Posts tagged “stories”

Kiosks, technology, and culture

Yet another article

online pharmacy purchase flomax without prescription with best prices today in the USA

that mocks the introduction of an automated technology. In this case, it’s a self-serve postal kiosk in San Francisco. Several silly examples in the story where people struggle to figure out how to use it, taking longer than the line for a real person, where the machine asks for lots and lots of extra info (since it has no a priori context like a human might), and so on.

Some themes that we now know

  1. Lots and lots of stuff is badly designed
  2. Many people can’t easily become quick at interacting with a new computer system
  3. Some tasks are more appropriate for a kiosk than others.
  4. Lack of context in an automated system and the resultant work the system (and thus the user) must do in order to establish that context reads as silly, funny, frustrating, and unacceptable

It’s impossible from these stories to tell, of course, what’s really going on. Me, I love self-check even if I have to fight it, even if I have to bend my natural tendencies to work the way it wants me to work. Maybe it’s being an introvert, or a bit of a technology geek, or curious, or just the idea that there’s a scam to be had by being savvy and checking out automatically rather than the usual way.

Applying improv to business, storytelling, and what-have-you (part 3)

See part 1 here of my experience at the AIN2006 Applied Improv conference. See part 2 here and part 4 here.

Carla Rieger (who positions herself as a motivation speaker and “Artistry of Change Expert”) led a half-day version of a full-day seminar entitled Captivate Your Audience Through Stories. Stories are memorable, she says, because they are an (imaginary) kinesthetic experience that goes into long-term memory more efficiently.

Carla alluded to four different styles of storytellers, although we didn’t get a ton of detail about the differences (the titles are quite descriptive, however).

  1. asserter
  2. demonstrator
  3. contemplator
  4. narrator

The workshop wasn’t about storytelling in general, but applying it specifically to training and facilitation (which may have been a common factor for many of the participants, but is still a bit narrow).

Carla couldn’t define to our satisfaction the difference between an anecdote and a story, but she was distinguishing between the two. An anecdote seemed to be a short relating of some sequence of events, whereas a story at the very least led to a concluding point.

She outlined a 5-part story structure

  1. Set the platform: the status quo (Dorothy is in Kansas, in black and white).
  2. Tilt the platform: a new element or conflict (the tornado takes Dorothy to Oz)
  3. Consequences: the bulk of the narrative (Dorothy goes to Emerald City to see the Wizard)
  4. Getting Back to Stability: a new heroic act (Dorothy melts the witch and goes back to the Wizard with the broom)
  5. New Platform: the new status quo; what is different as a result of this story (Dorothy is back home and there’s no place like it)

Individually we brainstormed ideas for stories, then got into groups of 3 and picked one to tell each other. Our team listened and then fed us back our story in those five parts. This was pretty hard. My story (about a strange movie-going experience) normally ends on a punch-line, but suddenly I had to add a denouement; I really wasn’t prepared for that. Others told stories with multiple tilts. The point was to figure out how to evolve the story so that it did fit into the structure, of course. Oh, and we also acted out the story through a series of tableaux (one for each stage in the structure); it wasn’t exactly clear what this provided. Others reported varying experiences with the actual improv part of the exercise. I had some small insight about the challenges of the structure; since the final step was very conceptual and hard to act, it said something back to us about the challenge of creating that part of the story.

Next steps, after the workshop, were for all of us to then try and write up our story (and Carla suggested we actually tell the story into a voice recorder and type that up, for a more natural flow). She offered to review our stories and send us a few presentations and PDFs if we sent something in to her. I think this Friday is the deadline and I’m not sure I have the motivation to write the story up; I’ve got a bunch of stories I feel I’ve committed to telling in one form or another. But we’ll see.

The notion of a proper structure for a story is interesting. Certainly one has to learn a basic vocabulary before starting to tweak it or personalize it. I feel confident about my own storytelling abilities, but they are not trained or schooled; I don’t know the principles and can’t improve my stories by focusing on specific tasks.

I noticed Nicolas Nova’s recent post about story flows, where the action of famous stories are graphically represented. It would be interesting to look at these in terms of Carla’s structure and see if there’s any alignment between these models.

Brand theatre

Grant McCracken offers up a provocative post entitled Brand theatre and the experiential brand, with some rules to create effective storytelling experiences

  1. First, discover [and] obey the local culture. Use its favorite media.
  2. Second, proceed as if less is more. Engage their detective work.
  3. Third, invite completion. In this case, invite them to tell more stories.
  4. Fourth, keep a small footprint (fewer reps better than more).
  5. Fifth, practice brand murmur (aka brand diffidence). Don’t go crashing in there.
  6. Sixth, engage theatrical resources. In a world saturated with mediated communications, there’s nothing quite like the real thing.) (Besides, we’re Elizabethans, too).

