161 Matching Annotations
  1. May 2024
    1. reación de narra-tivas digitales

      Hablar de Digital Storytelling es referirse <br /> a un tema difuso, bajo el cual se ampara una gran variedad de narrativas posibles, tanto por el contenido formal de las historias que comparten (el qué se cuenta, con sus hechos, personajes, tiempos y escenarios), como por su la expresión formal del discurso (el cómo se cuenta, con diferentes modalidades de organización y expresión, con los medios de materialización y con una diversidad de plataformas tecnológicas que permiten su registro, difusión y consumo).

      Lo importante es aprender a utilizar los diferentes lenguajes que permitan contar historias de ficción y no ficción significativas a través de la radio, la televisión, el podcast, el cine, la prensa, las publicaciones digitales o el performance, entre muchas otras posibilidades, con la finalidad de generar espacios de transformación ante realidades sociales poco visibles y complejas.

    2. narrativas de Humanizandola Deportación, abriendo un espacio para reflexionar sobre la maneraen que estas pueden resonar en diferentes cuerpos-mentes, invi-tando a los participantes de las comunidades locales de Californiaa parar un momento, escuchar, tomarse el tiempo, conectarsey moverse juntos.

      A propósito de esta técnica, comparto reseña del libro Humanizando la Deportación, un proyecto realizado en el año 2016 en Tijuana, con el método de producción audiovisual participativa (digital storytelling), el cual ofreció a los migrantes una plataforma en donde podían compartir sus experiencias.

      El proyecto se conformó por un equipo transnacional que realizó trabajo de campo durante un mes en las calles de Tijuana, donde grabaron distintas historias junto a los migrantes deportados de Estados Unidos. A partir de esto se publicaron 50 narrativas digitales (cortometrajes testimoniales) en la página web de Humanizando la Deportación.

      Esta publicación documenta algunas de las experiencias y los aprendizajes obtenidos en el transcurso del primer año del proyecto en Tijuana, ciudad de migrantes que –quizá por ser la más emblemática en cuanto a la volatilidad de las dinámicas fronterizas de nuestro tiempo– ha sido y sigue siendo el corazón de Humanizando la Deportación.

  2. Mar 2024
    1. So AI could be a tool to help move people into expression, to move past creative blocks

      To what extent are we using AI in this way in ds106? That is, using it as a starting point to build on rather than an end product?

    1. https://pipdecks.com/

      Also targeting business executives (via YouTube) as a storytelling deck: https://pipdecks.com/pages/storyteller-tactics-card-deck

      Described as "expert knowledge in your back pocket", and sold as a "toolkit" with "practical step-by-step recipes", and "templates."

      They offer 7 decks of tactics for Brand, Team, Storytelling, Innovation, Productivity, Team, Workshop, Strategy.

  3. Feb 2024
    1. Only the largepelican, squatting in the trees, can break the connection, a symbol ofbad audience, staring insolently, resolutely offstage. But she is beinggradually struck out, her colours fading as the original red and giltborders reassert themselves reprimandingly from beneath, themanuscript exacting a slow punishment for the sin of inattention.

      Dennis Duncan completely misreads this image of Grosseteste and the Pelican which appears in the Lambeth Palace Library's MS 522 of The Castle of love. (for image see: https://hypothes.is/a/RzHLjsz8Ee6dZLOTV5h65Q)

      Duncan identifies Grosseteste's pose with his hand raised and his index finger extended as "the classic gesture of the storyteller." In fact, the bishop is pointing directly up at the pelican which sits just on top of the frame of the illuminated scene. This pelican is elevated above and just beyond the scene of the image because it represents, as was common in the time period, the suffering of Christ.

      Bestiaries of the age commonly depicted the "pelican in her piety" which was noted by Isidore of Seville in his Etymologies (Book 12, 7:26) from the 7th century, a text which heavily influenced many of these bestiaries. It was also thought at the time that the insatiable and rapacious pelican ate lizards and crocodiles (or lived off of them); as these were associated with snakes and by way of the story of the Garden of Eden the devil, they were also further associated with Christ and driving sin out of the world.

      Thus the image is more appropriately read in its original context as Grosseteste giving a sermon about the suffering of Christ who is represented by a pelican floating above the scene being depicted.

      see: https://hypothes.is/a/QAc8us24Ee6d1kPcrhQPyw

    1. I love narration and the rawness what it means to try find yourself. Heather Frazier's leap into African-American studies and connecting with as many black people are possible shows how we all have that desires to belong somewhere.

    1. I love the inclusion of gaming within digital storytelling! As someone who games I can affirm that there are alot of games such as Stardew valley, legend of Zelda and others that are interactive while taking the player through a story.

    2. The pyramid of digital storytelling intriguing and reading how enjoying one piece of media and then wanting to create your own or surfing the web can be considered a digital story.

    3. Interesting that they make a distinction between documentaries, and digital storytelling in other forms. Is it simply because documentaries intersect with journalism, or is there another qualifier? It seems they are pointing out the difference due to the fact that many documentarians share stories of others, while digital storytellers, according to StoryCenter, share their own experiences.

  4. Dec 2023
    1. if we want to see science having a deeper impact on society and politics it's crucial that we have also 00:45:52 scientific storytellers
      • for: quote - Yuval Noah Harari, quote - storytelling, quote - scientific storytelling, science communication, climate communication

      • key insight

      • quote

        • If we want to see science having a deeper impact on society and politics, it's crucial that we have also scientific storytelling
      • comment

        • I would just add that it should be COMPELLING scientific storytelling
  5. Oct 2023
    1. The art of the biblical narrative, Alter hypothesized, was finalized in a late editorial stage by some unifying creative mind — a figure who, like a film editor, introduced narrative coherence through the art of montage. Alter called this method “composite artistry,” and he would also come to use the term “the Arranger” — a concept borrowed from scholarship on James Joyce — to describe the editor (or editors) who gave the text a final artistic overlay. It was a secular and literary method of reading the Hebrew Bible but, in its reverent insistence on the coherence and complex artistry of the central texts, it has appealed to some religious readers.
    1. Take Alter's treatment of the cycle of stories in which the first two matriarchs, Sarah and Rebekah, conspire against elder sons for the benefit of younger ones. Sarah insists that Abraham drive Ishmael, his firstborn, and Ishmael's mother, Hagar, into the desert to die, to protect the inheritance of Sarah's son, Isaac. Rebekah tells her son Jacob to trick his father, the now elderly Isaac, into giving him a blessing rightfully owed to Esau, Jacob's ever-so-slightly older twin brother. The matriarchs' behavior is indefensible, yet God defends it. He instructs Abraham to do as Sarah says, and after Jacob takes flight from an enraged Esau God comes to Jacob in a dream, blesses him, and tells him that he, too, like Abraham and Isaac before him, will father a great nation.Alter doesn't try to explain away the paradox of a moral God sanctioning immoral acts. Instead he lets the Bible convey the seriousness of the problem. When Abraham balks at abandoning Ishmael and Hagar, God commands, "Whatever Sarah says to you, listen to her voice." Rebekah, while instructing Jacob on how to dress like Esau so as to steal his blessing, echoes God's phrase -- listen to my voice" -- not once but twice in an effort to reassure him. As we read on in Alter's translation, we realize that the word "voice" ("kol" in Hebrew) is one of his "key words," that if we could only manage to keep track of all the ways it is used it would unlock new worlds of meaning. In the story of Hagar and Ishmael, God's messenger will tell Hagar that God will save them because he has heard the voice of the crying boy. And the all but blind Isaac will recognize the sound of Jacob's voice, so that although his younger son stands before him with his arms covered in goatskin (to make them as hairy as Esau's), and has even put on his brother's clothes (to smell more like a hunter), Isaac nearly grasps the deceit being perpetrated against him.

      Something fascinating here with respect to orality and associative memory in ancient texts at the border of literacy.

      What do others have to say about the use of "key words" with respect to storytelling and orality with respect to associative memory.

