THIS IS WHAT JOURNALISM AND ACADEMIC WRITING HAS BEEN THESE SEVERAL CENTURIES OF AGE OF ENLIGHTENMENT ---I AM MAN.
This idea of STORYTELLING last century grew through INTERNATIONAL JOURNALISM as continuous wars and global banking 1% goals of COLONIZING took hold. So, US 99% of WE THE PEOPLE would watch national FAKE NEWS media and see STORYTELLING by people in third world nations who do not have access to being their own JOURNALISTS.
Below we see the source of these STORYTELLING vs being a MAJOR MEDIA JOURNALIST ------PRINCETON is of course a US IVY LEAGUE working for global banking 1% OLD WORLD KINGS------taking US to colonial status along with our US 99% WE THE PEOPLE black, white, and brown citizens.
Global banking 1% FREEMASON STAR----creating a FAD. Dr MOGAN is not POPULIST----he is not LEFT SOCIAL BENEFIT----he is a PLAYER promoting myth-making and propaganda for global banking 1%.
'Dr. Nick Morgan is one of America’s top communication theorists and coaches. He has spoken, led conferences, and moderated panels at venues around the world. Nick is a former Fellow at the Center for Public Leadership at Harvard’s Kennedy School of Government. He founded Public Words Inc, a communications consulting company, in 1997'.
'Morgan received his A.B. in English literature from Princeton University in 1976, and his M.A. and Ph.D. in English literature and rhetoric at the University of Virginia in 1977 and 1981, respectively. He taught Shakespeare and Public Speaking at the University of Virginia and Princeton University'.
STORYTELLING with no access to JOURNALISM is a sign of BEING REMOVED from status of CITIZEN AND CITIZEN POWER over global corporations/global 1%.
YOU ARE COLONIZED IF THE ONLY VOICE YOU HAVE COMING WITH STORYTELLING.
Remember, these SUSTAINABLE JUSTICE IN MEDIA policies are driven by GLOBAL 1% UNITED NATIONS pretending this is JUSTICE.
Capturing our US 99% WE THE PEOPLE on VIDEO---DIGITAL outlets whether PUBLIC SURVEILLANCE---- SMART PHONES------SOCIAL MEDIA----or even NOSY NEIGHBORS AND THE GANG illegal surveillance INSIDE OUR HOMES----all has a goal of MEGA--DATA being fed to ARTIFICIAL INTELLIGENCE so machines can THINK LIKE HUMANS.
Indeed, stories do show how our 99% BRAINS WORK.
'Stories are even more important than that. They are how our brains work'.
Once global banking 1% capture enough STORYTELLING mega-data the 99% WE THE PEOPLE will have NO VOICE in media---or access to media.
What Storytelling Is And Is Not
Nick Morgan Contributor FORBES
I'm passionate about communications, especially public speaking.
This is the first of a two-part post on storytelling -- what it is and is not.
Connecting with another person is one of the highest forms of social being for humans. At the heart of it is good storytelling. When I’m telling you a story, and you’re engaged in it, you match your brain waves to mine. If I’m telling you a story with a familiar structure, your brain actually anticipates what I’m going to say next. The point is that that’s good for both parties. We want to be in sync with other people. It’s how we communicate well with others and it’s why good storytelling is so powerful. That feeling of synchronization is a profoundly satisfying one. We want to hear stories, especially ones where we can guess what’s going to happen next, a split second before we’re told.
So, when communication works, we are literally aligned with one another, down to our very brain patterns. That’s both inspiring and reassuring to know; when we communicate successfully, we are actually experiencing the same thing.
We are not alone.
How to Tell a Great Story
So how do you tell great stories or, more precisely, how to turn your passion, your message, your vision into a great story?
Today In: Leadership Everyone seems to understand that storytelling is important, because we’re awash in data and information and can’t remember it all. But we do remember stories.
