom, eh… Ett barn inte kommer till ett muséum av samma själ som en vuxen gör ändå. Så att det här är väl bara ett sätt att liksom… uppmärksamma barn kanske på spännande saker som… Eh… Som… Som det, dessutom handlar ju det här om historier. Folktro och berättelser, och dem här berättelserna finns ju inte fysiskt någonstans. Så då måste man ju… Visa på dem på andra sätt då. [paus]

ND: Mm.

T1: Det kan ju bara vara bra.

T2: Och det… Att jobba med, det funkar ju som ett komplement… Alltså nånting att göra när man går runt på muséet. Och ger såna här, en form av mikropauser från allt det runt omkring.

T1: Ja.

T2: Muséer ger ofta väldigt mycket intryck. Och då är det någonting du kan fokusera på en liten stund och någon annanstans, vilket jag tror… Tvärtom, jag tror det kan öka möjligheten till att ta in det som finns runtomkring. Och väldigt många muséer jobbar ju så. Alltså, har man inte något sånt här så har man… Liksom skattjakter som går genom muséet för barnen, för att dem ska ta sig runt i en viss ordning, för att också föräldrarna ska hinna titta för att dem ska lösa sina uppgifter då. Eh… Och vad jag förstått… Från andra muséer som jobbar med sånt så funkar det väldigt bra.

T1: Det blir ju också ett sätt att… Eh… Ge en möjlighet för barnen att få göra någonting. Att man utgår från att du får göra det här, du får testa det här spelet. Och alternativet är ju att man talar om vad dem inte får… Och då är det mycket bättre att säga att dem får göra någonting. Som man kan koncentrera sig på.

ND: Mm.

T1: Så jag tror att det bara är bra.

- Tror du att ni skulle kunna använda ett verktyg som detta för att själva utveckla en platsbaserad upplevelse?

T1: Ja, men det borde vi kanske… [paus]

T2: Ja, jag har ju själv skrivit i Wordpress tidigare, och jag har jobbat med QR-koder tidigare, så jag svarar ja [skratt] på den frågan. Ehm… Det är ju sånt jag sysslar med.

T1: Ja. Men då, ja… Så det skulle vi ju.

T2: Jag tror det. Jag tror man har… [paus]

T1: Ocj jag tror också att, eh… Det grafiska materialet skulle vi också klara ganska bra. Tror jag.

T2: Ja, det tror jag. Nu har ju vi… [T1 avbryter]

T1: Jag menar allt med det, från… Små figurer som motsvarar såna här trollharar till illustrationer och foton och film och sånt där, det, eh… Det hade vi nog kunnat fixa, så ah.

VII

ND: Mm.

T2: Det handlar nog mer om att man ska ha arbetstiden.

T1: Ja.

- Tror du att ni kunnat uppdatera/underhålla ett verktyg som detta i egen regi? o Svårt att uppehålla/sköta/saknas personal? T2: Jag tror svaret är samma där, så länge man sätter arbetstiden så skulle vi nog klara av det. Ehm… Så det… Där handlar det mest om att det ska upp ett beslut om att man får lägga arbetstiden där. Det är där det sitter.

T1: Ja.

ND: Det är ingen hög… Vad ska man säga… Eh… Teknisk ribba så sett?

T2: Jag upplever inte det. Hmm… Sen beror det helt och hållet på vem du frågar i verksamheten, nu frågar vi ju… Den personen som… Jag jobbar ju med hemsidan, den vi har, och har jobbat i Wordpress förut. Eh…

T1: För mig blir det en högre… Arbetsbörda, tror jag. Men, eh, men… Men det ser jag inte som något problem för på alla arbetsplatser är det ju… Kan man olika saker, så att… Så måste det ju alltid vara, såvida man inte driver muséet helt själv, då är det ju… [paus] Så att nej, det är ju…

Slutligen, tips på att göra spelmomenten i prototypen roligare – eller mer pedagogisk?

T1: Ja men, nu… Jag vet ju att det finns, även om det är jobbigare att göra och det kanske inte går att lägga till en websida lika enkelt som dem här bilderna men… Dem här… Ehm… Augmented Reality-figurerna som finns också i det här KLUB, att, eh… Att det är en 3D-figur som så här skapas också när man ungefär läser av en QR-kod… Det är ju maffigare. Så skulle man kunna få till något sånt så är det ju verkligen häftigt. Att du… Som då liksom visar sig… Framför föremålet, eller på platsen där du är och sådär, det… Det ger ju en häftigare upplevelse. Som… Ja, som barn kanske liksom kräver numera.

ND: Mm.

T1: Både det och att pratet kan komma… Att det som kommer fram är något… Något häftigare då, liksom… Helt enkelt. Men då kanske å andra sidan det blir svårare att driva, eh… På ett muséum helt enkelt. Men om det också kommer fram versioner som inte tas fram av muséer så är det, eh… Nått som, eh… Som skulle kännas intressant. Tycker jag.

T2: Och jag tror… Jag tror på det vi tog upp förut, jag tror att känslan av att man tar sig framåt… Att man kan få se det… Fysiskt…

ND: Se progressionen?

T2: Ja. Alltså det, det kan räcka med att du hoppar från en plupp till en annan plupp. Men, men, bara känslan av att… Av att du vet att du är på väg. Den tror jag skulle kunna hjälpa till.

T1: Ja. Jag kom… Jag kom just… En sån där trollhare, det var ju en bild på att man skapade en trollhare, med massa konstiga ingredienser, en variant kunde varit att du… Du får en ingrediens för trollharen för varje steg du tar. Och sen så, poff, så har du skapat en trollhare. Som, säg… Det

VIII kanske blir en ny varje gång, eller… Eller att det blir någon speciell för platsen, eller nått sånt där. Det är ju… Det hade ju varit ett sätt att se en… rörelse framåt kanske.

IX Appendix B – Transcript, Location test 2

Observationer • Testpersonernas mobilkameror fungerade inte av sig själva, trots upprepade försök. Undertecknads mobilkamera fungerade. Testpersonerna hade äldre/billigare mobiler. Det löstes genom att testpersonerna laddade ner appar ämnade för läsning av QR-koder. • I detta test sattes QR-koder upp med häftmassa. • Testpersonerna reagerade på de platsspecifika hararna (Kvarngubben, Vampyrharen, Näckenharen)

Transkribering av intervju:

- Hur upplevde du spelprototypen, till exempel: Lätt / Svår - att använda/förstå?

