Storytelling and digital storytelling

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Investigating the Effectiveness of Digital Storytelling in Developing Learners’ Emotional Intelligence

Investigating the Effectiveness of Digital Storytelling in Developing Learners’ Emotional Intelligence

The proponents of digital storytelling have acquiesced that digital storytelling has the power to emotionally relate learners to the content leading to a profound connected social- emotional and personalized learning. Emotions are deemed to be reclaimed cognitively; thus, this process of learning and engagement permits learners to write their DST discourses that comprise and contain their personal perspectives in relation to an academic community (Daily, 2005). Conjointly, the ability to position oneself, to be engaged with a problem on a personal level may push learners to leave their emotional comfort zone; therefore, they will be able to take intellectual and emotional risks. In this vein, DST gives students a voice to speak out their emotions as well as empathize with others’ emotions and perspectives. It also addresses learners’ emotional dimensions through the use of images and music (Jamissen & Skou, 2010). The creative digital storytelling process encourages strong social-emotional learning due to the environmental aspects that it provides through different story circle activities and through the discussions that students have with each other. It is a social pedagogy that approaches the journey of learning as a collaborative process (Benmayor, 2008). Digital stories are seen as a liaison between the affective and cognitive (Oppermann, 2008) especially when learners participate in social and cultural activities in which they are bestowed with an opportunity to be totally engaged and activate their agency as well.
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Storytelling in Videogames: From “Narrative” Towards “Fictional Universe”

Storytelling in Videogames: From “Narrative” Towards “Fictional Universe”

From “Narrative” Towards “Fictional Universe” Poetics of the Algorithm - Narrative, the Digital, and ‘Unidentified’ Media.. Fanny Barnabé2[r]

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Transmedia storytelling and cultural heritage interpretation : the CULTE project

Transmedia storytelling and cultural heritage interpretation : the CULTE project

also researchers and digital agencies. 2. Introduction Several studies exist to understand French young people’s behavior with digital media. They show that their favorite activities are, in order of preference, TV (66%), read (59%), internet (48%) and video games (44%) (Guillou, 2012). Few ever visit a cultural institution (55%), as they are often associated with formal education. The 15-25 year-olds access culture mostly through their family, friends or colleagues (93%), then through the Internet and its services (87%), TV and radio (84%), social netwoks (82%), press or magazine (72%) and other ways (42%) (Atelier BNP Paribas, 2012). Thus, culture is most of the time accessed at home, through several media and less often from mobile phones : 40% use them to surf the web (Guillou, 2012). Thus, if museums want to welcome young people, they should adapt themselves to these new ways of accessing culture, using audiences’ favorite activities as a means to attract them into the institutions.
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Mise en portrait et storytelling dans les présentations de soi des acteurs politiques : le cas des élections municipales de Paris en 2014, les présentations de deux candidates : Anne Hidalgo et Nathalie Kosciusko-Morizet

Mise en portrait et storytelling dans les présentations de soi des acteurs politiques : le cas des élections municipales de Paris en 2014, les présentations de deux candidates : Anne Hidalgo et Nathalie Kosciusko-Morizet

D’un côté, le portrait peut clairement être envisagé en tant que présentation de soi, dès son origine il se caractérise par la mise en image des traits caractéristiques d’un individu, par conséquent il s’agit de la présentation d’un individu. Et nous voyons que cette pratique se poursuit encore de nos jours à travers les portraits littéraires et journalistiques. La mise en portrait vise à présenter des individus aussi bien dans une dimension publique qu’une dimension privée. Or, en ce qui concerne le storytelling, nous constatons qu’il est plus difficile de l’envisager uniquement sous l’angle des présentations de soi, nous ne pouvons pas dire du storytelling qu’il relève de la présentation de soi. L’expression « présentation de soi » serait trop réductrice et ne montrerait pas les différents apports du storytelling. En effet, lorsque nous évoquons le storytelling en communication politique il est question de récits racontés par les acteurs politiques et médiatiques. Des récits dans lesquels figure un personnage, cependant il s’agit à la fois des histoires que racontent les acteurs politiques concernant autrui, de leurs propres histoires et de leurs mises en scène racontées par eux- mêmes ou par les journalistes. Il est par conséquent complexe de faire figurer ces différentes « techniques » de storytelling sous la seule appellation de « présentation de soi ». C’est pourquoi il était nécessaire de bien définir les apports de ces deux pratiques et d’envisager le storytelling comme complément de la mise en portrait tel que nous l’avons fait précédemment.
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Les présentations de soi au croisement des industries culturelles et des industries créatives, dans un contexte de reconfigurations de la sphère médiatique : le cas de la mise en portrait et du storytelling dans la presse magazine

