Toronto Metropolitan University Open Journals
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Entangled Realities in Interactive Interfaces: Navigating Ethical Complexities in Refugee Forensic Narratives
No full textThis paper critically examines the concept of \u27entanglements\u27 in digital storytelling, particularly in refugee narratives, where the intricate interplay between digital technologies, audience participation, and narrative structures presents unique ethical complexities. In an era where digital media—from social platforms to virtual reality—has transformed traditional storytelling, this research explores the impact of these interconnected elements on the portrayal and audience engagement with real-life characters, specifically refugees.
The study examines the multifaceted relationships inherent in digital storytelling, probing into the ethical challenges and responsibilities arising when digital narratives entwine refugee experiences. It addresses how storytellers balance creative freedom with respectful representation and the ethical dilemmas encountered in formats like interactive films and ARGs that involve real experiences and identities.
Central to this investigation is the participatory authorship, as Sandra Gaudenzi and Kate Nash discussed, and its implications in refugee storytelling. This research examines how online communities and interactors contribute to narrative entanglements, potentially democratizing storytelling while risking misrepresentation and ethical breaches. However, the interactive format also has its limitations. Unlike traditional documentaries with a more standardized and widely recognized format, i-docs can be less familiar to audiences and may require more effort to access and engage with. This can limit their reach and impact, especially if they are not widely promoted or integrated into mainstream programming. As a result, there is a need for more awareness and education about the i-doc format and its potential for storytelling and greater investment in their production and distribution. By doing so, we can unlock the full potential of this innovative and powerful medium and provide a platform for marginalized communities to tell and share their stories in their own voices.
The analysis will focus on projects, such as Pushbacks Across the Evros (2013-present) and Liquid Traces (2017) from the interdisciplinary research agency Forensic Architecture, based at Goldsmiths, University of London. The agency established a ground-breaking initiative that employs cutting-edge techniques to expose human rights violations and promote social justice.
Also, the role of immersive technologies like VR and AR in storytelling ethics. The paper questions whether these technologies enhance or complicate ethical storytelling, especially in refugee narratives. It posits that while such technologies provide new immersive dimensions, they introduce narrative integrity and ethical portrayal challenges.
This paper examines a nuanced perspective on digital narrative entanglements. It argues that digital media\u27s capacity for innovative storytelling is accompanied by complex ethical challenges, especially when involving real characters like refugees. These entanglements demand a refined approach to storytelling that respects the complexities of refugee experiences, promoting ethical representation and audience engagement.
By integrating critical analysis of contemporary scholarly viewpoints, the paper aims to understand comprehensively how digital media reshapes storytelling. It emphasizes the need for a balanced approach that fosters innovation and participation while upholding ethical standards in narrative creation and consumption, especially in refugee narratives. The study underscores the importance of enhancing media literacy to empower audiences and participants to navigate and interpret these entangled realities critically, fostering a more inclusive and ethically responsible narrative landscape
A 360-Filmmaking Approach for Participatory Dissemination: Santa Lucia di Mendola as a Case Study
No full textOur project is based on an interdisciplinary research approach (including, museology, archeology, history, filmmaking and digital technologies and digital humanities) and involves a variety of local organisations, including museums, public institutions, and cultural players. It looks at possible solutions, including technological, that archeological sites and museums might implement to be more accessible and inclusive. In particular, this research, which is based on a collaboration between museums and universities (University of Catania, Italy and the Technological University of the Shannon, Ireland), focuses on the case study of Santa Lucia di Mendola, Sicily, Italy and uses digital technologies and communicative techniques, such as the 360 degrees documentary filmmaking and VR, to increase the artistic value and impact of the cultural heritage.
These multidisciplinary activities aim at educating the general public to navigate and understand cultural heritage through emotional and immersive involvement, hence surpassing any physical and virtual barrier. This research work operates within the museum store areas, solving the issue of unexposed material and providing new details to complex stories; this cutting-edge approach offers new alternatives in terms of preservation, valorisation and inclusive communication.
