This study tests an instructional model designed to empower students in an early childhood classroom as emerging digital storytellers. Educators can use digital storytelling to support students’ learning by encouraging them to organize and express their ideas and knowledge in an individual and meaningful way while developing voice and facility in child-computer interactions. This work also helps develop traditional communication skills, fosters collaboration, and strengthens emergent literacy practices. Students may develop enhanced communications skills by learning to organize (...) their ideas, ask questions, express opinions, and construct narratives as they interact with others and computers in the creation of digital stories. The “Emerging Digital Storytellers” instructional model focuses on social-emotional development and finding student voice through writing and digital content construction in the early childhood educational context. (shrink)

Digital storytelling has become a popular method for curating community, organisational, and individual narratives. Since its beginnings over 20 years ago, projects have sprung up across the globe, where authentic voice is found in the narration of lived experiences. Contributing to a Collective Intelligence for the Common Good, the authors of this paper ask how shared stories can bring impetus to community groups to help identify what they seek to change, and how digital storytelling can be (...) effectively implemented in community partnership projects to enable authentic voices to be carried to other stakeholders in society. The Community Digital Storytelling method is introduced as a means for addressing community-of-place issues. There are five stages to this method: preparation, story telling, story digitisation, digital story sense-making, and digital story sharing. Additionally, a Storytelling Cycle of Trust framework is proposed. We identify four trust dimensions as being imperative foundations in implementing community digital media interventions for the common good: legitimacy, authenticity, synergy, and commons. This framework is concerned with increasing the impact that everyday stories can have on society; it is an engine driving prolonged storytelling. From this perspective, we consider the ability to scale up the scope and benefit of stories in civic contexts. To illustrate this framework, we use experiences from the CDST workshop in northern Britain and compare this with a social innovation project in the southern Netherlands. (shrink)

Beginning with the idea that digital storytelling can be a useful tool for moral sensemaking and development for undergraduates, the paper reviews the process of digital storytelling and details how the lead author incorporated a digital storytelling project into a course on leadership ethics. The paper provides a theoretical basis for the project in Gentile’s (2010, 2011) work on Giving Voice to Values, and in perspectives from aesthetics, phenomenology, and personal narrative. This is followed (...) by two autoethnographic narratives of the experience: one from the course designer and professor who discusses his motivation for the project and the moral dilemma he faced in assigning it, and another from one of the students in the class who investigates the challenges she faced in engaging a deeply-felt moral dilemma in a public way. Finally, the paper discusses the implications for this approach with respect to leadership development and research. (shrink)

Beginning with the idea that digital storytelling can be a useful tool for moral sensemaking and development for undergraduates, the paper reviews the process of digital storytelling and details how the lead author incorporated a digital storytelling project into a course on leadership ethics. The paper provides a theoretical basis for the project in Gentile’s (2010, 2011) work on Giving Voice to Values, and in perspectives from aesthetics, phenomenology, and personal narrative. This is followed (...) by two autoethnographic narratives of the experience: one from the course designer and professor who discusses his motivation for the project and the moral dilemma he faced in assigning it, and another from one of the students in the class who investigates the challenges she faced in engaging a deeply-felt moral dilemma in a public way. Finally, the paper discusses the implications for this approach with respect to leadership development and research. (shrink)

Intergenerational storytelling (IGS) has recently emerged as an arts- and humanities-focused approach to aging research. Despite growing appeal and applications, however, IGS methods, practices, and foundational concepts remain indistinct. In response to such heterogeneity, our objective was to comprehensively describe the state of IGS in aging research and assess the critical (e.g., conceptual, ethical, and social justice) issues raised by its current practice. Six databases (PsycINFO, MEDLINE, PubMed, Scopus, AgeLine, and Sociological Abstracts) were searched using search terms relating to (...) _age_, _intergenerational_, _story_, and _storytelling_. Peer-reviewed, English-language studies conducted with participants residing in non-clinical settings were included. One thousand one hundred six (1106) studies were initially retrieved; 70 underwent full review, and 26 fulfilled all inclusion criteria. Most studies characterized IGS as a practice involving older adults (> 50 years old) and conventionally-aged postsecondary/college students (17–19 years old). Typical methodologies included oral and, in more recent literature, digital storytelling. Critical issues included inconsistently reported participant data, vast variations in study design and methods, undefined key concepts, including _younger_ vs. _older_ cohorts, _generation_, _storytelling_, and whether IGS comprised an intentional _research method_ or a retrospective _outcome_. While IGS holds promise as an emerging field of arts- and humanities-based aging research, current limitations include a lack of shared data profiles and comparable study designs, limited cross-cultural representation, and insufficiently intersectional analysis of widespread IGS practices. To encourage more robust standards for future study design, data collection, and researcher reflexivity, we propose seven evidence-based recommendations for evolving IGS as a humanities-based approach to research in aging and intergenerational relations. (shrink)

Digital technology has prompted philosophers to rethink some of the fundamental categories we use to make sense of the world and ourselves. Particularly, the concept of ‘identity’ and its reconfiguration in the digital age has sparked much debate in this regard. While many studies have addressed the impact of the digital on personal and social identities, the concept of ‘collective identity’ has been remarkably absent in such inquiries. In this article, I take the context of social movements (...) as an entry point to discuss the reconfiguration of collective identity in social media environments. I do so by introducing a narrative approach to collective identity. I argue that Twitter’s affordances invite new ways of constructing collective identities and imply a shifting relationship between the individual and the collective. (shrink)

Extending narratological analysis to media as varied as graphic novels, photography, television, musicals, computer games and advertising, the essays gathered in this volume address some of the most fundamental questions raised by the medial turn in narratology: how can narrative meaning be created in media other than language; how do different types of signs collaborate with each other in so-called multimodal works; and what new forms of narrativity are made possible by the emergence of digital media.".

