Title: Andrea Volterrani
1Communication waves
- Communication for blood donation between
narrations and innovations
by Andrea Volterrani (University of Siena)
2What are we going to talk about?
? Stereotypes and media narrations ? Media
narrations ? Multidimensional imaginary on blood
and donation ? Narration and blood donation
3The problem of three worlds
? Thinking world ? Language world ? Real world
4 5 6 ? Stereotypes
7Different stereotypes
- In attending to media accounts and narratives,
viewers, listeners and readers interpret them in
different ways, depending on who they are, where
they are, and when, in and across historical time
they engage with texts and images.
8 ? Media narrations
9Different narrations
- "The novel the narration, nda puts on stage not
only what it is, but also what it could be and
therefore all possible worlds that continuously
graze us and that, despite everything, we do not
see except through the literary imagination. ()
' Paradoxically only through fiction ideas,
concepts and categories acquire concreteness,
they become flesh and blood through literary
characters. (.) The novel narration nda is a
method of knowledge because it shows us the
interconnection of everyone with everybody, of
everybody with everything "(Turnaturi, 2003
19-20)
10Narrations
- What do we communicate?
- Symbols
- More or less shared meanings
- Narrations
- Beliefs
- Daily examples
- In practical terms, we communicate also
through
11 ? Multidimensional imaginary on blood
donation ? Social scapes
12Imaginary
- Collective imaginary
- The imaginary is that set of stories, symbolic
representations, dreams, fantasies, fears,
desires, expectations which help us to understand
and to build the reality we live in. - The imaginary is realer than real
- And sometimesthe imaginary is one of the many
realities that we experiment - (Schutz, the structure of the vital worlds)
13Imaginary
- Who feeds the imaginary?
- - Daily life
- - Archetypes of our unconsciousness
- - Narrations
- - Other people
- - Myths and legends
- - Media
14Social scapes analysis
Players
Staff on the sideline (volunteers, security,
journalists)
People at the stadium
Coach
Game (blood)
Players on the bench
15Different social scapes
- If for social scapes we both mean a
representation of social needs, individual and
collective patterns, an organization that act on
social needs and the transformations of the
welfare state, an analysis of the solidarity
produced by media, then its necessary to better
understand relations between narrations of
territories ,of media and of single individuals
(individuals, groups and organizations)
16Different social scapes
- Which are the sources that create the social
scapes that need to be explored in order to
recreate them? - Narrations of important media in particular the
daily press, fiction and cinema - Novels
- life patterns, perceptions , interpretations and
in part also individual imaginaries. - Narrations of organizations that act on
territories (public institutions, companies and
non-profit organizations) - Analyses of stories and experiences of people who
work for the social world
17Different social scapes
- Passions, motivations and behaviors can be
understood and can be told through a certain
character. Events, passions, characters are known
to everyone through narrations. All this can be
understood because it can be read through
concepts or anlithycal categories. (Turnaturi
2003 25)
18 ? Partecipated social communication on
blood donation
19Participated social communication on blood
donation
20- A journey never ends. Only travellers do. And
they can stay alive through memories and
narrations. When the traveller seated on a beach
and said theres nothing else to see he knew it
was not true. We need to see what we didnt see,
to see again what was already seen, to see in
spring what was seen during the summer, to see
during the day what was seen at night. We need to
see in a sunny day what was seen in a rainy day,
to see the green harvest, the ripe fruit, the
stone that has changed its place, a new shady
place. We should go back to walk in our footsteps
again and to trace new patterns. We need to
start over our trip. Always. The traveller comes
back soon. - J. Saramago, Journey to Portugal
21Le narrazioni
- " We do not know how would be a culture which
does not know anymore what it means to tell a
story" (Paul Ricoeur, Time and story) - (If we lost the skills of narrating) we would
never be able to live inside ourselves life
would become a chaos, a big schizophrenia where
the pieces of our existences explode like a
firework, because in order to sort out and
understand who we are, we have to tell our
stories - (Antonio Tabucchi, Where does the novel go?)
22Le narrazioni
- Telling stories means building a network that
allows the subject to see the development of life
over time and therefore, to a certain extent, to
master it" - (P. Jedloswki, common stories)
23narrations
- Imaginary or reality?
- the narration is in both kingdoms. As it tells a
story, creates a world where the imagination
unfolds itself as it is said by someone to
someone else who listens, taking place in the
world of action and relations " (P. Jedlowski,
Common Stories) - ..But this is why we need stories to multiply
life, to put it in connection with its infinity.
They are ships passing through borders " - (P. Jedloswki, Common stories)
24narrations
- Role of media
- Symbolic mediation
- A never-ending work of the nature which transform
the natural universe into a universe of sense. - Narrated worlds are simulations, but simulation
is an imaginary experiment - Each story is a world that let the imagination
in symmetrically the imaginary of everyone
nourishes and expands through the exploration of
the Worlds that the stories give us. Diving into
a story is entering into a reality which is
parallel to the one we live in anyway, we do it
for the pleasure of multiplying life - (P. Jedloswki, common stories)
25Narrations
- When we dive into a narration we take a trip.
- Travel
- Departure
- Transit
- Arrival
- We are in transit, we are on the borders, we are
in a liminal area of our culture, we are into the
imaginary
26Le narrazioni
- Functions of narrations
- Community function
- (sense of belonging , imagined community)
- playful
- Identity function
- Mnemic function
- (link between generations)
- Cognitive function
- (knowing stories and other plots to generalize
them)
27When voluntary work can promote new symbols and
new solidarity stories through social
communication?
28Which are the important elements to communicate
in the voluntary work of blood donation? Are
there any possible connections? Which are the
opportunities and which are the problems?
29- Some characteristics of voluntary work
- -Strong relational trait
- Imagination
- Voluntary work trait
- Listening
- Integrating
- Communicating
- Ethics and responsability
30Some characteristics of narrative communication
- Some characteristics of narrative communication
- Strong relational aspect
- Protagonism
- Innovating trait
- Convergent
- Daily
- Participative
- Generational skip
- Not equal from a symbolic point of view
31- Strengthening new characteristics
- 2) It strongly helps the innovation
- 3) Including those who are far away (not only in
terms of digital divide, but also to have access
to symbolic sources) through the development of
strong participating processes - 4) Developing relations between subjects, people,
themes and context
32- Which is the purpose of the voluntary work?
- Back to the origins compared to the development
of relational aspect and of people promotion - Promoting inter-generational and
inter-territorial solidarity to fill symbolic and
cultural gaps - Developing new communicative spaces for people
who are at risk - Building real processes of participation
33- This suggestion is mine now its your turn to
find that excitement youd feel if creating your
heuristics and changing your image of social
world. - Andrew Abbott, methods of discovery
34- Experience is never limited, and it is never
complete it is an immense sensibility, a kind of
huge spider-web, of the finest silken threads,
suspended in the chamber of consciousness and
catching every air-borne particle in its tissue.
Its a state of mind and when the mind is
sketchy, it attracts the thinnest traces of life,
changing the most unperceivable variations of air
into big revelations - Henry James, The art of the novel
35- teaching the skills needed to produce contents
is more crucial than ever. Indeed, given the
current trend to duplicate, or even to replace
online our social and political institutions, not
doing it would mean removing power to citizens, "
Sonia Livingstone, Understanding new media