Christiane Holzheid

fragmented storytelling

In RESEARCH QUESTIONS on September 26, 2008 at 12:31 am

Something new to think about, which really excites me:

Telling stories and allowing people to alter / play / individualize these stories = every person walks home with a different story / experience.

Maybe my whole search is not about objects but rather about

GESTURE / PSYCHOLOGY / MATERIALITY / TACTILITY – which might end up in some kind of object…

maybe it is about DREAMS ,not the dream where you wake up all sweaty in the morning, but rather your personal dream of the impossible – the magical – the bizarre – super natural powers -giving you this special kind of feeling, power, thrill – that brings something unexpected. (maybe by taping into peoples dreams one could evoke some kind of narrative and imagination)

but not in a cheesy way  – the words that come to mind are – charming / humble / playful.

fragment / fragmented / fragmenting

reduced to fragments
– existing or functioning as though broken into separate parts; disorganized; disunified: a fragmented personality; a fragmented society

– A small part broken off or detached.

– An incomplete or isolated portion; a bit: overheard fragments of their conversation; extant fragments of an old manuscript.

– To break or separate (something) into fragments.

– To become broken into fragments: After the election, the coalition fragmented.

Just came across this workshop, whatever this mean and they are doing but I like the description:

“Describes four storytelling activities which help students learn a skill and develop their personalities: (1) guided imagery, (2) fragmented storytelling, (3) creative dynamics, and (4) drawing. All techniques appeal to the students’ emotional and imaginative potential, evoking a highly emotional and affective response, thus overcoming students’ silence and boredom. (Author/PJM)”

another article:

Confusing story telling with narrative

An interesting article I found by  |
http://www.cognitive-edge.com/2007/06/confusing_story_telling_with_n.php
“In effect this is a form of story-telling within the tradition of scenario planning. If people tell a story, they construct a sequential account of history or a hypothesis about the future, they tell a story. They will start to own that story, it will represent their perspective on what is happening, it will be fundamentally influenced by their hopes and fears and the cultural patterns of the people they live and work with. The group is likely to norm their response to the story even when asked to challenge it, any challenge is limited. Its a known problem with Devils Advocates and Blue/Red teaming. The challenge takes place within the range of what is considered possible to the participants in the process. The more complete the stories, the more it is context bound to the limits of their imagination. Such approaches also entail massive cognitive bias, the patterns of past experience of the participants will determine the way in which they construct the scenario. Giving them libraries of material to place in the story is even more scary as it restricts what they use again. This type of approach came from the attempt”

Behavioral Storytelling Theory

David M. Boje
New Mexico State University
December 24 2005; last revision December 28 2005
http://cbae.nmsu.edu/~dboje/690/behavioral_storytelling.htm
Behavioral Storytelling Theory is a revolution in storytelling organization concepts, methods, and practice. Behavioral Storytelling focuses on the behaviors of storytellers, and how they consummate stories, as well as collective memory (Boje, 1991). A behavioral approach to storytelling is not about folkloristic or narrativist collections of story-objects, like butterflies pinned in an album. The focus is on studying in situ story behaviors, patterns of intertextual storying and counter-storying intertwined with organizational storytelling complexity. The thesis is it is time for story to be released from narrative and folklore’s prison. For example, our living-stories intersect in our class meetings with expected petrified narratives of what ought to go on in a graduate seminar, with institutional demands about what to do and say, and how we record it for the files and transcripts. There is an epic serial, an epic-story. Yet there is no whole story, only an interplay of our living-stories which are not wholes either.”

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