Les présentations de soi au croisement des industries culturelles et des industries créatives, dans un contexte de reconfigurations de la sphère médiatique : le cas de la mise en portrait et du storytelling dans la presse magazine

Jean-Marie Charon, consacre une partie de son article « La presse magazine. Un média à part entière ? » à montrer qu’une des caractéristiques au fondement de la presse magazine serait la présence non négligeable du visuel et notamment de la photographie. Ainsi, nous pourrions faire le lien entre la presse magazine et les présentations de soi qui ont elles aussi recours aux éléments visuels que sont les photographies, graphiques, etc. et c’est ce que nous montrerons plus tard dans la suite de cette réflexion. « La photo, le dessin ou l’illustration ne joueront plus alors un simple rôle d’accompagnement, du récit centré sur le texte, elles constituent un récit spécifique, parfois même le récit principal. » 5 Nous pouvons – au passage – reconnaître ici une mise en parallèle avec le storytelling qui lui aussi se reconnaît dans l’utilisation de visuels pour mettre en récit. Il semblerait selon Jean-Marie Charon que la presse magazine se démarque par une grande utilisation des visuels, néanmoins il serait réducteur de ne pas prendre en compte la part textuelle qui est également à l’œuvre dans la presse magazine et dans les présentations de soi, dans la mesure où nous pouvons clairement constater sa place par un simple balayage de différents contenus. A travers les mises en portrait et les pratiques de storytelling que nous avons étudiées dans une brève observation (que nous détaillerons dans notre deuxième partie) il apparaît clairement que les présentations de soi se caractérisent par l’utilisation d’éléments à la fois visuels (photographie, graphique, frise chronologique, etc.) et textuels 6 .
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Making an Issue Out of a Standard: Storytelling Practices in a Scientific Community

Making an Issue Out of a Standard: Storytelling Practices in a Scientific Community

Difficulties became even more noticeable as plans for the rollout of the standard fell behind schedule. In order to track the success of the standard deployment effort, each site was required to submit reports on how many (and to what extent) data sets were in compliance with the standard. In 2003, only a third of the sites had succeeded in implementing the standard. 8 Such statistics revealed that two years after official adoption of the stan- dard, the number of data sets that had been logged as ‘‘standardized’’ (i.e., properly described) still lagged at most of the sites, despite local efforts. In order to address this, in combination with mounting reports of troubles, developers and information managers came together for the first time and organized a working group on the topic entitled ‘‘Community pro- cess of standard implementation.’’ The title of this working group reveals an increasing sense of a collective issue. This working group eventually decided to host a workshop for the Network information managers at the 2005 annual meeting. In the workshop’s call for participation, the working group organizers stated that they hoped the discussion would ‘‘inform upcoming EML revisions and future network projects,’’ and that ‘‘products of the working group include the accumulation of experiences of the parti- cipants with standards, distillation from these experiences of some princi- ples and critical questions to guide the LTER IM community and its partners in future projects.’’ 9
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Storytelling as Strategy to Envision the Changing Meaning of Heritage From an Object-focused Approach Towards an Intertwined Contextual One

Storytelling as Strategy to Envision the Changing Meaning of Heritage From an Object-focused Approach Towards an Intertwined Contextual One

The key thing is that the architect - heritage practitioner is an outsider in the local landscapes and buildings he has to study. One can never discover the world of meaning just by observing a place from outside and doing material survey only. (Collecting information) The architect as a stranger has to develop the ability not only to discover the history of the artefact and of the material it is made of but to take time to listen to and to observe both the local and the newcomer from inside (Collecting meaning) because he finally intervenes in a process that is already going on. It is crucial not only to map in a precise way the artefact itself but also the complex mesh of meanings to relate it towards a bigger framework of cultural and spatial experiences, urban and landscape structures. To gain insight into people’s and other living creatures’ why and how and their and our relation to places we can express perceptions through mapping from the ground. This implies that to be able to understand the processes of heritagization, appropriation, motivation, aspiration, to perceive fears, hopes, emotions, memories and traces and to express our own understandings we not only use cartographical techniques but: ‘We have to take time to step across the roads, to visit the places of which the inhabitants tell’ 9 .
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Surprise in Storytelling

