Cette recherche exploratoire vise à documenter, du point de vue des intervenants, les conditions nécessaires à la mise en place de projets utilisant des outils de narrativité numérique, de même que les principaux apports de ces outils à l’intervention. Ces outils peuvent être des récits numériques qui sont de courtes vidéos (deux à cinq minutes) intégrant images, musique, texte, voix et animation, ou encore de courts fichiers audio, aussi appelés podcasting ou baladodiffusion. Il peut aussi s’agir de jeux vidéo interactifs ou d’un montage vidéo à partir d’extraits de témoignages. Dans un contexte où les pratiques d’intervention, dans les services publics en particulier, sont de plus en plus normées et standardisées, une recherche qui explore des outils d’intervention recourant à la créativité s’avère des plus pertinentes. Par ailleurs, ce champ n’a été que très peu exploré en service social jusqu’à maintenant. Des entrevues semi-dirigées ont été menées auprès de huit intervenants ayant utilisé ces outils dans leur pratique. L’analyse de leurs propos met d’abord en lumière les conditions nécessaires à la réalisation de ce type de projet, de même que les questions éthiques qui les accompagnent. Ensuite, du côté des principaux apports de ces outils, ils se situent, d’une part, dans le processus créatif collaboratif. Celui-ci permet d’enrichir l’intervention en donnant un espace de parole plus libre où intervenants et usagers créent des liens qui modifient le rapport hiérarchique entre aidant et aidé. D’autre part, l’attention professionnelle accordée à la réalisation des produits et à leur diffusion contribue à donner une plus grande visibilité à des personnes souvent exclues de l’espace public. Ainsi, en plus d’explorer les apports d’un outil artistique à l’intervention, cette recherche permet également d’analyser les enjeux de visibilité et de reconnaissance associés à l’utilisation de médias participatifs. / This exploratory study describes, from the viewpoint of social workers and other support workers, the conditions needed to set up a project that makes use of digital storytelling tools, as well as the main contributions of these tools as part of an intervention. The tools may be digital stories in the form of short, two-to-five minute videos (with music, text, voice, and/or animations), or short audio files (i.e., podcasts). They may also be interactive video games or a video montage created from extracts drawn from personal stories. A study exploring intervention tools that encourage creativity becomes all the more pertinent in a context where, particularly in public health and social services, intervention practices are becoming increasingly standardized. As yet, this field has been only minimally explored. Semi-directed interviews were conducted with eight workers who used these tools in their practice. Analysis of their statements sheds light on the conditions necessary to carry out this type of project, as well as the ethical questions that arise in the process. The analysis also reveals that one of the main contributions of these tools lies within the collaborative creative process. The process enriches the intervention by providing a space for freer speech where support workers and the people they help create ties that modify the hierarchical relationship between them. Moreover, the professional attention given to creating and sharing the products helps provide greater visibility to people who are often excluded from the public arena. Thus, in addition to exploring the contributions of an artistic tool to interventions, this study also makes it possible to analyze the issues of visibility and recognition associated with using participatory media.

