The Roving Museum by ARTIFACTORY

This document entails guidelines for the physical object of the SEE TCP Project SAGITTARIUS. It is co financed by the European Commission. The SEE TCP Project SAGITTARIUS includes partners from 8 countries: Italy, Greece, Hungary, Slovenia, Romania, Bulgaria, Croatia, Moldova funded by the ERDF, and IPA Instruments and the respective national contributions (15% of the Project budget). The overall project budget is 2.489.980,00 € (ERDF contribution: 2.012.783,00 €; IPA contribution: 103.700,00 €). SAGITTARIUS is dedicated to the development and promotion of heritage entrepreneurships in the area of South East Europe. The Transnational Project will be implemented in 36 months and be finalized by February 2014. This document does not necessarily reflect the opinion of the members of the European Commission and the Team Leader of the SEE TCP . Information on the SEE TCP Project SAGITTARIUS PROJECT and projects can be found at http://www.southeast-europe.net/ en/projects/approved_projects/?id=136. The web side provides the possibility to download and examine the most recent information produced by finalised and ongoing SEE TCP SAGITTARIUS.

This Toolkit has been exclusively produced to assist ERDF Partners involved in the implementation of the Roving Museum, Activity 7.2 “The Project’s Roving Museum” , WP 7 “HERITAINMENT. COMMUNICATE CULTURAL VALUES AND DELIVER THE EXPERIENCE VIA THEMATIC TRAILS AND A ROVING MUSEUM “ Copyrights reserved by the Transnational Partnership of the SEE TCP Project SAGITTARIUS

SEE TCP SAGITTARIUS PRIORITY 4: Development of Trasnational Synergies for Sustainable Growth Areas

! ERDF PP9: KÁROLY RÓBERT COLLEGE, HUNGARY

AREA OF INTERVENTION 3: Promote the use of cultural values for development

! EUASP1: MINISTRY OF REGIONAL DEVELOPMENT AND TOURISM, ROMANIA ! EUASP2: SOFIA DEVELOPMENT AGENCY, BULGARIA ! EUASP3: UNIVERSITY OF CHIETI PESCARA, ITALY ! EUASP4: COMMISSION VI (OF THE REGIONAL COUNCIL OF ABRUZZO, ITALY ! O1: SYNOTA, ANONYMOUS TRANSMUNICIPAL DEVELOPMENT AGENCY, GREECE ! O2: PATRAS MUNICIPAL ENTERPRISE FOR PLANNING & DEVELOPMENT, GREECE ! O3: EUROPEAN ATHNEAUM OF FLORAL ART, ITALY ! O4: INSTITUTE OF ENTREPRENEURSHIP DEVELOPMENT, GREECE ! IPA PARTNER: UNIVERSITY OF ZAGREB, CROATIA ! 10% PARTNER: DISTRICT COUNCIL OF SOROCA, MOLDOVA

LEAD PARTNER: UNIVERSITY OF THE AEGEAN, GREECE ! ERDP PP1: EFXEINI POLI- LOCAL AUTHORITIES NETWORK GREECE ! ERDF PP2: MUNICIPALITIES UNION OF SINELLO, ITALY ! ERDF PP3: MOUNTAIN COMMUNITY ALTO BASENT, ITALY ! ERDF PP4: BULGARIAN CHAMBER OF COMMERCE AND INDUSTRY, BULGARIA ! ERDF PP5: MUNICIPALITY OF DEVIN, BULGARIA ! ERDF PP6: INSTITUTE FOR COMPREHENSIVE DEVELOPMENT SOLUTIONS, SLOVENIA ! ERDF PP7: NATIONAL INSTITUTE FOR RESEARCH AND DEVELOPMENT IN TOURISM ! ERDF PP8: INSTITUTE OF NATIONAL ECONOMY, ROMANIA

Jointly for our common future This document refers to: ! Output 2a: Technical Toolkit ! Output 2b: Training Series. Enriching the Experience. The Onsite Study Visit, Sofia, Bulgaria ! Act. 7.2: “The GOLDEN ARROW: The Project’s Roving Museum)”

! WP7: HERIDUCATOR: USING A PARTICIPATORY KNOWLEDGE PLATFORM TO GUIDE HERITAGE ENTREPRENEURS UNLOCK THE VALUES OF HERITAGE RESOURCES

This is not a Book, it is a Toolkit Tools are tools like a hammer or a screwdriver and you need to understand the usability of these tools before you use it them. This toolkit is not about explaining how to use tools (like Twitter, Facebook,

Concepts to understand

Once the information is created needs to be useful and to be transformed into a product or a service that enables any interested individual (locals, prosumers, visitors, cultural consumers etc) to capitalize on it and contribute with his own co-creation to enrich the experience of the Roving Museum.

Pinterest) but to make you aware how these tools have developed new ways of cultural consumption that generated a change in the cultural valorisation. The Roving Museum must address this change by using these tools in a very innovative way.

SAGITTARIUS has put in place a series of templates, manuals, a Heritage Charters and and e Course defining how the information related to the physical object has to be created. So we donâ&#x20AC;&#x2122;t deal with that in in this Toolkit

When you have accomplished Step 1 and 2 you prototype a model to be tested. There is not one single model to apply to produce this prototype but the given tools will enable you to understand how to develop your own model. The first model you will prototype is the â&#x20AC;&#x153;Sofia Experienceâ&#x20AC;?. Once the prototype is done it will be included in this toolkit to be used as a framework reference for future prototypes.

INDEX CHAPTER 1 SAGITTARIUS PROJECT RELOADING CHAPTER 2 THE VALORISATION OF CULTURAL HERITAGE

CHAPTER 3 THE SOCIAL GRAPH THAT DROVE THE CHANGE

CHAPTER 4 THE ROVING MUSEUM GAMIFICATION CHAPTER 5 DESIGN THINKING

1.1 Project Summary to reload the concept 1.2 SAGITTARIUS WP 7.2 1.3 Understanding the essentials

2.1 The valorization of the cultural heritage. 2.2 The Roving Museum as an agent for shifting for products to services. 2.3 The Creative Crowds. 2.4 Developing creative opportunities: keep asking "what if".

1. QR CODES 2. INSTAGRAM 3. FACEBOOK 4. TWITTER 5. PINTEREST 6. GOOGLE MAPS 7 GOGGLES

4.1 Game Tips 4.2 The Hero is your prosumer 1.3 Understanding the essentials

5.1 Designing the Game 5.2 The Journey Map 5.3 The Stakeholder Map

The Toolkit is produced and edited by Dorothea PapathanasiouZuhrt, Daniel Weiss & Jose Ramรณn Esperante

The Training Series (Toolkit and Intensive Training Sessions) are fully in accordance with Dorothea Papathanasiou-Zuhrt (2012):

"SEE TCP SAGITTARIUS. The Speaking Objects.Golden. Arrow on

the Go" Request for Modification of Activity 7.2. Approved on May 2012 by the SEE TCP JTS.

CONTENT The meaning of the content Is it the INDEX that explains what the Toolkit contains?

Not really, the meaning of the word content is used here in a very broad sense because we aim to draw your attention on the following: contents of

in this Toolkit are conceptual nature. Understanding the concepts introduced is the key for the understanding of the Roving Museum and the key to move on in developing an enhanced experience in the process of valorizing cultural heritage.

Some BASIC CONTENTS are: ! Essentials

! Gamification

! The Integrated Toolkit

! Prototyping

! The Switchers ! Holistic

! Creative Crowds

! Creative Strategies

! Addressing the Swtichers ! Prosumers

! Visibility-Flexibility ! Negotiation

! Appropiation

! Transmedia Navigation ! Social Graph

! Valorization

! Contextual Information

! Co-creation of Contents ! The Narrative

! The Storytelling ! The Hero

! Challenges

! Journey Map

! Stakeholder Map ! Game

Chapter

SAGITTARIUS PROJECT RELOADING

WHAT THIS CHAPTER IS ABOUT 3 Concepts to visualize 1.1 Project Summary to reload the concept 1.2 SAGITTARIUS WP 7.2 1.3 Understanding the essentials

There are several concepts included in the next pages which are very important to understand and visualize for designing how to design and deliver the Roving Museum Experience, but these â&#x20AC;&#x153;3â&#x20AC;? pages of CHAPTER 1 are here to point out changes that we are witnessing in society, economy and technology.

catalysts for regeneration and development.

Cultural consumption is a knowledge based activity: cultural products and services are viable, only if they possess widely recognised values. Thus, values of tangible intangible, movable-immovable and spiritual heritage assets become

Your role is to become a Puppet Master of a larger game that involves a wider Stakeholder Map that looks to implement Touch Points between the supply and the demand side (cultural producers and cultural consumers) on a Affinity Map.

By creating the Roving Museum you will become part of the Creative Cultural Industry by producing content that will generate more contextual content co-created by the cultural consumer.

1.1 SAGITTARIUS PROJECT SUMMARY Cultural consumption is a knowledge based activity: cultural products and services are viable, only if they possess widely recognised values.

S AG I T TA R I U S a d v a n c e s c u l t u r a l consumption by communicating cultural values: from natural monuments and ecosystems to sites and collections, from the arts to traditions and handicrafts. Thus values of tangible-intangible, movable-immovable and spiritual heritage assets become catalysts for regeneration and development by being revealed and communicated. Given the diversity and complexity of heritage, the use of cultural values for development is feasible, only if multilateral interactions are understood and reflected in policy and delivery. Required is a multivalent and flexible nexus at local-global level to mitigate the protection-use conflict reconciling national and international strategies. SAGITTARIUS provides the Cooperation Area with an activity mix to fully realize the socioeconomic potential of culture: put into practice is an integrative management system to classify and signify natural, man made and spiritual heritage assets and communicate their values to different audiences across the SEE. To promote entrepreneurial culture in the heritage sector, SAGITTARIUS encourages the formation of heritage entrepreneurs: a participatory knowledge platform transfers advanced tools among multilevel actors to protect and use heritage assets by identifying their environmental, social, historic, aesthetic, spiritual and special values; domain specific training certifies individuals with increased capacities certifying professional skills. Implemented pilot actions on a social inclusion basis, provide for cultural experience diversity connecting thus local cultural production to international markets. By activating public-private-third sector alliances, heritage entrepreneurship is established at transnational level, exemplifying, how heritage is valued, protected, communicated and used with ecologic, economic and social profit.

SAGITTARIUS WP 7.2 Cultural heritage prosumers track down personally relevant information reflecting consumer preferences and personal interest in the visiting place, already at the place of origin during the self-designing the travel process, before and upon arrival as well as during and after their stay. Knowing and predicting their Journey Map is of crucial important for the design and delivery of not only high quality, closely interconnected cultural heritage services, but also for customized services meeting needs and requirements of cultural prosumers in real time. Successful cultural heritage products and services trigger emotions to motivate cultural heritage consumers select and consume the heritage experience. By facilitating consumers to see the speaking objects in the territory the Heritage Enterpreneurs are delivering transformations in both the territorial map and the emotional map of the consumer "they take you there to see and object and then the object speaks!". â&#x20AC;&#x153;A video is triggered and I suddenly know what is this all about. And on top I am offered options where eat after the museum visit. Not just to eat, but taste the authentic local cuisine.â&#x20AC;? Analyzing each time the current realities within a Journey Map in the domain of cultural consumption, might that be tourism, a museum visit, wine tasting or local handicrafts, , good and bad experiences are traced and evaluated: what the consumer experiences with producers and vice versa. As culture is not evolving in isolation, key stakeholders and actors play an important role in the big picture of the territory. A complete Stakeholder Map is necessary to develop a holistic understanding of social forces, impediments and prospects and adapt business development initiatives in the heritage sector. When this reality is given and mapped, then the time is ripe to envision the change and create a concept for further development. By producing the vision, the Affinity Map, enables local heritage entrepreneurs to know what consumers (their clients) want in real time, sparkling thus a r e v o lu t io n f or b oth cl i ents a nd pr ovider s simultaneously.

1.2

The Holistic SHIFT

1.3

UNDERSTANDING THE ESSENTIALS

Prosumer Marke! From the notion of “product” to the notion of “service”.

The shift is now more than ever demonstrated in the sector of cultural heritage: experienced consumers process with strong environmental conscience and respect for local cultures, enter en masse the phase of the selfdesigning the consumption process, wishing to discover what is unique about places and people: experience seeking consumer exercise pressure upon the cultural industry towards the development of new products, services and integrative, holistic experiences.

Self"designing the consumption process Integrative,

holistic

experiences

Intangible aspects (ideas, information, relationships) shall be intensely interlinked Easy access to the Internet from anywhere and anytime o!ers integrative experiences.

Tools for Viral dissemination Multi-screen device as the uprising market for mobile and connected consumers

People sharing their experiences in the social networks QR Codes connected to the smart place consumption Social media can assist heritage entrepreneurship in the Project Area

Mobile pervasive media are challenging current consumption models and old-style products

Main aim of the Partnership of SAGITTARIUS is the implementation of praxis validated, high quality Project deliverables along with a constantly improving and profoundly interconnected network of people, tools and services and new cultural entrepreneurial models, fully capable to provide opportunities for structural changes in various working areas. Improving the way assets, infrastructure, and people work, with the least possible waste and cost, is just as important as the push for reform and innovation. We are currently witnessing how post industrial societies are producing cultural products and services, characterized by a particular production modus, which has shifted from the notion of “product” to the notion of “service”.

