Archive for the ‘ontology’ Category

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An Ontospatial Representation of Writing Narratives in Hybrid Ecosystem

August 29, 2010

Tomorrow i will be at 3rd International Workshop on Social and Personal Computing for
Web‐Supported Learning Communites, DEXA 2010, Bilbao

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Professor position call: digital ecosystems

April 8, 2010

Institute of Informatics, Tallinn University, ESTONIA*

The Institute of Informatics invites applications for a position of
Professor of Digital Ecosystems.

Deadline of applications: June 10, 2010.
Expected start of the work January 1st, 2011.

The employment period for the position is for 5 years and shall undergo re-elections after that. Tenure at Tallinn University can be achieved after two successful periods. The new position has been established with a significant financial contribution from European Social Fund.

The Institute of Informatics has undertaken a major development by evolving international programmes and research groups in ICT.
The significant part of ongoing research in the institute is focusing on social media ecosystems in the context of e-learning, e-governance, e-participation and network enterprise. Our international R&D team is using mainly participatory design research approach and intervention studies to envisage and develop prototypes of the next generation social media tools, with the special attention to their semantic interoperability, identity management, user experience design, activity pattern mining and semantic annotation for metadata.
The successful applicant for a professorship is expected to make a significant contribution to the development of the Interactive Media and Knowledge Environments master curriculum as well as of the Information Society Technologies PhD curriculum. (S)he is also expected to supervise PhD and master students, to be a mentor for less experienced teachers of the institute, to develop new initiatives and to start a research programme related to the field of professorship.

Applicants should possess:
1) A PhD degree in a field related to the professorship;
2) An outstanding international reputation for excellence in scholarly research;
3) Demonstrable ability to teach effectively at both graduate and undergraduate levels;

4) Excellent oral and written communication skills in English;

5) An understanding of and commitment to the role of the University to the world innovation stage, experience in cooperating with the industry is particularly welcome.

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Interactive television seminar: developing new interactive experiences for television audiences

January 27, 2010

Today we had a guest researcher’s seminar in HTK. I have taken some notes from his ideas.

Teijo Pellinen
doctoral student of Lapland Uni

Artistic search as new source of innovation. In Finland there are Sibelius academy and Fine Art academy where you can do artistic research related to domains such as opera etc. In Aalto University and Univ. of Lapland there are artistic research methods applied to art and design research.

Interactive narratives you can find in videogames.

To understand interactivity the narrativity in interactive television must be cut down to mental representation dimension, so narrative is emerging in the spectator’s mind through the interaction with the film.

Social media is a lot about storytelling. Traditional telephone conversation has changed from professional interaction to domestic enjoinment in time. In core it is a lot about telling stories, skipping technological functionalities. Same we see in modern social media services such as Twitter, Blogspot, Myspace etc.

Always when you watch narrative you are willing to see the narrative, the will to hear is the will to be seen. When we experience the story we also tell the story.

Not so many interactive, sustainable television programs exist (quiz games, chatting programs), it is quite new phenomena in TV.
Regular interactive TV programs have been around a decade. Lottery TV program is interactive if you participate with your ticket.

Big question is: What kind of experiences can be transmitted in TV to audience interaction?

Examples:

Almost non-existing narrative
Akvaario program in Finland.
Sheep TV
Mind Saver (interactivity of taming a wild animal)
The age of Garbage (work in progress) (birds are recycling garbage in TV screen, if you call the program contacts you and the birds can come to your telephone and you can interactively control the game in your phone). television + game + story (it might be a Facebook application)

Control interactivity is established with phonecalls

A story between stories: algorithmic and audience control of video segments in an experimental interactive television programme
Chris Hales; Teijo Pellinen; Markus Castrén

Digital Creativity
2006, Vol. 17, No. 4, pp. 234–242

TV and art are polarised, antagonistic. You cannot say i do art in TV.
If i want to develop interactive TV programs, a good way is to make an artistic research. Methodology should grow from research.

Three models are applied in interactive art research of Teijo:

a) Kari Kuuti 1996 activity theory model

We think how individual is related with the community?
How individual is related with the target?
The reflection – how the target is related with the community creates the communal aspect of the interactive TV program?

b) Eija Timonen’s Practical based research model

According to this model we can create knowledge in artistic research, theoretical work is growing and shaping the practical research. The research question is still changing all the time, but eventually it will be fixed.

c) The relation of art and research (the relation of design and research)

Research about art
Research for art
Research through art

Results of Teijo’s studies

Sheep TV: people were willing to interact with the program and were long time interested in interaction. Question why are people willing to interact? Is it a game, a social game, is it just looping nature video that is attractive? Quite often 2 people started interaction (dialogie) with eac other (2 telefone numbers) to control the lamb.

The Mind Saver included database to record interaction.
The popularity of the program was surprising, a lot of software components crashed by the amount of interactivity.
Many callers called several times.
What to do with the data? The data indicate that people are really willing to interact.
In the Mind Saver there were more than 100 000 telephone calls, website got 2 000 entries. I assume that the website didnt get enough entertainment value as a component in interactive television.

Big question:

What kind of experiences can we transmit through audience interaction?

Is repetition key to new way of narrative?

This point i loved the most, because it is really related with the ontospacial view of writing digital narratives i have tried to explore. Practically, in ontospacial view we see repetition emerge in spacial terms, people come back and interact with the certain spaces meaningful or them in ontospace.

Repetitive action can be basis for new routine

Interactivity brings intimacy

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Ontobrands as prototypical stories attract stigmergic narrative mediation and swarming

January 12, 2010

As part of one paper An ontospacial representation of writing narratives in hybrid ecosystem I try to explain narrative behaviors in hybrid ecosystem using the ontospacial method.

I suggest that if as part of our interaction with the world the new social software environments would be combined with the actual locations where we live, it would allow new forms of storytelling and new type of hybrid stories to appear.

In this environment new storytelling conceptualization may be applied based on dynamic ontospace representation. It enables to view stories as emergent prototypes or ontobrands in ontospace and allows stigmergic co-construction and action upon individual stories.

I assume that using ontospacial representation of hybrid ecosystem, the individuals may be provided with the means of enacting with this hybrid ecosystem more efficient ways, such as being involved into emergent co-construction and action.

Hybrid ecosystem components

Social media environments together with geographical locations can be conceptualized as a “hybrid ecosystem”, provided that participants of social media have ecological dependence of the particular set of mediators that they use as their niche for taking action. Artifacts (eg. digital narratives, images, real-world objects), software (eg. social software tools), language (eg. user-created ontologies such as tags), other actors, and geographical locations all serve as mediators of action.

