Narrative Understanding Technologies for Intervention Against Cyberbullying

2019 ◽  
pp. 161-177
Author(s):  
Jamie C. Macbeth
Keyword(s):  
Narrative Understanding

scholarly journals Wanneer klop jy jou pyp op jou velskoen uit? Oor stories en kultuurkritiek

2000 ◽  
Vol 56 (4) ◽  
Author(s):  
Ernst Wolff
Keyword(s):  
South Africa ◽  
Frame Of Reference ◽  
Cultural Criticism ◽  
Community Members ◽  
Knock Out ◽  
Narrative Understanding

At what moment do you knock out your pipe on your velskoen? On stories and cultural criticism. This essay proposes a frame of reference in which the culture critical introspection of a community can be understood. A critical exposition of elements of the philosophies of Jeismann, Kuhn, Gadamer and Lyotard is developed with reference to their value for a narratological perspective. The author proposes a narrative understanding of a community and its members, their documents and the relation between community, members and documents. Two elements in relaion to which stories of any community in South Africa could be read - racism and nationalism - are also examined.

Pathologies in Narrative Structures

2007 ◽  
Vol 60 ◽  
pp. 203-224 ◽  
Author(s):  
Shaun Gallagher
Keyword(s):  
Developmental Process ◽  
Narrative Discourse ◽  
Wide Sense ◽  
Evolutionary Account ◽  
Narrative Structures ◽  
Self Reports ◽  
Narrative Practice ◽  
Plot Structure ◽  
Narrative Framework ◽  
Narrative Understanding

Per Aage Brandt, commenting on a passage from Merlin Donald, suggests that there is ‘a narrative aesthetics built into our mind.’ In Donald, one can find an evolutionary account of this narrative aesthetics. If there is something like an innate narrative disposition, it is also surely the case that there is a process of development involved in narrative practice. In this paper I will assume something closer to the developmental account provided by Jerome Bruner in various works, and Dan Hutto's account of how we learn narrative practices, and I'll refer to this narrative aesthetics as a narrative competency that we come to have through a developmental process. I will take narrative in a wide sense, to include oral and written communications and self-reports on experience. In this regard narrative is more basic than story, and not necessarily characterized by the formal plot structure of a story. A story may be told in many different ways, but always via narrative discourse. Also, having narrative competency includes not just abilities for understanding narratives, but also for narrative understanding, which allows us to form narratives about things, events and other people. To be capable of narrative understanding means to be capable of seeing events in a narrative framework.

Pathologies in Narrative Structures

2007 ◽  
Vol 60 ◽  
pp. 203-224 ◽  
Author(s):  
Shaun Gallagher
Keyword(s):  
Developmental Process ◽  
Narrative Discourse ◽  
Wide Sense ◽  
Evolutionary Account ◽  
Narrative Structures ◽  
Self Reports ◽  
Narrative Practice ◽  
Plot Structure ◽  
Narrative Framework ◽  
Narrative Understanding

Per Aage Brandt, commenting on a passage from Merlin Donald, suggests that there is ‘a narrative aesthetics built into our mind.’ In Donald, one can find an evolutionary account of this narrative aesthetics. If there is something like an innate narrative disposition, it is also surely the case that there is a process of development involved in narrative practice. In this paper I will assume something closer to the developmental account provided by Jerome Bruner in various works, and Dan Hutto's account of how we learn narrative practices, and I'll refer to this narrative aesthetics as a narrative competency that we come to have through a developmental process. I will take narrative in a wide sense, to include oral and written communications and self-reports on experience. In this regard narrative is more basic than story, and not necessarily characterized by the formal plot structure of a story. A story may be told in many different ways, but always via narrative discourse. Also, having narrative competency includes not just abilities for understanding narratives, but also for narrative understanding, which allows us to form narratives about things, events and other people. To be capable of narrative understanding means to be capable of seeing events in a narrative framework.

RENDERING AESTHETIC IMPRESSIONS OF TEXT IN COLOR SPACE

2006 ◽  
Vol 15 (04) ◽  
pp. 515-550 ◽  
Author(s):  
HUGO LIU ◽  
PATTIE MAES
Keyword(s):  
Twentieth Century ◽  
Computer Program ◽  
Computational Model ◽  
Abstract Expressionism ◽  
Color Space ◽  
Early Twentieth Century ◽  
Song Lyrics ◽  
Psychological Functions ◽  
The Aesthetic ◽  
Narrative Understanding

What is an artwork and how could a machine become artist? This paper addresses the provocative question by theorizing a computational model of aesthetics and implementing the Aesthetiscope—a computer program that portrays aesthetic impressions of text and renders an abstract color grid artwork reminiscent of early twentieth century abstract expressionism. Following Dewey's psychological interpretation of "aesthetic" and Jung's ontology of fundamental psychological functions, we theorize that a viewer finds an artwork moving and satisfying because it seduces her into rich evocations of thoughts, sensations, intuitions, and feelings. The Aesthetiscope embodies this theory and aims to generate color grids paired with inspiration texts (a word, a poem, or song lyrics), which can be received as aesthetic and artistic by a viewer. The paper describes five Jungian aesthetic readers which are together capable of creative narrative understanding, and three color-logics that employ psycho-semantic principles to render the aesthetic readings in color space. Evaluations of the Aesthetiscope revealed that the program is best at portraying intuition and feeling, and that overall, the Aesthetiscope is capable of creating the aesthetic of art based on an inspiration text in a non-arbitrary way.

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