Arts and Humanities in Higher Education, Volume 21, Issue 2, Page 158-175, April 2022. Despite the increased use of technology in higher education classrooms, we need a better understanding of pedagogical strategies that improve student ability to produce quality scholarly digital content in the humanities. This research was designed to examine student learning through scholarly digital storytelling, a technology-enhanced assessment. The researcher collected data during and after an interdisciplinary, graduate scholarly digital storytelling course, including student (...) work, student reflections, and individual interviews, to examine experiences at key points throughout the learning process. The results indicate that this pedagogical approach, when carefully scaffolded alongside formative feedback and ongoing student support, can increase student capacity—including digital agency, problem-solving skills, and digital knowledge production skills—to produce scholarly digital work in the humanities. Students can also learn to understand the interplay between disciplinary learning and digital skills and the ways in which both are essential for scholarly communication within and beyond the classroom. (shrink)

Context: Sustainability is among major societal goals in our days. Education is acknowledged as an essential strategy for attaining sustainability by activating the creative potential within young people to understand sustainability, bring forth changes in their everyday life, and collectively envision a more sustainable future. Problem: However, teaching and learning about sustainability and sustainability-related issues is not an easy task due to the inherent complexity, ambiguity, and context-specificity of the concept. We are in need of innovative pedagogical approaches and tools (...) that will allow us to design learning activities in which learners will be empowered to develop new, alternative interpretations of sustainability in personally and collectively meaningful ways. Method: We argue that a constructionist perspective involving the use of expressive media for digital storytelling offers an appropriate frame for designing learning activities fostering collaborative creativity in thinking and learning about urban sustainability. Our study is based on the design of a learning activity following this rationale. We adopted a qualitative approach in the collection and analysis of different sources of data with the aim to explore collaborative creativity as a learning process based on the students’ collective processes and resulting in the co-construction of new ideas and insights about sustainability, and new tangible artefacts encompassing them. Results: Our analysis of the collaborative creativity exemplified in the three digital stories produced identified important creative elements with regards to the three components of a digital story and how they were embodied in each digital story produced as a result of the students’ joint constructionist activity. Implications: Our study provides some preliminary evidence that collaborative creativity from a constructionist perspective can stand as an appropriate framework for designing learning activities addressing the difficult concept of sustainability. There are several implications for both theory and educational practice in environmental education and education for sustainable development, constructionism, and digital storytelling in education. Moreover, our study opens up new fields for research and theory in creativity. (shrink)

There has been growing enthusiasm amongst those who undertake research with children, for the development of participatory and visual research methods. The greater availability and affordability of digital technology has meant that there has been greater scope for digital technology to support participatory research methods, or augment more traditional qualitative research methods. While digital technology provides new opportunities for qualitative researchers, they also come with a series of challenges – some of which have been grappled with by (...) those using more traditional research methods but also some which are new. Our study was undertaken in Victoria, Australia, and used a combination of interviews, focus groups and digital storytelling to bring together two strands of work which have historically occurred separately: work with children experiencing domestic violence and programs for men who use domestic violence. While digital storytelling proved to be an effective method of engaging children and young people in the research, a range of challenging ethical issues emerged. Some of these issues were considered as part of the formal ‘procedural ethics’ process, but additional and more challenging issues relating to anonymity and the complex safety considerations of using of the children’s digital stories within programs for men who use violence and dissemination emerged in practice. It is hoped that sharing our experiences and decision-making will contribute to the knowledge base for others considering engaging in sensitive research using digital technology. (shrink)

The nature of farming is – still – an essentially biological, and thus volatile, system, which poses substantial challenges to its integration into financialized capitalism. Financial investors often seek stability and predictability of returns that are hardly compatible with agriculture – but which are increasingly seen as achievable through data and digital farming technologies. This paper investigates how farmland investment brokers engage with, perceive, and produce farming data for their investors within a co-constructive process. Tackling land’s ‘stubborn materiality’ for (...) investment, I argue, has material and immaterial components: it includes the re-imagination of farming as a financial asset that delivers reliable income streams for investors; and the re-engineering of farmland’s concrete materialities with digital farming technologies. Farmland investment brokers develop investor-suitable farmland imaginaries, underpinned by storytelling as well as the calculative ‘evidence’ of (digital) data. At the same time, digital technologies have become a key tool for transforming farms into ‘investment grade assets’ endowed with the rich data on farm performance and financial returns requested by investors. I conclude that the assetization and digitization of farmland need to be seen as closely intertwined and mutually reinforcing processes and identify key areas for future research on this intersection. (shrink)

The paper classifies euthanasia and discusses its typological presence in storytelling video games. It aims to illustrate the importance of experiencing simulated moral challenges in the context of gameworlds as a significantly influential, exponentially growing form of interactive media. In contrast to older works of art and media, such as film and literature, the difference should be emphasized in light of the player’s ability to make choices in video games. Although the influence of gameworld content depends on the player, (...) the experiences and knowledge gained from playing storytelling video games may influence the player’s problem-solving orientation in the landscape of difficult moral dilemmas they may encounter throughout their lives. (shrink)

This paper argues that social and political problems currently addressed by local governments through new forms of digital participation can be considered wicked problems, because they cannot be tackled through factual information alone. Addressing such problems means connecting diverse citizens’ values to empirically based and logically based arguments. The paper addresses the question of which role citizens’ personal narratives and emotions play in digital participation and how narratives and emotions articulate personal and social values. This line of inquiry (...) is illustrated by two examples of digital participation on the local and regional level of democracy. The examples show that citizens’ narratives and emotional expressions articulate diverse values and value conflicts. Finally, the paper develops some preliminary ideas about how online argument mapping tools could be combined with value mapping. (shrink)