“Narrative mediation” is a concept that suggests that we enact with the world through telling stories in which we seek to establish coherence for ourselves and produce lives, careers, relationships and communities (Winslade & Monk, 2000).

Individual and community places and -stories may be made visible on the representations of the hybrid ecosystem, for example using ontospace methods.

This metadata approach enables participants to dynamically define descriptive feature dimensions (ontodimensions) that altogether constitute a dynamic ontological space (ontospace) (Kaipainen et al., 2008).

A perspective is a personal priorization of shared dimensions of an ecosystem. People actualize certain meaningful parts of the hybrid ecosystem by narrative mediation of places.

Ryden (1993) includes four essential qualities that contribute in making sense of a place: personal memory, community history, physical landscape appearance, and emotional attachment.
The augmented concept of place not only refers to a geo-position, but to the holistic conglomeration of events, objects, emotions and actions of an individual in the place, and includes both virtual and natural, e.g. geographical elements. For example, as part of writing individual narratives individuals may define places by associating artifacts such as impressions, historical content, images etc. with geographical locations.

Individual entities (e.g. places) occupy ontospace, and each of them can be identified by its position in the ontospace.

The ontospatial formalism allows the identification of niches as community-specific and community-determined subspaces of an ontospace, an optimally meaningful regions for the communities. The ontocoordinate system allows us to define a niche as the n-dimensional hypervolume delimited by the range of each ontodimension that is optimal for meaning and action sharing.

The dynamic hybrid ecosystem shapes its participants and itself, and allows the evolution of the community ‘habitat’ for community actions and meanings. Visualizations of more favored community places in the community niche would serve as maps for individual community members in narrative mediation.

We can separate the following aspects of interacting with the hybrid ecosystem:
a) Defining ontodimensions and taking personal perspectives while narrating the hybrid story evokes meaningful places in ontospace and contributes to the formation of the community niche;
b) Social surveillance as a participatory monitoring, empowering and subjectivity building practice in hybrid ecosystem allows dynamic awareness of the state of the ontospace;
c) Social navigation in ontospace, as a behavior of considering narrative actions and incorporating the story contents of some other individuals into their own narratives, orientates each narrator’s enactment with the ontospace;
d) Social information retrieval such as semantic navigation by community browsing, actualizing some ontospace dimensions and using the found contents to guide their own perspectives allows individuals to focus their meaning building and action into the community niche;
e) Stimergy and swarming refers to an uncoordinated interaction of autonomous agents with the dynamic ontospace (b-d), and leaving feedback to this system (a) which at macro-level causes the emergence of global coherent behaviors such as collaborative agglomeration of stories. Stigmergic narrative action may initiate swarming phenomena in ontospace.

A person’s path in an in hybrid ecosystem from one place to another may be described as a “trajectory” in an ontospace. When writing hybrid narratives, each person moves along personal trajectory in the ontospace, creating particular personal places. This trajectory is not predetermined with the story plot but emerges during enaction with the ecosystem. The trajectory as a storyline is determined by and combined from a limited set of dimensions that the person highlights, and a small number of hybrid places where the person stays during activities. Thus, the trajectory usually fluctuates between the limited amounts of closely situated positions in the hybrid space.

Niches in the community are dynamically changing. They serve as “attractor basins” for the community members in ontospace. An attractor concept signifies a point, or region – set of points – in ontospace. The attractor governs the motion through the space – any individual trajectory passing close to that point/region will be sucked in it if it reaches to the basin of attraction (an area of attractor influence) (Beer, 1995). Attractors may constitute individual or community-cultural preferences.

Beer (1995) describes that the boundaries between different attractor basins can be reshaped in case if certain space dimensions are changed, which will happen when people take perspectives during narrative mediation.

The new view to storytelling focuses on the places in ontospace that serve as attractors for community’s stigmergic action.

Churchland (1989) depicts connectionist networks as essentially embodying knowledge structures organized around prototype-style representations. The prototype in his framework is a point or small volume in an abstract state space of possible activation vectors. In dynamical terms, the prototype position is called an attractor (ibid). Such attractors in the multidimensional semantic space may represent the meanings of words such as tags. As another approach, Nello Barile (2009) has used the term ontobrand to describe the process by which personal places would arise in narrated mediation process in hybrid ecosystem. He assumes that if the traditional branding was just a tool in the hands of companies to build their own image and positioning in the collective mind, the self-branding approach demonstrates how the marketing thought is a state of mind that produces an existential positioning.

I suggest that ontobrands are story prototypes, which emerge if a person continuously takes closely related perspectives in an ontospace. They serve as attractors for the storyteller himself and for the other storytellers, constraining and guiding their enactment in this ecosystem.

For the dataset i used one participant’s weekly blog postings (http://uits.wordpress.com). The Ontospace Explorer (OSE) tool (http://kerg.tlu.ee/demos/multi-perspective-exploration) was used for visualizing the ideas.

I extracted the tags from blog posts and additionally categorized posts by three perceived story dimensions (story prototypes) that the narrator suggested. Each story dimension associated with certain tags, thus, the stories could be positioned into the tagspace as attractor basins. This personal tagspace did not represent the whole hybrid ecosystem, since the dimensions mapped with geotags and content coordinates in software were not considered.

Figure presents the trajectory of the story mapped in the ontospace from one attractor area to another. It appeared that certain perspectives served constantly as attractors as the storyteller moved on in the daily activities. While the narrator herself perceived the three story-dimensions as attractor basins and constantly took perspectives in ontospace that were in their proximity, for the other actors in hybrid ecosystem mainly the social surveillance behavior allowed them to be attracted by stories.

It became evident that individual storytellers would act largely as autonomous agents, aligning their narratives according to story prototypes that they perceive.

Swarming actions took place around perceived stories as attractor areas in ontospace. Many storytellers were autonomously contributing to the emerging shared stories.
For example:
a) dedicated contents that were suggested for other stories;
b) composing mutated versions of the story content; and
c) joint agglomeration for the same story prototype.

Churchland, P.M. (1989). A Neurocomputational Perspective. MIT Press, Cambridge, Massachusetts.

Barile, N. (2009). From post-human consumer to the ontobranding dimension: mobile phones and other ubiquitous devices as a new way in which reality can promote itself Presented at Mobile Communication and Social Policy Conference conference October 9-11, 2009 
Center for Mobile Communication Studies, Rutgers University 
New Brunswick, New Jersey, USA.

Winslade, J. & Monk, G. (2000). Narrative Mediation: A New Approach to Conflict Resolution. San Francisco: Jossey Bass.

Ryden, K.C. (1993). Mapping the invisible landscape: folklore, writing, and the sense of place (p. 94). Iowa City, IA: University of Iowa Press.

