"That's what social media is all about - engagement" : Hur märkesinnehavare använder visuell storytelling på Instagram för att skapa märkesgemenskaper

Utvecklingen av sociala medier såsom t.ex. Facebook och Instagram har inneburit nya möjligheter att kommunicera sin livsstil och sina personliga val, som överskrider såväl kulturella som geografiska gränser. Nya gemenskaper skapas. Detta får betydelse för hur konsumenter kommunicerar med varandra samt hur märkesinnehavarna kommunicerar med sina kunder. Syftet med min studie är att undersöka hur en märkesinnehavare inom mode använder sociala medier, i detta fall Instagram, i sin kommunikation med kunderna för att skapa engagemang kring sitt varumärke. Aktuell forskning visar att värde i varumärket skapas genom en ömsesidig kommunikation mellan märkesinnehavaren och konsumenterna. Kommunikationen sker både mellan märkesinnehavare och konsumenter samt mellan konsumenterna i en märkesgemenskap. Storytelling är ett verksamt medel i denna meningsskapande process. En semiotisk analys användes för att analysera bilderna och hur de bidrar till märkets storytelling. Resultatet visar att Instagram ger märkesinnehavare och konsumenter möjlighet att gemensamt skapa värde. De tekniska funktionerna i applikationen gör det lätt för märkesinnehavare att interagera med sina konsumenter och skapa en dynamisk märkesgemenskap. På Sabo Skirts instagramkonto är märkesinnehavaren och följarna tillsammans märkets författare. Följarna använder kläderna och ger dem betydelse i sin egen vardag samtidigt som märkesinnehavaren skapar möjligheter för dem att synas på ett instagramkonto med 1,5 miljoner följare. Detta kan tolkas med hjälp av teorin uses and gratifications som säger att användningen av media alltid är målinriktad. Människor väljer aktivt media efter vilka deras behov är och hur väl användningen tillfredsställer dessa behov.

Patterns in personal experience narratives: storytelling at cod harbour - a Newfoundland fishing community

This study is concerned with storytelling as a part of the folk culture of a fishing community on the north east coast of Newfoundland. The study is based on field work done in the community throughout the summer of 1969 during which I tape recorded oral narratives along with other folklore and folklife material . The principal genre discussed is the personal experience narrative which is an account of the experiences of either the narrator, someone in his kin network, orhis friends. It was found that a large number of community residents communicate in narrative form and that the narratives function to substantiate conversation preceeding the narrativei have a didactic function; function as a means of entertainment~ and reflect the narrators' and the community's value system. The methods employed in collecting the material were the directive and the non-directive interview techniques and participant observation. Collecting was done mainly among fishermen between fifty and eighty years of age and who, on -the average, had not gone beyond the sixth grade in school. Since the narratives are so much a part of the environment, I give an account of the community culture. The principal things that I deal with are the community's history, economy, education, religion, and social life which includes rites of passage, calendar customs , social events, visiting patterns, and gossip. Information in each of these categories is based primarily on oral reports, narratives and documented materials. After a discussion of the storytelling process in the community, I deal specifically with four male narrators. For each I give biographical information, discuss his repertoire, telling situations, style, and give a sampling of his narratives. The fourth narrator is discussed in more detail than the first three. The narratives of the latter comprise the final chapter in the study, and have been analyzed to show what they tell us about the narrator's style, his value system, and the community culture.

Personal Storytelling : Using Natural Language Generation for Children with Complex Communication Needs, in the Wild...

Acknowledgements The authors thank the children, their parents and school staff, who participated in this research, and who so willingly gave us their time, help and support. They also thank Steven Knox and Alan Clelland for their work on programming the mobile phone application. Additional thanks to DynaVox Inc. for supplying the Vmax communication devices to run our system on and Sensory Software Ltd for supplying us with their AAC software. This research was supported by the Research Council UKs Digittal Economy Programme and EPSRC (Grant numbers EP/F067151/1, EP/F066880/1, EP/E011764/1, EP/H022376/1, and EP/H022570 /1).