continent. 1.1 (2011): 22-25. The Author gratefully acknowledges the financial support of CAPES (Coordenação de Aperfeiçoamento do Ensino Superior), Brazil. From the multifarious subdivisions of semiotics, be they naturalistic or culturalistic, the realm of semiotics of value is a ?eld that is getting more and more attention these days. Our entire political and economic systems are based upon structures of symbolic representation that many times seem not only to embody monetary value but also to determine it. The connection between monetary (...) and linguistic exchanges is self-evident: the former requires the latter and develops in direct relation to it. Creative experimentation and design of digital systems of value exchange are blossoming on the web. Dr. Gilson Schwartz, an economist turned media theorist and professor at the University of São Paulo, adopted the concept of Iconomics, originally created by Michael Kaplan, an author concerned with the linguistics of economic value. Empowering local communities and unlocking new levels of value creation and representation via digital technologies are the main goals of Dr. Schwartz’s projects, aiming at the re-designing of our relationship to the economic value of imagination and the social control of property. Schwartz is Assistant Professor at the School of Communication and Arts of the University of São Paulo, a former Chief Economist at BankBoston, Brazil and Advisor to the President of the National Social and Economic Development Bank (BNDES). FURTHER READING: Kaplan, Michael. “Iconomics: The Rhetoric of Speculation.” Public Culture . 15.3 (2003): 477-493. Renata Lemos-Morais: You have recently produced and directed a short documentary about Creative Currencies in Latin America. Could you tell us a bit about its process and its findings? Gilson Schwartz: The “Creative Currencies” project is a work-in-progress platform which unfolds as an action research agenda connected both to the production of audiovisual content and the development of social currency software. The initiative dates back to 2003 when I led an experimental project supported by the Presidency of Brazil. At that time, we issued paper currency in a small, touristic village in the Northeast Region which stimulated local cultural projects. But it was only in 2009 that the Central Bank of Brazil acknowledged “social currencies” as a legitimate economic agenda, calling for more debate at the I Financial Inclusion Forum. This year, the monetary authorities organized a second forum that also opened the room to discussions on mobile payment systems and new perspectives on poverty alleviation via State subsidies. The Ministry of Culture funded the “Creative Currencies” project in 2009-2010 and our next stage in this discovery process is to be supported by the National Social and Economic Development Bank (BNDES). In short, there is genuine interest among public officials in different areas and public funding for social currencies is on the rise in Brazil. However, after all these years we are still at a very early stage of research and practice. Some of the most successful initiatives (such as Banco Palmas) actually evolved out of local monetary creation to become correspondent banking operations for commercial banks and other financial groups. After eight years of price stability and social inclusion, Brazil stands out as a major opportunity for social experimentation, even the Grameen Bank is now entering the Brazilian market and many NGOs are geared towards different forms of entrepreneurialism in the base of the pyramid, riding solidarity economic models, microfinance and microcredit for local development. It is yet to be seen, however, whether these developments are just one more stage of “bankarization”, that is to say, an extension of regular banking services or actually a new form of social and symbolic self-determination at the local level. So far, the Central Bank of Brazil is open to new forms of credit and local finance as long as they are strictly territorial and very close to barter among the poor. In other words, whether the process of monetary creation could be made to fit an open source paradigm is yet to be seen. Community banking and social currencies might as well end up as just another channel for access to and use of banking services. The “Creative Currencies” project aims at promoting the discussion of more fundamental issues, such as the limits of central banking, the prospects for local financial development and the possibility of creating and managing financial icons as cultural assets. The purpose of this project is to produce short documentaries that will bear testimony to this evolving regulatory framework while inducing more discussion about the fundamental iconomic issues concealed in the process of money and wealth creation. RLM: What new potential is there in applying digital technologies to currency creation? GS: Globalization is a result of the virtualization of money, that is, the overcoming of illusions such as the “gold standard”. Money is an icon created by institutions, not on supposedly natural or material foundations but out of political and financial interests. The “dollar standard” is an outstanding evidence of this phenomenon and Kaplan´s paper, the first to use the expression “iconomics”, insists on the rhetoric and semiotic effects associated to a supposedly scientific model of money creation and management. This is a fundamental change that was perceived and discussed much before the digitalization of the world by unorthodox economists such as John Maynard Keynes since the early 20th century. The digitalization of global financial flows accelerated this immateriality and the creation of the Euro was yet another evidence of the political foundations of currencies. The banking establishment, however, is keen on the idea that scientific formulae hold the key to sound money creation. Keynesianism has been repeatedly associated to “inflationism” while the supposedly sound monetary policies of the Orthodoxy serve well the political and financial interests of a technocratic elite. Corporate media also serve this fictitious depiction of the monetary process despite the cyclical bust of monetary rules and financial regulations. The internet, however, has created numerous opportunities for the disintermediation in industries such as film, music and commodities. There is no reason to doubt that the financial industry can also be transformed by Peer-to-Peer (P2P) infrastructures. Money is media as well. Credit is but confidence. Once people realize that the distributed computing power of networks can also be the platform to weave new monetary and credit operations, there is room for grassroots emancipation out of the established owners of monetary institutions. So far, however, there has been a privatization of monetary management and there is not a clear path or model for the emergent (P2P) property democratization that is inherent to the internet. Digital assets, however, clearly have an inherent potential to escape central control and proprietary regulatory frameworks. RLM: How are social networks transforming the ways in which we exchange value? Do you believe that online influence and reputation might be translated into a new kind of currency? GS: The foundation for social currencies as envisaged by solidarity economics is the territory. Authorities are willing to concede local monetary creation as long as it is restricted to poor neighborhoods, as a proxy to barter. In this relevant but limited context, reputation, personal knowledge and informal ties form the matrix of local or “proximity” finance which are expected to keep credit and leverage to a sustainable level. Anything beyond that should and would lead to an integration of local finance into the established banking system. However, inasmuch as the internet promotes virtual territories and reputation is now subject to all sorts of digital manipulation and stardom becomes an everyday cultural process among teenagers and elders alike, the territorial “foundation” is substituted for more complex patterns of solidarity, cooperation and exchange that reach beyond the physical territory and even the “human.” Digital assets embody knowledge, technology, cultural and educational values that are exchanged at a global scale beyond the control of democratic States (Chinese-like intervention is the exception, not the rule). Hacktivism is unstoppable and so is monetary hacktivism. Especially in the Third World, mobile communications fast became conveyors of money transfers and other appropriation strategies. Banking and telecom sectors already battle for the control of these emerging markets and, as a matter of fact, have so far contributed to the containment of these processes. Governments serve these moguls and have usually adopted a wait-and-see attitude. If open source hardware and grassroots social movements combine to challenge these proprietary battles, then social networks may evolve into new forms of social capital and thus form the ground on which to design and implement social currencies. The global financial crisis, as well as the dollar demise, are an event of such a proportion that social networks may open the path for emancipator subjects to seize the opportunity. RLM: What are some of the social experiments that you think are revolutionizing the way in which value is exchanged? GS: There is a broad evolution of economic systems towards the valuation of intangible assets such as knowledge, reputation and sustainability. There are many examples of local as well as global events that call the traditional systems of exchange into question, from carbon credits to educational bonuses, digital barter frameworks and locally based solidarity and fair trade networks. These emerging examples, no matter how different in nature or scale, represent a challenge to the traditional value creation schemes and theories which are based on use and exchange value, supply and demand. This is not to say that utility and labour or scarcity are to be totally dismissed, but there is now an emerging perception that value is also a function of behavioral codes, symbolic patterns and the energy of institutional frameworks. The plasticity of digital platforms is relevant insofar as intellectual property becomes the central source of value creation. But when you discuss the property rights of public goods such as the environment or basic social rights (of minorities or localities), then a new paradigm seems to emerge. RLM: Are gaming and online storytelling digital practices that might have an impact on the way new currencies are created and developed? GS: “Play money” has been one of the early and most intriguing phenomena associated to the diffusion of virtual worlds. These virtual currencies have also been prone to “boom and bust” dynamics, speculation and pure theft (Second Life scams were common and led to “intervention” by the owners of the game). Storytelling is a major source of value, that is, the value of attention and the markets for audience. There are plenty of private monies created and managed by corporate entertainment groups, telecom operators (via mobile virtual network operators) and marketing frameworks. The casino economy, as already depicted by Keynes and other unorthodox economists, is always storytelling about future states of the world, confidence building and leverage of animal spirits. The novelty of current events is not the fictitious nature of any form of capital, but the potential for digital democratization of controls over the imaginary nature of value creation. But this is just a potential, a possibility, a figment that more often than not is appropriated by centralized and opaque private powers. The game industry is a testbed for new connections between storytelling and money creation. RLM: Monetary value was originally connected to the scarcity of precious metals, such as gold. Our entire monetary system seems therefore to function according to a logic of scarcity. Do you believe it is possible to reverse this logic into a logic of abundance? GS: The gold standard was a fiction itself, the “scarcity” is always produced by institutions that regulate confidence and access to credit. The key issue is not to fabricate abundance, but to question the institutions which produce scarcity out of any standard, gold or whatever. Central banks are at the service of private banks in the creation and management of scarcity. RLM: The promise that nanotechnology holds for our future is one of radical abundance (or so say transhumanists). The possibility of creating any kind of material substance through nanoengineering seems each day more feasible. What would this possibility entail in terms of systems of value exchange? GS: Nanotechnology, environmental concerns and grassroots appropriation of distributed knowledge are the frontiers of a new horizon of energy creation and management. Social groups in charge of managing scarcity for the sake of wealth and power concentration must be held accountable for the destruction of our future. Once this key political conundrum is accounted for, new systems of value exchange and even a non-mercantile society will come into existence. Revolutionary theorists such as Marx envisaged transformation via the extreme clash of contradictions between capital and labour. This approach has never led to a change in the systemic logic of scarcity for the sake of social control. We are once again facing the threshold of large scale societal change, but the outcome of the current crisis should come from our imagination, not from yet another paradox of abundance and scarcity. As long as we remain attached to the materiality of value, the illusion of freedom will but reinforce the massive manipulation of necessity. RLM: What do you think is the role of crowdfunding in this context? GS: Crowdsourcing as well as crowdfunding are examples of the peer to peer opportunities that come along with distributed computer power. However, the power structure behind wealth and scarcity creation may or may not be changed by crowd management. But it should not be taken at face value, so to speak. The stock market of course is an early form of crowdfunding without calling into question the proprietary framework of the companies offering their investment projects to the market. Any market is a form of crowdsourcing, that is to say, of distributed forms of supply and demand matchmaking. The wealth of networks, however, depends on the contractual ecosystem, the institutional framework, the channeling of social imagination, not on the purely quantitative distribution of bids and offers. I see economics as supply, demand and code. Once you have access to the code, once openness becomes part of the game, then there is a chance of crowd behavior becoming collective intelligence and sustainable imagination. RLM: Is the development of digital currencies headed towards a pluralistic ecology in which many micro currency systems co-exist, or is it penetrating the mainstream monetary system? If it is affecting the mainstream financial system, what would be its effect in the long-term? GS: The same issue is at stake both at local and global levels. The global system is, as a matter of fact, an unstable ecosystem of “micro currencies” whereas the dollar has so far exerted an overwhelming influence. Local currencies and private monies coexist with national currencies only to the extent that the Central Bank admits, for instance, that grassroots monetary emissions remain territorial and strictly connected to poverty. However, the question of how new developments in digital technologies and nanotechnologies might alter not only our current monetary systems but also our understanding of value in itself, is still an open question. (shrink)