Kaipainen, M., Normak, P., Niglas, K., Kippar, J., Laanpere, M. (2008). Soft ontologies, spatial representations and multiperspective explorability. Expert Systems, 25(5), 474-483.

Beer, R. (1995). A Dynamical Systems Perspective on Agent-Environment Interactions. Artificial Intelligence, 72, 173-215.

I have also some ideas about the ecological competition of ontobrands in ontospace.

Another thought to be elaborated is the translation of ontobrands from one community niche to another during stigmergic narrative mediation.

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There is an interesting duality explained by A.Parsons about narrative environments. I believe that what he refers to the environmental end of the narrative supports my story conceptualization in ontospacial terms.

rhizomes,19 summer 2009
Narrative environments: how do they matter?
Allan Parsons

Narrative environment is both a narrative and an environment at once.
Following Ricoeur (1984), it might be said that narrative orients us in time; while environment orients us in space.

Ricoeur, P. (1984). Time and narrative. Vol. 1. Chicago: University of Chicago Press.

We orient ourselves within those worlds and actively navigate those worlds temporally (through narrative) and spatially (through environment) and spatio-temporally through narrative environments.

The conjunction of the two terms ‘narrative’ and ‘environment’ suggests a number of alternative understandings, depending on whether the former term qualifies the latter or vice versa:

– The environment of the narrative (narrative as environment);
In this incision, narrative is ‘that which tells’ and environment is ‘that which
surrounds’.

– The narrative of the environment, “environmental discourse” (environment as narrative).
A narrative environment, then, could be defined as a situated narrative, or a site-specific narrative, like a piece of installation art, framed by the elements which establish place-hood or place-ness.

Narratives are both the telling (plot or emplotment, the sequence of events as
told, narrative discourse) and the tale itself (story or narrative structure, with beginning, middle and end).

Environments both surround (actively environ, enclose and condition) and are the surroundings (environmental structures, categories and entities).

‘Narrative’ and ‘environment’ could be seen as two ends of a single spectrum.

At the narrative end, the world is enveloped by culture, order established through material cultural artefacts.
At the environment end, the world remains beyond cultural order in its presumed innocent, natural and/or wild state, order as the state or states of nature.

Narrative environments impel, pervade and mediate our understandings of our everyday, experiential worlds.

A narrative environment, as an encyclopaedia entry, is a node of knowledge, but in the world, not in the pages of a book. It is part of a network of narrative environments. The sense that it makes is localised, contextualised, but also networked, globalised. Together, as encyclopaedia, as labyrinth, narrative environments encircle the world, but they form an inconceivable totality. It is in this sense that narrative environments enact order into the world, and orient us to the world, while the world as a whole remains an inconceivable totality.

Story, place, interaction and self are ways of making sense and order.

Spacial dimension of narrative is expressed by De Certeau (1984): Certeau, Michel de. 1984. The practice of everyday life. Berkeley, London: University of California Press.

In The practice of everyday life (1984), De Certeau dedicates a chapter to the working of spatial stories.
Spatial stories are everywhere according to De Certeau. Not only do we need them to make sense of everyday life; stories are the central organizing principle for all human activity and are especially important when trying to come to grips with spatial change: ‘[E]very day, they traverse and organize places. (…) They are spatial trajectories’ (De Certeau 1984, 115).

To understand how such spatial stories take shape, he makes the aforementioned distinction between space and place and map and tour.

The most important difference between place (‘lieu’) and space (‘espace’) is that the first term is about stability and an ordered configuration of elements, whilst the latter rather implies mobility and has a ‘polyvalent’ character. Place refers to the ‘proper’ order, to the way spatial positions are related in an objective account, whilst space is about how we deal with spatiality as ‘a practiced place’. To explain the difference, De Certeau gives the example of walking the streets of a city. The geometrical configuration of the streets he equates with place, while the act of traversing these streets changes them into space. Thus, place is set and univocal, while the notion of space has as many meanings as there are walkers (De Certeau 1984, 117).

De Certeau speaks of both terms as constantly influencing each other. He identifies place as having the purpose to create static and lifeless objects. Space, on the other hand, presupposes a subjective purpose. It implies movement and change. In stories, these two determinations should be understood as in constant fluctuation in which a lifeless, objective, abstract place can become an animated and changeable, concrete space. Conversely, space can also be consolidated into place (De Certeau 1984, 117-21).

De Certeau introduces the difference between the map and the tour as a means to distinguish the different modes of the interplay of space and place in one of the most basic travel stories, namely spatial descriptions. From a study of how residents experience their apartments, he learned that the majority of people describe their dwellings in terms of moving about, and that only a small minority uses terms of seeing to explain how their apartments look. De Certeau links the latter to the notion of the map. A map can be described as a static representation of the world we live in. It objectifies spatial relations. The moving mode he relates to the notion of the tour. Touring is a dynamic principle that is subjective, since the point of view of the traveler is central. According to De Certeau these two conceptions of spatiality are both incongruous dimensions of contemporary culture.

Just like place and space, maps and tours necessitate one another and come into being through a reciprocal movement. Even more so as a map always presupposes a tour; one first needs to go somewhere to give an objective spatial account of it (De Certeau 1984, 117-21).

Two other objects important to De Certeau’s definition of spatial story are the frontier and the bridge.

De Certeau argues that stories perform an important function in everyday life by setting limitations. By describing space, they arrange and order cultural domains. As such they not only set limits but also alter boundaries: ‘one can see that the primary function is to authorize the establishment, displacement or
transcendence of limits’ (De Certeau 1984, 123). To describe this paradoxical quality of boundaries, he distinguishes two narrative figures in every story that have the power to fix boundaries and to revise them, namely the frontier and the bridge, respectively.
In explaining the figure of the frontier, De Certeau takes his reader on an etymological tour to prove that stories are ways of creating borders. If more scattered now than before, the ‘primary role of stories’ has always been to function as a playground for actions after their formation as a delineated domain. Such actions can nevertheless also transgress the limits that are first set by the story (e. g. feudal conflicts in which set borders are contested). As such, boundaries are the prerequisite for any social practice. In this process the figure of the frontier and the bridge entertain a paradoxical relationship (De Certeau 1984, 118).

The frontier has a mediating or ‘bridging’ quality because it is the point of contact between the two entities it separates. In itself it does not belong to either entity (De Certeau 1984, 126-28). Frontiers are in that sense twilight zones.

Because the player is able to draw and transcend boundaries and can be interactively involved in creating a spatial story, the emphasis lies on the passing of borders. Players become enactors instead of tellers of spatial stories, trying to develop a story by pushing spatial limits.