T3: [Skratt] När vi väl fick ordning på tekniken… Så funkade det ju.

T4: Ja, jag tyckte den fungerade bra.

T3: Mm.

T4: Den var ju lättillgänglig på det viset att det kom upp snabbt. Eh, nu vet jag inte om det är så med alla QR-koder, men så är det väl det funkar att man får upp en adress och så går man in på den, och… Liksom, det var ju ett smidigt sätt att göra det på. För annars kan man väl ha det också i en app… Typ, direkt att man scannar en QR-kod och så kopplas det till appen och så.

ND: Precis.

T4: Men det här var ju, eh… Om man tänker göra det så enkelt som möjligt, om man vill koppla det till, till exempel, muséets hemsida då är ju… Den här typen bra, så jag tycker det funkade bra. Jag tycker den var tillgänglig.

T3: Men jag undrar, är det så att man alltid kommer, att man får adressen, så måste man trycka på den, man kan inte komma direkt till websidan?

ND: Eh, du tänker på det här lilla pop-up fönstret?

T3: Ja.

ND: Eh, jag tror… Vi har kollat lite på det, men jag tror det är svårt att komma runt. Eh… För att det är ju något som sköts internt i telefonen, liksom. Men vi kan ju gå till den frågan direkt här [Ändrar ordningen av frågorna för att anpassa det till samtalet]

- Tror du att pop-up fönstret som dyker upp när man scannar QR-koderna inverkar negativt på upplevelsen? o Förstör det intrycket helt, eller kan det accepteras som del av upplevelsen? T4: Alltså… Pop-up fönster är ju aldrig kul att få. Men, nu har man ju specifikt valt att, eh… Scanna och delta i den, eh, övningen, så jag skulle väl säga nej. För mig spelade det inte så stor roll.

X T3: Nä inte när man väl vant sig.

T4: Näe.

T3: Men det är klart, kom man dit direkt skulle det varit snyggt, men jag menar om det här är den smidigaste lösningen så… Tror jag inte man… Man köper väl konceptet.

T4: Ja, jag antar det.

ND: Nä, det… Ni tror att det skulle kunna accepteras som en del av upplevelsen?

T4: Ja, men det tror jag. Det… Det är väl ofta en del när man gör såna saker, lite grann utomlands och så, att man är lite rädd för… Liksom buggar och… Eller saker som sitter liksom… Få ”virus” då, inom citationstecken, eller vad man nu ska kalla det. Ehm… Så det är väl bara, om man typ såhär… Muséet garanterar din mobils säkerhet, eller nånting. Kanske lägger in någon sån för att liksom… Göra det lite mer lättsmält för människor att liksom… Ah, amen, den här länken är nog inte farlig.

T3: Nä, jag funderar på om, eh… Jag kan ju tänka mig att den som det är mest motstånd för, det är nog lite äldre. Ju äldre man blir, desto mer motstånd på något sätt. Då blir det liksom… Det blir jobbigare och jobbigare då, men jag funderar på, kan man ha en sån lösning så man har typ plattor man kan låna i… Eller ja… Ehm, hämta ut i receptionen och gå runt med? Och liksom, ehm… Att man både kan använda sin egen mobil, och så får man pop-up fönstret, att man också skulle kunna ha för den som kanske inte har en modern telefon eller nånting, det är också en lösning som kan finnas.

ND: Mm. Du [T4], eh… Men var det en, eh… Tänkte du på den, liksom, säkerhetsaspekten eller vad man ska säga när du, eh… Scannade koderna?

T4: Nej, inte nu. Alltså, när vi gick den här rundan, testomgången, så litade ju jag blint på dig [ND]…

T3: [Skratt]

T4: … Och QR-koderna, så jag tänkte ju att det var helt… Safe, liksom. Eh, så där hade ju jag inga problem med det. Så jag upplevde ju personligen inte något problem med det, men jag brukar vara så här… Jag vet inte, jag… Jag har alltid lagt ut mina kreditkortsnummer på alla sidor jag alltid handlar på och liksom sådär, jag brukar inte bry mig så jättemycket om sånt utan… Liksom… Händer det nånting så har man oftast försäkring, eller man har oftast nått annat som backar upp… Det är ju annat om ryssarna stjäl mina bilder. Eller nått annat… [skratt] Nä, men… Så ja, jag tyckte inte… I det här tillfället tänkte jag inte på… Och just att det blir lite avväpnade med när det är ett barnspel.

T3: Mm.

T4: Då tänker man inte riktigt i dem banorna heller. Jag hade ju, eh… Varit mer kritisk om jag stått på en toalett nånstans i Östeuropa på någon bensinmack bara och… Eeeh, nej, jag tror jag hoppar den.

T3: [skratt] Betala genom att scanna koden här [skratt].

XI T4: Ja precis. Då kanske jag hade så här, för att vara lite fördomsfull… Då hade jag kanske inte scannat den.

ND: Så det kanske beror på sammanhanget den sitter i?

T3: Mm.

T4: Ja, men jag tror det. Kontext är nog rätt viktigt. På det viset.

- Tror du att grundberättelsen fungerar till att engagera yngre användare? o Intro-upplägget med att be om hjälp, kort bakgrundsbeskrivning?

T4: Ja… [paus]

T3: Alltså, jag vet inte, jag är så dålig på barn.

T4: Ah, jag med…

T3: Jag tänker… Eh, alla som spelar Pokémon Go är liksom i min ålder nu. Tänker jag, så att… [skratt]

T4: Ja.

T3: Så det är ett problem där.

T4: Ja, jag vet inte, jag antar att det gäller att skapa någon typ av hajp eller nånting i så fall för det men, ah, jag… Har jättesvårt att säga… Jag antar att man kan… [paus]

T3: Men jag tänker som så, man kan ju tänka sig… Eh… Dels är det ju kul att det finns någonting överallt, som kan känna igen… Men också, tänker jag, att man nu är 10 år så släpas man med av mormor till… Så kan det ju vara kul att det finns nånting att göra mer än att glo på gamla hus, så att… Ah.

T4: Mm. Jo det är klart.

ND: Mm.