The Kelvin Grove Urban Village (KGUV) is a 16-hectare urban renewal redevelopment project of the Queensland Department of Housing and the Queensland University of Technology (QUT). Over the last century, the land has housed military and educational institutions that have shaped Brisbane and Queensland. These groups each have their own history. Collectively their stories represented an opportunity to build a multi-art form public history project, consisting of a creative non-fiction historical manuscript and a collection of digital stories (employing oral history and digital storytelling techniques in particular) to construct a personal sense of place, identity and history. This exegesis examines the processes used and difficulties faced by the writer/producer of the public history; including consideration of the artistic selection involved, and consequent assembly of the material. The research findings clearly show that: giving contributors access to the technology required to produce their own digital stories in a public history does not automatically equate to total participatory inclusion; the writer/producer can work with the public as an active, collaborative team to produce shared historically significant works for the public they represent; and the role of the public historian is that of a valuable broker--in actively seeking to maximize inclusiveness of vulnerable members of the community and by producing a selection of multi-art form works with the public that includes new media.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T21:49:03Z No. of bitstreams: 1 PDF Final.pdf: 4042727 bytes, checksum: 103e381ca282d315228bf96d4e497571 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-28T00:20:01Z (GMT) No. of bitstreams: 1 PDF Final.pdf: 4042727 bytes, checksum: 103e381ca282d315228bf96d4e497571 (MD5) / Made available in DSpace on 2018-08-28T00:20:01Z (GMT). No. of bitstreams: 1 PDF Final.pdf: 4042727 bytes, checksum: 103e381ca282d315228bf96d4e497571 (MD5) / Diante das atuais possibilidades de criação, veiculação e convergência entre meios de comunicação, novos formatos dramatúrgicos emergem no ambiente digital, se expandem e se relacionam com meios tradicionais, potencializando a própria dinâmica do processo criativo. A presente dissertação propõe a análise e construção de uma narrativa cujo universo ficcional seja capaz de abarcar múltiplas mídias e estabelecer interconexões entre os meios. O universo ficcional aqui estudado denomina-se Os Vanguardas, de autoria da própria pesquisadora, e destinada ao público da infância e juventude. No primeiro momento, o trabalho discute o contexto para o surgimento das primeiras experiências transmídia no audiovisual e a definição do termo narrativa transmídia na perspectiva do teórico americano Henry Jenkins. No segundo momento, apresenta-se um panorama sobre os novos formatos dramatúrgicos que têm emergido no ambiente digital e que vem permitindo as mais variadas experimentações, e, nos últimos anos, tem se tornado um dos principais meios para a criação e veiculação de dramaturgias. O trabalho aborda também discussões recentes sobre o futuro da narrativa digital em painéis realizados em importantes eventos do audiovisual, a exemplo do Rio Content Marketing, relacionando-os com estudos de teóricos como Janet Murray, que vislumbrou alguns formatos dramatúrgicos que são utilizados na rede, como, por exemplo, as webseries e games e Henry Jenkins, teórico que discute os efeitos da convergência entre as mídias digitais e tradicionais na criação de narrativas expandidas, as quais ele denomina narrativas transmídia. Por fim, os princípios aqui estudados são aplicados na narrativa Os Vanguardas, proporcionando um estudo detalhado de seu universo ficcional, bem como, desenvolvendo possibilidades de desdobramentos transmidiáticos como sinopses para série de TV, websérie, mobisódios, argumento para texto dramático e curta metragem. / Given the current possibilities of creation, propagation and convergence between media, new dramaturgical formats emerge in the digital environment, expand and relate to traditional media, enhancing the dynamics of the creative process. The present work proposes the analysis and construction of a narrative whose fictional universe is able to encompass multiple media and establish interconnections between means. The fictional universe studied here called The Vanguards, authored by the researcher, and for the public of childhood. At first, the paper discusses the context for the emergence of the first transmedia experience in the audiovisual and the definition of transmedia narrative from the perspective of American theorist Henry Jenkins. In the second phase, we present an overview of the new dramaturgical formats that have emerged in the digital environment and that has allowed the most varied experiments, and in recent years has become a major means for the creation and placement of dramaturgy. The work also addresses recent discussions on the future of digital storytelling in panels held at major events in the audiovisual, such as the Rio Content Marketing, relating them to theoretical studies as Janet Murray, who saw some dramaturgical formats that are used on the network, as, for example, webseries and games and Henry Jenkins, theorist who discusses the effects of the convergence between digital and traditional media to create expanded narratives, which he calls transmedia narratives. Finally, the principles studied here are applied in the narrative The Vanguards, providing a detailed study of his fictional universe, as well as developing opportunities transmidiátics developments as synopses for the TV series, webseries, mobisodes, argument for theater play and short film.

In 2015, the Narrative model was created as a result of a study exploring how episodic games keep player’s interests through combining narrative and gameplay. In this thesis, the Narrative model is used as a framework for designing a language game for children to see whether that makes players more inclined to keep playing than a game not designed based on the model. Two games were created and evaluated in a within subject controlled experiment. Player enjoyment was measured by using GameFlow as a basis for interview questions and Likert scales. The results indicated that the game based on the model more successfully achieved GameFlow than the game that was not. As such, it was concluded that the model can be used as a tool for game design to increase the desire to keep playing a game, but that it needs further study to be validated.