FreshMeat #9: Got Zeitgeist?

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FreshMeat #9 from Steve Portigal

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Cultural stories of the day — more than meets the eye
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Just the other day a colleague asked me what I thought
about the near-term effects of the Current Situation
on advertising and marketing messages.

I replied that I had observed a complex, contradictory,
and divergent set of cultural themes going by, and it
didn’t seem to be as simple as the articles in the Times
and others were making it out to be. We explored some
specifics, and so I’m sharing my next rev of those
thoughts here.

Just the fact that terms like “Current Situation” are
appearing on blogs (that term is defined here)
points to the complexity of the issue – there is no name
for it. Of course, the choice of phrasing here brings
to mind the media coverage in the film “Starship
Troopers,” or a short story by Philip K. Dick.

I think we want to believe that it is an easily understood
series of events, perhaps a monolithic notion, but there
are a range of contradictory cultural stories being told.
As cultural stories, all are equally “true” and I’ll review
some here more as exploration than as social crit.

Let’s look at “issue conflation” – what exactly are we
concerned about now? About two weeks ago there were a
number of high profile “tribute” concerts:

* Allegiance of Neighbors, a benefit performance for
New Jersey victims and survivors of the 9/11 attacks,
featuring Springsteen, Joan Jett, Jon Bon Jovi
* United We Stand, Michael Jackson’s concert in Washington
for the Red Cross and other charities
* The Country Freedom Concert, in Nashville, with Trisha
Yearwood, for the Salvation Army relief effort
* Paul McCartney’s “Concert for New York City” paid
tribute in content to the firefighters, police and
rescue workers of 9/11, but where the money is going is
less clear (to me)
* Neil Young’s Bridge Benefit – the 15th year running,
this concert raises money for a local school to help
special needs children. Yet the musicians dealt with
issues of loss, peace, war, America, hope, freedom,
and love
* Music Without Borders, held in Toronto, featuring the top
Canadian performers, to benefit the United Nations Donor
Alert, detailed the plight of Afghan refugees between
musical performances

Who are the victims we are helping out? Americans? Afghans?
Firefighters? The overriding story is “Donate! Help out!
Stand up!” – but is it to reward bravery, to protect the
innocent, to care for the survivors? Already, it becomes a
bit more complex.

Another “issue conflation” appears when business people
speak of the economy, they can be heard referring to
“the downturn and September 11th” in one breath, speaking
out one indivisible atom, presenting them as one unit, one
factor in the business climate.

Another theme is what I call “transnationalism” – the
American flag being adopted by other nations as a symbol of
their support for the U.S. In Canada, long vigilant to
avoid being perceived as Americans, the American flag was
flown across the country, and now appears on buses (for
example) with the words “United We Stand.” This would not
have happened before 9/11. (Nor would it have happened
without an increase in Canadian nationalism that has been
percolating for a couple of years, and in case you think
this isn’t relevant to business, that particular trend was
capitalized on, if not generated by, a brewery).

“Back or forth:” When people speak of their hopes, or
expectations for an unclear and perhaps scary future, they
speak of two different things – moving forward, and moving
backwards. Some express a yearning to return to what was
once good and simple, before our society lost sight of what
was important, moving to the inevitable events of 9/11.
Others describe moving ahead, getting past the tragedy, to
find a new place ahead where we’ve learned some lessons,
and things are good and simple, and the focus is on what is
important. The endpoint is the same, but the perceived
direction is opposite. Advertisers can use Norman Rockwell
to tap into one of these themes, but it doesn’t come close
to addressing the other theme.

“Security first:” Apparently, both gun sales and enrollment
in self-defense classes are on the rise. It’d doubtful that
anyone expects to protect themselves from anthrax or
hijacking in this manner, but general feelings about
security are leading people to respond. Even issues around
computer security seem to be receiving more media
attention, somehow under the same general concern.

“The elasticity of inconvenience:” In the first days
following the resumption of air travel, the media showed
the effect of new security measures on travelers, each of
whom said something to the effect that it didn’t matter how
long it took, as long as they were safe. In the following
weeks, every time there were new measures put in place, the
news would do a similar story, but the tone began to shift,
as people began to imply their frustration with losing
their nail clippers, and having to wait at the same time.
The news stories still would feature the disclaimer about
preferring safety to inconvenience, but something had
changed – the travelers mouthed the statement as some
truism that they felt socially obligated to say. It now has
the same flavor as the Jerry Seinfeld “not that there’s
anything wrong with that!” disclaimer that must be said
quickly whenever someone is described as gay.

“Symbol devaluation:” American flags are so in-demand that
companies can’t make enough of them, one of the greatest
memes of the last little while. Millions of individuals
seeking to announce…something…with the flag. Then a
week later, NBC has changed their logo (appearing in the
bottom right corner of every program) to a red, white, and
blue version. Local auto dealers cover their showrooms with
red, white, and blue balloons. Are they doing what they can
to help out, or are they cashing in on a crisis? Or both?

