WNR.sg - Sharing Memories of the Family Lives : The Power of the Personalwnradmin
Sharing Memories of the Family Lives : The Power of the Personal
By Ms Sarah Finney
Research Communications Officer from School of Sociology and Social Policy
University of Leeds
2016 Fan Studies conference paper on Three Stages of FandomLiza Potts
Outside of the Royal Hospital of St Bartholomew in London, fans of the television show Sherlock have left notes and messages behind--but for whom? On the walls, on the windows, and on a nearby telephone box, fans have left notes, musings, art, and hashtags.
Over the course of several years, fan participation has moved through three distinct phases. First, this participation was aimed squarely at content producers; namely, these fans spoke
directly to Steven Moffat and Mark Gattis in their writings and art, asking that the producers alter the show and respond to the fans. The second stage of these writings revolved around fans acknowledging each other as a community, leaving behind tumblr
links, hashtags, and responses as if asking to connect with each other. The third stage of participation relied heavily on fan fiction, with many of the notes discussing shipping (Johnlock), crossovers (Wholock), and sketches of fan art.
In effect, St. Bart’s has become a place where fans have created a space of participatory memory for themselves and their Sherlock fandom. Observing and analyzing their work over the past several years has made these three stages visible. For while the space is not sanctioned by the government or the producers of Sherlock, it has become an area where fans have agency to congregate, write, and respond.
At locations across the globe, people are creating impromptu spaces to memorialize and celebrate events. From the peace walls of Belfast to the memorials left after 9/11 in New York City, participants are writing on walls, leaving notes, and placing mementos on chain-link fences. While these spaces are outside of any officially sanctioned monument, they serve as a way for people to participate in memory-making activities.
Paris is a city where memory-making takes places in public cemeteries (in particular, at the grave sites of Jim Morrison and Oscar Wilde, which are literally covered in mementos) and on bridges (where lovers cover the chain-link fences with locks engraved with their names), the location where Princess Diana's fatal car crash occurred is of particular interest because of its international participation and resilience. While the immediate, overwhelming sense of mourning in 1997 was enormous, there are still participants who make pilgrimages to the site and participate in the space today, inscribing the space with writings in various languages, colors, and textures. Composing on the concrete slabs that surround the bridge above the tunnel where the crash occurred, these participants write of her loss, their shared grief, and their recovery. Examining this space in particular, we can discuss the writings of these participants, the spaces they inhabit, and the need for preserving and curating their participation.
WNR.sg - Sharing Memories of the Family Lives : The Power of the Personalwnradmin
Sharing Memories of the Family Lives : The Power of the Personal
By Ms Sarah Finney
Research Communications Officer from School of Sociology and Social Policy
University of Leeds
2016 Fan Studies conference paper on Three Stages of FandomLiza Potts
Outside of the Royal Hospital of St Bartholomew in London, fans of the television show Sherlock have left notes and messages behind--but for whom? On the walls, on the windows, and on a nearby telephone box, fans have left notes, musings, art, and hashtags.
Over the course of several years, fan participation has moved through three distinct phases. First, this participation was aimed squarely at content producers; namely, these fans spoke
directly to Steven Moffat and Mark Gattis in their writings and art, asking that the producers alter the show and respond to the fans. The second stage of these writings revolved around fans acknowledging each other as a community, leaving behind tumblr
links, hashtags, and responses as if asking to connect with each other. The third stage of participation relied heavily on fan fiction, with many of the notes discussing shipping (Johnlock), crossovers (Wholock), and sketches of fan art.
In effect, St. Bart’s has become a place where fans have created a space of participatory memory for themselves and their Sherlock fandom. Observing and analyzing their work over the past several years has made these three stages visible. For while the space is not sanctioned by the government or the producers of Sherlock, it has become an area where fans have agency to congregate, write, and respond.
At locations across the globe, people are creating impromptu spaces to memorialize and celebrate events. From the peace walls of Belfast to the memorials left after 9/11 in New York City, participants are writing on walls, leaving notes, and placing mementos on chain-link fences. While these spaces are outside of any officially sanctioned monument, they serve as a way for people to participate in memory-making activities.
Paris is a city where memory-making takes places in public cemeteries (in particular, at the grave sites of Jim Morrison and Oscar Wilde, which are literally covered in mementos) and on bridges (where lovers cover the chain-link fences with locks engraved with their names), the location where Princess Diana's fatal car crash occurred is of particular interest because of its international participation and resilience. While the immediate, overwhelming sense of mourning in 1997 was enormous, there are still participants who make pilgrimages to the site and participate in the space today, inscribing the space with writings in various languages, colors, and textures. Composing on the concrete slabs that surround the bridge above the tunnel where the crash occurred, these participants write of her loss, their shared grief, and their recovery. Examining this space in particular, we can discuss the writings of these participants, the spaces they inhabit, and the need for preserving and curating their participation.
