Hi-Tek Learning Strategies

Unorthodox ways currently used in colleges to accelerate the velocity of learning are reviewed. To augment persuasion and articulation ability of business school students, stand-up comedy is used (University of Chicago). Song writing, storytelling and improvisation (VanderbiltUniversity-Owens Management), and for Shakespearean motivation for other management skills at the corporate execu-tive level (Northrup Grumman). Food “chow-down”, before and during classes, including pizza and chocolate candy, for relaxation and memory stimulation. The aromatherapy path to the learning, the path of music and subliminal sound---Mozart effect and silent sound--and other sensory aids and teaching techniques to activate all the senses for learning-Key for three, but strive for five!. Other learning techniques include Selman’s Universal Method (SUM) of breaking large problems into manageable parts or patches, his MEDICASA model and a platoon system of participatory responses---all demonstrating skills, motor and sensory. Another approach is to have abstract ideas in the sciences translated into physical learning aids, or robotic device, or toys----where the kernel of the analogies can be retained for comprehending different situations in the present, and for future metaphors. Learning can be reinforced in many ways. But learning with-out play is difficult---grim and boring presentations. It may be the major failing of our educa-tional system; especially, as training for persuasive communication skills. This paper asks---What if it were possible to transfer information and improve communication without the circuitous paths of present ways of teaching? What if a teacher could guide a student beyond the normal capacity of his/her mind by "broad-casting" over the natural defense mechanism of the unused 90% of the brain

Mapping immaterial flows : how consumption invisibilizes labor : the satellite and shipping container

The kiosk system went down and everyone missed their flight. I had this experience recently at Chicago O’Hare International airport when I was flying to Austin. It affirmed the importance of understanding networks and how their working (or in this case, the lack thereof) immobilizes goods and people. Usually, when you check in for a flight, there is a kiosk, a station where you can print out your ticket, bag tags, and receipt. This automation of airline customers and their luggage is routine and due to its speed, allows a lot more people to obtain services. A standard of speed and ease of access is therefore coupled and expected. When this automation is no longer available, people lose their shit or more elegantly stated, the artifice of entitlement becomes gruesomely apparent. I understand everyone has a place to go and we won’t get their soon enough. However, the system is down and the airline workers are doing their best. Of course, once the network is back in place, the kiosks will resume operation and yes, they will arrange a later flight. But in a global economy where networked spaces are equated solely to make money at an expedient pace, how do we get people to understand other ways to respond to a malfunction? The common assumption is that systems are supposed to be perfect and a glitch or a malfunction is an exception, however it is quite the reverse. What if networks weren’t based on dualism? The binary being either: an all digital internet of everything kind of space or a cyberpunk infused reversion to the analog. Instead, what should be thought of and put into place is a multiplicity of network configurations such as A to Z, alif to bari yay, 1 to a 1000, uno to millón. This is what I propose in my research and arts practice: how do we build multiplicity and equity in systems? Networks are not arbitrarily put into place, they have funders, users, buyers, beneficiaries, and losers involved. Therefore, they are porous flows, exchanges, and axioms, always open to change. My research lies in between histories of media, technology, and globalization. I investigate these themes through performance, sculptural installations, reading groups, and workshops that focus on the role of technology. Specifically, my practice is focused on objects that are produced from global circuits and their embedded codes, encompassing both the technological and sociological. I investigate the history of objects such as the satellites and shipping containers and make immaterial streams tangible. The specific objects of the satellite and shipping container carry information that frames notion of historic and present day globalization facilitated by technology. The sections of this text are not necessary meant to be read sequentially, there are organized like nodes. In the first node, I will examine the role of satellites in my projects, Satellites and TELL A STAR. Satellites project examines Our World, the first global transmission (1967) through a sculptural installation, video and website. This project critiques the notion of techno-utopianism, a idea that technology will resolve all inequalities plaguing humanity. Then, I will review TELL A STAR, a 3-channel installation, where I divert the history of the first American satellite, Telstar (1962) through the lens of Afrofuturism, archival research and fluidity of identity. In the second node, I will review my project, Con-tain-er, its installation and performative elements and the role of “flows” within global shipping networks. Near the ending node, the role of networks, “junk,” and the use of workshops will be examined as part of my arts practice. Demanding the creation of more inclusive and divergent networks is central to imagining fluidity. It is within reach, we need to imagine it.Studio Ar

What if We\u27re on the Wrong Side? : Police Brutality, Protest, and Player Culpability in Heavy Rain and Detroit: Become Human

Choice-based video games have often been called “interactive movies” for their unique position as a genre that lets players craft a unique story by making decisions that alter the game’s narrative. Two well-known examples in this genre, Quantic Dream’s Heavy Rain and Detroit: Become Human, offer a variety of possible story lines and outcomes for players to experience. However, because these two narratives are steeped in themes of police brutality, systemic racism, and protest, the way a player shapes a story does not exist in a relatively “moral-free” vacuum. Rather, the legal and social precedents that are often used to absolve police misconduct of blame by indicating an absence of choice are accentuated in these two video games. Through the lens of ludonarratology, which emphasizes both the played experience and the narrative of a video game, I will explain how both Heavy Rain and Detroit: Become Human demonstrate both the presence of personal choice and the institutional frameworks which inhibit agency in order to maintain power. In addition, the racial tones of Detroit: Become Human offer at times subversive readings of police brutality while maintaining dominant narratives of protest that protect white comfort