THE VALORISATION OF CULTURAL HERITAGE

Chapter

WHAT THIS CHAPTER IS ABOUT 4 Concepts to visualize 2.1 The valorization of the cultural heritage. 2.2 The Roving Museum as an agent for shifting for products to services. 2.3 The Creative Crowds. 2.4 Developing creative opportunities: keep asking "what if".

2.1 The process of signifying cultural heritage One one hand in this chapter we examine the concept of the significance of cultural heritage assets as clearly defined by SAGITTARIUS in Work Package 5: The Significance Assessment Process. But on the other hand we need to understand both significance and valorization in a wider context , as a shift, a change is happening in the seamless integrated physical and virtual world. The change is transforming: a) an object in itself b) a contextual space such as a Museum c) an environmental context like a rural areas d) a creative city as magnet for attracting both prosumers and cultural creators

2.2 Roving Museem as an Agent for Change The Roving Museum (RM) becomes an important node in creative networks, (Twitter,Youtube, Pinterest) and particular actors become important ‘digital switchers’, linking different networks together: digital switchers that allow multiple signals to be routed to a compatible display). When creating cultural contents, one shall consider how the “switcher” - which is the prosumer-, will link this information to multiple networks or not and how he can co-

create information that will enhance the experience of the Roving Museum triggered by emotions based on the input offered. For producing the shift a holistic approach is required (1.3). In other words one shall see the WHOLE PLOT and not only one point. Here is a non-scientific test: http://www.web-us.com/brain/ braindominance.htm This test is a good starting point to understand how the brain will approach the design of the Roving Museum.

2.3 The Creative crowds Creative Crowds are not organized. Local actors (creative crowds) they are active providing exhibitions, tours, new services etc. but there is a lack of coordination that disables the production of touch points on the producer-consumer Affinity Map. Local actors play a role on the cultural scene. Most of them work in an isolated way serving different prosumers and non prosumers profiles. In the Toolkit for Roving Museum we want you to understand and visualize how to overcome this situation by analyzing how to integrate and develop a more richer experience 2.4 Developing creatives opportunities. Keep asking you ”What IF?”

2.1 The valorization of cultural heritage

S A G I T TA R I U S a d v a n c e s c u l t u r a l consumption by communicating cultural values: from natural monuments and ecosystems to sites and collections, from the arts to traditions and handicrafts. Thus values of tangible-intangible, movable-immovable and spiritual heritage assets become catalysts for regeneration and development by being revealed and communicated. Given the diversity and complexity of heritage, the use of cultural values for development is feasible, only if multilateral interactions are understood and reflected in policy and delivery. Required is a multivalent and flexible nexus at local-global level to mitigate the protection-use conflict reconciling national and international strategies. SAGITTARIUS provides the Cooperation Area with an activity mix to fully realize the socioeconomic potential of culture: put into practice is an integrative management system to classify and signify natural, man made and spiritual heritage assets and communicate their values to different a u d i e n c e s a c r o s s t h e S E E . To p r o m o t e entrepreneurial culture in the heritage sector, SAGITTARIUS encourages the formation of heritage entrepreneurs: a participatory knowledge platform transfers advanced tools among multilevel actors to protect and use heritage assets by identifying their environmental, social, historic, aesthetic, spiritual and special values; domain specific training certifies individuals with increased capacities certifying professional skills. Implemented pilot actions on a social inclusion basis, provide for cultural experience diversity connecting thus local cultural production to international markets. By activating public-private-third sector alliances, heritage entrepreneurship is established at transnational level, exemplifying, how heritage is valued, protected, communicated and used with ecologic, economic and social profit.

THE ROVING MUSEUM

PRODUCING THE SHIFT Creativity has become increasingly important for the development of cultural consumption in recent years. As competition grows, cultural heritage agencies and cultural producers increasingly seek to distinguish themselves through creative products and services in cooperation with the creative industries sector. They included a series of strategies ranging from architectural complexes to host new museums and heritage related consumption spaces to the full development of Smart Cities through the provision of broad band connectivity a key factor for success nowadays.. The Roving Museum The Roving Museum addresses the shift on creativity and embedded knowledge. The Roving Museum is built around tangible objects, however inspires its visitors to create contextual information in the real and virtual world through the Social Graph.

The expansion of modern cultural consumption is marked by a growth in the cultural industries – new monuments, museums, art galleries, theatres and heritage centres that provided relatively static interpretations of culture for visitors. The Roving Museum is a dinamic agent of the change more than offering ready made information what provides is a unique experience taylored by the prosumer who enhance the experience with a new socioeconomic potential driven by the tools of web 2.0

Led by participatory practices, social inclusion and active involvement of key stakeholders and young audiences in the caring of heritage a cultural transformation is taking place. The cultural transformation generated by the Roving Museum activates a new Stakeholder Map at local level by putting in place new business models and heritage products, such as the Transnational Heritage Game. With the advent of social media we witness a more superficial consumption of culture, in which ‘’atmosphere’’ and image became more important than cultural substance or the contents of museums. Armed with smart devices, the new prosumer is hungry for connectivity to interact in multiple networked scenarios. The Roving Museum feeds this need implementing virtual storytelling connected to the objects in the territory using multiple social media tools. The Roving Museum uses a number of ways how to offer

integrative experiences, including: • New products and experiences • Revitalisation of existing products • Spin-offs for valorization of cultural heritage assets • Mobile Media tools that enhance the cultural experience

The Roving Museum (RM) becomes an important node in creative networks, and particular actors become important ‘switchers’, linking different networks together. One of the ironies of the growth of cultural models has been that the search for distinction by the cultural consumer has led to consuming similar experiences. Similarly, the search by cultural creators for a distinctive image to sell to cultural consumers has led to duplicating similar experiences. The result has been an

increase in the ‘’serial reproduction’’ of culture (Richards and Wilson, 2006) and the onset of a ‘’vicious cycle” of decline in leading cultural destinations (Russo, 2002). Faced with this massification of cultural consumption, many prosumers have sought refuge in less tangible forms of cultural consumption that require even higher levels of cultural capital and competence to master, e.g the use the mobile Social Graph. Rather than passively visiting the territorial assets, many cultural consumers are now actively seeking out ‘’alternative’’ forms of cultural enjoyment in ‘’new areas’’, which can broadly be defined as the ones that enable the production of creative experiences. The Roving Museum develops this new customized and individualized cultural heritage experience.

2.2

2.3

The RMâ&#x20AC;&#x2122;s creative crowds The growth of couchsurfing, airbnb.com and other informalised, internet-based accommodation facilitates contacts and interactions and interact with creative actors in heritage spaces and places in a completely new way, with hosts in the role of the heritage counsellor and guests in the role of the reative consumer.

This new generation of hosts is not just related to selling a service, but also crucially to the informal generation of knowledge, cultural capital and networking organizations that support the creative economy. To understand that is very important. This new generation of hosts is not reduced to room renting but starts with free advise on the local cultural consumption types based onthe own experiences and by those experiences acquired through the hosting of other "creative prosumers".

The Roving Museum creates new ways of interaction and by doing so, its visitors become part of the creative crowds, transforming themselves into agents of change, who valorize heritage and the assets of the territory.

Developing creative opportunities for cultural consumption requires: Visibility

Attracting attention requires a keen understanding of the dynamics of the contemporary network society

Permeability

2.4

Flexibility

Plug and play into communities via connectivity maps

Cultural growth is often linked to the presence of particular tangible assets, such as monuments, museums, heritage sites and historic cities, natural attractions and landscape. While these assets clearly help to attract cultural consumers, merely focussing on the tangible form of heritage assets, we neglect their intangible dimension, the meaning hidden in the tangible form. If we do not link the tangible form with its hidden meaning, we cannot assess the significance of heritage assets, nor forge connections with locals, visitors and users. In addition planning, knowledge development and networking, necessary to support the cultural or creative service, cannot be put in place, if the two halves are not united in one meaningful entity.

The development of new cultural services needs to take place through a process of negotiation in which the the embedded knowledge of creative locals and hosts matches the creative skills of the cultural seekers and consumers. In other words each Pilot Project Prototype is tested by the creative guest, the prosumer, who will tell if you need to modify or not your vision. As far as a negotiation process starts between hosts and guests, producers and prosumers, best results are in sight.

Chapter

THE SOCIAL GRAPH THAT DROVE THE CHANGE

WHAT THIS CHAPTER IS ABOUT 7 Concepts to visualize 1. QR CODES 2. INSTAGRAM 3. FACEBOOK 4. TWITTER 5. PINTEREST

THE SOCIAL GRAPH THAT DROVE THE CHANGE

6. GOOGLE MAPS 7. GOGGLES

Transmedia navigation, web 2.0 tools, social media networks, or call it by their name, Twitter, QR codes, Pinterest, Facebook, Google maps, GOGGLES, Instagram/Padgram are the forces behind the change. Is not the purpose of this Toolkit to teach how to use these tools because there are plenty Manuals on Youtube or Pdf documents on the web. However the first part of the training is “hands on experience” on how to configure your devices (iPad 3.0) and what Apps shall be selected for download and for what purposes we will use these Apps. As everything changes at a light speed, we will certainly not focus on what already next month will be different, but we will focus on this very transformation! The Toolkit addresses the concept of the Social Graph from a holistic point of view-, like if you are creating a product that requires complex logistics, but you cant control how this product will behave in the hands of a prosumer.

“What IF” should be a permanent question Nevertheless in the next pages you find examples, ideas, comments on how you could use the Social Graph to deliver the content of the Roving Museum. We talk and work with the following tools: as per definition “Integrated Toolkit Visibility”

The Integrated toolkit visibility

1.QR CODES 2.INSTAGRAM 3.FACEBOOK 4.TWITTER 5.PINTEREST 6.GOOGLE MAPS 7.GOGGLES

TOOL 1

3.1

SAGITTARIUS QR CODE Great content that is built for mobile tagging and delivered through QR codes is designed with the mobile user experience in mind. Properly formatting content to fit all smartphone screens and browsers seems obvious, but this basic concept has been often overlooked. Slapping a QR code on an add that links scanners to a pre exiting, nonmobile web page is unacceptable and does not make the Roving Museum look as an attractive experience. When scanning QR codes, most users are time constrained and thus have a short attention span. Mobile tagging is all about jumping into the palm of consumer's hands, and giving them content that fits.

Scan it and it takes you to the project web page.

Some concepts about QR codes that you must have very clear

123 4

1. The mobile web is distinctly different than the

2. The Content

desktop web. As we said before, slapping a QR code on an ad that links scanners to a pre exiting, non-mobile web page is unacceptable and does not make your brand look â&#x20AC;&#x153;tech savvyâ&#x20AC;?. When scanning QR codes, most users are time constrained and thus have a short attention span. Mobile tagging is all about jumping into the palm of consumer's hands, and giving them content that fits. That drives the consumer to a bad experience.

Let users know where they go and what content they will retrieve. QR means "Quick Response" so with one click you have you need!. Out of context content discourages future scanning and engagement while proper context and a great user experience is the seed for a tourist/ consumer relationship that fosters a viral message through sharing.

Mobile web pages are different from normal web pages. No matter if you have a "plug in" that identifies that is mobile phone that is retrieving the page, the smartphones will show a different page and that page might not be what you want to show. The advise is build a mobile web page or an App that fits iOS or Android.

3. QR codes is a handicap? No, Mobile market is growing, if you heard somebody says with this kind of application you reach only the ones who got smartphones, don't care at all. The market is growing and this is a way to tag your heritage in an easy and affordable way.

nts, itage monume your Her r g u in o y g g g a 4. T a city game, ta portant buildings s, im Develop Museum st, statue g e r in te v o in R f on. for places o co-creati es Apps d o le c b R a n Q any eation and e love it. M facilitate the cr l il w s r visito with the ndroid A d R n Q a S fly both iO on the s e d o C of QR nes. smartpho nd you e stays a d o c R retrieved the Q e is b t c to fa n l matio The coo the infor e d a r g p can u t. you wan any time

BARCELONA COOL DRINK SCAN THIS QR CODE WITH YOUR SMARTPHONE. At the end of the of the page click on the link to go to Google maps. Enable your geo-location and your phone will take you to the Bar of your choice.

TO LEARN MORE GO TO: http://www.facebook.com/QrCodesForTourismEducation

TOOL 2 INSTAGRAM

3.2

INSTAGRAM & PADGRAM on iPad According to Wikipedia Instagram is a free photo sharing program and social network that was launched in October 2010. The service enables users to take a photo, apply a digital filter to it, and then share it with other Instagram users connected to on the social network as well as on a variety of social networking services. Instagram has currently 100 million registered users. A distinctive feature is that it confines photos to a square shape, similar to Kodak Instamatic and Polaroid images, in contrast to the 4:3 aspect ratio typically used by mobile device cameras. Instagram was initially supported on iPhone, iPad, and iPod Touch; in April 2012, the company added support for Android camera phones running 2.2 (Froyo) or higher. It is distributed via the iTunes App Store and Google Play.

In its largest acquisition deal to date, Facebook made an offer to purchase Instagram (with its 13 employees) for approximately $1 billion in cash and stock in April 2012, with plans to keep it independently managed.

