Aristotle's Storytelling Framework for the Web

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A step-by-step approach, using Aristotle’s view on Greek tragedy as it’s core, that will help designers design solid interactive projects that engage customers in the right way.

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  • I was wondering, how does 'drama' fit in?
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  • @cogarch Thank you for your comment. I do agree with your thoughts on Aristotle and persuasive design. I've used his 'logos, ethos, pathos' several times in projects where I tried to balance the way information is given to people. There is so much we can learn from Aristotle. I'll check out your presentation.
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  • Fascinated to see this Jeroen -- at EuroIA 2008 I gave a presentation in which I argued that it was Aristotle who actually invented information architecture, not in his Poetics but in his Categories and Topics. I also suggested that his principles of Rhetoric underlie the modern field of Persuasive Design. I'd be glad to get your comments on this
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Aristotle's Storytelling Framework for the Web

  1. 1. FRAMEWORK STORYTELLING @jeroenvangeel A R I S T O T L E ’ S FOR THE WEB
  2. 2. ARISTOTLE M E E T T H E M A N
  3. 3. L I V E D I N A N C I E N T G R E E C E B E T W E E N 3 8 4 – 3 2 2 B C
  4. 4. PHYSICS, METAPHYSICS, POETRY, THEATRE, MUSIC, LOGIC, RHETORIC, POLITICS, GOVERNMENT, ETHICS, BIOLOGY, AND ZOOLOGY MR. POLYMATH
  5. 5. P L A T O & A R I S T O T L E
  6. 6. ARS POETICA A R I S T O T L E O N G R E E K T R A G E D Y
  7. 7. PLOT A R I S T O T L E ’ S S T O R Y E L E M E N T S CHARACTER THOUGHT DICTION SONG SPECTACLE
  8. 8. PLOT A R I S T O T L E ’ S S T O R Y E L E M E N T S CHARACTER THEME DICTION RHYTHM SPECTACLE (THOUGHT) (SONG)
  9. 9. LET’S DIVE T I M E F O R T H E D E T A I L S
  10. 10. T H E C O R E PLOT
  11. 11. A R I S T O T L E “PLOT IS THE SOUL OF A TRAGEDY (..) IT’S OF THE ESSENCE THAT A PLOT ARROUSES EMOTION IN THE PSYCHE OF THE AUDIENCE.”
  12. 12. 2 0 0 1 : A S P A C E O D Y S S E Y
  13. 13. T H E C L A S S I C L O V E S T O R Y
  14. 14. William "Will" Thacker owns an independent bookshop in Notting Hill that specialises in travel writing. He has been coping with divorce after his wife left him for a man who looked exactly like Harrison Ford. He shares his house with an uninhibited Welsh eccentric named Spike. Thacker encounters Hollywood star actress Anna Scott when she enters his shop to buy a book. Minutes later, the pair collide in the street, causing Will to spill his orange juice on both of them. He offers his house across the road for Anna to change. She accepts and, having changed, surprises Will with a kiss which starts their mutual attraction. Days later, Will asks Spike if he has any messages. Spike has trouble writing or remembering messages but does recall "some American girl called Anna" who mentioned a "completely different name". Anna is at the Ritz, under the name "Flintstone", and has asked Will to visit. Will is allowed in, but her room has now become the centre for a press day and he is mistaken for a journalist. (In panic he claims he works for Horse & Hound.) He has to interview all the cast of Anna's new film Helix, even though he has not seen it. Will's sister Honey (Emma Chambers) is about THE PLOT OF NOTTING HILL H T T P : / / W I K I P E D I A . C O M
  15. 15. H T T P : / / M A R G O B E R E N D S E N . B L O G S P O T . C O M / 2 0 1 1 / 0 2 / L O V E - S T O R Y - P L O T S - O R - 1 3 - W A Y S - T O - M E S S . H T M L LOVE STORY PLOT STRUCTURE FORBIDDEN LOVE LOVE TRIANGLE SECRET LOVE ONE-SIDED LOVE LOVE FORSAKEN HAPPILY-EVER-AFTER LOVE YOU’RE THE LAST PERSON I LOVE.. LOVE TORN APART IN LOVE WITH WRONG PERSON RELUCTANT LOVE RE-DISCOVERED LOVE PLATONIC LOVE OUT-OF-CONTEXT LOVE
