Dissertations / Theses on the topic 'Narrative design'
To see the other types of publications on this topic, follow the link: Narrative design.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Narrative design.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Nordqvist, Filip, and Erik Sahlbom. "Visual Narrative Game Design : Ett narrativ utan konversation." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16516.
Full textAbstract:
Vi undersöker den narrativa stilen som Flower och Journey använder sig av. I denna narrativastil finns det varken dialog och text. Utifrån Flower och Journey skapade vi en designmetodsom ska finnas till som inspiration för utvecklare som vill testa denna stilen. Resultatet avundersökningen ger upphov till en designmetod som vi applicerar på vår gestaltning för atttesta den i en annan spel genre. Mycket av metoden är fokuserad på hur Flower och Journeygör då vi bara undersöker de två spelen. Vi skulle vilja göra en mer generell undersökning dåvi undersöker mer spel som också har ett narrativ utan dialog och text.We study the narrative style that Flower and Journey uses. In this narrative style, there is nodialogue and text. Based on Flower and Journey, we created a design method that will be aninspiration for developers who want to test this style. The result of this bachelor thesis givesrise to a design method that we apply to our game idea this applies the method to anothergame genre. Much of the method is very focused on what Flower and Journey do when weonly examine these two games. We would like to do a more general study when we examinemore games that also have a narrative without dialogue and text.
2
Tessaro, Annye Cristiny. "Narrativas e games: um olhar do design literário-artístico." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21522.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-05T12:59:08Z
No. of bitstreams: 1
Annye Cristiny Tessaro.pdf: 2558658 bytes, checksum: 6ae482af1522ccf49fba1f5b8ed87511 (MD5)Made available in DSpace on 2018-11-05T12:59:09Z (GMT). No. of bitstreams: 1 Annye Cristiny Tessaro.pdf: 2558658 bytes, checksum: 6ae482af1522ccf49fba1f5b8ed87511 (MD5) Previous issue date: 2018-09-12
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Humanity has always used narratives to communicate. Over the years, theorists have realized that there was a common basic structure and formulation in the narratives that allowed stories to perpetuate and adapt in order to form new stories. The contributions of Aristotle, Vladimir Propp and Jung, based on the observation of a varied corpus of tales and fables, enabled the scholar Joseph Campbell to elaborate a narrative structure called “Hero’s Journey”, an elliptical and evolutionary cycle in which the central axis is the hero (and also its variations, such as the anti-hero). This structure is widely used in the construction of contemporary narratives which paved the way for writers such as Vogler and Mckee allowing them to propose it’s adaptation centered on the protagonist-hero for literature and cinema. From the 1970s, with the evolution towards an interactive possibility, the entertainment industry began to incorporate, although modestly, the narrative as a possibility to improve the immersion in games using, most of the time, the Writer’s Journey (structure adapted by Vogler) as a parameter for the construction of narratives in games. However, it is essential to realize that games have specific peculiarities, besides a high content of interaction differing from other media and, therefore, its structure can not be conceived in the same way as it was proposed by Vogler, requiring an adaptation which addresses such particularities. In addition, usually professionals who engage in storytelling for games are screenwriters (which does not seem to be the most appropriate because the art of narrative goes beyond the script), or are writers (who mostly lack specific knowledge and qualification in the games area). Considering what was stated above, we argue for the adoption of a Narrative Designer (term created in 2006 by Game Designer Stephen Dinehart) to designate this professional whose knowledge involves multiple skills – such as programming, art and writing – combining the areas of Narratology, Ludology, and Game Design. Thus, the purpose of this thesis is to investigate conventional narrative structures and how they are presented in games, which are the elements and tools that can help the narrative designer in the creative process
A humanidade sempre se utilizou de narrativas para se comunicar. Ao longo dos anos, os teóricos perceberam haver nas narrativas uma estrutura e uma formulação básica comum que propiciava que as histórias se perpetuassem e se adaptassem formando novas histórias. As contribuições de Aristóteles, Vladimir Propp e Jung, fundamentadas com base na observação de um corpus variado de contos e de fábulas, possibilitaram ao estudioso Joseph Campbell elaborar uma estrutura narrativa denominada “Jornada do Herói”, um ciclo elíptico e evolutivo no qual o eixo central é o herói (e também suas variações, tal como o anti-herói). Essa estrutura é amplamente utilizada na construção de narrativas contemporâneas e abriu o caminho para que roteiristas como Vogler e Mckee propusessem sua adaptação centrada no protagonista-herói para a literatura e o cinema, Com a evolução das possibilidades interativas, a indústria de entretenimento passou a incorporar, a partir da década de 1970, ainda que modestamente, a narrativa como possibilidade de refinar a imersão nos games utilizando, na maioria das vezes, a Jornada do Escritor (estrutura adaptada por Vogler) como parâmetro para construção das narrativas em games. No entanto, é essencial que se perceba que os games possuem particularidades específicas, além de um alto teor de interação diferenciando-se das outras mídias e, portanto, sua estrutura não pode ser concebida da mesma forma como foi proposto por Vogler, requerendo uma adaptação que contemple tais particularidades. Além disso, geralmente os profissionais que se dedicam à arte narrativa para games ou são roteiristas (que não parece ser o mais adequado, pois a arte narrativa vai além do roteiro), ou são escritores (que em sua maioria não possuem conhecimento e qualificações específicas na área de games). Diante do exposto, defende-se a adoção de Designer de Narrativas (termo criado, em 2006, pelo Game Designer Stephen Dinehart) para designar esse profissional cujo conhecimento envolve múltiplas habilidades – como programação, arte e escrita – combinando as áreas da narratologia, da ludologia e do Game Design. Sendo assim, a proposta desta tese é investigar as estruturas narrativas convencionais e como elas se apresentam nos games, quais são os elementos e as ferramentas que podem auxiliar o designer de narrativas no processo criativo
3
Forsberg, Liam, and Simon Östman. "Narrative structure in Persona 5 : Limiting narrative paradoxes." Thesis, Uppsala universitet, Institutionen för speldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-449161.
Full textAbstract:
A narrative paradox occurs when the suspension of disbelief falters due to tension betweenthe urgency of the narrative and agency used by the player to pursue non-narrative activities.In this paper, we do a close reading on the video game Persona 5 to examine which elementsare utilised to limit or avoid narrative paradoxes. The analysis consisted of categorising thegame’s events, whereafter a few non-obligatory events from the game were chosen for anin-depth analysis. This served to find out which desire: agency, urgency, or both, the eventsmotivate through its narrative. We introduce the concept of the Plot Bubble as a tool withwhich to create narrative structures that are less prone to causing narrative paradoxes whencombined with relevant narrative elements. The narrative structure and elements of Persona 5are used as practical examples of how such design choices can motivate the player to act inaccordance with the narrative context, as well as to support this desire through the actionsavailable in the game world.En narrativ paradox inträffar när ens upphävande av misstro fallerar på grund av en spänningmellan narrativets brådskande karaktär och behörigheten som spelaren har för att utövaicke-narrativa aktiviteter. I denna text gör vi en närläsning av TV-spelet Persona 5 för attundersöka vilka element som används för att begränsa eller undvika narrativa paradoxer.Analysen bestod utav en kategorisering av spelets händelser och därefter valdes några fåicke-obligatoriska händelser från spelet till en djupgående analys. Detta tjänade till att ta redapå vilken begäran: spelarens behörighet, narrativets brådskande karaktär, eller båda,händelserna motiverar genom dess narrativ. Vi introducerar konceptet intrigbubbla som ettverktyg till att skapa narrativa strukturer som är mindre benägna att orsaka narrativaparadoxer i kombination med relevanta narrativa element. Den narrativa strukturen ochverktygen i Persona 5 används som praktiska exempel för hur sådana designval kan motiveraspelaren att agera i enlighet med den narrativa kontexten, samt att stödja denna begärangenom handlingarna som finns tillgängliga i spelvärlden.
4
Sjöström, Johan. "Morphology of a digital narrative : prototyping digital narratives using the theories of Vladimir Propp." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1929.
Full textAbstract:
This paper will detail the prototyping and subsequent production of an digital narrative experience utilizing the theories of Vladimir Propp. The prototype will examine the theories detailed in Propps Morphology of the Folktale. It will implement Propps narrative functions according to a general scheme, connected by connectives. The prototype will dynamically generate narratives according to this scheme. Finally, this paper will draw conclusions about the advantages of a Propp-based system of narrative generation and the narratives produced compared to other digital narratives, such as hypertext.
