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The challenges of viewpoint-taking when learning a sign language: Data from the 'frog story' in British Sign Language
Little is known about how hearing adults learn sign languages. Our objective in this study was to investigate how learners of British Sign Language (BSL) produce narratives, and we focused in particular on viewpoint-taking. Twenty-three intermediate-level learners of BSL and 10 deaf native/early signers produced a narrative in BSL using the wordless picture book Frog, where are you? (Mayer, 1969). We selected specific episodes from part of the book that provided rich opportunities for shifting between different characters and taking on different viewpoints. We coded for details of story content, the frequency with which different viewpoints were used and how long those viewpoints were used for, and the numbers of articulators that were used simultaneously. We found that even though learners’ and deaf signers’ narratives did not differ in overall duration, learners’ narratives had less content. Learners used character viewpoint less frequently than deaf signers. Although learners spent just as long as deaf signers in character viewpoint, they spent longer than deaf signers in observer viewpoint. Together, these findings suggest that character viewpoint was harder than observer viewpoint for learners. Furthermore, learners were less skilled than deaf signers in using multiple articulators simultaneously. We conclude that challenges for learners of sign include taking character viewpoint when narrating a story and encoding information across multiple articulators simultaneously
Design Fiction Diegetic Prototyping: A Research Framework for Visualizing Service Innovations
The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link.Purpose: This paper presents a design fiction diegetic prototyping methodology and research framework for investigating service innovations that reflect future uses of new and emerging technologies.
Design/methodology/approach: Drawing on speculative fiction, we propose a methodology that positions service innovations within a six-stage research development framework. We begin by reviewing and critiquing designerly approaches that have traditionally been associated with service innovations and futures literature. In presenting our framework, we provide an example of its application to the Internet of Things (IoT), illustrating the central tenets proposed and key issues identified.
Findings: The research framework advances a methodology for visualizing future experiential service innovations, considering how realism may be integrated into a designerly approach.
Research limitations/implications: Design fiction diegetic prototyping enables researchers to express a range of ‘what if’ or ‘what can it be’ research questions within service innovation contexts. However, the process encompasses degrees of subjectivity and relies on knowledge, judgment and projection.
Practical implications: The paper presents an approach to devising future service scenarios incorporating new and emergent technologies in service contexts. The proposed framework may be used as part of a range of research designs, including qualitative, quantitative and mixed method investigations.
Originality: Operationalizing an approach that generates and visualizes service futures from an experiential perspective contributes to the advancement of techniques that enables the exploration of new possibilities for service innovation research
A Trip to the Moon: Personalized Animated Movies for Self-reflection
Self-tracking physiological and psychological data poses the challenge of
presentation and interpretation. Insightful narratives for self-tracking data
can motivate the user towards constructive self-reflection. One powerful form
of narrative that engages audience across various culture and age groups is
animated movies. We collected a week of self-reported mood and behavior data
from each user and created in Unity a personalized animation based on their
data. We evaluated the impact of their video in a randomized control trial with
a non-personalized animated video as control. We found that personalized videos
tend to be more emotionally engaging, encouraging greater and lengthier writing
that indicated self-reflection about moods and behaviors, compared to
non-personalized control videos
Ontological Approaches to Modelling Narrative
We outline a simple taxonomy of approaches to modelling narrative, explain how these might be realised ontologically, and describe our continuing work to apply these techniques to the problem of Memories for Life
The narrative self, distributed memory, and evocative objects
In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our (unfolding) life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology of artifacts in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally-laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct
Fans and Adaptation: An Analysis of the Use of Interactive Storytelling in The Lizzie Bennet Diaries
By using adaptations of Jane Austen’s classic novel Pride and Prejudice (1813) as a frame of reference, my thesis will demonstrate that transmedia narratives are most effective in tandem with original texts that have a history of successful adaptations due to the perpetual audience of fans and their previous knowledge of the story to meaningfully, as well as canonically, interact with the narrative. This thesis will first introduce theories surrounding adaptations and look at previous Pride and Prejudice adaptations in light of a devoted fan base. It will then introduce the concept of transmedia narratives and examine the culture of fans and their interactions with texts in the digital age. Lastly, I will analyze the success of the Internet production company Pemberley Digital and their transmedia YouTube adaptation of Pride and Prejudice that boasts a view count of 82.2 million views and secured an Emmy. This analysis will apply the theories on transmedia, fandom, and adaptation introduced in the first three sections to demonstrate that interactive transmedia narratives are most effective when they have an established fan base, which is most easily found in popular texts prone to adaptations. Digital storytelling will only continue to grow, especially as upcoming generations favor online streaming and independent producers as opposed to the cable television shows created by the larger media corporations. The research contained within this thesis will show the importance of appealing to wider audiences by creating richer, more immersive narratives through transmedia and paratexts that encourage collective authorship
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