Literatura académica sobre el tema "Online art storytelling"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Online art storytelling".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Artículos de revistas sobre el tema "Online art storytelling"
1
Amangeldiyeva, Gulmira S., Muratbek B. Toktagazin, Bauyrzhan Zh Omarov, Saule S. Tapanova y Roza A. Nurtazina. "Storytelling in Media Communication: Media and Art Models". International Journal of Criminology and Sociology 9 (5 de abril de 2022): 3166–74. http://dx.doi.org/10.6000/1929-4409.2020.09.383.
Texto completoResumen
The article is devoted to study of storytelling models in media communication in the context of globalization and postmodernism of information space. This article is of interest because recently storytelling as a special type of communication has become an object of research in science. Advertising has modified, turning into art of storytelling and brand-image. In this article, the specifics of storytelling are analysed, its definition is provided, functions and types are pointed out. The authors also consider such phenomena as landing and longread inseparable from storytelling in online space. In the article, there is characteristic of each component of technique of transmedia narration in the context of postmodernism information community and globalisation changes. The author analyses how the story in advertising is tool of reflection and experience transfer, value and cultural identification and how affect the audience. Using the example of popular commercials, the author studies how storytelling and myth are connected and how it is implemented within media space.
2
Letherby, Gayle y Deborah Davidson. "Embodied Storytelling". Illness, Crisis & Loss 23, n.º 4 (29 de junio de 2015): 343–60. http://dx.doi.org/10.1177/1054137315590745.
Texto completoResumen
Art, music, literature, and drama are acknowledged to have a place in the embodied experience of bereavement and increasingly are also utilized for the collection and presentation of data in the social sciences and humanities. Such work tells us much about ourselves as individuals and about our relationships with others. The concept of griefwork, which acknowledges and values the collective work the bereaved do with others, is one way to frame such endeavors during bereavement. Here, we outline some of our individual, and yet connected, creative work with reference to both our own experiences of loss and our relationship with each other. Specifically, we reflect on Deborah’s development of an online community for people with commemorative tattoos and Gayle’s exploration of new ways of writing (fiction or faction). We share examples from each project and reflect on their significance to the embodied experience of bereavement.
3
Flores, Tracey T. "Writing Matters: Somos Escritoras: Writing and Remembering During the COVID-19 Pandemic". Language Arts 101, n.º 4 (1 de marzo de 2024): 281–84. http://dx.doi.org/10.58680/la20241014281.
Texto completo
4
Gregory, Danny. "Let’s get rid of art education in schools". Phi Delta Kappan 98, n.º 7 (22 de marzo de 2017): 21–22. http://dx.doi.org/10.1177/0031721717702626.
Texto completoResumen
A writer, arts enthusiast, and online ambassador for visual storytelling has a modest proposal for K-12 education: Let’s stop teaching art. The arts are too often marginalized and too easily targeted for elimination by budget-conscious school administrators. Creativity, on the other hand, is central to every part of life, work, and citizenship.
5
Abd el-Gawad, Heba y Alice Stevenson. "Egypt’s dispersed heritage: Multi-directional storytelling through comic art". Journal of Social Archaeology 21, n.º 1 (febrero de 2021): 121–45. http://dx.doi.org/10.1177/1469605321992929.
Texto completoResumen
This paper responds to a need to address the colonial history of collections of Egyptian archaeology and to find new ways in which Egyptian audiences can assume greater agency in such a process. The ‘Egypt’s Dispersed Heritage’ project presents a model of engagement whereby foreign museum collections become the inspiration for Egyptians to express their own feelings about the removal of their heritage abroad using idioms and traditional storytelling of cultural relevance to them. A series of online comics confronting contentious heritage issues, including the display of mummified human remains, eugenics, looting and destruction, is discussed. It is argued that this approach is not only more relatable for Egyptian communities, but moreover provides space for the development of grass-roots critique of heritage practices, both in the UK and in Egypt. Museums have a responsibility to take on board these critiques, curating not just objects but relationships forged amongst them in historical and contemporary society.
6
Kostina, Anna Vladimirovna. "Traditional folk art and online folklore: is comparison possible?" Uchenyy Sovet (Academic Council), n.º 10 (30 de septiembre de 2024): 640–54. http://dx.doi.org/10.33920/nik-02-2410-04.
Texto completoResumen
At the moment the globality of its information fi eld became obvious, the information society virtually removed from the agenda the question of the existence of tradition and traditional culture within its borders. Certainly, their importance was not denied and, moreover, against the backdrop of increased ethnic activity, it increased signifi cantly. This is evidenced by UNESCO's attention to the protection of the world's cultural and natural heritage (World Heritage List, 1972), to issues of copyright in the fi eld of culture and creativity (World Culture Report, 1998. “Culture, Creativity and Markets”), the inclusion of intangible aspects in the concept of cultural heritage, including traditions and practices, beliefs and perceptions, languages and dialects, music, singing, dancing, and storytelling (Universal Declaration on Cultural Diversity, 2001). It is important to note that back in 1998, the World Culture Report considered cyberculture as a subject of copyright. This fact alone indicates that the principles of construction and functioning of the information society were clearly visible not only in the sphere of technology, production, and communications, but in the creativity sphere as well.
