Thematische Bibliographien / Visual storytelling in art

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Visual storytelling in art“

Autor: Grafiati
Veröffentlicht am 25. November 2024

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Zeitschriftenartikel zum Thema "Visual storytelling in art"

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Shannon, G. R., M. Kellen-Taylor und D. Markovich. „TRANSFORMING STORYTELLING LEGACIES INTO VISUAL ART“. Innovation in Aging 2, suppl_1 (01.11.2018): 546. http://dx.doi.org/10.1093/geroni/igy023.2014.

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Lord, Anne. „Creative visual art storytelling and concept development“. Journal of Writing in Creative Practice 3, Nr. 3 (01.12.2010): 227–56. http://dx.doi.org/10.1386/jwcp.3.3.227_1.

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Hsu, Chao-Chun, Zi-Yuan Chen, Chi-Yang Hsu, Chih-Chia Li, Tzu-Yuan Lin, Ting-Hao Huang und Lun-Wei Ku. „Knowledge-Enriched Visual Storytelling“. Proceedings of the AAAI Conference on Artificial Intelligence 34, Nr. 05 (03.04.2020): 7952–60. http://dx.doi.org/10.1609/aaai.v34i05.6303.

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Stories are diverse and highly personalized, resulting in a large possible output space for story generation. Existing end-to-end approaches produce monotonous stories because they are limited to the vocabulary and knowledge in a single training dataset. This paper introduces KG-Story, a three-stage framework that allows the story generation model to take advantage of external Knowledge Graphs to produce interesting stories. KG-Story distills a set of representative words from the input prompts, enriches the word set by using external knowledge graphs, and finally generates stories based on the enriched word set. This distill-enrich-generate framework allows the use of external resources not only for the enrichment phase, but also for the distillation and generation phases. In this paper, we show the superiority of KG-Story for visual storytelling, where the input prompt is a sequence of five photos and the output is a short story. Per the human ranking evaluation, stories generated by KG-Story are on average ranked better than that of the state-of-the-art systems. Our code and output stories are available at https://github.com/zychen423/KE-VIST.
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Grabska, Katarzyna. „Visual Storytelling about Genocide, Displacement, and Exile“. Conflict and Society 8, Nr. 1 (01.06.2022): 192–211. http://dx.doi.org/10.3167/arcs.2022.080112.

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In this article, I examine encounters with an artist and his art: Cambodian exile filmmaker Rithy Panh. In his cinematographic and artwork, Rithy Panh comes to terms with his childhood, the death of his family, and the suffering of his people during the Khmer Rouge regime and the genocide in Cambodia. Conflict and displacement are themes usually approached by researchers using language-based methods, which do not give us fully adequate insights into the “felt and experienced” temporal/spatial aspects of conflict and displacement. I frame my discussion through the reflective interaction between art, an artist with violent conflict and displacement background and the audience—a researcher. First, I examine how taking the sentipensar approach to research through art encounters and researcher as a thinking-feeling person contributes to a different understanding of personal trajectories, experiences of, and emotions connected to conflict, war, and displacement. My second aim is to analyze how artistic practice of Rithy Panh contributes to coming to terms with and to creating alternatives to the official public discourses about the past and the present, at individual and societal levels.
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Lund, Brady. „Art of (Data) Storytelling“. International Journal of Information, Diversity, & Inclusion (IJIDI) 6, Nr. 1/2 (06.05.2022): 31–41. http://dx.doi.org/10.33137/ijidi.v6i1.37027.

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The extent to which data visualizations are used, and the quality of these visualizations, has consistently been shown to influence human decision-making relative to static (non-visual) presentations of findings or ideas (Boldosova & Luoto, 2019; El-Wakeel et al., 2020; Liem et al., 2020). Why are visualizations so impactful? Likely because most decision-makers do not want to sort through spreadsheets or read a novel-length narrative to understand what is important—they want it straight and quick. They want color, novelty, storytelling, and interactivity (Dykes, 2020; Kostelnick, 2016; Kosara & MacKinley, 2013). This is the purpose of data storytelling: to literally tell a story about the data analyses to, in some way, impart knowledge or affect change among the audience. Data and data analysis are never neutral—they are always political–and storytelling is how the data analyst can attempt to influence how data findings are perceived by the audience. This paper discusses the basis of data storytelling and why it is important for creating a narrative around data visualizations that compels readers and viewers to act upon findings. It then discusses (in the form of a reflective discussion) how the art of data storytelling may be improved and activated to promote social justice themes by reflecting on the effectiveness of storytelling in hip hop music.
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Kim, Sung-Ho. „Storytelling as a Faction in Visual Art Curating“. CONTENTS PLUS 20, Nr. 3 (29.06.2022): 89–105. http://dx.doi.org/10.14728/kcp.2022.20.03.089.

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Mottahedeh, Patricia Erhart, und Richard Brilliant. „Visual Narratives: Storytelling in Etruscan and Roman Art“. Classical World 79, Nr. 5 (1986): 351. http://dx.doi.org/10.2307/4349925.