Burkitt, I. (2005). Situating auto/biography: biography and narrativity in the times and places of everyday life.
Auto/Biography, 13, pp.93-110.

Not all narrative environments operate as ecological niches, or ‘lived places’.
narrative environments are ‘thin environments’ in some sense, in that they lack existential significance.

In place as ecological niche, the organism/person relies on the environment for survival in practice and on the continuing viability of the organism-environment relationship. In some narrative environments, the organism/person may be more or less well informed or entertained, but their survival does not depend, in any ongoing sense, on a continuing viable relationship between organism/person and narrative environment.

If narrative environments were to work as ecological niches, there would have to be a plurality and a diversity, of different levels and different types, not just a multiplicity of, and within, the same, and such a diversity, given the unpredictability of the entire field of interaction, would be difficult to design or plan, or to know in advance.

Place and self are intrinsically inter-related.
Narrative environments are places themselves. They do not simply depend on the existence of other places.

A lived place is open-ended, an inconceivable globality, constantly being revised in terms of its localised, but networked, narratives and goals.

Narrative environments are not just sets of representations (signs), however polysemous or paradoxical, but also sets of performatives (acts); they are signs-acts.

Narrative environmental space is a space of practice: spatialisation taking place and making place.

The ‘economies of experience’ are organised around embodied selves, the production, enaction and alteration of subjectivity (subjecthood and subjection).
Narrative environment needs to be extended semiotically and bodily (from linguistic to non-linguistic, embodied forms of inter-action) as well as contextually (from linguistic-discursive environment to the designed, architected, shaped material-cultural environment).

Stories are the means by which one understands one’s place in the world: habitat or niche (ecological place); interpersonal roles (familial and communal place); societal roles (political and economic place); and place); interpersonal roles (familial and communal place); societal roles (political and economic place); and sense of embodied self (individuated place and imaginary place).

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Ontobranding: how reality promotes itself

September 18, 2009

Yesterday we had a meeting with Nello Barile and Andrea Miconi from Universitá IULM.

Nello’s paper “From post-human consumer to the ontobranding dimension” for forthcoming Mobile communication and social policy conference points to an interesting aspect how new social technologies together with consuming practices within these technologies can create certain ontobrands.

He writes:

To explain this connection between consuming, technology and geolocalized experience the theorists invented several formulas such as hyper-geography, hybrid ecologies and geotagging.

The idea of assigning an IP address to every square meter of our planet suggest that there will be a complete isomorphy between the net and the planet so that every movement in one dimension implies an immediate modification on the other. Every element of our urban and natural environment could be able to interact and dialogue with this integrated system and other system connected with it. In this way when the idea of a traditional branding strategy will be overcome by a sort of diffused kind of branding.

Nello claims that : “branding becomes a flexible and spread technology”.

He writes:

If the traditional branding was just a tool in the hands of companies to build their own image and positioning in the collective mind, the selfbrandig approach demonstrates how the marketing thought is a state of mind that produces an existential positioning

Unfortunately, Nello does not define clearly his ‘ontobranding’ idea, but i can see that it is exactly what we were doing in our Hybrid Narrative Ecosystem studies.

We wrote with Mauri in our forthcoming book-chapter for IGI Gobal “Participatory design experiment: Storytelling Swarm in Hybrid Narrative Ecosystem” that one representation of hybrid ecosystem is ontospace, which consists of ontodimensions – descriptive features of an entity within a domain of information (eg. cool, expensive, cheap, nice).
People take perspectives of ontodimensions that can be fixed with ontocoordinates in this ontological space (eg. i can prefer more cool but cheap dimensions).
Niche is such a range of ontodimension perspectives that certain community members jointly define in ontospace, that effectively meets their understandings, expectations, and behaviour. Practically, niche is an abstract communality of community members personal preferences and perspectives.
Niche defines a subspace in ontospace that constrains the personal selection of perspectives of each community member. (simply you don’t fit to this community if your perspective is out of this range).
We also claim that every person evokes affordances as perceived perspectives in ontospace when they interact within this hybrid space. So they are simultaneously keeping and shifting the community subspace in ontospace. (This can be imagined as brand shift, changes in fashion).
However, this activity is not centrally coordinated, but may appear in the swarming kind of behaviours. In swarming each individual relies on signals left by swarm members into the ecosystem (practically the geotagged content). Again, the more strong is the signal, the more likely it will be picked up and it becomes a brand.

For me this is how the ontobrand can appear. I don’t know if Nello Barile will agree with this explanation :)

Anyway, i think we can continue discussions with him.

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Swarming to write narratives in hybrid ecosystem

July 9, 2009

Recent month i have been trying to write together with Mauri Kaipainen about the “Narrative ecology” course results. In principle, we come up with some theoretical baseline how writing narratives happens in new hybrid ecosystems, and how it may be represented ontologically and used for detecting more about the new standards of writing stories in Web 2.0.
Finally it has to be a book chapter, but since it is not ready it is about a time to show some of it.