In terms of visual communication and storytelling, the methodological approach adopted for this project consists of 3 environments, with the aim of displaying both visible and invisible fragments in one platform: 1. Aerial view 2. 360 Journey of the site 3. VR model of the Basilica in the museum space. Our prototype (currently under development) will allow users to navigate 3 distinct and, at the same time, organic spaces through a journey of discovery of the fragments (all positioned, virtually, on site), of the basilica and of the site itself. Fragments will tell stories and bring the history of the site of Santa Lucia di Mendola back to life. This immersive experience not only enhances engagement but also provides a deep and tangible understanding of history. Furthermore, besides making all these fragments visible and available to a wider public through reconstruction, visualisation and storytelling, this immersive prototype project aims to preserve an archaeological site, enhance learning and increase public engagement.
We believe that the use of new exhibition techniques, built through the development of 360 documentaries and immersive/interactive platforms, increases the artistic value of the local cultural heritage which is the product of a process of accumulation and stratification that evolves with generations.
These activities born from multidisciplinary collaborations aim at heritage education, aim to involve the emotional sphere of all potential users by breaking down physical and virtual barriers. Furthermore, besides solving the problem of missing exhibition elements (often due to lack of exhibition space in physical museums) and bringing to light pieces of complex stories; this new methodological approach proposes new hypotheses of protection, preservation, valorisation and inclusive disclosure
A Bridge to Diversity in Nutrition Training: Insights from a Pilot Research Program for Undergraduates
No full textData from the Academy of Nutrition and Dietetics indicates little diversity amongst registered dietitians and students training in nutrition currently and historically. The new national strategy and federal agency priorities recommend diversification of the nutrition workforce as a means of strengthening the practice to meet the needs of a more diverse nation – necessary to address disparities in nutrition and nutrition-related diseases. Importantly, innovation in research results from teams that are diverse, reinforcing the necessity of diversity in the nutrition workforce. We conducted Bridging the Gap 2, an intensive nutrition research program, to recruit undergraduates from groups underrepresented in nutrition and higher education. The 10-week program provided hands-on research experience with faculty mentors, professional development, and exposure to different areas of nutrition and food-related careers. Participants received a complimentary meal plan and housing on the campus of a 4-year university. The pilot cohort (n=6) included mostly women and half identified as Hispanic/Latino. Exit survey data indicated that the majority were somewhat or extremely satisfied with the program. Qualitative responses highlighted areas for improvement including support for transportation costs, a desire for more nutrition education, and more structured daily research activities. At the conclusion of the program 50% of students who were not nutrition majors initially, indicated that they will switch to the major. The pilot nutrition research program generated positive results that indicate the ability of targeted programming to engage those underrepresented in or not studying nutrition and may be important to diversify the nutrition workforce
Turning Points in Time: Reviewing the Past to Understand Modern Issues that Influence Social Determinants of Health for LGBTQ+ People in India
No full textLGBTQ+ (lesbian, gay, bisexual, trans, queer, and other gender and sexually diverse) people have had a complex and rich history in India. Considering the influences of early Hindu teachings, the British East India Company, and the impacts of modern-day legislation, we trace some of the major knowledge, understandings, and events that have continuously reshaped the way LGBTQ+ people live in India. Our review of these key ’turning points’ in India can provide critical insights on the discrimination and stigma that is faced by many LGBTQ+ people in India. Discrimination can influence many aspects of health, including access to sufficient, safe, and nutritional foods. Understanding the roots of societal bias and stigma experienced by LGBTQ+ individuals in India is the first step in instituting policy changes that can address their health and food security needs. Insights from this work can also inspire future research focusing on the historical contexts of other cultures where LGBTQ+ people experience discrimination
Ink and Iron: Illustrating a Journey Towards Self-Acceptance in a Sculpted World