INSTAGRAM 3rd Transnational Study Visit of the SEE TCP Project SAGITTARIUS, Freiburg i. Br. 12-14 November 2012. The Transnational Partnership is testing on site the Android App for the "Black Forest Grouse Trail"

Why Instagram? Instagram is a good way to achieve several goals: •

It is a solely mobile devices free App you can use it anywhere anytime with your smartphone or with iPad/tablet.

•

You can document all sort of things. Imagine you work in building construction, electricity, plumbery, car repair, almost any activity and you are asked to send a series of images to document an incident or to deliver the state of the art of the work you are doing. You create a hashtag(#) you make the photos and uploaded to Instagram. Anyone with an Instagram account can retrieve the photso using the hashtag and comment it. • Moreover a computer desk application called Statigram or now Facebook.com/user enables search under the hashtag and you can see it on the desk. These photos can be printed directly from your Smartphone

•

You can create a catalogue of products and describe the main • features of each on each image. The Instamap iPad app is a slick new Instagram client for the iPad that allows you to browse photos by location or tag. View geotagged

images from around the world as pins on a map, or switch to the attractive gallery view. Instamap also makes it easy to add or delete Instagram subscriptions, like photos, and leave comments. And it's updated in real time, so there's no waiting around for fresh pics. You can create a Community of people interested in whatever you document or clients and see your Stats. The Stati-Gram Website generates a satisfying breakdown your Instagram statistics. Now facebook.com/#YourUserName. As for Cultural Consumers Instagram has a tremendous potential because it offers almost instant access to any kind of information where comments and tags can be added in real time.

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How to get started First step is to create an account, which is quick and easy or Log In screen if you don't have an account then you sign up. If you have an account then Login.

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When you create an account you decide your username and password. Type here the user and password and click done. If you don't remember your password (something that happen very often) the system will send you an email to the account you have provided when you registered on INSTAGRAM. If that is the case click on "Forgot password"

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This project has been funded with support from the European Commission. This publication re the views only of the author, and the Commission cannot be held responsible for any use whic be made of the information contained therein. %

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When you are "IN" you see 4 clear parts that I numbered here to explain on details in the next images.

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BC#)%=%03D%567%E3,/%3+13DF%7/1%,D%G7H+%4+79,81%601+1%G7H%I3/%4H5%G7H+%407 D076%501%/HEL1+%79%40757D%G7H%03M1%H4873-1-%N@O%3/-%G7H%D11%@%40757DJ%P 03M1%417481%5035%978876%G7H%E13/,/.%501G%I3/%D11%501%40757D%G7H%H4873-J% 417481%G7H%978876J%)0,D%9135H+1%,D%M1+G%,E47+53/5%97+%1-HI35,7/%D,/I1%G7H%I3 60,I0%,D%57%-7IHE1/5%3/%1M1/5%,/%576/F%-7IHE1/5%57H+,D5%DI1/1DF%D7%35%3/G G7H%I3/%D11%501%H4873-1-%,E3.1D%3/-%E7+17M1+%G7H%I3/%I7EE1/5%501%,E3 67+:%50,D%,D%3%M1+G%,E47+53/5%5778J% %

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

PART 1 has two main areas,% one is % % your profile where you can put your % % photo. Then "photos" show the This project has been funded with support from the European Commission. This publication reflect views only of the author, and the Commission cannot be held responsible for any use which ma number of photos you thehave be made of the information contained therein.% uploaded (5 in this example) and you see 5 photos. Followers you may have, people that follow you that is, can see the photos you upload. Following refers to the people you are following. This feature is very important since you have the task to document your heritage, an event in town, tourist scenes, so "anytime in realtime" you can see the uploaded images and you can % % comment on those. For a field work this is a very important tool.

This project has been funded with support from the European Commission. This p the views only of the author, and the Commission cannot be held responsible for be made of the information contained therein.%

!"#$%&%'()%*+,-.,/.%)01%234%,/%501%67+8-%79%67+:%% ;<==>=>)#=>?("<@>;A<;<! B7C%D3/%1-,5%E7C+%4+79,81%8,:1%,/%3/E%F7D,38%G1-,3%5778H%,I%E7C+%J3I,D%-353K%L9%E7C%3+1% ,/M78M1-%,/%3%4+7N1D5%501/%8,I5%501%4+7N1D5%61JI,51K%

You can edit your profile like in any other Social Media tool, is your basic data. If you are involved in a project then list the project website.

!"#$%&%'()%*+,-.,/.%)01%234%,/%501%67+8-%79%67+:%% ;<==>=>)#=>?("<@>;A<;<! %

B7C%03D1%E3/F%-,991+1/5%745,7/G%,/%50,G%GH+11/G075%IC5%J%63/5%57%H388%F7C+% 3551/5,7/%5035%,9%501%KL0757G%3+1%L+,D351K%,G%"M%501/%/7%7/1%6,88%G11%F7C+%4075 % 1NH145%501%7/1G%5035%3+1%978876,/.%F7CO%J9%F7C%43+5,H,4351%,/%3/%1D1/5%8,:1%2J'( %4+7P1H5%50,G%ECG5%I1%"QQO% %

You have many different options in this screenshot but I want to call your attention that if the "Photos are Private" is ON then no one will see your photos except the ones that are following you. If you participate in an event like those organized by SAGITTARIUS this must be OFF.

This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.%

This project has been funded with support from the European Commission. This publication ref the views only of the author, and the Commission cannot be held responsible for any use which be made of the information contained therein.%

B+1351%B7CCD/,5,1EF%

GHI)J2#JK%,E%3%L3M1N77:%M7C43/O%E7%O7D%M3/%87.%,/%6,50%O7D+%L3M1N77:%3MM7 3/-%O7D%M3/%E03+1%O7D+%40757E%7/%L3M1N77:P%!,50%)6,551+%O7D%03Q1%57%M01M:R%,5 63E%47EE,N81%57%E13+M0%501%03E053.%,/%)6,551+%3/-%,5%63E%47EE,N81%57%4DN8,E0%Q,3% )6,551+%0761Q1+%E7C1%+1E5+,M5,7/E%C3O%3448O%+1M1/58OP% %

Create Communities

INSTAGRAM is a Facebook company so you can log in with your Facebook account and you can share your photos on Facebook. With Twitter you have to check, it was possible to search the hashtag (#) in Twitter and it was possible to publish via Twitter however some restrictions may apply recently.

!"#$%&%'()%*+,-.,/.%)01%234%,/%501%67+8-%79%67+:%% ;<==>=>)#=>?("<@>;A<;<! %

!01/%B7C%D8,D:%7/%E78876,/.%,5%-,F483BF%3%8,F5%79%501%417481%B7C%978876G%H9%B 7/%501%67+-%E78876,/.%B7C%IJE"??"!%501%41+F7/G%H9%501%40757F%3+1%4CK E78876,/.%-7%/75%+1LC,1+1%3/B%41+M,FF,7/G%H9%501B%3+1%4+,N351%40757F%B7C% % +1LC1F5%57%K1%3DD1451-%57%E"??"!G%H9%B7C%-7/O5%E"??"!%3/B7/1%501%/CM F076/%6,88%K1%P<P%

This project has been funded with support from the European Commission. This publication refle the views only of the author, and the Commission cannot be held responsible for any use which m be made of the information contained therein.%

When you click on Following it displays a list of the people you follow. If you click on the word Following you UNFOLLOW the person. If the photos are public Following do not require any permission. If they are private photos you have to request to be accepted to FOLLOW. If you don't FOLLOW anyone the number shown will be "0"

% %

This project has been funded with support from the European Commission. This publicatio the views only of the author, and the Commission cannot be held responsible for any use w be made of the information contained therein.%

NSB)T2#TR%3/-%C7D%03H1%1/3K81-%501%217?7J35,7/%501%40757%,I%.17+191+1 B,/J1%N/I53.+3L%,I%L7+1%3+5,I5,J%7+,1/51-%,I%C7D+%-1J,I,7/%57%R34%,5%7+%/75M% %

Seeing your PHOTOS

You have two ways of seeing your photos. One is, like icon 5, you see on the screen. There is another way marked in red, meaning it will display photo by photo and when you scroll down the comments you wrote, appear. Please note some of the photos are composed by several photos. If you don't have "Diptic" installed you can't combine images in one single frame. The option of !"#$%&%'()%*+,-.,/.%)01%234%,/%501%67+8-%79%67+:%% Photo Map is brand new when you upload an image to INSTAGRAM ;<==>=>)#=>?("<@>;A<;<! and you have enabled the % )0,B%,B%3/%1C3D481%79%501%4+1E,7FB%G7DD1/5%501%40757B%3+1%,/%H8,B5%63IH%B7 GeoLocation the photo is B11%,5%7/1%JI%7/1K%)01%40757%G7/53,/B%,D47+53/5%,/97+D35,7/%3B%I7F%G3/%+1 HL38E3+MN@H%,B%501%FB1+%607%F4873-1-%501%,D3.1K%?3B%O7B%P3+,3B%,B%501%5,581 georeferenced in the Map. Since RSTU2#VPQRU,5,W1/X+,-1QYZ,--1/S57+,1BQ%RS1G+15X350%3+1%501%03B053.B%F Instagram is more artistic oriented isThis project+15+,1E1%501%40757BK%)01+1%,B%38B7%3%-1BG+,45,7/%79%501%7JL1G5K% has been funded with support from the European Commission. This p the views only of the author, and the Commission cannot be held responsible for a your decision to Map it or not. % be made of the information contained therein.%

This is an example of the previous comment the photos are in "list way" so you see it one by one. The photo contains important information as you can read. "jalvar365" is the user who uploaded the image. Las Dos Marias is the title, #SQCGRAM, #CitizenPride, @HiddenStories, #SecretPath are the hashtags used to retrieve the photos. There is also a description of the object.

% %

This project has been funded with support from the European Commission. This publication r the views only of the author, and the Commission cannot be held responsible for any use whi be made of the information contained therein.%

7+%1H1/%501%G3I1%57%-7FEI1/5%501%-,991+1/5%:,/-%79%7OM1F5GJ%Q7+%1R 03H1%3887F351-%-,991+1/5%L03G053.G%57%7E+%,I3.1G%7/1%79%501I%,G%L*D%G13+F0,/.%6,50%50,G%03G053.%D7E%-7/S5%7/8D%+15+,1H1%7E+%,I3.1G%O 9+7I%417481%5035%61%-7/S5%:/76%OE5%03H1%3%G,I,83+%,-13J%K/%51+IG%7 50,G%7991+G%3%.+135%4751/5,38%57%,-1/5,9D%I3/D%50,/.GJ%%

EXPLORE you can search users and

retrieve images with hashtags. If you write #whatever you will retrieve the images you have created during the project life. You decide the name of the hashtag and this hashtag has to be written when you upload the photo with the comments. No hashtag no retrieval. Be aware many people can use the !"#$%&%'()%*+,-.,/.%)01%234%,/%501%67+8-%79%67+:%% same hashtag with a different ;<==>=>)#=>?("<@>;A<;<! interpretation or even the same to % document the different kind of )01%013+5%B5C81%,D7/%53:1B%C7E%57%501%417481%C7E%978876F%!01/%C7E%D8,D:%,5% objects. For example we have -,B483CB%3%B181D5,7/%79%40757BF% allocated different #hashtags to our !,50%50,B%5778%C7E%D3/%B11%6035%C7E+%D78813.E1B%3+1%4EG8,B0,/.%501+197+1%H % images one of them is #decomanual. 978876%E4%7/%+138%5,H1%79%501%-1I1874H1/5%79%501%3D5,I,5C%3BB,./1-F% By searching with this hashtag you This project% has been funded with support from the European Commission. This pub don't only retrieve our images butthe views only of the author, and the Commission cannot be held responsible for any be made of the information contained therein.% others from people that we don't know but have a similar idea. In terms of education this offers a great potential to identify many things.

The heart style icon takes you to the people you follow. When you click it displays a selection of photos. With this tool you can see what your colleagues are publishing therefore make a follow up on real time of the development of the activity assigned.

TO LEARN MORE GO TO:

ttp://tinyurl.com/cwu8o5u

TOOL 3 TIME LINE

3.3

Just this a TIMELINE to make transparent the way you have created and implemented the Roving Museum at local level.

TIMELINE in a form of Community page. No g o s s i p , n o Wa l l , n o comments.

We live in a Media Culture, TIMELINE concept fits perfectly.

Isnâ&#x20AC;&#x2122;t a Facebook page.

You publish your ideas, your way of doing. You upload your videos and photos. It becomes a document for others to learn and capitalize on your experience and how you have integrated a solution.

It is Page to Like

TIME LINE

Timeline is an easy and fast way of documenting your activities in any project. It works pretty much as a web page, is very easy to publish on Facebook.

YOUNG CITIZENS OF EUROPE. Daniel is being interviewed

Timeline enables you to create your own page type where you can post photos, videos and comments of any kind. It gives to the project a perfect visibility. Timeline enables contributions from others and the possiblity to viral disseminate your work via “LIKE” button. It increases your organic position on Google search.

Some technical notes 1.Any video you upload on Facebook page can’t be bigger than 100 megs 2.We recommend you compress the video, and export it as mp4. 3.If you don’t manage to reduce the video size, you can upload the video in another platform e.g. Youtube and copy /paste the video link into the Facebook page.

