(The Impossibility of) Acting upon a Story That We Can Believe

The historical sensibility of Western modernity is best captured by the phrase “acting upon a story that we can believe.” Whereas the most famous stories of historians facilitated nation-building processes, philosophers of history told the largest possible story to act upon: history itself. When the rise of an overwhelming postwar skepticism about the modern idea of history discredited the entire enterprise, the historical sensibility of “acting upon a story that we can believe” fell apart to its constituents: action, story form, and belief in a feasible future outcome. Its constituent parts are nevertheless still hold, either separately or in paired arrangements. First, believable stories are still told, but without an equally believable future outcome to facilitate. Second, in the shape of what I call the prospect of unprecedented change, there still is a feasible vision of a future (in prospects of technology and the Anthropocene), but it defies story form. And third, it is even possible to upon that feasible future, but such action aims at avoiding worst case scenarios instead of facilitating best outcomes. These are, I believe, features of an emerging postwar historical sensibility that the theory and philosophy of history is yet to understand

The Limits of Anthropocene Narratives

The rapidly growing transdisciplinary enthusiasm about developing new kinds of Anthropocene stories is based on the shared assumption that the Anthropocene predicament is best made sense of by narrative means. Against this assumption, this article argues that the challenge we are facing today does not merely lie in telling either scientific, socio-political, or entangled Anthropocene narratives to come to terms with our current condition. Instead, the challenge lies in coming to grips with how the stories we can tell in the Anthropocene relate to the radical novelty of the Anthropocene condition about which no stories can be told. What we need to find are meaningful ways to reconcile an inherited commitment to narrativization and the collapse of storytelling as a vehicle of understanding the Anthropocene as our current predicament

Form, science, and narrative in the anthropocene

A significant strand of contemporary fiction engages with scientific models that highlight a constitutive interdependency between humanity and material realities such as the climate or the geological history of our planet. This article looks at the ways in which narrative may capture this human-nonhuman interrelation, which occupies the foreground of debates on the so-called Anthropocene. I argue that the formal dimension of scientific knowledge-as manifested by diagrams or metaphors used by scientists-is central to this narrative remediation. I explore two analogical strategies through which narrative may pursue a formal dialogue with science: clusters of metaphorical language and the global structuring of the plot. Rivka Galchen's novel Atmospheric Disturbances (2008), for instance, builds on a visual representation of meteorological patterns in a storm (lifted from an actual scientific paper) to stage the narrator's mental illness. Two other contemporary works (Orfeo by Richard Powers and A Tale for the Time Being by Ruth Ozeki) integrate scientific models through the overall design of the plot. By offering close readings of these novels, I seek to expand work in the area of New Formalism and show how formal choices are crucial to bringing together the human-scale world and more-than-human phenomena

The tourist experience of heritage urban spaces : Valletta as a case study

This article provides an understanding of how tourists experience heritage urban spaces by investigating features that influence tourist experiences most. It is framed within urban design literature which refers to three elements of urban space namely physical setting (or form), activity, and meaning. These elements are used to explore how urban spaces are experienced by tourists. Its findings are derived from an in-depth qualitative analysis of interviews with tourists to Valletta, Malta. The research suggests that the intrinsic qualities of the space are relevant to the tourist experience but what is even more relevant are the interactions of the tourist with different elements within that space, namely interactions with surroundings, interactions with others, and interactions with self/meaning. Within this broad conceptual model, the research identifies important sub-themes. Some of these reinforce the findings of existing work on tourist experiences, but others are often under-estimated or neglected.peer-reviewe

End of One Way

Describes the role of three South Minneapolis community-based organizations. Demonstrates how the organizations form partnerships and share leadership with their communities. Explores a set of themes derived from each example of community engagement

Telling the market story through organic information interaction design and broadcast media : submitted to the College of Creative Arts as requirement for the degree of Master of Design, Massey University, Wellington, New Zealand, 2007

Interaction Design, which is essentially story-creating and telling, is at once both and ancient art and a new technology. Media have always effected the telling of stories and the creation of experiences. (Shedroff, N., 1994, p. 2) Advances with visual representations within broadcast design have been applied to areas such as weather simulations, sporting events, and historical reconstruction's. However, financial market information presentation is fairly uniform in television news broadcasting, showing little progression in pace with other news information catego­ries. While stock market news segments make limited use of supporting graphics, addi­ tional information that may assist the viewer is filtered out, effecting viewers interest, understanding and decision making process often associated with market related stories. Research to date has been limited to single visualisations. There has been little re­search into the use of multiple information views that are composed to support news presentations. People use many different information sources on a daily basis. News sources are used to stay informed about events, to some sources, viewer evaluation of informa­tion is a part of that process. News information and other data commodity sources are now more accessible, allowing designers to look at ways of transforming them into new or improved information services. This research explores the display of stock market information by looking at ap­propriate media delivery methods combined with Organic Information Interaction Design to enhance information relationships. Organic Design and Information Inter­action Design 1 principles are combined. This denotes a 'living' relationship between elements, incorporating hierarchy principles with enhanced information delivery and user experiences. Four themes are tied together through the use of a conceptual prototype. [FROM INTRO