5
Elliott, John. "D.H. Lawrence and narrative design." Thesis, University of St Andrews, 1990. http://hdl.handle.net/10023/141.
Full textAbstract:
Lawrence's work has almost invevitably been read as an aesthetic production whereby one must eventually agree or disagree with his vision of "reality". Those who assume a formalist standard of taste often find that Lawrence "loses control" of his material; those who offer ideological apologies for his work argue that disruptions in the aesthetic plane are representative of an exploratory genius, often seen as the outstanding characteristic of literary modernism. Both approaches, explicitly or otherwise , rely on the ultimate sanction of the achieved image, transmuted by the author always in control of his material. Yet anyone who reads Lawrence with an eye to to what the "tale" says in addition to what the "teller" claims discovers that Lawrence is not in full control of his material, thought it cannot simply be argued, on aesthetic or linguistic criteria, that he is out of control. Rather, there exists a "third" state whereby Lawrence both writes and is written, gives us a message with one hand, yet retracts, as it were, with the other. Because this double-move is preeminently suited to the language of fiction, and because it appears in Lawrence's fiction with the greatest versatility and incisiveness, this dissertation analyzes six of his novels for their rhetorical significance, understood as both an organization of tropes and figures and as a system of persuasive doctrine. A new definition for allegory is proposed, the introductions of thematic and structural "blanks" is examined, and a spread of narrative delays are identified and discussed, all concerned with the central problem of writing novels that direct themselves to the resurrection of a pre-linguistic universe, yet ironically depend more and more upon writing to bring this about. Ideas drawn from Continental philosophy and recent critical theory are incorporated for support and instruction. Attention is also focused on Lawrence's revision processes, often with specific emphasis on unpublished manuscript material.
6
BRANDÃO, Luis Rodrigo Gomes. "Análise da emergência narrativa em Metal Gear Solid V: The Phantom Pain." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/17724.
Full textAbstract:
Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-08-22T12:57:26Z
No. of bitstreams: 2
license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5)
Dissertação - Rodrigo Brandão.pdf: 2163145 bytes, checksum: 8af388e9eb2a173f8b26e3c970b2202f (MD5)Made available in DSpace on 2016-08-22T12:57:26Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação - Rodrigo Brandão.pdf: 2163145 bytes, checksum: 8af388e9eb2a173f8b26e3c970b2202f (MD5) Previous issue date: 2016-01-29
Devido ao diferencial da interatividade, os jogos digitais possuem um singular potencial narrativo que permitem os jogadores construírem suas próprias narrativas mesmo em gêneros lúdicos com pouca ou nenhuma história explícita. Consolidada como uma linguagem própria dos jogos digitais, a narrativa emergente usufrui princípios multidisciplinares do game design para prover a multiformidade nos games, principalmente nos gêneros sandbox e mundo aberto. Apesar do frequente questionamento da validade da experiência do jogador como uma narrativa pela indústria do entretenimento interativo, a crítica especializada e a comunidade gamer, a narrativa emergente também contém diferentes tipos e efeitos de imersão narrativa, além de atender a todas as funções narrativas, porém colocando o jogador num papel ativo e de coautoria da história. A pesquisa exploratória realizada neste trabalho identificou doze elementos emergenciais provenientes da mecânica e do comportamento dos jogadores que fomentam a narrativa emergente nos jogos digitais, servindo de base para o estudo de caso do jogo Metal Gear Solid V: The Phantom Pain. Além de servir como modelo de análise para jogos de gêneros afins, esse doze elementos emergenciais também podem auxiliar na concepção de mecânicas de jogos digitais com elevada narrativa emergente.
Due to the differential of interactivity, digital games have a singular narrative potential that let players build their own narratives even in ludic genres with little or no explicit story. Consolidated as a language of digital games, the emergent narrative enjoys multidisciplinary principles of game design to provide the multiformity in games, especially in the sandbox and open world genres. Despite the frequent questioning of the validity of the player's experience as a narrative by the interactive entertainment industry, specialized press and the gaming community, the emergent narrative also contains different types and effects of narrative immersion, in addition to service all narrative functions, but putting the player in an active role and co-author of the story. Exploratory research performed in this work identified twelve emergency elements from mechanical and behavior of the players that promote emerging narrative in digital games, providing the basis for the case study of the game Metal Gear Solid V: The Phantom Pain. In addition to serving as an analytical model for game related genres, this twelve emergency elements can also assist in the conception of game mechanics with high emergent narrative.
7
Machado, Ludmila Ayres. "Design e narrativa visual na linguagem cinematográfica." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-26032010-142901/.
Full textAbstract:
A dissertação Design e narrativa visual na linguagem cinematográfica localiza as origens do cinema e do design no contexto do projeto da modernidade e busca entender o papel que o artista moderno deve desempenhar neste fluxo de transformações e ambiguidades que teve início no século XIX. Assim, procura traçar como as novas formas de representação, consumo e entretenimento convergiram para o discurso visual da linguagem cinematográfica. Faz algumas considerações a respeito de recursos técnicos do cinema, a fim de tornar mais clara a discussão sobre narrativa visual. No texto dedicado às origens do design, localiza a fundação da Bauhaus no contexto da redefinição do papel do pensamento artístico e do artesanato em face da produção mecânica seriada. Propõe a Bauhaus como ponto de convergência da formulação teórica, da aplicação prática e do ato criativo que levariam ao desenvolvimento do design no século XX. Explicita a mudança da idéia de desenho como meio gráfico pelo qual se abstrai a forma, para desenho no sentido ativo de projeto: intuição de relações construtivas ou espaciais dentro da matéria. A partir deste estudo, realiza uma investigação dos aspectos imagéticos e projetuais nas concepções fílmicas do production designer Alex McDowell, assim como a descrição e a análise de quatro filmes desenhados por ele: Invasão de Domicílio, O Terminal, Minority Report e A Fantástica Fábrica de Chocolate. A apresentação desses filmes não segue uma ordem cronológica, sendo, sim, orientada por critérios estéticos e narrativos. A linha traçada parte da representação da realidade contemporânea de Invasão de Domicílio; passa pela experiência de O Terminal no qual parte de um aeroporto foi construída em estúdio ; é quebrada pela ficção científica Minority Report; até chegar ao cinema de fantasia de A Fantástica Fábrica de Chocolate.This thesis, Design narrative and visual language in film locates the origins of cinema and design in the project of modernity trying to understand the role that the modern artist should play in this world of change and ambiguity that has beginning in the nineteenth century. The intent is to discover how new forms of representation, consumption and entertainment converged to the discourse of visual language film. The work makes some considerations about the technical resources of the cinema in order to clarify the discussion of visual narrative. In the text about the origins of the design, mentions the foundation of the Bauhaus in the context of redefining the role of artistic thought and craft in the face of mechanical serial production. The thesis proposes the Bauhaus as a point of convergence of the theoretical formulation, the implementation and practice and the creative act that would lead to the development of design in the twentieth century. Explains the change of the idea of the pictures as a graphic related to the abstract form, in order to the idea of a picture as an active project: intuition of constructive relations or space in the object. It is made an investigation of the image and design aspects in the process of filming of the production designer Alex McDowell. Four movies he designed have also been analyzed: Breaking and Entering, The Terminal, Minority Report and Charlie and the Chocolate Factory. These movies are not mentioned following a chronological order; the criteria was narrative and aesthetic. A line of the analysis of these selected movies begin at the representation of contemporary reality of Breaking and Entering; then goes to the experience of The Terminal in which part of an airport was built in the studio ; and is broken by the science fiction of Minority Report. Finally it ends with the fantasy movie of Charlie and the Chocolate Factory.
8
Elliott, John. "D. H. Lawrence and narrative design /." St Andrews, 1991. http://hdl.handle.net/10023/141.
Full text
9
Hale, Bonnie. "When shape becomes a sign: narrative design in creative nonfiction." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3091/.
Full textAbstract:
This thesis consists of a preface and three original short stories. The preface explores the idea that narrative designthe shape or structureof a story may become a literary motif in its own right. The three stories included are creative nonfiction and each employs a distinct modular design. The themes of the stories revolve around personal identity and values; families and marriage; and creative empowerment.
10
Venkataraman, Hemalatha. "Narrative Probes in Design Research for Social Innovation." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524135294341671.
Full text
11
Besserud, Keith Roland. "Architecture and narrative : an exploration." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23783.
Full text
12
Wingler, Peter A. "The narrative force of sound." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337641.