Stories are even more important than that. They are how our brains work. For example, they are why we all feel that it’s safer to drive than fly, even though the statistics prove the opposite. We remember the horrifying stories of plane crashes and forget the stats. That’s because we attach emotions to events to create stories and memories. Our brains are constructed that way. So storytelling is essential if you want to use the brain the way it’s meant to be used. We remember the emotional, the particular, and the violent especially. We forget the boring, the general, and the anodyne.
But let’s start with what storytelling is not. Let’s clear away the detritus and get to the core.
Stories Are Not about Beginnings, Middles, and Ends
My favorite wrong cliché about storytelling is the oft-cited “it has a beginning, middle, and an end.” Well, yes. But so do pencils. As a definition, this one is not specific enough to be helpful. Airplane flights, dentist appointments, and pencils all have beginnings, middles, and ends, but they are not stories. They might become the fodder for stories, but stories in themselves they are not.
Forget this one. It’s not helpful.
Stories Are Not Anecdotes
My next favorite spurious cliché about storytelling is that what happened the last time you visited a client site is a story. It’s not, unless a conflict developed at your client site, leading to a crisis, it was resolved in some way, and someone—the hero—changed deeply and profoundly because of it. Rather, it’s an anecdote. We relate anecdotes to each other all the time--
I was at the drugstore and guess who I saw? My old college buddy Aaron!
That’s an anecdote, or at least the beginning of one. It may even be fascinating, but it’s not a story.
The UNITED NATIONS SUSTAINABLE JOURNALISM ------complete with global 99% of WE THE GLOBAL PEOPLE as STORYTELLERS------has replaced our US public media structure taken these few decades by CLINTON/BUSH/OBAMA to being global banking far-right wing ------ending this US SOVEREIGN public media resource.
TED TALKS-----only allow global banking 5% freemason/Greek players as VOICES----but they are GROUP SPEAK ----they only use GLOBAL BANKING TALKING POINTS-----not their own voices. Today's global banking 5% players as media are the BIGGEST STORY-TELLERS-----much less powerful then our 99% fighting for the VOICE they had these centuries of US HISTORY.
THESE ARE THE MINI-ME FAKE 'NEW IVIES' GRADUATING 5% PLAYERS WORKING TO COLLECT MEGA-DATA FOR ARTIFICIAL INTELLIGENCE HAVING A 'HUMAN VOICE'------ROBOTS AS HUMAN STORYTELLERS.
Needless say----TED TALKS NYC-----is not ALL-AMERICAN----it is simply global banking 1% OLD WORLD KINGS------IVY LEAGUES----AKA KNIGHTS OF MALTA TRIBE OF JUDAH----not religious.
The voice of CITIZENS' OVERSIGHT MARYLAND as REAL LEFT SOCIAL PROGRESSIVES was the voice of MAINSTREAM media, journalism, and academics from THE LEFT OF POLITICS. Our REAL 99% of REPUBLICAN right wing voices were silenced by REAGAN/BUSH----now TRUMP.
Chestnut Hill, Mass.
Claremont Colleges: Harvey Mudd and Pomona
St. Paul, Minn.
University of Michigan
Ann Arbor, Mich.
New York University
New York, N.Y.
University of North Carolina
Chapel Hill, N.C.
University of Notre Dame
South Bend, Ind.
Olin College of Engineering
Rensselaer Polytechnic Institute
University of Rochester
Saratoga Springs, N.Y.
University of California, Los Angeles
Los Angeles, Calif.
When global banking 1% FAKE MEDIA JOURNALISTS are pretending to be fighting FAKE NEWS-----and pretending to tell us GLOBAL GREEN CORPORATION and NEW GREEN DEAL are actually about CLIMATE CHANGE-----the 99% WE THE PEOPLE in US and globally are being given a SNOW JOB.