T3: Men, eh… Jag kan inte relatera liksom riktigt, jag är inget bra på barn.

- Tror du yngre användare kan bli motiverade att leta efter trollharar utifrån berättelsen? o Allmänt / under specifika omständigheter – t.ex. pedagogiska, museum eller annat platsspecifikt sammanhang?

T3: Alltså, jag tror ju, allting där man kan samla är bra, därför att, det finns ju… Nånstans, i reptilhjärnan hos oss, att vilja samla, sen spelar det liksom ingen stor roll vad det är. Men om man går in och så är det så här, ah, man ska samla så många trollharar… Eller whatever liksom, så kommer alla… Eh… På nått vis göra det [skratt]. Eh… Bara för att det på nått vis triggar nånting. Så det tror jag är… Det är ju alltid ett bra koncept.

ND: Mm.

XII T4: Ja, men jag tror absolut att barn, alltså… Hm… Jag ser verkligen framför mig att, så här… En dag, om det är någon aktivitetsdag i fornbyn… Så är ju det här en konstant… Eh… En konstant i det sammanhanget, alltså att man… Då kan barnen springa och leta det här, om dem inte gör något annat så… ”Åh, vad är det här?” Så kan man liksom börja leta… Eh… Trollharar till exempel. Eh, så jag absolut att det är, eh…

T3: Mm, ja, man kan ju göra det som Lars föreslog, att man gör det lite event-baserat. Att det liksom förändras… Med årstider och… Liksom högtider och sånt, för då blir det ju nya. Då är det inte så här, amen jag har redan varit där, jag har redan samlat dem där utan, ah nu är det påsk, då kan det finnas... ny…

T4: Ja. Precis. Så det tror jag, det kan vara en bra idé, det kan aktivera barnen och… familjer som är på besök.

T3: Ja, men samtidigt, samlandet, samlande tror jag alltid är bra. Alltså, jag är ju… Jag är kanske… Bisarr, men jag är ju sån när jag själv går in nånstans och så kan man samla något, då spelar det liksom… Ah, då måste man ha alla, då blir man liksom… ”Men, vad håller jag på med?” [skratt], så det, det kan man nyttja i kunskapens namn, tycker jag.

- Tror du att yngre användare förstår konceptet – att de ska interagera med QR-koderna? o Trolig åldersgräns?

T3: Jag tror det. Jag tror dem fattar det före mormor om man säger så. Dem är ju ganska digitala, våra barn.

T4: Ja, jag tror också det, jag tror nog att, eh… Det kan hända att föräldrar kanske behöver hjälpa till, till viss del, eller att… [T3 avbryter]

T3: En gång, möjligtvis.

T4: Ja, eller precis, eller att föräldrar är dem som… Startar upp intresset för det, så att dem kommer igång, när de kommer till Fornbyn så säger föräldrarna ”Åh, amen testa det där” till exempel men…

T3: Mm. Sen tror jag det är barnen som kommer visa föräldrarna hur man gör.

T4: Ah, med största sannolikhet kan det nog vara så.

ND: Tror ni att… Eh… Om man har, eh… Den sortens, eh… Ja, intro, eh… Tavlan där, den första ni scannade. Tror ni att, eh… Tror ni att det hade förklarat lite grann, ”scanna den här med din mobil”, tror ni att, eh… Barn förstår vad dem ska göra utifrån den, eller tror ni att föräldrar [paus] kan behöva uppmuntra dem att göra det just vid… Just vid den om man säger så?

T4: Ja, just det ja.

T3: Ah, jag kan väl tänka mig att föräldrar kanske behöver uppmärksamma barnen på just att tavlan finns, liksom. Det är inte säkert att dem ser den direkt.

T4: Näe…

XIII T3: För vi är… Vi är ganska informationströtta… Så även barn tänker jag, att man ser inte ens skyltar eller så men… Har man väl uppmärksammat den så kommer dem hitta… Eh… Ens om du gömmer dem i jordkällaren, liksom.

T4: Ja, jag tror också på något sådär, en stor färg… Alltså, färgstarkt bildspråk med någon typ av startpunkt… För den, som drar uppmärksamheten, och ser man typ ”Ah, hitta dem här!”, eller så det, så kan det stå under, i, eh… ”I butiken finns böckerna till spelet”, att, eh, ”köp dem”, eller så håhär… Och, eh, ”här inne i Fornbyn kan du leta”, eh, ja.

T3: Mm. Och särskilt om vi har stugor här, så har vi, som vi sagt, satt upp skyltar vid varje stuga där dessutom, så kommer man vilja om inte annat för eller senare tänka att ”Jaha, men vad är det här?”, och så kanske…

T4: Ja.

T3: Ja, återknyta liksom.

T4: Precis.

ND: Mm.

- Tror du att illustrationen runt QR-koderna underlättar för användaren att förstå dess funktion? T4: Amen det tror jag, jag tror det hjälper, jag tyckte det var… [skratt] Jag tyckte det var lite såhär småpedagogiskt när det var såhär lite… Sagomönster runt om, för det gör det… Hela tiden… Då ser man att det inte bara är en… Eh… Grå, tråkig, QR-kod som sitter i ett lite hörn, utan… Det indikerar att det är… Nån typ av saga, eller nått spel, eller att det är lite så här… Lite äventyrligt för barn, tycker jag, så absolut, det tycker jag är ett bra… Eh… Ett bra inslag.

T3: Ja. Och också det, om man har, om vi gör en egen… Figur, så att säga, så är det väl också jättebra att man… Den figuren… Får ett eget liv så att säga. Och syns så mycket som möjligt. Fornbyn, figuren…

T4: Mm.

- Upplevde du några tekniska problem i användningen av artefakten? o Vad kändes negativt?

T3: [Skratt] Eh, ja.

T4: Ja, och det är väl, eh… Brist på teknik och personlig kunskap [skratt].

T3: Eh, ja, precis, vi var väl teknikinkompatibla och hade kanske inte det senaste i våra telefoner.

T4: Vi är dem här som barnen kommer lära se, ”åh, så här, gör så här” [skratt]

T3: Ja, precis.

T4: Bara, mm, okej… Ja, så nej, egentligen inte.

XIV T3: Nej.

T4: Men samtidigt så…

T3: Inte när någon förklarade hur vi skulle göra.

