Serious storytelling – a first definition and review

Lugmayr, Artur; Sutinen, Erkki; Suhonen, Jarkko; Sedano, Carolina Islas; Hlavacs, Helmut; Montero, Calkin Suero

doi:10.1007/s11042-016-3865-5

Cited by 153 publications

(114 citation statements)

References 28 publications

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“…In addition to well‐documented benefits (Biktimirov and Nilson, 2003), the newly developed graphic syllabus introduces another benefit: storytelling (e.g., historical, scientific, serious, etc.). The graphic syllabus is an outline of a serious storytelling, which includes the following features (Lugmayr et al, 2017): perspective (e.g., soil scientists, farmers, etc. ); narrative (content of the story set in time/space with cause/effect, and sequence/plot), interactivity (interaction and engagement), and medium (e.g., digital delivery via computer, cell‐phone) (Fig.…”

Section: Resultsmentioning

confidence: 99%

“…The graphic syllabus is an outline of scientific storytelling, which integrates important teaching and mentoring tools from various fields (Cropper et al, 2015). According to Lugmayr et al (2017), people have been using storytelling for many reasons: to entertain, to transfer knowledge between generations, to maintain cultural heritage, to warn of dangers, and many other reasons. Lugmayr et al (2017) proposed a definition of serious storytelling: storytelling “outside of entertainment, where the narration progresses as a sequence of patterns impressive in quality, relates to a serious context and is a matter of thoughtful process.”…”

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confidence: 99%

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Enhancing Soil Science Education with a Graphic Syllabus

Mikhailova

2018

Natural Sciences Education

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Core Ideas The graphic syllabus can be an addition to the traditional course syllabus. The graphic syllabus enables students to visualize the “big picture” of the course. Most students preferred graphic syllabus in addition to traditional one. A graphic syllabus that enables students to visualize the “big picture” of the soil science course can be an addition to the traditional course syllabus. The purpose of this study was to develop the graphic syllabus and test it in an introductory soil science course. The graphic syllabus was based on the principles of “parallel” teaching/learning and storytelling. It was created by dividing the course into three units: (1) Soil ABC's, (2) Soil properties, and (3) Soil fertility and management. Each unit contains a set of soil orders with a list of corresponding state/representative soils in the United States. Clemson University students from various fields (forestry, wildlife biology, and environmental science) compared traditional and graphic syllabi. Students were asked to complete a survey consisting of questions related to their opinions of traditional and graphic syllabi. Responses to the survey questions indicated that most students were juniors and almost never experienced (97%) graphic syllabi in their college courses. Most students preferred the graphic syllabus in addition to a traditional one. Students reported that the graphic syllabus helped them better understand the course structure and was more exciting and easier to view on cell phones. Although the use of a graphic syllabus is usually limited to introductory courses, it can also be adapted to upper‐level soil science courses. This article offers an organizational strategy for expediting the graphic syllabus design.

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Section: Resultsmentioning

confidence: 99%

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confidence: 99%

Enhancing Soil Science Education with a Graphic Syllabus

Mikhailova

2018

Natural Sciences Education

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“…Du Toit (2003) defined the knowledge transfer as a product of interaction and sharing between people through narratives. While narrative is the actual content of the story, Lugmayr et al (2017) argued that narrative is just one among four components of storytelling. The other three components are perspective , interactivity , and medium.…”

Section: Literature Reviewmentioning

confidence: 99%

“StoryWeb”: A storytelling‐based knowledge‐sharing application among multiple stakeholders

2020

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The research objective of this paper is to develop a storytelling-based knowledgesharing application that enables users to co-create their own stories for both individuals and groups. To address this, a design science research methodology was applied for elucidating users' requirements. As empirical evidence, a case study was conducted on the children's book industry to synthesize a knowledge-sharing design application named "StoryWeb". Usability tests were conducted to reconfigure users' feedback and suggestions after two StoryWeb prototypes were developed. This study makes three main contributions. First, it empirically tests individual's or group's creativity and co-creation by a view of knowledge sharing. Second, it methodologically applies a design thinking approach into a knowledge-sharing study. Third, it also practically suggests feasible guidelines for the creativity and innovation research community on which features of storytelling-based applications can be configured.

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“…Narratives are central to the way that people communicate, from the brief conversational accounts that are exchanged everyday, to the historical and mythological stories that underpin our cultures [33]. However, while we have embraced digital technology in order to record and exchange our narratives -for example, via digital and social media -the narrative structures themselves are opaque to our machines, and our strategies for searching and managing content are therefore unable to take advantage of them.…”

Section: Introductionmentioning

confidence: 99%

The thematic modelling of subtext

Hargood

Millard

Weal

2018

Multimed Tools Appl

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Narratives form a key component of multimedia knowledge representation on the Web. However, many existing multimedia narrative systems either ignore the narrative qualities of any media, or focus on the literal depicted content ignoring any subtext. Ignoring narrative subtext can lead to erroneous search results, or automatically remixed content that lacks cohesion. We suggest that subtext can be computationally modeled in terms of Tomashevsky's hierarchy of themes and motifs. These elements can then be used in a semiotic term expansion algorithm, incorporating knowledge of subtext into search and subsequent narrative generation. We present two experimental applications of this technique. In the first, we use our thematic model in the automatic construction of photo montages from Flickr, comparing it to more traditional term expansion based on co-occurrence, and showing that this improves the perceived relevance of images within the montage. In the second, we use the thematic model in order to automatically identify Flickr images to illustrate short stories, where it dampened the perception of unwanted themes (an effect we describe as reducing thematic noise). Our work is among the first in this space, and shows that thematic subtext can be tackled computationally.

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Serious storytelling – a first definition and review

Cited by 153 publications

References 28 publications

Enhancing Soil Science Education with a Graphic Syllabus

Enhancing Soil Science Education with a Graphic Syllabus

“StoryWeb”: A storytelling‐based knowledge‐sharing application among multiple stakeholders

The thematic modelling of subtext

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