      The highlighted portion is an interesting example.

      What do other examples look like? How common might they be? What ought we call them?

    2. Alter's translation puts into practice his belief that the rules of biblical style require it to reiterate, artfully, within scenes and from scene to scene, a set of "key words," a term Alter derives from Buber and Franz Rosenzweig, who in an epic labor that took nearly 40 years to complete, rendered the Hebrew Bible into a beautifully Hebraicized German. Key words, as Alter has explained elsewhere, clue the reader in to what's at stake in a particular story, serving either as "the chief means of thematic exposition" within episodes or as connective tissue between them.
    1. Careful attention to Shank’s explanation of the value and role of stories is recognition that it is not the stories alone that are important, but the combination of indices and stories. The combination is important, but in addition, it is personalized through the imposition of an indexing approach that creates this productive system. Perhaps thinking about experiences searching for understanding can be translated as indexing.
    2. He proposes that an expert is an individual who has a great number of stories relevant to a given area and has these stories indexed so that he/she can tell a useful story at the right time.

      Roger Shank's definition of an expert

    1. There is an interesting theme of staying true to a center or core of a story which is broadly similar to David Lynch's staying true to the original idea. The difference may be that Lynch is staying true to his own original idea which started the process whereas Coppola is distilling out a core from an original source and then focusing on that rather than having Puzo's own original core.

      Which core is the "true" one?

  6. Sep 2023
  7. Aug 2023
    1. Storytelling functions as a tool to heal from and protect against historical trauma and ongoing challenges Indigenous communities experience. "It is medicine." —Beltran & Begun, 2013 (quoted in @Okeefe2021 video at 10:41)

      Basic knowledge and understanding for me, but nice to have a source for it in particular.

  8. Apr 2023
    1. How best to incorporate a book of terms? .t3_12e2r50._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; } questionHi, so my Zettelkasten is mainly based around learning literary/storytelling techniques. There's a book called the Elements of Eloquence (which I can't recommend enough to those interested in language) which lays down a large number of formulas from rhetoric for creating memorable lines. It varies in complexity from alliteration to hendiadys, and contains 39 of these memorable-line-recipes in total.I want to enter them into my vault, but worry that creating 39 new notes for the individual formula might be overkill. I thought I'd ask here as I am worried about irreducibility - do I create a single note that contains brief descriptions of all the recipes, or fill my zettelkasten with them, creating what feels a little bit like spam?I've had the zettelkasten for a while but have been too busy to properly use it until recently, so I thought I'd be better off asking the people with actual experience!

      reply to u/apricotsareweird at r/Zettelkasten - How best to incorporate a book of terms?

      This sounds a bit like it might fit into the mold of an example like Brian Eno and Peter Schmidt's "Oblique Strategies" which are bits of creative advice that one draws out at random to help improve their work. You could have a custom deck for potential writing work and attempt the recipes at random to see where it takes you. At worst a collection of them could be used for spaced repetition to memorize or familiarize yourself with them. At a later date you could give them numbers and install them into a larger collection, but keeping them as a stand alone collection certainly couldn't hurt at least to start.

  9. Feb 2023
  10. Jan 2023
    1. Storytelling Will Save the EarthEmotional resonance, not cold statistics, will bring home the scale of the climate crisis—and the need for action.

      !- Title : Storytelling Will Save the Earth Emotional resonance, not cold statistics, will bring home the scale of the climate crisis—and the need for action. - See related story: Brian Eno – "We need the creative industry to help inspire climate action" https://hyp.is/go?url=https%3A%2F%2Fwww.imperial.ac.uk%2Fnews%2F241832%2Fbrian-eno-we-need-creative-industry%2F&group=world

    1. We know the information. But information is not changing our minds. Most people make decisions on the basis of feelings, including the most important decisions in life – what football team you support, who you marry, which house you live in. That is how we make choices.”  “Thought is at the basis of our feelings, and before we have ideas we have feelings that lead to those ideas. So how do we change minds? A change in feelings changes minds.”

      !- "So how do we change minds? A change in feeling changes minds" : Comment - Brian Eno's comment is very well aligned with Deep Humanity praxis, which can be summed up as: The heart feels, the mind thinks, the body acts, an impact appears in our shared reality. - Also see the related story: - Storytelling will save the Earth: https://hyp.is/go?url=https%3A%2F%2Fwww.wired.com%2Fstory%2Fenvironment-climate-change-storytelling%2F&group=world

    2. Brian Eno – "We need the creative industry to help inspire climate action"

      !- Title : Brian Eno – "We need the creative industry to help inspire climate action"

  11. Dec 2022
    1. in 2005, the International Rice Research Institute used a radio soap opera called Homeland Story to persuade millions of rice farmers in Vietnam to stop spraying their crops with harmful insecticides. Farmers who listened to the series were 31 percent less likely to spray their crops than those simply told not to. 

      !- example : storytelling impacts - Millions of Vietnamese rice farmers - who heard a soap opera called "Homeland Story" - stopped spraying their crops - with a harmful insecticide

    2. Storytelling allows us to make sense of the world. Research from a multitude of fields suggests that story structures match human neural maps. What do a mother breastfeeding, a hug from a friend, and a story all have in common? They all release oxytocin, also known as the love drug. And it’s powerful: In a study by neuroscientist Paul Zak, participants who were given synthetic oxytocin donated 57 percent more to charity than participants given a placebo. Similarly, hearing information in narrative form results in a higher likelihood of pro-social behavior.

      !- power of : storytelling - Story structure matches human neural maps - storytelling releases oxytocin, the love drug - neuroscientist Paul Zak demonstrated synthetic oxytocin caused people to donate 57% more to charity than a placebo

    3. Unlike numbers or facts, stories can trigger an emotional response, harnessing the power of motivation, imagination, and personal values, which drive the most powerful and permanent forms of social change.

      !- reason for : storytelling -storytelling can trigger emotion responses - triggers our imagination and personal values - leading to the most powerful forms of social change

    4. Now picture Timothy, who lives with his grandchildren in Walande Island, a small dot of land off the east coast of South Malaita Island, part of the Solomon Islands. Since 2002, the 1,200 inhabitants of Walande have abandoned their homes and moved away from the island. Only one house remains: Timothy’s. When his former neighbors are asked about Timothy’s motives they shrug indifferently. “He’s stubborn,” one says. “He won’t listen to us,” says another. Every morning his four young grandchildren take the canoe to the mainland, where they go to school, while Timothy spends the day adding rocks to the wall around his house, trying to hold off the water for a bit longer. “If I move to the mainland, I can’t see anything through the trees. I won’t even see the water. I want to have this spot where I can look around me. Because I’m part of this place,” he says. His is a story that powerfully conveys the loneliness and loss that 1.1 degrees of anthropogenic warming is already causing. 

      !- example : storytelling to save the earth

  12. Nov 2022
    1. Our familiarity with these elements makes the overall story seem plausible, even—or perhaps especially—when facts and evidence are in short supply.

      Storytelling tropes play into our system one heuristics and cognitive biases by riding on the tailcoats of familiar story plotlines we've come to know and trust.

      What are the ways out of this trap? Creating lists of tropes which should trigger our system one reactions to switch into system two thinking patterns? Can we train ourselves away from these types of misinformation?

    2. “pattern language” to describe the show’s plot formulas, which they and ultimately other users would then apply to a variety of programs.

      Tropes are shorthand storytelling methods that rely on a common storytelling grammar or pattern language to quickly relay information to the viewer or listener.

    1. Changing the order in which you do things. —Brian Eno, Oblique Strategies

      This sounds like the sort of shift Walter Murch made in his sound editing by doing his first cut completely without sound. If you can't tell the story visually without sound the whole thing will fall apart. But you can use the sound, music, etc. to supplement, gild, and improve a picture.