TED ConferencesFuture visions: The talks of TEDGlobalNYC
Posted by: Brian Greene, Chelsea Catlett, Crawford Hunt, Francisco Diez and Julia Dickerson
September 21, 2017 at 2:17 pm EDT
A night of TED Talks at The Town Hall theater in Manhattan covered topics ranging from climate change and fake news to the threat AI poses for democracy. Photo: Ryan Lash / TED
THESE 5% MEDIA PLAYERS WORKING FOR 'DEMOCRACY'----REALLY!!!!!!
The advance toward a more connected, united, compassionate world is in peril. Some voices are demanding a retreat, back to a world where insular nations battle for their own interests. But most of the big problems we face are collective in nature and global in scope. What can we do, together, about it?
In a night of talks curated and hosted by TED International Curator Bruno Giussani and TED Curator, Chris Anderson, at The Town Hall in Manhattan, eight speakers covered topics ranging from climate change and fake news to the threat AI poses for democracy and the future of markets, imagining what a globally connected world could and should look like.
What stake do we have in common?
Naoko Ishii is all about building bridges between people and the environment (her organization is one of the main partners in a Herculean effort to restore the Amazon). As the CEO and chair of the Global Environment Facility, it’s her job is to get everyone on board with protecting and respecting the global commons (water, air, forests, biodiversity, the oceans), if only for the simple fact that the world’s economy is intimately linked to the wellness of Earth. Ishii opened TEDGlobal>NYC with a necessary reminder: that despite their size, these global commons have been neglected for too long, and the price is too high not to make fundamental changes in our collective behavior to save them from collapse. This current generation, she says, is the last generation that can preserve what’s left of our natural resources. If we change how eat, reduce our waste and make determined strides toward sustainable cities, there’s a chance that all hope is not lost.
What we think about when we try not to think about global warming. From “scientese” to visions of the apocalypse, climate-change advocates have struggled with communicating the realities of our warming planet in a way that actually gets people to do something. “Climate psychologist” Per Espen Stoknes wondered why so many climate-change messages leave us feeling helpless and in denial instead of inspired to seek solutions. He shares with us his findings for “a more brain-friendly climate communication” — one that feels personal, doable and empowering. By scaling actions and examples down to local and more relatable levels, we can begin to feel more in control, and start to feel like our actions will have impact, Stoknes suggests. Stepping away from the doomsday narratives and instead reframing green behavior in terms of its positive additions to our lives, such as job growth and better health, can also limit our fear and increase our desire to engage in these important conversations. Our planet may be in trouble, but telling new stories could just save us.
Building the resilient cities.
With fantastic new maps that provide interactive and visual representations of large data sets, Robert Muggah articulates an ancient but resurging idea: that cities should be not only the center of economic life but also the foundation of our political lives. Cities bear a significant burden of the world’s problems and have been catalysts for catastrophe, Muggah says — as an example, he shows how, in the run-up to the civil war in Syria, fragile cities like Homs and Aleppo could not bear the weight of internally displaced refugees running away from drought and famine. While this should alarm us, Muggah also sees opportunity and a chance to ride the chaotic waves of the 21st century. Looking around the world, he puts down six principles for building the resilient city. For instance, he highlights integrated and multi-use solutions like Seoul’s expanding public transportation system, where cars once dominated how people move. The current model of the nation-state that emerged in the 17th century is no longer what it once was; nation-states cannot face global crises decisively and efficiently. But the work of urban leaders and coalitions of cities like the C-40 can guide us to a healthier, more peaceful planet.
Seeking the truth.
Known worldwide for her courage and clarity, Christiane Amanpour has spent the past three decades interviewing business, cultural and political leaders who have shaped history.
HMMMM, CHRISTIANE AMANPOUR HAS BEEN THAT FAR-RIGHT WING GLOBAL BANKING 1% FREEMASON MEDIA STAR-----NOT LEFT OR POPULIST.