7
Sutanto, Shienny Megawati, Marina Wardaya, Hutomo Setia Budi y Adnyana I Wayan. "Effectiveness of VR Technology in the Design of the Bali Megarupa V Virtual Exhibition". Mudra Jurnal Seni Budaya 39, n.º 4 (2 de octubre de 2024): 471–80. http://dx.doi.org/10.31091/mudra.v39i4.2904.
Texto completoResumen
Virtual exhibitions offer a promising avenue for art appreciation in the digital age. However, limited research explores how these online spaces can foster emotional connections with art, a crucial aspect of the art experience. This study investigates the potential of immersive virtual reality (VR) to enhance engagement and emotional impact in virtual art exhibitions. Employing a multi-method approach combining literature review, user testing, and prototype development, the research identifies and evaluates design elements contributing to increased user engagement. This research employed a multi-method approach to understand how users engage with virtual art exhibitions. The study identified and evaluated the impact of specific design elements on user engagement by combining a literature review, user testing with a VR prototype, and subsequent analysis. The study focuses on critical elements like interactivity, personalization, storytelling, and multi-sensory experiences. User testing with 55 participants revealed the effectiveness of immersive design in fostering exploration, contemplation, and a sense of presence in the virtual space. This immersive design is the strategic integration of elements like interactivity, personalization, and storytelling within the VR environment. The research underscores the significance of immersive design, defined as the strategic integration of design elements to cultivate an emotional connection within a VR environment. This encompasses aspects like interactivity, personalization, and the incorporation of storytelling within the experience. Finally, the study offers practical recommendations for curators and designers to create virtual art experiences that resonate more deeply with audiences.
8
Donnery, Eucharia, Yasuko Shiozawa, Yuka Kusanagi y Aiko Saito. "Mixing paper and digital: 2020 online summer English drama kamishibai workshop". Scenario: A journal for performative teaching, learning, research 17, n.º 1 (31 de julio de 2023): 68–87. http://dx.doi.org/10.33178/scenario.17.1.4.
Texto completoResumen
This paper discusses the results of an intervarsity picture kamishibai1-storytelling workshop that integrated communication skills and art via the online real-time conference system, Zoom©. As in previous years, the goal of the annual summer drama workshop was to support the participants’ communication and leadership skills. In the light of the COVID-19 pandemic however, the chief purpose of the 2020 Online Summer English Drama Kamishibai Workshop was to support the mental well-being of students. Thirteen low-to-intermediate level English language students, both English language majors and non-majors from three different universities in Japan worked together for the workshop project in three 90-minute online slots over two days in August 2020. After learning the basic theory and techniques of the storytelling art, students were divided into groups to create their original English kamishibai story to perform online. In the preparation stage, each student created their own work using simple A4 paper sheets and pens, and these were amalgamated with other members of their group to form a coherent narrative. At the end of the third session, each group presented their work on Zoom©, and these performances demonstrated the students’ creativity through unique plots and characters. Their feedback indicated that they developed stress-tolerance and resilience, both features of negative capability.
9
Ursyn, Anna y Ebad Banissi. "Selected Ideas and Methods in Knowledge Visualization". International Journal of Creative Interfaces and Computer Graphics 3, n.º 2 (julio de 2012): 1–7. http://dx.doi.org/10.4018/jcicg.2012070101.
Texto completoResumen
Selected themes presented in this article were presented at the 16th International Conference on Information Visualization (IV 2012) and the Computer Graphics, Imaging, and Visualization Conference (CGIV 2012), which gather artists, scientists, mathematicians, and other participants using digital imagery and data or involved in visual storytelling, art, and graphics. Figures show art works presented at an online virtual exhibition, the Symposium and Gallery of Digital Art (D-Art), which complements these events. The article examines selected theoretical approaches and recent technology sessions related to data, information, and knowledge visualization, among other current issues in the visualization domain.
10
Halwani, Fuad. "Narratives of Enfoldment: Multi-linear and Parafictional Storytelling in Media Art". International Journal of Film and Media Arts 7, n.º 2 (13 de diciembre de 2022): 98–109. http://dx.doi.org/10.24140/ijfma.v7.n2.05.
Texto completoResumen
Narratives have been witnessing a state of enfoldment within the virtual world(s) since the proliferation of transmedia story worlds and new media art works. The aesthetics of enfoldment are discussed by Laura U. Marks within different trends in media art. She follows a genealogy of media art that has its roots in premodern Islamic concepts. Enfoldment is therefore situated as the broad framework of this paper’s discussion. Since the prevalence of the concept of transmedia storytelling, coined by Henry Jenkins in 2007, different franchises (be it in entertainment and others) have adopted certain narrative tropes to create a transmedia presence or universe. One of these tropes is the usage of multi-linear storytelling. Multi-linearity is one of the forms narrative storytelling that liberates a story from its temporal structure, making the consumption of narrative open to the end user. Parafiction, on the other hand, denotes instances when the lines between fact and fiction become blurry creating contemporary artworks where story worlds are essential for the dissemination of the works themselves. According to Lambert-beaty (2009) “the slew of recent writings trying to describe or explain this condition ranges from philosophical explorations of ‘the ethics of the lie’, to moralist warnings about our entry into ‘the post-truth era’” (Lambert-beatty, 2009). The following article aims at disseminating past scholarship on multi-linear and parafictional storytelling in trans and new media art in an attempt at shaping the theoretical framework of my doctoral thesis project; a podcast series intended for online dissemination that features conversations between a fictional character and non-fictional historical figures.