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Pollini, John, und Richard Brilliant. „Visual Narratives, Storytelling in Etruscan and Roman Art“. American Journal of Philology 106, Nr. 4 (1985): 523. http://dx.doi.org/10.2307/295208.

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Ford, Charles. „VISUAL STORYTELLING“. Art History 15, Nr. 4 (Dezember 1992): 533–37. http://dx.doi.org/10.1111/j.1467-8365.1992.tb00505.x.

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Nayar, Sheila J. „Écriture Aesthetics: Mapping the Literate Episteme of Visual Narrative“. PMLA/Publications of the Modern Language Association of America 123, Nr. 1 (Januar 2008): 140–55. http://dx.doi.org/10.1632/pmla.2008.123.1.140.

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The norms of art-cinema narration—evident in the work of such directors as Ingmar Bergman, Satyajit Ray, and François Truffaut—reflect noetic processes and expectations engendered by a culture of the written word. Such norms are absent from Hindi popular films, which have been historically contoured by the psychodynamics of orally based thought and by devices and motifs common to oral storytelling. By funneling art-cinema narration's norms—already meticulously (and impartially) cataloged by David Bordwell—through the prism of orality and through the orally inflected characteristics of Hindi popular films and by conjointly engaging with literary theory concerned with issues of textuality, this essay develops a novel conceptual matrix for understanding the epistemic pressures that weigh on visual storytelling as both a spectatorial and a generative act.
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Dissertationen zum Thema "Visual storytelling in art"

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Hamilton, Maia D. „The Joy of Storytelling: Incorporating Classic Art Styles with Visual Storytelling Techniques“. Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1566558927880888.

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Lee, Michelle. „Te whatu o poutini a visual art exploration of new media storytelling, 2007“. Click here to access this resource online, 2007. http://hdl.handle.net/10292/419.

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This visual art project has explored the ancient Maori pukorero (oral tradition) of Te Whatu o Poutini (The Eye of Poutini) that articulates the journey of Poutini Taniwha, Waitaiki and Tamaahua from Tuhua (Mayor Island) in the Bay of Plenty, to the Arahura River. An oral geological map, the pukorero also expresses through cultural values, the intimate spiritual relationship Ngati Waewae have with our tupuna, the Arahura River, pounamu stone and each other. Exploring the genres of digital storytelling and video art installation, this project combines them as new media storytelling. The current experience of colonisation and urbanisation emotionally parallel the abduction, transformation and multiple places of belonging experienced by the tupuna Waitaiki at the hand of Poutini Taniwha. The project explores and acknowledges this connection. The survival, restoration and celebration of Ngati Waewae culture and the need to assert control of our own destinies has infused every component of the project.
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Young, Tamlyn. „Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community“. Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95797.

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Thesis (MPhil)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis investigates stop motion animation as a form of socially engaged visual storytelling. It aims to expand commonly held perceptions that associate animation with the mass media and entertainment industries by investigating three non-industry related contexts: the artist studio, the classroom and the community. In each respective context the coauthoring of stop motion animation was employed as a means to promote collaboration between artists, students and members of the public. This was intended to encourage participants to share their stories regardless of language differences, contrasting levels of academic development and diverse socio-cultural backgrounds. Thus, animation making provided a means of promoting inclusivity through active participation and visual communication. This process is perceived as valuable in a South African context where eleven official languages and a diversity of cultures and ethnicities tend to obstruct an integrated society. My fundamental argument is that animation can be used as a tool to facilitate the materialisation, dissemination and archiving of stories whilst promoting the creative agency of the storyteller.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek stop-aksie animasie as ‘n tipe van sosiaal-geaktiveerde visuele vertelkuns. Die studie is daarop gerig om algemene aannames oor animasie – wat animasie assosieer met die massamedia en die vermaaklikheidsindustrie – te verbreed deur drie nienywerheidsverbonde kontekste te ondersoek: die kunstenaar se ateljee, die klaskamer en die gemeenskap. In elk van die onderskeie kontekste word die gesamentlike skepping van die stop-aksie animasie gebruik as ‘n manier om samewerking tussen kunstenaars, studente en die algemene publiek te bevorder. Die doel is om deelnemers aan te moedig om hul stories te deel, ongeag taalverskille, verskillende vlakke van akademiese ontwikkeling, en diverse sosio-kulturele agtergronde. Daarom verskaf die skepping van animasie ‘n geleentheid om samewerking te bevorder deur aktiewe deelname en visuele kommunikasie. Die proses word veral in die Suid Afrikaanse konteks as waardevol beskou, waar elf amptelike tale, asook ‘n diversiteit van kulture en etniese groepe, dikwels die skep van ‘n geïntegreerde samelewing belemmer. My hoofargument is dat animasie met vrug gebruik kan word as ‘n metode om die skepping, disseminasie en argivering van stories te fasiliteer en terselfdertyd ook die kreatiewe rol van die storieverteller aan te moedig.
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Valdes, Marius I. „The Unwantables: An Exploration of Visual Narrative“. VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1378.