Actualmente son necesarias propuestas educativas que promuevan la sostenibilidad mediante activismo digital. El objetivo de este estudio fue evaluar la movilización de competencias digitales docentes a través de la creación de storytellings sobre la Fast Fashion. Su análisis mostró cómo estas experiencias pueden propiciar el desarrollo de capacidades de comunicación y colaboración, como son la participación para la creación de contenidos, la participación ciudadana en línea o la capacidad para compartir contenidos. Los vídeos creados relacionan las acciones cotidianas con (...) las consecuencias socioambientales y llaman a la transición hacia formas de consumo conscientes, mostrando su potencial creativo e inspirador. (shrink)

Visual research methods like photography and digital storytelling are increasingly used in health and social sciences research as participatory approaches that benefit participants, researchers, and audiences. Visual methods involve a number of additional ethical considerations such as using identifiable content and ownership of creative outputs. As such, ethics committees should use different assessment frameworks to consider research protocols with visual methods. Here, we outline the limitations of ethics committees in assessing projects with a visual focus and highlight the (...) sparse knowledge on how researchers respond when they encounter ethical challenges in the practice of visual research. We propose a situated approach in relation to visual methodologies that encompasses a negotiated, flexible approach, given that ethical issues usually emerge in relation to the specific contexts of individual research projects. Drawing on available literature and two case studies, we identify and reflect on nuanced ethical implications in visual research, like tensions between aesthetics and research validity. The case studies highlight strategies developed in-situ to address the challenges two researchers encountered when using visual research methods, illustrating that some practice implications are not necessarily addressed using established ethical clearance procedures. A situated approach can ensure that visual research remains ethical, engaging, and rigorous. (shrink)

Visual research methods like photography and digital storytelling are increasingly used in health and social sciences research as participatory approaches that benefit participants, researchers, and audiences. Visual methods involve a number of additional ethical considerations such as using identifiable content and ownership of creative outputs. As such, ethics committees should use different assessment frameworks to consider research protocols with visual methods. Here, we outline the limitations of ethics committees in assessing projects with a visual focus and highlight the (...) sparse knowledge on how researchers respond when they encounter ethical challenges in the practice of visual research. We propose a situated approach in relation to visual methodologies that encompasses a negotiated, flexible approach, given that ethical issues usually emerge in relation to the specific contexts of individual research projects. Drawing on available literature and two case studies, we identify and reflect on nuanced ethical implications in visual research, like tensions between aesthetics and research validity. The case studies highlight strategies developed in-situ to address the challenges two researchers encountered when using visual research methods, illustrating that some practice implications are not necessarily addressed using established ethical clearance procedures. A situated approach can ensure that visual research remains ethical, engaging, and rigorous. (shrink)