Tesis sobre el tema "Online art storytelling"
1
Ung, Teresa. "Idea-Generation: Exploring a Co-creation Methodology Using Online Subject Matter Experts, Generative Tools, Free Association, and Storytelling During the Pre-Design Phase". Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1236829537.
Texto completo
2
Haws, Kevin Scott. "Playable Cases as Authentic Practice in Online Classrooms". BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/8251.
Texto completoResumen
Playable cases are a new type of mixed-reality serious game (SG), combining elements of alternative reality games (ARGs) and education simulations to offer an immersive, transmedia story. Participants advance the plot through interactive gameplay and characters with the goal of creating products and experiencing real-world business situations. This study investigates the effectiveness of the playable case Microcore as a tool specifically for online writing instruction (OWI). Fifty students in online sections of a technical communication course participated in Microcore, in which they responded to pre- and post-survey questions and prompts directed at their perceptions about writing, understanding of workplace communication, and levels of engagement. Responses to the survey were collected, coded for thematic trends, and analyzed. Results from this survey study suggest that playable cases like Microcore may be effective at countering primary OWI difficulties, including disengagement, lack of social presence and humanity, faltering self-efficacy, and unclear, unproductive perceptions about writing assignments. Students responded positively to the playable case and appeared to develop more nuanced views about workplace communication and writing through this immersive narrative and interface.
3
Steele, James. "The Role Humor Plays in Facilitating Rapport, Engagement, and Motivation in Graduate Online Learning Environments". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011748/.
Texto completoResumen
This study seeks to explore, using an interpretivist phenomenological approach, how humor may impact rapport, engagement, and motivation in graduate online learning environments. Through detailed qualitative analysis of semi-structured interviews, direct observation, and demographic survey data, emergent themes were identified that support the use of appropriate humor to create a positive online environment in which learning can take place. Evidence indicates that humor, when used purposefully and appropriately, is a valuable tool for promoting rapport and engagement amongst course members through community-building and enhanced interpersonal connections. The results of this study reveal the importance of finding common ground and shared experiences to improve the overall social and communicative culture of an online course. The results also support the idea that online instructors should make a great effort in connecting with students in online courses and must make a greater effort to appropriately engage in their online courses. Appropriate recommendations are made for practical application of humor to support pedagogy, as well as recommendations for future research on humor in educational environments.
Libros sobre el tema "Online art storytelling"
1
Immersive Longform Storytelling. Taylor & Francis Group, 2019.
Buscar texto completo
2
Dowling, David. Immersive Longform Storytelling: Media, Technology, Audience. Taylor & Francis Group, 2019.
Buscar texto completo
3
Dowling, David. Immersive Longform Storytelling: Media, Technology, Audience. Taylor & Francis Group, 2019.
Buscar texto completo
4
Dowling, David. Immersive Longform Storytelling: Media, Technology, and Audience. Taylor & Francis Group, 2019.
Buscar texto completo
5
Video journalism for the web: A practical introduction to documentary storytelling. New York: Routledge, 2012.
Buscar texto completo
6
Lebowitz, Josiah y Chris Klug. Interactive Storytelling for Video Games: Proven Writing Techniques for Role Playing Games, Online Games, First Person Shooters, and More. Taylor & Francis Group, 2012.
Buscar texto completo
7
Lebowitz, Josiah y Chris Klug. Interactive Storytelling for Video Games: Proven Writing Techniques for Role Playing Games, Online Games, First Person Shooters, and More. Taylor & Francis Group, 2012.
Buscar texto completo
8
Lebowitz, Josiah y Chris Klug. Interactive Storytelling for Video Games: Proven Writing Techniques for Role Playing Games, Online Games, First Person Shooters, and More. Taylor & Francis Group, 2012.
Buscar texto completo
9
Lebowitz, Josiah y Chris Klug. Interactive Storytelling for Video Games: Proven Writing Techniques for Role Playing Games, Online Games, First Person Shooters, and More. Taylor & Francis Group, 2012.
Buscar texto completo
10
Montgomery, Robb. Smartphone Video Storytelling. Taylor & Francis Group, 2018.
Buscar texto completoCapítulos de libros sobre el tema "Online art storytelling"
1
Restoule, Jean-Paul y Kathy Snow. "Conversations on Indigenous Centric ODDE Design". En Handbook of Open, Distance and Digital Education, 1–16. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0351-9_92-1.
Texto completoResumen
AbstractIn reviewing Indigenous approaches to open, distance, and digital education, the authors found that Indigenous people have been keen to adopt and adapt technologies for their own uses and purposes but are less successful in controlling and creating technologies that dominate the learning landscape. Given the scant literature available on this topic, using the methodologies of kitchen table talks, the authors dialogue their experiences working with Indigenous people and designs in open, distance, and online teaching and education. Through their storytelling, the authors elicit examples of experience in postsecondary education contexts in Canada including the use of talking circles, blended and inclusive learning, development of safe spaces and hubs, and challenges balancing home life and online learning. The importance of relationships, community connection, and validating self and identity in the learning experience were strong themes that emerged from the dialogue. Indigenous pedagogies and knowledges online is a relatively unexplored phenomenon and this initial foray into characteristics, successes, and challenges may be a starting point for future scholars to follow. By sharing highly contextualized narratives from Canada, we aim to increase the global dialogue around decolonizing ODDE and therefore end the chapter by examining our experience against ongoing international discussions.