Some technical notes 1.Any photo you upload on Facebook can be commented. 2.Photo album are available you can easily upload several photos in one click. Just select them and Facebook will upload it automatically one after the other.

3.Remember timeline is a sort of â&#x20AC;&#x153;story structureâ&#x20AC;? so in terms of documenting select carefully the images you upload.

TOOL 4 TWITTER

3.4

#SEESAGITTARIUS ARE YOU PLAYING OUR TWITTER GAME?

@SEESAGITTARIUS

2 ways of using

Twitter Project News Look for followers

How much do you know about the heritage of SAGITTARIUS?

Partners designing the SAGITTARIUS GAME on TWITTER

GAME-PLAY Go to : https://twitter.com/SEESAGITTARIUS

We have tweeted a question, do you know the answer?

the tion on s e u q e n tag sts o the hash artner po h it w r te 1.Each p wit to use tes on T essential is it ), given da S U GITTARI (#SEESA g, #. the hashta 2013 y 7th r a u n a J on g starts 13. 2.Postin y 15th 20 a M n o s and end ry on Janua d te s o p e 18th of tions ar s , y e r a u u q n a e J of 3.Th nd 28th a th 7 the

9th of th and 2 8 , h c r a M 11th of 13. February, e f May 20 o th 3 y the gam 1 la d p n a to , d il r Ap ueste kindly req e r a u o .Y . 3 artnership p e th g n amo rs. e followe th to n e me is op 4.The ga st of d the 31 e c n u o n n ill a ccount. inner w 5.The w r twitter a u o n o g shin May publi

TOOL 5 PINTEREST Pinterest is a social network created in 2010. It offers many possibilities in the Social Graph. This part of the book show some examples and why SAGITTARIUS should use it. Pinterest enables you to create your own boards and document collections of any kind. Moreover it facilitates the dissemination of your PINS over FACEBOOK, TWITTER, embed them in your BLOG or email it. For our Project SAGITTARIUS, that is a must!

3.5

Some ideas This is a collection of old Varna city postcards. Bulgaria. See http://blog.europeana.eu/ 2012/06/pinterest-collectionescape-to-the-black-sea/ You may have a Museum Mask collection create a customized Board.

These images, comments, links can be used as clues for a city game.

One of the great possibilities of Pinterest is the use of videos embedded in the PIN. You have to create a YOUTUBE channel and then copy and paste the link.

Sephora is one of the most inspiring Pinterest site I strongly recommend you explore their boards at : http://pinterest.com/ sephora/. It is a source of valuable knowledge in terms of design, client feedback, links and much more. Just think for a while â&#x20AC;&#x153;what ifâ&#x20AC;? any of your Heritage objects can be treated as a product enabling clients feedback with new contextual information and links?

http://pinterest.com/pin/98938523035061284/

HOW IT WORKS extensite tutorial on :http://pinterest.com/about/help/ BOARDS are collections PINS are PHOTOS & VIDEOS When you PIN you make RECOMENDATIONS In these pages we only focus on how to create your heritage boards. For more features go to the link tutorial.

HOW TO CREATE A BOARD from your profile

http://pinterest.com/pin/seesagittarius/

Click on upload a PIN

Search for the image

Click on the image you want to PIN

Select the board write a description, you canâ&#x20AC;&#x2122;t skip that step so know in advanced what to write, then click Pin it..

Images go to your board automatically

You can embed the image in a blog or: •FACEBOOK •TWITTER •EMAIL

More at: http://pinterest.com/seesagittarius/

TOOL 6 GOOGLE MAPS

In the old times Maps were secrets of the state, today are essential to us in our daily life. I am not going to make “propaganda” of Google maps m aps or any other Map system, but I can’t avoid tto o say that the integration of possibilities developed by Google changed the way that Maps can be customized and used. From the red dot “ You are Here” (x-y coordinates) in the hands of your mobile device Instagram added the feature of using maps to create Contextual information (the z axis of information). The Roving Museum capitalizes in those embedded possiblities of combining Maps with a wide range of Apps (Instagram, Youtube, Twitter) in order to make the prosumer experience richer.

3.6

The Google concept is very simple but isn’t new, they give in a friendly user way what geographic information system do for more complex applications for mapping the territory. What is new is the combination of the technical features of the mobile devices (SIRI, internal Apps, GPS chip) plus the deployed networks (3G, 4G, EDGE,WIFI) that enables the cultural consumer to create geo-located information in real time and share it among several networks. The question that the Roving Museum has to place is how Maps and Apps that are enabling layers of information can be used to enhance the experience and what services you can create on top of the existing platform?

The Sofia Experience Heritage by the BCCI Sagittarius Cultural Objects

TOOL 7 GOOGLE GOGGLES GOGGLES with this

And Google created App they changed the rules of the Game.

Step 1: You point your Ipad or Smartphone towards and object (monument, photo, building) Step 2: The Apps take a picture and auto scan it. Step 3: If you exist (meaning enough information from multiple users) the Apps find all what is available on the Internet.

3.7

Picture these concepts Contextual information created by the prosumer is key for being found by Goggles Goggles uses an algorithm that knows who, when and where the information has been created. T h e v a l u e o f “ f r e s h” multiple inputs is what makes that Goggle finds you. Make a test, choose and object and Goggle it.

If you don’t retrieve any good data, you don’t exist. The Roving Museum has to implement actions that support prosumers in the co-creation of this contextual information.

The Mona Lisa decorates a room door at hotelofi.com, but the links takes you to the Louvre. The Hotel link won’t be retrieved because the hotel didn’t tag the door.

Chapter

THE ROVING MUSEUM GAMIFICATION

WHAT THIS CHAPTER IS ABOUT

GAMIFICATION To visualize the game concept On this chapter we analyze how the Roving Museum can develop Games based on the integration of Cultural Heritage, Smartphones, and the Social Graph. Some of the key elements on games are: 1. Stories: you already have produced information about each physical object. 2. The Hero: somehow you can consider the prosumer as a hero. 3. The Challenge: is the risk the prosumer takes when he plays the Game. 4. The Clues: clues to go from here to there, clues to understand the object. 5. The Reward: your prosumer looks for an enhanced experience.

As suggested by Ermi and Mäyrä, “The act of playing a game is where the rules embedded into the game’s structure start operating, and its program code starts having an effect on cultural and social, as well as artistic and commercial realities. If we want to understand what a game is, we need to understand what happens in the act of playing, and we need to understand the player and the experience of gameplay” Let’s explore in the pages some ideas for the Roving Museum Game

THE 3 KEY ABC OF YOUR GAME 1. Storytelling no doubt is based on Transmedia â&#x20AC;&#x201C; Converging Media / Tw i t t e r, Fa c e b o o k , Yo u t u b e , Pinterest, QR codes. 2. Narrative (the non interactive part of the story) you tell the story 3. Interactivity (the game world how the player sees the world and itâ&#x20AC;&#x2122;s interface) For the ABC to work properly with your hero you need an Interface and as you know any game platform has got one. Your game platform is the Social Graph this is why I say transmedia storytelling (is a technique of telling stories across multiple platforms and formats) you not only have the possibility of using videos, audios, photos, texts, you can use websites, links of all kind, phones,QR codes and many other possibilities too.

For understanding better the ABC let me give you some useful tips to be used in the interaction between the Roving Museum and the prosumer.

4.1

Game Tips Emotions always emotions of any kind go first. 1. Think about it http://youtu.be/4oM7Inorm3w 2. We know your gamers will forget what you said to them, we know your gamers will forget what you have made, but they will never forget what you made them FEEL. So play hard to make them feel emotions. Watch this video for more clues http://www.youtube.com/watch?v=R55e uHQna0&feature=player_embedded 3. According to some authors "deep emotions can come only when the player identifies himself with the avatar and their problems", so you need a good story the key point is how to embed what you had in a good a story connected to the profile of your avatar/prosumer, to engage him into deeper emotions. Think how to trigger these emotions. 4. How long the story should be and how much content should have: Creative crowds must focus on their objects (monuments,artefacts, museums) connected to the journey map of the prosumer, the stakeholder map that is involved in the game scenario in order to develop the game story. In other words, embed in the story your objects at the time you define challenges, rules and what could happen if the player fail in the challenge. How much content and how long the game goes is based in what you want the prosumer do/ learn/play.

Game Tips 5. TIP ON GAME STORY Think on the Aristotelian concept of the drama,/Mise-en-scène, use the 3 steps: 1. Set the PLOT/drama 2. Raise the tension 3. Solve the case In any TV series (e.g. HOUSE) they give you a piece of info that engages you and suddenly go to advertisements. When back from the ads they develop the Plot increasing the tension, you are holding your breath till they solve the case. 6. You have written a story for the game, the story can be lineal or branching (split in two directions and reunion in a common point after). The story is the interactive part of the game, but you have to tell the story to the player, you do that using the Narrative, and you decide when and how. e.g.: in Sonic the Hedgehog Wii game one of the characters tells the story. 7. To narrate your story to the player you can use video, audio, images, QR codes hosted on the web 2.0 tools and embed the story connected to the game levels or challenges. 8. The inclusion of virtual characters that play a role giving critical information is a plus, you can create a video or a series of videos, watch this site to get inspired http://www.thebigplot.net/ 9. Your storytelling is what moves ahead your game; the player using the Interface (web 2.0

4.1

tools) and part of your interactive story makes inputs (hyperlinks, watch videos, images), and get outputs (clues, mission, challenges) these are known as player events. What happen inside the game are the game events, both the "player events and the game events" frame the Core Mechanics. 10. Your Roving Museum Visitors learn in a non–linear way, they jump among medias searching fast & furious for the information and ending in a complete different place. So why do you plan to do a LINEAR BORING STORY for your game? Don’t do it, let them build knowledge through your story and game play. Be ready and open for enabling your story to be changed, you will learn how they learn and what motivates them. If you manage to do that the Roving Museum becomes an innovator. 11. Have you heard about The Truman Show? http://youtu.be/GYj2m1yVpGU The Roving Museum Game represents a challenge in itself because your avatar (Roving Museum Visitor) will perform in an open world, even being true you will frame him with rules and ethical dimensions of your game world, but the avatar has a human dimension and that makes a difference.

Game Tips

4.1

12. Bear in mind when designing your game. Your environment/scenario is based on Google maps and street view so you have to use and manipulate the scenario by adding e.g. videos, photos, links, and clues. Rules that apply; you have to clearly define the rules what the player can do or cannot do connected to each task and challenge to accomplish his/her mission. Player rewards, that is for sure because encouraging the player is always a good idea of the Heroâ&#x20AC;&#x2122;s Journey. Players being able to interact, no doubt is a MUST in your game design, is all about interaction, creation, adapting, changing and above all deliver Media content. 13. Most action-adventure games are based on: 1. Find the mission. 2. Solve a Puzzle. 3. Defeat level. 4.Rescue. 5.Fight.

15. From Action Games; puzzle solving, tactical and exploration. From Strategy Games; conflict solve, logistic, tactical, economic, exploration From Role â&#x20AC;&#x201C;Playing Games we must consider the possibility of involving different avatars or digital identities and make them interact within the context of the Story. From ARG games we should take the concept of blurring the reality. Puzzles that can be solved by trial and error are useless; the player must have a certain amount of experimentation and be able to deduct what the solution could be. Time pressure puts the player under stress and changes the feeling of the gameplay and that is attractive for the player, is a challenge inside the challenge.

1,2,3 may apply to you but for the next ones you need a bit more imagination and make the mission, task, and challenges more consistent according to your story and objects.

When you design your game give to the player a richer experience donâ&#x20AC;&#x2122;t create different paths branching your game so the player can play the game in different ways. By doing that, learning and content creation is more fruitful in terms of games this mean multiple endings that should be the Roving Museum Genre.

14. Challenges of all kind can be used in your game e.g. logic, collateral knowledge, exploring, intelligent based, pattern recognition, applied puzzle, conflict resolution, but you have to somehow gives them a hierarchy. Remember each GENRE has a sort of predefined challenges.

16. RM Genre allows you to cut the story and challenges into pieces and deliver these pieces to multiplayers, so they are somehow forced to co-operate together to solve the game, so is collaborative and cooperative learning what you look for, not a Winner.

6.Shoot. 7. Kill.

Game Tips

4.1

17. Most challenges require the Hero to perform an action, in a video game could be to push a button, in your game to search on Twitter or Instagram. Your game through the actions should guide the player into Literacy (there is a serious lack of) and somehow to teach them how to filter so much digital content, remember you prosumer plays for fun and for winning.

different game components, do not overwhelm your player with too much of any. Just think in what your game is about. I tell you the first goal of your game is the co-creation of the content in a contextual point that contributes to 18. Saving your game is not necessary at all, enhance your game by the prosumer who also play while most video games gives you this chance to a major role in the viral dissemination of your facilitate the immersion in the play and return to heritage that targets in a indirect way GOGGLES. the left point, because your Web interface keeps permanent records there is no need to save your 20. When a game designer designs a game he game is automatically saved. doesnâ&#x20AC;&#x2122;t know who is going to play the game so he cannot control previous experience and native talent 19. On Game Balancing: Not so spicy, no so of the player, but you can, because you know your salty, no so sweet, find the balance among the player, so adapt the game to his/her profile.