Full textAbstract:
This work argues that sound design represents a powerful narrative force within the larger narrative of a film. The major component of this project is a DVD with multiple sound designs (each containing a different narrative context) available for a single short film. The written component looks at sound design and its components, and then examines sound design through the lens of Fisher's Theory of Narrativity. It is found that sound design does exhibit the characteristics of providing a "reliable, trustworthy, and desirable guide to thought and action in the world." It is also shown that using the principles of Schema Theory enables sound designers to maximize the narrative impact that sound design has over a broad audience.Department of Telecommunications
13
Ayers, Abigail E. "The Collaborative Nature of Designing Narrative VR Applications." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587130850965235.
Full text
14
Dunten, Stacey. "Remembrance: An Object-Driven Narrative." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555606495788712.
Full text
15
Streck, Melissa. "Análise da influência dos personagens sobre a experiência de games narrativos : um estudo de caso de vínculos emocionais com o jogo portal." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/115301.
Full textAbstract:
A pesquisa apresentada nesta dissertação teve como tema os personagens em games. Seu objetivo foi compreender a influência dos personagens sobre as emoções da experiência de jogo, levando em conta as questões relativas à carracterização, atuação e ao papel dos mesmos no encadeamento da narrativa. Para isso, foi realizada uma análise da estrutura narrativa do jogo Portal (Valve Co., 2007) e um estudo empírico qualitativo dos vínculos emocionais dos jogadores durante a experiência de jogo. Além de seu grande sucesso e popularidade, esse jogo foi escolhido devido à importância do NPC, cujas manifestações constróem a narrativa. A pesquisa verificou a coerência entre as teorias sobre a construção de personagens, bem como sobre narrativa e emoção e a experiência dos jogadores. Além disso, foi possível constatar que os vínculos emocionais dos jogadores que participaram do estudo divergiram nos momentos de maior e menor tensão e convergiram nas passagens de tensão intermediária. A visualização da estrutura narrativa do jogo Portal e sua comparação com as marcações efetuadas pelos jogadores nas várias passagens do jogo contribuem para a melhor compreensão da relação entre a variação dos vínculos emocionais e os momentos da narrativa, com destaque para a relação do jogador com os NPCs.The research presented in this dissertation has its object the characters in games. The goal was to understand the influence of the characters on the emotions of the game experience, taking into account issues relating to carracterização, performance and the role of teachers in the thread of the narrative. For this, an analysis of the narrative structure of the game Portal (Valve Co., 2007) and a qualitative empirical study of the emotional bonds of the players during the game experience was performed. Besides its great success and popularity, this game was chosen because of the importance of the NPC, whose manifestations construct the narrative. The survey found consistency between theories about characters’development, as well as on narrative and emotion, and the experience of players. Furthermore, it was found that the emotional bonds of the players who participated in the study differed in times of high and low tensions and converged in the passages of intermediate twnsions. The visualization of the narrative structure of the game Portal and its comparison with the markings made by players in several passages of the game contribute to a better understanding of the relationship between the variation of emotional bonds and the moments of the narrative, highlighting the relationship between the player and the NPCs.
16
Helms, Karey. "The Family Circuit : A New Narrative of American Domesticity." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-91169.
Full textAbstract:
As the world endures and approaches a string of energy crises, both financially and environmentally, this project aims to critique and challenge society's relationship with energy by provoking individuals to examine their current habits of energy consumption, consider the future implications of these actions, and question their willingness to make sacrifices for a cleaner environment. This is accomplished through the development of a fictional society in the near future in which individuals are required to produce all the electrical energy that they need or desire to consume. Within the daily narrative of a fictional family of five, the details and events of their everyday lives have been extrapolated to create a liminal world where mundane, yet peculiar diegetic prototypes create tense situations, uncomfortable behaviors, and unforeseen consequences. Plot devices manifested include distributed government information in the form of an energy harvesting catalog, product infomercial, energy bill, and a home monitoring brochure. The narrative emphasis and human driven context aspires to foster a new lens of speculation, imagination, and discovery regarding the production and consumption of energy. What if you were required to produce all the energy you desire to consume?
17
Gausepohl, Kimberly Ann. "The Storytelling + Design Framework: Design Guidance for the Concept Phase of Medical Device Design." Diss., Virginia Tech, 2012. http://hdl.handle.net/10919/38579.
Full textAbstract:
The National Institute for Occupational Safety and Health’s (NIOSH) “Prevention through Design” (PtD) initiative encourages the exploration of different methods to foster dialogue between engineers and healthcare workers. Although engineers are encouraged to follow a user-centered design (UCD) process to identify user needs (ANSI/AAMI, 2009; IEC, 2007), NORA (2009) warns that engineers may “fail to get the full range of healthcare worker input on the usability of a device”. The primary goal of this research was to present storytelling as an elicitation method that addressed the PtD call for methods that improve usability within healthcare.
This work provides three contributions to the PtD initiative. First, a conceptual model for the role of storytelling in design, which represents a synthesis of narrative and design research, is presented. The conceptual model explicitly states how the elicitation and analysis of stories results in the identification of a design opportunity that addresses user needs. Second, the Design + Storytelling framework, which guides designers’ use of storytelling, is presented. An instantiation of the framework specific to the identification of a design opportunity within an emergency room (ER) is investigated to determine the framework’s impact on design. Findings resulted in the study’s third contribution: design guidance comprised of storytelling guidelines, decision support tools for storytelling method selection, and traceability support for design evaluation.
The investigation of the framework focused on two primary stages: (1) story elicitation and (2) story analysis. Storytelling sessions, which varied in context, collected 573 stories (i.e., 441 habitual, 132 hypothetical) from 28 ER nurses. Qualitative analysts used the framework’s instructions to identify and specify 383 user needs within the narratives. Empirical comparisons of the compiled needs across groups informed decision rules for elicitation method selection. The impact of the framework’s analysis instructions during design practice was investigated. Student design teams analyzed nurses’ safety stories to create a conceptual design for an identified design opportunity. Findings indicated a trend for stakeholder experts to rank conceptual designs created by teams with the instructions as more usable than teams without the framework’s instructions. The theoretical and practical exploration indicated a positive impact on design.Ph. D.
18
Dodd, Jacob Adam Joseph. "Beyond Narrative." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1489.
Full textAbstract:
My graduate film at Virginia Commonwealth University, "Nunna Mia e la Barca," explores the traditions behind narrative and documentary film construction. With this project, my goal was to blend narrative story telling techniques - for example continuity editing - with that of documentary approaches in order to communicate the story of my Italian grandmother, Nunna, and her journey on the Andrea Doria in 1956. These documentary approaches focus more on the specific details of Nunna's American home as I have experienced them growing up. Everything in the motion picture frame has been lit, composed, rehearsed, and edited as in any fictional film, but the actors are my family and do play themselves and others throughout the piece. Although the work is scripted, the actuality of Nunna being herself and acting out her daily tasks creates a soft merging of fiction and nonfiction that makes the film nearly docudramatic. The docudramatic elements(elements dramatized from a true story) stem from both the biographical information as well as the perception of the abstracted objects in Nunna's house. As in most of my films, my interest lies in the relationship between past and present events and the effect they have on the individual experiencing them. In order for me to tackle the combination of narrative and documentary, I had to define the terms as I understood them to be.
19
Smith, Catherine Dorothy. "Germinant design practice : a do-it-yourself narrative." Queensland University of Technology, 2008. http://eprints.qut.edu.au/19153/.
Full textAbstract:
This thesis is concerned with architectural and design practitioners involved in areas outside of their training: specifically, with the way designers embrace a do-it-yourself or DIY ethic to create experimental, ephemeral, collaborative environments not usually considered “architecture” in the professional sense. This happens because they become directly involved with a variety of methods, construction activities, project types and materials normally associated with amateur building. The thesis does not aim to contribute to more comprehensive solutions for architectural production (say, commercial practice), but rather focuses on a particular production opportunity. It attempts to draw forth qualities of process, practice and conceptualisation that are of relevance to architecture and could be the basis of future exploration in architecture. With this intent, this thesis outlines a conceptual explanation for why these designers sometimes background their training in, and knowledge of, building procurement, in favour of amateur building activities. This design approach raises questions about the way architecture is understood, discussed and practiced. In philosophy and architectural theory, architecture is usually described as a device for ordering and framing the world, an opposition to the unfolding, unpredictable process of the evolving, natural world. Yet there are things that some designer-maker-inhabitants do in practice to thwart their environmental control and influence, thus introducing a degree of unpredictability into projects. This unusual design approach has the potential to inform discussions about architecture and architectural practice beyond this thesis. There is a plethora of technical information about DIY in the popular media, yet little investigation of how professionally-trained designers creatively engage with DIY. The experimental approach to building and space studied in this research is different to self-building or simple DIY because it does not adhere to a set of design plans or set approaches. This approach is also different to outsider architecture or vernacular building because it is initiated by people with design knowledge and training, even if they put aside some of their knowledge. To clarify this latter approach to architecture and space, the research describes a space of blurring between professional and non-professional building, architectural control and spontaneity; a space of germinant practice, based on the precepts and proposals manifest in germinant philosophy. The thesis includes speculations about ways to encourage germinancy in design practice. This practice-led study involved preliminary fieldwork studies through critical analysis of my own, and others, sitespecific installation art practice. These preliminary studies led to two major fieldwork projects in Brisbane: both are homes to artists and architecturally- trained designers working outside of commercial, professional practice.