2
Restoule, Jean-Paul y Kathy Snow. "Conversations on Indigenous Centric ODDE Design". En Handbook of Open, Distance and Digital Education, 425–40. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-2080-6_92.
Texto completoResumen
AbstractIn reviewing Indigenous approaches to open, distance, and digital education, the authors found that Indigenous people have been keen to adopt and adapt technologies for their own uses and purposes but are less successful in controlling and creating technologies that dominate the learning landscape. Given the scant literature available on this topic, using the methodologies of kitchen table talks, the authors dialogue their experiences working with Indigenous people and designs in open, distance, and online teaching and education. Through their storytelling, the authors elicit examples of experience in postsecondary education contexts in Canada including the use of talking circles, blended and inclusive learning, development of safe spaces and hubs, and challenges balancing home life and online learning. The importance of relationships, community connection, and validating self and identity in the learning experience were strong themes that emerged from the dialogue. Indigenous pedagogies and knowledges online is a relatively unexplored phenomenon and this initial foray into characteristics, successes, and challenges may be a starting point for future scholars to follow. By sharing highly contextualized narratives from Canada, we aim to increase the global dialogue around decolonizing ODDE and therefore end the chapter by examining our experience against ongoing international discussions.
3
Schüll, Anke. "Design Elements for Gamified E-Learning: On Fueling Intrinsic Motivation by Digital Storytelling and Challenges". En Massive Open Online Courses - Learning Frontiers and Novel Innovations [Working Title]. IntechOpen, 2024. http://dx.doi.org/10.5772/intechopen.1006548.
Texto completoResumen
In recent years, gamified e-learning earned its place in higher education. Aligned to the audience, the content and the learning goals design elements are orchestrated around the backbone of any gamified intervention: the story. The art of storytelling is old and well-established, but digital storytelling is not yet fully explored. To narrow the gap, this chapter derives a solution space for design parameters for digital storytelling from key literature. Informed by this solution space, the next iteration of a gamified e-learning environment on procurement, manufacturing, and sales supported by the Enterprise Resource Planning System SAP S/4 HANA could evolve to add to the body of knowledge. This solution space can inform teachers, e-learning designers, and researchers and accelerate the creative process of digital storytelling.
4
Hagen, Jamie J. "Extending Acts of Motherhood". En Troubling Motherhood, 51–66. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190939182.003.0004.
Texto completoResumen
This chapter highlights the different ways mothers engage in storytelling to resist stigma, while also rejecting the idea that they are “bad” mothers. The prevailing story told about what makes a “good” mother relies on the construction of an ideal mother parenting within a specific vision of the nuclear family. Mothers who do not live up to this ideal construction of motherhood are punished through various forms of stigma such as sexual stigma and abortion stigma. This chapter considers the impact of stigma on two groups of women: lesbian mothers and mothers who have had abortions. Mothers from both communities who have faced stigma are finding ways to rewrite the script about how to mother without shame. Some of the forms of resistance these mothers have engaged in include abortion speak-outs, online storytelling through blogs and videos, and storytelling through art. The chapter also explores how community-based initiatives informed by the principles of reproductive justice make possible new narratives of maternity and as well as visions for a future for mothering without stigma.
5
Alfonso, Maria Regina A., Adrienne M. Santos Lagmay, Joey A. Atayde, Kathleen Bautista y M. Imelda Lukban. "a/r/tography, rhizomatic storytelling, and ripple effects mapping: a combined arts-based and community mapping methodology to evaluate the impact of COVID-19 expressive arts support groups for frontliners in the Philippines". En Social Work Research Using Arts-Based Methods, 148–61. Policy Press, 2022. http://dx.doi.org/10.1332/policypress/9781447357889.003.0014.
Texto completoResumen
The oppressive arrival of COVID-19 has had a significant socio-economic impact particularly on low- to middle-income families in the Philippines, leading to a plethora of mental health issues that exacerbate family living conditions. Psychosocial support has been a great need. Magis Creative Spaces, in partnership with ABJ Foundation, implemented an initiative to provide Duyan (‘cradle’ in English) groups: free online expressive arts-based psychosocial support groups for various groups of frontline workers. Focusing on the education, health care, and social welfare sectors, a total of 180 participants took part. In parallel, Magis also initiated a research project to document this initiative. A pool of ten facilitators was arranged in pairs to create a team for each Duyan support group. A general sample of each session’s process is as follows: (1) a moment of stillness and silence to offer prayers of healing and gratitude; (2) the introduction of facilitators and participants; (3) a grounding exercise; (4) an art activity (visual art, movement, music or a combination); (5) sharing and discussion; (6) discussion and questions; (7) group photo; (8) closing. Co-authors Alfonso and Atayde, supervising clinicians for the project, organised all stakeholders of the initiative and reviewed key components of the programme. After each of the Duyan support groups were completed, all facilitators were involved in a post-Duyan session group process to harvest stories through drawing and storytelling.
6
Javaid Anwer, Khalid. "Understanding Brand Awareness Dynamics". En Brand Awareness - Recent Advances and Perspectives [Working Title]. IntechOpen, 2024. http://dx.doi.org/10.5772/intechopen.113985.
