35 Matching Annotations
  1. Last 7 days
    1. 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

    2. 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

    3. 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

    4. 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

    5. 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

    6. 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

    7. 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)."

    8. 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).

    9. 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.

    10. ‘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."

    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.

  2. Aug 2018
    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.

  3. 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.

  4. 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 also metaphorically significant.

      Photo of Tara Lee by Joseph Guay; Lee is a dancer for TMBT

      To the dancers of Terminus, the “end of the line” simultaneously serves as the origin point of a new journey. Their inception as a dance company flourished from their conclusion with Atlanta Ballet, a significant chapter in all of these dancers’ careers. Tara Lee describes a terminus as an “intersection and meeting point of ideas” in which “people [come] together to create something new” (Freeman). She believes that this definition describes the Terminus Modern Ballet Theater dancers well. The name Terminus is multimodal because it evokes specific imagery related to the railroad as well as a symbolic interpretation critical to understanding the motivations and origin story of this ballet company. As the text demonstrates, understanding the full message of even a single word requires a multimodal analysis.

      Questions one might ask:

      Are there images associated with the word?

      What is the word’s historical context?

      How is the word presented?

      Does it belong at the fore of the conversation?

      Does it compete with and/or complement another mode?

    3. We can u-;e this mode to communicate representations of how something look~ or how someone is feeling, to instruct, to persuade, and to entertain, among other things.

      As page 9 notes, "audio can also have visual impacts." This quote demonstrates the multi-modality of singular objects and subjects, a fact that exhibits the importance of multidimensional analysis. One of the panels on the AIDS Quilt contains a patch of leather, which has both a visual connotation and a distinct aural context. Leather evokes the Danny Zuko stereotype by conjuring images of enigmatic characters and inviting the sounds of rumbling motorcycles.

      Cardiac monitoring, similarly, is a common image in popular media that also contains multiple influences and connotations. Cardiac monitoring is typically executed with electrocardiography, a machine that monitors a person’s cardiac rhythm. At its core, though, the sound of a heartbeat monitor relies on the heartbeat itself. Our pulse of life.

      Image result for heartbeat monitor

      The human heartbeat is primal and intrinsic to our humanity. It betrays our fear and reveals our desires. Its visual and aural modes are ingrained within us all, for it is both a familiar sight, and a calming sound. The following short film presents the significance of our heartbeat in finding our truths, facing our fears, and embracing love. Relying heavily on visual and aural modes to encapsulate a story of heartache and romance, "In a Heartbeat" communicates a tale of love by personifying a famed motif, the heart itself.


    4. Although most of us arc used to hearing sound all around us every day, we don't often pay attention to how il signals information, including feelings, responses, or needed actions.

      One of the activities in our class textbook, Guide to First-Year Writing (6th Edition), asks us to “consider a song as an argument” (70). This activity (activity 2.12, found in chapter two) requires the participant to locate a song that appears to make an argument and answer the activity’s given questions. For this exercise, I chose the song “Love Is Dead” by Estonian musician Kerli.

      The title alone presents Kerli’s argument: love is dead. Answering the activity’s given questions, however, caused me to contemplate Kerli’s song as a complex communicative device; I soon realized that Kerli’s message is not as simplistic as the title implies. In my response, I hypothesize that Kerli is a mistress who has made the difficult decision to leave a secret relationship. By referencing lyrics that support my interpretation of the song’s argument, I was able to appreciate the narrative present in the song, and analyze its method of storytelling.

      Previously, I felt most drawn to the aural mode of “Love Is Dead,” however, this activity prompted my explicit admiration of the song’s linguistic mode as well. Through the following questions, I discuss how and why the linguistic mode of the song’s argument is supported by its aural mode:

      How would you describe the musical style of the song? In what ways does the style of singing and instrumentation help convey the rhetorical argument?

      Here is a snippet of my response:

      *The composition of the piece seems to describe the navigation of a dangerous path. It’s as if one has to look over one’s shoulder while listening to this song. By employing a sense of danger, the ballad mimics the traitorous and deceptive nature of Kerli’s secret relationship.

      In the song, Kerli’s vocals are slightly distorted. She sounds as if she is singing from behind a glass wall, showing that she is both unsure of the words she is singing to herself, and afraid of being honest about her doubt of the worthiness of her relationship. The instrumentation is forceful and almost overpowers Kerli’s voice at times. One is never unaware of the thematic orchestra scoring Kerli’s ascent through perilous territory. As the song advances, however, Kerli’s angelic voice increases in power. She continuously repeats and chants variations of “love is dead, love is gone, love don’t live here anymore,” alternating between singing these words, chanting them, and crying them to the audience.*

      As this article’s authors point out, the aural mode of media “signals information” even when we are not consciously aware of those signals.