20
Sama, Jose Marcos. "Narrative light : the design of a monastic retreat." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/78992.
Full textAbstract:
Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.Includes bibliographical references (leaf 28).
This thesis is the design of a monastic retreat on Cumberland Island, off the coast of Georgia. The island serves as the source of the generative concept that organizes the sequence of spaces within the monastery. The thesis proposes that light possesses the capacity to reinforce the generative concept. This capacity might be called a narrative use of light in which light tells us of the intentions behind the concept. A narrative use of light is expressed in Louis Kahn's design for the Unitarian Church in Rochester, New York. Kahn employs the light to evoke a sense of roundness within the square central room. By this simple move, Kahn has softened the comers, thus retaining the essence of his initial concept which depicts the space as a circular room. His attitude towards the light tells us of the generative concept. The thesis is composed of three sections. The first describes a walk through the island which collects impressions about the nature of the island. The second section describes how impressions of the island have been transformed into architecture, and how light tells a story, as one walks through the buildings. As a reference, religious buildings by Tadao Ando and Jorn Utzon are evaluated in the third section, as additional sources for creating a narrative with light.
by Jose Marcos Sama.
M.Arch.
21
Friedman, Laurie E. "Architecture that inspires fantasy : narrative and design explorations." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/73760.
Full textAbstract:
Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1987.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (p. 125-127).
The subject of this thesis is architecture that inspires fantasy and the important role that various buildings play in helping us understand and gain insight into both the physical and social contexts in which they exist. A collection of five fantasy-inspiring buildings. constructed during different decades and in different cities will be examined. Each will be the subject of both a short story revealing one viewer's fantasy, and a critical analysis that reflects upon the story by discussing specific building characteristics that spark the viewer's imagination. From these narrative studies will emerge design criteria and strategies for architecture that inspires fantasy to then be utilized in a design of a restaurant for the nuclear age.
by Laurie E. Friedman.
M.Arch.
22
Valdes, Marius I. "The Unwantables: An Exploration of Visual Narrative." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1378.
Full textAbstract:
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.
23
Ji, Zheng. "Disjunction of narrative space." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1305455.
Full textAbstract:
"Book of architecture, as opposed to books about architecture, develop their own existence and logic, they are not directed at illustrating buildings or cities, but at searching for the ideas that underlie them."Bernard Tschumi (The Manhattan Transcripts)For me, after studying several years, architecture has become religion. The architecture design is no longer a creation but has become a discovery journey. The way to see and think is as important as design. This thesis is not going to show how I design, but how I see, how I think and how I understand the architecture.The aim of this thesis is to find a way to rethink architecture by examining the communication between observers, architecture and architect. By introducing the hypothesis of a communicative model, a structure that consists of the object and subject which involve in the interactive relationship needs to be addressed. For this purpose, structuralism linguistics is introduced to implement the analysis of the architecture. The structuralism linguistics directly deals with the interaction between object and subject. By the study, an ideological conclusion is presented, which I call projection.The second part is Guandong Museum Competition, which is completed when I worked in Eisenman Architects. As an example, this project not only shows the design, but also shows the relationships between several intertwined systems.The third part of this thesis is The Highline competition project which is my first attempt to implement the projection idea in the design. By applying the meaning layer structure derived from linguistics, the design offers a new architectural perception which is based on the understanding of the interactions between objects and subjects.Department of Architecture
24
Taeger, Stephan D. "Using Narrative Distance to Create Transformative Learning Experiences." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7359.
Full textAbstract:
This multi-article dissertation focuses on the role of narrative distance in instructional design. Narrative distance is defined <&hyphen>œas the cognitive or emotional space afforded by indirect communication that invites listeners to make sense of content<&hyphen> (Taeger, 2018, p. 6). Whereas fields associated with the arts have long used the indirect nature of story to create powerful experiences, instructional design has not examined how this aspect of narrative might be used in instruction. The first article in this dissertation explores the literature related to narrative distance and how designing for this phenomenon meets many of Wilson and Parrish<'>s (2011) key indicators for transformative learning experiences. This article also suggests six principles for incorporating narrative distance into instructional design. The second article is a qualitative study of six experts from a variety of fields who design narrative distance into their work. Professionals in film, theatre, writing, art, and homiletics were interviewed three times over a period of several months using Fleming, Gaidys, and Robb<'>s (2003) Gadamerian-based hermeneutic approach. The findings from this study discuss further principles and practices for integrating narrative distance into instructional design, especially as it relates to facilitating transformative learning experiences. These principles and practices are organized under four themes: cognitive space, emotional space, invite change, and meaningful content. Further research possibilities related to narrative distance are also briefly mentioned. The third article builds on the findings discussed in article two by offering examples of narrative distance in instruction. In addition, specific design steps are presented to help practitioners create narrative distance in a way that can lead to transformative learning experiences.
25
Sidén, Maya, and Amanda Cohen. "The Relationship Between Survival Mechanics and Emergent Narrative." Thesis, Uppsala universitet, Institutionen för speldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445087.
Full textAbstract:
The Survival games genre is infamous for its lack of narrative. In this paper we look at thepossibility of emerging narrative in open world survival sandbox games. The survival aspectof a game is heavily tied to specific survival-centric mechanics that are frequently occurringin the genre. These mechanics and systems can in and of themselves give way to an unwrittennarrative for each individual player. By working with the concept of Narrative gamemechanics, we interviewed a pool of people about their stories and narrative experiences insurvival games. After analysing the results we found recurring patterns to indicate how certaintypes of survival-mechanics can lead to certain types of narrative situations.
26
Tallyn, Ella. "Applying narrative theory to the design of digital interactive narratives with the aim of understanding and enhancing participant engagement." Thesis, University of the West of England, Bristol, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327430.
Full text
27
Prisco, Lauren. "Immersive Theater & The Physical Narrative." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4896.
Full textAbstract:
Immersive Theater is a form of experimental theater that places spectators at the heart of the created work, by removing them from the constraint of static seats and instead encouraging them to explore an installed environment as a way of understanding the narrative. This thesis explores how Interior Design directly enhances a performance by creating spaces that challenge a spectator’s physical understanding of a narrative.
28
Valle, Andre Alves de Lima do. "Narrativas transmidiáticas: aprendizagem, comunicação e estratégia de conteúdo em iniciativas multi-plataforma." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-10022014-103956/.