T4: Ja, samtidigt så vet jag ju att, eh… Det funkar på det viset, att kameran ska kunna scanna en QR-kod, men nu var jag ju tvungen att ladda ner en… Specifik QR-app… Scannare då, eh…

T3: Men det finns ju ganska många, så att…

T4: Ja, det finns det ju, så det är ju inte svårt att… Komma runt det.

ND: Nä. Det var ändå… Intressant att se det, för att… Jag, eh, jag har också testat med lite äldre telefoner och då har det… Funkat…

T3: Du umgås inte med sådana som vi, du umgås ju med såna här teknikmänniskor [skratt].

T4: Ja, precis, vi på muséet tar upp mobilen, får blåsa bort lite damm först bara [skratt].

ND: Det är ett utställningsföremål i sig.

T4: Ah, ja, precis! [skratt] Hämtar den i arkivet innan vi börjar, ja…

- En tanke med just detta koncept, trollhararna, är att de flesta ska fungera på många olika platser. o Vid behov kan det göras en specifik QR-kod och texten som kommenterar haren kan vara platsspecifik. o Ytterligare ett steg i det platsspecifika kan vara att haren är specifik för typ av plats, eller till och med att den är unik för en plats. Tror du detta upplägg är en styrka, eller tänker du att den typ av verksamhet du företräder hellre använder denna typ av verktyg helt platsspecifikt?

T4: Ja… Alltså… Vi har ju inget annat än vår plats här så att…

T3: Ja, jag tänker mig lite båda delarna, jag tänker… Eh… Alltså om man har ett koncept, som finns i hela Skaraborg, det är ju jättebra för då känner alla igen det. Men sen är det ju bra som sagt om det finns något unikt så att man vill åka runt och samla. Eh… Men då faller det ju då på det här om man vill ha en egen gubbe, så att ah, det… Det är en svår balansgång.

ND: Mm.

T3: Jag vet inte riktigt vilket som… Jag ser fördelar i båda koncepten.

T4: Ja… Eh…

T3: Ja…

T4: Jag tänker väl också det, jag tänker väl att man…

T3: Jag menar, kan man koppla det, koppla ihop det så desto bättre.

T4: Ja, bara en bra övergång mellan dem olika delarna kanske så att inte… Det blir isolerat nånstans, därför… Hm… Alltså, bara trollhararna i sig får ju kanske i sig inte ett jättestort

XV sammanhang om… Det är Fornbyn, alltså då får man ju ha Fornbyns trollharar då eller nått sånt där.

T3: Ja, alltså det funkade ju ganska bra med den här Kvarngubben, om man tänker att man har något platsspecifikt. Men också… Trollharar, för det finns ju platser på fornbyn som kanske inte är så jätteintressanta, där man inte behöver ha så mycket… Eh, förklaringar till, så där kan man ju… Alltså, nånting som ingår i ett större koncept.

T4: Jo, precis.

T3: Eh… Och så kanske bara en trollhare då som finns i Fornbyn, så att dem här ungarna ska tjata på sina föräldrar ”Öh, jag vill åka till Fornbyn! Jag vill åka till Karlsborgs fästning! Jag vill måste samla”.

ND: Mhm.

T3: Det är bra, så får dem hemester.

- Vilka implementationsmöjligheter ser du med den här typen av verktyg? o Alltså även för helt andra teman än trollharar och KLUB...

T3: Ja, jag tycker det är… Fantastiskt, men som vi sa, det här är ju till barn, men sen vill vi ju gärna ha en QR-kod som riktar till en sida då för den som vill ha mer info.

T4: Mm.

T3: Ehm…

T4: Nä, jag ser ju jättemycket möjligheter i det här, jag tycker… Det här kan man ju utveckla jättemycket så jag tänker… QR-kod till hela… [T3 avbryter]

T3: Du tänker hela…

T4: Ja [skratt], Fornbyn som en stor QR-kod som man kan scanna… Nä, men eh… Jag tänker ju, som [T3:s namn] säger, det är väl lite så vi har tänkt att… Sen… När man då, eh… Vidareutvecklar dem här idéerna så kan man ju, eh… Utveckla det så att det finns något för barn och vuxna. Så det spelet, och sen… [T3 avbryter]

T3: Så som vi snackade… [T4 avbryter]

T4: Information, och sen vidarekoppla det till våran hemsida, också kanske… Då, att man kommer direkt dit. Och sen producerar vi historiska texter som kanske är, eh… Det behöver ju inte specifikt vara om varje hus men generella informationstexter om, kanske, livet på 1800- talet eller hur man levde i en tvåkammarstuga… Eller något liknande. Och så… Kan man stå och läsa om det, och så kan man även kanske länka till YouTube-filmer där man iscensätter livet i en stuga.

T3: Precis. Så kan man samarbeta med Skara skolscen då.

T4: Ja, precis. Och, alltså, allt möjligt. Det… Så abslout, jag tycker det är en bra framtids… Eh, och Wordpress tycker jag är ett bra format också för det… Funkar nog för de flesta, liksom. Det formatet är väl tillgängligt för många, misstänker jag.

XVI T3: Men, kan man inte ha det via vår websida då eller?

T4: Jo jo! Det går väl också att göra, det spelar väl ingen roll, eh…

T3: Det är väl bättre egentligen, så att man drar folk dit eller?

T4: Ja, nä, absolut.

T3: Säger noll koll-websideplanket, jag vet inte, men eh… [skratt] Jag gissar.

T4: Nä, men det… Det är rimligt.

- Vilka begräsningar/faror ser du i att implementera den här typen av verktyg? Exempelvis: o Svårt för målgrupp att ta till sig? o Tar bort intresse från museets, besöksmålets syfte? Svårt göra pedagogiskt?

T4: Alltså, det är ju bra på det sättet att vi inte behöver sätta upp stora skyltar i en… Kulturmiljö, så som Fornbyn ska vara. Ehm… Så det blir ju bra, att det blir ett minimalt inslag i miljön, att det bara är en QR-kod. Sen tror jag absolut människor… Alltså, är lata. Man orkar inte, och bara… Såvida man inte är specifikt intresserad av huset, om man är här…

T3: Men det måste man ju inte, för det ska ju finnas för den som vill.

T4: Ja.

