Andrea Volterrani

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Communication waves

• Communication for blood donation between
  narrations and innovations

by Andrea Volterrani (University of Siena)
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What are we going to talk about?
? Stereotypes and media narrations ? Media
narrations ? Multidimensional imaginary on blood
and donation ? Narration and blood donation
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The problem of three worlds
? Thinking world ? Language world ? Real world

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Thinking world Language world Real world
Idea of chair Term of (In english) chair (In italian) Sedia (In french) Chaise (other languages) Real chair
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Thinking world Language world Real world
Idea of donation Term of (In english) Donation (In italian) Donazione (In french) Donation (other languages) Real ??????????
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? Stereotypes
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Different 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.

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? Media narrations
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Different 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)

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Narrations

• What do we communicate?
• Symbols
• More or less shared meanings
• Narrations
• Beliefs
• Daily examples
• In practical terms, we communicate also
  through

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? Multidimensional imaginary on blood
donation ? Social scapes
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Imaginary

• 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)

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Imaginary

• Who feeds the imaginary?
• - Daily life
• - Archetypes of our unconsciousness
• - Narrations
• - Other people
• - Myths and legends
• - Media

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Social scapes analysis
Players
Staff on the sideline (volunteers, security,
journalists)
People at the stadium
Coach
Game (blood)
Players on the bench
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Different 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)

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Different 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

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Different 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)

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? Partecipated social communication on
blood donation
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Participated social communication on blood
donation
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• 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

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Le 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?)

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Le 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)

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narrations

• 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)

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narrations

• 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)

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Narrations

• 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

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Le 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)

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When voluntary work can promote new symbols and
new solidarity stories through social
communication?
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Which 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?
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• Some characteristics of voluntary work
• -Strong relational trait
• Imagination
• Voluntary work trait
• Listening
• Integrating
• Communicating
• Ethics and responsability

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Some 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

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• 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

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• 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

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• 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

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• 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

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• 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