Transmedia storytelling nowadays represents a genuine communicative revolution; a new paradigm for generating and spreading all kinds of information and content. It is the best means of expression through digital techno-communicative networks; networks that make collaborative environments a reality and create close links between political organizations, the media and the target. The Internet, combined with the social networking sites, has certainly empowered common citizens and, consequently, has forced brands to get to know their interests and values in order (...) to create conversations with them. Not only do people provide their opinions, but also turn out to be genuinely emotional, social and intellectual investors. Their contributions have become so important that the key to measuring communicative success lies in clarifying the gratifications that pronet@rians obtain by participating in the narrative world of the organizations and by committing themselves to them, until they end up identifying themselves, as fans, in the transmedial world-building. (shrink)

The article considers the nature of series as a narrative, focusing especially on its chronotope, i.e. its spatiotemporal coordinates. The concept of chronotope can be applied at at least two different levels of the interpretation of a narrative: the real world of reception and the expressive form of narration. The impact of series entails both aspects. It is for this reason that series, once on television then on the internet, represented a revolutionary turn in the modern experience of storytelling. (...) Series are therefore bound to the progressive spread of a new form of sociality known as a digital “total mobilisation”. Since the era of TV series up to the emergence of web series, seriality has been able to regulate the increase of interaction in the use of visual devices. Series play the role of a dietetical regulator, which designs the spectators’ attention. An artistic, i.e. experimental, exploitation of this new form of storytelling is possible when one considers the emergence of a new narrative genre, which we propose to call the “short form”. (shrink)

Through an ethnographic study of online saree pacts and social media groups, this article charts the emergence of digital saree storytelling as women from India and the global South Asian diaspora post stories about their personal and professional lives while also talking about their sarees. The article examines how saree stories are told and consumed in these online spaces, and the role new media plays in encouraging individual and collective self-expression through fashion. In doing so, it highlights how (...) saree pacts allow for alternative models of fashion opinion leadership and style to emerge in ways that are uplifting and empowering for women who are otherwise underrepresented in print and popular fashion media. It argues that such sites are critical spaces shifting the narrative around women in the Global South from victimhood to pleasure. Additionally, saree pacts represent a new form of digital community formation centred around the appreciation of traditional fashion, which can alter our perception of the intersection of traditional fashion and feminism while also decolonising fashion's existing Eurocentric frameworks. (shrink)

This book traces the origins and evolution of cybersemiotics, beginning with the integration of semiotics into the theoretical framework of cybernetics and information theory. The book opens with chapters that situate the roots of cybersemiotics in Peircean semiotics, describe the advent of the Information Age and cybernetics, and lay out the proposition that notions of system, communication, self-reference, information, meaning, form, autopoiesis, and self-control are of equal topical interest to semiotics and systems theory. Subsequent chapters introduce a cybersemiotic viewpoint on (...) the capacity of arts and other practices for knowing. This suggests pathways for developing Practice as Research and practice-led research, and prompts the reader to view this new configuration in cybersemiotic terms. Other contributors discuss cultural and perceptual shifts that lead to interaction with hybrid environments such as Alexa. The relationship of storytelling and cybersemiotics is covered at chapter length, and another chapter describes an individual-collectivity dialectics, in which the latter constrains the former, but the former fuels the latter. The concluding chapter begins with the observation that digital technologies have infiltrated every corner of the metropolis - homes, workplaces, and places of leisure - to the extent that cities and bodies have transformed into interconnected interfaces. The book challenges the reader to participate in a broader discussion of the potential, limitations, alternatives, and criticisms of cybersemiotics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Images >> Quan Zhou Wu and Linaje’s GenealogyJulia Haeyoon Chang (bio) Click for larger view View full resolutionQuan Zhou WuENJOY (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 5] Click for larger view View full resolutionQuan Zhou WuUNA DE ELLAS (Linaje 2024)Art and design by Quan ZhouWu Digital infrastructure by Marco Fratini[End Page 6] Click for larger view View full resolutionQuan Zhou WuMEMORIAS (...) RETORCIDAS(Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 30] Click for larger view View full resolutionQuan Zhou Wu,NEGATIVOS (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 31] Click for larger view View full resolutionQuan Zhou WuELLAS Y YO (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 49] Click for larger view View full resolutionQuan Zhou Wu,STATEMENT (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 74] Click for larger view View full resolutionQuan Zhou WuLAS ARTISTAS QUE NO FUIMOS (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 75]Quan Zhou Wu’s followers will surely be struck—as I was—by the multisensory digital exhibit “Linaje” (“Lineage”), which was published in 2024 and departs, perhaps unexpectedly, from the artist’s previous well-established oeuvre. Before delving into the work in question, it may be fruitful first to have a glimpse at the artist’s iconic aesthetic. In 2015, and at the age of twenty-seven, Wu, a self-taught artist, debuted her first graphic memoir, Gazpacho Agridulce. The book commences with her parents’ newfound life in Spain after leaving Qingtian, a province of Zhejiang, China, to run a restaurant in Algeciras, a municipality of Cadiz. The opening pages of Gazpacho pack a punch, depicting Wu’s dramatic and untimely birth in a taxicab en route to the hospital.Gazpacho’s publication initiated a crucial sea change in the predominantly white Spanish publishing world, which would soon after be rocked by a boom of racialized1 authors penning anti-racist memoirs and other works of non-fiction.2 Gazpacho would also eventually become the first of the author’s trilogy of graphic memoirs, which was completed by the sequels Andaluchinas por el mundo (2017) and the most recent La agridolce vita (2023).Wu’s narratives capture the familial, identarian, and social conflicts that erupt from cultural disloyalties and racism—direct consequences of migration. She and her sisters, for example, loathe their family’s rigid Chinese and Christian mores and long for the cultural markers of an ordinary Spanish childhood, structured of course by U.S. global consumer culture, e.g. Barbie, Pizza Hut, and McDonald’s.An illustrator, cartoonist, and podcaster, Wu’s talent as a storyteller lies in her complex use of humor. With great care for her subject and her reader, Wu deploys humor to tend to the uncouth, raw, and ugly parts of life. In so doing, the author invites us to laugh and ultimately reckon with our own discomfort as we with sit with the heaviness of racism, sexism, and post-migration melancholy—using humor as a salve.At her best, Wu serves irreverence, rawness, and wit. To be immersed in her books is to rub up against the rough-hewn emotions that bring her characters to life. The vibrancy of her palette and the whimsy of her pen strokes are inviting, animated, and deceptively light-hearted. In an instant, lines and pigment rearrange into abstractions dense with affect. Fiery hollowed eyes, a gaping mouth, and flushed skin burn through the frame—making the volcanic rage of a migrant mother immediately palpable. It’s so emotive, it practically singes your skin. Click for larger view View full resolutionFigure 1.Cover of Wu’s first graphic memoir Gazpacho agridulce: Una autobiografía china-andaluza[End Page 102] Click for larger view View full resolutionFigure 2.Excerpt from Gazpacho agridulce (courtesy of the artist)[End Page 103]While... (shrink)