T3: Jag tänker mig också att har man det på websidan så kan det ju också vara att man kommer åt det, så att säga, via websidan, så sitter man i… Vad vet jag, Nyköping, och bara ”men gud vad spännande, jag vill åka dit och titta på dem där kåkarna”, alltså eh…

T4: Precis.

T3: Alltså, det tycker jag man har märkt nu, när muséer plötsligt börjar göra massa digitalt, jag har hittat massa spännande muséer jag vill åka till bara för att dem har gjort så himla häftiga digitala utställningar nu.

T4: Precis. Men jag tror absolut också det kan vara en begränsning för… En målgrupp… Som bor i Skara, som kanske är lite äldre… Och som är en ganska stor målgrupp av muséets besökare liksom, och det är ju rätt många äldre. Och, jag, där tror jag nog det är rätt många äldre som kan vara, ja… Kanske lite tapp i den gruppen.

T3: Fast samtidigt så har vi ju i och för sig resonerat att vi ska göra en bok. Eller… Så att jag menar, om vi ändå sitter och gör alla dem här texterna… Och plockar fram alla dem här fotografierna i fotoarkivet och så vidare, så kommer vi väl ändå sätta samman det till någon form utav skrift, så att det kommer ju finnas den möjligheten också då, att köpa… En bok att knalla runt med, för det som är idag, det är att man inte får någon info… Ingen får info. Alltså, det finns ingen info alls, what-so-ever ju, mer än så här [T3 mäter upp med fingrarna] korta texter på websidan.

XVII T4: Nä, just det ja. Det är ju det kanske behövs utvecklas egentligen, men ja, det är väl både och, hur man kan nå ut till alla målgrupper men…

ND: Men tror ni att det kan finnas ett motstånd bland vissa målgrupper mot ett sånt här… Eh… Typ utav verktyg i eran… Vad ska man säga… Museimiljö?

T3: Fast hur skulle det yttra sig, att folk skulle skriva arga insändare om att det plötsligt stod en skylt bredvid huset där det stod ”Rackebystugan”? Så fanns det en QR-kod? Alltså, jag har ju svårt att tänka mig det.

T4: Jag har också… Jag tror inte någon hade satt sig emot… Alltså, att det hade funnits nån sorts motstånd till det, det kan snarare vara en eftergift att… Folk är lite frustrerade över att… Dem inte förstår systemet, eller att dem inte känner att det är tillgängligt kanske då…

T3: Fast samtidigt kan vi ju bara sätta en skylt där jämte där det står ”Rackebystugan, hämtad från Rackeby”… Alltså, bara det ger ju mer info än man får idag.

T4: Jo, så är det ju, absolut.

T3: Eh… Men samtidigt finns det ju alltid folk som blir förbannade. Det verkar det ju… Vad man än gör, känns det som ibland.

T4: Ja, jo, så är det ju.

T3: Det finns alltid någon som… Retar sig.

- Tror du att ni skulle kunna använda ett verktyg som detta för att själva utveckla en platsbaserad upplevelse?

[paus]

T3: Vadå, frågar du om vi besitter den tekniska kompetensen?

ND: Ja, ni eller eran… Institution.

T3: Svar nej [skratt].

T4: Nej, jag tror vi inte vi har den kompetensen i huset. Så, det tror jag inte vi klarat av.

T3: Inte i dagsläget i alla fall, så saknar vi ju ganska… Skulle jag vilja säga, nästan helt digital kompetens.

T4: Vi har en informatör som jobbar här… Eller en, vad… Heter det så… En kommunikatör. Men, eh, det är väl det närmsta vi kommer, men jag tror inte han är kapabel att jobba med något sådant, så att… Det är ju externa tjänster vi får ta in i så fall.

T3: Ja. Eh… Däremot så besitter vi ju kompetensens att fram, eh, material. Texter, och arkivet, och alltså sånt, men inte själva den tekniska…

T4: Ja. Vi har väl även den, eh, de lite grafiska kunskaperna inom huset för att göra… Eh, vissa bilduppsättningar och såna saker. Men just tekniken är det nog svårt, det…

ND: För att ni, eh, ni administrerar inte er egen hemsida då? Eller är det på kommunen?

XVIII T3: Nä, det gör väl den här kommunikatören. Även om det är en långsam aktivitet.

T4: Ja, det gör han, och det är väl ett företag i sig som vi har handlat upp som… Så det, det är ju inte våran egen server det ligger på utan det är ju… Vi har ju hyrt… Nånstans, eh… Nån som liksom jobbar med hemsidan, så behöver vi uppdatera den då skickar vi ju informationen till någon som… Har hand om den, jag vet inte vad det företaget heter, men det är en extern part som jobbar med det.

ND: Mm.

T3: Det här är väl ett område, som om jag förstår det hela rätt, ligger i lite i pipen för… Att tas tag i. Framåt, så… Det kan du ju tipsa om, om det är någon som letar jobb sen [skratt].

ND: Ja [skratt].

T3: Kulturarv och digitalisering, där kan det finnas möjligheter.

ND: Jaja, ja, det hade varit intressant.

- Tror du att ni kunnat uppdatera/underhålla ett verktyg som detta i egen regi? o Svårt att uppehålla/sköta/saknas personal?

[paus]

T3: Alltså… Så här kan man säga, om det handlar om en websida så kan jag själva… Jag har rattat en websida en gång i tiden, jag tyckte inte det var roligt, eh… Och jag tyckte det var rätt omständligt och jobbigt men jag klarade ju av det. Så att, jag menar, det går ju. Man kan ju alltid lära sig.

T4: Ja, är det ganska basala saker, och är det informationsmässigt… Så är vi nog ganska kapabla att göra det, men är det… Gäller det att strukturera om, eller göra några andra stora ändringar, då, eh… Fallerar vi nog lite tror jag. Då får, då blir det nog att man får lägga ut det på…

T3: Ja. Finns det en fungerande, och liksom finns det en, ja… [paus]

T4: En extern?

T3: Nä men, finns det en fungerande plattform… Och så är det bara så här, ändra liksom… Det klarar man ju men… Ja, inte själva… Det grundliga, inte själva konstruktionen. Skulle jag nog säga.

T4: Mm.

Slutligen, tips på att göra spelmomenten i prototypen roligare – eller mer pedagogisk?