Swarming to write narratives in hybrid ecosystem
by
Kai Pata
Mauri Kaipainen

1. Hybrid narrative ecosystem

1.1. Defining hybrid ecosystems

For describing what we mean by storytelling with participatory media, the concept of hybrid ecosystem is useful. The term conveys two ideas. First, hybrid refers to the property of the world that is achieved by active hybridization of physical spaces with digital media spaces (eg. blogs, microblogs, wikis, social repositories and -networks). These borders can be blurred or eliminated whenever purposeful, allowing embedding artifacts across borders for creating an augmented and more interactive reality. The second key term is that of an ecosystem with its explanatory subconcepts ontoplace and niche.
Individuals develop places when they add various artifacts such as images, impressions, historical content, marketing information to augment certain geographical locations, and increase their ability to perceive places as meaningful spots individually. Place is assumed to have not only geographical coordinates but also ontocoordinates, that is other defining characteristics for a place (Kaipainen, et al., 2008). Ontocoordinates enable to identify ontoplaces that are unique for each individual. The concept of ontoplace refers to the context of events, objects, emotions and actions of an individual in the place, and includes both natural, e,g, geographical elements as well as conceptual constructions. Individuals with similar cultural background form communities that may have a similar perception of ontoplaces because they are involved in similar activities or share common meaning making principles. We use niche concept for determining such shared ontoplaces and -spaces.
Niche concept is used in biology for describing an abstract space in which certain species has optimal living conditions for performing all actions related to their life. Hutchinson (1957) defined niche as a region (n-dimensional hypervolume) in a multi-dimensional space of environmental factors that affect the welfare of a species. These environmental factors (eg. optimal temperature amplitude or daylight period) may be related with geographical aspects (eg. latitude, altitude) or may be determined by other non-geographical aspects (eg. chemical components of the soil, specific prey objects of other species in the area etc.). Niches appear as generalizations, they become evident if many similar individuals live, interact and evolve in certain conditions. Each individual is constantly adapting itself to the niche of the species.
In our discourse we look individuals who share certain joint activities as a community. We determine a community as an equivalent of the species. This community is influenced by the various environmental factors in hybrid environment. Different artifacts, perceived action possibilities or people available in the physical or virtual places create environmental factors for the communities that determine their possibility of taking community-specific actions. Environmental factors influence individuals physically as well as emotionally or cognitively. The determination of ontocoordinates of ontoplaces individually by community members creates conditions for the emergence of niches with shared ontocoordinates that facilitate taking certain community-specific actions. For example, Hoffmeyer (1995) coined the term of semiotic niche to signify the semiotic spaces that are actualized by certain organisms in species’ specific semiotic processes when interacting with their environment. Magnani (2008), and Magnani and Bardone (2008) use the term cognitive niche to mark the distributed space that people create by interrelating individual cognition and the environment through the continuous interplay through abductive processes in which they alter and modify the environment. Niches represent generalized ontoplaces and -spaces for communities – groups of individuals with similar cultural background and perception. It must be noticed that niches may have but do not necessarily have geographical coordinates in real world.
An ecosystem is a unit of interdependent species, which share the same habitat. Another view to the ecosystem is niche based – one habitat may provide various partially overlapping or separate niches for species to coexist. In our case hybrid environments form a particular habitat in which various communities create and alter their activity niches. The niches for writing hybrid narratives appear if individuals who share some common Web 2.0 storytelling culture determine for themselves ontoplaces in the hybrid ecosystem and use them as triggers of their narratives. It must be noted that such facilitating niches for storytelling appear in hybrid environments when several people find, use or embed digital contents for perception and action as part of their daily interaction with the hybrid ecosystem. On one hand, narratives created in this ecosystem may have geocoordinates connecting them with physical world. On the other, in the virtual environment, narratives possess ontocoordinates, thus determining optimal abstract niches for storytelling. By adding their contents to the environments, participants create the evolutionary feedback loop to the niche (Magnani & Bardone, 2008; Pata, 2009; 2010). Participatory media environments together with real places can be conceptualized as a hybrid ecosystem, provided that participants of social media have ecological dependence of the particular set of “tools” that they use as their niche for taking action. The concept of tool here should be interpreted as it is used in an activity theory (see Leontjev, 1978), which considers various artifacts (eg. digital narratives, images), software (eg. social software tools) and language (eg. user-created ontologies, tags) as mediators of action. Ongoing narrative activity by many individuals in hybrid environment influences and shapes the characteristics of available niches in the ecosystem and allows a habitat for communities.

1.2. Representing hybrid ecosystems

Next, we will discuss some methods of representing various coordinates of hybrid ecosystems. The initial idea of bringing place-information to the active use in participatory media environments was to associate contextually meaningful information and metadata with the geo-coordinates of the places. For capturing, storing, retrieval, analysis and display of spatial data GIS as a computer-based system was developed. It was discovered soon that the methods of mapping geographical space by GIS geo-coordinates do not match the way people think about their world. For this reason, Jourdam Raubal, Gartrell and Egenhofer (1998) suggested that integrating a model of how people conceptualize and perceive places into GIS would enable to use GIS to make important decisions about places. They suggested that physical features of objects in places, actions that people take at places, narratives that are related to the places, symbolic references of the places (eg. names, metaphors), cultural factors of the place and the typologies of places given by people could be used for advancing GIS. They presented a methodology to model places with affordances that they saw as user-centred perspectives of the place. However, this technical innovation did not get much attention because for every person places contain different action and emotion potentialities, and manually annotation of this action- and meaning-specific metadata directly with places would have reduced the community-based applications of hybrid places.
The recent emergence of different participatory media has brought in ways of describing the conceptual nature of content collectively. One of the most popular methods is so called tagging, that is, adding descriptive terms associated with content by members of the community, and the complementary addition of geographical position information. Tags are related with meaning and activity dimensions of the communities. Using tag-based search, certain dimensions of the virtual places could be discovered and brought to the active use. Some social software environments (eg. Flickr.com) now enable the simultaneous use of tags and GIS information for mapping digital contents location-based to real world. Yet, many commonly used software types (eg. blogs, wikis) still lack this possibility. Using tags and GIS concurrently has opened another, more flexible way how communities can mark their meaningful places with artefacts independently of other communities, and interact at the physical locations with the virtual contents left by other communities. Geotagging systems make it possible to create locative content by mobile devices, situated both in real and virtual environment (Tuters & Varnelis, 2006). Locative content is media content applied to geographical places, any kind of link to additional information set up in space together with the information that a specific place supplies, which is triggering real social interactions with a place and with mobile technology (Tuters & Varnelis, 2006; Hanzl, 2007, Kaipainen & Pata, 2007). With positioning technologies e.g GPS-chips built in telephones, or by searching locations on digital maps (eg. Flickr.com, Google.maps.com, Brightkite.com), people can gain access to of the place-related digital artefacts. They can use them for learning, playful activities, marketing and other ways.
As to our approach, we take that the proper model of hybrid narrative ecosystems consists of a hybrid geo-conceptual-temporal ontospace. Hybrid ecosystem functioning at individual and community level causes the emergence of an ontospace. To ground this concept, on a general level we adopt the concept of ontology from IT systems, in the broad sense referring to specification of conceptualization (Gruber 1993) of the content dealt with, or to the manner of existence of the content, pointing at the old philosophical traditions related to ontotology. However, we find it difficult to apply the standard ontologies of IT, e.g. OWL, to the purposes of hybrid ecosystems, because their hierarchical and rigid nature does not support the emergence of new narrative tracks (we need to define tracks first) as we propose. Assuming that tagging involves the actual conceptual structure of the metadata, as with the activity of storytelling, the resulting ontology needs to be ‘soft’, that is, not fixed a priori but evolving in the course of the activity. Moreover, we assume that the created patterns or tracks are ontologically fundamental, that is, we want to allow that they can constitute new ontological categories.
As a consequence, we rather choose to apply in hybrid ecosystems the ontospatial approach of Kaipainen et al. (2008). This approach describes the domain of inquiry in terms of descriptive feature dimensions (ontodimensions) that altogether constitute an ontological space (ontospace), also referred to as soft ontology. In this model, the number of ontodimensions is not fixed, but can vary dynamically, allowing new defining features to emerge in the process.