GAME DESIGN LEVEL: WHAT THE LEVEL SHOULD ADDRESS Define Game level Scenario/game world Is there any clue for this level Part of the Story Who plays in this level Challenges the player face What need to be accomplished in this level What causes the end of this level How the Story & the game play are interconnected What social media includes this level What happen if the level cannot be solved What kind of reward the player gets in this level, if any Does the player do colaborative or cooperative learning or both List all media object created for the level

THE HERO IS

4.2

YOUR PROSUMER There is a temporary disbelief of the reality so the Hero is totally immersed in the game world because he has a mission to accomplish e.g as a Young Archeologist in Rhodes. Joseph Campbell explores the theory that important myths from around the world which have survived for thousands of years all share a fundamental structure, which Campbell called the monomyth. In a well-known quote from the introduction to The Hero with a Thousand Faces says; “A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man”. The teaching concept based on a book is over there is so much information about any specific subject that you simply cannot ignore, your role is not longer to teach, your role is to mentor, to coach your hero. The main point is that you and your hero have to play the learning game with new skills and literacies you are not longer a consumer your are prosumer that involves new competences such as: ! ! ! ! ! ! ! ! ! ! !

Judgement Negotiation Appropriation Play Transmedia navigation Simulation Cooperative intelligence Performance Distributed cognition Visualization Multitasking

The 12 steps of the Hero’s Journey. ! Watch this video http://www.youtube.com/watch? feature=player_embedded&v=8AG4rlGkCRU

And these are the steps: 1.The Hero is uncomfortable in his ordinary world. If we can say Tourism is a way of cultural consumption then is clear your Hero has worked the whole year around he is tired and now needs a fun break. 2.The call for adventure He checks in at the hotel and someone at the front desk says says to him: may I suggest you would play this game in town, is thrilling, you will enjoy it, have a lot of fun and you can be a winner. Is the RMG, have you heard about it? It plays on smartphones, iPad, you never experienced anything like that. I see you are from Slovenia, wow! your country is level 4 of this game so you can keep playing at home. Let me show you how.

4.2 3. Should hey refuse, that means fear of the unknown. Oh, oh! Smartphones that is complicated, 4. The Mentor encourages the hero by providing the reasons, why that is not so. The Hero overcomes the fear 5. The Hero crosses the threshold There will be a moment of true: you go or donâ&#x20AC;&#x2122;t go. In MATRIX, Neo takes the pill, in the PRINCE OF PERSIA he jumps, in SONIC he accepts the ring, so you must need to find something that triggers the game, your Hero starts to believe and the disbelief starts to happen, the Hero accepts the mission. He feels he is ready somehow. 6. The Hero enters on test phase; 7. The Hero Approach 8. The Hero faces fear by severe test 9. The Heroâ&#x20AC;&#x2122;s reward if he survives 10.The Road Back 11.Resurrection 12.Return with the Elixir

GET YOUR CERTIFICATE AS ROVING MUSEUM GAME DEVELOPER

RMGD

If you ever dreamt about being a Puppet Master now you got the chance.

Seven Elements of Digital Storytelling 1. Point of View What is the main point of the story and what is the perspective of the author? 2. A Dramatic Question A key question that keeps the viewer's attention and will be answered by the end of the story. 3. Emotional Content Serious issues that come alive in a personal and powerful way and connects the story to the audience. 4. The Gift of Your Voice A way to personalize the story to help the audience understand the context. 5. The Power of the Soundtrack Music or other sounds that support and embellish the storyline. 6. Economy Using just enough content to tell the story without overloading the viewer. 7. Pacing The rhythm of the story and how slowly or quickly it progresses.

Social Media Tools such as Instagram, Facebook, Pinterest, Twitter, WhatsApp, Vimeo are part of the Social Graph. Gamification plays a role in content development.

Chapter

DESIGN THINKING

WHAT THIS CHAPTER IS ABOUT

DESIGN THINKING To visualize the game concept 5.1 Designing the Game 5.2 The Journey Map 5.3 The Stakeholder Map

DESIGN THINKING OF THE ROVING MUSEUM The Roving Museum Game (RMG) bases its methodology on concept but applied to John Sweller and his “Cognitive Load Theory and Instruction Design”. The RMG idea, although complex per se is depicted with a re-presentation of a sub-way network. In this way the observer knows that the difficulties in managing new concepts (learning) will be over come, as he/she

is guided though the different stations. In addition the map is offering a good chance for roving around the concepts: one picked up at a time, does not eliminate the value of the other “stations” , and more important the map is the assistance tool for orientation. So the VISITOR/ traveler feels secure, as he/she knows that he may process the map gradually.

As everyone knows what a metro map is, the metaphor is 100% successful, as it lowers the extraneous load to zero, so that parallel processing of the working memory is kept at the accepted 250 millisecond.

In addition the germane load (new stations, In that require learning), is served by the different station boxes. "Short term memory is very well addressed thought the color combination and the guiding metro line. Long term memory helps reducing mental efforts as it uses prior knowledge (metro map) to master the concept map. Each line represents in a metaphor one component of the stakeholder map combining Game main

components such as the Hero, the challenges, clues, mission, tasks, gameplay, scenarios or Social Media tools that are used and implemented in a versatile way. Sometimes each station works a respository and sometimes as a touch point for another journey map. In a game design paradigm the solution is not locked away somewhere waiting to be discovered but lies in the creative work of the team as stated in the mind of creative Design Thinkers from where RMG takes these thoughts*.

Some concepts to visualize

Visitors are multicultural, multi-generational audiences, exploring in virtual environments novel information, potentially connected with their pre-understanding and prejudices. The war between familiarity and novelty, which The is both of emotional and cognitive nature-, may render the e-visit to an unsuccessful event. Therefore to manage and interpret information in a manner that enhances visitor experiences, conveying at the same time distinctiveness (novel elements), authenticity (original elements) and familiarity (common elements) in way that keeps the cognitive loads balanced is a crucial precondition. In order to create a mental bridge to selected phenomena, and make the novel seem familiar by relating it to prior knowledge in a much shorter time period and more entertaining way, information is re-structured according to principles of human cognitive architecture, such as eye scan path movements, the general

cognitive ability g, category learning, the ability to perceive information, retain and evoke mental representations and memory capacity. The basic process is a complex series of various cognitive procedures piled one over the other. Key stones in the planning process are: a- The plannerâ&#x20AC;&#x2122;s ability to master human cognitive mechanisms of acquiring and retaining information and b- The adaptation of scientific contexts through hermeneutical information processing and cognitive load management to a recreational learning environments. A limited working memory capacity to deal with visual, auditory and verbal material is presupposed as well as an almost unlimited long-term memory, able to retain schemas (mental representations) that vary in their degree of automation.

DESIGNING THE GAME Design Thinking /Service Design is the collaborative process of improving the economic, social, and environmental value that products and services can offer to customers. Unlike traditional design disciplines, service design employs a holistic approach to assess the demand, offerings, and strategies to deliver services across multiple touchpoints and channels over time. It looks at adding value for both users and providers by improving not only factors such as ease, satisfaction, and look and feel of services, but also the systems and operational processes behind them.

5.1 What IF we apply a business concept to develop the RMG model?

â&#x20AC;&#x153;Understanding the RMG model and analysing the current reality of the cultural consumption model which is a business modelâ&#x20AC;? IT IS A TIME OF HIGH SPEED PHYSICAL AND VIRTUAL CONNECTION AS WELL A RAPID SHARE OF THE INFORMATION ON THE PALM OF THE HAND.

The rationale of how an organization creates, delivers, and captures value. The starting point for any good discussion, meeting, or workshop on business/game model innovation should be a shared understanding of what a business/game model actually is. A business/game model can best be described through a series basic building blocks that show the logic of how the sector addresses the clients and the kind products and services they provide plus their vision of the market and needs of the region.

Questions to answer: 1.What is the actual cultural consumption model we want to shift? 2-What the new offer is? 3.How they operate? 4.How do they sell? 5.What do they sell? 6.What are the realistic needs and possible changes to be implemented? 7.What is the Impact of Relationship (IOR) with the prosumer? 8.Can we define a new Customer Journey Map?

“Service Design – designing a new approach in the cultural consumption model of the Roving Museum content. Shifting from static to dynamic model of services”

Questions to answer: Each player of the cultural/heritage sector serves one or several customer segments. 1. Which one the RMG serves? Each player has Value Propositions. He seeks to solve customer problems and satisfy customer needs with value propositions. 2. What is the RMG value proposition? These Value Propositions are delivered to customers through communication, distribution, and sales channels. 3. How the RMG delivers its value proposition? These channels create Customer relationships and these are established and maintained with each Customer Segment. 4. How does the RMG continue serving the cultural consumption after Project end? It is important for the sector to understand how this is changing and what causes the change 5. Do you address the change by implementing the change?

5.2

THE JOURNEY MAP The customer’s journey map is an oriented graph that describes the journey of a user by representing the different touchpoints that characterize his interaction with the service. The workshop develops both Journey maps to identify the touchpoints and analyzes their interaction that gives as a result the interaction or touch points of the services to improve both the cultural experience and prosumer’ experiences.

THE STAKEHOLDER MAP

5.3

Local Stakeholder Map is developed to involve local actors in the game. It also looks for answering these questions:

‣ CAN WE RE -DESIGN THE PUBLIC SPACE ? ‣ CAN WE DEVELOP A STIMULI OF INTERACTION? ‣ CAN WE CREATE NETWORKS NOT ONLY SPATIAL BUT ALSO SOCIAL? ‣ IF LOCAL AND VISITORS MEET IN THE COMMON GROUND, HOW WE CAN MAKE THEM

INTERACT AND MAKE THE HERITAGE VALORIZATION VALUABLE FOR THE BOTH OF THEM? ‣ CAN WE CONNECT THE HERITAGE DOTS IN ORDER TO PROVIDE A MORE COMPLEX EXPERIENCE THAT STOP THEDEFRAGMENTATION OF THE EXPERIENCE ?

and NOW THE CONCLUSION

SOFIA TRAINING SESSION

Chapter

SOFIA TRAINING SESSION SEE TCP Project SAGITTARIUS

Ref. No. SEE/B/0016/4.3/X Training Session Sofia, Bulgaria 17-18 December 2012

Workshop Facebook page Tap on the link to see the videos and photos

http://tinyurl.com/c5gbqbz

APPS CONFIGURATION

SAGITTARIUS partnership

configurating the apps in the iPads ‣ ‣ ‣ ‣ ‣ ‣ ‣

iBooks Twitter Pinterest Facebook Maps QR codes Instagram

TOOLKIT PRESENTATION

TOOLKIT-pdf downloaded

containing the following chapters: ‣ SAGITTARIUS project reloading ‣ The valorisation of cultural heritage ‣ The Social Graph that drove the change ‣ The Roving Museum Gamification ‣ Design Thinking

CASE STUDY ‣ Alexander Nevsky Cathedral ‣ Basílica of Hagia Sofía ‣ The Crypt of the Alexander Nevski Cathedral

The St. Alexander Nevsky Cathedral is a Bulgarian Orthodox cathedral in Sofia, the capital of Bulgaria. Built in Neo-Byzantine style, it serves as the cathedral church of the Patriarch of Bulgaria and is one of the largest Eastern Orthodox cathedrals in the world, as well as one of Sofia's symbols and primary tourist attractions. It is the second biggest cathedral located on the Balkan Peninsula after the Cathedral of Saint Sava in Belgrade. The Hagia Sophia Church is the second oldest church in the Bulgarian capital Sofia, dating to the 6th century. In the 14th century, the church gave its name to the city, previously known as Sredets. (Source: Wikipedia)

CASE STUDY The Crypt of the Alexander Nevsky cathedral features an exhibition of a large collection of medieval icons. The earliest of those dates from around the 9th century AD (Source: Wikipedia)

SEE TCP SAGITTARIUS PRIORITY 4: Development of Transational Synergies for Sustainable Growth Areas AREA OF INTERVENTION 3: Promote the use of cultural values for development

Chap t

GREECE

7 GREECE TRAINING SESSION

Cha

pter

LEAD PARTNER, UNIVERSITY OF THE AEGEAN, RESEARCH UNIT

SEE TCP Project SAGITTARIUS Ref. No. SEE/B/0016/4.3/X

Workshop Facebook page Tap on the link to see the videos and photos

https://www.facebook.com/pages/RhodesSagittarius/453166924740978

This document entails guidelines for the physical object of the SEE TCP Project SAGITTARIUS. It is co financed by the European Commission. The SEE TCP Project SAGITTARIUS includes partners from 8 countries: Italy, Greece, Hungary, Slovenia, Romania, Bulgaria, Croatia, Moldova funded by the ERDF, and IPA Instruments and the respective national contributions (15% of the Project budget). The overall project budget is 2.489.980,00 ! (ERDF contribution: 2.012.783,00 !; IPA contribution: 103.700,00 !). SAGITTARIUS is dedicated to the development and promotion of heritage entrepreneurships in the area of South East Europe. The Transnational Project will be implemented in 36 months and be finalized by February 2014. This document does not necessarily reflect the opinion of the members of the European Commission and the Team Leader of the SEE TCP . I n f o r m a t i o n o n t h e S E E TC P Pr o j e c t SAGITTARIUS PROJECT and projects can be found at http://www.southeast-europe.net/en/ projects/approved_projects/?id=136. The web side provides the possibility to download and examine the most recent information produced b y f i n a l i s e d a n d o n g o i n g S E E TC P SAGITTARIUS.

