Expressing emotions in words: Facebook text-based comments in Tamil

Language being used as a communication tool is embedded with emotions. Emotions in language are obvious in face-to-face (F2F) communication than in any other forms of communications. Media Richness Theory explains that the richer the media is the more successful communication will be and vice versa (Moczynski, 2010). This means text-based communication such as letters, e-mails, memo and so forth lacking of non-verbal cues like intonations, facial expressions, body movements and others, will not be as successful as F2F communication. On the other hand, there are also studies which have proven that computer mediated communication can convey non-verbal cues as effective as in F2F communication by manipulating the fonts with capitalization or using coloured fonts to express emotions (Mali, 2007; Boonthanom, 2004). Nevertheless, how is it possible to communicate non-verbal informations in a language like Tamil which does not have capital letters or colour code? The aim of this study is to identify the techniques used by Tamils in conveying emotions through words in facebook. This paper further discusses the frequent and helpful techniques used in Tamil communication. Samples chosen for this study were forty active facebook users who have good language competency in Tamil

Attitudes and emotions through written text: The case of textual deformation in Internet chat rooms

Spanish Internet chat rooms are visited by a lot of young people who use language in a very creative way (e.g. repetition of letters and punctuation marks). In this paper, several hypotheses concerning the uses of textual deformation assess their communicative usefulness. The goal of these hypotheses is to check whether these deformations favour a more accurate identification and evaluation of the senders’ underlying attitudes (propositional or affective) and emotions. The answers to a questionnaire indicate that despite the supplementary level of information that textual deformation provides, readers tend not to agree on the exact quality of the sender’s underlying attitudes and emotions, nor do they tend to establish degrees of intensity related to the quantity of text typed. However, and despite this evidence, textual deformation seems to play a part in the eventual quality of chat users’ interpretations of the messages sent to chat rooms.Los chats españoles de Internet son visitados por muchos jóvenes que usan el lenguaje de una forma muy creativa (ej. repetición de letras y signos de puntuación). En este artículo se evalúan varias hipótesis sobre el uso de la deformación textual respecto a su eficacia comunicativa. Se trata de comprobar si estas deformaciones favorecen una identificación y evaluación más adecuada de las actitudes (proposicionales o afectivas) y emociones de sus autores. Las respuestas a un cuestionario revelan que a pesar de la información adicional que la deformación textual aporta, los lectores no suelen coincidir en la cualidad exacta de estas actitudes y emociones, ni establecen grados de intensidad relacionados con la cantidad de texto tecleada. Sin embargo, y a pesar de estos resultados, la deformación textual parece jugar un papel en la interpretación que finalmente se elige de estos mensajes enviados a los chats.The research for this paper has been supported by IULMA (Instituto Interuniversitario de Lenguas Modernas Aplicadas)

A multi-layered approach to surfacing and analysing organisational narratives : increasing representational authenticity

This paper presents an integrated, multi-layered approach to narrative inquiry, elucidating the evolving story of organisational culture through its members and their physical, textual, linguistic and visual dialogue. A dynamic joint venture scenario within the UK hi-technology sector was explored to advance understanding of the impact of transformation level change, specifically its influence on shared belief systems, values and behavioural norms. STRIKE – STructured Interpretation of the Knowledge Environment is introduced as an innovative technique to support narrative inquiry, providing a structured, unobtrusive framework to observe, record, evaluate and articulate the organisational setting. A manifestation of narrative in physical dialogue is illuminated from which the underlying emotional narrative can be surfaced. Focus groups were conducted alongside STRIKE to acquire a first order retrospective and contemporaneous narrative of culture and enable cross-method triangulation. Attention was given to non-verbal signals such as Chronemic, Paralinguistic, Kinesic and Proxemic communication and participants were also afforded opportunities to develop creative output in order to optimise engagement. Photography was employed to enrich STRIKE observation and document focus group output, affording high evidential value whilst providing a frame of reference for reflection. These tools enable a multiplicity of perspectives on narrative as part of methological bricolage. Rich, nuanced and multi-textured understanding is developed, as well as the identification of connections, timbre and subjugated knowledge. A highly emotional and nostalgic context was established with actors’ sense of self strongly aligned with the pre-joint venture organisation and its brand values, norms and expectations. Credibility and authenticity of findings is enhanced through data triangulation indicating traceability across methods, and from the contextual preservation attained through STRIKE. The multi-layered approach presented can facilitate researcher reflexivity and sense-making, while for the audience, it may be employed to help communicate and connect research findings. In particular, STRIKE demonstrates utility, quality and efficacy as a design artefact following ex-post evaluation. This systematic method of narrative inquiry is suitable for standardisation and alongside a diagnostic/prescriptive capacity, affords both researcher and practictioner value in its application

The communicating dance

Does dance have the ability to communicate universally to all observers at some level of human engagement? This paper discusses theatre dance as a human communicative medium, the characteristics of how it communicates and to a certain degree why and what it communicates. In doing so the intentions of the communicating dancer and choreographer are considered alongside that of the receptive and responsive audience. The thesis compiles a survey of textual sources pin pointing the unique communicative abilities of dance, as an artistic, expressive and meaningful form of non-verbal communication establishing suggestions of the ways it may be universally communicable

Symbolic Activities in Virtual Spaces

This paper presents an approach to combine concepts ofsymbolic acting and virtual storytelling with the support ofcooperative processes. We will motivate why symboliclanguages are relevant in the social context of awarenessapplications. We will describe different symbolicpresentations and illustrate their application in three differentprototypes

Urban murals and the post-protest imagery of networked publics: the remediated aftermath of Ukraine’s Euromaidan on instagram

In modern hyper-mediated urban environments, public art becomes an inseparable part of the multiplicity of meanings generated by citizens with regards to their city, their country and each other. What meanings can public art convey after a protest in a mediated city? And how do social media users capture and reflect on these visual artefacts? This article focuses on the urban murals that appeared in Kyiv, the Ukrainian capital in the post-Euromaidan period (spring 2014 – present day). The creation of murals began as a spontaneous urban practice, but post-protest, morphed into a concerted effort to populate blank walls of decaying apartment blocks around cities with meaningful art, reflecting on the turbulent political, social and cultural changes in the country. The article considers how this mediated public art form resonates with the networked post-protest publics through the affordances of Instagram and explores the different kinds of meanings networked publics in and around the post-protest city can produce. It focuses on how the mediation of the murals on Instagram might reflect or frame the meanings embedded in the murals themselves and how these themes might fit into the broader metaphorical narrative of rebirth and regeneration in the post-Euromaidan city of Kyiv