Ontodimension is one dimension in ontospace that can be perceived and followed when collecting and storing artifacts in hybrid ecosystem. Such dimensions may be perceived only by one individual or by many individuals. The more strong ontodimensions are perceived the more probable is that they are followed and used in new narratives.

Note. It is the way how we can later connect it to the swarming behaviour (making and following the signal trace means basically that people notice ontodimensions and start accumulating/monitoring these ontodimensions).

As another crucially important feature for modeling hybrid ecosystems is that the model does not assume any a priori hierarchical structure, but considers all descriptive features to be of equal ontological importance. It is the observer’s perspective that priorizes the ontodimensions and determines the perceived order.

The ontodimensions that a person has previously noticed as meaningful, and used in his/her actions, will narrow his/her perception and help to focus only on certain ontodimensions of the ontospace. If noticing such dimensions is common for more than one individual, these ontodimensions become community-specific. Ecologically, certain ontodimensions start to facilitate some community specific actions more than the others, and enable to form an abstract community specific niche. Niche is a community specific and community determined part of an ontospace. Niche is a meaningful place for the community, and we may call it an abstract ontoplace of the community. Ontoplace for a community is optimal for certain activity, beyond a mere geographical place.
The niche as a community place in hybrid ecosystem is never stabile and static but is always in the stage of evolvement as the community members perceive and use various ontodimensions.

An ontospace is a means to relate the existence of entities of a domain to each other and to the domain to which they belong in terms of similarity, in turn defined as proximity in the ontospace. Formally, coordinate system O=(x1,x2,…xm) defines m-dimensional ontospace A of domain D. Each entity i of domain D, for example §, is represented by an m-tuple Ai=(ai1, ai2,…aim) , were aij stands for the salience value of property j that can be determined or specified for entity I in the data collection process. Altogether, Ai constitutes the ontocoordinates of entity i and expresses the position of i in ontospace A.

The virtue of this formalism is that aij§ can represent any type of description, be it a tag, or the geoposition, or a time stamp of an event, and they can be blended and referred to in various hybrid ways.

In addition, it allows the description of stories as a trajectories across the ontospace.

Furthermore, we can represent an ontodimension as an affordance, which enables to give another, ecologically interpreted explanation of how people perceive and interact with the hybrid ecosystems.

1.3. Embodiment of hybrid ecosystems

The ways people interact with the hybrid ecosystem – augmenting artifacts and accessing virtual information associated with places – extend the human capabilities of action and perception. Perception in hybrid ecosystem involves expectations and meanings (Gibson, 1979) and is a continuous, active and embodied process (Gibson, 1979; Michaels, 2003; Zhang & Patel, 2006). Varela, Thompson & Rosch (1991, p. 149) associate the capacities of understanding with biological embodiment, but are lived and experienced within a domain of consensual action and cultural history. They coined the term embodied action to point at the idea that cognition depends upon the kinds of experience that originate from having a body with various sensory-motor capacities. They also emphasized that that these individual sensory-motor capacities are themselves embedded in a more encompassing biological, psychological, and cultural context. The authors assumed that sensory and motor processes, perception and action are fundamentally inseparable in lived cognition (p. 172-173). Using the term enaction they focused on two points: 1) perception consists of perceptually guided action, and 2) cognitive structures emerge from recurrent sensory-motor patterns that enable action to be perceptually guided (Varela et al., 1991, p. 173). The enactive cognition framework (e.g. Maturana & Varela, 1987; Varela, et al., 1991) emphasizes cognition and knowledge as active construction of a subject, rather than passive representation of an external reality. From the viewpoint of writing stories in hybrid environment this assumption is important. The narratives of the hybrid space are not representations of events that are described by digital means. The stories emerge as part of the places and are constantly enacted in various ways, depending of the ‘reader’ of the story. Communities may compose locative narratives, which will perceptually guide this community, but also the other communities.
Ecological psychology (eg. Gibson, 1979) can be applied as a theoretical framework to explain how people conceptualize and perceive hybrid places. Ecologically oriented approach regards perception more as a direct process of translating environmental action potentialities into action. Information processing according to this view states that when a given stimulus from the environment is frequently coupled with a given response, the information derived from that stimulus will become associatively enriched with response produced cues that then will help to discriminate this stimulus from other ones coupled with other responses (Hommel et al., 2001). The most important claim of the ecological perception theory is that neither the properties of the place nor the physical properties, action goals, memories, or emotions that people have beforehand, would alone suffice to provide the interaction potentialities for the place.
Gibson (1979) originally coined the term affordances for marking this complementarity of the environment and organisms (Gibson, 1979, p. 127). He (1979, p. 129) wrote: “An affordance is neither an objective property nor a subjective property; or it is both if you like. An affordance cuts across the dichotomy of subjective-objective and helps us to understand its inadequacy. It is equally a fact of the environment and a fact of behaviour. It is both physical and psychical, yet neither. An affordance points both ways, to the environment and to observer.” Affordances are not properties, resources nor features of the environment. Instead they are “relations between particular aspects of animals and particular aspects of situations” (Chemero, 2003, p. 184). Coupling happens between the place-related and culturally defined affordances, and internal personally relevant goals, emotions and memories of previous interaction. It is the very mutuality between actor and environment that constitutes the basis for the actor’s perception and action (Albrechtsen, Andersen, Bodker, & Pejtersen, 2001). Barab and Roth (2006) assume that in the perception-action cycle of coupling each new action potentially expands or contracts affordances as active interaction possibilities of the place. Magnani (2008), and Magnani and Bardone (2008) note that human and non-human animals “modify” or “create” affordances by manipulating their cognitive niches. According to Heft (2001): “we engage a meaningful environment of affordances and refashion some aspects of them… These latter constructed embodiments of what is known – which include tools, artifacts, representations, social patterns of actions, and institutions – can be called ecological knowledge. Ecological knowledge through its various structural, material culture, human setting manifestations becomes an integral social and cultural part of ‘the environment’, with these social and cultural affordances constituting effective, largely material, forms of knowledge with their own functional significance, cultural transmission, and adaptation implications.”
Affordances emerge when people use social software tools, collecting stories in the geographical places, developing and embedding digital artifacts or interacting with the augmented space. The term of affordance marks the dynamic process by which people in the course of action accommodate themselves with their surroundings and simultaneously shape these surroundings. For example Bruner (1996) refers to such an accommodation process when cultural identity is found by meaning making and writing narratives. Affordances appear for every individual differently, but as long as individuals are part of certain communities and cultures, they evoke similar sets of affordances (Pata, 2009). In the present context we may consider affordances as abstract dimensions of the space by which activity and meaning niches of the communities may be described (Pata, 2009; 2010). Affordances of the hybrid narrative ecosystem emerge in the course of storytelling. The sets of affordances that many individuals perceive and use in storytelling will reveal the potential storytelling niches of the hybrid ecosystem.