WHY THE FUTURE OF CULTURAL VALUE IS A SHARED EXPERIENCE?

Photographic Material of the Heroâ&#x20AC;&#x2122;s Journey & disruptive trends Courtesy by brian solis on a cc base.http://www.flickr.com/photos/briansolis/

F O E R U T U F WHY THE A S I E U L A LV A R U T L U C ? E C N E I R E EXP D E R A H S

The Speaking Objects Cultural Spaces Indelible Experiences Viral Dissemination

YOU ARE NOT LONGER THE HERO, BUT YOU CAN LEAD THE REVOLUTION

DONT ASK YOURSELF WHAT YOU CAN DO FOR YOUR ASSETS

BUNDLING

ASK THE ASSETS WHAT STORY THEY CAN TELL TO THE VISITOR SUPPORTED BY THE LOCAL STAKEHOLDER MAP

GIVEN A HALF A CHANCE, MANY PEOPLE WOULD LIKE TO LEAVE THEIR MARK ON THE CITY. TO AUTHOR IN SOME WAY WETHER THAT MEANS LEAVING NOTES TO FRIENDS, DEVISING THEIR OWN WALKING TOURS DEVELOPING IN SITU INFORMATION RESOURCES OR ANY DOZEN OF POSSIBILITIES

THE SOCIAL ENCOUNTER OR THE MOVING TARGET Sagittarius address two types of social encounter connected to the cultural valorization; random and planned. Every individual chooses one consumption experience from a set of consumption experiences. Subsequently, individuals have a series of pairwise social encounters. Consumption experiences have a direct private value to individuals, and an indirect or derived potential social value. Personal Social Experience is triggering the changes. that is realized (in part, or in whole) in their subsequent social encounters.

DISRUPTIVE TRENDS

This is the main core of the Disruptive Trends we are facing today.

SEE TCP SAGITTARIUS PRIORITY 4: Development of Trasnational Synergies for Sustainable Growth Areas

! ERDF PP9: KÁROLY RÓBERT COLLEGE, HUNGARY

AREA OF INTERVENTION 3: Promote the use of cultural values for development

! WP7: HERIDUCATOR: USING A PARTICIPATORY KNOWLEDGE PLATFORM TO GUIDE HERITAGE ENTREPRENEURS UNLOCK THE VALUES OF HERITAGE RESOURCES

SEE TCP SAGITTARIUS PRIORITY 4: Development of Transational Synergies for Sustainable Growth Areas AREA OF INTERVENTION 3: Promote the use of cultural values for development

DIGGING THE MINES MOAT, 1522

THE 8 OF EUROPE In 1465 Grand Master Zacosta divides the defense lines around Rhodes in battle stations according to nationalities. He assigns each national Tongue certain parts of the walls and the town. Each Tongue becomes responsible to maintain and defend the own battle post. In 1521 Rhodes possesses the strongest fortification of the Christian world. The Moat is 5 km long and 50 meters wide with 12 meters high walls. Much attention is given to keep it dry, trap and kill the assailants. Therefore fighting in the moat is particularly bloody. The battle posts around the Moat withstand two Ottoman sieges. In 1480 the ends victoriously and saves Europe from an Ottoman expansion. In 1522, during the second siege, 8 battle posts defend Rhodes: France, Germany, Auvergne, Spain, England, Provence, Italy, and Castile.

THE BATTLEPOST OF ENGLAND The tongue of England, between the Tongue of Germany and of Provence, defends the wall section along the Gates St. Athanasios and St. John. Grand Master de Lactic builds in 1444 the Tower of the Virgin to protect the battle post. In 1520 Basilio della Scuola arrives in Rhodes. The chief engineer of Emperor Maximilian II converts all existing towers into bastions. In 1522 Sultan Suleiman finds the tower of the Virgin surrounded by a polygonal bastion. It seems hopeless to capture it.

THE SWORDS OF EUROPE On the 4th of September 1522 two gunpowder mines explode under the bastion of England and bring down 12 meters of the wall. The enemy immediately assaults the ramparts and soon holds the gap. The English and German Knights under Fra' Nicholas Hussey hold an inner barricade. They are soon joined by Grand Master de l'Isle Adam. The Knights regroup and charge the Ottoman position. Led by Fra Jacques de Bourbon, they drive back the Janissaries and capture their standards. Twice more Mustafa Pasha repeats his assault on the badly damaged bastion of England and twice more the English and German brothers drive him back. The Ottoman army loses over 2.000 men.

THE SWORD OF 2 KING LOUIS GATE AMBOISE, 1512 THE ELECTION Émery d' Amboise is born in 1434 in the chateau of Chaumont-sur-Loire. His father is Chamberlain of Charles VII and Louis XII. His brother is Cardinal and Minister of King Louis XII of France. Émery serves the Order as Treasurer and Commander of the Galleys. On the 10th of July 1503, he is elected Grand Master. On his departure for Rhodes, King Louis XII gives him the sword of the Crusader King Louis the IX, known as ‘Louis the Saint’.

QUEEN OF THE SEA 100 cannons, 40 m. long, 12 m. wide, 5 decks, 1 bakery, 1000 sailors. That is MOGARBINA, the pride of Egypt. Outside Crete, one of the Order’s galleys, armed to the teeth, is lying in wait for her. The galley’s mast barely matches the height of MOGARBINA’s poop deck. 3 times the galley’s Captain Fra Gastineau asks the Egyptians to surrender. 3 times the Egyptian Captain laughs aloud from his bridge. The fourth time the cannon ball hits him right between the eyes. It is the Order’s biggest spoil ever. The receipts from the ship, renamed to SANTA MARIA, help building the fortifications that continue in a frantic way.

THE TWISTED GATE Two large round towers support the scarp wall: the most impressive gate of Rhodes from a military viewpoint is built in 1512. The Arms of the Order of Saint John and Grand Master Amboise are walled on the curtain between the round towers. Gate Amboise is designed to face the Ottoman canons and protect the access to the city. The Gate leads to the Collachium, the heart of the administration. But even if the enemy reaches the outer gate, he cannot access the city. Grand Master Amboise modifies the design of the ramparts so that 3 gates defend the city: A bridge with arches crosses the moat and is leading to the outer gate. An arched entrance follows. Then gate St. Antony Gate leads to the Grand Master’s Palace. For this reason, the Ottomans call this system ‘Egri Kapi’ (twisted doors).

BEST SELLER BOOK GRAND MASTER PALACE, 1481

DAISIES IN THE WALL Around 6.000 people live in the walls of Rhodes. The Knights inhabit the Collachio, the enclosed space of the town with all major administrative establishments. Civil population lives in the lay part of the city, the Borgo. The Byzantine acropolis on the hill becomes the Grand Master’s Palace: 80*75 m. around a central outdoor courtyard 50*40 m. Kitchens, warehouses, stables are in the ground floor. Council Chamber, Dining Room and Chapel and the private apartments of the Grand Master called daisies, are upstairs. The Palace is the administrative center of the Knights and last line of defense in war time.

THE GREAT SIEGE OF RHODES On the 23rd of May 1480 an Ottoman fleet with 160 ships appears before Rhodes. It is carrying 70.000 men to fight against 500 knights and 2.000 soldiers. The enemy plan is simple: the town will be encircled and the access to the sea disabled. The defenders run out of supplies, the infantry attacks the sea wall. In July Grand Master Aubusson is leading the counterattack at the Tower of Italy. He is 60 years old and is wounded five times. The battle in the Italian sector is decided in 3 hours. 3.000 Ottoman soldiers, who invaded the town, are hacked to death. The enemy withdraws on the 17th of August 1480 leaving 9.000 dead and 15.000 wounded.

EYE WITNESS AND AUTHOR The Frenchman Guillaume Caoursin, Chancellor of the Order, writes the manuscript, which he is remembered for: THE SIEGE OF RHODES. The illustrated description becomes a best seller. Between 1481 and 1489 the book is published in Venice, Ulm, Salamanca, Paris, Bruges and London. A special edition of the book is given to Emperor Frederick III. In the Council Chamber of the Grand Master’s Palace, Caoursin presents his book to Pierre d’Aubusson, Grand Master of the Knights Hospitallers, Victor of the Ottoman Sultan Mehmet II, Cardinal and Papal Legate for Asia.

EXPLOSION 4 ST. JOHN OF THE HOSPITAL, 1310 SYMBOL OF POWER The foundation stone of the Conventual Church of St. John of the Hospital is laid on the feast day of the patron saint, on the 24th of June 1310. St. John is connected to all religious and political activities and major ceremonies of the Order State. St. John witnesses the regular general meetings of the Order every five years, elections and burials of Grand Masters and dignitaries. St. John is located on the highest point of the Medieval Town, opposite the Palace of the Grand Master. It is a basilica, which blends Gothic and Romanesque styles. The bell tower serves as a watch tower patrolling the coast.

BLOW OF FATE On the 24th of December 1522, while everybody is in church, the Ottoman troops rush Rhodes, beat and torture the people to reveal hidden money and valuables. Violence and rape are rampant, not even hospital patients escape from brutal treatment. Churches are cleaned out, holy relics are destroyed and defiled. Hoping to find buried treasures the Ottoman soldiers destroy the graves of the Grand Masters. Soon after, Sultan Suleiman converts St. John into a Mosque, which is the fate of many other churches.

LAST WITNESS In 1825 the Belgian Colonel Rottiers and his painter Witdoeck stay in Rhodes for 5 months to study the medieval monuments. The book is published in 1830 in Brussels and becomes an international bestseller. Rottiers is the last Christian traveler, who saw St. John. In 1856 a gunpowder magazine underneath the bell tower is struck by lightning and explodes. It is rumored that the gunpowder is stashed there by the Orderâ&#x20AC;&#x2122;s Chancellor Amaral, who betrayed Rhodes to Suleiman. A copy of St. John, in Liberty Square, at the harbor of Mandraki, is built after 1930 by the Italian administration. It is again a gothic basilica where byzantine and gothic elements blend: The Church of the Annunciation of Virgin Mary.

TRIUMPH STREET OF THE KNIGHTS, 1309

COBBLE STONE CARPET The feet follow the eyes that carry on enchanted. I hurry to decode all the coats of arms from the left to the right, from the right to the left. The Inns of the Knights stand in a row, cutting the sky. I am flying on the cobble stone carpet like a messenger. I am secretly looking through half-opened doors, windows and ramparts. Hold your breath! Can you hear the horses? AUTHOR: Eirini Della. FROM: Rhodes. PROFESSION: Writer. AGE: Ever Young.

THE EIGHT OF EUROPE

In 1309 Rhodes becomes home to the warrior monks, the Knights Hospitallers. The Order attracts Knights from all over Europe. Latin, French, Italian and Greek are spoken and written. An internal wall divides the town in two parts. The Knights build all major establishments in the northern part, the Collachio. The Street of the Knights hosts the assembly places for each nationality. Knights from France, Germany, Auvergne, Spain, England, Provence, Italy, and Castile are committed to defend Rhodes. Each Tongue is responsible for maintenance and defense of the own battle post. The Order State is the triumph of defending an island with a minimum of men and money. The Street of the Knights is the heart of this triumph.

THE WINDOW In 1436 the French Knights dispute with the Italian Knights. The reason is the new window at the Inn of Italy. The French say that through this window the Italians can watch their activities. The Italians say that they cannot live in a house without air and sun. The Council decides that the Italians cannot be deprived of common goods like air and sun, which all people enjoy. Therefore they may build their window, opposite of which, the French Knights may build another structure, but not in the free space between the two Inns. A multiethnic and prosperous society with good governance is not a myth. It is the Hospitaller achievement.

EXPENSIVE 6 CAPTIVE HOUSE OF PRINCE CEM, 1481 HOSPITALITY After the death of Sultan Mehmet II the Grand Vizier sends messengers to his sons, Cem in Konya and Bayezid in Amasya to claim the throne. While the messenger to Cem disappears, Bayezid is declared Sultan on the 21st of May 1481. Civil war begins. Cem to Rhodes defeated. Grand Master Aubusson starts building a house for the Prince. For 13 years Bayezid pays the Hospitallers an annual fee of 45.000 ducats to keep Cem from pressing his claim to the Ottoman throne. With Cem in Christian hands an Ottoman invasion is out of question. *The market power of a 3,2 gram golden ducat equals today to about 200 !.

TURKISH PLAY BOY Cem lives now in grand style with Turkish entourage, as celebrity captive in Rhodes, France and Italy. He sails for France on the 1st September 1482. In Nice, where he is going to balls with beautiful women, he composes the couplet: What a wonderful place is this city of Nice A man who stays there can do as he please! In Bourganeuf, Limousin, place of descend of Grand Master Aubusson, Cem lives for 5 years. He inhabits the prison-like thick-walled tower , protected by Guy de Blanchfort, Aubussonâ&#x20AC;&#x2122;s nephew. Bayezid pays Pope Innocent VIII to keep Cem in Rom. The sum is equal to the annual papal revenue of all sources combined. Has Cem met Lucrezia Borgia on Rom? The painting of Pinturrichio in 1494 with Cem and Lucrezia provokes questions!