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The Unwantables is a creative project that has evolved from my lifelong interest in and relationship with visual stories. To me the most compelling aspect of visual storytelling is "imagination". The author possesses the ability to create new worlds, interesting characters, and situations that can have the potential to communicate about any topic. My project explores visual narrative as a communication tool to explain the role of imagination in my life.
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McKillop, Chris. „'Stories about ... assessment' : understanding and enhancing students' experiences of assessment in art and design higher education using on-line storytelling and visual representations“. Thesis, Robert Gordon University, 2006. http://hdl.handle.net/10059/230.

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This thesis aims to investigate students’ qualitative experiences of assessment in art and design higher education using storytelling and visual representations. It aims to investigate whether collaborative storytelling can encourage students to reflect on, and learn from, each others’ experiences of assessment. In order to examine these aims, an on-line tool, ‘StoriesAbout… Assessment’ was designed and developed, based on an adapted model of storytelling as a reflective tool in higher education. Visual representations of students’ experiences were also used to identify the affective aspects of the assessment experience. In using these novel methods, the research aimed to highlight the whole student learning experience and how assessment affects that experience. Traditional methods of surveying and evaluation do not usually focus on this, nor do they provide a reflective, learning process for students. The analysis of stories led to a greater understanding of students’ experiences of assessment in art and design by identifying a number of key issues: the impact of negative experiences, the need for greater clarity of assessment criteria due to the subjective nature of the discipline, the tension students perceive between their role as creative practitioners in an educational setting and their role in the wider art world, the value of peer support and appropriate feedback. The storytelling model enabled students to view stories from different perspectives and to consider changes to their practice, and the model has demonstrated its efficacy in supporting reflective thinking and transformative learning. The emotional aspect to students’ experiences was particularly evident in their visual representations which often used strong imagery to depict how the stress of assessment affected them. The drawings also showed stereotypes of assessment, such as images of exams, indicating that these previous experiences had become synonymous with assessment, despite there being few formal exams in art and design. In summary, this thesis contributes two new methods for understanding and enhancing the student learning experience, which have been proven in the context of art and design higher education.
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Proud, Keven Dell. „Visual Storybooks: Connecting the Lives of Students to Core Knowledge“. BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3386.

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In order to help students find connections to the Core Knowledge curriculum and the principles of Discipline-Based Art Education, the author uses narrative and visual storytelling in the form of altered books to make meaning and relate the lives of students to the art content. The author uses methods of action research to plan a curriculum intervention, work with the students to create their visual stories, reflect on his instruction along with student learning, and collect students' responses through surveys. The author also gathers data through the students' journals and artworks. Through the project the author is able to give students choices and help them turn their learning environment into art practice. Ultimately, the author improves and develops his teaching practice as a result of this project.
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Veloz, Franco. „Embodied narratives : Embodied experiences as a call for action“. Thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-750.

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Things, spaces and people collaborate in order to create an immersive experience. This project investigates this collaboration in order to combine them for an embodied way of tell and perceive stories.  Can a immersive experience help to close the gap between information and the person, the event and the story? In the following essay I am going to analyze the components that are part of the experience. I am interested in the connection between perception, memory, atmosphere and objects. Inquire how they are related and what they represent in order to tell stories with them. I try to question the way we perceive and expand the function of telling and receiving stories to the whole body and everything around us. With these new questions, create my project – Johan’s Room – and experiment with them, trying to connect the audience with the story.
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Ferraro, Tonya. „Letters from an interdisciplinary artist: Illuminating Korean adoptee identity through mentors and metal“. ScholarWorks @ UVM, 2014. http://scholarworks.uvm.edu/graddis/5.

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Interdisciplinary integration and practice through meaning making and context can contribute to the reconsideration and revolution of research by supporting narrativesand creating space for public discourse. In researching my heritage as a Korean adoptee, I found that the literature has been predominantly from adoptive parents' perspective,focusing primarily on child and adolescent development. Lacking in the literature is the adult adoptee perspective, and specifically their experiential voices. This interdisciplinary thesis has three major purposes (1) to explore how transracial transnational Korean adoption affects identity formation, (2) to illustrate how mentoring relationships can be a means to address and reframe the theme of loss as experienced by an adoptee, and (3) to use interdisciplinary inquiry as a means of expression to make meaning and illuminate adoptee identity formation. Drawing from my personal experience as an adoptee, an artist, a researcher, and as an educational mentee I integrate past research findings, Scholarly Personal Narrative (SPN: storytelling), epistolary Scholarly Personal Narrative (eSPN: epistolary storytelling), and visual artistic research through jewelry/sculpture to describe constructing my adoptee identity. Images of the jewelry/sculpture are provided, while a public art opening displayed the series of work.
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Dilworth, Jason Orvis. „Vernal“. VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1748.