2. Writing narratives in hybrid ecosystem

2. 1. Appearing new storytelling standards in Web

New technology, such as microblogging (eg. Smallplaces in Twitter http://twitter.com/smallplaces; Twiller http://twiller.tcrouzet.com/), mobile text-messaging (eg. Novel Idea http://www.mobfest.co.za/novelidea/default.html) or blogs has been used to write stories. A typical application is segmenting and serializing the story into small tweets and making it available to broad audience. Jay Bushman has been experimenting in developing re-imaginings of famous authors’ stories into the microblogging format (eg. The Good Captain http://www.loose-fish.com/waifpole/the-good-captain/) aiming to create embedded fiction between the streams of nonfiction that is constantly arriving to our daily lives. His goal is to blur the line between the real world and the story world (reference). The common “space” characteristic of the stories and human geography is reused in hybrid ecosystems. On one hand, human geography is filled with emotions about places, on the other, stories contain a set of geographical data and play a key role in shaping people’s geographical imaginations (Crang, 1998). Using this characteristic extensively, some authors (eg. Carlos Ruiz Zafon, “The Shadow of the Wind” http://www.carlosruizzafon.co.uk/shadow-walk.html) have embedded their novels into the real geographical locations and provide itineraries for exploring the novels parallel in real and virtual world to enable for the readers embodiment of the fictional story as part of city reality.
All these are examples of reintroducing old formats of fiction in the new hybrid ecosystem. In our experiment, instead of bending old novel format into the hybrid ecosystem, we wanted to explore the new evolving narrative formats of this hybrid space. For example, Crang (1998) has noted that different modes of writing may express different relationships to space and mobility. Kurland (2000) provides the following general characteristics of traditional stories. They have plot, a geographical setting, where and when story takes place, and characters who are involved into the plot by taking actions. The plot of the story usually involves conflicts and its resolution. Stories are generally read and appreciated only in their entirety, to understand the story we must follow the complete unfolding and resolution of the plot. The structure of the story may be linear progressing from unfolding the conflict, rising action, climax and resolution. Alternatively, the patterns of actions and interrelationship of characters may occur throughout the story. The author of a story plays often an active role in the story either as the first person narrator who participates in the story as an observer, minor character or even the major participant or the third person narrator who stands outside the story itself and can be all-knowing and might describe action from many character’s viewpoint, evaluating people and actions in the story. These characteristics of novels are culturally deeply rooted in our minds and may reappear in the transformed shape if different modes of writing are used in hybrid ecosystem. In the experiment we aimed at collecting evidence of new standards how narratives appear in hybrid ecosystem.

2.2. Swarming as a bio-metaphor for writing narratives

While looking for the models to depict the nature of storytelling in hybrid ecosystems we arrived to another biological phenomenon – swarming (Bonabeau, et al., 1999; Kennedy, Eberhardt & Shi, 2001). Many activities in hybrid ecosystems can be characterized as swarming phenomena. Swarming refers to self-organizing behavior in populations such in which local interactions between simple decentralized agents can create complex organized behavior. A swarm is a community in which every agent is only responsible for its individual actions, but the actions altogether cause shared intelligence to emerge. Such swarming systems can accomplish global tasks and form complex patterns through simple local interactions of autonomous agents. Individuals in swarms have ecological relations to the collective. They maintain their individuality and viability in case if the collective swarm intelligence and viability emerges (Sauter et al., 2005). Swarming relies on using the environment as a shared memory, and on reading information both from the environment and from the swarm members’s signals to maintain individual wellbeing. Thus, swarming is one of the main mechanisms how hybrid ecosystems function and evolve. In other ways swarming mechanisms can be viewed as the creation of an ontospace, and extracting certain signal ontodimensions from this space.

The particular activity that is focused on as an example of swarming in this study is writing narratives in a hybrid ecosystem. A hybrid narrative ecosystem can be described like viewing foraging ants through a prism. The foraging example was taken because it provided a generalized model for the various behaviors that have been observed in social software environments when people create and use textual and visual artifacts. “A central place food foraging” is a swarming behavior that consists of two main phases: an initial exploration for food, followed by carrying it back to the nest (Sudd & Franks, 1987). The foraging ant is randomly searching to explore new area. If an ant collides with some food it picks it up and leaves a certain pheromone on the trail. If foraging, each ant is alert for this pheromone as a food marker that may have been left by other ants in the trail for finding food. They are always moving towards the direction where there is a greater concentration of that pheromone.

Note! This may be related to the trajectory and gradient in ontospace)

However, the pheromone dissipates over time. If there are not enough ants collecting food and dropping pheromone on the way home, the trail may disappear. The system of diffusion and evaporation leads of a competition among food sources for available ants, because the number of ants is limited and the trails need a steady walking of ants along them to stay stable. The shorter the distance of a feeding place to the nest, the shorter is the trail, the more often ants walk from nest to feeder and back per time unit. This leads to a stronger positive feedback loop and race conditions among the feeders, selecting for the nearest one.

Note! This may be related to the trajectory and gradient in ontospace, why movig towards gradient is more effective behaviour.

The pheromones similar to those signaling about food may also be used to allure ants from the track. An enemy trying to conceal the search target, may spread false signals to attract the ants to a location of little interest. To avoid this trap, the signal is responded only if it reaches to certain threshold value (Marshall, 2005).

Note! Can ontodimensions reinforce each other? In niches it is possible that niche dimensions may reinforce each other if they appear together. So if some ontodimensions appear simultaneously they provide a stronger signal to the narrator to add some content, to do action)

writing narratives as a swarm

writing narratives as a swarm

Figure 1. Swarming: Foraging behavior of ants and writing narratives in hybrid ecosystem.

