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  1. Last 7 days
  2. May 2021
  3. 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.
  4. 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.

  5. 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.

  6. 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.

  7. Aug 2020
  8. 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.

  9. 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.

  10. 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.


  11. 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.

  12. 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.

  13. 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.


  14. 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.
  15. 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.

  16. 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.

  17. 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"


  18. 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.

  19. 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.

  20. 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.

  21. 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.

  22. Oct 2016
  23. 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.

  24. Jul 2016
  25. 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.

  26. 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.