The keynote address for the Spring 2012 Midwest Archives Conference meeting. This talk continues and expands on my working definition of "participatory archives," providing examples and talking about the relationship between participation and engagement. (This PDF contains both the slides and explanatory text.)
Keynote speech at the seminar Interpreting Shared Heritage Through Time June 8th 2018 at Suomenlinna world heritage site. Seminar organizers: ICOMOS Finland and the Governing Body of Suomenlinna.
Library Film Education On and Beyond the ScreenRenee Hobbs
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How to Create Social Impact, First-person StoriesTechSoup
On April 4, 2016, Robert Kershaw, the Director of Public Workshops at StoryCenter for an evening on "Nonprofits and Storytelling: How to create social impact, first-person stories". Rob shared lessons and best practices from StoryCenter's methods of group process and story creation and closed with powerful examples of digital short videos.
Webinar - Authentic Storytelling with Greenpeace: A 10 Step Process 09-14-2017 TechSoup
Learn how to create stories of progress and renewal, impact and change. The process of creating stories is as important as the process of presenting that story. Creating a story is an ethical process. It comes from a nonprofit’s heart, mind and passion --- from the body. There are also steps that a nonprofit can take to refine their story. Join Greenpeace’s storytelling expert, Tsering Lama as she guides us through Greenpeace’s 10 Steps Process for Developing a Narrative.
The keynote address for the Spring 2012 Midwest Archives Conference meeting. This talk continues and expands on my working definition of "participatory archives," providing examples and talking about the relationship between participation and engagement. (This PDF contains both the slides and explanatory text.)
Keynote speech at the seminar Interpreting Shared Heritage Through Time June 8th 2018 at Suomenlinna world heritage site. Seminar organizers: ICOMOS Finland and the Governing Body of Suomenlinna.
Library Film Education On and Beyond the ScreenRenee Hobbs
The Media Education Lab shares work on library film education at the Digital Media and Learning Conference, October 6, 2017. Presenters include Pam Steager, Liz Deslauriers, Mary Moen and Renee Hobbs.
How to Create Social Impact, First-person StoriesTechSoup
On April 4, 2016, Robert Kershaw, the Director of Public Workshops at StoryCenter for an evening on "Nonprofits and Storytelling: How to create social impact, first-person stories". Rob shared lessons and best practices from StoryCenter's methods of group process and story creation and closed with powerful examples of digital short videos.
Webinar - Authentic Storytelling with Greenpeace: A 10 Step Process 09-14-2017 TechSoup
Learn how to create stories of progress and renewal, impact and change. The process of creating stories is as important as the process of presenting that story. Creating a story is an ethical process. It comes from a nonprofit’s heart, mind and passion --- from the body. There are also steps that a nonprofit can take to refine their story. Join Greenpeace’s storytelling expert, Tsering Lama as she guides us through Greenpeace’s 10 Steps Process for Developing a Narrative.
These are the slides from the seminar on Race and Membership in American History done collaboratively with Facing History and Ourselves, the San Diego Museum of Man, and the Museum of Photographic Arts.
The media plays an important role in defining who we are, what we desire and what is acceptable (or not) in our reality.
In this talk, we discuss the current state of affairs and discuss how we improve upon it.
This is the actual slides presented at Arizona State University on February 10th, 2014
Telling Your Story to Motivate Donors and Advocates for Your CauseRachel Kubicki
This presentation focuses on the importance of great story telling and also provides step by step instructions for creating your story. Included you will find examples, quotes for inspiration, and more. This is intended for board members, nonprofit executives, fundraisers and volunteers. The goal is to equip you with a strong story that attracts and motivates others to engage with your nonprofit.
Embedding social research insights into your communications and culture CharityComms
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Visit the CharityComms website to view slides from past events, see what events we have coming up and to check out what else we do: www.charitycomms.org.uk
Social media is about free and open conversations online but your organization still needs to have a plan of action. Take hold of your communications plan and start afresh. This 2.5 hour workshop is for organizations that dipped (or maybe dove headfirst) into social media, but are now wondering what the next steps are and how they can make their social media investment more focused and worthwhile.
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- Knowledge of how social media is changing the way nonprofits operate and what it means to be a networked nonprofit
- Tips on how to determine which social networks your organization's key audiences are using and how to create a social media strategy
- Information on receiving buy-in from staff, management, and boards
We walk around everyday with pre-existing stories that act as filters to what we read, see, hear and smell. We use what we know to make sense of a thing and pass a judgement on whether or not it fits within the narrative we choose to believe. We seek meaning, and much of that meaning is based on what we already know and accept to be true. In this session, participants will learn to use story-based strategy in their organizational analysis to think through and develop appropriate messages that will ring with their audiences. Story-based strategy & analysis helps us understand and more effectively frame narratives that are acceptable and believable to them. It also helps us think about how to challenge and contest narratives that work against our own strategies. This is an introduction to my course on this subject.