    1. When writing a story you must take all key elements into account in order to produce a story that will flow for the reader. Stories can be broken down into five key elements; the characters, the setting, the plot, the conflict and the resolution. Finding a prompt for what to write a story about can be very difficult. To help, the following link provides an activity to come up with some story ideas!
    1. Sweet’s big error was a failure to clearly distinguish between professional history and popular myths and consider the purposes and uses of the two.

      It's important to distinguish between professional history and popular myths we tell ourselves for cultural or political purposes.

  13. Aug 2022
    1. https://www.kevinmarks.com/memex.html

      I got stuck over the weekend, so I totally missed Kevin Marks' memex demo at IndieWebCamp's Create Day, but it is an interesting little UI experiment.

      I'll always maintain that Vannevar Bush really harmed the first few generations of web development by not mentioning the word commonplace book in his conceptualization. Marks heals some of this wound by explicitly tying the idea of memex to that of the zettelkasten however. John Borthwick even mentions the idea of "networked commonplace books". [I suspect a little birdie may have nudged this perspective as catnip to grab my attention—a ruse which is highly effective.]

      Some of Kevin's conceptualization reminds me a bit of Jerry Michalski's use of The Brain which provides a specific visual branching of ideas based on the links and their positions on the page: the main idea in the center, parent ideas above it, sibling ideas to the right/left and child ideas below it. I don't think it's got the idea of incoming or outgoing links, but having a visual location on the page for incoming links (my own site has incoming ones at the bottom as comments or responses) can be valuable.

      I'm also reminded a bit of Kartik Prabhu's experiments with marginalia and webmention on his website which plays around with these ideas as well as their visual placement on the page in different methods.

      MIT MediaLab's Fold site (details) was also an interesting sort of UI experiment in this space.

      It also seems a bit reminiscent of Kevin Mark's experiments with hovercards in the past as well, which might be an interesting way to do the outgoing links part.

      Next up, I'd love to see larger branching visualizations of these sorts of things across multiple sites... Who will show us those "associative trails"?

      Another potential framing for what we're all really doing is building digital versions of Indigenous Australian's songlines across the web. Perhaps this may help realize Margo Neale and Lynne Kelly's dream for a "third archive"?

  14. Jul 2022
    1. https://twinery.org/

      Twine is an open-source tool for telling interactive, nonlinear stories.

      You don’t need to write any code to create a simple story with Twine, but you can extend your stories with variables, conditional logic, images, CSS, and JavaScript when you're ready.

      Twine publishes directly to HTML, so you can post your work nearly anywhere. Anything you create with it is completely free to use any way you like, including for commercial purposes.

      Heard referenced in Reclaim Hosting community call as a method for doing "clue boards".

      Could twinery.org be used as a way to host/display one's linked zettelkasten or note card collection?

  15. Jun 2022
    1. Writers diverge by collecting raw material for the story they wantto tell, sketching out potential characters, and researching historicalfacts.

      Missing here is the creative divergence of creating plot points which could be later connected. This part of the process is incredibly difficult for many as seen in the poor second act development in most of narrative history. Beginnings and endings are usually incredibly easy, but the middle portions for connecting the two is incredibly hard.

      Is this because creating connections between the ends when there no intervening ideas to connect is nearly impossible? How can one brainstorm middle plot points so that they might be more easily connected?

    1. Groups in arts education rail against the loss of music, dance, and art in schools and indicate that it's important to a balanced education.

      Why has no one embedded these learning tools, for yes they can be just that, into other spaces within classrooms? Indigenous educators over the millennia have done just this in passing on their societal and cultural knowledge. Why have we lost these teaching methods? Why don't we reintroduce them? How can classrooms and the tools within them become mnemonic media to assist both teachers and learners?

      Perhaps we need to bring back examples of how to do these things at the higher levels? I've seen excercises in my daughter's grade school classrooms that bring art and manipulatives into the classroom as a base level, but are they being done specifically for these mnemonic reasons?

      Michael Nielsen and Andy Matuschak have been working at creating a mnemonic medium for areas like quantum mechanics relying in part on spaced repetition. Why don't they go further and add in dance, movement, art, and music to aid in the process. This can be particularly useful for creating better neurodiverse outcomes as well. Education should be more multi-modal, more oral, and cease it's unending reliance on only literacy as it's sole tool.

      How and where can we create a set of example exercises at various grade levels (similar to rites of knowledge initiation in Indigenous cultures, for lack of specific Western language) that embed all of these methods

      Link to: - Ideas in The Extended Brain about movement, space, etc. - Nielsen/Matuschak mnemonic media work

    1. https://www.youtube.com/watch?v=bWkwOefBPZY

      Some of the basic outline of this looks like OER (Open Educational Resources) and its "five Rs": Retain, Reuse, Revise, Remix and/or Redistribute content. (To which I've already suggested the sixth: Request update (or revision control).

      Some of this is similar to:

      The Read Write Web is no longer sufficient. I want the Read Fork Write Merge Web. #osb11 lunch table. #diso #indieweb [Tantek Çelik](http://tantek.com/2011/174/t1/read-fork-write-merge-web-osb110

      Idea of collections of learning as collections or "playlists" or "readlists". Similar to the old tool Readlist which bundled articles into books relatively easily. See also: https://boffosocko.com/2022/03/26/indieweb-readlists-tools-and-brainstorming/

      Use of Wiki version histories

      Some of this has the form of a Wiki but with smaller nuggets of information (sort of like Tiddlywiki perhaps, which also allows for creating custom orderings of things which had specific URLs for displaying and sharing them.) The Zettelkasten idea has some of this embedded into it. Shared zettelkasten could be an interesting thing.

      Data is the new soil. A way to reframe "data is the new oil" but as a part of the commons. This fits well into the gardens and streams metaphor.

      Jerry, have you seen Matt Ridley's work on Ideas Have Sex? https://www.ted.com/talks/matt_ridley_when_ideas_have_sex Of course you have: https://app.thebrain.com/brains/3d80058c-14d8-5361-0b61-a061f89baf87/thoughts/3e2c5c75-fc49-0688-f455-6de58e4487f1/attachments/8aab91d4-5fc8-93fe-7850-d6fa828c10a9

      I've heard Jerry mention the idea of "crystallization of knowledge" before. How can we concretely link this version with Cesar Hidalgo's work, esp. Why Information Grows.

      Cross reference Jerry's Brain: https://app.thebrain.com/brains/3d80058c-14d8-5361-0b61-a061f89baf87/thoughts/4bfe6526-9884-4b6d-9548-23659da7811e/notes

  16. Apr 2022
  17. Mar 2022
    1. Director Brian Trencahrd-Smith in an interview has said of this film: ''I wanted to capture the spirit of the Ealing comedies and British films of the '50s and '60s that were clearly aimed at children and delivered action and fun in a largely cartoonish way. If you look at the basic premise of the plot, the crooks clearly want to or intend to kill the children at some point, so how do you disguise that and make that palatable to an audience of kids and parents? You make the crooks buffoonish, the gang that couldn't shoot straight, so that takes the curse off the underlying purpose.''

      To make the action of a film where the bad guys' goal is to kill or harm young children, one can make the plot more palatable to viewers, particularly parents and their children, by making the heavies bumbling and buffonish like the gang that couldn't shoot straight.

      A bit of this is also seen in some thriller/comedies like A Fish Called Wanda which has comedic threats.

    1. All of us, then, are effectively bilingual: we speak one or more languages, butwe are also fully fluent in gesture.

      I'm reminded of how Academy Award winning film editor Walter Murch once told me that his first edit of a feature film was always done without any sound at all. If the motions and actions of the actors could communicate as much meaning as possible, then the spoken words would only help to supplement the storytelling.

    2. Jean Clarke, a professor of entrepreneurship and organization at EmlyonBusiness School in France, has spent years watching entrepreneurs like GabrielHercule make their case at demo days, incubators, and investment forums acrossEurope. In a study published in 2019, she and her colleagues reported thatcompany founders who deployed “the skilled use of gesture” in their pitcheswere 12 percent more likely to attract funding for their new ventures.