Full textAbstract:
As novas dinâmicas de interação possiblitadas pela Web 2.0 reformulam a aprendizagem como atividade que se estende a diversas áreas ligadas ao saber. Aprender à luz das novas tecnologias exige estratégias que se adequem às possibilidades de interação com a informação, conforme particularidades das mídias em que elas se fazem disponíveis, as particularidades de aprendizagem de cada indivíduo e o contexto que determina necessidades de acesso. Educadores, designers instrucionais / educacionais e estrategistas de conteúdo revisam, invariavelmente, processos para melhor compreender os mecanismos pelos quais informação é transformada em conhecimento. Esses estão aptos a interpretar os métodos pelos quais indivíduos processam informação e apropriam conteúdos de origens variadas em uma prática que podemos chamar aprendizagem ou meaning making. Nesse contexto, surge o conceito de narrativas transmidiáticas, capaz de abarcar as práticas de aprendizagem que, multifacetadas, são possibilitadas pelos recursos midiáticos que compõem nosso cotidiano. A construção de significado se dá na medida em que construímos narrativas, linhas mestras coerentes que nos permitem interagir de forma eficiente com os diferentes conteúdos aos quais temos acessos. Esse trabalho investigou o conceito de narrativa e o impacto da utilização de mídias na forma de interagir com os outros e, também, com o conhecimento; a aprendizagem no contexto das narrativas transmidiáticas; dois exemplos concretos e distintos em que aprende-se através de narrativas construídas a partir do uso combinado de mídias. Por fim, buscou-se apontar novos caminhos a serem explorados por pesquisadores interessados na forma como aprendizagem e comunicação se dão em um contexto caracterizado pelas mídias digitais.The new dynamics empowered by web 2.0 reframes learning as an activity that permeates different areas of knowledge. In the light of new technologies, the goal of reaching a certain knowledge demands adequate strategies. These must be appropriate to the various possibilities of interaction with information, according to media\'s affordances, individual\'s learning particularities and the context that determined individual necessities of access. Educators, educational / instructional designers and content strategists invariably revise procedures to better understand the mechanics through which information is turned into knowledge. These professionals are able to understand the methods through which individuals process information and appropriate content from different resources in a practice that we can call learning or meaning making. In this context, appears the term transmedia narratives: a concept that encompasses plural learning practices enabled by media resources that compose our reality. Meaning making happens as we build narratives, coherent guidelines that empower ourselves to interact efficiently with the different types of content we have access to. This study investigated the concept of narrative and the impact of media in our ways to interact with others and with knowledge; learning in the context of transmedia narratives; two concrete and distinct examples in which one learn through narratives built with the use of various combined media. Finally, this study aimed to indicate new research pathways to be explored by researchers interested in the way learning and communication happen in a context determined by the digital media.
29
Tuppurainen, Pekka. "Thinking in design : principles of design and narrative as creative music production tools." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1401.
Full textAbstract:
This Master thesis is about applying creative production methods and principles of design (from applied- and fine arts) to a music production process. The aim is to analyse and describe a musical process where instead of music theory-based principles and thinking; principles and aesthetics of design were converted to musical ideas through cross-disciplinary thinking and analysis. This thesis is mostly delving on the editing and mixing aspects of creative music production: how a change of perspective and principles influenced the musical results.Bilaga: 1 audio-CD och 1 data-CD
30
Norris-Reeves, Suzie. "Constructing a narrative of fashion practice as inquiry." Thesis, Royal College of Art, 2014. http://researchonline.rca.ac.uk/1662/.
Full textAbstract:
This dissertation is a written component of a thesis, which was developed and articulated over four years in the construction of a narrative of the fashion designer and their practice. The hypothesis developed by the fashion designer as practitioner, is that it is both possible and necessary, by careful notation and reflective practice, to arrive at a better understanding of the fashion design practitioners cognitive and behavioural reasoning through the creative practice process than exists in current literature and archive. In comparison with the archiving of materials that testify to the complexity of creativity in painting, sculpture and orchestral composition, for example, the archiving of the process and practice of fashion design is negligible. Collections of designers' ephemera often constitute little more than ‘the retrospective’ or materials of celebrity culture that further mystify the 'author function' role (Foucault, 1969, p.113-138) of the fashion design practitioner. This research aims to suggest a critical visual method for and in support of constructing a narrative of fashion practice as it is lived towards a new culture of compiling, recording, noting, classifying and analysing the tacit process of the fashion design practitioners relationship to their practice. The practice therefore comprises the designing, draping, cutting and making of an eight-piece collection of fashion womenswear. The research comprises extensive documentation of the (research) practitioner’s subjective-objective1 dialogues as purposeful acts of thought (Burnette, 2009b) and action whilst developing a body of creative work. In addition to the researcher's journey this narrative inquiry extends documentation to include the responses of five other practitioners as willing participants in the project aim: to develop a new research method for documenting and understanding the fashion design practitioners cognitive and behavioural narratives. Whereas there is a significant literature on design theory written by theorists and not necessarily practitioners, and a considerable literature on fashion as object of sociological, historical, cultural, anthropological, semiotic, psychological, political, philosophical, economic study, there exists almost no serious study of fashion design practice from the perspective of the fashion designer (as practitioner). This research aims, without artificial abstraction of the creative practice from its cultural and social milieu, to start a serious, scholarly, rigorous study of fashion practice as design method. It may be that such method will be met with reactions that it could meddle with the illusion of a designer's intuitive sense of knowing and that it is an unwelcome complication of what should remain an invisible or tacit (because as yet unrecognised) process. The aim of the research is to develop a method that can be customised and adopted by the fashion design and design research communities and fashion designers in training and in professional practice, to understand more about their creative practice process in both cognitive and behavioural terms. To this end I use the forms of auto ethnography to collect data through sketchbook work, diarised journals, photographic and film reportage and interview in order to consider how a method of (doing) practice may refer to theories of practice. Literary theory of Bakhtin is offered as an example of a dialogical method to consider how the process of fashion practice can be considered as communicable knowledge. The Kantian philosophy of the 'a priori' knowledge and Foucault’s relational systems of thought and knowledge are also offered as discourse and a foundation of thought that structures the tacit dialogues in the here and now as a telling of a knowing of a doing of fashion practice. The written dissertation is a text, which co-exists with the narrative traced through the making and visual realisation of the collection exhibited and photographed at the viva voce (Figure 1 & Appendix H).
31
Abreu, Bebel. "Expografia brasileira contemporânea: Rio São Francisco navegado por Ronaldo Fraga." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-27062014-151154/.
Full textAbstract:
Exposições culturais são produtos de consumo de massa na programação de entretenimento das cidades. No Brasil das últimas duas décadas, essas exposições têm atraído crescentes recursos financeiros, públicos e privados. Na análise dos processos de concepção, projeto e realização de exposições narrativas é necessário considerar os papéis de seus principais autores: o curador (ou organizador) e o cenógrafo (ou arquiteto ou designer) -- no contexto do deslocamento do foco das exposições do acervo para o público, da ampliação e diversificação de temas de interesse para as mostras e de sua transformação em atividade transdisciplinar. Esta dissertação pretende contribuir para os estudos das exposições culturais brasileiras, enquanto instrumento de informação, educação e entretenimento. Traz um histórico da atividade no mundo e no Brasil, e apresenta um panorama do cenário nacional contemporâneo. Aborda os elementos constitutivos da linguagem narrativa inerente às exposições e faz a análise da mostra Rio São Francisco navegado por Ronaldo Fraga, reconhecendo-a como exemplo significativo desta manifestação cultural.Cultural exhibitions are mass consumption products in cities entertainment program. In the last two decades, such exhibitions in Brazil have attracted na increasing flow of financial resources, public as well as private. To analyze processes of conception, project, and execution of narrative exhibitions, one needs to consider the roles of its main players -- the curator (or organizer) and the scenographer (or architect, or designer) -- in the context of the relocation of the exhibit\'s focus from the collection to the public, of broadening and diversification of themes of interest for the exhibit, and of their transformation in a interdisciplinar activity. This thesis intends to contribute to the study of Brazilian cultural exhibits as information, education and entertainment tools. It reviews the history of exhibits in the world and in Brazil, and presents a overview of the contemporary national scenario. Furthermore, it approaches the constitutive elements of the narrative language inherent to exhibits, and analyses the exposition Rio São Francisco navegado por Ronaldo Fraga (Ronaldo Fraga Navigates the San Francisco River), recognizing it as a distinguished example of such cultural events.
32
Mallon, B. "Evaluating narrative models of engagement in multimedia game design." Thesis, Queen's University Belfast, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411362.
Full text
33
Crisman, Jonathan. "Approximate translation : media, narrative, and experience in urban design." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/79149.
Full textAbstract:
Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning; and, (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2013.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis. Vita.
Includes bibliographical references (p. 153-155).
Approximate translation is developed as a design process through which the place-embedded history of an urban environment can be understood, allowing for better design and intervention in that urban environment. Generally, approximate translation champions media, narrative, and experience as design elements that have traditionally been excluded from disciplinary discourse and are necessary for any design in contemporary practice. The processes of displacement, replacement, and surrealization are proposed as three such translations and are demonstrated in the transformation of the Boston neighborhood of Allston into Allstonland (a theme park in Hong Kong), New Allston (a revised Allston with six interventions organized around Platonic Forms), and a live model of New Allston. The live model is developed as a new form of architectural and urban design representation that can incorporate the temporal, mediatic, and experiential elements which are ill-conveyed through conventional means. Ultimately, approximate translation is intended to transform urban environments into their ideal forms, to inject new meaning into empty urban signifiers, to alter local subjectivities, and to generate a new sense of civitas. Theories of media, theming and scripted space, Pop and Surrealist art, Marxism and neoliberal capital, postmodernism, aesthetics, semiotics, modernist architecture, epistemology, and hermeneutics are drawn upon in order to construct a framework for this that is both robust enough for use in practice and pedagogy, as well as mutable enough for further refinement and expansion.
by Jonathan Crisman.