  16. 16. Two people who would normally never meet suddenly bump into each other. Through a series of events they fall in love. But they come across several obstacles before they get a relationship. Fortunately just before the end things go right and they live happily ever after. THE PLOT OF NOTTING HILL
  17. 17. 9 2 9 2 . N L Eric is going to travel to his new girlfriend, but he is a bit uncertain about the best route to take. And than he meets 9292, the Dutch public transport expert. 9292 asks Eric a series of questions and within seconds gives him an appropriate and correct answer. Eric is so happy with the information that from now on he’ll always first ask 9292 what to do. They become friends. 9292’S PLOT
  18. 18. P L O T I S … PRODUCT GOALS + USER NEEDS
  19. 19. C H A R A C T E R T H E M E P L O T
  20. 20. T H E C H A L K O U T L I N E CHARACTER
  21. 21. A R I S T O T L E “THE MOST BEAUTIFUL COLORS.. WILL NOT GIVE AS MUCH PLEASURE AS THE CHALK OUTLINE OF A PORTRAIT.”
  22. 22. G R E E K T R A G E D Y
  23. 23. PRIMARY & SECONDARY “HEROES OF THE STORY WHOSE ACTIONS DETERMINE THE PLOT OF THE STORY.” “SUPPORTING ROLES PROVIDE THE MAIN CHARACTERS WITH INFORMATION, MATERIAL, GOODS, SERVICES OR WHATEVER IS NEEDED IN ORDER TO ADVANCE THE PLOT.” W W W . N A R R A T I . C O M / N A R R A T O L O G Y / C H A R A C T E R S . H T M
  24. 24. PRIMARY & SECONDARY
  25. 25. PRIMARY & SECONDARY F L I C K R . C O M / P H O T O S / C A N N E D T U N A
  26. 26. 9 2 9 2 . N L PRIMARY & SECONDARY - KIDS - ELDERLY PEOPLE - VISUALLY IMPAIRED - CAR DRIVERS - BOOK LOVERS RED BULL - GOVERNMENT - IKEA - BBC -
  27. 27. 9 2 9 2 . N L PRIMARY & SECONDARY - PUBLIC TRANSPORT USERS - VISUALLY IMPAIRED 9292 -
  28. 28. C H A R A C T E R I S … USERS + BRAND
  29. 29. T H E S E T O F L O C A T I O N S THEME
  30. 30. N A R R A T I . C O M “THEME REFERS TO THE SET OF LOCATIONS WHERE THE STORY TAKES PLACE AS WELL AS HISTORY, GEOGRAPHY AND LAWS OF NATURE
  31. 31. N O T T I N G H I L L
  32. 32. P E A R L H A R B O R
  33. 33. B R O K E B A C K M O U N T A I N
  34. 34. S T A R W A R S V : T H E E M P I R E S T R I K E S B A C K
  35. 35. 9 2 9 2 . N L
  36. 36. SLOGAN NIKE APPLE MCDONALDS AVIS 9292 JUST DO IT THINK DIFFERENT WE LOVE TO SEE YOU SMILE WE TRY HARDER TRAVELS WITH YOU
  37. 37. T H E M E I S … THE CONCEPT
  38. 38. C H A R A C T E R T H E M E D I C T I O N SPECTACLE RHYTHM P L O T
  39. 39. E X P R E S S I N G M E A N I N G DICTION
  40. 40. N A R R A T I . C O M “THE EXPRESSION OF MEANING IN WORDS”
  41. 41. C A S A B L A N C A
  42. 42. O N E D E A L A D A Y – 1 S A L E A D A Y . C O M
  43. 43. O N E D E A L A D A Y – W O O T . C O M
  44. 44. W H I T E H O U S E . G O V
  45. 45. 9 2 9 2 . N L
  46. 46. D I C T I O N I S … TONE + STYLE
  47. 47. R E C U R R I N G RHYTHM
  48. 48. J A W S
  49. 49. P E T E R S T A H L “MOST INTERACTIONS HAVE AN UNDERLYING RHYTHM. THE BEST SUCH EXPERIENCES INDUCE A STATE OF FLOW DURING WHICH USERS GET INTO SUCH A GROOVE THAT THE MECHANICS OF OPERATING THE PROGRAM DISAPPEAR, ALLOWING USERS TO FOCUS ENTIRELY ON MEANING.”
  50. 50. N I K E . C O M – A L L S U B W O R L D S H A V E T H E S A M E S E T U P
  51. 51. O Z O N . R U – S A M E A S A M A Z O N
  52. 52. 9 2 9 2 . N L – O N E B I G F A M I L Y
  53. 53. R H Y T H M I S … USABILITY + PATTERNS
  54. 54. E N T I C I N G A N D S U P E R F I C I A L SPECTACLE
  55. 55. J O N A T H A N C R A R Y “SPECTACLE IMPLIES AN ORGANIZATION OF APPEARANCES THAT ARE SIMULTANEOUSLY ENTICING, DECEPTIVE AND SUPERFICIAL.”
  56. 56. A V A T A R – A L O T O F V I S U A L S P E C T A C L E
  57. 57. N E W Z E A L A N D . C O M – T O O M U C H S P E C T A C L E
  58. 58. N E W Z E A L A N D . C O M – T H E R E D E S I G N
  59. 59. S P E C T A C L E I S … GRAPHIC DESIGN + UI EFFECTS
  60. 60. P L O T C H A R A C T E R T H E M E D I C T I O N SPECTACLE RHYTHM
  61. 61. S T R A T E G I C T A C T I C A L O P E R A T I O N A L
  62. 62. THANK YOU! E - M A I L J E R O E N @ O A K A N D M O R R O W . C O M T W I T T E R @ J E R O E N V A N G E E L W O R K W W W . O A K A N D M O R R O W . C O M

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