[paus]

T4: Nä, jag vet inte, det är väl om man då specifikt anpassar det till Fornbyn då, så att vi har våran lilla historia, men som kanske ändå kan knyta an till den här… Allmänna Skaraborgshistorien.

XIX T3: Ah, jag tänkte man skulle ha en sån här first person shooter eller vad det heter [skratt].

T4: [skratt] Ja, i Fornbyn?

T3: Det verkar ju vara det som… Det kanske inte heter så.

T4: Skjuta så här 1800-tals tomtar [skratt].

T3: Med musköter? [skratt]

T4: Ja, med musköt ja, så man är en sån här karolin som går runt…

T3: Ja precis, så måste man så här ladda med laddstock emellan liksom [skratt].

T4: Ja, precis.

T3: Nä, det kanske inte… Men det går ju hem annars hos kidsen har jag märkt.

T4: Ah… Nä, det är väl om man ska göra något interaktivt i så fall, som du säger, det behöver inte vara en first person shooter men det kan ju vara… Så här… Pokémon Go. Nånting i den stilen, fånga…

T3: Men då behöver man genast en app va? Det är väl det som är problemet?

T4: Ja, det är väl det. Så att, eh… Då blir det ju lite tyngre på hårdvaran så, som man skaffar sig.

T3: Eller att man kör så, liksom, att vi har… Eh, plattor. Som man kan liksom gå med. Eh… Låna i receptionen i så fall, eh… Jag vet, jag var på en ganska… Vad heter det… Vilhelm Erövrarens slott i Falaise i Frankrike, där hade dem ju så.

T4: Ah, ja.

T3: Eh… Sen tyckte väl jag att det var rätt otympligt. Deras… Grej så, men det är ju ändå… Det finns ju en möjlighet då liksom att… [T4 avbryter]

T4: Ja, men det skulle väl… Gå runt och jaga tomtar i Fornbyn med en sån platta då. Typ att man… Eller nånting, jag vet inte…

T3: Eller att man får liksom uppgifter vid, ehm… Olika ställen. Mal mjöl vid kvarnen, och…

T4: Ja, precis… Återskapa historien, utföra historisk hantverk…

T3: Utfodra korna i ladan.

T4: Ja [skratt]. Det är som… Farmville.

T3: Ja precis, ett eget litet Farmville, ett litet… Fornville.

T4: Det är ju populärt, ja… Fornville… Kanske det.

XX Appendix C – Transcript, Location test 3

Observationer • Endast en testperson genomförde detta test. • Testpersonens mobiltelefon fungerade i undersökningen. • Testpersonen reagerade på platsspecifika element i testet (Näcken vid dammen, Knubbsälsharen vid Säldammen, Clownharens text vid labyrinten). • Pinginvinharen placerade av praktiska skäl vid Barnens zoo och testpersonen ombads tänka sig att den istället var placerad vid Pingvindammen.

Transkribering av intervju:

- Hur upplevde du spelprototypen, till exempel: Lätt / Svår - att använda/förstå?

T5: Ja, men absolut. Det var ju ganska självförklarande med QR-koderna, så…

- Tror du att grundberättelsen fungerar till att engagera yngre användare? o Intro-upplägget med att be om hjälp, kort bakgrundsbeskrivning?

T5: Kanske behöver utvecklas lite mer. Att det blir lite mer som en… Saga, att man kastas in i det världen. Det var ganska kortfattat… Eh…

ND: Mhm.

T5: Så… Så jag tror man behöver brodera ut den lite. Spontan tanke.

ND: Mm. Tror du att det hade behövts mer information på något sätt eller att, eh… Tror du det handlar om formen på berättelsen? Eller, liksom… Om vi tänker just det här inledande…

T5: Mm. Jag tror att det är nog formen snarare, att man behöver något som fångar uppmärksamheten lite mer. Eh, alltså… Lite mer sagostuk, eller… Ja… Eller att det är en film, eller något… Väcker lite mer… För nu är det bara text… Och, så här, och då tror jag det är svårt att fånga barnen. Om, om… Om man inte har en pedagog med, som liksom… Läser med stor inlevelse, så…

ND: Ah, okej… Men du tror att, liksom… Det behövs något mer än bara bild och text, liksom, i telefonen?

T5: Ah… Inte nödvändigtvis, det handlar nog om hur det är formulerat, kanske. Ah… Nä, jag vet inte. Svårt. Eh, nu har jag ju hört talas om det här tidigare [KLUB, trollharar?], så jag känner ju igen det. Men annars så tror jag att man får… Man behöver lite mer bakgrund. Så… Och just att jag tror det behöver bli lite mer platsspecifikt också. På något sätt.

ND: Mhm.

T5: Att det blir knutet till just här, ”här hände det här”. Ja, liksom… Ja. Kanske. Mm.

- Tror du yngre användare kan bli motiverade att leta efter trollharar utifrån berättelsen?

XXI Allmänt / under specifika omständigheter – t.ex. pedagogiska, museum eller annat platsspecifikt sammanhang?

T5: Ja, absolut. Det tror jag. Jag tror inte att… Man behöver knappt någon berättelse [skratt] Ja, alltså, nu säger jag emot mig själv… Men, eh… Alltså just den här jakten, det går ju barnen igång på. Eh, liksom… Hur många kan du hitta, och just dem är olika också.

ND: Mm.

T5: Har olika egenskaper och så.

- Tror du att yngre användare förstår konceptet – att de ska interagera med QR-koderna? o Trolig åldersgräns?

T5: Ja, det tror jag. Dem har sett såna förr. Mm. Tror jag. Speciellt om det… Vad var det, vilken ålder var det, 10-12?

ND: Ja.

T5: Ja, dem… Dem har koll på läget [skratt] Tror jag.

ND: Okej. Så du tror att den… Eh… Vad ska man säga… Det åldersspannet hade förstått vad dem skulle göra?

T5: Ja, det tror jag. Absolut.

ND: Mm.

- Tror du att illustrationen runt QR-koderna underlättar för användaren att förstå dess funktion? [paus]

T5: Kanske inte funktionen, men att man… Känner igen, och vet att ”den här, den här ska jag scanna”.

ND. Mm.