Surprise in Storytelling

There is much debate about whether surprise is an emotion or not. For many psychologists (among whom Ekman, 2004), surprise is one of the six primary emotions. In Ortony, Clore, and Collins (1988 : 32), however, it is argued that surprise is a cognitive state rather than an emotion because it does not necessarily involve a valenced reaction : “People can be surprised while being affectively neutral about the surprise-inducing situation”. On this view, people who feel surprised at an unexpected event while remaining emotionally indifferent are not experiencing an emotion. My aim in this paper is not to take sides in this debate which may be more relevant to psychologists than to linguists. From a linguistic and pragmatic point of view however, there is no reason why surprise should be limited to a strictly emotional spontaneous reaction. What speakers express verbally is far from giving us direct access to their inner states and actual emotions. As shown by Caffi and Janney (1994 : 328-329), emotive communication is cognitively-mediated and embedded in social relations : “it is related to self-presentation, and it is inherently strategic, persuasive, interactional, and other-directed by its very nature”. From a linguistic perspective, the focus is thus more on the way emotions are displayed and talked about than on assessing a speaker’s emotional inner state.
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Storytelling in Information Visualizations: Does it Engage Users to Explore Data?

Storytelling in Information Visualizations: Does it Engage Users to Explore Data?

Gotz & Wen have modeled patterns of user-behavior in terms of analytic actions [14]. They identify four common patterns: Scan, Flip, Swap, and Drill-Down. A Scan pattern describes an iterative set of inspection actions of similar data objects, and indicates a user’s intent to compare attributes of these objects. A Flip pattern describes an iterative set of changes in filter constraints, and indicates a user’s intent to compare multiple sets of the data. A Swap pattern describes an itera- tive set of rearrangements of the order in which dimensions of the data are presented, and indicates a user’s intent to find cor- relations between various dimensions. Finally, a Drill-Down pattern describes an iterative set of filter operations on or- thogonal dimensions of the data, and indicates a user’s intent to narrow the analytic focus to a targeted subset of the data. From a broader perspective, Rodden et al. have proposed a set of user-centered metrics for Web analytics, which they categorize in the HEART framework: Happiness, Engage- ment, Adoption, Retention, and Task success [21]. Some of these metrics are attitudinal and subjective, and do not fit our present needs. Others however, are behavioral and seem ad- equate for assessing a user’s involvement with the webpage. Typically, Engagement is measured with metrics such as fre- quency, intensity, and depth of interaction.
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Børdahl, Vibeke : The Oral tradition of Yangzhou storytelling (compte rendu)

Børdahl, Vibeke : The Oral tradition of Yangzhou storytelling (compte rendu)

Comme pour la phonologie, la grammaire du corpus étudié ne se confond pas complètement avec celle du dialecte de Yangzhou.. déplore l'absence d'une grammaire de référence du [r]

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The Automatist Storytelling System : putting the editor's knowledge in software

The Automatist Storytelling System : putting the editor's knowledge in software

By making both the viewing experience and authoring process variable and extensible, the Automatist Storytelling System supports new story forms such as the "Evolving Docum[r]

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Quand les experts du patrimoine s’emparent du transmédia storytelling : l’exemple de Montaigne Superstar, une stratégie inachevée

Quand les experts du patrimoine s’emparent du transmédia storytelling : l’exemple de Montaigne Superstar, une stratégie inachevée