POISONED SHAVING BLADE

In 1945 1he Gatekeeper of Sultan Bayezid travels from Istanbul to Capua. In his luggage he carries a poisoned shaving blade. "n the 25th of February the 36 years old Cem dies. Sultan Bayezid declares national mourning for 3 days. Attempts to receive more gold for his corpse go on and his remains return to Bursa only 4 years later. In 1522 Cemâ&#x20AC;&#x2122;s eldest son Murad and his two sons are brought before Sultan Suleiman in Rhodes. Their fate is sealed.

EYE WITNESS THE GREAT HOSPITAL, 1437

THE WILL OF ANTONI FLUVIÀ In 1437 Grand Master Fluvià donates 10. 000 golden florins* to build the Great Hospital. The task completes Grand Master Aubusson in 1489. It is a modern hospital: it receives both sexes, independently of creed, origin and social class and regulates public health. It is a welfare institution: Daily and weekly food is distributed to indigent persons. Amended clothes and shoes are given to the poor. Low income couples receive a wedding present. 12 dinars gets each man coming out of jail to start a new life. *1 Rhodian golden florin weighs 3.2 gram of pure gold and is worth about 200 EUR.

THE OATH Hospital staff is under oath: indigence-purity-obedience. Gifts are forbidden. Medical education is certified. Employed are doctors, midwives and wet-nurses. Brothers of the Order act as orderlies and priests. Doctors are paid 250 and surgeons 120 florins yearly. About 7.000 florins is the annual Hospital budget, not including costs for lepers, nurses and orphans. Medicine is for free. Pharmacists who sell inferior drugs or unskilled compounding are imprisoned. There is a maternity wing and a crèche for orphans. Newly born sleep in small cradles to free their mothers from broken sleep. Amputated patients receive certificates that are not criminals.

SILVER FOR RICH AND POOR In the ground floor are store houses, the water tower, 8 shops which pay rent to the Hospital. A large staircase leads to a 51*12.25 m. big patient ward, where a fireplace warms the sick. Each patient gets a servant, a separate bed, a woolen hat, a fur-lined coat and slippers. Linen sheets and covers are changed 3 times a week. There is a lavatory by each bed. Doctors check patients twice a day and prescribe special diets which are properly followed. To ensure hygiene patients are served on silver dishes and cutlery. They wash, confess, take the Holy Communion and write their will in front of the Chaplain and Scribe. They are silent and desist from playing cards and dice. Rules are written on a parchment suspended from a chain in the patient ward. Surgery, pharmacy, dining room and kitchen reserve large apartments on the upper floor. Very important patients have own rooms with fireplaces. All kinds of herbs are cultivated in the garden. *Testimony of the Czech Pilgrim, 1493

THE FLOCK LADY OF THE CASTLE, 1309

THE MONOPOLY The Lady of the Castle was the Greek metropolitan church. It lies strategically at the foot of the Street of the Knights, within the fortified Collachio, at short distance from the Palace and the Conventual Church of St. John. It is the optimal choice for the Latin Cathedral. The Church is transformed from of a Byzantine building into a seemingly Gothic one. The archbishop has no jurisdiction over the Hospitallers. His flock is from Western Europe and lives in the Burgo: merchants, manufacturers, bankers, ship-owners. The Venetian Silvestro Mauroceno, who lends money to the Order without interest rate, becomes head of the State Soap Factory in 1437. The Genoese Antonio Cataneo, who lends in1442 to Grand Master Heredia 3.000 florins, receives in return land for 58 years.

AND A FASHION BUSINESS In 1445 the Order grants permission for the monopoly of sugar to the Martini brothers for 4 years. In 1448 Grand Master Lastic permits to the Catalan ship owner Beltram and his North African merchants on board to commerce in Rhodes enjoying the benefits Christian merchants do. Of special value to the defense is the bow factory of Ugo Poggetti: ars ballistarum. In 1437 Grand Master Fluvià rewards Pogetti with land. Antonio Villadana from Cremona launches in Rhodes a fashion business: Ars fustanorum is the ready-to-wear factory of men’s and women’s clothes that starts operating in 1439. The Order forbids import of clothes to protect this business from competition for 5 years. After Villadana’s death Marco Osio from Bergamo operates the successful enterprise.

FLORENTINE CREDIT BANK All the money from the Order’s real estate in Europe flows to Avignon. The Florentine bankers de Medici manage the deposits. The letters of credit with the seal of the Order are drawn in Rhodes and cashed in Avignon. Not to return as bad checks and harm State reliability, the bankers pay interest 1 to 4: they lend 4.000 ducats and owe 5.000. The Order pays the difference at the earliest opportunity. Rhodes becomes an Eldorado of commerce and economy.

MEDECINS SANS FRONTIERES FIRST HOSPITAL, 1356

SLAVERY Slavery in the Muslim world was not race but religious slavery. Slaves are infidels and deserve any cruel punishment their masters can think of. As at least 80% of those captured by Muslim slave traders die before reaching the slave markets. Slaves are so plentiful and inexpensive that owners work them to death and buy replacements. The price per slave head falls so low, that buyers exchange a Christian for an onion. While the Atlantic slave traders’ harvest is about 12 million, the Muslim slave trade in Africa exceeds140 million black Africans.

BLOOD TOLL Between 1530 and 1780 about 1,5 million white European Christians are enslaved by the Muslims of the Barbary Coast. Piracy forces Spain and Italy to turn away from the sea and to lose their traditions in trade and navigation. Churches are desecrated and bells stolen for the value of the metal and for silencing the Christian voice. Slaves destined for the Muslim Middle East and Africa were for labor, sexual exploitation and military service. Young African boys are used to create eunuchs, where only one of ten survives the mutilation. Children born to female slaves are killed at birth. The Ottoman Turks introduce to enslaved nations the child-levy to recruit their army.

THE SUPREME COMMAND The Knights Hospitallers retain the charitable and medical function that root in their rule until tod9y: servicing the sick is the supreme command.With an enriched medical knowledge after 200 years in the Holy Land, the Hospitallers offer high quality medical services in times where human rights are not respected. Instead of merely preparing the soul to die, the Hospital cures and restores the sick. It receives both sexes independently of creed, origin or class. It cares for the needy and poor. The First Hospital is built by Grand Master de Pins (1355-1365). His arms are walled on the façade. During the earthquake of 1364 and the plague that followed de Pins offers his own fortune to assist the sick and the poor. He earns the name “Charitable”. Replaced in 1489 by the Great Hospital, the Old Hospital is used as Arsenal of the Knights.

THE DRAGON SLAYER ARMORY OF THE KNIGHTS, 1420

THE DRAGON In 1332 an enormous creature devours in Rhodes sheep and cattle, and young shepherd boys. It is covered with scales impenetrable to arrows and cutting weapons. Several knights try to slay the creature, and none of them returns. Grand Master Villeneuve forbids all attempts to attack it, but a knight is not willing to obey. He goes in quest of the dragon and returns without striking. He observes its tremendous teeth and the furious strokes of its lengthy tail. He finds out that the scales do not protect the beast’s belly. In his father's castle, in Languedoc, Knight de Gozon orders a model of the dragon to be made. The model’s belly is hollow and filled with food. He trains two fierce dogs to attack it. Himself, mounted on his warhorse, attacks the strange shape without swerving. Gozon returns secretly to Rhodes to carry out his plan. He orders his two French servants to return home if he were slain.

THE TROPHY Gozon rides down the hillside to haunt the dragon, but his horse starts back forcing him to leap to the ground. The dragon is turning upon him, with his undefended belly exposed. The dogs attack the belly while Gozon strikes with his sword. The servants find him in his armory lying under the carcass of the dragon, but alive. Grand Master, after Villeneuve, Gozon is much beloved by the people. The dragon’s head, on display until a hundred years ago, was the skull of a large crocodile.

THE MAGICAL NUMBER The Hospitallers owe their military prominence to superior training and equipment. The Armory is a functional military storehouse to serve the needs of the Order. The oldest building of the Knights in Rhodes, the Armory is built in the area of the Arsenal with its stores and shipyard by Grand Master de Milly (1454-1561). His arms are walled on the main entrance. Initially designed to accommodate large objects like masts of ships, it is rebuild by Grand Master degli Orsini (1467-1476) to better withstand the development of siege warfare after the advent of gunpowder. The weight of a knight’s armory is not heavier than a suitcase: 20 kilograms.

JUSTICE CASTELLANIA, 1507

CRIMES OF PASSION Murder is a crime that leads to the death penalty, especially if not committed for reasons of self-defence. On the 20th of October 1433 Grand Master FluviĂ acquits the caulker George Kokkinos, who has mortally wounded the Rhodian citizen Cosmas Crussochiris in a fight. Ludovico de Galbis, draper of the Order, nobleman de Conpyes and Knight de Gouffry testify that the act is not pre-meditated and the defendant is set free. On the 22nd of May 1442 Grand Master Lastic acquits Michael Turquomano from Rhodes, who killed his wife, because she provoked many scandals. It is proved that Michael was a good citizen and has not premeditated the murder.

MERCHANT OF VENICE Quirini, the Venetian Admiral of the Order, has his own shipyard and rents the ships for commercial profit. He trades with the enemy for profit. He buys soap, sugar and pepper from pirates, who have seized the goods from Rhodian ships! On the 1st of February 1449 Grand Master de Lastic is outraged: the Admiral denies food supplies to the Knights in Petroumi, the only bastion of the Christian world in Asia Minor. Lastic is sending, the Castellan of Amposta, John de Villalba, to Kos to find out, if Quirini has obeyed his order to supply Petroumi.

THE PENAL COURT Castellania, the penal Court lies in the middle of the medieval market. On the ground floor survive two arched warehouses and a gallery with cross-vaults. The broad staircase leads into the first floor and the terrace. The arms of Grand Master Amboise are on the walls. There is a strong similarity between Castellania and the Inn of France in the Street of the Knights. Has Grand Master Amboise built both buildings using the same masons? Judges have university degrees and postgraduate education. However, questioning the Orderâ&#x20AC;&#x2122;s authority is not tolerated: In 1490, to avoid a blow, the Greek Rhodian Anthony Mavros, holds the hand of the Castellan of Trianda. Attached to a wooden framework erected on a post, with holes for securing the head and hands, exposed to public mockery, Mavros receives100 lashes by the bullwhip, goes to jail for two months and is degraded to the class of metics, just a step above the slave.

ADMIRAL IN LOVE ADMIRALTY, 1451

RUN AWAY To defend an island with a minimum of man and money, the Knights of St. John use slave labour to build walls and oblige the local middle class, called marinarii, to serve in the Order’s galleys. But life in the galleys is abysmal and locals try to escape the duty leaving Rhodes for good. To stop depopulation on the 3rd of August 1333 Grand Master Fluvià exempts Rhodian marinarii for 10 years from the obligatory galley service. Exempted men offer in return a slave and 25 golden florins*. *The 3.5 grams pure fine gold florin’s buying value is estimated today about 200 EUR.

DIRECT LINE Rhodians are often replaced by poor Cypriots who try to make a living rowing in the galleys. The social status of the marinarii is inherited to their descendants in direct line, making it difficult to socially rise. All marinarii are enrolled in the Fleet’s Registry, at the Admiralty close to the port.

BERNARDO AND MAGDALENA He is the Admiral of the Fleet of the King Alfonso of Aragon. She is a marinaria. On the 31st of March 1451, Admiral Vilamari intervenes to Grand Master Lastic to exempt Magdalena, daughter of Antonina Macheda, from the class of marinarii. The exemption applies to all her male and female descendants in direct line. Quirini , the Admiral of the Fleet, is immediately notified not to disturb Magdalena. Oh, Magdalena, nothing like the saint you are, Your love is like a razor, my heart is just a scar. The “Admiralty” is erroneously given its name in 1825. The religious symbols and inscriptions in Greek language on the façade lead us to think the Renaissance building might have been the Greek Bishop’s seat rather than the Admiralty.

RACHEL GRANADA JUDERIA, 1426

THE SIDDUR MANUSCRIPT The Siddur is a prayer book, written in Aramaic. It verifies Jewish presence in Rhodes prior to the Inquisition. In the 12th century Benjamin of Tudela finds 400 Jews in Rhodes. Expelled by the Spanish Inquisition Jews come to Rhodes. The Jewish quarter is next to the city wall near the port. In the siege of 1480 the houses are torn down to reinforce the wall, and the fighting reached the synagogue before the Ottoman retreat. In recognition of their bravery, the Jews are allowed to rebuild their synagogue. The earthquake in 1482 destroys again the Jewish quarter. In 1488 Badiah Bertinoro finds only 22 Jewish families in Rhodes. The families are living in poverty, mainly on womenâ&#x20AC;&#x2122;s earnings, which are very skilled in making silk clothes.

EXILE Under the pretext that Jews are corrupting the morals of the young, the decree of the 9th of January 1502 issued by Grand Master Aubusson orders all adult Jews to baptize. Or to leave with their belongings for Nice, in order not to settle in Ottoman territory. Aubusson dies in 1503 and the decree was not fully enforced. Nevertheless the Jews of Cos were exiled to Nice. In the next 20 years about 3.000 Jews captured by the order's ships, were brought to Rhodes, to work as slaves on fortifications. In 1511 Simeon Granada forms a battalion of 250 Jews that display great valor in the Italian bastion. It was Rachel, his wife, who discovers the treason of the Orderâ&#x20AC;&#x2122;s Chancellor Amaral to Sultan Suleiman.