No full textThis work presents a personal reflection on the representation of the bodies of gay men through the mixing of visual and written reflections. Four distinct visual archetypes: Yaoi, Bara, Male Pin-Up, and Muscle Queen are represented in the artwork. Each of these archetypes serves as a cultural lens through which the physicality and identity of gay men are both viewed and constructed. Yaoi artwork is often characterized by slender “beautiful boys.” Bara contrasts sharply with Yaoi, presenting burly and often overtly muscular forms that celebrate a different gay masculinity, one grounded in strength and robust physical presence. The Male Pin-Up, with its roots in classic Americana, captures the idealized male form, exuding a timeless charm and eroticism that transcends the everyday. Then, the Muscle Queen, a colloquial term for gay men who engage in body-building activities to attract others. Through the lens of these archetypes and creative writing, the reader can reflect on the social and cultural constructions of bodies
Syrian refugee families’ experiences of pregnancy loss services in Lebanon: A Qualitative study
No full textIntroduction: Of the approximately 1.5 million government-reported Syrian refugees displaced in Lebanon, one in four women are of childbearing age (Cherri et al., 2017; Nabolsi et al., 2020). Pregnancy loss among childbearing women is more prevalent in low-resource settings (Harakow et al., 2021; The Lancet, 2016). This qualitative research study explores Syrian refugee families’ experiences of pregnancy loss in Lebanon considering the scarcity of health services, specifically those addressing pregnancy loss in displacement settings. Methods: An interpretive phenomenological approach was used to illuminate the experiences of pregnancy loss among 15 Syrian refugee families living in the Bekaa region. Each mother-father dyad participated in a joint interview followed by an individual interview. Two peer group discussions were held with mothers (n=8) and fathers (n=7). The viewpoints of health practitioners were elicited through one-on-one interviews (n=3) and four peer group discussions (n=10). Results: Dedicated services following pregnancy loss are lacking. Both parents and practitioners emphasized the predominantly medical focus of care for women during the perinatal period. In the wake of pregnancy loss, parents expressed a general lack of awareness of available health services while health practitioners prioritized the provision of awareness sessions (as a form of pregnancy loss prevention). Both parents and health practitioners endorsed a need for psychological supports. Health providers also identified the need to engage fathers more in perinatal services, while parents spoke intensely of the need for practical support that addressed their precarious living conditions. Conclusions: By highlighting the overlap and differing service priorities of parents and practitioners this research suggests critical areas of change for the delivery and reception of services following pregnancy loss. While responding to refugee families’ extreme poverty and precarity should be at the forefront of service utility, increasing the responsiveness and relevancy of practice and policy that frame the experience of pregnancy loss among refugee families is equally vital.
MEL 23.55: ImaginAItion
No full textCity films or city symphonies have been at the forefront for exploring and combing aesthetic, film process and storytelling, thus a great case for AI experimentation. With the emergence of AI digital content production applications (or Generative Artificial Intelligence - G.A.I.) such as image-based creations (Midjourney, Adobe Firefly) new opportunities for experimental filmmaking and screen production surface. The creative treatment of actuality requires a rethinking as we are now working with artificial or data source material and no longer recorded actualities.
MEL 23:55 is an Experiment in AI image generation using Adobe Firefly and Midjourney for the visuals, which are in turn synched with AI audioscape produced with Melobytes.
The research objectives was to explore the creative process when using GAI for city film production. An interesting observation is that Google image search does not recognise AI images locations. The city of Melbourne is referenced as being in Germany, Belgium or is referenced as Perth.
The theoretical framework is underpinned by an examination of the city symphony phenomenon (Kinik, Hielscher and Jacobs 2018) and leveraging a recent formation of computational non-fiction. The city film is a documentary genre, that is also referred to as a city symphony while, also being described as a phenomenon (Jacobs, Hielscher and Kinik 2018). As a documentary format it facilitates exploration of cinematic language, visual grammar and non-fiction storytelling. There are numerous key-works across the 20th and 21st century, ranging from the Man With a Movie Camera Человек с кино-аппаратом (Chelovek s kino-apparatom) to Koyaanisqatsi. These city films are described as film events, cinematic experiences and experiments in cinematic communication. For Vertov the camera eye had mechanical augmentation; “I am kino-eye, I am mechanical eye. I, a machine shows you the world as only I can see it” (Vertov in Michelson 1984, 15). Reggio described his film experience as “until now, you’re never really seen the world you live in” (Reggio 1982).
Could we prose an AI eye, and explore a computational vision of the world?