There is a tendency in the literature on local digital media use and neighborhood outcomes to conceptualize Social Network Sites as mere transmission channels, thereby ignoring SNSs’ dynamics and limiting the understanding of their role in neighborhood life. Informed by Communication Infrastructure Theory and social media literature, we propose and test a model to investigate the association between the use of SNSs, appropriated as online neighborhood networks, and neighborhood sense of community. We administered a survey to Flemish online neighborhood (...) network users and found that active localized SNS use brings about an online sense of community and community awareness, which both independently lead to a neighborhood sense of community. Based on these findings, we argue that SNSs, appropriated as online neighborhood networks, function simultaneously as neighborhood hotspots in a neighborhood’s communication action context as well as community awareness media in a neighborhood’s storytelling network. (shrink)

The paper analyzes a handful of works for children and youth that are based on mythology and deal with depression, a topic that is becoming more frequent in contemporary children’s and young adults’ culture, mainly because of the need to break the mental he­alth taboo. These are the newest edition of Laura Orvieto’s Storie di bambini molto antichi, Rachel Smythe’s digital comics Lore Olympus, Patricia Satjawatcha­raphong’s short animation Reflection, and the webcomic series Therapy created by Anastasia Gorshkova. They provide (...) examples from literary and audio-visual culture for very young re­aders and more adult teenagers and youth, raising the issue of deep sadness utilizing storytelling and not in a didactic way. Some of the protagonists struggling with the problem are far from lively chara­cters in conventional interpretations of the myths, so the texts play upon stereotypes entrenched in the culture. It appears that children’s works inspired by classical antiquity have significant interpretative potential and educational value – as well as the ability to surprise the audience. (shrink)

The article is devoted to the consideration of the issue of influential modifications of the genre system of modern mass media. It has been established that the mass media are one of the main means of communication for the wide audience. The meaning of the words "modification", "mass media", "mobile journalism", "new media" has been studied. The article notes that "new media" appeared in the 60s of the XX century. The main characteristics of the media are presented. It is noted (...) that the most common examples of mass media are television, radio, newspapers, magazines, social media, digital media, the Internet. The textbooks and publications of domestic and foreign scientists, which raise the issue of influential modifications of the genre system of modern mass media are highlighted. It was found that the first media were newspaper, telegraph, radio, television. The study of the main types of media is emphasized: traditional media, print media, electronic broadcasting media, external media, transit media and new media. It is noted that new media is a reconceptualization of traditional media. The aspect of media in the role of a social institution has been studied. It was noted about the significant impact of digitalization on the global media system. The significant influence of the use of the Internet in the political life of the United States is given as an illustrative example. The use of the "video story" technology as one of the strategies for holding the attention of the reader or listener is considered. The focus is on the interactive storytelling made possible by digital media and provides advantages for interactive television and cinema, as well as helping to create virtual and mixed reality in games, contributing to the emergence of new forms of voice games. (shrink)

Streaming services for audiobooks and ebooks have grown rapidly in recent years. The shift in consumption patterns has transformed both reading and publishing. One visible change is the attraction and importance of backlist titles. The article investigates how the relationship between frontlist and backlist in the bestseller segment has developed, and discusses the shift in the power balance between the two. By examining large-scale consumer behaviour data from one of the key players in subscription-based digital bookselling – Storytel – (...) we track book consumption both in detail and at a structural level. Our results show that backlist titles are increasingly important for bestselling authors who continue to publish frontlist titles, especially for fiction written in series. Streaming services foster new types of book consumption behaviour thanks to a combination of technology, media, reading habits, and social change. (shrink)

Citizens can be meaningfully involved in multiple phases of the urban planning process from decision-making to implementation via a dedicated online platform through which they can interact with planners and decision-makers. In historical contexts, local people are essential resources for decision-makers seeking critical local information needed for effective planning and intervention—including what those citizens recall from the past about the area’s social values and the built environment and what they imagine and hope for their neighborhood’s future. This public knowledge, collected (...) through storytelling and mapping, can play a fundamental role in shaping the framework for neighborhood rehabilitation plans. As a foundation for designing an online visual questionnaire to collect local knowledge and understand the views and expectations of local people, this study focuses on theoretical ideas to define a framework for an online visual questionnaire tool. The tool presented provides a common visual language that people can easily understand and use whatever their social class, education, or background. It also has the benefit of enabling citizens and planners to interact directly regardless of their geographical location. To proposing a framework for the online visual questionnaire, the first step was to review some existing visual tools and methods, including analog used for community engagement and digital used in urban planning to encourage and support public participation. Through an analysis of these methods, some important variables and criteria were identified that further our understanding of citizens’ perceptions of their neighborhoods. The next step, as part of a larger study, will be examining a historical public space, including a bazaar, hammam, and cistern—located in the historical context of Yazd— a central city in Iran registered as a cultural heritage site by UNESCO— as a case study with the larger goal of identifying some specific. (shrink)

The 200-Year Continuum is the producer, recorder and exhibitor in Christian Kerrigan's advancing anthology of narratives. Central to Kerrigan's practice is storytelling and myth-making as a means of engaging his audience. Kerrigan uses drawing as his primary mode of research into these narratives which are consequently offered in the form of live Internet feed installations acting as ecological sites, collaborative scientific experiments introducing new organic technologies and digital images of worlds unseen. Each addition acts as a middle story (...) within The 200-Year Continuum. In his narrative, The Amber Clock, a ship is grown in the yew forest, Kingley Vale, over 200 years. As such, he explores the possibilities of time in relationship to technology and the natural world. In his narrative, artificial and wild systems are choreographed, and the natural production of resin is harvested from the yew trees as a way of measuring time. Biological imperatives are harnessed in a second collaborative architectural project entitled Living Architecture: The Protocell. This project seeks to investigate the design potential of using the drivers of biology, the technological issues and the implications of intervention. (shrink)