      At first, I only appreciated the superficiality of the composition of “Love Is Dead,” and simply recognized that it sounded good to me. I now realize, however, that the aural mode of the song also performs the deeper, more complex function of storytelling. The sound of Kerli’s song influences the emotions that I feel upon listening, and the imagery I conjure in accordance with the music.

      Read the full response on my website, Postscript Reverie: My Analysis of "Love Is Dead"


  5. Sep 2017
    1. A more diverse range of participants attended, as civic hackathons were more frequented by community organizers, activists, and students than seasoned software engineers. Those who turned up were also more diverse in ways other than occupation – racially, ethnically, and by gender. These events were largely run by Hack for LA with a wide range of partners. Rarely did sponsors emphasize working code

      Para el Data Week el código funcional existe, pues estamos trabajando con narrativas de datos, en lugar de con aplicaciones. Incluso un boceto de una libreta arbórea es ya un prototipo funcional. La incorporación temprana de sistemas de control de versiones (Fossil), una vez Grafoscopio se estabilizó, ayuda a compartir tales prototipos tempranamente y hacerlos trazables y disponibles a otros.

      La modularidad para la transmisión de narrativas y código en libreta por un lado y en paquetes por otro, ayuda a que dichos prototipos se compartan, con diferentes niveles de experticia.

  6. May 2017
    1.  “Our ‘secret sauce’ is storytelling. Ninety-nine percent of video companies are started by video producers and animators. Splainers, on the other hand, was started by writers and journalists. If the story isn’t compelling, no amount of flashy graphics will save your video.”

      This is the essence of why journalism and writing are important, even for technical people.

  7. Jan 2017
    1. Beauty and the Beast, for example contains a man who has been magically transformed into a hideous creature, but it also tells a simple story about family, romance, and not judging people based on appearance. The fantasy makes these tales stand out, but the ordinary elements make them easy to understand and remember. This combination of strange, but not too strange, Tehrani says, may be the key to their persistence across millennia.

  8. Nov 2016
    1. We know good stories have energy, magic, a source of narrative power. How can we distill that spark or magic essence while harnessing the power of combinatorial creativity?

      I'm just a little cautious about hyperbolic assertions about storytelling, especially in terms of magical powers. What is it we definitely know that stories do? And do we need to think a bit more (post-election) about whether there are bad stories, or just bad uses of stories?

      I think concretely stories help us remember things, and are a means of expressing our values to others. Less well known is the use of storying the past to plan for the future -- we organise the materials of the past in order to try out options for how we want to be seen acting in the future.

  9. Oct 2016
  10. thecoverpage.pushpullfork.com thecoverpage.pushpullfork.com
    1. I think the point in this activity was that you can change the view point of any quote if it is posted with a different picture. It can take any quote even a serious toned quote and turn it into something with humor.

      I like that idea, the ability to change anything something serious in to humor for fun is actually pretty cool. Makes you loose it up something and get distractive from the world.

    2. I also think that even though Family guy is supposed to be a sitcom based cartoon there is also a very science fiction element to it.

      True, comedy and science fiction define Family Guy. Which at lot of individuals enjoy to watch and get entertain at of it. Nice work on your assignment.

  11. Jul 2016
  12. Jun 2016
    1. Perhaps the most underused of all of their muscles is the imagination, as we seek desperately to find a recipe for something that already exists.


    2. Are we creating a generation of people who cannot find the beauty in the mundane?

      This is an incredible statement! There is beauty all around us and many times we fail to see it because we are so busy scheduling and running our children around to their "next" class, game and activity.

  13. Dec 2015
    1. Pixar Animation co-founder Ed Catmull has warned that virtual reality technology may not be the revolution in storytelling that some of its evangelists have claimed. “It’s not storytelling. People have been trying to do [virtual reality] storytelling for 40 years. They haven’t succeeded. Why is that? Because we know that if they succeed then people would jump on it.”

      What? Who says VR has to be "just wandering around in a world"? You don't have to give the viewer full mobility, or any mobility. You can put their point of view where you want, and disallow interaction with the scenery -- which makes the experience precisely a 3D immersive motion picture. And I'm sure scripted stories can be told while giving the viewer some interaction with characters, and much freedom to move around -- that's just trickier. You'd plan for all the characters in various locations to push the story in a particular direction, or one of several directions, regardless of what the viewer does. The more you let the viewer affect events, the more it becomes a game, rather than a story.