**1. Introduction**

Gamification, as detailed throughout this publication, is a diverse and multifaceted process, which can be applied to many if not all areas of society and industry. The focus here is on the field of the Arts, and more specifically in cultural spaces, such as Art Galleries and Museums. This context offers much to a prospective scholar of gamification; willing audiences, compelling objects and spaces to unveil and hidden narratives to expose [1, 2]. This book chapter explores the development and delivery of a gamified, augmented reality smartphone application called TNAR (Temple Newsam Augmented Reality). The application, being educational in focus and site-specific in nature, was situated within Temple Newsam, a stately home on the outskirts of Leeds (UK), often referred to as the Hampton Court of the north. Here,

the intention was to develop gamified mechanics to not only motivate and maintain user engagement, but also to be the vehicle for the delivery of the educational content, thus being at once the medium and the message.

In order to develop and deliver the TNAR application, and subsequently to assess its efficacy, a number of areas are considered. Initially, a consideration of gamification as a means to motivate engagement and the characteristics of gamification that are perceived to foster this motivation will be undertaken, reflecting upon the dichotomy between the mechanistic and experiential perspectives [3] (Sections 2). Following this, an exploration of the relationship between pleasure and motivation when game playing will be undertaken, with a focus on individual play, in which one participant interacts with a gamified system, this being the most common model applied to cultural spaces [4] (Sections 3 and 4). This exploration of the relationship between play and pleasure supports the identification of three distinct characteristics of individual play: challenge, completion and creation. These characteristics are used to reflect upon existing examples of gamified systems placed in cultural spaces, the capacity of each to elicit these characteristics of play, and the impact this had on the experience of the participant (Section 5). This then is the rationale used in the design and development of the TNAR project (Section 6). A description of project implementation and a reflection on methodology applied to capture participant play is provided in Section 7. Finally, a reflection on the results obtained through observing participants engage with the TNAR project is presented in Section 8, with overarching conclusions and closing remarks contained in Section 9.