Cette technique narrative repose en premier lieu sur l’acquisition de nouvelles compétences d’écriture et de lecture qui permettent d’en réinvestir d’anciennes : « Le préfixe “trans-” suggère à la fois la quête de transversalité dans les démarches de recherche, d’appropriation et de réécriture de l’information, mais également, la capacité de chacun à transférer dans divers environnements et contextes informationnels et techniques des acquisitions antérieures » (Delamotte et al., 2013 : 9). La création de tels projets exige en outre que les producteurs soient capables de mettre en synergie des contenus et des contenants, numériques et non-numériques, selon une convergence culturelle et technique qui témoigne de la confluence des littératies informationnelles, médiatiques et numériques dont Jenkins a su montrer l’intérêt pour se « connecter, communiquer, créer et collaborer » (Le Deuff, 2012). Enfin, le transmédia storytelling met en avant des compétences translittéraciques, ou de « translittératie », par la création d’un continuum narratif, la scénarisation multi-plateformes, la gestion d’une communauté, et le déplacement d’un média à l’autre tout en maîtrisant l’affordance de chaque plateforme. En d’autres termes, le transmédia storytelling suppose, pour ne pas demeurer un effet d’annonce ou un label promotionnel (Schmitt, 2015), de faire converger l’ensemble « des compétences d’interaction mises en œuvre par les usagers sur tous les moyens d’information et de communication disponibles : oral, textuel, iconique, numérique, … essentiellement dans des environnements et contextes numériques » (Delamotte et al., 2013 : 11). Faire référence au concept de translittératie pour analyser la mise en place de stratégies transmédia storytelling permet donc de souligner l’importance de maîtriser les codes de création et de circulation de contenus multimédia dans un contexte d’abondance des canaux de diffusion.
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LES « INVISIBLES » PEUVENT-ILS SE RACONTER ? L'ENTREPRISE « RACONTER LA VIE » ENTRE AMBITION LITTÉRAIRE ET SOUPÇON DE « STORYTELLING »

LES « INVISIBLES » PEUVENT-ILS SE RACONTER ? L'ENTREPRISE « RACONTER LA VIE » ENTRE AMBITION LITTÉRAIRE ET SOUPÇON DE « STORYTELLING »

De toute évidence, la réflexion de Chritian Salmon sur le storytelling et les dangers du formatage narratif est nourrie d’une histoire des formes esthétiques différente de celle que Pierre Rosanvallon laisse entrevoir dans son texte, lesquelles orientent, l’une autant que l’autre, leur rapport au récit. En tant que littéraire intéressée par les tentatives formelles visant à subvertir les genres canoniques, je ne peux que me reconnaître dans la prise en compte par le premier de questionnements que manifestent un nombre croissant d’écrivains contemporains. Mais on pourrait aussi bien opposer à Christian Salmon que la mise en récit de sa propre existence ne constitue pas en soi une pratique aliénante, pas plus qu’elle n’est libératrice. Il existe différents usages du récit, qui varient de toute évidence selon l’expérience narrative de chacun. Toutefois, un usage libérateur du récit ne semble possible que si l’on prend conscience que celui-ci ne constitue pas une forme transparente mais qu’il véhicule des représentations – ce que la rhétorique du site « Raconter la vie » tend précisément à gommer.
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Le storytelling au cœur des stratégies des marques de luxe : une analyse de la campagne publicitaire Prada Candy l'Eau 2013

Le storytelling au cœur des stratégies des marques de luxe : une analyse de la campagne publicitaire Prada Candy l'Eau 2013

Toutes les visions du monde présentes dans la campagne publicitaire Prada Candy l'Eau 2013 coopèrent ensemble pour construire le mythe de la fragrance, mais aussi à a[r]

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Compte-rendu de : Christensen Julia, Cox Christopher et Szabo-Jones Lisa (eds.), 2018, Activating the heart: Storytelling, knowledge sharing and relationship, Waterloo, Ontario, Canada, Wilfrid Laurier University Press (coll. « Indigenous Studies Series »

Compte-rendu de : Christensen Julia, Cox Christopher et Szabo-Jones Lisa (eds.), 2018, Activating the heart: Storytelling, knowledge sharing and relationship, Waterloo, Ontario, Canada, Wilfrid Laurier University Press (coll. « Indigenous Studies Series »), xvii + 209 p.