This time she’s the one being interviewed, by TED curator Chris Anderson, in a comprehensive conversation covering fake news, objectivity in journalism, the leadership vacuum in global politics and much more. Amanpour opens with her experience reporting the Srebrenica genocide in the 1990s, and connects it to the state of journalism today, making a strong case for refusing to be an accomplice to fake news. “We’ve never faced such a massive amount of information which is not curated by those whose profession leads them to abide by the truth,” she says. “Objectivity means giving all sides an equal hearing but not creating a forced moral equivalence.” Facebook and other outlets need to step up and combat fake news, she continues, calling for a moral code of conduct and algorithms to “filter out the crap” that populates our news feeds. Amanpour — fresh from her interview with French president Emmanuel Macron, his first with an international journalist — leaves us with some wisdom: “Be careful where you get information from. Unless we are all engaged as global citizens who appreciate the truth, who understand science, empirical evidence and facts, then we are going to be wandering around — to a potential catastrophe.”
A cat’s attic. Yusuf Islam (Cat Stevens)‘s music has been embraced by generations of fans as anthems of peace and unity. In conversation with TED curator Chris Anderson, Yusuf discusses the influence of his music, the arc of his career and his Muslim faith. “I discovered something beyond the facade of what we are taught to believe about others,” Yusuf says of his embrace of Islam in the late ’70s. “There are ways of looking at this world other than the material … Islam brought together all the strands of religion I could ever wish for.” Connecting his return to music after 9/11 to his current work and new album, The Laughing Apple, Yusuf sees his mission as spreading messages of peace and hope. “Be careful about exclusion,” he says. “In the [education] curriculum, we’ve got to start looking towards a globalized curriculum … We should know a bit more about the other to avoid the build up of antagonization.”
“Wherever I look, I see nuances withering away.” In a personal talk, author and political commentator Elif Shafak cautions against the dangers of a dualist worldview. A native of Turkey, she has experienced the devastation that a loss of diversity can bring firsthand, and she knows the revolutionary power of plurality in response to authoritarianism. She reminds us that there are no binaries, whether between developed and developing nations, politics and emotions, or even our own identities. By embracing our countries and societies as mosaics, we push back against tribalism and reach across borders. “One should never ever remain silent for fear of complexity,” Shafak says.
We know what we are saying “no” to, but what are we saying “yes” to? In her classic book The Shock Doctrine — and her new book No Is Not Enough -- writer and activist Naomi Klein examines how governments use large-scale shocks like natural disasters, financial crises and terrorist attacks to exploit the public and push through radical pro-corporate measures. At TEDGlobal>NYC, Klein explains that resistance to policies that attack the public is not enough; we also must have a concrete plan for how we want to reorganize society. A few years ago, Klein and a consortium of indigenous leaders, urban hipsters, climate change activists, oil and gas workers, faith leaders, anarchists, migrant rights organizers and leading feminists decided to lock themselves in a room to discuss their utopian vision for the future.
They emerged two days later with a manifesto known as The Leap Manifesto, which is all about caring for the earth and one another.
WOW---LOOKS LIKE THE GREAT LEAP FORWARD MAOIST REVOLUTION FOR GLOBAL CORPORATIONS AND GLOBAL RICH-----MANIFESTOS ALWAYS COME FROM GLOBAL BANKING FREEMASON STARS.
Klein shares a few propositions from the platform, including a call for a 100 percent renewable economy, new investment in the low-carbon workforce, comprehensive programs to retrain workers who are losing their jobs in extractive and industrial sectors, and a demand that those who that profit from pollution pay for it. “We live in a time where every alarm in our house is going off,” she concludes. “It’s time to listen.
It’s time — together — to leap.”
The fight for fairness.
This June, the EU levied a record $2.7 billion fine against Google for breaching antitrust rules by unfairly favoring its comparison shopping service in search. More than double the previous largest penalty in this type of antitrust case, the penalty confirmed Margrethe Vestager, European Commissioner for Competition, as one of the world’s most powerful trustbusters. In the closing talk of TEDGlobal>NYC, Vestager makes the connection between how fairness in the markets — and corrective action to ensure it exists — can establish trust in society and each other. Competition in markets gives us the power to demand a fair deal, Vestager says; when it’s removed, either by colluding businesses or biased governments, trust disappears too.