10TH OF JULY 1944 In July the 10th 1944, the German occupation forces arrest and send 1673 Rhodian Jews to concentration camps. Only 153 survive. To honour the memory of Rhodian Jews the central part of the Medieval Town is named to SQUARE OF THE JEWISH MARTYRS.

THE TREASURE OF 14 THE VERGIN OUR LADY OF THE BURGO, 1522 THE REUNION Built by Grand Master Villeneuve (1319-1346), the largest Latin Church, Our Lady of the Burgo, is located in the lay part of the Medieval Town, at the market place. 30*14 meters long and wide, the gothic cathedral has 3 aisles and 2 arcades created by 4 columns and pointed arches. It is destructed in the siege of 1552. In 1828 the church is in ruins and houses are built upon them. In 1930 housing is pulled down. In 1955 Alhadeff Street and the port split the church to connect. In 1996 the church parts reunite and the EUROPA NOSTRA prize crowns the restoration in 2006.

500 SILVER COINS The excavation of the largest Latin Church in the Medieval Town revealed a chapel with over 30 skeletons in a mass grave. The hurried nature of the process is evident from the position of the skeletons, piled one over the other, showing complete lack of post-mortem care. A purse with 500 silver coins is found on the waist of one skeleton. 5 European coins from Milan, Venice and Rhodes between 1476 and 1521 are part of the treasure. 464 Ottoman coins between 1481 and 1522 cover the reign of the great grandfather to great grandson: Mehmet II, Bayezid II, Selim I and Suleiman.

THE TREASURE OWNER The siege of 1522 explains the disturbed conditions responsible for the mass burial. The purse owner must be a Roman Catholic to be buried in the largest Latin church of Rhodes. The Ottoman coins indicate that he arrives in Rhodes from Ottoman territory in 1522. Most of the coins are minted in Novar in Serbia and Constantinople. The treasure is developed between the reign of Selim I and just after Suleiman became Sultan. But where? And who is the owner? A merchant with strong links to Asia Minor and the Balkans or a double agent? If so, he must have left Constantinople in a great hurry as he knew that Suleiman was planning to attack Rhodes. The answers must be thrilling!

ROOM WITH A VIEW HOSPICE ST. CATHERINE, 1391

THE INVITATION

We arrived in Rhodes on the 15th of June 1469. The port enter merchant ships from Italy, Spain, Aragon, Sicily, Syria, Egypt and vessels of the Grand Turk, only of they pay the chain tax. I count 16 windmills grinding day and night! We set for our hospice, Santa Caterina, three steps away from the port. Master Roberto is joining there noble pilgrims returning from Holy Jerusalem. We receive an invitation from the illustrious Grand Master Orsini. We shall meet at the Mass in the Church of our Lady of the Burgo, very close to Santa Caterina. From there we go to the Inn of the Italian Brothers, to eat and discuss the news.

THE INHERITANCE

I settle in the ground floor, to keep close to the store rooms and the well and buy provision in the five shops that Santa Caterina has. A large staircase leads to the upper floor, where the Master resides. Heavenly scents arise from the big kitchen that is up there. The Master’s room has a painted ceiling, a large fireplace and a luxurious bed. His window shows to the lovely garden. All around Santa Caterina are beautiful gardens and rich houses. The shopkeepers tell me that Admiral Allemagna built Santa Caterina in 1391. The Admiral, bless his soul, was very rich. He left windmills and other properties for the upkeep of the noble hospice.

THE WHISPER

I cross the street towards the Magna Platea to buy at the market Rhodian sugar and soap, the best in the word. I carry 30 ducats with me and a knife as I know how some look pious and virtuous but are not. The merchant is Greek and asks 13 ducats for a quintal. I deposit the sum and take the receipt. I ask how things stand with Sultan Mehmet after the fall of Constantinople. The merchant whispers that “the illustrious Grand Master called Jean de Bourbon, who fought the English with King Charles VII. Bertrand de Clouet, Grand Prior of France, is here. Commander Aubusson is rebuilding the walls. Rhodes is rich. The Grand Turk is looking to it. God bless the souls of those who shall fight to protect us …”

SAILOR OF FORTUNE PORTA MARINA, 1401

3 DUCATS A MONTH In 1401, at the age of 16, Michael of Rhodes signs onto a galley as an oarsman in Manfredonia. For 3 ducats* a month he rows during calms, at port entrances in battle with an oar 8 m long and 60 kg heavy. For 6 years he lives in abysmal conditions, exposed to weather, backbreaking labor and death risk. He sails 43 times in the war and merchant galleys of Venice. He rises in the ranks, from oarsman to armiraio, the highest rank a non-noble has in Venetian service, with a dozen galleys and many smaller ships under his command. He takes part in 5 major sea battles serving legendary captains of the fleet as Carlo Zeno, Pietro Loredan and Andrea Mocenigo. He fights the Ottomans, carries a papal delegation, navigates the Mediterranean and the Atlantic to Flanders and England. He loses two wives and a son while away at sea. * Lbout 400 EUR today. The golden Venetian ducat weighs 3.545 gr.

A CARGO OF PEPPER Rhodes is the port for the luxury trade from Asia to the West. Pepper is one of the expensive commodities traded by Venice. "If 181 kg of pepper is worth 49 ducats, what is the value of 142 kg?" Michael concludes that 142 kg of pepper is worth 38 ducats, 23 denari, and 17 piccoli using mathematics. In 1434 Michael writes the manuscript for which he is remembered: a book about mathematics, navigation and the world’s first known treatise on shipbuilding. After his final trip to London in 1443, he never sails again. In 1445 January the 28th, Michael receives his pension: 1 of the 11 available posts of Stadiera, the official weighing station of Venice.

GRAND ENTRANCE Built in 1478, Porta Marina, the Sea Gate, is the main entrance to the Medieval Town from the harbour. Porta Marina is part of the general plan to strengthen the defences against an Ottoman attack. The reduced space between the waterfront and the walls does not allow an enemy to establish a camp and launch an attack. Port Marina is Pierre d’Aubusson’s symbolic work of art.

HIGH TREASON BASTION OF AUVERGNE, 1522

CONFRONTATION August the 10th 1510, Bay of Alexandretta: Andrea d’ Amaral, Tongue of Portugal, Grand Chancellor quarrels violently with Philippe Villiers de l’ Isle Adam , Tongue of France, Captain of the Galleys. It is about how to attack 22 Mamluk ships. The opinion of lsle Adam for an open sea battle prevails. The Knights win a victory, 11 vessels are towed to Rhodes.

REVENGE Until 1437 the gate St. George leads directly from the countryside to the market place. Grand Master Aubusson blocks up the gateway and converts it into a strong bastion in 1496. Basilio dalla Scuola, chief engineer of Emperor Maximilian II makes the Bastion of Auvergne impregnable. In January 1521 Phillipe Villiers de lQ Isle Adam is elected Grand Master. Chancellor Amaral, who lost the election for few votes, swears that Philippe will be the last Grand Master. Suleiman arrives on the 26th of June 1522 with 400 ships and 200.000 men. 300 knights and 6.500 men-at-arms defend Rhodes.

BETRAYAL In November Blas Dias, the servant of the Chancellor Amaral, is caught in the battlements of Auvergne to shooting messages at the enemy’s camp. Little sheets of papers, wrapped around arrows are saying that ammunitions run out, defenders are discouraged and Suleiman shall not leave. The treachery discovers Rachel, wife of Simeon Granada, the Commander of the Jewish Battalion. Blas Dias is hung. Amaral denies his guilt. In the Cathedral of St. John Chancellor Amaral is stripped of his habit and honors. On November the 15th he is beheaded in public. His head is stuck on a pole on the top of the tower St. George. His body is quartered as it fits all traitors and decorated the bastion of Auvergne, the tower of Spain, the walls of France, the tower of Italy.

DISAPPEARENCE TOWER OF ITALY, 1516

COLD STEEL, 1480 On the 23rd of May an Ottoman fleet of 160 ships and 70.000 men appears before Rhodes. 500 Knights and 2.000 men-at-arms defend the town. In June the enemy cannons have inflicted heavy damage to the tower of Italy. On the 27th of July 3.000 Janissaries, the ĂŠlite of the Ottoman troops, enter the town. They launch an assault which is fought with cold steel. Grand Master Aubusson, 60 years old, is leading the counterattack and is wounded 5 times. The battle in the Italian sector is decided in 3 hours. 3.000 Ottoman soldiers are hacked to death. On the 17th of August the Ottoman forces withdraw leaving 9.000 dead and 15.000 wounded. Sultan Mehmet II, dies right after the bitter humiliation due to a fit of rage at the news.

RECORD BREAKING The siege in 1480 and the earthquake in 1481 have severely damaged the fortifications. Rhodes cannot withstand a new siege. The Knights mobilize all resources to rebuild in a record time a solid defensive line. Grand Master Carretto armours the Tower of Italy with a bastion to hold cannon emplacements. Built after the advent of gunpowder, the bastion has a magnificent backhand washer for the fire and an angled curtain. To reimburse the owners of the demolished houses the Knights spent 4.104 florins. *1 golden florin is about 200 !.

LAST PAYMENT Basilio dalla Scuola from Vicenza, chief engineer of Emperor Maximilian II, is sent in Rhodes in 1520. He applies the most advanced techniques to the old layout. He is converting all existing towers into bastions. He deepens the moat and strengthens the walls of the counterscarp, which becomes a third wall. Basilio receives 400 ducats* by the Spanish Emperor Charles V and leaves Rhodes in 1522. From this moment his traces are lost forever. * about 80.000 EUR

ANASTASIA TOWER OF SPAIN, 1522

SULEIMAN Sultan Suleiman, King of Kings, Ruler of the Rulers, Supreme Emperor and Master of the Seas, is stuck in front of the walls of Rhodes for 4 months. Suleimanâ&#x20AC;&#x2122;s last order to the Janissaries is to take Rhodes. The Sultan promises to the Janissaries promises 3 days of plundering. Retreat is out of the question.

CHANGING HANDS On the 24th of September 1522 the general attack begins, lasting from the dawn until the late afternoon. The corpses of 15.000 Ottoman soldiers turn red the soil. The Janissaries scale the Tower of Spain and fortify themselves there. Now the Knights must besiege their own tower. During the day the tower of Spain changes hands twice. Suleiman calls off the attack and condemns Mustafa Pasha to death for his failure to take the bastion. His life is saved only through the appeal of other generals.

ANASTASIA Rhodian women are at the forefront. They run to every side of the battle with bread and wine. They throw rocks and boiling water to the enemy over the walls. They are wounded and killed. Dressed in the armour of her dead husband, Anastasia is fighting in the tower of Spain to the end. First she kills her two children not to fall in the hands of the Janissaries, for the fate of Christian slaves is horrible. Then she hurries against the enemy with her sword until she falls on the besieged battlements of her home. Outside of the Palace of the Grand Master a commemorating plaque is telling the story of Anastasia.

SAILOR JERVIS FORT ST. NICHOLAS, 1480

THE CHAIN TAX Grand Master Zacosta builds in 1464 at the end of a natural mole a tower to guard the military harbour of Rhodes: tower of St. Nicholas. The tower is co-financed: 10.000 escudos grants the Duke of Burgundy, Philipp III, the Good. The rest comes from the chain tax that Zacosta imposes on foreign merchants: 2% on all imported goods. Unless it is paid the Harbor Chain does not come down and the ship does not enter the Commercial Port of Rhodes.

THE PLAN OF MESIH PASHA On the 23rd of May 1480 the Ottoman army arrives in Rhodes with 160 ships and 70.000 men. 500 Knights and 2.000 soldiers defend Rhodes. The enemy plan is simple: the City will be encircled and the access to the sea disabled. The defenders run out of supplies. Then the Ottoman army attacks the sea wall, which is the weak point of the defence. First St. Nicholas is mercilessly bombarded. Then the Ottomans assault the tower. The sea turns red by the blood of the wounded men. Actions against the enemy are performed every night. Small bands of Rhodians are sent out from secret passages to short and quick hacking missions. The enemy is not inactive: A spy was caught last minute before poisoning the food of Grand Master Aubusson.

THE PONTOON BRIDGE With boats and barrels the enemy builds a pontoon bridge with a line fixed at one end. The line is dropped into the water and, guided through the ring of an anchor, is secretly fixed on the rocks around the shore. By pulling this line from the opposite shore the bridge would stop at the rocks and the Ottoman troops would jump on the shore. On the night of the 17th of June 1480, just before the operation is launched, an English sailor dives unobserved in the sea water. He cuts the line holding the bridge which drifts away from the shore to the open sea with all the enemy troops on it. History kept the brave sailorâ&#x20AC;&#x2122;s name: ROGER JERVIS.

WHAT HOW WHY GRAND MASTER CHALLENGE GAME http://www.pinterest.com/seesagittarius/lead-partner-developing-a-game-prototype-in-the-me/ http://www.pinterest.com/seesagittarius/lead-partner-rhodes-game-testing-in-the-medieval-t/ http://www.pinterest.com/seesagittarius/lead-partner-presentation-of-the-stakeholder-map/

SEE TCP SAGITTARIUS PRIORITY 4: Development of Transational Synergies for Sustainable Growth Areas AREA OF INTERVENTION 3: Promote the use of cultural values for development