Texto completoResumen
The notion of brand awareness is a multidimensional exploration of the intricate linkage between customers and brands within the ever-evolving marketplace. In today’s vibrant and competitive world, where choices thrive, brand awareness stands as the prerequisite of brand success, reflecting the extent to which a brand is recognized, acknowledged, remembered, and valued. This phenomenon accentuates the thoughtful influence of perception, trust, and emotional connectedness—crucial elements that direct consumer decisions and nurture loyalty. This chapter delves into the philosophical importance of brand awareness, dissecting the ultimate elements of brand identity and elucidating an array of strategic approaches, traversing from online to offline strategies. It observes the essential art of measurement, the role of leading-edge technology, the enduring craft of storytelling, the global development of brand influence, adroit crisis management, and the promising perspectives that the future holds. Through this comprehensive investigation, we illuminate the path to not just achieving recognition but becoming an ineradicable presence in the hearts and minds of consumers and customers. It is a journey that transcends mere acknowledgment, forming a lasting legacy of preference and trust.
7
Harvey, Steve, Si Wang y E. Connor Kelly. "Expressions of Grief That EmergedUsing a Creative Process duringan International Response toCOVID 19". En Creativity in Contemporaneity [Working Title]. IntechOpen, 2024. http://dx.doi.org/10.5772/intechopen.1006843.
Texto completoResumen
In this chapter, the authors address how their collaborative creative process facilitated strong and previously unacknowledged expressions of grief during the initial part of the COVID 19 health crisis. These metaphors emerged spontaneously during an informal project that developed as the pandemic was beginning. In February 2020, a small group of creative arts therapists from China, Guam, and the USA joined together as an experiment to see if they could communicate their personal experiences of the crisis with each other using improvised dance, music, art, and storytelling online despite being from diverse cultures and having a limited common primary language. The project expanded as the health crisis became global. This chapter will focus on a session from December 2020 in which grief became the central theme following a surge in the COVID 19 illness when related deaths developed in the communities in which the participants lived. The expressions of grief were unexpected at the start of this session and emerged as the improvisation became more developed. These expressions were primarily nonverbal. The authors also reviewed studies of grief and mourning during the pandemic and compared the improvised expressions with these observations.
8
Di Blas, Nicoletta. "21st Century Skills and Digital Storytelling in the Classroom". En Advances in Media, Entertainment, and the Arts, 306–30. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-9667-9.ch015.
Texto completoResumen
PoliCultura is an initiative of collaborative digital storytelling in formal educational contexts run by HOC-LAB, a laboratory at Politecnico di Milano (Italy), one of the largest technical universities in Europe. Launched in 2006, PoliCultura is open to schools of all kinds and levels, in Italy and abroad (international since school year 2013-14). Within PoliCultura, groups of students/classes, supervised by a teacher, create a multimedia interactive story using an online authoring tool by HOC-LAB. So far, more than 1,200 stories have been created by students aged between 4 and 18, from 9 countries. By presenting in detail the initiative and the evaluation data, this chapter makes a case for collaborative digital storytelling as a way to foster the acquisition of 21st century skills: creativity, collaboration, media literacy, life and career skills.
9
Vuorela, Taina, Sari Alatalo y Eeva-Liisa Oikarinen. "Playfulness in Online Marketing". En Research Anthology on Social Media Advertising and Building Consumer Relationships, 952–66. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-6287-4.ch052.
Texto completoResumen
This article explores different challenges and opportunities of using humour and playfulness in online marketing. Humour has been investigated intensively in marketing, especially in advertising, yet there is little knowledge of the challenges and opportunities in online marketing faced by practitioners. This study analyses key studies conducted in the context of a unique case: a Finnish research project exploring humour as a strategic tool for companies. These studies can provide emerging insights of humour in online marketing which are relevant for practitioners: humour as a transformational appeal, individual differences related to humour appreciation, role of storytelling and playfulness in blogging and challenges related to use of humour such as credibility.
10
Kissel, Brian. "Weebly, Wikis, and Digital Storytelling". En Developing Technology-Rich Teacher Education Programs, 288–98. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0014-0.ch019.
Texto completoResumen
In this chapter, the author explores three questions: 1. How is the practice of writing in K-12 classrooms influenced by this era of new technologies? 2. How can online technologies be brought into the classroom so students can understand that they read and write everyday in digital forms? 3. In what ways can teachers create technology-rich experiences to support 21st century writers? To answer these questions the author briefly examines the theoretical foundation of the process model for writing and how online technologies have impacted this model in classrooms. Next, the author describes three Web 2.0 tools that are available to teachers to use in their classrooms during writing: digital portfolios, wikis, and digital storytelling. The author explains how he uses these tools within his own college classroom. Finally, the author provides a rationale for why teachers should consider using these within their own K-12 classrooms so that digital technologies become a natural part of students’ writing experiences.
Actas de conferencias sobre el tema "Online art storytelling"
1
Elisavet, Veliou. "TEACHING VERY YOUNG LEARNERS ONLINE: HOW TO KEEP CURIOUS MINDS CURIOUS IN A DIGITAL WORLD". En The 7th International Conference on Education 2021. The International Institute of Knowledge Management, 2021. http://dx.doi.org/10.17501/24246700.2021.7109.