      Researcher Jean Clarke's research (2019) indicates that entrepreneurs who employ "the skilled use of gesture" are 12 percent more likely to have their pitches funded than those who don't.

  18. Jan 2022
    1. J.R.R. Tolkien indicated that Welsh fairy tales "had bright color but no sense". Perhaps this is because they served a cultural and mnemonic purpose and not necessarily a storytelling one.

      1:00 minute mark

    1. He breaks off, looking anxious. “But I didn’t tell their stories, because I thought they were a better way of persuading people of an argument. It’s a book of stories about people, because I think stories are a fundamentally better way of thinking about the world.”

      Stories are an important way of thinking about and explaining the world. They may also be a potential brain hack.

      Note their use here just after Hari has mentioned that connecting with people (often by way of their stories) is a basic human condition and need. Also note that Hari was previously a columnist with a slant, has he realized that this is the better way to convince people of plausible sounding things? Particularly without source, attribution, research, and potentially cherry picking data.

      Are we blinding ourselves by telling stories? Particularly without comparison or actual testing?

      I saw a book about this topic months ago and need to find it and dig it up.

  19. Nov 2021
  20. Oct 2021
    1. Storytelling as a Prototype of the Future

      After the second meeting of the Stop Reset Go team, I created this publication and article on Medium to document our process.

      The builders collective is documenting a community into existence.

  21. Sep 2021
    1. Presentations that have a 3-act story structure, and they place the audience at the center as the hero, regularly change minds, spread ideas, and even start movements.

      Designing Presentation Slides that Pass the Glance Test

      • Each slide should communicate a single idea
      • Speak to your audiences’ needs, concerns, and fears
      • Design simple slides with a consistent visual style
      • Arrange and layout your slides with care
    1. We are a growing collective of change agents

      Storytelling as a Prototype of the Future

      In our second meeting as a team, I introduced the idea of inviting people into a story where they were protagonists in an adventure. I proposed that this could be a way to include everyone in the process of imagining the kind of world that we might want to live in.

    1. Voice is lost

      Can we, like Shepherds, tell a merry Tale? Stephen Duck, The Thresher's Tale (poem)

      There's a link here to shepherds and a bardic tradition. In some sense, shepherds have lots of time to kill during the day and thus potentially tell stories. But they're also moving around their environment which also makes it easier for them to have used songline-like methods for attaching their memories to their environment.

      How far back might this tradition go in our literate culture?

      I also wonder at the influence of time on oral traditions as the result of this. Lynne Kelly describes calendrical devices in a variety of indigenous settings in Knowledge and Power in Prehistoric Societies for potential use in annual spaced repetition. What about the spaced repetition within daily cycles of regular work as described in this paper with respect to shepherds, fishing communities, and crofting?

      The daily cycle of life may have been a part of the spaced repetition for memory.

      How might we show this?

      A quick example that comes to mind is the French children's song Alouette, Gentille Alouette which details how one kills, cleans, and dresses a chicken for cooking.

    1. While the material about just how darn embodied our brains are might have been something of a bummer for someone as uncomfortable being bodied as I am, the material about how much our brains like narratives was just what I wanted to read.

      How might we compare/contrast the ideas behind this with Alex Rosenberg's book How History Gets Things Wrong: The Neuroscience of Our Addiction to Stories?

    2. One thing teachers can do to help students develop interest in a field, for instance, is to tell stories of the conflicts within that field. Present history as a series of undisputed facts and your class is likely to fall asleep pretty quickly; present some of the conflicts over what constitutes meaningful history and your class is likely to feel much more involved.

      I'll have to dig up the reference, but I've seen some advice to write things with known outcomes as if they were a mystery or detective story. The general recipe was: Present the idea as a question and then slowly peel back the layers to come up with the solution in an organic fashion as a means to holding attention.

      I wan to say it was someone writing about science and technical writing.

    1. Q. What do you mainly focus on when drawing cartoons?Being simple. Being able to read them on a shaky bus. Being able to roughly understand the narrative even if you are not starting from the first episode,

      I like the points the author makes here. I see these both as design concerns recognizing the reader's experience and the limitations and affordances of technology.

  22. Jul 2021
  23. May 2021
  24. Feb 2021
    1. Our mission is to train storytellers to do three things: tell the stories of Scripture in a way that sparks conversation, start groups where the fire can grow, and train more storytellers.
  25. Jan 2021
    1. The meaning of his work is not in the story but in the storytelling.
    2. Designers also trade in storytelling. The elements we must master are not the content narratives but the devices of the telling: typography, line, form, color, contrast, scale, weight. We speak through our assignment, literally between the lines.

      We tell stories not through words, but through our portrayal of them: visuals.

  26. Dec 2020
    1. By then, according to his recent confessions, Little had already killed more than a dozen women.

      The visual story played out below (in a desktop browser) with the piling up of the newspaper articles/headlines is very clever and powerful at the same time. I really like this storytelling device.

  27. Oct 2020
    1. The stories added meaning that couldn’t be matched by facts and figures about the items for sale. Meaning can be very difficult to pull off in design, but sto-ries create cognitive fluency around meaning. Our minds love narratives because they love patterns; stories are like really well-packaged patterns. Beginning, middle, and end. Connect-ing that pattern to an object or action in your design can be achieved, in part, by making sure your design accommodates story—whether in the metaphorical sense of how the page is structured (i.e., the page has a clear beginning, middle, and end) or the more literal sense of actually making sure the design leaves room for text that tells a story.

      This can also be leveraged to help improve one's memory.

    2. We created a strategy that focused on providing some of that in-store expertise as content online. We called it non-product content because it was aimed not at selling you something, but at helping you achieve a task
    1. an enthusiastic band of hobbyists with a taste for the retro and a fondness for old-school fan pages.

      While this may describe a few people within the group and it could be a stereotypical perception for those old enough to remember the "old" web, I'd have to push back on this perception. While many of us do come from the old web, we realize how much we've given away (including our agency) and we're attempting to create a web renaissance or even a neo-web. There is honestly very little that is very retro about this and in fact it is quite forward thinking.

      I suspect that Desmond is simply using this description here to set up his story.

  28. Aug 2020
  29. Jun 2020
    1. Links can sidestep this debate by seamlessly offering context and depth. The journalist can break a complex story into a non-linear narrative, with links to important sub-stories and background. Readers who are already familiar with certain material, or simply not interested, can skip lightly over the story. Readers who want more can dive deeper at any point. That ability can open up new modes of storytelling unavailable in a linear, start-to-finish medium.

      storytelling: digital, not digitised

    1. "Historically speaking, the NexistWiki experiment centered around something called Augmented Storytelling. A talk given by me at StoryCon 2002 about Augmented Storytelling can be found here.
    1. We’re presently living through what feels like a remarkably turbulent time. In fact, we might be tempted to think that ours is a uniquely chaotic moment. Of course, most of us know that human beings have lived through more chaotic, violent, and calamitous times than ours. What is novel in our experience isn’t the depth of the health crisis or the scale of the protests, the economic volatility, or the political instability. What is novel is the information ecosystem in which all of this and more is unfolding. Most of us now have far greater access to information about the world, and we are—arguably, I grant—exposed to a far wider array of competing narratives attempting, without notable success, to make sense of it all. In short, it would appear that our basic sense-making technology, the narrative, is a bit glitchy, both failing to operate as we might expect and causing some issues of its own. You won’t be surprised to learn that I think Marshall McLuhan can be helpful here. While many have found McLuhan’s aphorism “the medium is the message” confounding, McLuhan actually offered a rather straightforward explanation. “The ‘message’ of any medium or technology,” McLuhan wrote, “is the change of scale or pace or pattern that it introduces into human affairs.” “The effects of technology do not occur at the level of opinions or concepts,” McLuhan added, “but alter sense ratios or patterns of perception steadily and without any resistance.”Digital media introduced a new scale, pace, and pattern to human communication, and, in this way, altered how the world is perceived. With regards to scale, we encounter an unprecedented amount of information about the world at large through digital media. With regards to pace, we encounter this information with previously unknown and unrelenting immediacy. And, with regards to pattern, we encounter it both in novel social contexts and in a form that bears greater resemblance to a database than a story.