M.Arch.
M.C.P.
34
Kybartas, Ben. "Design and analysis of ReGEN a narrative generation tool." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119760.
Full textAbstract:
Using procedural narrative generation in video games provides a flexible way to extend gameplay and provide more depth to the game world at low cost to the developers. Current examples of narrative generation in commercial games, however, tend to be simplistic, resulting in repetitive and uninteresting stories. We approach these challenges and develop a system for narrative generation that uses a context-aware graph rewriting framework. We use a graph representation of the game world to create narratives which reflect and modify the current world state. These narratives are all validated to ensure that they are completable and we design a novel set of metrics which provide an approximation of narrative quality by analyzing the structure of the narratives generated. We apply these metrics throughout the generation process to ensure a certain level of quality. These metrics are then used to examine the relations between the scale of the game world with the quality of narratives generation. Additionally, we validate our graph-rewriting approach by comparing our generated narratives to other procedurally generated stories, as well as to authored narratives from commercially successful and critically praised games. The results show that our narratives compare favourably to the authored narratives. Our metrics provide a new approach to narrative analysis, and our system provides a unique and practical approach to story generation.La génération procédurale d'histoire dans les jeux vidéo commerciaux permettre d'étendre le « gameplay » et d'approfondir l'univers du jeu à bas coup. Les jeux commerciaux qui utilisent ce genre de technologie le font de manière simpliste dont le résultat est souvent répétitif et ennuyeux. Nous avons développé un système qui crée des histoires procéduralement, ce système utilise une représentation de l'univers graphique (graphe) et réécrit cette structure afin de la faire évoluer. Cette représentation permet à notre système de comprendre l'univers, d'y modifier ce dernier et du fait créer des histoires qui respectent l'univers. Les histoires générées par le système sont validées afin d'assurer qu'elles sont logiques. De plus, nous avons défini des procédures innovatrices afin de mesurer la qualité des histoires générées. Ceci est accompli par l'entremise d'analyse de graphe. Ces procédures sont utilisées afin d'assurer une qualité minimale lors de la génération d'histoires. Par la suite, nous examinons les relations entre les histoires générées et la grandeur de l'univers ludique. Afin de valider notre approche, nous avons comparé nos histoires procédurales à d'autres systèmes procéduraux et d'histoires de jeux vidéo générées par la plume d'auteur. Nos résultats montrent que notre système se compare favorablement avec les histoires venant d'auteur humain. En sommes, notre approche permet d'analyser et mesurer des histoires en plus d'offrir une approche pratique et fonctionnelle à la génération procédurale d'histoire.
35
Comer, Kathryn Bridget. "From Private to Public: Narrative Design in Composition Pedagogy." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313075298.
Full text
36
Ronda, Kelly M. "De_Fragmentation: Translating the Ruinous Narrative in Adaptive Reuse Design." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306500876.
Full text
37
Birri, Nicole L. "A Personal Narrative Intervention for Adults with Autism and Intellectual Disability: A Single Subject Multiple Baseline Design." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1539079809808646.
Full text
38
Weilein, Lucia. "Transforming Narratives." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3079.
Full textAbstract:
Narrative, often considered synonymous with “story,” can be viewed from a structuralist perspective and analyzed independent of any particular content. Breaking narrative into categories of story and discourse, this autonomous structure makes possible a translation of content from one form to another. The various media and form types common in graphic design can serve as both recipient and translator of narratives, converting content into a framework that includes the concept of craftsmanship, aesthetic components and specifications, legibility and composition, and the physical form of the designed object. To examine how this framework functions in practice, I have developed a series of three volumes in which cinematic tropes are represented in book form based on a morphology of traits.
39
Papworth, Sofia. "Storytelling through Gameplay : Dimensions of AI Design for Narrative Purposes." Thesis, Umeå universitet, Institutionen för tillämpad fysik och elektronik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-115769.
Full textAbstract:
A vast number of game developers long for and seek to create games that impact and emotionally engages their players. However, it has proven to be a tough challenge to overcome, as a lot of narrative games today completely separate their emotional stories from their engaging gameplay. Extending this insight, this paper proposes the theoretical basis intendedto contribute to the understanding of how to create expressive AI agents, by answering the following question: How can developers tell stories through an AI agent's behaviour? A further key element in this paper is the creation of a conceptual framework, based on a literature study, exemplifying how AI agents can be designed to contribute and support the narrative in a game. The framework suggests that creating these types of AI agents is an iterative process of defining the core themes within a game, deriving an agent's purpose from these and building its behaviours from that purpose. Also, defining how to communicate these behaviours to the player. The framework also emphasizes the importance of user testing during the design process, as a way of evaluating the balance of transparency and emergence within the AI system of the game. The framework is exemplified with a case study conducted on an AI agent, designed and developed for the game Shelter 2: Paws by game studio Might and Delight. The results of the study shows that AI agent has a close connection to the narrative through the main themes of friendship, cooperation and growing up in the game. Finally, the AI agent design is evaluated through user tests, which shows that players interact with the agent as expected and share the game experience that is intended by the developers.
40
Nemoto, Nilsson Rebecka Mirai. "Crisis Retold : A Design Research Project Exploring the Narrative of War Crisis in Sweden." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-86078.
Full textAbstract:
This written report is part of a design research project which explores crisis as a narrative and how it is communicated within the Swedish public sphere. The project delves into the complexity surrounding Sweden’s national emergency preparedness to war crisis on a holistic level to gain a perspective on the different interplay of power structures. The written report includes a contextual analysis of Sweden’s 2018 brochure If Crisis or War Comes (Om krisen eller kriget kommer) to draw a parallel connection between past and present narratives. The design research process is conducted through artistic and designerly experimentations as a way of exploring and mapping the topic’s complexity. The design research project uses a Swedish emergency shelter room (skyddsrum) as an artistic and overarching metaphor of the cumulated research. The aim of the design research project is to instigate critical thinking and dialogue surrounding the narrative of war crisis from the perspective of change.
41
Laitinen, Siiri. "Att levandegöra historien : En studie om berättarteknik i historisk utställningstext." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-40026.
Full textAbstract:
Tidigare forskning tyder på att det kan vara svårt att få besökare att ta del av utställningstexter. Studien ifråga undersöker därför hur berättartekniska grepp kan användas för att skapa läsvärda utställningstexter. Det kombinerade design- och forskningsprojektet grundar sig i ett uppdrag från föreningen Kunskapsturism Kafjärden, som vill ha hjälp med att ta fram en populärhistorisk utställningstext om den svenska stormaktstiden och rikskanslern Axel Oxenstierna. I studien undersöktes effekten av de fem berättartekniska greppen anföring, disposition, tempus, bildspråk i form av metaforer och liknelser samt tematiskt fristående adjektiv. Baserat på analyser av användningen av dessa grepp i befintliga utställningstexter, konstruerades två prototyper av en narrativ utställningstext om Axel Oxenstierna. Utprovningar av prototyperna indikerade att en omvänd disposition skapar nyfikenhet att läsa texten, att historiskt presens gör det lättare för läsaren att leva sig in i berättelsen samt att bildspråk och tematiskt fristående adjektiv främjar mottagarens föreställningsförmåga. Typen av anföring verkade däremot inte påverka läsupplevelsen nämnvärt. Resultaten indikerar att berättartekniska grepp har en inverkan på utställningstexters läsvärde och att en viss användning av greppen dessutom kan göra mottagarna mer benägna att läsa texterna. Undersökningen mynnade ut i en gestaltning till Kunskapsturism Kafjärdens utställning om Axel Oxenstierna. Där användes de fem berättartekniska greppen på det sätt som visade sig vara mest intresseväckande i utprovningarna.Previous research suggests that it can be difficult to get visitors to read the texts in an exhibition. Hence, the present study investigates how narration techniques may be used in order to grab readers’ interest and create readable exhibition texts. The combined design and research project was led in collaboration with a Swedish local history association. The design brief was to create an exhibition text for a forthcoming exhibition about 17th century Swedish politician Axel Oxenstierna. The study focused on the effects of five different narration techniques, namely style of speech, discourse structure, tense, figurative language in the form of metaphors and similes, and the use of adjectives. Based on analyses of preexisting exhibition texts, two prototypes of a narrative about Axel Oxenstierna were constructed. Results from user testing then indicated that a reverse discourse structure creates curiosity for the story in question, that present tense facilitates reader involvement into the narrative, and that the use of figurative language and adjectives promotes the creation of mental imagery while reading. The style of speech in the narrative did not seem to have an impact on the reading experience. These results suggest that the narration techniques examined in this study affect the readability of exhibition texts, and that a particular use of these techniques may be preferable in order to get visitors to read the texts. Research findings were then used to create a final version of the narrative exhibition text about Axel Oxenstierna.