T5: Att det blir, det blir en igenkänning… För att det, det finns ju mycket QR-koder ute nu. Så, för att hitta, liksom rätt, så tror jag det är jättebra.

ND. Mm. Men dem, eh, dem förstår… Du tror att dem förstår syftet… Med QR-koderna, eller vad man ska säga? Att den… [paus]

T5: Att här finns det en hare?

ND: Ja.

T5: Jo, men det tror jag. Det tror jag.

XXII - Tror du att pop-up fönstret som dyker upp när man scannar QR-koderna inverkar negativt på upplevelsen? o Förstör det intrycket helt, eller kan det accepteras som del av upplevelsen? [paus]

T5: Svårt att säga. Alltså… Själv är jag så van vid att det är det som händer, när man scannar en QR-kod, oftast. Man blir hänvisad till… En websida. Så att… För mig störde det inte. Men, eh… Det är väl lite så här att man ska öppna kameran, och… Så hinner telefonen stänga ner emellan, och så… Ja, jag vet inte… Nä, men det funkar. Tror jag. Det funkar.

- Upplevde du några tekniska problem i användningen av artefakten? o Vad kändes negativt?

T5: Nä. Nä…

ND: Allt funkade?

T5: Ja.

- En tanke med just detta koncept, trollhararna, är att de flesta ska fungera på många olika platser. o Vid behov kan det göras en specifik QR-kod och texten som kommenterar haren kan vara platsspecifik. o Ytterligare ett steg i det platsspecifika kan vara att haren är specifik för typ av plats, eller till och med att den är unik för en plats. Tror du detta upplägg är en styrka, eller tänker du att den typ av verksamhet du företräder hellre använder denna typ av verktyg helt platsspecifikt?

T5: Nä, men… Alltså, jag tror det finns en stor styrka i att dem är platsspecifika, och att dem har att göra med… Alltså, det måste på något vis knyta an till anledningen att man går dit överhuvudtaget, alltså går man till ett naturhistorisk muséum… Då vill man ju på något vis att det ska knyta an till nån slags verklighet också, att det inte bara är saga, utan dit går man ju för att lära sig om… Riktiga djur, som finns i naturen, och så här… Och det blir ju jättekul att skoja till det lite med såhär… ”Tänk om det funnits en sån här”, alltså en… Sälhare och sådär. Men jag tänker ändå liksom… Att det är bra om det finns nån slags koppling till verkligheten [skratt].

ND: Mhm.

T5: Eh… Så. Tror jag.

ND: Menar du att det… Eh… Bör finnas nått… Liksom… Tydligare pedagogisk, eh… Vad ska man säga… Användning av tekniken? Eller liksom att… Informatiom om, liksom…

T5: Alltså, kanske inte nödvändigtvis, men att det blir tydligt kopplat till platsen i alla fall. Eh… För att det här är ju så uppenbart att det blir en sagogrej. Eh… Men jag tror det är bra om det knyter an till… Om man, om man, som skolklass till exempel besöker ett muséum, då får man kanske en guidad tur, då har man bokat in det för att man åker dit för att titta på det, och så

XXIII ska man göra det här som… Bonusgrej. För att det är kul. Men då är det bra om det finns en koppling… Emellan liksom. Tänker jag.

ND: Ehm… Jag tänker på… Upplevde du att… Det fanns ju vissa platsspecifika grejer just här i Slottsskogen.

T5: Mm.

ND: Till exempel att det var… En Humboldtpingvin, och dem… Lever i par…

T5: Mm. Ah men precis.

ND: Eh… Och det är en knubbsälshare, eller så. Är det den typ av saker du menar?

T5: Precis, det är precis det jag menar. Och jag tycker att vissa… Fanns ju. Och det kändes som att dem hade en koppling, och andra kanske inte så mycket. Eh, men jag tror det är bra om det har en koppling till vad man ser i verkligheten också. Alltså… Till exempel Akrobatharen, det hade varit kul om det fanns något högt som han kunde klättra på.

ND: Mm.

T5: Just där, där den fanns. För till exempel, den där i… I labyrinten där, den kunde man ju tänka sig, ”här cyklar haren runt i labyrinten”, det är en kul grej.

ND: Mm.

T5: Så jag tror det är ganska viktigt att det har, liksom… En koppling så att man liksom inte bara stirrar på skärmen utan man tittar ”aha, ja just det, här är själva… platsen” också.

ND: Mm. Just det… Förstod du kopplingen med, eh, Näcken där? Eller var det, eh… [T5 avbryter]

T5: Ja, det var ju vid, eh, vid vatten, vid dammen så. Så ja, absolut.

- Vilka implementationsmöjligheter ser du med den här typen av verktyg? o Alltså även för helt andra teman än trollharar och KLUB...

T5: Ja men, det är ju så tacksamt. Eh, med QR-koder och platsspecifika… Vi försöker ju som sagt jobba med det lite också. Eh… För att kunna liksom följa en berättelse på plats, så… Så att det finns ju oändliga möjligheter [skratt]. Jag har ju en dröm, om att, eh… Vi jobbar ju mycket med små besöksmål, som inte har öppet så mycket. Det är ju ideella föreningar som driver, och dem kanske har öppet, eh, en söndag i månaden eller så. Men att man ska kunna gå och.. Och titta in, även när det är stängt. Så att säga. Man skulle kunna scanna en kod för att få upp, liksom… Så att man kan kika, med sin mobil eller nånting sånt.

ND: Mm. Eh, som ett verktyg för att underlätta… Vad ska man säga… Tillgänglighet?

T5: Ja, men precis, att man skulle kunna ha, ha öppet fastän det är stängt. Att man kan se lite mer än man kan om man bara ät utanför, att man kan få lite mer information, ”va där det här för plats?” liksom. Jag tänker till exempel på… I närheten av mig där, jag vet inte om du känner till Hillefors, Hillefors grynkvarn? Det är en gammal havregrynskvarn som ligger vid vattnet, eh… Det är en liten förening som driver den, dem har öppet… Men alltså, några dagar om året

XXIV för allmänheten, sen kan man boka besök också. Och jag, det ligger på min promenadslinga… När jag är ute och går. Och dem har en skylt utanför, och den är okej, och som har dem en liten… Audioguide, en liten berättelse, som man kan lyssna på, och den funkar jättebra. Men jag har ju aldrig sett hur den ser ut inuti, på riktigt, jag har sett några bilder och så, men just för att kunna få någon slags 3D… Kika in…

ND: Mm.