City films or city symphonies have been at the forefront for exploring and combing aesthetic, film process and storytelling, thus a great case for AI experimentation. 21th century logic of documentary and explore emerging computational nonfiction (Miles 2017) formations. Recent literature proposes that non-human systems can become participative agents in the documentary production (Zimmerman 2017 and 2019, Cizek and Uricchio 2022, Kapur and Ansari 2022 among others)
The research applies a Creative Practice Research approach (Batty and Kerrigan 2019, MCNamara 2012, Kerrigan and Callaghan 2016). Schleser has had an interest in the city film since his 2008 mobile feature film Max with a Keitai and is experimenting with AI, as an accessible production tool, in the making of a city film. Schleser has worked in alternative documentary traditions by combining Kinoks (Vertov in Michelson 1984), Cinéma Vertié and smartphone filmmaking approaches (Schleser 2021) and hopes to leverage this research approach into the GAI domain
Aesthetic Influence, Narrative Structures, and Interactors\u27 Agency in Social Media Self-Presentation
No full textThe widespread accessibility and prevalence of digital retouching tools have detached selfies from their original purpose of authentic self-expression within specific social groups. Instead, self-presentation on digital platforms like TikTok, Instagram, etc., has evolved into a strategic tool for building and maintaining social relationships, garnering acceptance through shared recognition of identity, and, in some instances, sustaining livelihoods. This study explores the intricate relationship between contemporary social media users and how they curate self-images and identities through specific digital platforms. While under the context of neoliberalism, posting selfies ostensibly offers an opportunity for authentic self-expression, my investigation reveals a nuanced interplay influenced by external forces, particularly the beauty and advertising industries. Contrary to the appearance of natural self-presentation, these industries emerge as influential drivers, shaping women\u27s self-presentation on social media. Motivated by societal expectations, individuals in the digital world present a meticulously "designed" self, often at odds with their authentic selves.
Drawing on a comprehensive theoretical framework informed by the works of Erving Goffman, Guy Debord, and Michel Foucault, my study addresses the inquiry of how the agency of interactors influences the design choices within the foundational structures of interactive digital media, examining how selfies impact the aesthetic of digital creativity and narrative structures. Goffman\u27s insights and Debord\u27s concept of the spectacle in the self-presentation provide a foundational understanding, while Michel Foucault\u27s panopticon theory provides a critical reflection of our exploration of contemporary digital media.
By integrating qualitative content analysis of social media posts, I demonstrate the lived experiences of individuals negotiating self-presentation and their designed selfie choices. By synthesizing these qualitative findings with the theoretical framework, I aim to uncover the complex structure influencing the construction of digital self-identity.
The primary research objectives are to critically analyze the evolving dynamics of self-presentation on social media platforms in the context of neoliberalism and to illustrate the impact of these design choices on digital creativity, narrative structures, and interactors\u27 agency. Grounded in these objectives, my hypothesis is that the underlying structures of interactive digital media significantly shape the form and content of media, influence digital creativity, and impact interactors\u27 narrative structures and agency.
This study seeks to contribute to an understanding of the interplay between photo designing choices in interactive digital media and their profound implications on self-presentation, media forms, digital creativity, narrative structures, and interactors\u27 agency. This study aims to provide a nuanced insight into negotiation visual presenting strategies employed by interactors in the context of neoliberalism in digital communication
Choice, Chance and the Database: Transforming Narrative Structures through Combinatory and Generative Cinema
No full text In works such as Toxcity: A Climate Change Narrative (Coover and Rettberg, 2016), Penelope (Coover and Rettberg, 2019), The Floods (Coover, Vidiksis and Montfort,2021) and Water On The Pier (Coover, Vidiksis and Montfort,2021), algorithms drive the cinematic montage to continually alter how images, sounds and language combine to create imaginaries and suggest narrative arcs. These code-driven, combinatory and generative films ask viewers to make build meaning out of fragments that are combined by forces beyond human control (Ulrik and Pold, 2018). This structural condition also serves as a metaphor of challenges faced in confronting hyper objects (Morton 2013) like global warming and mass extinction, whose forces and narrative trajectories can seem similarly beyond human agency. The methods produce stories that unfold in multiple directions to reveal ambiguities, entanglements, and correspondences. (Manovich 2013, Coover, 2019) Through acts of naming and narrativization, the multimodal approach builds meaning in the gaps and sutures that draw disparate elements together. The paper considers implications for agency, collectivity, and resilience.