“Lack of trust in the market can rub off on society, so we lose trust in society as well,” she says. “Without trust, everything becomes harder.”
But competition rules — and those that enforce them — can reestablish the balance between individuals and powerful, seemingly invulnerable multinational corporations.
“Trust cannot be imposed, it has be to earned,” Vestager says. “Competition makes the market work for everyone. And that’s why I’m convinced that real and fair competition has a vital role to play in building the trust we need to get the best out of society. And that starts with enforcing our rules.”
Shine as bright as you can. Electro-soul duo Ibeyi closed out TEDGlobal>NYC with a minimalistic, deeply transportive lyrical set. A harmony of voices, piano and cajon drum filled the venue as the pair sang in a mixture of Yoruba, English and French. “Look at the star,” they sing. “I know she’s proud of who you’ve been and who you are.”
VIRTUAL REALITY ----storytelling on social media outlets whether TED TALKS or below we AL JAZEERA----a global banking 1% FAKE MUSLIM media outlet------is all about SHAPE-SHIFTING and VOICE manipulation so anyone watching what is being called a POPULIST MEDIA JOURNALISM structure has absolutely no idea if any of the platform for the report is REAL-----whether STORYTELLING or JOURNALISM.
'Actual journalism is FAR more than mere storytelling, and as a result, actual journalism requires a business model'.
NOSY NEIGHBORS AND THE GANG illegal surveillance and video PORN constantly use VR------VIRTUAL REALITY MANIPULATION of VIDEO AND SOUND.
'Virtual reality (VR) storytelling provides a unique opportunity to reveal how people are experiencing their realities'
JOURNALIST ETHICS will never come from national or international FAKE NGOS--------our ethics are local tied to our civil society and global NGOS are always filled with far-right wing global banking 1% LAISSEZ FAIRE extreme wealth extreme poverty. The only difference MOVING FORWARD is the removal of 5% freemason/Greek journalist/media players replaced by a GLOBAL 2% -------
'Ethics as a foundation
We’re only a few years into seeing what VR storytelling looks like for newsrooms, but at Al Jazeera we’re over 20 years into establishing how we work ethically as journalists'.
Our US 99% WE THE PEOPLE now becoming those global media STORYTELLERS-----having no other VOICE.
Don’t compromise your ethics when telling stories in VR
Dec 1, 2017 ·
At Al Jazeera, we build our organization with people who have a code of ethics ingrained in how they see the world around them. These are journalists who are interested in telling stories from a perspective other than that of the mainstream. Virtual reality (VR) storytelling provides a unique opportunity to reveal how people are experiencing their realities, as the medium is not only immersive but more intimate than traditional documentary. This is especially pertinent in the ongoing debate around how VR storytelling challenges some of the ethical values at the core of journalism. I’d like to share how Al Jazeera’s code of ethics interconnects with how we craft stories at Contrast VR.
Location, location, location
Much of the novelty of 360 and VR storytelling is framed around location. I’ve said before that merely focusing on location not only limits how we tell stories in this medium, but also creates a superficial and faulty framework for VR — one that can fall too easily into the poverty porn category.
This is what we see far too often with VR stories from global newsrooms:
- Stories that take an audience to communities to show how much people are suffering
- Stories that simply place a camera in a dangerous/exciting place
Jamalida with her two sons at the Kutupalong refugee camp near Cox’s Bazar, Bangladesh.With a lot of our stories we’re trying to show our viewers how people survive in spite of the situations they face. Rather than victimizing our subjects, we try to show life through their perspective, while making sure our audience understands the overarching political and cultural context that has created those realities.
We believe that VR has to be better than putting cameras in locations simply because we can. Ethics in journalism is as much about why the story is being told as how the story is told.