Everyone is looking for the next Tweet heard round the world, magical meme or have-to-have hashtag, but every communication begins simply—with a story. Everyone has a story. Communities come together around shared stories. In this session, Christian Clarke Cásarez from the Austin Independent School District examined how nonprofits are using strategic storytelling to build their communities. She reviewed practical tips to help strengthen your own storytelling through meaningful messages that inform and inspire your communities.
Supporting people with lived experience to tell their own stories | The power...CharityComms
Jude Habib, founder, sounddelivery and Darren Murinas, chief executive , Expert Citizens CIC
Visit the CharityComms website to view slides from past events, see what events we have coming up and to check out what else we do: www.charitycomms.org.uk
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12. • Proven Methodology for First Time Authorship in New Media
• Focus on Story, Literacy and Self Awareness
• Stories Become Snapshots of Community Life
Why Digital Storytelling?
A Continuum of Practice
• Personal Reflections Emerge From Creating a Safe Environment
• First Person Stories Engage Learners and Foster Awareness
• Social Action Begins with Individual Action Captured in Stories
• Stories Can Shape Policy Development and Implementation
• Assessing Needs, Evaluating Success Through Story
21. Some Current Uses
Of Digital Storytelling
• Creativity and Personal
Voice
• Social Change and Civic
Engagement
• Media Literacy and
Technology Education
• Planning, Portfolio and
Assessment
• Broadcast and Citizen
Media
• Healing and Public Health
• Place and Social Geography
22. When we reveal that we have questions, not
just answers, there is an opening to discovery
for all who listen. When we reveal our
strengths and our vulnerabilities, our fears as
well as our passions, our losses as well as our
successes, the listeners receive the gift of a
more complete picture of the storyteller as well
as themselves. …we are doing what humans
have learned to do….transcending our habits,
understanding that we do not need to justify or
qualify our presence. We need only to be
present to ourselves and to others.
Peter Forbes, Center for Whole Communities
Organizing the Community of
Storyworkers
28. Some Critical
Issues
• Are Digital Stories an art form
ora genre of film?
• How do we continue to shape
others narratives through our
prompts and design
examples?
• Contexts forpublication, and
resources to establish those
contexts?
• How best to approach the
therapeutic dimension of the
facilitation methods
• Others?
29. Fours C’s of Story
• Connection – Moment using dialogue
• Context
• Change – Crisis
• Closure
30. Whole thinking
We go beyond narrow fields of endeavor and
interests to take a greater responsibility for
the whole –and use stories to encourage greater
understanding about interdependence.
Reciprocity of success
We need each other to be successful
address truth and reconciliation about our human a
Fairness
All people, regardless of income, color, gender, neig
Balance
We strive to balance specialization and integration, g
Shared Power
People are engaged as full citizens in the decisions
Stewardship for future generations
The concept of “the commons” – all the creations of
Evaluating our Outcomes
Editor's Notes
My husband and co-founder Joe Lambert suggested that in speaking at a university founded on Buddhist principles that I share a story from the Jataka tales, stories about the early incarnations of Buddha. We have two children, and have read stories to them every night,.
We all understand the power of stories. So let me share this one that I am sure is familiar to many of you.
Once upon a time, the Buddha was born as a fish in a small pond. There were many kinds of fish and turtles, big and small, living in his pond. There came to be a time of severe draught. The crops of men died, and many ponds, dried up.
The fish and turtles dug down and buried themselves in the mud, frantically trying to keep wet. The crows were pleased by all this. They stuck their beaks down into the mud, pulled up the frightened little fish, and feasted on them.
The suffering of the other fish touched Buddha with sadness. He called on the gods to bring the rain, and because he had lived a life of truth and compassion, the gods brought the rain to save the fish. When the Buddha fish eventually died, as would be just, he was re-incarnated.
Digital Storytelling has been used for many purposes. These include: Creativity and Personal Voice
Social Change and Civic Engagement
Media Literacy and Technology Education
Planning, Portfolio and Assessment
Healing and Public Health
Place and Social Geography
Digital Storytelling has been used for many purposes. These include: Creativity and Personal Voice
Social Change and Civic Engagement
Media Literacy and Technology Education
Planning, Portfolio and Assessment
Healing and Public Health
Place and Social Geography
We have done much work in public health, especially assisting people to share stories about traumas, we have an entire site focussed on domestic violence called Silence Speaks.
This work has also taken us to South Africa, where we do ongoing work around HIV/AIDS.
In the last several years, we have also been capturing stories about place, and connecting people through the issues of how they relate to their environment, either in rural contexts or in cities.
Are Digital Stories an art form or a genre of film?
How do we continue to shape others narratives through our prompts and design examples?
Contexts for publication, and resources to establish those contexts?
How best to approach the therapeutic dimension of the facilitation methods
Others?