Chemosensory communication as a form of time-based performing art has occurred in form of ideas in literary fiction and in occasional concepts of art or entertainment in the past. The history of patents on devices for such purposes since the beginning of the 20th century is full of failures and abandoned approaches, mainly because of chemical, technical, social, or cultural misunderstandings. With the project Smeller, we started to realize an artistic performative practice of storytelling with distinct and rapid sequences (...) of scents and smells, of and on during some thirty-five years. Only since 2012 could we introduce this practice with our novel technology Smeller 2.0 in public performances and enhance its possibilities ever since. Perfumistic algorithms can now generate endless variations of olfactory signals and smells, electronically controlled, and digitally composed for collective experience on a larger scale: Osmodrama. The practical application has soon ignited collaborations of neuroscientific research and therapeutical implementation with surprising discoveries. This essay is a personal review of the genesis and emergence of Osmodrama. (shrink)

Cyberspace, a term popularized in the 1984 novel Neuromancer, was used by William Gibson to describe the ‘consensual hallucination’ and interstitial online world that lies between the reality of our world and that of the surreal terrain of dreamscapes. While many attempts have been made to describe this intangible, yet seemingly perceptible space, the digital domain as a metaphor mirrors in many ways our own inadequate understanding of consciousness. Conversely, the physicist Michio Kaku explains that our reality is bounded (...) by hyperspace – a multi-dimensioned space beyond our quotidian 3D existence that runs parallel, or tangential, to us along with the phenomenon of time. Indeed, if space and time (here considered as space–time) are a consolidated whole in the physical sense, perhaps our consciousness, as a structure manifest within this continuum may itself be thought of as a sensorial projection of this amalgam that attempts to observe and make sense, or meaning, of this condition. In truth, what if our need and delight in storytelling is driven by the evolution of our biology, as well as our impulse to locate our place in the universe? This article will attempt to examine and delimit the narrative confines of space–time as an appeal to, and an endeavour at, uncovering the alterity of storytelling as a function of consciousness. It will visit the realms of the holograph, quantum mechanics, virtual and augmented realities, as well as other scientific and philosophical tracts as a means to investigate and explore the physiology of space and our imperative desire to share stories. (shrink)

Digitalists base their thoughts about reality on concepts taken from the sciences of information and computation. For digitalists, these sciences are prior to the physical sciences. Digitalists emphatically reject substance metaphysics. They are neither materialists nor idealists nor dualists. They have their own novel definitions of bodies, minds, lives, and souls. They talk about digital universes running on digital gods, and they regard nature as a recursively self-improving system of computations. They endorse digitized theories of resurrection and reincarnation. (...) But they also argue for deeper and more mathematical approaches to life after death. All these digital ideas are naturalistic. They are consistent with our best sciences. (shrink)

Le numérique bouleverse les savoirs, et depuis quelques années a émergé le concept de digital humanities (humanités numériques), paradigme à travers lequel les sciences de l’homme et de la société prennent acte de ce devenir. Cet ouvrage, qui s’inscrit évidemment dans cette dynamique, pose cependant en principe que les digital humanities ne sont qu’une dimension de ce qu’il faut appréhender plus largement comme les digital studies, lesquelles concernent toutes les formes de savoirs, théoriques aussi bien que pratiques. (...) Il soutient autrement dit que le numérique constitue une mutation globale des savoirs sous toutes leurs formes (scientifiques, artistiques, politiques, sociaux au sens le plus large, pratiques dans tous les domaines) qui pose des questions épistémologiques fondamentales et radicalement nouvelles. Le contexte géopolitique de cette réflexion — qui a donné lieu à la constitution d’un réseau international par l’Institut de recherche et d’innovation (cf. digital-studies.org) — est l’émergence d’une industrie planétaire des savoirs pour laquelle l’Amérique du Nord tente de constituer ce que l’on appelle désormais un smart power. (shrink)

Cultural evolution researchers use transmission chain experiments to investigate which content is more likely to survive when transmitted from one individual to another. These experiments resemble oral storytelling, wherein individuals need to understand, memorize, and reproduce the content. However, prominent contemporary forms of cultural transmission—think an online sharing—only involve the willingness to transmit the content. Here I present two fully preregistered online experiments that explicitly investigated the differences between these two modalities of transmission. The first experiment (_N_ = 1,080 (...) participants) examined whether negative content, information eliciting disgust, and threat-related information were better transmitted than their neutral counterpart in a traditional transmission chain setup. The second experiment (_N_ = 1,200 participants) used the same material, but participants were asked whether or not they would share the content in two conditions: in a large anonymous social network or with their friends, in their favorite social network. Negative content was both better transmitted in transmission chain experiments and shared more than its neutral counterpart. Threat-related information was successful in transmission chain experiments but not when sharing, and finally, information eliciting disgust was not advantaged in either. Overall, the results present a composite picture, suggesting that the interactions between the specific content and the medium of transmission are important and, possibly, that content biases are stronger when memorization and reproduction are involved in the transmission—as in oral transmission—than when they are not—as in online sharing. Negative content seems to be reliably favored in both modalities of transmission. (shrink)

Bietti, Tilston and Bangerter take an evolutionary approach towards memory transmission and storytelling, arguing that storytelling plays a central role in the creation and transmission of cultural information. They suggest that storytelling is a vehicle to transmit survival‐related information that helps to avoid the costs involved in the first‐hand acquisition of that information and contributes to the maintenance of social bonds and group‐level cooperation. Furthermore, Bietti et al. argue that, going beyond storytelling’s individualist role of manipulating (...) the audience to enhance fitness of the narrator, that these adaptive functions of storytelling may well be assigned to other forms of language use besides narration (e.g., instructional discourse and argumentation). Based on this evidence, Bietti and colleagues claim that the specific adaptive function of storytelling lies in making sense of non‐routine, uncertain, or novel situations, thereby enabling collective sensemaking. (shrink)

