Showing instead of telling

We propose the use of dynamic visual representations to augment traditional static text as documentation. In other words, we suggest using live demonstrations or moving pictures to show- people how- to do things, and not just using written or spoken words to tell them what to do. We present and illustrate examples of five methods and technologies for creating such dynamic documentation, and summarize what is known about their effectiveness

For Cheryl: The Long And The Short Of It

Short stories are an indirect way of creating a truth by showing instead of telling. They are a way to observe and communicate a single idea. A short story for me is a vehicle for hiding my truth behind a character, exploring myself in the safety of an identity that is not my own. When I read Chunky in Heat, author A.M. Homes and I hide together behind her character, Cheryl, and find solidarity. The following writings, paintings, and sculptures are collaborations between myself and the women of short story fiction. Those women being the authors, the subjects, and the readers. Each character provides a different understanding of myself and my work. These characters are helping me to collaborate alongside the many real women with whom I can identify in an effort to put a name to an idea that remains heavily undefined. I cannot tell you what this undefined Thing is. I can only show you using short stories as way to indirectly tell the truth

Exploring narrativity in data visualization in journalism

Many news stories are based on data visualization, and storytelling with data has become a buzzword in journalism. But what exactly does storytelling with data mean? When does a data visualization tell a story? And what are narrative constituents in data visualization? This chapter first defines the key terms in this context: story, narrative, narrativity, showing and telling. Then, it sheds light on the various forms of narrativity in data visualization and, based on a corpus analysis of 73 data visualizations, describes the basic visual elements that constitute narrativity: the instance of a narrator, sequentiality, temporal dimension, and tellability. The paper concludes that understanding how data are transformed into visual stories is key to understanding how facts are shaped and communicated in society

MacIntyre and Kovesi on the Nature of Moral Concepts

Julius Kovesi was a moral philosopher contemporary with Alasdair MacIntyre, and dealing with many of the same questions as MacIntyre. In our view, Kovesi’s moral philosophy is rich in ideas and worth revisiting. MacIntyre agrees: Kovesi’s Moral Notions, he has said, is ‘a minor classic in moral philosophy that has not yet received its due’. Kovesi was not a thinker whose work fits readily into any one tradition. Unlike the later MacIntyre, he was not a Thomistic Aristotelian, nor even an Aristotelian. He saw his viewpoint as Platonic, or perhaps more accurately as Socratic. His writings, unlike MacIntyre’s, have little to say about justice. However, Kovesi did offfer a theory of practical reason. His main contention was that all human social life embodies a set of concepts that govern and guide that life, concepts without which that life would be impossible. These include our moral concepts. For Kovesi, moral concepts are not external to, but constitutive of social life in any of its possible forms. But in the course of his argument he also developed a way of thinking about how concepts work, which we term ‘conceptual functionalism’, and which we will elucidate

Letter from John Muir to [Clara] Barrus, 1909 Aug 11.

Martinez, California, Aug. 11, 1909.Dear Miss Barrus:I\u27ve just returned from the Sierra Club outing, & as none of my mail was forwarded I\u27ve just now received your card from Middletown showing you had got safely home. What a fine telling trip you three have had though I am sure it might have been still better had you let me plan it. Had you been with us all July you would have seen the grand Hetch Hetchy & the Yosemite also & the Merced Canon & lakes & glaciers as well as those of the Tuolumne, & fine views of all the forest zones from giant Sequoias to the summit dwarfs - etc etc & got really acquainted with a lot of capital mountaineers.I was particularly disappointed not having you three at the ranch for a few days quiet visit, instead of an automobile rush of a few confused minutes with mixed company. I\u27m going to see Helen tomorrow.- She is now about as well as ever- Then back to the old den here & try to write. Give my love to John & Mrs Ashley & believe me ever faithfully yoursJohn Mui

Balance in Tristram Shandy: Laurence Sterne through Friedrich Schiller’s Eyes

Many critics of Laurence Sterne’s Tristram Shandy see the novel’s narrative elements and structure as a form of narrative play, which reject Enlightenment systems of understanding. In this paper, through the philosophy of Friedrich Schiller, I will argue that the novel’s narrative structure is best understood as a balance of aesthetic impulses. For most scholars, to understand the narrative form, digressions, philosophy of knowledge, and/or history in Tristram Shandy, one must understand how the novel subverts the categorization and systematization of Enlightenment thinking. The patterns of subversion in the text lend themselves to arguments that characterize the novel as one of narrative play. This is understandable, but it ultimately does not do justice to the complexity of the novel. To address this complexity, I turn to Friedrich Schiller, a German poet and philosopher. I argue that the text enacts Schiller’s aesthetic framework by synthesizing the competing impulses he describes in his aesthetic philosophy. Tristram Shandy does not seek the order and systems of Locke and the Enlightenment, nor the overwhelming feeling of the Romantics’ sublimity; instead, Tristram Shandy, setting a precedent for Schiller’s philosophy, seeks the most beautiful aesthetic goal, balance

Creative activities and skills for bright and gifted children to supplement the Scott, Foresman and Company new basic readers for grade two

Thesis (Ed.M.)--Boston Universit

“What do you want me to tell?” The inferential texture of Alice Munro’s ‘Postcard’

This paper considers some of the ways in which ideas from pragmatic stylistics (based here on relevance theory) can be applied in exploring aspects of the production and interpretation of Alice Munro’s story ‘Postcard’. It identifies some features of the story, considers the role of inferential processes in reading, writing and evaluating texts in general, and considers how focusing on inference can help in understanding specific effects of the story on readers. Finally, it considers how focusing on inference can help to account for what Stockwell (2009) terms the ‘texture’ of the story, i.e. what it feels like to engage with the story during and after reading it