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Culminating with a dream, this project transverses theoretical and geographical boundaries with explorations into the message-carrying potential of video, sound, performance, print, and web. Stories and content are extracted from an autobiographical history of one small western town turned boomtown. That town, the center from which the project emerges, is Vernal, Utah.
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Bengtsson, Lovisa. „Himlen, Havet & Riddaren : Fantasyillustrationer om mobbning och utanförskap“. Thesis, Blekinge Tekniska Högskola, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20035.

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Information kring mobbing och utanförskap är viktig men kan ofta upplevas som torr och ointressant. Detta kandidatarbete utforskar fantasyillustrationer som ett sätt att hantera svårare ämnen genom berättande och underhållning. Jag har forskat kring berättande och fantasygenren som verktyg för att kunna diskutera svårare ämnen på ett mindre konfronterande och mer lättmottagligt sätt samt hur illustration kan användas som ett medium för att berätta. Detta har lett till min gestaltning, en fantasyberättelse om mobbning och utanförskap vid namn ”Himlen, Havet och Riddaren”. Jag har samarbetat med Lotusmodellen och deras Trygga Klassen arbete för att utveckla en berättelse och sedan genom en process av konceptarbete utvecklat karaktärer och en visuell värld av unga riddare på en ö i ett grönt hav. Jag har använt mig av storyboarding och ett flertal illustreringsbaserade berättarmetoder som färgmening och komposition för att skapa en berättelse som är tydlig trots att den saknar text eller berättare. Jag har testat och använt digitala illustrationsmetoder för att arbeta effektivt och hinna med ett stort arbete under kort tid. Resultatet är en video bestående av 36 illustrationer som tillsammans bildar en berättelse som visualiserar mobbing och utanförskap med ett positivt budskap och en stämning som förstärks med timing, ljudeffekter och musik.
Information about bullying and exclusion is important but can often be perceived as dry and uninteresting. This bachelor thesis explores fantasy illustrations as a way to deal with more difficult topics through storytelling and entertainment. I have researched storytelling and the fantasygenre as a tool for discussing more difficult topics in a less confrontational and more receptive way as well as how illustration can be used as a medium for storytelling. This has led to my design, a fantasy story about bullying and exclusion called “Himlen, Havet och Riddaren”. I have collaborated with Lotusmodellen and their Trygga Klassen work to develop a story and then through a process of concept art developed characters and a visual world of young knights on an island in a green sea. I have used storyboarding and a number of illustration-based storytelling methods such as colour meaning and composition to create a story that is clear even though it lacks text or narrator. I have tested and used digital illustration methods to work efficiently and get a great deal of work done in a short time. The result is a video consisting of 36 illustrations that together form a story that visualizes bullying and exclusion with a positive message and a mood that is enhanced with timing, sound effects and music.
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Bücher zum Thema "Visual storytelling in art"

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Morag, Styles, Hrsg. Children's picturebooks: The art of visual storytelling. London: Laurence King Pub., 2012.

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Michael, Tanzillo, Hrsg. Lighting for animation: The art of visual storytelling. Burlington, MA: Focal Press is an imprint of the Taylor & Francis Group, an Informa business, 2016.

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Education, Monte Zucker Photographic, Hrsg. The art of visual storytelling training series: Cinematography workshop. [United States]: Third Person in association with Monte Zucker Photographic Education, 2013.

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1964-, Lee Jim, Hrsg. The DC Comics guide to creating comics: Inside the art of visual storytelling. New York: Watson-Guptill Publications, 2013.

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Fictions & interactions (Paris, France), Hrsg. Fictions secondes: Mondes possibles et figures de l'enchâssement dans les oeuvres artistiques et littéraires. Paris: Éditions de la Sorbonne, 2019.

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Greene, Ellin. Storytelling: Art & technique. 4. Aufl. Santa Barbara, Calif: Libraries Unlimited, 2009.

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Greene, Ellin. Storytelling: Art & technique. 4. Aufl. Santa Barbara, Calif: Libraries Unlimited, 2009.

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Greene, Ellin. Storytelling: Art & technique. 4. Aufl. Santa Barbara, Calif: Libraries Unlimited, 2009.

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Brendan, Eddy, Hrsg. Exploring visual storytelling. Clifton Park, NY: Thomson Delmar Learning, 2007.

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Augusta, Baker, Hrsg. Storytelling: Art and technique. 3. Aufl. New Providence, N.J: R.R. Bowker, 1996.

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Buchteile zum Thema "Visual storytelling in art"

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Allen, Rob, und Nina Krebs. „Visual Art“. In Dramatic Psychological Storytelling, 82–92. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230800557_9.

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Linneman, Thomas J. „The Art of Visual Storytelling“. In Social Statistics, 54–107. 4. Aufl. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003220770-2.