This collection presents policy and research that addresses digital inequalities, access, and skills, from multiple international perspectives. With a special focus on the impact of the COVID-19, the collection is based on the 2021 Digital Inclusion, Policy and Research Conference, with chapters from both academia and civic organizations. The COVID-19 pandemic has changed citizens’ relationship with digital technologies for the foreseeable future. Many people’s main channels of communication were transferred to digital services, platforms, and apps. Everything (...) ‘went online’: our families, friends, partners, health, work, news, politics, culture, arts and protesting. Yet access to digital technologies remained highly unequal. This brought digital inclusion policy and research to the fore, highlighting to policymakers and the public the ‘hidden’ challenges and impacts of digital exclusion and inequalities. The cutting-edge volume offers research findings and policycase studies that explore digital inclusion from the provision of basic access to digital, via education and digital literacy, and on to issues of gender and technology. Case studies are drawn from varied sources including the UK, Australia, South America, and Eastern Europe, providing a valuable resource in the pursuit of social equity and justice. ​ This is an open access book. (shrink)

In this paper, we seek to explain the power of perspective taking in narrative discourse by turning to research on the oral foundations of storytelling in human communication and language. We argue that narratives function through a central process of alignment between the viewpoints of narrator, hearer/reader, and character and develop an analytical framework that is capable of generating general claims about the processes and outcomes of narrative discourse while flexibly accounting for the great linguistic variability both across and (...) within stories. The central propositions of this viewpoint alignment framework are that the distance between the viewpoints of participants in the narrative construal – narrator, character, reader – is dynamic and regulated by linguistic choices as well as contextual factors. Fundamentally, viewpoint alignment is grounded in oral narrative interaction and, from this conversation, transferred to the written narrative situation, varying between demonstration and invasion of the narrative subjects and guiding readers’ route of processing the narrative (experientialversusreflective). Our claim is that variations in viewpoint alignment are functional to the communicative context and intended outcomes of narratives. This is illustrated with the analysis of a corporate journalistic narrative that comprises both interactional and non-interactional aspects of storytelling. The concept of viewpoint alignment further explains the oral fundaments of narrative discourse in conversational storytelling and poses new questions on the relation between the dynamic processing of stories on the one hand and their static outcomes on the other. (shrink)

This study examines the complex dynamics of communication in the changing field of journalism influenced by the use of media. It specifically focuses on how thoughts and perceptions are expressed in this evolving landscape. Information and communication technologies significantly influence journalism by rapidly disseminating news, updates, and societal impacts. Utilizing critical discourse analysis, the study aims to reveal systematic language usages and uncover latent meanings beyond news texts. Focused on the 2023 Turkish Presidential Election, news texts from four prominent international (...) newslets Al Jazeera, BBC, CNN, and Euronews are analyzed. The comprehensive analysis of international media coverage investigates the interplay of linguistic and thematic choices in shaping narratives. With a dual focus on macro and micro levels of discourse, the study uncovers diverse approaches among foreign media outlets. Each outlet adopts a distinctive thematic approach at the macro level, emphasizing key figures and sociopolitical contexts. Al Jazeera spotlights competition, BBC underscores post-election polarization, CNN focuses on Erdogan's victory, and Euronews provides insights into national challenges. Visual elements, like photographs, contribute significantly to framing events, offering nuanced political messaging. Micro-level analysis explores linguistic choices, syntax, and rhetoric, emphasizing the active voice to underscore leaders' agency. Deliberate use of the passive voice in presenting election results maintains a neutral tone. The way sentences are structured and the cause-and-effect connections help readers understand political developments by providing context. The study underscores the importance of media literacy in decoding political event representations, emphasizing the multifaceted complexities of media discourse. (shrink)

This paper proposes a reading of Walter Benjamin’s “The Storyteller” in connection to what Nelly Richard, in her diagnosis of traumatic forms of violence, has called “catastrophes of meaning.” Written, like Freud’s theory of trauma, in the wake of the first World War, I argue that Benjamin sees in storytelling the experience of an imparting or communication (Mitteilung) capable of conveying trauma without betraying its paradox—and thus, without either interpreting its excesses as meaningless or reducing its absences to mere (...) silences. Storytelling and the community of listeners it both depends on and institutes with its imparting, develops the possibility of a grammar of listening that would attend to what Richard diagnoses as the silences in traumatic testimony, the moments of rupture and breakdown that communicate the truth of its experience. Reading Benjamin along with Richard, the paper argues that Benjamin’s theory of storytelling is an attempt to search out new ways of truly listening to the fractures and shattering of language resulting from traumatic forms of violence, rather than merely filling the gaps left by their discontinuities and absences of “meaning.”. (shrink)

Natalie Davis is a quintessential storyteller in the way theorized by Walter Benjamin, Hannah Arendt, and Michel de Certeau. Her work decenters history not simply because it grants agency and so historical visibility to those who have been hidden from history or left on its margins, but also because her stories reveal the complexities of human experience and so challenge the received categories with which we are accustomed to thinking about the world.

Advancements in digital technology have made it easy to alter faces using editing software, posing challenges for industries in verifying photograph authenticity. Digital image forensics, a scientific method, is employed to gather data and determine the veracity of faces. This study assesses the effectiveness of digital image forensics in detecting fake digital faces using tools such as Foto Forensics, Forensically Beta, and Opanda IExif. Foto Forensics analyzes JPEG picture compression levels to detect image edits, revealing metadata (...) differences compared to the original photo. Forensically Beta examines digital characteristics like color and noise levels to identify alterations. Opanda IExif scrutinizes image metadata, disclosing information about the camera used and subsequent changes. All three forensic methods effectively identify fake digital faces. Analyzing metadata differences and contrast variations between the original and altered faces proves to be an effective method for spotting alterations. Digital image forensics enhances legal and investigative processes, serving as a valuable tool for identifying digital face manipulation. Stronger digital security measures, including improved encryption, authentication, and legal regulations, are needed to protect against facial photograph manipulation. Updating legal and regulatory frameworks for digital security is vital to address increasingly sophisticated techniques used in facial photograph editing. As digital technology advances, continuous development and improvement of forensic techniques are crucial to detect digital face fabrication. Given the growing complexity of digital editing tools and the ease with which facial images can be altered, reliable methods are essential. Digital image forensics provides a systematic approach to gather data and verify the authenticity of digital photographs. (shrink)

Levinas, Storytelling and Anti-Storytelling explores the troubling nature of storytelling through a reading of the work of Emmanuel Levinas. Levinas is a thinker who has a complex relationship with literature and with storytelling.