In Toxicity: A Climate Change Narrative, which is a code-driven feature designed for wide screen cinema or three projection instation, combinatory systems continually mix sound, image, text and other data to create cohesive but ever-changing stories. Language and montage express ways of responding to conditions of flux while bridging fact and fiction. Stories about six characters living in a near future shaped by climate change co-exist with nonfiction accounts of climate-related deaths at the time of Hurricane Sandy. In Penelope, which is design for single monitor installation and viewing, ancient narratives are restructured in relation to contemporary concerns of migration and extinction; using a similar combinatory structure to that of Raymond Queneau\u27s Cent mille milliards de poèmes (Queneau 1961), the computer-code-driven combinatory film can produce millions of variations of a sonnet that weaves and then unweaves itself to reveal patterns of meaning in response to forces beyond one\u27s control. Meaning is built through algorithmic montage, generative poetry and combinatory musical composition. The Floods, which is designed for large scale immersion and installation, uses a machine-based system that combines combinatory and generative methods. Conditions of sea-level rises are expressed as a flow and flux mixing cultural signs, stories, and fields of inquiry into layered experiences that defy any single interpretation or narrative. Water On The Pier is a work for site-specific installation that combines large scale projection, VR and locative media. In this work live climate data, including signals from hydrophones placed in tidal waters, continually alter the cinematic experience; the public uses locative film tools to interact with these unpredictable elements.
The talk will consider how such systems disrupt narrative expectations and offer conditions in which signs can take on multiple, or even contradictory, significances. The models expand discourse on relationships between digital imaginaries and embodied experiences. (Hayles 1999, Hansen 2006) The talk suggests how such models may transform creative approaches to enduring narrative challenges and urgent contemporary conditions
Sounding a Clearing: Social and Collective Listening Otherwise
No full textRecognizing processes of sonic marginalization, contemporary sound scholars increasingly orient their work towards an awareness of historical contexts and theoretical frameworks that emphasize diversity, intercultural understandings, and the multiple intersecting relationships of power in sound studies, media studies, and related areas. As evidenced in recent calls to remap and decolonize the field through alternative listening approaches – such as “fugitive listening” (Brooks 2020), “border listening” (Cárdenas 2020), “critical listening positionality” (Robinson 2020), and “abolitionary listening” (Arthur et. al. 2021) – it is imperative to consider the ways in which listening heals as well as harms, attunes as well as captures, thereby requiring substantial critical and creative inquiry. Using a case study approach, auto-ethnography, and interviews, this paper turns to a multi-media exhibition at Gallery TPW in Toronto to examine divergent, collective, and alternative listening practices that open up other worlds already out there by attuning to forgotten histories and aural experimentations, forging what I can “otherwise social relations” through intimate encounters with sound and its wider historical and political entanglements.
Curated by Toleen Touq, the exhibition Another World That Sounds Like You (2023) features sound-based works by artists Bani Abidi, Nick Dourado, JJJJJerome Ellis, Urok Shirhan, and Hong-Kai Wang. This multi-faceted show centres the relationship of sound to various global social, political, and cultural movements, and invites audiences to participate in an act of slow, careful, communal engagement within a space designed to resemble a living room with several rugs and low comfortable seating, nurturing warm and participatory forms of connection. The listening practices and affective experiences that the exhibition stages are established through a confluence of mechanisms – the material affordances and implications embedded within the installation design, which are tied to the show\u27s conceptualization, and the selection of an international range of artworks that endeavors to cross boundaries and borders. When taken together, as in the case in Another World That Sounds Like You, these components enlist the visitor in a web of relations that is equal parts complex, meditative, and shared. I ultimately argue that the sonic, when distributed across otherwise relational modes, enunciates alternative enactments of sociality and collectivity through methods of intimacy, opacity, and fugitivity