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Linneman, Thomas J. „The Art of Visual Storytelling“. In Social Statistics, 55–102. Third Edition. | New York: Routledge, 2018. | Revised edition of the author's Social statistics, 2014.: Routledge, 2017. http://dx.doi.org/10.4324/9781315391823-2.

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Monoyios, Kalliopi, Kirsten Carlson, Taina Litwak, Tania Marien und Fiona Martin. „Visuals as a Catalyst for Climate Science Communication“. In Storytelling to Accelerate Climate Solutions, 225–63. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54790-4_11.

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AbstractVisual science communicators (aka science illustrators) are an underutilized resource in the collaborative effort underway to foment changes in policy and behavior necessary to address the unfolding climate crisis. While science illustrations have a robust history in textbooks and picture books, they are quickly replaced with stock imagery outside those realms, particularly when describing climate change topics. Visual science communicators are practitioners who have a mastery of graphic design principles and various art forms, but are also, importantly, fluent in scientific concepts. With this unique combination of skills, the visuals they produce can deliver complex information in concise, easy-to-understand ways and make climate information more culturally accessible, ultimately resulting in broader community engagement. In order to bring the benefits of illustration into the climate education effort effectively, climate advocates must budget for visuals and bring professional visual science communicators into the fold.
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Wong, Chui Yin, Chee Weng Khong, Kimberly Chu, Muhammad Asyraf Mhd Pauzi und Man Leong Wong. „Audio-Visual Documentation Method for Digital Storytelling for a Multimedia Art Project“. In Human-Computer Interaction. Interaction Modalities and Techniques, 750–58. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39330-3_81.

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Wolf-Jacobs, Aviva, Nancy Glock-Grueneich und Nathan Uchtmann. „Mapping Out Our Future: Using Geospatial Tools and Visual Aids to Achieve Climate Empowerment in the United States“. In Storytelling to Accelerate Climate Solutions, 339–64. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54790-4_16.

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AbstractUrgent climate action is now impeded less by doubt that the climate crisis exists than doubt that we can do anything meaningful about it. Vivid stories of climate successes and geospatial maps showing the impact of such successes are the best way to meet this challenge. Accelerating climate solutions in the United States thus now turns on stories, maps, and other analytic and visualization tools to help achieve what the United Nations has termed climate empowerment, the “all-society” effort to mobilize all people of all nations to understand, gain the capacities for, and take the actions needed to save our planet and each other. In this chapter, we look at two types of narratives—those in the form of geospatial tools and images that help nonspecialists see and understand climate dynamics and distributional impacts of the climate crisis, and interpersonal solution stories that act as resources to help motivate collective climate action. Illustrative and analytical geospatial tools support community members in shaping climate action and environmental planning efforts, and help to ground climate adaptation processes in geographically specific data. In combination, these storytelling tools carry people over the entire arc of climate empowerment.
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Tang, Tang, Paul Wilson und Ki woong Nam. „Dialogue as social sculpture: a visual method of graphic-ethnography for storytelling“. In Arts-Based Interventions and Social Change in Europe, 15–21. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003376927-4.

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Trencsényi, Klára, und Vlad Naumescu. „Migrant Cine-Eye: Storytelling in Documentary and Participatory Filmmaking“. In IMISCOE Research Series, 117–40. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_7.

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AbstractThe so-called European ‘refugee crisis’ has bred a profusion of audiovisual accounts throughout the region, many of which aimed to give voice to hitherto voiceless, uprooted people. But as many of these ‘untold stories’ gain material expression as storylines, we are urged to consider the implications of yet another form of displacement: from the historical person to the film character, from personal stories to media representations. The growing interest into the migrant issue and visual representations of refugees have played an important role in the public construction of the ‘crisis’ but have also, paradoxically, obscured or silenced migrant voices. The authors of this paper, a documentary filmmaker (Trencsényi) and a social anthropologist (Naumescu) seek to explore narrative strategies and ethics of representation in European documentaries made after 2010 as well as their participatory filmmaking project developed in the wake of the 2015 refugee crisis in Hungary. Having collaborated on several documentary films and filmmaking workshops, they approach this issue from the perspective of practitioners, offering a critical reflection as well as possible strategies for those aiming to produce audiovisual works in this field. The inclusion of refugees’ insight and their ways of constructing their own stories as well as their own observations on the receiving societies can open new possibilities for collaboration and creative engagement for social scientists and filmmakers preparing visual fieldnotes, ethnographic and documentary films as well as participatory projects.
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Miller, Evonne, Sarah Johnstone und Abigail Winter. „The Art of Transformation: Enabling Organisational Change in Healthcare Through Design Thinking, Appreciative Inquiry, and Creative Arts-Based Visual Storytelling“. In How Designers Are Transforming Healthcare, 251–63. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6811-4_15.

