expansive storytelling project requires. Following some development work in Blackpool, our thinking is that through co-design with prospective partners local- ly, we can deliver a “train the trainer” style model – with a cohort of local partner organisations sharing skills and intersect- ing audiences for broad engagement. “The final piece of the puzzle, which is really at the core of the report, is a new “story scaffolding” model of storytelling — one that prioritises connection over col- lection. It’s modular, repeatable, and de- signed to work across multiple locations, allowing people to situate their stories in relation to others. It’s about creating a dynamic mixed-reality public space that evolves as more people contribute, rather than a finite collection of stories which claim to represent a place and its people at a fixed point in time.”
The delivery of StoryTrails was reliant on this new technology working smooth- ly, as there needed to be as little friction as possible both for the creators to work with it, and for visitors to be able to enjoy a smooth experience. Helen says: “It was important that the technology wasn’t complicated. It had to be accessible for our diverse creators – enabling them to make 3D experiences for the first time, and for the public – enabling visitors to easily experience them in and around the local libraries. Amanda adds, “So much of this tech is still ‘novel’ though and no-one had ever made immersive experiences at scale like this, so much of it was trial and error!”
Moving to StoryTrails 2.0
Not everything was as straightforward as they would have hoped when the project was first run, but there have been sig- nificant improvements in the technology since, particularly with the rise of AI. Helen says: “With StoryTrails 2.0 we want to take training and creative use of accessible technologies to the next level – engaging audiences also as creators. Those who create our public spaces shape who we are as a society, which is why it is critical to democratise creative access at formative stages! If there is to be a ‘metaverse’ style public space at the intersection of technol- ogy and geography, we want to make sure that as many people as possible influence what that might be like.”
For StoryTrails 2.0, the aim is to build on the co-creation element of the first project, helping to create engagement at all levels through both technology, and Amanda says: “Working across regions, is central to the StoryTrails mission, some- thing that there has traditionally been little funding for. CoSTAR, led by Royal Holloway University of London, is focused on convergent technologies and drawing
Rewired 2025 StoryMap on the big screen at Omagh library.
on cross regional creative approaches to make use of them.
“Digital media helps us connect in new ways and across distances – revealing the stories which bind us all. We need policy frameworks and funding streams for pro- totype development which support mul- ti-locational digital storytelling initiatives. Aligning with broader social goals, such as skills-building, wellness, and cultural inclusion, will reinforce the societal value of these projects. As a national centre, we are keen to support libraries in their mission to support all people in society, giving everyone access to knowledge and helping shape a more inclusive future. We are also keen to help establish a support- ive local delivery network for libraries.”
Get involved
As movement progresses on StoryTrails 2.0, Helen and Amanda are keen to start the conversations now with prospective collaborators. Helen says: “Ideas like
Helen and Amanda describe StoryTrails.
making space for multiple perspectives and seeing StoryTrails not as some- thing fixed but in-process underpin our approach and fit nicely with the possibil- ities that emerging digital technologies open-up – and after all, if we (Story- Futures), are not using technology to do something we couldn’t do before – we’re probably not using it right! In summary, we are taking a scaffolded storytelling approach, in collaboration with a broad group of local cultural partners, to initiate a growing body of creative work which audiences can both engage with and con- tribute to. We think this novel approach, and the infrastructure and training behind it, will be useful to any organi- sation looking to engage audiences with histories and story themes in ways which create meaningful inroads for individuals that forge genuine connections.” Amanda echoes this, adding: “If this aligns with your goals, we’d love to hear from you! We’re exploring the possibility of piloting the next phase of the StoryTrails project in a number of UK locations. We’re looking for libraries, cultural organisations, public sector entities and charities to work with us as partners and/ or part-funders. Essentially, anyone who’d like to “co-scaffold” with us. “Obviously, an appropriate funding strategy is needed to join the dots before we can begin work, so any opportunities that fit with our mission, or alignments with other similar projects and initiatives, we very much welcome. We’re also big supporters of knowledge sharing so invite interested parties to get in touch!” To find out more contact Amanda at:
Amanda.Murphy@
rhul.ac.uk (
www.linkedin.com/ in/amanda-murphy-20155219) or Helen at
h.oneill-3@
rhul.ac.uk (
www.linkedin.com/in/hel- en-scarlett-oneill). IP
l
www.storyfutures.com INFORMATION PROFESSIONAL DIGITAL 19
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