Story blocks:Reimagining narrative through the blockchain

Digital technology is changing, and has changed the ways we create and consume narratives, from moving images and immersive storyworlds to digital long-form and multi-branched story experiences. At the same time, blockchain, the technology that underpins cryptocurrencies such as Bitcoin, is revolutionizing the way that transactions and exchanges occur. As a globally stored and collaboratively written list of all transactions that have ever taken place within a given system, the blockchain decentralizes money and offers a platform for its creative use. There are already examples of blockchain technologies extending beyond the realm of currency, including the decentralization of domain name servers that are not subject to government takedown and identity management and governance. By framing key blockchain concepts with past and present storytelling practices, this article raises questions as to how the principles and implementation of such distributed ledger technologies might be used within contemporary writing practices - that is, can we imagine stories as a currency or value system? We present three experiments that draw on some of the fundamental principles of blockchain and Bitcoin, as an instantiation of a blockchain implemented application, namely, (1) the ledger, (2) the blocks and (3) the mining process. Each low-fi experiment was intentionally designed to be very accessible to take part in and understand and all were conducted as discrete workshops with different sets of participants. Participants included a cohort of design students, technology industry and design professionals and writing and interaction design academics. Each experiment raised a different set of reflections and subsequent questions on the nature of digital, the linearity (or not) of narratives and collaborative processes

Generative AI-Driven Storytelling: A New Era for Marketing

This paper delves into the transformative power of Generative AI-driven storytelling in the realm of marketing. Generative AI, distinct from traditional machine learning, offers the capability to craft narratives that resonate with consumers on a deeply personal level. Through real-world examples from industry leaders like Google, Netflix and Stitch Fix, we elucidate how this technology shapes marketing strategies, personalizes consumer experiences, and navigates the challenges it presents. The paper also explores future directions and recommendations for generative AI-driven storytelling, including prospective applications such as real-time personalized storytelling, immersive storytelling experiences, and social media storytelling. By shedding light on the potential and impact of generative AI-driven storytelling in marketing, this paper contributes to the understanding of this cutting-edge approach and its transformative power in the field of marketing.Comment: 17 pages, 2 figure

Computational Media and the Core Concepts of Narrative Theory

During the last two decades, computational media-a technology able to simulate virtually any system-have permeated all aspects of contemporary society and culture. So far, narratologists have mostly neglected this progression, which is also known as the digital turn. While the current developments have called our attention to phenomena such as narrative representation across media, the core of narrative theory is still firmly rooted in concepts constructed from the basis of verbal structures and content that can be deemed fixed or unconditional. This article argues that we need to extend the scope of narratological inquiry toward the machines of computational media. With the help of conceptual tools borrowed from software studies and digital humanities, the article first identifies three main properties which distinguish the computer from the earlier forms of media: database, procedurality, and reciprocity. It is then shown how these properties challenge some of the core concepts of narrative theory-plot, character, and storyworld-in the analysis of storytelling in computational media. Finally, it is suggested that in the future, narrative theory might put more emphasis on, firstly, authorship as design and, secondly, the performative acts that the designs invite and enable. The article thus points toward understanding the transformative effect of computational media on the ways in which we see the world and engage with it through the time-honored gift for storytelling.Peer reviewe

Gaming The Comic Book: Turning The Page on How Comics and Videogames Intersect as Interactive, Digital Experiences

Little attention has been given to how digital technologies have impacted the comic medium. Despite the astronomical impact this shift has had on all sorts of traditional media, it is common to believe that digital comics are simply electronic versions of print comics, but the implementation of audio, animation, three-dimensional effects, and interactivity with other kinds of digital comics reveal that they are hardly so simple. Analyzing and classifying them is essential for English studies, comics studies, and even game studies. Digital comics are a hybridized medium that challenge the essence and existing definitions of comics with disparate instances and inclusions of multimedia and interactivity. Digital comics also complicate how the comic medium is remediated with three remediation types (retro remediation, stylistic remediation, and adaptation) that favor or balance out desires for immediacy and hypermediacy between old and new media. Digital comics can also converge with the logic and design of videogames in the digital space, presenting opportunities to question the nature of interactivity between comics and videogames and how these two mediums can be combined with “interactive, digital comics.” This paper creates a refined genre list for digital comics by separating them in terms of how much multimedia and/or interactivity they contain with an extensive analysis of nine digital comics. Their individual incorporations (or lack thereof) of multimedia and/or interactivity unveil innovative possibilities that the digital space affords for the comic medium with new methods of spatial, sequential, and temporal storytelling. In addition, this paper explores how digital comics are socially constructed and viewed as a genre by audiences with nine interviewees that glean further insight into the current perception and future potential of not only digital comics, but also the promising genre of interactive, digital comics

Civic Identities, Online Technologies: From Designing Civics Curriculum to Supporting Civic Experiences

Part of the Volume on Civic Life Online: Learning How Digital Media Can Engage Youth.Youth today are often criticized for their lack of civic participation and involvement in political life. Technology has been blamed, amongst many other causes, for fostering social isolation and youth's retreat into a private world disconnected from their communities. However, current research is beginning to indicate that these might be inaccurate perceptions. The Internet has provided new opportunities to create communities that extend beyond geographic boundaries, to engage in civic and volunteering activities across local and national frontiers, to learn about political life, and to experience the challenges of democratic participation. How do we leverage youth's interest in new technologies by developing technology-based educational programs to promote civic engagement? This chapter explores this question by proposing socio-technical design elements to be considered when developing technology-rich experiences. It presents a typology to guide the design of Internet-based interventions, taking into account both the affordances of the technology and the educational approach to the use of the technology. It also presents a pilot experience in a northeastern university that offered a pre-orientation program in which incoming freshman designed a three-dimensional virtual campus of the future and developed new policies and programs to strengthen the relationship between college campus and neighbor communities