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AbstractThis chapter tells the story of a complex organisational change to a healthcare service, splitting rehabilitation functions across two hospitals in the same region. The design project was developed to help the healthcare providers (clinicians, nurses, and allied health professionals) from both hospitals reach an understanding of the strengths that each hospital provided to its patients, with one large hospital in a busy metropolitan area and the other a small hospital in a rural area. Using arts-based design methods including design thinking, workshops, journey maps, and photovoice experiences from both providers and consumers, the HEAL team were able to help the rehabilitation service providers see the value in the requirements of the organisational change and the potential benefits in the new distributed service.
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Macdonald, Alastair S., Matthieu Poyade, Orla McCorry, Christopher Trace und Mark Chambers. „The Art of Serious Storytelling: Using Novel Visual Methods to Engage Veterinary Practitioners in Reducing Infection Risk During Surgical Preparation“. In New Paradigms in Healthcare, 91–107. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-22452-2_8.

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Konferenzberichte zum Thema "Visual storytelling in art"

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Arezes, Renata Maia, Joana Quental, Anabela Pereira und Raquel Guimarães. „Narratives of Life: Understanding the Viability of Digital Storytelling as a Breast Cancer Patient-Centred Care Tool for a Caring Future in EU-27 Countries“. In 8th International Visual Methods Conference, 241–50. AIJR Publisher, 2024. http://dx.doi.org/10.21467/proceedings.168.27.

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The present study addresses the viability of digital storytelling in Patient-Centred Care as a contributing tool to psychological wellbeing and social cohesion in European Union 27 countries (EU-27). Storytelling is regarded as an important tool for medical practice, promoting the development of coping mechanisms and empowerment in patients. The future of healthcare is increasingly digital, moving towards new paradigms of care that benefit the patient through customized and dedicated tools, allowing for tailored health instruments that may give an overall increase in health improvement and maintenance, through support, monitorization or at distance care. In this context, digital storytelling arises as a natural result from the adjustment of a widely used and approved method to a new technology, with recognized benefits of powerful engagement. Through data analysis on digital access, digital literacy, and digital skills among population in EU-27 countries, we focus on the viability of storytelling through digital tools regarding social-economic factors. Analysis is narrowed to women, since our main field of work is on female breast cancer. Data analysis shows the existence of a gap on digital literacy between EU-27 countries, suggesting a correlation between patient context and effectiveness and usage possibility of digital tools. Although digital storytelling may represent the future as a contributing tool to psychological wellbeing, the difference between and within EU-27 countries shows that there are still fundamental issues concerning digital literacy and full accessibility that must be addressed before this tool may assume a main role in detriment of analogical approaches, regarding equity and democratic access to healthcare.
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Meo, Tim, Aswin Raghavan, David A. Salter, Alex Tozzo, Amir Tamrakar und Mohamed Amer. „Aesop: A Visual Storytelling Platform for Conversational AI“. In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/857.

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We present a new collaborative visual storytelling platform, Aesop, for direction and animation. Aesop consists of a language parser, human gesture monitoring, composition graphs, dialogue state manager, and an interactive 3D animation software. Aesop thus enables 3D spatial and temporal reasoning which are both essential for storytelling. Our key innovation is to enable conversational AI using both verbal and non-verbal communication, which enables research in language, vision, and planning.
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Wang, Xin, Wenhu Chen, Yuan-Fang Wang und William Yang Wang. „No Metrics Are Perfect: Adversarial Reward Learning for Visual Storytelling“. In Proceedings of the 56th Annual Meeting of the Association for Computational Linguistics (Volume 1: Long Papers). Stroudsburg, PA, USA: Association for Computational Linguistics, 2018. http://dx.doi.org/10.18653/v1/p18-1083.

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Yang, Pengcheng, Fuli Luo, Peng Chen, Lei Li, Zhiyi Yin, Xiaodong He und Xu Sun. „Knowledgeable Storyteller: A Commonsense-Driven Generative Model for Visual Storytelling“. In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/744.

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The visual storytelling (VST) task aims at generating a reasonable and coherent paragraph-level story with the image stream as input. Different from caption that is a direct and literal description of image content, the story in the VST task tends to contain plenty of imaginary concepts that do not appear in the image. This requires the AI agent to reason and associate with the imaginary concepts based on implicit commonsense knowledge to generate a reasonable story describing the image stream. Therefore, in this work, we present a commonsense-driven generative model, which aims to introduce crucial commonsense from the external knowledge base for visual storytelling. Our approach first extracts a set of candidate knowledge graphs from the knowledge base. Then, an elaborately designed vision-aware directional encoding schema is adopted to effectively integrate the most informative commonsense. Besides, we strive to maximize the semantic similarity within the output during decoding to enhance the coherence of the generated text. Results show that our approach can outperform the state-of-the-art systems by a large margin, which achieves a 29\% relative improvement of CIDEr score. With additional commonsense and semantic-relevance based objective, the generated stories are more diverse and coherent.
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Chen, Yuetian, Bowen Shi, Peiru Liu, Ruohua Li und Mei Si. „Automated Visual Story Synthesis with Character Trait Control“. In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003275.

