In the last decade, museums have explored and developed digital productions to evoke audience engagement, often with the intention of enhancing visitors’ experiences. However, theoretical understandings of audiences in relation to space (museums), artifacts and digitally produced experiences are less developed.In this paper we applyKendall J. Walton’s (1990)theory about mimesis as make-believeona concept that was previously developed by parts of our researchteam for anopen-air museum, Långban’s mining village in Värmland, Sweden. Heredigital media wereused to create enhancedexperiences mixingthe past with the present, a project for which Walton’s theory in hindsight seems highly relevant. According to him, ”Joint fantasizing allows people to pool their imaginative resources. Together they may be able to think of more exciting things to imagine than they could come up with separately, or more interesting or satisfying ones”(ibid. 18).We believe that adding the potentials of collective imagining to the combination ofdigital media and the narrative frames provided by the physical placewill result in not only a higherlevel of immersion but alsoa more memorable experience. Interestingly, further supportis found in currenttheories about the so-called re-enchantment of the world(or the modern world actually having remained enchanted, despite Weber’s classical idea about disenchantment as a part of modernity). These theories are all basedon the view that secular modernity contains attractive dimensions of the magical, often understood as playfulness and a temporary escape from the rational (e g Bennett 2001; 2Saler 2012).Similar ideas are also found in parts of postmodern theory, in particular regarding aspects of consumption as pleasurable experiences related to fairs, amusement parks, and tourism in general (Featherstone 2007; Rojek 2000; Urry and Larsen 2011). As Waltonand others argue, play and playfulness is not only something for children: on thecontrary, it is also fundamental for every human as beings, regardless of age. In Walton’s words, “Most imaginings are in one way or another dependent on or aimed at or anchored in the real world” (1990:21).He suggests thatreal thingshavethree major rolesin our imaginative experiences, as they promptimaginings; they are objectsof imaginings; and as “props” they generate what he calls “fictional truths”, namely truths that are valid in a particular narrative. Importantly:when applied to a non-fictional setting such as a museum, a “fictional truth” can be regarded as a statement about the real world that includes a dimension of imagination and fantasy. Thisquality of as ifdoes not distort or transform facts to fiction,but rather adds a layer of playfulness and enchantment torational thinking (Saler 2012). When regarded through this theoretical lens, the work done in cooperationwith the Långban museumcombinedphysical objectsanddigital technology asprompters andprops, and historical representationsas objects of imaginings,in order to involvevisitors and their imaginative capacitiesas co-creatorsofboth emotionally and intellectually captivating narrative experiences.Published in the early 1990’s,Walton’s book does not take digital media into account. Nevertheless, as his theoretical framework has been fruitful to apply on this case study, this suggests that it deserves to be further developed in order to provide guidelines for creative work on digital experiences in the museum/heritage sector.