As an analogue to ants’ foraging behavior, human storytellers in their hybrid ecosystem search for and are influenced by the attractor objects (eg. interesting aspects of the environment). When finding something of interest, the objects are captured in textual or digital image format using microblogging programs (Brightkite.com, Zannel.com) in mobile phones. Alternatively, digital cameras could be used and artifacts would be uploaded later. Microblogging environments enable to pull digital contents automatically also to the social repositories (Flickr.com) or social networks (Facebook.com). Stories uploaded from microblogging environment can be mashed using special tags, and pulled as RSS feeds to the other social software environments for monitoring. This may be done for extracting various stories from the collected artifacts individually or for the community. The artefacts can be locatively geotagged in microblogging systems (eg. Brightkite.com, Zannel.com), and connected to stories either by simple linking, tagging with keywords or merging them and providing longer explanations in personal blogs. The attention of emerging story is caught by various trace-leaving techniques like mashing, pulling and aggregating, tagging for social retrieval, social awareness technologies or hybrid maps etc. These collected and personally meaningful artifacts with tags serve as signal trails for the narrators themselves to continue with certain story aspects, and also for other storytellers to contribute for this story or to trigger their own stories. The application of microblogging environments and social mashups with tags enables for other people an immediate access to the new signals of potential attractors, causing selective noticing in the hybrid ecosystem. Following the signal trail opens the possibility of accumulating more content for a particular story, especially if several individuals start to strengthen the signal. The more similar content is accumulated, the more attractive and visible the story trail becomes as a trace in the narrative ecosystem. This trace attracts other individuals and thereby reinforces itself. Strong signal trails may also be attacked and reused, for example by alluring the crowds away from the original trail with various similar signal baits. The initial story may thus become modified into many paths.

Adopting traces of other individuals of the swarm depends on analogy or closeness of the attractor narratives to one’s own. Various forms of collaboration may appear. One is agglomerating stories in the manner comparable to how termites build the nest (Kennedy et al., 2001). Termites build high dome-like termite nets following the swarming behavior. They take some dirt in their mouth moistening it and then start to move in direction of the strongest pheromone concentration. They deposit dirt when the smell is strongest. After some random movements searching for a relatively strong pheromone field, the termites will have started a number of small pillars. The pillars signify places where a greater number of termites have recently passed, and thus the pheromone concentration is high there. The pheromone dissipates with time, so in order for it to accumulate, the number of termites must exceed some threshold; they must leave pheromones faster than the chemicals evaporate. This prevents the formation of a great number of pillars. As termite pillars ascend and termites become increasingly involved in depositing their loads, the pheromone concentration near that pillars increases. The termites are attracted to let the dirt between the pillars that attract them from several sides.

Note! Can ontodimensions reinforce each other? In niches it is possible that niche dimensions may reinforce each other if they appear together. So if some ontodimensions appear simultaneously they provide a stronger signal to the narrator to add some content, to do action)

Termite arch-building contains two kinds of behaviors: cue-based and sign-based. In the cue-based case the change in the environment provides a cue for the behavior of other actors (eg. growing pillars provide such cues). In the sign-based swarming the pheromones are used as signals.
In the hybrid narrative ecosystem the tags (like pheromones) are glued to the soil material (geotagged content of the narrative pieres, text, images). This provides signals and makes story elements attractive. The artifacts that are marked with same tags or artifacts that contain certain significant elements for the storytellers will be noticed and integrated into stories. However, these stories are not linear, but can be viewed rather as story dimensions.

Note! Here we must write about moving along perceived ontodimension trajectory when they write or monor other people stories. Aso moving alog the gradient is interesting here?

Secondly, such artifacts from certain story dimensions that are available in the geographical locations will become gateways to other geographical locations where artifacts with similar tags have been embedded. Such geo-locative story dimensions form an ecological knowledge of the hybrid narrative ecosystems, influencing how people will interact with the environment.
New geo-locative stories are granular and consisting of little content portions. The story may become evident and appear as a result of accumulation of these portions. Popular social software tools often lack sufficient interoperability to provide automatic pingbacks between different software platforms that would enable to trace the story elements across the hybrid ecosystem.
The emergent story may not have a start and end. It is a flow of impressions that may eventually obtain a storyline, or even several story lines for different people. Yet, providing the visibility of stories as linear sequences and composing story plots is technologically unaided.

Note! Again place for ontodiemnsion trajectory?

Individuals tend to mutate their narratives as a result of ecological perception. Sometimes these may initially be mere errors that take place if individuals try to repeat an existing narrative in another virtual environment (for example if adding descriptions and tags to the Flickr images uploaded by means of Brightkite mobile microblogging). Also deliberate reinterpretation of artifacts takes place. Most often if the narrative is transformed from one environment to another (eg. from microblogging environment to the blog) authors tend to elaborate it. If artifacts are borrowed from one individual to another, the new person and different context will cause different perception of this digital entity. This kind of evolution of stories may eventually change the attractor tag concentration to the extent that the original story trace will be lost and the individuals would need to start the search for new narrative resources as new attractors.

Note! Moving from one trajectory to another, can we elaborate this

It is important to note that swarm-like collaboration does not assume an initially decided goal, but suffices for collaborative patterns to emerge. Cloning narrative pieces by analogy may also make the trace of the narrative more visible, similarly like pheromone traces are agglomerated due to the swarm activity. Thus cloning will “hype up” some stories.

2.3. Narrative swarming from ontospace perspective

If we talk about writing narratives in a community of an hybrid ecosystem, the niche ontodimensions are determined by the most frequently selected ontodimensions that people perceive (eg. food, buildings, graffitti, emotions, contrasts, happyness, particular software beyond others, particular geographical locations beyond others). Within this niche certain ontoplaces are more preferred than the others, and start triggering collaboration.

When writing hybrid narratives, each person moves along personal trajectory in the ontospace, creating particular ontoplaces. This trajectory is not predetermined with the story plot. This trajectory is currently observable for the others only by means of participatory surveyllance in social software, and not as a detectable path in ontospace.
Often the trajectory as a storyline is determined by and combines from a limited set of ontodimensions that the person highlights, and a small number of hybrid locations where the person walks in daily life. It usually fluctuates between the limited number of closely situated ontolaces in the ontospace.

The triggers of perceiving new ontodimensions and discovering new ontoplaces are received from monitoring the hybrid ecosystem where other people write narratives in the same niche. Such use of same sets of ontodimensions in the community causes narrative swarming phenomena that are observable as the emergence of closely situated ontoplaces in ontoplace.

NB! Evidences of the activity may be seen from the previous posts.

Here is just a table to compare how narrative swarming in hybrid ecosystem differs from writing a traditional story.

Comparison of traditional stories and narratives written in hybrid ecosystem by swarms

Comparison of traditional stories and narratives written in hybrid ecosystem by swarms

h1

‘Narrative ecology’ tag-space

March 22, 2009

Tomorrow is the last day of the Narrative ecology course.

I have explored a bit my own data from the blog.

I have written three stories:
– ‘an ecology story’ is about my perceptions related to theory of narrative ecology;
– ‘an invasion story’ is about natural world invading as artifacts; and
– ‘ sustainable message story’ is about messages that are recycled on artifacts.

Here is the tag-space of my stories. There are still some problems with this exploration tool, but i think it really extracted the three stories.

ecologydimension2

Another way to look at the tag data at dendrogram shows also three clasters, so actually i WAS writing three stories.
blogtags

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