      L. M. Sacasas providing a very brief summary of McLuhan's "medium is the message" quote applied to the Coronavirus pandemic in June 2020.

  30. Apr 2020
    1. Perhaps the best way to understand the weird things that people do with folksonomy tags is to appeal, not to information science, but to narratology, the study of narrative structures. Traditional narratology recognizes four basic forms of narrative structure: romance, in which we fight against the constraints of the universe and overcome those constraints; tragedy, in which we fight against the constraints of the universe and succumb to those constraints; comedy, in which we fight against the constraints of the universe and then find those constraints to be in harmony with our goals; and satire, which ridicules the notion that experience can be comprehended by an organizing structure of any kind.

      Something about the broadness of these definitions really appeals to me.

  31. Nov 2019
    1. Robin outlines the key features of digital storytelling and examines how it facilitates learning in a variety of settings.

    1. The article outlines the value of story-telling in professional development to improve faculty effectiveness. Identifying the problems with current professional development and their lack of efficacy, the authors argue the digital storytelling engages educational professionals, attracting them to online training.


    1. The article examines the value of digital storytelling to improve online communities within Army professional forums. In addition to providing a basis for storytelling, the authors examine how storytelling can improve discussions in military training.


    1. Rossiter and Garcia evaluate the use of digital storytelling in adult learning classrooms, primarily through the use of "autobiographical learning" where learners share personal experiences and connections with the content. They outline "three key dimensions" that make storytelling valuable in adult learning: voice, creativity, and self-direction.


    1. The site provides an explanation of digital storytelling, an outline of the uses in education, and a foundation of web tools to implement digital storytelling as a means of instruction. The 7 elements of digital storytelling serve as a guide for instructors and students.


  32. Oct 2019
    1. Every design tells a story. Every story has a design.

      When we talked about design, I said it was a deliberate decision making process to achieve a desired end. It solves a problem, a problem of communication or function or whatever. So a design, in a way, tells the story of the problem and its solution. The story of the problem solving process is the story behind the story, much like our ds106 assignment posts. A story also solves a problem of communication. It's a way of getting a message across. There is planning and decision-making - design - that goes into crafting a story.

  33. Jul 2019
    1. Cet article relie l'imagerie cerebrale à la lecture de fiction. Les parties activées du cerveau pendant la lecture se relient à des actions. Selon les actions lues, les parties pour sentir des odeurs, les parties prémotrices, les parties sociales s'activent. Ainsi, il semble conclure que lire de romans aide aux personnes à avoir plus d'empathie. Les romans serviraient pour faire des simulacres.

  34. Jan 2019
    1. The skillful hunters then would come staggering back with a load of meat, a lot of ivory, and a story.

      This makes me think of Chimamanda Ngozi Adichie's TED Talk: "The danger of a single story." Rather than solely focusing on the single story aspect, Adichie delves into the topic of storytelling and the subsequent power associated with it. In this sense, the discussion of power alludes to Foucault's extensive work on power.


  35. Dec 2018
    1. L: It happened to us a couple of times to come up with these kinds of ideas where the audience really understands what we meant and feels as strongly as we did. We want to communicate feelings that we feel ourselves. Whatever the tool is, we wish to convey what we think is great. It sounds a little bit cliché but if you’re out just for the pretty picture, I think it’s a waste of time.
  36. Aug 2018
    1. Blair’s posts are a remarkable feat of digital storytelling. She spun the all-in-all rather trivial behavior of two strangers into the social media equivalent of a rom-com and initially the story was heralded as the summer feel-good story we were in desperate in need of. (There also was some speculation that this was all a hoax, which is possible but seems implausible at this point.) But soon questions emerged about the ethics of this modern-day fairy tale, especially when it became clear that the female subject of the story did not welcome the attention and had her social profiles deleted after internet sleuths had figured out her identity. On July 12, she put out a statement through her lawyer in which she claimed to have been “doxxed, shamed, insulted and harassed” and that voyeurs had come looking for her. By that point, the couple responsible for the tweets was slammed online as well.
    1. Plotline 3: Making life sensible is as much about who we are as about narrating events and experiences

      Later in this section, Cunliffe and Coupland write:

      "In summary, ‘making life sensible’ is a complex interweaving of self-other, of retrospective and prospective, discursive and embodied, routine and creative, explicit and intuitive sensemaking."

      The narrating process is a "a complex interweaving of self-other, of retrospective and prospective, discursive and embodied, routine and creative, explicit and intuitive sensemaking."

      Identity construction (who am I?, who are you?, who do I want to be in the future?) is an important factor here as the foundation by which socially constructed sensemaking is generated and justifications (narrative rationality) are staked out.

      It's also incredibly messy, social, and contradictory -- all simultaneously.

    2. Plotline 2: Making our life sensible enough to go on is an embodied process

      The embodied process involves how we our bodies (everything except cognitive function) to make sense of our surroundings/situations. This embodied process includes emotions, physical self, language, gestures, actions, and lived experiences.

    3. Plotline 1: Making life sensible occurs in polyphonic, responsive and ongoing moments of embodied narrative performance

      Polyphonic is described as multiple voices and multiple interpretations of the story element which, in turn, can produce competing narratives. There is also a subtle temporal nature to "making life sensible" as people attempt to apply narrative logic in the moment, to use retrospection to make sense of past events or to peer into the future.

      Uses a more emotional, experiential, and embodied perspective for sensemaking through narrative is counter to the org studies POV that sensemaking is frequently a "deliberate, collaborative and unemotional process"

    4. We offer an alternative to sensemaking as a representational, cognitive, information-processing, or communicative process, and contest the idea that sensemaking is a purely retrospective and linear activity. We build on narrative theory to propose that sensemaking is a temporal process of making our life and ourselves sensible through embedded and embodied narrative performances. It is an interpretive process in which we judge our expe-rience, actions and sense of identity in relationship to specific and generalized others.

      Cunliffe and Coupland's framework that contests Weick's perspective on sensemaking and proposes a new interpretative process that is temporal, embodied and performative.

      See: Goffman (1978) The presentation of self in everyday life

    5. Narrative rationality is therefore fundamental to narrative sensemaking, because it connect us with our social surroundings through an ongoing process of interpreting, assessing and critiquing our experience: a form of ‘criti-cal self-awareness’ (Fisher, 1985: 349)

      While there are different theories to describe how narratives are constructed in organizations, Cunliffe and Coupland argue that "... narratives are the means by which we organize and make sense of our experience and evaluate our actions and intentions."

      Narrative rationality takes sensemaking a step further and theorizes how people judge the merits of a narrative from discordant story elements.

      Cunliffe and Coupland mention that people use probability, fidelity, plausibility, reliability, trustworthiness and wisdom of the constructed narrative and the narrator as ways to judge its rationality.

    6. Although Weick sees interpretation as a key element in creating such stories, he defines it as ‘the process by which managers translate data into knowledge and understanding about the environment’ (2001: 251), i.e. a cognitive infor-mation-processing activity. Our article offers an alternative perspective by focusing on the interpretive and embodied nature of sensemaking within the flow of experience.

      Contrast of Weick's view of storytelling as cognitive vs Cunliffe and Coupland's perspective as experiential.

    7. Our theorization of embodied sensemaking differs from, and extends, current work in three main ways. First, we define embodiment more broadly than emotion – as bodily sensations, felt experiences, emotions and sen-sory knowing; second, we situate embodiment in lived experience not as abstracted from, and able to be generalized across, experience; and third, we argue that embodiment is an integral part of sensemaking.