Texto completoResumen
Teaching very young learners is one the most challenging, yet, most rewarding things in the field of TEFL. Teaching preschoolers and kindergarten students focuses on teaching the language by creating experiences. However, how feasible can this be at the time of the pandemic when classrooms turned into virtual classrooms and EFL teachers of very young learners had to face a new set of challenges? This paper is about teaching English to very young learners (4-6 years old) online. The paper explores some of the key characteristics, needs and strengths of the very young learners and the challenges of online education with those age groups, and then goes on to examine the practical implications as these relate to our planning and teaching methodologies. Finally, it focuses on how teaching very young learners means exposing students to the target language through messy play, CLIL, Art, storytelling and activities that place the child in the centre of the learning procedure, giving them reasons to use the language and engaging them meaningfully through fun and creative activities, even when lesson takes place online, in a Digital World. Keywords: preschool, education, kindergarten, multisensory, online
2
Zhang-Kennedy, Leah, Khadija Baig y Sonia Chiasson. "Engaging Children About Online Privacy Through Storytelling in an Interactive Comic". En Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/hci2017.45.
Texto completo
3
Grieve, Fiona y Kyra Clarke. "Threaded Magazine: Adopting a Culturally Connected Approach". En LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.62.
Texto completoResumen
It has been ten years since the concept of the Publication Platform has been published in the special edition of the Scope Journal ISSN (online version; 1177-5661). The term ‘Publication Platform’ was introduced in the Practice Report, The Site of Publication in Contemporary Practice. This article surveyed a series of publication projects analysing distinctive editorial models as venues for discussion, collaboration, presentation of practice, and reflection. In this context, the term Publication Platform is employed to describe a space for a series of distinctive editorial modes. The platform considers printed matter as a venue for a diversity of discourse and dissemination of ideas, expanding the meaning and boundaries of printed media through a spectrum of publishing scenarios. The Publication Platform positions printed spaces as sites to reflect on editorial frameworks, content, design practices, and collaborative methodologies. One of the central ideas to the report was the role of collaboration to lead content, examining how creative relationships and media production partnership, affect editorial practice and design outcomes. Ten years after, the Publication Platform has evolved and renewed with emergent publishing projects to incorporate a spectrum of practice responsive to community, experimentation, interdisciplinarity, critical wiring, creativity, cultural production, contemporary arts, and craft-led discourse. This paper presents a case study of ‘Threaded Magazine’ as an editorial project and the role of its culturally connected approach. This study uses the term ‘culturally connected approach’ to frame how Threaded Magazine embodies, as a guiding underlying foundation for each issue, the three principles of Te Tiriti o Waitangi: Participation, Protection and Partnership. This presentation reflects on how these principals connect to who Threaded Magazine are collectively as editors and designers, and determined by who we associate with, partner, and collaborate with. A key factor that influenced Threaded Magazine to adopt a more culturally connected approach arose by the invitation to participate in the international publication entitled Project 16/2, commissioned by Fedrigoni Papers for the Frankfurt Bookfair, in Germany. The Project 16/2 created an opportunity for a process of editorial self-discovery. This trajectory translated the tradition of oral storytelling into graphic language, conveying the essence (te ihi) of who we were. The visuality and tactility of the printed media set a format for Threaded Magazine to focus on Aotearoa’s cultural heritage, original traditions, and narratives. This paper overviews the introduction of a kaupapa for Issue 20, the ‘New Beginnings’ edition and process of adhering to tikanga Māori and Mātauranga Māori while establishing a particular editorial kawa (protocol) for the publication. The influence and collaboration with cultural advisory rōpū (group) Ngā Aho, kaumātua and kuia (advisors) will elaborate on the principle of participation. Issue 20 connected Threaded Magazine professionally, spiritually, physically, and culturally with the unique identity and landscape of Indigenous practitioners at the forefront of mahi toi (Māori Contemporary art) across Aotearoa. Special Edition, Issue 21, in development, continues to advance a culturally connected approach working with whānau, kaiwhatu (weavers), tohunga whakairo (carvers), kaumātua and kuia to explore cultural narratives, connections, visually through an editorial framework.
4
Stoica, Andreea y Ursula Neulinger. "THE STORY TELLING ENGINE FOR LEARNING AMBIENCE: HOW TO CREATE EFFECTIVE AND INVOLVING VIRTUAL LEARNING WORLDS?" En eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-042.
Texto completoResumen
The Story Telling Engine for Learning Ambience of create21st century: How to create effective and involving Virtual Learning Worlds? Authors: Ursula Neulinger-Head of Marketing create21st century Andreea R. Stoica-Business Development Manager create 21st century Users of today want to be able to move intuitively and quickly in an online learning offer or e-learning course. The virtual learning world is a tool for making the navigation within a complex and ever-growing learning offer simple, clear and, above all, interesting! Just like IT professionals, newcomers to IT also find their way around these virtual worlds very successfully due to the kinaesthetic approach. This is a virtual place which begins to convey statements and content immediately upon entry and navigation, and the spatial design of the interface is designed accordingly. The learning environments allow the user to allocate the content offer correctly, and several "paths to knowledge" are enabled for different types of learners. Learning content is thus conveyed together with image, brand values, sales arguments and corporate culture. In 2007, 2013 and 2014 create21st century received the e-Learning Award from the German e-learning Journal for the concept of the virtual world of learning and our "Storytelling Engine" technology for the Oxford School, Silhouette World of Learning and for the Bank Austria UniCredit Academy. The Story Telling Engine for Learning Ambience has been constructed based on didactical, dramaturgical and design technical criteria. Clients such as Nestl?, the AUDI Academy and many more are already using the create21st century learning worlds successfully in their commercial operations. In this paper create 21st century will not only present the Storytelling Engine for Learning Ambience as a technical innovation, but also the principles our virtual learning worlds are based on through the homogenous mixture of the 3D's: Didactics, Dramaturgy and Design. The success recipe relies on a didactically target group optimal structuring of the learning content, a motivational dramaturgy curve achieved through storytelling and gamification elements and an intuitive design focused on achieving a perfect LEARNING & USER EXPERIENCE. Our technological and conceptual approach will be presented through concrete case studies such as the Virtual World of Audi and the Bank Austria UniCredit Academy.