Transmedia Storytelling na ficção portuguesa

A evolução tecnológica do início do século XXI abriu portas a novos desafios comunicacionais e hoje, mais do que nunca, é necessário desenvolver processos narrativos que atraiam as audiências e tragam um novo fôlego à televisão em Portugal. Este estudo incide nos princípios de transmedia storytelling definidos por Henry Jenkins – spreadability versus drillability, continuity versus multiplicity, immersion versus extractability, worldbuilding, seriality, subjectivity e performance – e na forma como produtoras, canais de televisão portugueses em sinal aberto e consumidores encaram a utilização destas práticas na produção, transmissão e consumo de conteúdos de ficção nacional. Nas narrativas que recorrem a transmedia storytelling, pedaços das histórias são espalhados através de diferentes media, podendo muitos destes conteúdos ser criados em colaboração com os fãs. Foram abordadas as produtoras, as estações televisivas e os consumidores por forma a apurar que trabalho tem vindo a ser efetuado na ficção nacional da televisão pública portuguesa em sinal aberto no âmbito de transmedia storytelling e por que razão estes canais e as produtoras não apostam em transmedia storytelling na estratégia de comunicação das ficções nacionais. Para isso foi descrito o cenário da ficção nacional na televisão pública portuguesa em sinal aberto, analisado o papel do consumidor no contexto atual de consumo e produção de conteúdos e o seu interesse em narrativas transmediáticas e foram identificados os constrangimentos e limitações na utilização de transmedia storytelling na ficção nacional da televisão pública portuguesa em sinal aberto. Os resultados revelam que transmedia storytelling é uma temática pouco familiar, que não é aplicada em Portugal, apesar de haver casos pontuais da sua utilização. Porém, o estudo indica que pode haver um interesse latente nos consumidores, que poderá ser ativado a partir da introdução de conteúdos que recorram a estratégias de transmedia storytelling na televisão portuguesa em sinal aberto.

A Philosophy of Operatic Storytelling

This dissertation presents the first theoretical model for understanding narration and point of view in opera, examining repertoire from Richard Wagner to Benjamin Britten. Prior music scholarship on musical narratives and narrativity has drawn primarily on continental literary theory and philosophy of the 1960s to the middle of the 1980s. This study, by contrast, engages with current debates in the analytic branch of aesthetic philosophy. One reason why the concept of point of view has not been more extensively explored in opera studies is the widespread belief that operas are not narratives. This study questions key premises on which this assumption rests. In so doing, it presents a new definition of narrative. Arguably, a narrative is an utterance intended to communicate a story, where "story" is understood to involve the representation of a particular agent or agents exercising their agency. This study explores the role of narrators in opera, introducing the first taxonomy of explicit fictional operatic narrators. Through a close analysis of Britten and Myfanwy Piper's Owen Wingrave, it offers an explanation of music's power to orient spectators to the points of view of opera characters by providing audiences with access to characters' perceptual experiences and cognitive, affective, and psychological states. My analysis also helps account for how our subjective access to fictional characters may engender sympathy for them. The second half of the dissertation focuses on opera in performance. Current thinking in music scholarship predominantly holds that fidelity is an outmoded concern. I argue that performing a work-for-performance is a matter of intentionally modelling one's performance on the work-for-performance's features and achieving a moderate degree of fidelity or matching between the two. Finally, this study investigates how the creative decisions of the performers and director impact the point of view from which an opera is told.

A Framework to Capture and Share Knowledge Using Storytelling and Video Sharing in Global Product Development

In global engineering enterprises, information and knowledge sharing are critical factors that can determine a project’s success. This statement is widely acknowledged in published literature. However, according to some academics, tacit knowledge is derived from a person’s lifetime of experience, practice, perception and learning, which makes it hard to capture and document in order to be shared. This project investigates if social media tools can be used to improve and enable tacit knowledge sharing within a global engineering enterprise. This paper first provides a brief background of the subject area, followed by an explanation of the industrial investigation, from which the proposed knowledge framework to improve tacit knowledge sharing is presented. This project’s main focus is on the improvement of collaboration and knowledge sharing amongst product development engineers in order to improve the whole product development cycle.

Storytelling and story testing in domestication

The domestication of plants and animals marks one of the most significant transitions in human, and indeed global, history. Traditionally, study of the domestication process was the exclusive domain of archaeologists and agricultural scientists; today it is an increasingly multidisciplinary enterprise that has come to involve the skills of evolutionary biologists and geneticists. Although the application of new information sources and methodologies has dramatically transformed our ability to study and understand domestication, it has also generated increasingly large and complex datasets, the interpretation of which is not straightforward. In particular, challenges of equifinality, evolutionary variance, and emergence of unexpected or counter-intuitive patterns all face researchers attempting to infer past processes directly from patterns in data. We argue that explicit modeling approaches, drawing upon emerging methodologies in statistics and population genetics, provide a powerful means of addressing these limitations. Modeling also offers an approach to analyzing datasets that avoids conclusions steered by implicit biases, and makes possible the formal integration of different data types. Here we outline some of the modeling approaches most relevant to current problems in domestication research, and demonstrate the ways in which simulation modeling is beginning to reshape our understanding of the domestication process.