42
Joar, Hedvall, and Claesson Charlie. "Character description by the use of level design and game mechanics : A study on how to convey a character based narrative within a game." Thesis, Uppsala universitet, Institutionen för speldesign, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-260644.
Full textAbstract:
This study is an investigation of the possibilities to create levels that convey a character and its personal narrative with the use of three level design methods. The used methods are: the use of smaller objects and details to convey information, using the player's personal references and memories and having a clear goal for the player. The results are gathered though qualitative interviews with the participant in the study and examining how participants interpret the narrative in game levels that were designed by using these three level design methods. This study uses the game Project Rewind as test bed, which was partially developed for this thesis purpose. The test result have shown that players took more notice of clusters of smaller visual objects, and memorized interactive objects much better than the stationary objects. They also used their own personal and cultural references, memories and stereotypes when analysing the objects in the levels to create an image of the character presented to them. Based on the results that we received from the interviews we found that having a clear demographic is important when designing a narrative level that needs be easy to understand. This is because of each player's own personal references, certain things can be perceived differently based on the player's references. The test results also show that the three level design methods mentioned can to a certain degree be used to convey a narrative when used to design a level.Denna studie är en utredning av möjligheterna att skapa spelnivåer som förmedlar en karaktär och dess personliga berättelse med användning av tre level design metoder. De använda metoderna är: användning av mindre objekt och detaljer, användning av spelarens personliga referenser och minnen samt att ha ett tydligt mål för spelaren. Resultaten samlas in genom kvalitativa intervjuer med deltagarna i studien och analysera hur deltagarna tolkar berättelsen i spelets nivåer som var designade med hjälp av dessa tre level design metoder. Denna studie använder spelet Project Rewind för testerna, detta spel var delvis utvecklat för denna studiens ändamål. Test resultaten visar att spelaren tog upp mer information genom kluster av mindre visuella föremål, och memorerade interaktiva objekt mycket bättre än de stillastående objekten. De använde också sina egna personliga och kulturella referenser, minnen och stereotyper när de analyserade objekten i nivåerna för att skapa en bild av karaktären presenteras för dem. Baserat på de resultat som vi fått från undersökningen fann vi att det är viktigt att ha ett tydligt demografiskt mål, vilket är viktigt när man utformar en berättelse i en spel nivå som ska vara lätt att förstå. Detta är på grund av varje spelare har sina egna personliga referenser, vissa saker kan uppfattas på olika sätt beroende på vad för referenser man har. Test resultaten visar också att de tre level design metoderna som nämndes tidigare kan till en viss grad bli använda för att förmedla ett narrativ när man använder dem för att designa en nivå.
43
Wu, Pei-Ying. "Visualising Wyndham Lewis's Enemy of the Stars as theatrical narrative." Thesis, University of Brighton, 2008. https://research.brighton.ac.uk/en/studentTheses/e3d1a310-850a-47d0-a35b-243ff3af4902.
Full textAbstract:
Wyndham Lewis’s Enemy of the Stars has often been considered an unreadable and therefore an un-performable play script from the time when it was written and published in BLAST in 1914 as part of the Vorticist manifesto. The play was not performed until 1980 and there was just one subsequent staging in 1982. However, both of these performances were based on Lewis’s 1932 revision. Although the play appeared as a piece of written text in BLAST, it was considered by the Vorticists as visual imagery. With this approach in mind, this research sets out to investigate the visualisation of the 1914 version of the play as a work of theatrical art from a practitioner’s viewpoint.
44
Garman, Keli L. "The Art of Designing a Meaningful Landscape through Storytelling." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32181.
Full textAbstract:
Meaning in the landscape is a concept that is receiving attention from many landscape architects asking the questions: how is meaning found in the landscape, or what makes a landscape meaningful? While there are many design processes that incorporate meaning into the design, it is the art of storytelling that the thesis investigates. The research for the thesis and a comparison analysis is performed on three texts, which explore meaning in the landscape. The three texts are Marc Treibâ s â Must Landscapes Mean?â ; Matthew Potteiger and Jamie Purintonâ s Landscape Narratives, and Mark Francis and Randolph T. Hester, Jr.â s The Meaning of Gardens: Idea, Place, and Action. Applying these approaches to case studies has resulted in the finding of common ideas between the three texts. The commonalities led to my position that storytelling can be used as an approach to design, and that landscapes designed as a story narrative can be meaningful. The design project investigated the strength of the position on a site in the West Potomac Park in Washington DC. The story for the project is a Japanese folktale that communicates the culture of Japan. The project is a case study that explores if the set of design principles within the storytelling approach can invest meaning into a landscape.Master of Landscape Architecture
45
Smith, Anthony N. "Media contexts of narrative design : dimensions of specificity within storytelling industries." Thesis, University of Nottingham, 2013. http://eprints.nottingham.ac.uk/28824/.
Full textAbstract:
While many comparative studies reveal how a given medium determines narrative in ways distinct from others, I uniquely consider within this thesis the highly variable structure of a single given medium and the resultant implications for storyworlds and their presentations. Focusing upon the production of serial narrative within multiple media, I map the intricate processes by which cultural industries inform narrative diversity. Through the introduction of my dimensions of specificity model, I account for diachronically- and synchronically-variable conditions of narrative design within a given medium, revealing the complex interactions between media and narrative that are frequently overlooked. Via the model, I identify the ways in which narrative design processes are, within a medium, specific to the historically changeable configurations of a particular market. I examine in tum how, within a given market, these narrative design processes are further specific to the particular requirements of an intended audience, the particular technologies of production, distribution and consumption, and the particular economic strategy and production culture of a commissioning media institution. Chapter one historicises the project by exploring the relevance of this model to nineteenth-century British literary-serial fiction; it takes into account the ramifications to narrative of contrasting specificities within markets, audiences, institutions and technologies of the Victorian era. The remaining three chapters each consider in depth a single dimension of specificity in relation to a particular contemporary US media industry. Chapter two analyses the dimension of institutional specificity within the context of US television; it distinguishes between the economic models of network, basic cable and premium cable institutions, gauging the unique implications of each system to the narrative design processes of primetime drama series. Chapter three investigates the contingency of narrative upon the dimension of audience specificity within the US comic-book industry; it examines how publishers' endeavours to court audiences beyond their dedicated niche-readership have impacted upon writing and illustrating practices. Chapter four charts the significance of the dimension of technological specificity to narratives within the videogame home-console market; it explores the connections between an industrially enforced technological-upgrade culture and the ongoing development of story-driven videogame series. Through this tracing of the variable ways by which cultural industries can influence storyworlds and their presentations, I provide with this thesis a necessarily nuanced understanding of the relationship between narrative and media.
46
Stratfold, Matthew Peter. "Investigation into the design of educational multimedia : video, interactivity and narrative." Thesis, Open University, 1994. http://oro.open.ac.uk/56468/.
Full textAbstract:
This study critically examines the design of multimedia in education. The study begins by reviewing existing media in education and then uses a series of empirical studies to uncover, and then examine the key issues for the design of educational multimedia. The research involves two studies. The first, a preliminary study, that identifies specific areas of interest for the research. This study looks at the existing use of an interactive video disc program for training in Price Waterhouse. The literature search, combined with the outcomes of the preliminary study, identified the areas for further research as: the use of video, forms of interaction, and the role of narrative. The main study examines these areas using two phases. The first phase analyses three treatments of the same educational text, on linear video, multimedia, and structured multimedia, each treatment maintaining the same content and narrative structure, but differing in presentation and control. The second phases builds on the results of the first with the creation and analysis of an interactive multimedia program that takes advantage of the identified strengths of multimedia, and specifically tackles problems found in the first phase. Qualitative data collection techniques are used in both phases, and form the basis of the findings. The findings are presented as implications for multimedia design, and discuss the use and development of narrative and grammar in multimedia, as well as the importance of carefully designed user interaction and goal definition.
47
Jamieson, Claire. "NATØ : exploring architecture as a narrative medium in postmodern London." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1683/.