Rethinking the empathy machine
Thinking about location and the environment also lends itself to rethinking one of the biggest conversations within VR — the empathy machine. When newsrooms first started experimenting with VR, its biggest selling point was helping audiences find empathy for what they see. But the empathy machine also leaves us with a challenge as journalists: ensuring that our audience understands that “feeling like you’re there” is different from actually being there, let alone living there. If a VR camera is set up in a war zone and viewers put on headsets, the experience is exciting for them.
But excitement is not what we’re going after as journalists — at Contrast VR we take our audiences to places because we want them to understand how the lives of the people in these environments are being impacted by the most pressing global issues of our time. In “Oil in Our Creeks,” rather than showing our audience how the Shell oil spill devastated Rivers State in Nigeria, we had Lessi Phillips, a person from the region, show us what happened, but also how she is working toward improving things within her community.
On set in Nigeria with Lessi Phillips and Pastor Christian.
Empathy is not exclusive to the 360/VR medium. Audiences can see powerful images or watch a great 2D linear documentary that can evoke just as much empathy. The danger is that using empathy as the major avenue for telling VR stories can lead to emphasizing the subject as a conduit for emotion, rather than a real person whose life has been impacted by local and international events.
Guiding the subject
Rather than thinking about ethics and VR as a setback, at Contrast VR we like to think of it as a way to educate ourselves, our participants and the audience about how the medium works. For example, in traditional documentary with a 2D camera, those being filmed know not to approach the camera or look at the lens, unless they are being interviewed. In 360, the relationship between the camera and subject is trickier and requires a little bit of navigation, as the lens surrounds the subject and their environment. When we were shooting “Oil in Our Creeks” and “I Am Rohingya,” we had to guide the two characters, Jamalida and Lessi, to avoid approaching the camera. In addition, since we’d made a conscious decision to stay out of the shots in those two films, we asked our subjects to go about their day or activity once we were out of the camera’s view.
At Contrast VR, we uphold the fundamental ethics of journalism — we never tell our subjects how to behave and we never encourage them to do certain things that would look good on camera.
Consent in 360 view
The 360 view sees everything in its scope, which means that when the camera is set up in a refugee camp in Bangladesh, it has the capacity to capture many more people who haven’t given consent. How do we work around this? When we shot “I Am Rohingya,” whenever people came up to ask what we were doing, we answered honestly. We explained that while the camera was focused on our subject, Jamalida, some of them would be in the shot. Those moments were also key for making sure we understood that through this film, we were representing an entire community; the need for high-quality, honest reporting was even greater as we were telling a story not only about our subject, but about an entire community.
On set in Bangladesh, as the crowd gathers around to check out the camera.
Diversity in editorial teams
At Contrast VR part of our mission is to have a diverse team. For us it’s not just an added benefit — it’s essential that our editorial process involves collaborating with people who are connected to the stories we’re telling, to help us see things as they are. For example, when making “Oil in Our Creeks,” we worked with Sustainability International to better understand the nuances of environmental degradation in the region. In addition, we worked with a Nigerian producer and a Nigerian composer for the film’s score. When making “I Am Rohingya,” we collaborated with a producer who had reported from Myanmar since the country first opened to foreign journalists. Rather than simply giving us what we want to see, organizations and individuals from the countries we shoot in help us put together the most accurate representation of the issues we’re covering.
This is not the traditional fixer model, which involves having someone on the ground facilitate access to what we’re looking for. Rather, it’s a 360 and ethical editorial approach that enables us to discover what we need to see, to create work that is both authentic and conscious.
Ethics as a foundation
We’re only a few years into seeing what VR storytelling looks like for newsrooms, but at Al Jazeera we’re over 20 years into establishing how we work ethically as journalists.
We understand that VR raises questions about how we access and engage with communities — we know that navigating this space requires us (not just our audiences) to learn from the communities we engage with. Our foremost consideration in telling VR stories ethically is making sure we adhere to our integrity as a platform — and authentically represent experiences of people around the world in the most human way possible.