Further to this, cars began to sprout antenna flags. What
happens when a car with a flag on it cuts you off in
traffic? Or the driver yells something angry or impatient
at a pedestrian, the flag whipping in the breeze and they
speed away? What does the act of posting a flag imply about
neighborliness, kindness, or brotherhood? Should it be any
different than it was?

Other stories which point to some complex and contradictory
experiences and perspectives:
* Bill Maher censured for saying that the terrorists
weren’t cowards (and that firing missiles from far away,
as the U.S. does, is cowardly)
* Public opinion polls suggest U.S. citizens willing to
surrender privacy rights in order to prevent future
tragedies
* University of British Columbia professor Sumera Thobani
saying that the history of U.S. foreign policy is “soaked
with blood” and facing extreme criticism, and pockets of
support for either her opinion, or her right to express
her opinion
* The Canadian government moves to override the patent on
Bayer’s anti-anthrax drug Cipro
* Increasing enrollment in Arabic language classes

In each of these, some basic principles that our cultures
assume are fixed and permanent are being questioned. And
for each, there are responses, columns, ads from the ACLU,
debates, etc. But issues are more complex than before, new
thoughts are being voiced, and old beliefs are being
challenged.

Again, these are cultural stories. They appear in the
media, at dinner parties, in email, around the photocopier
at work, etc. They are all happening simultaneously, and
we’re all participating to some extent in each of them. And
obviously, it’s all far more complex than this space would
allow for, but the goal here is to at least point to some
of the themes, to illustrate the complexity, and to provide
some food for thought.

—

An updated version of this article was published in LiNE Zine

Update: ‘Air rage’ is back

By JESSICA WEHRMAN
Scripps Howard News Service
January 14, 2002

– In the months after the Sept. 11 terror attacks, airline travel was primarily populated with placid, patient customers who braved long lines, applauded flight attendants and, on a few flights, burst into “God Bless America.”

Months later, most passengers are still patient, despite a few muttered complaints at security. But in a handful of cases, the bad behavior – also dubbed “air rage” is back – and it has led to arrests.

Most recently, an airline pilot was arrested after making what authorities called “inappropriate” comments at an airport security checkpoint. Elwood Menear, 46, a US Airways pilot, was released from jail Monday after being charged with making terrorist-like threats and disorderly conduct. Officials would not give specifics on the comments.

FreshMeat #2: Every Product Tells A Story (Don’t It?)

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FreshMeat #2 from Steve Portigal

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If you know someone that should read this, send it to ’em
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There really are eight million stories in the naked city
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I just completed a six-week class in improv – not
stand-up comedy, but a series of collaborative,
improvisational games or sketches. The TV show “Whose
Line Is It Anyway?” is a good example of improv.

Part of the process of doing improv is to free yourself
from the evil, rule-based domination of our left-brains
and allow play to take place. This approach has been
applied to all sorts of creativity work, from Drawing On
The Right Side of the Brain
to every brainstorming
facilitator out there. So, I won’t go into that…I’m
fascinated by the stories that we have inside us.

Improv is something that anyone can do – it’s not just
for extroverts or people who are “naturally funny.”
The games and sketches produce humor almost as a by-
product. Most of the activities are based on
some trigger given at the last moment (hence the
improvisation) such as an emotion, a headline, a
physical position, a relationship, an environment.

And, incredibly, when given this little bit of info, we
can generate very rich recognizable stories, conveyed
through bits of dialogue, tone of voice, characters, and
so on. We are all in possession of these cliches, or
scenarios, or memes – call them what you want, but they
are incredibly detailed and we’ve all got them inside
us. If anything, improv helps bring them closer
to the surface so they can come out that much more easily.

A rich couple having an argument, a lion tamer who has
lost a job (and an arm), a game show, a televangelist,
a pair of puppies, a politician orating – all these
quickly produce richly detailed stories that are easily
recognized, and added to by the other performers.

Probably while reading that above paragraph you generated
your own visual and/or spoken details, so maybe you don’t
think the improv is such a big deal. Okay – but what
about the fact that you were able to generate so much
detail from a simple phrase?

It’d be interesting to try improv in cultures where
there is not the same amount of media exposure. Bugs
Bunny and Sesame Street seeded countless memes for their
viewers.

Anyway, this really supports the whole notion of how
products participate in stories – imagine the props
for an improv activity – a mobile phone, a rolling pin, or
a Tickle-Me-Elmo. We, consumers, have very specific
stories that those (or any) products will be used to
tell. The companies that make “stuff” need to understand
the stories that are out there already and take care to
make certain their new products (services,
advertisements, and so on) play the roles they are
expecting them to.

Series

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