This study explores, through digital storytelling, the experiences of HIV- and AIDS-related stigma of rural community secondary school learners. HIV- and AIDS-related stigma is seen as an impediment to a proficient response to HIV and AIDS in communities, also rural communities, and requires addressing. The rural community in which the research is undertaken is particularly hard hit by HIV and AIDS. Learners’ experiences of HIV- and AIDS related stigma could therefore inform how school and community could engage with HIV- and AIDS-related stigma and how they could address it in a constructive way. The study attempts to respond to two research questions: What can digital storytelling reveal about secondary school learners’ experiences of HIV- and AIDS-related stigma in schools in a rural community? How can digital storytelling enable secondary school learners in school in a rural community to take action to address stigma? This qualitative study is positioned within a critical paradigm, and employs a community-based participatory research strategy. Twelve Grade 8 and 9 male and female learners aged 15 to 18 years, from two secondary schools in rural Vulindlela district of KwaZulu-Natal, South Africa, who experienced, witnessed or heard about HIV- and AIDS-related stigma participated. Digital storytelling, a visual participatory method, was used to generate the data, and this was complemented by group discussion and written pieces completed by the participants in reflection sessions. The thematic analysis of the data made use of participatory analysis: the analysis of the digital stories was done by the participants while the overarching analysis was done by the researcher. This study, located in the field of the Psychology of Education, is informed by the theoretical framework of symbolic interactionism. In terms of the experienced stigma, it was found that living with HIV and AIDS and the related stigma is perceived as a ‘hardship’. The stigma is experienced on many levels: in the family, at school, and from friends and members of the community. It has an impact on the individual on an intrapersonal and interpersonal level. The young person is caught up in a vicious cycle of silent suffering since there are no reliable and trustworthy people with whom he or she can share these challenges. Some so-called traditional beliefs and customs such as not talking about sex, and practices like virginity testing, also fuel HIV- and AIDS-related stigma. The use of derogatory terms and the severe criticism of early sexual debut along with the gossiping which is used to spread the stigmatising statements further complicate the hardship experienced by young people. Digital storytelling was found to not only enable the learners’ voices to be heard but also to enable their taking charge of the stigma and thus create the space for critical participation in this research. The implications for the study are that the pervasive stigma that young people experience should be addressed at every level of the community. The stakeholders such as the families, school, educators, the King (Inkosi) and Chiefs (Indunas) of the area, relevant departments with that of Education taking the lead, must work hand-in-hand with the affected young people. Such collaboration may allow for the identification of the problem, for reflection on it, and also for the addressing of it. HIV- and AIDS-related stigma, while it has changed since the emergence of HIV, still is an issue that many HIV-positive individuals have to contend with. This stigma is, however, contextual and how the individual is stigmatised fits in with the language, meaning and thought that a community constructs around stigma. While digital storytelling enables the uncovering of particular stories of stigma that learners experience in the context of a school in a rural community, the digital storytelling in and of itself enables a change in the language, meaning and thought around stigma in its drawing on the specifics of the stigma as experienced in the community. Also, digital storytelling is about sharing stories about, and experiences of HIV- and AIDS-related stigma and how these stories can be used as part of the solution. If such stories can be told, people can spread them just as gossip is spread, but in this case such spreading would work towards positive social change. I claim that in order to confront the challenges raised by the perpetuation of stigma, efforts must involve the communities and must tap into their own experiences of perpetuating or enduring stigmatisation. Suggestions by the very same people from the community who are at the front line of perpetuating and /or suffering the stigma must be considered. This may also become one way of instantly communicating the research findings back to the community involved in the research. Using digital storytelling can ensure getting self-tailored, contextual, specific views on how HIV- and AIDS-related stigma is experienced but also how it could be addressed.

Ces vingt dernières années, le vin est devenu l’objet d’une pluralité de traitements éditoriaux créant une exubérance discursive sur cet univers complexe. Le numérique et les dispositifs sociaux du Web participent à cette surabondance éditoriale. Les pratiques numériques, dans l’univers professionnel du vin répondent à des ambitions stratégiques, des logiques multiples. Notre intérêt se situe du côté des blogs des producteurs de vin français. Le blog permet la création et la publication de contenus. Son projet repose sur une dynamique relationnelle d’échanges et de conversations numériques. Dans les blogs des producteurs de vin, les billets publiés renseignent sur des situations de travail en lien avec les cycles de la vigne et du vin sans aucune dynamique d’échanges et de conversations. Compte tenu des enjeux qui caractérisent la filière du vin, notre hypothèse de recherche est de considérer que les blogs des producteurs de vin français soutiennent un processus de professionnalisation. L’objectif de cette étude est de montrer comment une production éditoriale singulière, le blog a une raison d’être en dehors de tout échange ou dialogue numérique. Une part conséquente des contenus publiés concerne le récit détaillé d’activités professionnelles. Les contextes narratifs s’apparentent à l’expression d’une professionnalité. L’autre partie des publications regroupe des faits et des évaluations honorables produits par d’autres instances. Ce type de publication touche aux principes de la réputation qui est une des formes du professionnalisme. Le blog est ici au service d’un processus de reconnaissance et de légitimation sociale caractéristique de la professionnalisation. / For the last twenty years, wine has been dealt with in various editorial ways creating therefore a discursive exuberance about this complex topic. Digital and social technologies available on the Internet contribute to this editorial overabundance. Digital experiences in professional wine field respond to strategic ambitions, to multiple logics. French wine makers’ blogs aroused interest. A blog enables people to create and publish contents. Its project is based on an interpersonal exchange dynamic and digital talks. On French wine makers’ blogs, published posts give information about work situations linked with both vine and wine cycles without any exchange dynamic and digital talk. Considering the typical stakes of the wine industry, we assume here that French wine makers’ blogs are supporting a professionalization process. This research aims to show how a unique editorial production – blogs – is meant to be without being involved in any digital exchange or dialogue. A substantial part of the published contents is about detailed storytelling regarding professional activities. Narrative contexts relate to the expression of professionality (all necessary professional skills) . The other posts gather some honourable facts and evaluations produced by other authorities. This kind of posts is linked with reputation principles which are one of the many forms of professionalism. Blogs are here helping a recognition and social legitimisation process that is typical for professionalization.