5
Hermanrud, Inge y Dorthe Eide. "Representations of Practice- Distributed Sensemaking Using Boundary Objects". En InSITE 2017: Informing Science + IT Education Conferences: Vietnam. Informing Science Institute, 2017. http://dx.doi.org/10.28945/3734.
Texto completoResumen
[This Proceedings paper was revised and published in the journal Issues in Informing Science and Information Technology] Aim/Purpose: This article examines how learning activities draw on resources in the work context to learn. Background: The background is that if knowledge no longer is seen mainly as objects, but processes, how then to understand boundary objects? Our field study of learning activities reveals the use of pictures, documents and emotions for learning in the geographically distributed Norwegian Labor Inspection Authority Methodology: The study is a qualitative study consisting of interview data, observation data, and documents. Contribution Contribute to practice based theorizing. Findings: Three ideal types of representing practices have been identified, i.e., ‘Visualizing’, ‘Documenting’ and ‘Testing’. All three are combined with storytelling, sensing, reflections and sensemaking, which point at the importance of processes in learning. The article also add insights about how emotions can be an important resource for boundary spanning – and sensemaking – by creating the capability of reflecting upon and integrating different knowledge areas in the in- practice context. Recommendations for Practitioners : Look for boundary objects within your field to promote online learning. Recommendation for Researchers: Study boundary objects in work context to understand learning. Impact on Society Role of objects in human learning. Future Research: Focus on how emotions can be used for online learning.
6
Smith, Lee, Helen Gremillion, Susan Beaumont, Rachael S. Burke, Fleur Kelsey, Lauren Addington y Meg Nelis. "Early Reflections on a Collaborative Research Project About the Safety of Rainbow Ākonga on Te Pūkenga Campuses". En ITP Research Symposium 2022. Unitec ePress, 2023. http://dx.doi.org/10.34074/proc.2302010.
Texto completoResumen
This paper reports on the experiences of a research team designing and beginning to implement a research project exploring how safe and inclusive the various campuses of Te Pūkenga are for Rainbow ākonga (students). As Aotearoa New Zealand’s largest tertiary education provider, Te Pūkenga is bound and shaped by current anti-discrimination social policies. Under the 1993 Human Rights Act, discrimination based on gender was banned in Aotearoa. Same-sex marriage was legalised in 2013, and since 2021 people have been able to change their birth sex on official documents. In 2021, the Government also banned conversion therapy. However, despite these policies and as numerous national studies have documented, educational institutions remain hostile spaces for Rainbow ākonga. We aim to investigate ākonga and kaimahi (staff) experiences of inclusivity and discrimination across Te Pūkenga campuses. A research design was established, and we are in the process of collecting data. Because we have just begun the fieldwork at the time of this writing, we cannot discuss our findings to date. Instead, this article uses the feminist method of storytelling to explore the formation of a collaborative multi-site research team, the necessity of consulting with a Rainbow youth organisation when designing the survey, the research team’s duty of care to participants, the ethics process involved in conducting a multi-site organisational study and managing ‘teething problems’ when the online survey went live. This paper thus reports on our experiences of overcoming hurdles associated with a multi-site research project at a time of transition into one organisation, Te Pūkenga.
7
Huff, Earl. "Accessible E-Learning Through Story-based Participatory Design for Persons with Vision Impairments". En AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004229.
Texto completoResumen
Online learning (or e-learning) has seen a significant rise in popularity and ubiquity, especially during the COVID-19 pandemic, due to the convenience and flexibility for learners and cost-effectiveness to institutions. Advances in e-learning technologies, such as learning management systems (LMS), provide teachers and students with new modalities and formats for engagement in teaching and learning, respectively. However, there are growing concerns surrounding the accessibility of such technologies, especially LMSs, for learners with disabilities (LWD). Issues such as navigation, information access, and non-descriptive web graphics present barriers that severely impact the learning progression of LWDs. While past work has examined solutions for improving existing LMS accessibility, there are still barriers present that limit the complete online experience for LWDs, such as working with complex user interfaces (UI). We argue for more research that looks at design and interaction requirements from the perspectives of both teachers and learners to fully understand what it would take to design more usable and accessible LMSs. Our work details a participatory design (PD) study conducted with two user groups: one for teachers and one for students with vision impairments (i.e., blindness, low vision). Since we are working with blind and visually impaired (BVI) participants, we utilized a method called co-constructing stories that combines verbal storytelling with PD. This approach allows us to 1) gain a better understanding of the experiences of using LMS technology from our design groups and 2) provide a more accessible experience in collaborative technology design. Each group participated in three design workshops. The first workshop included developing a story where the participants were the main characters in a scenario using a conceptual LMS that they would imagine and come up with initial features and design requirements. In the second design workshop, the groups collaboratively refined the initial features and designs and developed additional design ideas. The third workshop was done in one-on-one sessions where participants would engage in a think-aloud session, navigating and using a prototype LMS we developed with their input.The teachers brought up their experiences teaching online courses to BVI students. They desired the ability to customize the course pages, such as typography, font size, UI control sizes, and color. Students wanted better semantics of the UI for improved translation of the web page components from their screen readers and a more simplistic layout. The think-aloud sessions yielded satisfactory results as both groups found the initial prototype to be accessible, easy to use, and an improvement over existing LMSs. While there were some suggestions for improvements, our work showed the effectiveness of empowering teachers and LWDs to co-design technology. We believe this work may benefit instructional designers, researchers, and educational technology developers looking to design more accessible e-learning systems to accommodate a broad range of disabilities.