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Visual storytelling is an art form that has been utilized for centuries to communicate stories, convey messages, and evoke emotions. The images and text must be used in harmony to create a compelling narrative experience. With the rise of text-to-image generation models such as Stable Diffusion, it is becoming more promising to investigate methods of automatically creating illustrations for stories. However, these diffusion models are usually developed to generate a single image, resulting in a lack of consistency be- tween figures and objects across different illustrations of the same story, which is especially important in stories with human characters.This work introduces a novel technique for creating consistent human figures in visual stories. This is achieved in two steps. The first step is to collect human portraits with various identifying characteristics, such as gender and age, that describe the character. The second step is to use this collection to train DreamBooth to generate a unique token ID for each type of character. These IDs can then be used to replace the names of the story characters in the image-generation process. By combining these two steps, we can create controlled human figures for various visual storytelling contexts.
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Tyurina, Anastasia. „Enhancing Science Communication through AR Driven Visual Storytelling: Suggested Approach and Study“. In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3483529.3483727.

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„Evaluation Report for Early-Career Professionals Workshop Series“. In Early-Career Professionals Workshop Series. UNU-IIGH, 2021. http://dx.doi.org/10.37941/xwrq8041.

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As part of UNU-IIGH's initiative to strengthen capacity around local decision-making and translate evidence into policy, in the year 2020, UNU-IIGH collaborated with Lancaster University on a series of workshops for early-career professionals. The first instalment of the virtual workshop series, titled 'Research to Policy', was held on 14 October 2020 to provide insights into the stakeholder engagement process. This workshop aimed to provide an overview of how to collaborate with stakeholders across sectors and identify potential stakeholders and strategies for engagement. The second instalment of the workshop series was held on 18 November 2020, focusing on 'The Art of Storytelling for Influencing Policy'. The main objectives of this workshop were: 1) to understand the definition of stories and the importance of storytelling for decision-making; 2) to understand how to create stories (who is the audience, what are the key narrative components), and 3) to practice scripted, oral, and visual storytelling.
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Santos, Rui Vitorino. „The Visual Storytelling as a Way to Create Knowledge and Empathy Between Generations in Academic Institutions“. In – The Barcelona Conference on Arts, Media & Culture 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2435-9475.2020.1.

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Ziyoda, Hakimova. „SEWING TERMS UNRAVELED: A CREATIVE JOURNEY INTO THE LANGUAGE OF STITCHING“. In TEACHING FOREIGN LANGUAGES IN THE CONTEXT OF SUSTAINABLE DEVELOPMENT: BEST PRACTICES, PROBLEMS AND OPPORTUNITIES. ISCRC, 2023. http://dx.doi.org/10.37547/geo-18.

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This article explores innovative and engaging methods for teaching sewing terminology to students. Sewing, an art form and a practical skill, often comes with a unique set of jargon that can be intimidating for beginners. To make the learning process enjoyable and memorable, we present ten creative approaches. These include Sewing Bingo, Sewing Word Puzzles, Sewing Storytelling, Visual Flashcards, Sewing Terminology Charades, Sewing Term Art Collages, Sewing Term Songs or Rhymes, Sewing Term Scavenger Hunts, Sewing Term Storyboards, and Sewing Term Fashion Shows. Each method infuses fun and interactivity into sewing terminology education, ensuring that students not only grasp the terminology but also develop a deeper connection to the art of sewing.
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Mayorga, Kelia, Hugo Arias-Flores, Carlos Ramos-Galarza und Isabel L. Nunes. „Digital Storytelling to Help Improve Reading comprehension“. In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002184.

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Information and communication technologies have transformed the world, especially if they are aimed at promoting reading in children in their first years of learning. The problems generated by deficiencies in reading comprehension in the student body affect their school performance and their progress in the upper years, creating demotivation and low levels in their school performance. The objective of the research proposal is to design a virtual classroom with digital narratives as support to improve reading comprehension in the student body. Digital narratives are a technological resource that can be applied pedagogically, combining content with visual and auditory material, taking advantage of the functionality of virtual classrooms such as Google Classroom, in which the proposal was designed. It is concluded that teachers must identify the problems that their students present in the reading process and implement new methodological strategies, so that learning is different, participatory and innovative, this is where narratives play an important role, such as resource that provides a change in the learning system and support for students with school behind, in addition to strengthening cognitive development with audiovisual stimuli.
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Berichte der Organisationen zum Thema "Visual storytelling in art"

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Schnitzlein, Daniel. Principles of Data Visualization. Instats Inc., 2024. http://dx.doi.org/10.61700/hltlj4cwyot2c1624.

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This seminar provides an essential introduction to the principles of data visualization for academic researchers and professionals. It focuses on understanding how to effectively communicate quantitative information through visual means, with an emphasis on audience-centric design. Attendees will learn how to select appropriate chart types, declutter visualizations, and enhance clarity, all without relying on a specific software tool. This course is designed to improve data storytelling and ensure that visual presentations of data are both accurate and compelling.
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Mercer, Elaine. Exploring Female-headed Households’ Sanitation Needs, Tasikmalaya. The Sanitation Learning Hub, Institute of Development Studies, September 2023. http://dx.doi.org/10.19088/slh.2023.015.