Narrative Deliberation? On Storytelling as a Necessary Component of Public Deliberation

This paper deals with the place of narrative, that is, storytelling, in public deliberation. A distinction is made between weak and strong conceptions of narrative. According to the weak one, storytelling is but one rhetorical device among others with which social actors produce and convey meaning. In contrast, the strong conception holds that narrative is necessary to communicate, and argue, about topics such as the human experience of time, collective identities and the moral and ethical validity of values. The upshot of this idea is that storytelling should be a necessary component of any ideal of public deliberation. Contrary to recent work by deliberative theorists, who tend to adopt the weak conception of narrative, the author argues for embracing the strong one. The main contention of this article is that stories not only have a legitimate place in deliberation, but are even necessary to formulate certain arguments in the fi rst place; for instance, arguments drawing on historical experience. This claim, namely that narrative is constitutive of certain arguments, in the sense that, without it, said reasons cannot be articulated, is illustrated by deliberative theory’s own narrative underpinnings. Finally, certain possible objections against the strong conception of narrative are dispelled.

The magical transformation contest in the ancient storytelling tradition

El concurso de transformación mágica, esquema narrativo difundido en la tradición popular, se presenta en dos variantes principales: los hechiceros que compiten pueden metamorfosearse en varios seres o crear esos seres por medios mágicos. En cualquier caso el concursante ganador da a luz criaturas más fuertes que superan las de su oponente. La segunda variante fue preferida en el antiguo Cercano Oriente (Sumeria, Egipto, Israel). La primera se puede encontrar en algunos mitos griegos sobre cambiadores de forma (por ejemplo, Zeus y Némesis). El mismo esquema narrativo puede haber influido en un episodio de la Novela de Alejandro (1.36-38), en el que Darío envía regalos simbólicos a Alejandro y los dos monarcas enemigos ofrecen contrastantes explicaciones de ellos. Esta historia griega racionaliza el concurso de cuento de hadas, transfiriendo las fantásticas hazañas de creaciones milagrosas a un plano secundario pero realista de metáfora lingüística.

D3.5 – First Storytelling Framework

This document presents the first release of the project’s storytelling framework, which is composed by two assets. The purpose of this framework is to facilitate the use of interactive storytelling for the development of applied games. More precisely, the framework is meant to aid developers in the creation of game scenarios where both players and autonomous characters are playing an active role in a narrative that unfolds according to their actions. The document describes the current state for the assets that are part of this framework, also providing links to the source code of the assets as well as associated demonstrations and documentation. The primary audience for the contents of this deliverable are the game developers that will use the proposed framework in their development process. The information about the specific RAGE use cases that are using the framework is written in Deliverable 4.2.

Audiovisual Storytelling and Ideological Horizons : Audiences, Cultural Contexts and Extra-textual Meaning Making

Abstract: Audiovisual Storytelling and Ideological Horizons: Audiences, Cultural Contexts and Extra-textual Meaning Making In a society characterized by mediatization people are to an increasing degree dependent on mediated narratives as a primary means by which we make sense of our experience through time and our place in society (Hoover 2006, Lynch 2007, Hjarvard 2008, Hjarvard & Lövheim 2012). American media scholar Stewart Hoover points to symbols and scripts available in the media environment, what he call the “symbolic inventory” out of which individuals make religious or spiritual meaning (Hoover 2006: 55). Vernacular meaning-making embedded in everyday life among viewers’ dealing with fiction narratives in films and tv-series highlight a need for a more nuanced understanding of complex audiovisual storytelling. Moving images provide individuals with stories by which reality is maintained and by which humans construct ordered micro-universes for themselves using film as a resource for moral assessment and ideological judgments about life (Plantinga 2009, Johnston 2010, Axelson 2015). Important in this theoretical context are perspectives on viewers’ moral frameworks (Zillman 2005, Andersson & Andersson 2005, Frampton 2006, Avila 2007).This paper presentation will focus on ideological contested meaning making where audiences of different cultural background engage emotionally with filmic narratives, possibly eliciting ideological and spiritual meaning-making related to viewers’ personal world views. Through the example of the Homeland tv-series I want to discuss how spectators’ cultural, religious, political and ideological identities could be understood playing a role in the interpretative process of decoding content. Is it possible to trace patterns of different receptions of the multilayered and ambiguous story depicted in Homeland by religiously engaged Christians and Moslems as well as non-believers, in America, Europe and Middle East? How is the fiction narrative dealt with by spectators in the audience in different cultural contexts and how is it interpreted through the process of extra-text evaluation and real world2understanding in a global era preoccupied with war on terror? The presentation will also discuss methodological considerations about how to reach out to audiences anchored in different cultural context.