8
Dong, Hanzhang. "A cross-cultural contextual study of Wong Kar-wai’s films driven by online reviews". En Human Interaction and Emerging Technologies (IHIET-AI 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004562.
Texto completoResumen
With the development of science and technology, the distance between people in space is getting smaller and smaller, and economic globalization has been a historical inevitability. At the time of accelerating globalization, the film and television industry, as a part of the economy, cannot escape the impact of globalization. Moreover, compared with other industries, film and television works often carry more cultural connotations. How should filmmakers cope with the cultural differences in storytelling, create cross-cultural works, and get the same or different word-of-mouth feedback from different cultural groups? In the current multi-cultural context, Wong Kar-wai can be said to be one of the representative figures. In his films, From "Carmen", "Ashes of Time" and "Days of Being Wild" to "Chungking Express", "In the Mood for Love" and "The Grandmaster", Wong Kar-wai has been widely understood and accepted in different cultural and social contexts. This article start with online comments and study the elements of cross-cultural film creation in the context of globalization according to data mining technology. Research methods and processes: Firstly, data acquisition and pre-processing are carried out. The data source of online comments needs to be determined before crawling the review data. For the research objects selected in this study, the relevant sections of online movie rating websites, online movie platforms and social attribute platforms with large audiences were chosen as data source. For example, metascore has a weighted average of many movie reviews from well-known critics, which is highly reliable. Then, the key step in text mining is word segmentation. It's the process of breaking a sentence into several words. Accurate word segmentation can improve the efficiency and accuracy of subsequent text mining. After the word cloud is established, attribute features of the comments are extracted and classified, and the factors that highly affect the acceptance and empathy of Wong Kar-wai's film works in the cross-cultural context are summarized. Finally, combined with the study of his film scenes and narrative structure, the research focuses on the following factors:1.Theme selection: Explore universal themes, such as love, loneliness, loss and dreams. These themes are cross-cultural, and people face similar issues and emotions across cultures.2.Narrative structure: Such as non-linear narrative structure, which not only increases the complexity of the film, but also provides the audience with space to think and interpret, so that audiences from different cultural backgrounds can interpret the film in different ways.3.How emotions are expressed: Wong Kar-wai's films emphasize the emotions and inner world of characters, which is a universal emotional experience that can touch people's emotions across cultural boundaries.4.Character complexity: Complex and multi-dimensional characters with unique personalities, desires and inner conflicts enable the audience to immerse themselves in understanding the inner journey of these characters, regardless of their cultural background.5.The beauty of cultural elements: Different cultural elements, such as the backgrounds and traditions of China Mainland, Hong Kong, or elsewhere. Although these elements sometimes have a specific impact on the story, they are usually presented in an aesthetic and emotional way that allows the audience to enjoy the film without knowing the cultural details.6.Aesthetic of sight and sound: Films have a distinctive vision and sound style. Create memorable movie atmospheres. This visual and aural allure can transcend the language barrier and touch the hearts of the audience.In a word, the reason why Wong Kar-wai's films can be accepted and understood by people in cross-cultural contexts will be explored in a more specific way along the above directions, and the methods of film creation will be explored under the background of multi-context globalization.
Informes sobre el tema "Online art storytelling"
1
Panchenko, Liubov F. y Ivan O. Muzyka. Analytical review of augmented reality MOOCs. [б. в.], febrero de 2020. http://dx.doi.org/10.31812/123456789/3750.
Texto completoResumen
The aim of the article is to provide an analytical review of the content of massive open online courses about augmented reality and its use in education with the further intent to create a special course for the professional development system for the research and teaching personnel in postgraduate education. The object of research is massive open online courses. The subject of the study is the structure and content of augmented reality MOOCs which are offered by acclaimed providers of the world. The methods of research are: the analysis of publications on the problem; the analysis of MOOCs’ content, including observation; systematization and generalization of research information in order to design a special course about augmented reality for the system of professional training and retraining for educators in postgraduate education. The results of the research are the following: the content and program of specialized course “Augmented Reality as a Storytelling Tool” for the professional development of teachers. The purpose of the specialized course is to consider and discuss the possibilities of augmented reality as a new direction in the development of educational resources, to identify its benefits and constraints, as well as its components and the most appropriate tools for educators, to discuss the problems of teacher and student co-creation on the basis of the use of augmented reality, and to provide students with personal experience in designing their own stories and methodical tools in the form of augmented books and supplementary training aids with the help of modern digital services.