      Description of embodied narrative sensemaking. Cunliffe and Coupland refer to these as plotlines:

      "Plotline 1: Making life sensible occurs in polyphonic, responsive and ongoing moments of embodied narrative performance"

      "Plotline 2: Making our life sensible enough to go on is an embodied process"

      "Plotline 3: Making life sensible is as much about who we are as about narrating events and experiences"

    8. Ricoeur (e.g. 1988) because he sees narrative theory as a form of making sense in and across time that involves personal and community identit

      Ricoeur claims there are temporal elements to sensemaking

      Get this paper

    9. Merleau-Ponty (2004 [1962], 2004 [1948]) because of his theorization of the relationship between perception and embodi-ment.

      Unsure about whether Merleau-Ponty's work also includes a temporal element. Get the paper.

    10. Specifically, we argue that making life sensible:• occurs in embedded narrative performances – in the lived experience of everyday, ordinary interactions and conversations with others and ourselves;• is temporal, taking place moment-to-moment within and across time and space;• encompasses polyphony as we attempt to interweave multiple, alternative and contested narratives and stories;• is an ongoing embodied process of interpretation of self and experience in which we cannot separate ourselves, our senses, our body and emotions

      Four features of everyday sensemaking:

      • lived experience

      • temporal

      • polyphonic

      • embodied

    11. Our contribution lies in extending the work on sensemaking theory to include the notion of embodied narrative sensemaking, which posits that whether we are aware of it or not, we make our lives and ourselves ‘sensible’ through embodied (bodily) interpreta-tions in our ongoing everyday interactions.

      Extension of sensemaking theory

    12. A gap therefore exists in terms of theorizing sensemaking as a lived embodied everyday experience

      Cunliffe and Coupland claim a research gap

    1. They are concerned with organization theory, with explanations that ‘separate processes of organizing from the sites where they take place’ (Czarniawska, 2010: 156). To talk about abduction as cue + frame + connection, or about improvisation as variation + selection + retention, or about recurrent action patterns (Cohen, 2009) as routines, or about dominant frames of reference, is to reach for a more sweeping grasp of social order.

      Czarniawska's observation that "separate processes of organizing from the sites where they take place" could be a helpful frame for talking about the digital humanitarian/social coordination work process that sits outside of the social media platforms where the data is derived.

    2. Humphreys, Ucbasaran and Lockett attend to recurring stories told by jazz musicians, with the joint lenses of sensemaking and sensegiving, for purposes of articulating the order that makes improvisation possible.

      How is sensegiving defined here?

      Does the social coordination process involve both sensemaking and sensegiving?

      Does the social media UGC and collection process involve both sensemaking and sensegiving?

    3. As a final comment to follow-up on the template for linking that Cunliffe and Coupland provide, while they keep three processes in motion, it is unlikely that all three stabilize at the same time. It is plausible that the first of the three to stabilize then acts as a frame within which the other two unfold. Thus, while there may be a dominant story that shapes organizing and sensemaking, there may be dominant sensemaking or dominant organizing that constrain the other two. It is all a matter of sequences of stabilization.

      Temporal influence on the sequence of organizing, storytelling and sensemaking.

      What comes first, as Weick argues it is unlikely each dimension stabilizes (becomes clear) simultaneously?

    4. The haunting question is how do I fit into the story.

      Need to read the football club paper to understand this context but is it referring to situating oneself in the story?

      Read the Nâslund and Pemer paper to see how they are using the term "semantic fit".

    5. A cue, by itself, with-out a frame, has no predicate. Once you put it in a frame, it does. A further linkage is that the emphasis in abduction on supposition ties it to antenarrative conceived as a bet or speculation akin to a presumption of logic that needs to be worked out.

      Weick argues that sensemaking is ultimately an iterative inductive "process of connecting cues to interpretations back to cues ..."

      Connecting a cue to frame through abduction is a linking process that helps to knit together the 7 aspects of sensemaking.

      See: https://www.utwente.nl/en/bms/communication-theories/sorted-by-cluster/Organizational%20Communication/Sensemaking/

    6. The difference between contested and uncontested polyphony may link to antenarratives. Boje (2001: 2) argues that when people translate stories into narratives they ‘impose counterfeit coherence and order on otherwise fragments and multi-layered experiences of desire.’ Counterfeit coherence is unstable, subject to detection and breaching, all of which link the degree of contestation to sensemaking, organizing, and transitions between stories and narratives

      Weick writes before this passage:

      "When Cunliffe and Coupland incorporate polyphony into their first plotline, they make it more meaningful to examine contested stories."

      Need to read the paper to get a better sense of how they're defining contested -- but if it references a situation where the antenarrative information is confusing, complex, contradictory then this concept will be a good fit for the SBTF study.

    7. Cunliffe and Coupland call attention to polyphony. That one word is rich in connota-tions for them. It suggests contestation, making meaning with others, the overlap of sensemaking and sensegiving, and the emotionality of sensemaking

      Cunliffe and Coupland's definition of polyphony.

      This is important for framing the crowdsourcing and social media aspects of DHN work and the complexity of the sensemaking process.

    8. Sense and organizing emerge when a story begins to come together, identities begin to make sense, identities and actions can be given a sense of narrative rationality and we can connect plot and character. (p. 81)This is my favorite one sentence effort to provide a template for further development of linkages. The sentence is noteworthy because it includes sense, organizing, story, identities, actions, making sense, giving sense, narrative rationality, plot, and character. All of these elements are portrayed in the context of beginnings and emergings, which conveys a sense of ongoing forming and dissolving

      Weick's preferred description of sensemaking by Cunliffe and Coupland.

    9. Maclean et al. point to an intriguing tension in sensemaking. The tension is generated by the question, is sensemaking episodic or continuous?

      A quasi-temporal aspect of sensemaking. Good to know but I don't think at this point that it is a factor for the current study.

    10. In the lan-guage of Heidegger, sensemaking is triggered when the availableness of ready-to-hand coping is interrupted and attention shifts to unready-to-hand occurentness. The inter-rupted project still provides a frame and restoration occurs within that frame. An impor-tant linkage resides in the fact that environments vary significantly in the frequency of unexpected events.

      Weick continues the point that certain environments have so many interruptions and anomalies that the sensemaking process feels continuous even though it is really a series of distinct episodes of sensemaking through multiple breaches and restorations.

    11. Jeong and Brower (2008: 225) propose that practitioner sensemaking develops through the three stages of noticing, interpretation, and action, which vary as a function of the ecological, institutional, and social relational contexts in which they are constructed.

      Jeong and Brower's definition of sensemaking

      Seems to be more of an extension of Dewey's framework on attention.

    12. Starbuck and Milliken (1988) assert that ‘sensemaking refers to “comprehending, understanding, explaining, attributing, extrapolating and predicting.”

      Starbuck and Milliken's defintion of sensemaking

      This is quite broad.

    13. Maclean et al. also demonstrate clearly how sensemaking can be defined by its stages. The movement through time of different forms of interpretive work is captured in their phrase ‘language that constructs and gives order to reality, which it (temporarily) sta-bilizes’ (p. 20). They suggest that this movement consists of locating, meaning-making, and becoming.

      Maclean et al's definition of sensemaking

      The idea of temporal stages and spatial movement that includes locating could also be a way to describe the situating behavior.

      So far, this is the only definition that seems to include a temporal-spatial component

    14. Later in their article, Cunliffe and Coupland effectively summarize sensemaking as embodied efforts to figure out what to do and who we are. That is a tidy framework for interpreting the life stories of elite bankers since they are essentially figuring out what they did and who they were, with heavy editing, to point up the legitimacy of the what and who that are retrieved.

      Another Cunliffe and Coupland definition of sensemaking

      Could "embodied efforts to figure out what to do and who we are" touch on what I'm calling situated time? Need to read the paper to see how they refer to the term embodied.