T5: Eh… Det hade varit kul.

ND: Eh, ja. Vi var i Skara i fredags, i Fornbyn där, och då hade vi en liten, eh… En Kvarngubbe, som kunde dyka upp när man scannade, eh, koden vid kvarnen.

T5: Nämen precis, något sånt så att det blir mer, eh… Levande, sådär. Jag tänker gamla fabriker och så här, kunna se… En animation över hur man jobbade förr, eller sådär… Nått som poppar upp liksom, och förstärker… Det hade kunnat vara kul.

ND: Mm.

- Vilka begräsningar/faror ser du i att implementera den här typen av verktyg? Exempelvis: o Svårt för målgrupp att ta till sig? o Tar bort intresse från museets, besöksmålets syfte? Svårt göra pedagogiskt?

T5: Begränsningar… Jag vet inte.

[paus]

ND: Tror du att det till exempel, eh… Verktyget tar bort intresse från muséets eller besöksmålets syfte? Eller…

T5: Alltså, det beror nog på hur man… Säljer in… Alltså det, som jag var inne på, det kan kännas lite långsökt kanske. Eh… Om man pratar om trollharar… Och har det på ett ställe som absolut inte handlar om sånt. Så man behöver ha en bra story. För att sälja in det. Men, eh… Om man riktar sig särskilt till barn, så absolut.

ND: Mm.

T5: Men… det finns en viss risk att man blir lite… Ah men, ”vad har det här med saken att göra?”. Så.

ND: Så… Det är bra med en tydlig koppling till platsen?

T5: Mm, ja. Det tror jag. Och att man tydligt förklarar också att det här liksom bygger på… På… Myter och sagor. Så… Eh… Tror jag.

ND: Mm. Eh… Tror du att… Det finns en risk att, eh… Jag vet inte, vissa… Vissa grupper skulle känna sig… Exkluderade… Av tekniken?

XXV T5: Ja, jag vet inte… Alltså dem allra flesta har ju en smartphone idag, så… Jag vet inte… Jag tänker, alltså, för dem som inte ser.

ND: Mm.

T5: Då är det ju begränsande om man bara jobbar med bild och text. Eh… Så. Men annars vet jag inte… Tror inte det är så… [skratt] Nä, jag vet inte, det är svårt att… Tänka på. Jag känner att… [paus] Nä, jag vet inte. Svår fråga.

- Tror du att ni skulle kunna använda ett verktyg som detta för att själva utveckla en platsbaserad upplevelse?

T5: Ja men det tror jag. Absolut. Det… Alltså speciellt på såna här… Små besöksmål och såna… Att kunna erbjuda något för barn. Jag vet, vi har ett projekt, eh, inte vi men våra kollegor på Innovatum… Eh, på deras kulturarvsavdelning, dem, eh… Hjälper, eh… Alltså, arbetslivsmuséernas samverkans organisation i Västra Götaland, med, eh… Familjeprojekt, där dem ska försöka göra några, eh, arbetslivsmuséer mer attraktiva för familjer. Det är ju mest pensionärer som kommer. Eh, men… Dem tittar på vad som skulle kunna locka barn, och jag tror att det här skulle kunna vara en grej.

ND: Mm.

T5: Fast där finns det… Om vi går in på det här med begräsningar, där finns det dem som… Alltså, dem som driver dem här muséerna, dem är ju av en annan generation. Eh, som… Än vi. Dom är ju sjuttio plus, många av dem, och dem kan kanske uppfatta det här som… Lite oseriöst på något sätt kanske, jag vet inte, för dem vill liksom berätta om det historiska arvet och sådär… Och så börjar man prata om trollharar [skratt], då kanske dem känner att det känns lite… Så. Så jag vet inte, då kanske man får göra ett koncept som är mer anpassat. Tror jag.

ND: Men tror du att dem hade kunnat använda… Verktyget? Alltså tekniken.

T5: Tekniken, absolut. Absolut. Det tror jag i allra högst grad, och det som är så bra med det här är att du behöver ingen app. Du behöver inte ha någon teknik på plats, utan du kan… Besökarna kan använda sin egen mobil. Du behöver liksom inte ha en massa… Ehm… Ipads, som dem ska se till att ladda, och serva, och, eh… Så. Eh… Så det tror jag.

ND: Mm.

T5: Inga dyra bildskärmar på plats, utan du utgör ifrån att besökarna själva har med sig utrustningen. Så att säga. Så det tror jag.

- Tror du att ni kunnat uppdatera/underhålla ett verktyg som detta i egen regi? o Svårt att uppehålla/sköta/saknas personal?

T5: Ja, det tror jag. Absolut.

XXVI [paus]

ND: Dem här, eh… Tror du dem här små resmålen skulle kunna… Har… Vad ska man säga… Resurser så att säga, att ta hand om verktyget?

T5: Jo, men kanske. Det är ju inte… Det är ju inte för alla ändå. Alltså, dem som tycker det här är roligt och så, dem… Man hade ju kunnat testa… Med några. Och sen kunnat utvärdera, och se… Hur det funkar. I så fall. För jag tror det är ett bra verktyg. Eh, så… Enkelt. Jag tror det kan ge något.

Slutligen, tips på att göra spelmomenten i prototypen roligare – eller mer pedagogisk?

T5: Alltså, det här med att samla dem nånstans. Eh, att man ska kunna se alla samlade nånstans, ”du har hittat dem här”, liksom... Eh… Hade varit kul. Och kanske också att… ”Visste du att det finns fler?” Och göra det som ett… Och det har vi också pratat om, om man skulle kunna göra nått som kan få, eh, folk att besöka fler… Små ställen liksom. Upptäcka dem här små, eh… Roliga kulturarvsskatterna. Eh… Och att man skulle kunna samla på dem, att man måste åka dit för att hitta dem. Allt finns inte online, utan du måste åka dit för att få dem. För att få den här… QR-koden, så du kan hitta dem här… Det tror jag.

ND: Mm. Just det.

T5: Att göra det till ett moment, liksom, det tror jag… Skulle kunna… För att göra det lite roligare. Det är nog det samlandet framförallt, tror jag.

XXVII