Involuntary celibates, or incels, are part of a misogynistic, extremist subculture that has been linked to acts of mass violence. Unlike other alt-right communities, the incel subculture exists ...entirely online, and participants rarely, if ever, interact in face-to-face settings. Using an original dataset of 76 discussion threads drawn from two self-identified incel Web sites, this paper investigates how participants on incel discussion boards engage in bonding activities that foster a sense of commitment to the online incel community. We build on sociological understandings of narrative and storytelling to identify and describe three interactive storytelling practices that are facilitated by the affordances of these digital spaces: repetition, co-creation, and elaboration. These practices enable incel participants to share similar experiences, apply elements of the incel ideology to interpret off-line events, and elaborate boundaries between incels and those that they perceive as “normies”. Our study reveals how online bonding activities generate robust collective identities in the incel subculture. It also highlights crucial differences between online and face-to-face storytelling practices in alt-right communities.
What differentiates narration with sequential images from narration with single images? Pictorial narration can take different forms, depending on how many images are used to tell a story. This paper ...questions common usages of the notions
single
images
and
sequential images
, in order to better understand the differences between them for visual narration. It highlights the specific potential of sequential images regarding storytelling and notes what kinds of inference a spectator needs to undertake to correctly understand such pictorial narratives. The aim is to gain a more thorough understanding of a specific kind of two-dimensional pictorial narration: narration with sequential images.
In this paper, organizational storytelling is defined as planned communication by. organizations that deliberately uses specific forms of content and delivery behavior to. engage audiences (both ...internal to the organization and outside it) cognitively and. affectively primarily for the achievement of organizational goals and objectives. But. there is little in the literature to show how organizational storytelling fits into the. theoretical lexicon of public relations; or to guide practitioners in how to adapt. storytelling to suit organizational purposes. There is even less discussion from either. perspective on how public relations can contribute to organizational storytelling. Stories are often described as being engaging, but little has been written to explain. why this is. Extant research tends to focus on the significance of engaging of. audiences with stories, rather than understanding how stories engage. This paper. adopts an engagement perspective on storytelling in general to identify the cognitive,. affective, and behavioral aspects of its elements (characters, plots etc.). The same lens. is then applied to organizational stories and shows how they use the elements of. engagement to convey organizational key messages. The paper also highlights. differences between storytelling and organizational storytelling. These findings are. incorporated into a checklist for practitioners to help them identify, create, critique, and. improve organizational storytelling in their work. In addition, the paper suggests ways. in which public relations can bring its uniquely relational perspective to contribute to. organizational storytelling by empowering stakeholder storytelling to organizations and. listening by organizations.
•Stories engage their listeners cognitively, affectively, and behaviorally.•Organizational storytelling engages audiences in the same way to convey key messages and achieve organizational benefits.•Individual organizational stories must align with an overarching organizational narrative theme.•Organizational storytelling could be improved if public relations practitioners facilitate stakeholder storytelling and organizational listening.
In human culture, storytelling is a long-established tradition. The reasons people tell stories are manifold: to entertain, to transfer knowledge between generations, to maintain cultural heritage, ...or to warn others of dangers. With the emergence of the digitisation of media, many new possibilities to tell stories in serious and non-entertainment contexts emerged. A very simple example is the idea of serious gaming, as in, digital games without the primary purpose of entertainment. In this paper, we introduce the term
serious storytelling
as a new potential media genre – defining serious storytelling as storytelling with a purpose beyond entertainment. We also put forward a review of existing potential application areas, and develop a framework for serious storytelling. We foresee several application areas for this fundamental concept, including wellbeing and health, medicine, psychology, education, ethical problem solving, e-leadership and management, qualitative journalism, serious digital games, simulations and virtual training, user experience studies, and online communication.
Laura Colket, Tracy Penny Light, and M. Adam Carswell, eds. Becoming: Transformative Storytelling for Education’s Future. New York: DIO Press, Inc., 2021. 367 pp. $32.99 (paperback, ISBN: ...978-1-64504-159-7)
Storytelling is an emerging research topic in the field of visualisation. Visual data stories are often said to make visualisations more effective at communicating information in a more memorable, ...engaging, or persuasive way. However, such expectations the visualisation community has towards storytelling are rarely based on empirical evidence. The growing body of work within different visualisation domains (e.g., cartography, InfoVis, SciVis, business) mainly formalise ideas as models and frameworks. Only little prior re-search describes the audience’s perspective based on empirical evaluations of the effects of narrative visualisations. This research was motivated by the lack of information on how,why, and when storytelling mechanisms may or may not work in visualisation. A qualitative design space study defines the scope of the research topic: flow and movement visualisation and storytelling. While the research approach may apply to a broader spectrum of visual communication types, flow and movement visualisation was selected because it shares two central characteristics with telling a story: space and time. Descriptive and generative case studies demonstrate the capabilities of the proposed Flowstory design space to develop narrative-visual designs and empirical evaluation approaches. By interweaving visualisation and storytelling, the framework allows others (e.g., datascientists or data journalists) to bring elements from one discipline into the other when making visual-narrative design considerations. Two empirical between-subjects crowdsourcing studies explore to what extent selected narrative techniques influence visualisation consumers. The first study investigates to what extent varying text-based emplotments of a visualisation affected the ability to memorise and recall gathered information for making predictions. The second study analyses to what extent commonly used storytelling techniques to generate empathy or provide structure influenced people’s attitudes towards a topic regarded as contentious or strongly held, like immigration. Contrary to initial expectations, the experiments do not provide much evidence for making strong claims about the benefits of storytelling in visualisation. However, results indicate that storytelling can foster the overall understanding but appears to not elicit empathy effectively, can force a reader into a line of thought, and hinder creative thinking. The conducted research contributes new ideas and perspectives to the developing field of storytelling research in visualisation. In conclusion, this thesis provides a valuable descriptive and generative framework that can be used across disciplines but also shows that the research community should not rely on common, but unchallenged assumptions about the benefits of storytelling in visualisation without careful consideration. This conclusions are discussed in the context of methodological implications for future research paths and experiments.
Through an examination of the paradoxes of storytelling, we might reclaim the wisdom of library storytelling and thus inspire productive storytelling approaches and concepts for all areas of ...librarianship.