abstract: Universities and colleges in the United States (U.S.) are in a period of rapid transformation. Driven by the need for an educated workforce, higher education institutions are responding to rapid innovation, globalization, economic realities, and sociodemographic shifts. Simultaneously, extensive educational online networks connect millions of people worldwide enable learning and knowledge sharing beyond what society has experienced to date. In light of technological advancements, the preservation and presentation of certain ideals that undergird academia and the communication and application of knowledge are undergoing dramatic change. Within higher education, this is both a challenge and an opportunity to re-envision the commitment to educate the public. This research discusses potential forms of this redesign and how it can build upon and depart from previous iterations of higher education. How colleges and universities will adapt to become more relevant, engaging, and accessible is a pressing question that must be addressed. Using case studies focused on creating sustainability education materials, this dissertation develops knowledge related to three interconnected areas of study that will contribute to redesigning higher education through participatory action research methodology. First, higher education has a civic responsibility to provide new ways of thinking, being, and doing globally and providing more access to education to broader society, especially through public research institutions. Second, with a vast array of available learning materials, higher education should invest in elegantly-designed experiences consisting of well-reasoned, meticulously-curated, and high-quality content that is aesthetically appealing, engaging, and accessible to a broad audience. Third, as universities transition from the gatekeepers of knowledge to the connectors of knowledge, they also need to ensure that a coherent mission is articulated and invested in by stakeholders to create an intentionally beneficial transformational effort. The transformation of higher education toward a more inclusive learning environment through new ways of thinking and elegantly-designed learning experiences will serve to improve our learning institutions. As part of the necessary core for an educated democracy, higher education institutions must strive to create a more equitable, inclusive, and diverse society. / Dissertation/Thesis / Doctoral Dissertation Human and Social Dimensions of Science and Technology 2020

Magister Educationis - MEd / Writing is an important skill throughout learners’ schooling trajectory because it is through writing that learners need to situate meaning and sense-making across the curriculum. Writing proficiency becomes even more important when learners access tertiary studies. Yet studies suggest that most students struggle with academic writing. Various authors suggest that writing has not been taught appropriately especially in secondary schooling contexts in South Africa and that writing becomes even more daunting for Second Language speakers of English when they reach tertiary education. There is abundant literature on students’ challenges with academic writing and ways to address academic writing challenges but the use of digital storytelling in relation to academic writing development is recent and distinctively underexplored in the literature.

An interactive multiple screen visualisation might become an opportunity for engaging and illustrative presentations of scientific, complex, and abstract research. With multiple (interactive) monitors, storytelling and interfaces could bring engagement, immersion, and attraction to the audience. The challenge of designing for a multiple screen setup is that the amount of information can be overwhelming, causing the perception of it and engagement with it to decrease. This thesis explores approaches that could enhance the perception and engagement of the content for a multiple screen setup. The Research Through Design approach sets the structure for the entire thesis. It consists of methods for exploration, concepting, prototyping, and user testing. By following this research approach, three versions of a prototype were developed and tested which led to the results of this thesis. The overall nature of this research process was exploratory and the design decisions were applied during the activities. The main findings of this thesis regarding the multiple screen setup during the research process included three attention guiding approaches: black and white, blur, and pause, and according to the user test participants, the preferred approach was black and white. The second vital aspect of the research and testing were the five-act story arc and interactive storytelling structures. According to the data from user tests, interactivity helped to increase the engagement and perception of the exhibition piece.

This study aims to dive deeper into the specific structure, propagation and adaptability of the American alt-right political movement QAnon’s underlying narrative through the lens of “Digital Storytelling”. The method employed being a holistic narrative analysis. Utilizing data collected from the image boards 4chan, 8chan and 8kun we look at a large narrative specifically centered around Donald Trump’s presidency. By gaining a more thorough understanding of the narrative techniques employed to create said narrative, this study will highlight resilient and recurring structures within the QAnon movement. Our findings show that the movement through the application of several characteristic features of digital storytelling have created a highly adaptable narrative. The cryptic nature of messaging used by the movements original author has through the instance of “decoding”, allowed a range of different interpretations to flourish. We identify three key factors connected to the success of the QAnon narrative, these being, 1: An authentic message, created through both hidden and visible feedback. 2: An elastic and resilient narrative, formed through iterative interpretations of coded messages. 3: A tight knitted group-identity, reinforced by the self-classifying as underdogs.