I think that the idea of transmedia storytelling is very interesting and practical as well as it really focuses on systematically dispersing integral elements of a fiction across multiple delivery channels, which effectively helps the visitors obtain a deeper impression of the entertainment experience. But I can also imagine the approach to be more challenging for museum design as you need to incorporate different media into one single space.

For my design proposal, I think transmedia works very well because it really aligns with what we were considering: expanding the contextualization of one piece of art through different media such as architectural design, music, VR/AR, tactile and physical interaction, and so on. By telling a story across multiple platforms, transmedia storytelling will allow us to engage with their audience in different ways. It will also encourage audience participation and involvement, creating a more immersive and engaging experience. The primary driver behind transmedia storytelling is allowing us to explore the story and characters in greater depth, as we will have more space and opportunities to develop our narrative. This can result in a richer and more complex story that is able to resonate with a wider audience. By creating a cohesive and interconnected narrative across multiple platforms, our group can generate greater interest and awareness for our exhibition, leading to increased attention from the public.

Question 1: Is the traditional museum unwelcoming to large portions of our society?

There has been criticism that traditional museums can be unwelcoming to certain segments of society, particularly those who come from lower socio-economic backgrounds or who belong to marginalized communities. This is because traditional museums have historically been located in affluent areas, and may have collections or exhibitions that reflect the interests and perspectives of the wealthy or privileged. Additionally, traditional museums may not always be accessible to people with disabilities or those who speak languages other than English, which can further exclude certain groups from experiencing and enjoying museum exhibits. I think it has to deal a lot with the existing social construct throughout centuries as people from lower socio-economic backgrounds are also generally less interested in museums compared to the wealthy, making this issue more concerning. Although many museums have been working to address these issues in recent years by offering free or reduced admission, creating more inclusive and diverse exhibits, and providing accessibility accommodations such as sign language interpretation or audio descriptions, I still think that even the diverse exhibitions showcasing the lower social-economic world tend to target the wealthy. Those who suffered from the situation might not be willing to visit nor agree with the exhibition.

Question 4: How can we amplify the voices of the unrecognized? One way to amplify the voices of underrepresented communities is to collaborate with them in the development of exhibitions and programming. This can help to ensure that their perspectives and experiences are accurately represented and presented in the museum. A similar approach can be hiring and promoting staff from diverse backgrounds. It can help to ensure that the museum is more inclusive and sensitive to the needs of underrepresented communities. Additionally, having diverse leadership can help to guide the museum’s priorities and decision-making processes towards greater equity and representation. To make this come true, one feasible plan is to engage in community outreach efforts to build relationships with underrepresented communities and encourage their participation in museum activities. This can involve partnerships with community organizations, targeted marketing campaigns, and outreach events. Question 7: What if your museum is not ready to engage in the storytelling of the future?

I think this is always a tricky question as return is always highly associated with risk. But just like the financial world, we can conduct measurement and analysis to maximize our return with the minimum risk. For example, the museum can conduct an assessment of its current capabilities and resources to determine where it stands in terms of storytelling and digital engagement. This assessment can identify areas for improvement and help the museum to set realistic goals for the future. Or, the museum can seek partnerships and collaborations with other museums, cultural institutions, or technology companies to leverage expertise and resources. This will ensure the influence of the project of storytelling. Lastly, the museum can always start with small, manageable projects to build momentum and gain experience in storytelling and digital engagement. This can help to build confidence and pave the way for larger initiatives in the future.