Full textAbstract:
This thesis is concerned with the way that architecture, (that is space, buildings, cities and urban environments), has been and continues to be speculated upon through a rich palette of narrative methods. Taking NATØ, the group of young architects led by Nigel Coates that emerged from the Architectural Association in the early 1980s as its subject matter, the thesis questions how architectural production is able to narrate and the modes and methods it employs. The research reveals echoes and resemblances between NATØ projects and a wider artistic, filmic and literary culture that emerged from the specific political, social and physical conditions of 1980s London. Personal archives of original NATØ material – including drawings, photographs, magazines, ephemera and writings – are exposed for the first time. Combined with personal interviews with NATØ members and other significant individuals, the narrative traces the group’s evolution and development at the AA in Unit 10 in the late 1970s, to their active period between 1983-1987. The thesis also examines the key influences of Coates and his early work: exploring his relationship with Bernard Tschumi, the influence of a period spent in New York and his association with diverse artists and filmmakers in London. As such, the research presents the first detailed examination of NATØ and produces original insight into the territory of architectural narrativity. The thesis contextualises this moment of narrative architecture with the evolution of narratology over the same period – a discipline whose changing consideration of narrative in the 1980s expanded from a literary basis to take in a broad range of media. Engaging with contemporary narratology, the thesis employs concepts and terms from narrative studies to develop an interdisciplinary understanding of how narrative functions in architectural production. The thesis also constitutes a history of postmodernism that represents an alternative to the dominant architectural mode, considering NATØ’s output as a subcultural form of architectural production that drew on techniques of bricolage, montage, fragmentation, polyvocality and defamiliarisation. Framing NATØ’s work through an understanding of the way in which their use of medium evolved alongside their conceptual ideas, the thesis considers the material in relation to four distinct areas, each constituting a chapter: performance and video, the drawing, the magazine and the exhibition. Chapter 1 on performance and video exposes the influence of both Tschumi and a pivotal year spent in New York on Coates, and the development of his ideas from student to co-tutor at the AA in the late 1970s. The chapter proposes a move from the highly cerebral and literary approach of Tschumi, to one concerned with the presentness of direct experience via video. Chapter 2 takes the architectural drawing as its subject, showing how Coates evolved the drawing in his unit at the AA in the early 1980s, and how in turn NATØ employed the drawing as an 8 expressive narrative medium. Chapter 3 considers the group’s self-published magazine, NATØ, produced between 1983-85, drawing parallels with street style publications i-D and The Face, of the same era. The chapter proposes the graphic design of the magazine as a medium through which NATØ developed the explorations of the drawings into a more complex form – positing the idea of the mise-en-scène of the magazine. Finally, Chapter 4 examines the apotheosis of NATØ’s output: the exhibitions Gamma City at the Air Gallery (London, 1985), and Heathrow part of ‘The British Edge’ at the Institute of Contemporary Art, (Boston, 1987). Taking the ideas established in the previous chapter into three dimensions, the chapter proposes the installation as a microcosm of the narrative experience of the city that NATØ sought – evoked through an embodied drift through space, and the replacement of the architectural scale model with the auratic object or stimulator artefact. Concluding, the framework of narrative architecture set out in the thesis is proposed as both a period preoccupation and a way of thinking about spatial narrativity more broadly. It critical assesses the potential for such architectural narrativity to be designed and built, finding the truest form of narrative architecture emerging from the city condition itself. Finally, the conclusion proposes a lineage of projects and ideas that have evolved since the late 1980s whose concepts represent a continuation of NATØ’s preoccupations.
48
Hemberg, Max, and Ludwig Josefsson. "Architecture as Narrative in First Person Level Design : A Reading of Mirror’s Edge Catalyst." Thesis, Uppsala universitet, Institutionen för speldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-447887.
Full textAbstract:
The video games industry is rapidly developing as technology allows designers to create increasingly comprehensive worlds for their players to explore. Acknowledging the experience gained by architects designing similar structures for the physical world, this thesis explorescross-disciplinary research. The relationship between architecture and level design is here utilized to further the understanding of architectural space within first-person video games. A textual analysis is performed on Mirror’s Edge Catalyst to investigate ways in which architecture may contribute to the narrative of a game. This reading embodies the aspirations of precedent studies, used by architects to understand and analyse the components within an architectural composition. The thesis is guided by the question “How can architectural space support the narrative in levels of first-person video games?” and manages to uncover multiple layers to the design of Mirror’s Edge Catalyst. The research conveys that the expectedgameplay experience guides the composition of the architecture within the level. Here the horizontal and vertical planes that define space may be utilized to facilitate the narrative throughtheir shape and configuration. The spatial segments are then arranged into linear or centralizedorganizations emphasizing the narrative of the level. Finally, throughout these spatial organizations monumental architecture is applied which provides stages that assist in conveyingthe focal point of the narrative.Den digitala spelindustrin utvecklas snabbt i samband med teknologiska framsteg. Detta resulterar i förutsättningar för speldesigners att utveckla utförliga virtuella världar för deras spelare att utforska. Genom att erkänna den välutvecklade erfarenheten erhållen av arkitekter i deras arbete att konstruera världens samhällen, antar sig detta kandidatarbete tvärvetenskaplig forskning. Relationen mellan arkitektur och level design används här för att främja förståelsen för arkitektoniskt utrymme inom videospel som utspelar sig i första person. En textanalys är utförd på Mirror’s Edge Catalyst med syftet att undersöka olika möjligheter för arkitektur att bidra till narrativ inom spel. Denna analys aspirerar till att förhålla sig till målet av en prejudikatstudie som tillåter arkitekter att förstå och analysera komponenter inom en arkitektonisk komposition. Kandidatarbetet vägleds av forskningsfrågan ”Hur kan arkitektoniskt utrymme användas för att stödja ett narrativ i banor från första-persons videospel?”. Forskningen visar att den förväntade spelupplevelsen inom en bana styr den arkitektoniska kompositionen. Horisontella och vertikala ytor används för att definiera utrymme medan deras form och sammansättning ger plats åt banans narrativ. Det uppdelade utrymmet placeras sedan in i linjära eller centraliserade organisationer vilket styrker den narrativa upplevelsen som etableras. Under dessa organisationer placeras storslagen arkitektur, vilket ger upphov till scener vars syfte är att underlätta kommunikationen av fokuset inom narrativet.
49
Ionascu, Adriana. "Poetic design : a theory of everyday practice." Thesis, Loughborough University, 2010. https://dspace.lboro.ac.uk/2134/6965.
Full textAbstract:
This study aims to define design poetics as a category of design practice set apart from commercial, industrial or market-led design that generates a collection of experimental artefacts which investigate the everyday life of contemporary culture. It is argued that in creating an active interplay between users (human agents) and objects, poetic design involves a different kind of production (which is not about improving the functionality of a product) and alternative forms of "consumption" (which is not about a 'using up' of objects), by developing new practices of living with things. As such it is suggested that design poetics depends on the production developed by consumers as a creative users (postproducers), within unconventional experiential and social scenarios of living. In changing the bilateral relationship object-user poetic design develops objects from the point of view of the user - its activities and models of operation - and this aspect is related to an emotional and experiential evaluation. Thus the study proposes a re-evaluation of objects and users through experiential, narrative and performative criteria in order to understand their various roles and functions. In proposing these particular points of evaluation, poetic objects are distinguished as a particular category of objects together with the practices they engender or support; and within a network of relationships and contexts, as specific sites of interaction.1 In this light, it is shown that poetic design proposes a class of objects that respond to needs beyond the objects' instrumental (functional, practical) power; but to their contribution to life experience, embodying a variety of processes and manifestations. They translate immaterial interactions and make these interrelations visible.
50
Thorén, Sebastian. "Designing for fearful experiences within an interactive narrative." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22161.
Full textAbstract:
This thesis is focusing on the emotion of fear in conjunction with an interactive narrative experience. It analyses the emotional scope fear entails as well as discusses different narrative formats and interactivity in terms of agency. Through extensive research on the topic at hand, multiple prototypes is developed focusing on expressing different variations of fear while experimenting with the narrative structure and interactive elements available through the software Twine. Based on this, conclusions were made on the complexity of designing for an emotion and the difficulty in reaching more intense feelings of fear. There was also a struggle of balancing interactivity with narrative while also designing for a frightening experience. Lastly, final conclusions were made on the prototypes abilities to produce frightening responses, which ultimately showed signs towards lesser feelings of fear, such as nervousness, anxiety and trepidation.