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Female-headed households often get left behind in water, sanitation, and hygiene (WASH) programming and policy. This SLH Learning Paper presents findings and recommendations for action, from the participatory video research project, ‘Sanitation, health and livelihood issues for female-headed households in Tasikmalaya’. The project supported eight women in Awiluar village, Tasikmalaya, (a peri-urban community in west-Java, Indonesia), to explore the challenges they face and ideas for solution using a participatory video process. The process included activities to develop personal confidence, teamwork, collective and visual storytelling, reflective enquiry, communication skills and audio-visual technical skills. The women collectively created a video to communicate their sanitation, health and livelihood priorities, which was screened with local government officials and community members promoting vital dialogue and encouraging action. The aim of the project was to ensure that the specific needs and long-term interests of female-headed households are better met going forward. Further details on the approach can be found in the accompanying SLH Learning Paper, 'Using participatory video for empowerment in sanitation programming'; this describes key activities involved and their value to programming. It aims to spark sanitation and hygiene researchers’ interest in the potential for using participatory video.
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Muñoz Molina, Antonio. Cervantes and the Art of Storytelling. Inter-American Development Bank, Mai 2005. http://dx.doi.org/10.18235/0007955.

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Karki, Shanta. Applying the River of Life Method to Support Reflection and Learning in Terre des hommes Nepal. Institute of Development Studies, September 2023. http://dx.doi.org/10.19088/clarissa.2023.005.

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The RoL method is a visual narrative method that helps people tell stories of the past, present, and future. Individuals can use this method to introduce themselves in a fun and descriptive way. A group can use it to understand and reflect on the past and imagine the future of a project. Besides, it can also be used to build a shared view of a process over time while acknowledging different and perhaps contradictory perspectives. The method uses drawings rather than text, making it useful in groups that do not share a common language. Metaphors from a river are used to explore aspects of a story – such as whirlpools depicting challenges or lakes suggesting a sense of calm etc. When used in a group, it is an active method, engaging people in the process of storytelling and listening through visualising their experiences and using metaphors to explore in depth. In CLARISSA, we adapted the RoL method to document our collective understanding of the story of implementation of the programme as part of the programme’s monitoring, evaluation and learning component. The purpose was to surface the details of our process of the systemic Action Research that we are undertaking with children in the worst forms of child labour and business owners. We used the same river metaphors as is often applied when the method is used with individuals.
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Viytovych, Tetyana. FROM DATA TO NARRATIVES: THE ART OF STORYTELLING IN ECONOMIC JOURNALISM. Ivan Franko National University of Lviv, März 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12160.

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The study analyzes the effectiveness of data storytelling for the comprehensibility of economic publications. It considers it as a method of presenting information that facilitates better perception and understanding of economic processes. Data storytelling has proven to be one of the key methods in presenting economic data, transforming complex numerical sets into meaningful narratives. The application of this method allows readers to more easily assimilate information more efficiently, enhancing financial literacy. Keywords: media, data storytelling, narratives, economic journalism, infographics.
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Seifert, Christin, und Veena Chattaraman. Can Visual Storytelling Transform the Aesthetic Experience? A Case for Novel Designs. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-393.

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Galenson, David. Language in Visual Art: The Twentieth Century. Cambridge, MA: National Bureau of Economic Research, März 2008. http://dx.doi.org/10.3386/w13845.

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Petrie, Christopher, und Katija Aladin. Spotlight: Visual Arts. HundrED, Dezember 2020. http://dx.doi.org/10.58261/azgu5536.

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HundrED and Supercell believe that fostering Visual Art skills can be just as important as numeracy and literacy. Furthermore, we also believe that Visual Arts can be integrated into all learning in schools and developed in a diversity of ways. To this end, the purpose of this project is to shine a spotlight, and make globally visible, leading education innovations from around the world doing exceptional work on developing the skill of Visual Arts for all students, teachers, and leaders in schools today.
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Galenson, David. Portraits of the Artist: Personal Visual Art in the Twentieth Century. Cambridge, MA: National Bureau of Economic Research, April 2008. http://dx.doi.org/10.3386/w13939.

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Devreese, Margaux. COMTOG Report on “Path Out”. European Center for Populism Studies (ECPS), Mai 2023. http://dx.doi.org/10.55271/rp0039.

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Path Out is successful at teaching people about the realities of conflict due to its well-researched background, appealing art direction, authentic storytelling and exploration opportunities. When the game is introduced in an educational environment, it gains new players, and the teachers are able to provide a framework for understanding the student’s player experience. However, despite the classroom context expanding Path Out’s potential, similar nuanced and thoughtful games about conflict, such as the other games featured in the COMTOG project, do not have access to these educational environments.
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