    15. Gephart et al. define sensemaking as ‘an ongoing process that creates an intersubjective sense of shared meanings through conversation and non-verbal behavior in face to face settings where people seek to/produce, negotiate, and maintain a shared sense of meaning’ (2010: 284–285).

      Gephart's definition of sensemaking

      Could "shared meaning" be driving the need for SBTF volunteers to situate themselves in time in order to co-construct a story?

    16. Cunliffe and Coupland treat sensemaking as ‘collaborative activity used to create, legitimate and sustain organiza-tional practices or leadership roles’ (p. 65). If we add the phrase ‘and individual’ to the word ‘collaborative’ in that definition then we have a rendition of sensemaking that works for the Maclean et al. article, right down to the focus on legitimacy and leadership.

      Cunliffe and Coupland's definition of sensemaking

      This seems less relevant to the SBTF volunteers' situating behavior.

    17. Whittle and Mueller also anticipate and inform the nature of reconstructing a life story when they depict sensemaking as ‘a broader term [than stories] that refers to the process through which people interpret themselves and the world around them through the pro-duction of meaning’ (p. 114). It is their focus on ‘meaning’ and their inclusion of both the person and ‘the world around them’ that fits Maclean

      Whittle and Mueller's definition of sensemaking

      Could "process through which people interpret themselves and the world around them through the production of meaning" be driving the need for SBTF volunteers to situate themselves in time in order to co-construct a story?

    18. To talk about antenarrative as a bet is also to invoke an important structure in sense-making; namely, the presumption of logic (Meyer, 1956)

      the presumption of logic manifests in the 7th aspect of sensemaking: plausibility?

      identity construction / retrospection / enactment / social construction / ongoing / extracted cues / plausibility

      "Antenarratives set up a similar dynamic. The transition from story to narrative is fostered by the belief that the fragments will have made sense although at the moment that is little more than a promise." <-- that is the logic, that at some points the disparate facts will come together and make sense/

    19. People are often thrown into pre-existing, organized action patterns. They experience the middle of a narrative but only the vaguest beginnings or ends. Without those boundaries people dwell in antenarrative. But that is where sense-making, organizing, and discursive devices make a difference. ‘People who are thrown establish their own temporality’ (Hernes and Maitlis, 2010: 31)

      This is the sociotemporal hook for the SBTF study.

      Read the Hernes and Maitlis paper

      "People who are thrown establish their own temporality" << what does this mean?

    20. ‘Antenarrative is the fragmented, non-linear, incoherent, collective, unplotted and pre-narrative speculation, a bet’ (Boje, 2001: 1). Organizing, in the context of antenarrative, is a bet that these fragments will have become orderly and that efforts to impose temporality

      This is the sociotemporal hook for the SBTF study.

      Antenarrative definition from Boje (2001).

      See: Dawson and Sykes (2018) https://via.hypothes.is/http://wendynorris.com/wp-content/uploads/2018/08/Dawson-and-Sykes-2018-Concepts-of-Time-and-Temporality-in-the-Storytelling-and-Sensemaking-Literatures-A-Review-and-Critique.pdf

      This runs counter to the more frequent linear time structure of narratives.

      The wikipedia article makes a bit more sense:


      "Antenarratives serve a similar purpose. The process of moving from the nebulous and chaotic story to a narrative with a beginning middle and end is the antenarrative faith that story fragments will make retrospective sense some time in the future."

      More info on antenarrative here:

      "The antenarrative is pre-narrative, a bet that a fragmented polyphonic story will make retrospective, narrative, sense in the future. In a recent description of the bet aspect of antenarrative Karl Weick has said "To talk about antenarrative as a bet is also to invoke an important structure in sense-making; namely, the presumption of logic (Meyer, 1956)."


    21. Whittle and Mueller describe how, in crises, people are ‘called upon to justify or excuse their own role (or lack thereof)’ (p. 133) using story-lines built from discursive devices. Justifications are crucial anchors in organizing as they bind people to actions that are consistent with them. And such actions tend to recur, stabilize, and serve as resources for dominant stories.

      Description of how storytelling is generated during crisis and how it connects to enactments that is a part of sensemaking.

      Read this paper.

    22. Justification, understood as discourse that introduces legitimacy and stability into social action, is a source of linkage that recurs in several articles. Cunliffe and Coupland, for example, argue that we create sense ‘if we can find justifications (narrative rationality) for our and others’ actions’ (p. 69)

      Justification definition.

      Justification is used as a linkage in storytelling to connect the what/with/for elements.

      See: Cunliffe and Coupland http://wendynorris.com/cunliffe-and-coupland-2011-from-hero-to-villain-to-hero-making-experience-sensible-through-embodied-narrative-sensemaking/

    23. Brown’s (2004) summary description of dominant stories: a hegemonic story may be able to fix the meaning of the concepts and labels available to narrate events in the organization, and thereby circumscribe sensemaking

      Dominant story definition.

      Described the way some stories persist because they link/associate the what/with/for concepts that makes sense. The dominant story is not the only way to link these attention concepts (see Dewey) but they become normalized due to people's need/desire to satisfice.

    1. ‘Antenarrative is the fragmented,non-linear, incoherent, collective, unplotted, and pre-narrative speculation, a bet. To traditional narrativemethods antenarrative is an improper storytelling awager that a proper narrative can be constituted’(Boje 2001, p. 1).

      Antenarrative definition.

      This runs counter to the more frequent linear time structure of narratives.

      The wikipedia article makes a bit more sense:


      "Antenarratives serve a similar purpose. The process of moving from the nebulous and chaotic story to a narrative with a beginning middle and end is the antenarrative faith that story fragments will make retrospective sense some time in the future."

      More info on antenarrative here:

      "The antenarrative is pre-narrative, a bet that a fragmented polyphonic story will make retrospective, narrative, sense in the future. In a recent description of the bet aspect of antenarrative Karl Weick has said "To talk about antenarrative as a bet is also to invoke an important structure in sense-making; namely, the presumption of logic (Meyer, 1956)."


    2. Sixth, investi-gating the use of temporal modalities in making andgiving sense in the storytelling of management andother occupational groups, for example, in processesof story-weaving in the assembly of smaller storiesthat variously draw from the past, present and future(see Maitlis 2005, p. 45; Reissner and Pagan 2013,pp. 52, 83)

      Future research direction: ??

      Look at the citations

    3. Fifth, the importance of shifting contextualconditions over chronological time in the rewritingof histories and the reconstruction of narratives thatreposition individuals and groups, in, for example,a movement from hero to villain (see Cunliffe andCoupland 2012; Godfreyet al. 2016).

      Future research direction: ??

      Read the Cunliffe and Coupland paper

    4. Fourth, the com-pression and expansion of time structures in storiesthat compete, and the different techniques for draw-ing on temporal modalities for sensemaking in theconstruction of compelling power-political narrativesthat seek to influence the sense giving of others (seeBuchanan and Dawson 2007; Dawson and Buchanan2012)

      Future research direction: Timescapes // Time compression // Post-Colonial and Feminist Time

      See: Adam 1990 and 2004 See: Giddens' structuration theory

    5. Third, the use of time and temporality for mak-ing and giving sense to unfinalized stories, antenar-ratives and future scenarios (see Boje 2011), includ-ing attention to issues, such as temporal depth, timeurgency and temporal orientation in promoting theneed for short or long-term strategies (see Jabri 2016,p. 97; Kunischet al. 2017, p. 1043)

      Future research direction: Temporal depth // Tempo

      See: Bluedorn 2002

    6. Second, howtime is variously used in past constructions that givesense to what has occurred, in for example, nostal-gic tales that seek to sustain identity-relevant valuesand beliefs, or using time to leverage reformulationsin repositioning these tales, for example, with theaim of undermining nostalgia as a platform for resis-tance (see Brown and Humphreys 2002; Strangleman1999).