constitute the narrative’s characters. These are: the Coney River, to which the piece is dedicated (“for the Coney River, otherwise known as the Yellowknife River”), Somba K’e (a park in Yellowknife), the eleven different languages spoken on its banks (listed in full, with suspension points to keep the inventory open), the Giant Gold Mine and the Ekati diamond mine and De Beers, and the last name (and last word) in the chapter: Yamozha. I will let you look up this last name for yourself in case you do not yet know it and you are interested in the chapter’s concluding question: “what will we learn from crowberry, blueberry, cloudberry, yarrow, caribou, whitefish, Yamozha?” Chapter 7, “Old Rawhide died” by Bren Kolson, is a testimony to the power of storytelling and its importance in our lives. It recounts childhood memories of listen- ing to radio voice characters: “I lived for Saturday nights to listen to Old Rawhide’s experiences. He was my hero, who took me to radio places I hoped I would one day see and know” (p. 149). The child’s fascination with the tales is so intense that the announced death of the (fictional) character, followed a couple of weeks later by his unexpected resurrection and renewed promise of an endless supply of yarns, are turning-points in the child’s daily life. Crucially, the tale is not told by a child, but by an adult who recognizes the adult’s ties to childhood, understanding childhood to be a key phase in a continuous developmental process (Walter 2015). Children are not enigmatic creatures impervious to (adult) logic, living a fanciful life of their own, and in want of domestication by adults. Lack of understanding between parents and children stems from parents’ anxiety to do the right thing and get the child to con- form. The narrative clarifies how parents get it plain wrong: The child’s depressed mood after hearing of the death of Old Rawhide is seen as a (disquieting) change
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Digital Image and Video Processing

Digital Image and Video Processing

Elementary method Naive approach static background Foreground is detected, pixel by pixel, as the difference between the current frame and a static reference image background: |It − B| >[r]

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Digital ecosystems: principles and semantics

Digital ecosystems: principles and semantics

5 Participation of i ndividuals in multiple digital ecosystems can obviously help them to reach their goals. Collaboration between entire digital ecosystems can also provide benefits to all ecosystems involved. First, the current borderlines between semantically neighbouring digital ecosystems may not be optimal for any system involved or may indeed be counter- productive, so redrawing or even removing (some of) them may be advantageous to all these ecosystems. The joining of an agent (viewed as a singleton ecosystem) into a digital ecosystem can be generalised to the merger of two digital ecosystems. Second, while a number of digital ecosystems may keep their borders and identities, they might specialise on what they can do best and form ‘import/export’-connected components of a higher system as well-known from biological and social ecosystems.
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Digital Communication and Swift Trust

Digital Communication and Swift Trust

VIDEO, AUDIO, and TEXT. In these three treatments, each participant acts as a player A and is exposed to 10 items randomly drawn from the set of 41 recordings of player Bs’ statements made in F2F. 10 Subjects are clearly informed that these recordings have been gathered in distinct experiments conducted in the past, and that although their own decisions do not influence the payoffs of the player Bs behind those messages, their own payoffs may depend on those player Bs’ antecedent decisions. In each round, each participant receives a message (a statement made by player B). In the VIDEO treatment, participants watch the video recording of the message. In AUDIO, they listen to an audio recording. They can watch/listen to a given recording only once. In TEXT, precise transcripts of the statements (including inarticulate sounds) are displayed on player As’ computer screens for the amount of time equal to the duration of the corresponding recording. After receiving a message, each participant decides whether to go In or stay Out and fills in the post-decision questionnaire. Participants are not informed about the choice made by the player B whose message they have just received, or about the outcome of die roll. After completing 10 rounds, each player A is randomly matched with one of the ten player Bs. The payoff structure corresponds to player A’s payoffs in Figure 1. Player A receives 5 Euros when staying Out, 0 Euros when going In with a player B who does not Roll, or either 12 Euros (with 5/6 chance) or 0 Euros (with 1/6 chance) if player B chooses to Roll.
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Digital revolution: impact and opportunities

Digital revolution: impact and opportunities

However, there are tensions around control of digitized cultural content and its online flows. While acknowledging that digital technologies offer several possibilities in terms of cultural flows, the lack of visibility of a great amount of cultural goods and services in the digital environment emerges as a pressing issue. In this view, this abundance of online contents and the variety of distribution platforms do not mean that the consumed cultural content is diversified. To put it simply, abundance of content does not generate automatically diversity of content. As D. Tchehouali noted, whereas it is technically feasible for digital platforms to contribute to the diffusion of various cultural expressions, of new talents and unrecognized artists throughout the world, their algorithms favour the promotion of the most profitable cultural content.
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Digital shapes, digital boundaries and rigid transformations: A topological discussion

Digital shapes, digital boundaries and rigid transformations: A topological discussion

Nevertheless, many efforts remain to do towards solutions in more general cases. In particular, the handling of (i) higher dimensions, i.e., Z 3 and more generally Z n for n ≥ 3, and (ii) arbitrary geometric transformations, still remain open issues. Moreover, it may be important to derive not only sufficient, but also necessary conditions, for curvature analysis. It may additionally be useful to deal with both Eulerian and Lagrangian models.

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