Notice bibliographique
Résumé
Since 2019, the research group Imagis Lab (Department of Design, Politecnico di Milano) has aimed to experiment with a virtuous synergy between an innovative understanding of rehabilitative prison treatment and a co-design approach based on storytelling. As a result, the research group intends communication design as a relational process and a tool to activate storylistening and participative storytelling processes, enabling stakeholders to reshape the narratives that define their experiences actively. Building upon previous research endeavors in marginalized contexts, notably in "ACTS. A Chance Through Sports" (Polisocial Award, 2019), an action-research project held in Bollate prison, the team works on fostering processes of identification, reappropriation, reworking, and transformation through storytelling. Within the multifaceted researchers and storytelling activities ongoing, this paper covers the work related to Storylab, a permanent participatory storytelling workshop held in the young adults (YA) sector of the Casa Circondariale 'Francesco di Cataldo' commonly known as San Vittore prison. In particular, it will delve into the development of a digital narrative format aimed at conveying the stories originating within the prison walls to a broader public audience. While Storylab operates within a 3-step structured framework [collection of fragments, crafting of stories, reframing of fragments] honed and refined through prior research projects, we focus on the third step of the process, which involves the designers in the creation of a digital storytelling format and the production of associated narrative and multimedia outputs. In the realm of digital storytelling, agency is a fundamental concept. However, in the distinctive prison setting, participants face linguistic and cultural barriers and a substantial impediment to having their voices heard. In this unique context, the role of the designer as mediator emerges as pivotal, acting as the bridge between the carceral environment and the external world. The development of the format, tentatively named Frammenti Invisibili (Invisible Fragments) and based on Instagram as a central platform, thus presents a compelling challenge. How can we create a format that remains faithful to the participatory ethos and the inherently fragmented nature of the stories collected within the prison while offering the external audience an engaging and meaningful consumption experience? What parameters is Instagram as a platform bringing in the design and consumption of the Frammenti Invisibili format? How can we develop an open format to provide compelling and ever-evolving narratives from fragments? The research outcome will tackle these questions by taking advantage of the micro-narratives form characteristic of social media communication and relying on non-linear and interactive storytelling principles. The paper then presents the development and analysis of the format and its outcomes, providing a valuable opportunity for reflection on the designer's role in participatory story-based processes. This role is relevant in the nexus between agency and authorship in digital storytelling processes, even more so in one that deals with stories originating in a context of marginality and reclusion. Furthermore, it encourages consideration of the intricate relationship between micro-narratives, narrative structures, and interaction within digital storytelling.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».