Class 2, Does Memory Matter? Why Are Universities Studying Slavery and Their Pasts? by David Blight for [[YaleCourses]]

Put tracks between each pair of songs to highlight the journey with a natural flow.

About four landmarks for an hour long playlist.

Go from the end to the beginning. Tell a story

This elaborates on the fast that the author saw others as gifted or unique while they only saw themself as boring or plain.

The author's blackness terrified the professor from the sounds of this piece, a way to symbolize something which could attract a reader but what was it that they meant, the professor could be seen as shrewd or inquisitive.

Regarding storytelling, it serves as a form of escape from the repression. Though it is hard to achieve (the level of focus) it is still there -- and it defies laws in the sense that even when there is nobody, a story has to be told to somebody. This abstractness also with language shows that restriction cannot exist because of these paradoxical loopholes

https://boffosocko.com/2016/09/30/complexity-isnt-a-vice-10-word-answers-and-doubletalk-in-election-2016/

Discussed as part of "storytelling vs. logic" at FoTL

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.

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.

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?

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.

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

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.

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.

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.

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.

• 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

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?

Grabe, Mark. “Tags and Stories in My First and Second Brains.” Substack newsletter. Mark’s Substack (blog), October 11, 2023. https://markgrabe.substack.com/p/tags-and-stories-in-my-first-and.

Roger Shank's definition of an expert

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?

https://flyingleapgames.com/products/wing-it-the-game-of-extreme-storytelling-1

Recommended by Jesse Stommel.

31:30 what do you want to say vs what do you want people to feel

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.

https://twitter.com/TheGreenLineTO

Local storytelling creating identity.

Suggested by Aram Zucker-Scharff

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.

https://www.complexityexplorer.org/courses/162-foundations-applications-of-humanities-analytics/segments/15618

https://www.youtube.com/watch?v=7RV99eO_oZU

Foundations & Applications of Humanities Analytics

1.3 About the course

• history of space, genealogy
• science / tools for learning
• examples via guest lecturers

Simon and David indicate that they are not "two cultures" people.

"You can get really far by counting." -Simon DeDeo

Digital humanities is another method of storytelling.

!- 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

!- "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

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

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

!- 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

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

!- example : storytelling to save the earth

https://mapofstories.scot/

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?

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

https://threadreaderapp.com/thread/1406325523991564293.html

Perhaps we might more profitably undermine misinformation by dismantling the underlying tropes the underpin them?

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.

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

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"?

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?

https://www.houstonchronicle.com/projects/2022/roe-opinion-annotated/

An interesting example of visual user interface of highlights and marginalia on a news site to help tell and report on a story.

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?

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

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

https://web.archive.org/web/20150203005821/http://dashes.com/anil/2002/04/stories-and-too.html

<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Anil Dash</span> in Stop Publishing Web Pages (<time class='dt-published'>04/29/2022 12:12:55</time>)</cite></small>

https://mitpress.mit.edu/books/how-history-gets-things-wrong

How History Gets Things Wrong: The Neuroscience of Our Addiction to Stories by Alex Rosenberg

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.

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.

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.

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

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.

https://teach.kqed.org/

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.

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

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.

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.

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?

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.

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.

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

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.

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

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.

Een interessant inzicht over de kracht van storytelling

storytelling: digital, not digitised

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

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

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

Good guidance on effective PR from Om Malik. View the slides.

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.

10/10

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.

9/10

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.

10/10

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.

10/10

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.

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.

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.

https://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story/transcript?language=en

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.

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.

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"

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

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.

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

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"

Ricoeur claims there are temporal elements to sensemaking

Get this paper

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

Four features of everyday sensemaking:

• lived experience

• temporal

• polyphonic

• embodied

Extension of sensemaking theory

Cunliffe and Coupland claim a research gap

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.

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?

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?

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".

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/

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.

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.

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

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.

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.

Jeong and Brower's definition of sensemaking

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

Starbuck and Milliken's defintion of sensemaking

This is quite broad.

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

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.

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?

Cunliffe and Coupland's definition of sensemaking

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

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?

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/

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?

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:

https://en.wikipedia.org/wiki/Antenarrative

"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)."

https://encyclopedia.thefreedictionary.com/antenarrative

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

Read this paper.

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/

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.

Antenarrative definition.

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

The wikipedia article makes a bit more sense:

https://en.wikipedia.org/wiki/Antenarrative

"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)."

https://encyclopedia.thefreedictionary.com/antenarrative

Future research direction: ??

Look at the citations

Future research direction: ??

Read the Cunliffe and Coupland paper

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

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

Future research direction: Temporal depth // Tempo

See: Bluedorn 2002

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

See: Zimbardo & Boyd's Time Perspectives

Future research direction: Language of time

See: Zerubavel and semiotics