      Future research direction: Importance of reflexivity // Effects of Time Perspectives on sensemaking

      See: Zimbardo & Boyd's Time Perspectives

    7. First, exam-ination of time representations in the more finalizedand structured stories in organizations (see Gabriel2000): for example, how time and temporality areused to convey a particular message, moral lesson orpresent a causal explanation that is both compellingand plausible.

      Future research direction: Language of time

      See: Zerubavel and semiotics

    8. Our discussion commences with a fourfold charac-terization of underlying temporal modalities fromwhich we extend six pathways in mapping out fu-ture research opportunities.

      1) "finalized retrospective stories’ that seek to reconstruct from the past, key events, characters and plots that provide causal explanations for making sense of current disruptions and ambiguities (these stories take on the Aristotelean convention of being characterized by a beginning, middle and end)"

      2) "‘unfinalized prospective stories’ that are forward looking: time is no longer set, but non-linear and indeterminate. These stories of the future are unfinalized (like Boje’s concept of antenarrative), subjective and open to re-storying in seeking to make sense of ongoing and newly emerging occurrences as well as the uncertainties, threats and opportunities of a future that has yet to be."

      3) "‘present continuity-based stories’ that attempt to provide some reassurances about sustaining relations and values: to reassert a collective sense of belonging, sense of stability and membership, as in the heightened sense of belongingness through nostalgia (Strangleman 1999) that enables a sense of continuity between what is happening, what happened in the past and what may happen in the future."

      4) "‘present change-based stories’ often comprising a mixture of optimism in promoting the benefits of changing for the future, and pessimism in constructing stories on the potential threats and negative implications of future change (aligning with Ybema’s (2004) notion of postalgia)."

    9. This returns us to Weick’s (2012) claimthat the unfinalized uncertainties of life experiences ismade sense of and temporally fixed in narrative ratio-nality, but with the added notion that these temporalconstructions build on prospective ideas (a non-lineartemporality in story construction, but not in the struc-ture of the final narrative).

      This seems to fit with the Cunliffe and Coupland paper that in the moment actions are non-linear but the narrative is plotted across time (linear).

    10. Al-though both scholars usefully illustrate the powerof narratives to make and give sense to experiencesin organizations, Gabriel (2000) adopts a folkloristposition with a reliance on conventional temporal-ity and sequenced event time, in which causality isbuilt into the narrative construction with a progres-sive temporality (beginning, middle and end). In con-trast, Boje (2011) is interested in the more fragmentedand terse stories and the ways in which these un-resolved narratives open up possibilities for poten-tial futures (prospective sensemaking).

      Contrast of Gabriel and Boje's approaches in a nutshell.

    11. Boje seeks to elevate the place ofstories in organization studies in examining the inter-play between the control of narrative (order) and theunfinalized nature of emergent story (disorder)

      How does this manifest (if at all) in crisis social media?

      What is represented by the order? What is represented by the disorder?

      If crisis social media is performative storytelling, then what does Goffman say about sensemaking?

    12. For Boje (2008,p. 1) narrative has served to present reality in an or-dered fashion (the arrow of time), whereas storiesare at times able to break out of this narrative orderand offer a more diverse, fragmented and muddledview of reality (non-linear temporality). He refers toa storytelling organization as a ‘collective storytellingsystem in which the performance of stories is a keypart of members’ sensemaking and a means to allowthem to supplement individual memories with insti-tutional memory’ (Boje 1991, p. 106).

      Narrative is linear (arrow of time) Story "in the here and now" is non-linear

    13. From Boje’s perspective, coherent narrativesbuilt on retrospective sensemaking serve to controland regulate, while living stories in the present (asin simultaneous storytelling) disperse and challenge,providing alternative interpretations, with antenarra-tives offering future possibilities through prospectivesensemaking

      Boje's approach.

    14. From thisfolklorist perspective, sequenced event time predom-inates, and conventional temporality is not called intoquestion, and yet there remain subtle and differentconceptions of time, sometimes continuous, some-times discontinuous, sometimes linear and sometimestimeless, that extend beyond a simple characterizationof Newtonian linear-time.

      Different types of time are incorporated into stories but the through-line remains linear.

    15. Coherent, finalized stories are embedded with alinear structure that aligns with clock time and theGregorian calendar (Gabriel 2000, p. 239). Chronol-ogy and objective time implant these stories withan identifiable past, present and future and a linearcausality that provides a temporal structure (a be-ginning, middle and end with plot and characters).This linearity is tied to the inviolability of sequencedevents that occur within a tensed notion of time where,for example, you cannot have a character seeking re-venge before an original insult has occurred, nor canyou have a punishment for a crime that will be com-mitted later.

      For Gabriel, stories have a linear temporal structure (beginning, middle, end) driven by past, present and future events.

    16. For Gabriel, stories are a subset of narratives (whileall stories are narratives, not all narratives are stories),arguing that theories, statistics, reports or documentsthat describe events and seek to present objective factsshould not be treated as stories (nor for that mattershould clich ́es), as stories interpret events often dis-torting, omitting and embellishing to engage audienceemotions, they generate, sustain, destroy and under-mine meaning, and while they are crafted along par-ticular lines they do not obliterate the facts (Gabriel2000, pp. 3–4).

      Story definition per Gabriel.

      SBTF data collection/sensemaking would not be a story, per Gabriel's definition.

      But is it sensemaking?

    17. A key comparative difference centreson their definition and approach to stories. Gabrielis concerned with completed coherent stories with abeginning, middle and end, whereas Boje examinesunfinalized stories and future-oriented sensemaking.Temporality is central to both and yet, as we willillustrate, concepts of time remain implicit and inad-equately theorized.

      Differences between Gabriel's approach and Boje.

    1. And as I boarded flight after flight, making my way slowly northwards, I wondered what joins us over such a vast expanse, what connects wintry worlds with tropical? What finally joins us as people into this idea that we call Australia? And the answer is story. The story of us as a nation. The story of us as Australia and as being Australian.

      This feels like a reimagining of nationalism.

  37. Apr 2018
    1. Storytelling Ideally, all other persuasion techniques culminate in this one. If you can deftly blend other techniques while simultaneously telling a compelling story, you’ll be the most persuasive person on the block.

      That is very important. Where the novelist and the PR person or politician meet.

  38. Oct 2017
    1. Like the tools in a toolbox, though, modes can sometimes be used in ways that weren't intended but that get the job done just as well (like a screwdriver being used lo pry open a can of paint).

      An example of a mode being used in an unintentionally effective way would be the aural mode of Flannery O’Connor’s voice as she reads her short story “A Good Man Is Hard To Find.” Before reading the linguistic content of her story, my high school professor played an audio recording of O’Connor reading this story in a ballroom theater.

      O’Connor is a Southern author from Savannah, Georgia, so one of the first characteristics I noticed of her voice was its accent. Next, I noticed the bluntness with which she spoke. Her voice sounded rather dry and sarcastic at times, which perfectly illustrated, even softened the uncomfortable humor present in the story. I became so engrossed with the aural mode of O’Connor’s short story that once the linguistic mode caught up to me, I felt shocked by the grotesqueness of the events unfolding.

      The aural mode of O’Connor’s reading deceived me and lured me into a state of selective-attentiveness, however, this deception worked well to demonstrate the content of her story. “A Good Man Is Hard To Find” is, itself, an illusory and misleading narrative that culminates in a dreadful tragedy which appears quite suddenly and viciously. Until one rereads the story and recognizes the points of foreshadowing present all along, O’Connor’s voice served an unintentional purpose of misleading the (in this case) listener.


    2. word choice

      The decision of Welker, Lee, Clark, Van Buskirk, and Gill to name their dance company Terminus was intentional and purposive. The name Terminus comprises multiple elements of symbolism through which meaning can be derived. Terminus was one of Atlanta’s original names, and it describes the former setting of the Southern city. Terminus means “end of the line,” which indicates the spirited growth of Atlanta around the railroad’s stopping point between Georgia and the Midwest. Not only is the name Terminus historically significant to the company’s homebase city, but it is a