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Storytelling is traditionally associated with an oral tradition, dating back to the age of the hunter‐gatherer. Beginning with the etymology of the word, “story,” this article attempts to show how both written and oral storytelling evolved in relation to changing needs in society, from story telling among hunter‐gatherers to current forms of storytelling in today's organizational settings.

This article examines the various forms of storytelling, from its origins in prehistoric times to the post‐Industrial Age, with emphasis on the case study as storytelling in the Industrial Age and beyond.

The forms and applications of storytelling continually expand to meet the expanding needs of society throughout human history. Storytelling today, as in the past, can be useful as a tool for defining, securing and shaping people's existence in relation to both their culture and their universe. Storytelling is particularly valuable for ensuring one's survival in today's continually changing global environment.

Storytelling has always played a role in the evolution and survival of cultures. Today, as the world experiences rapid and continual change, it is more important than ever to identify and expand the forms and applications of storytelling to help people and organizations prepare for evolution and survival in an unfamiliar future.

This article expands the definition of storytelling, from Stonehenge to blogs, in the context of people's continual search for ways to define, secure and shape their existence in relation to both their culture and their universe. Currently, most societies across the globe are in a period of rapid transition and continual change. During this transition, it is vital to expand understanding of the evolving forms and applications of storytelling so that one can continue in the tradition of using stories to define, preserve and shape society.

Data storytelling courses position students as agents in creating stories interpreted from data about a social problem or social justice issue. The purpose of this study is to explore two research questions: What themes characterized students’ iterative development of data story topics? Looking back at six years of iterative feedback, what categories of data literacy pedagogy did instructors engage for these themes?.

This project examines six years of data storytelling final projects using thematic analysis and three years of instructor feedback. Ten themes in final projects align with patterns in feedback. Reflections on pedagogical approaches to students’ topic development suggest extending data literacy pedagogy categories – formal, personal and folk (Pangrazio and Sefton-Green, 2020).

Data storytelling can develop students’ abilities to move from being consumers to creators of data and interpretations. The specific topic of personal data exposure or risk has presented some challenges for data literacy instruction (Bowler et al., 2017). What “personal” means in terms of data should be defined more broadly. Extending the data literacy pedagogy categories of formal, personal and folk (Pangrazio and Sefton-Green, 2020) could more effectively center social justice in data literacy instruction.

Implications for practice include positioning students as producers of data interpretation, such as role-playing data analysis or decision-making scenarios.

Data storytelling has the potential to address current challenges in data literacy pedagogy and in teaching critical data literacy.

Course descriptions provide a template for future data literacy pedagogy involving data storytelling, and findings suggest implications for expanding definitions and applications of personal and folk data literacies.

This paper aims to examine how the fields of social enterprise, social entrepreneurship and social innovation have theorised and applied the concepts of narrative and storytelling.

A literature review and subsequent thematic analysis were used. A keyword search of three databases identified 93 relevant articles that were subsequently reviewed for this paper.

Four main roles for storytelling and narrative were found in the literature: to gain support for social innovation, to inspire social change, to build a social-entrepreneurial identity and to debate the meaning and direction of social innovation itself.

Following the literature review, capacities and applications of storytelling and narrative in other, related fields are discussed to highlight practical use cases of storytelling that might currently be underdeveloped in the social enterprise and innovation sectors.

The paper argues that the social innovation and enterprise literature predominantly views storytelling as a form of mass communication, while often overlooking its ability to foster communal debate and organise intrapersonal dialogue as possible aspects of strategic thinking and innovation management in social enterprise, social entrepreneurship and social innovation.

This study presents a review based research framework that aims to influence memory institutions in their projects on digital storytelling from digitized ancient travel records. This study aims to influence research and policymaking related to design and delivery of services based on memory institutions’ collections of historical records.

The demonstrated research framework has been synthesized using inputs from a review of existing studies on the domain accompanied by a short survey created for collecting the opinion of selected experts. Studies demonstrating utilization of semantic web technologies and those that can influence policymaking related to digital storytelling were primarily reviewed.

The core tasks behind digital storytelling vary depending on the project goals. So, a two-part framework had to be proposed that covers the generic fundamental tasks with diverse applicability and digital storytelling related specific tasks separately. Also during the review, it was found that studies demonstrating the use of travel records for digital storytelling were less in number compared to studies using digital storytelling for tourism in general.

The demonstrated research framework can guide memory institutions in exposing their travel-related holdings to a wider audience using innovative semantic web technologies and open up avenues for future empirical research thereby adding to the novelty of the presented research. Also, reviews of articles on digital storytelling or digital humanities in general exist, but, review of digital storytelling initiatives focusing specifically on tourism and travel literature is scarce.

Images had long conveyed politics through forms as varied as private paintings and public coins. If images are storytelling vectors (Fusari, 2017), visual artefacts were intended to re/shape human perception of current events and, consequently, their states of ‘being in the world’ (Heidegger, 2001); this is the reason why the visual quality of communication might be hard to disjoin from that of ‘performativity’ (Cartier-Bresson, 2018).

The polysemic (Barthes, 1977), if not fully open (Eco, 1989), quality of visual semiotics complicates identification of any framework of reference and adds to the need for practical and sensible research in digital communication (Fusari, in press).

Since the first US Presidential debate televised in 1968, a new interest surged towards the understanding and production of visual communication of politics. Increasingly so, images (both still and moving ones) have affected, if not thoroughly shaped, understanding of all recent political affairs, particularly so from the 1992's Gulf War onward (Baudrillard, 1995; Kellner, 1992).

The 2012 Invisible Children (IC)'s campaign is here assessed as the milestone marking the potential for global impact acquired by socio-political visual-centred storytelling.

The intertwining of the digital with the visual has yet to be precisely arranged for socio-political storytelling; also, storytelling as a format and approach has increasingly gained relevance, adding new concerns to issues of veracity.

In response, this chapter advances the notion of ‘storyline’ in conjunction with that of ‘storytelling’: the resulting taxonomy aims to review specific notions of truth- and trust-fulness from a visual-centred perspective.

The chapter thus explores the requirements for communicating and understanding visual storytelling on digital media; by doing so, it addresses the extent to which ‘visual storytelling’ might be a notion fit for the job of disseminating today's digital cultures.

Eventually, the chapter will question how to design visually centred communication formats and, in turn, engage these as storytelling of socio-political issues for digital platforms.

We live in organizations addicted to problematic narratives. My purpose is to develop intelligent action understandings of how to care for organizations addicted to problematic elevator pitch narratives and one-sided stories by mapping quantum storytelling “Tamara-Land” forces ignored beneath and between them both (Boje, 1995). Tamara-land is the everyday activity of people in organizations chasing stories spatially distributed in different rooms, hallways, buildings that are temporally simultaneous, with materialities that are agential to the telling. For example, in this conference, the immersive theater into Tamara-Land is done in Steel Case open office spaces, as audience decides which actors to follow as they exit each scene. You cannot chase them all, and cannot be everywhere at once in this spacetimemattering. Quantum storytelling does not search for simple word or text messaging tag lines to explain open offices. Quantum storytelling uncovers deep behavior patterns of the spacetimemattering. “Quantum storytelling includes nondiscursive and behavioral aspects embodied in the storyteller’s life, in their living story behavioral-performative agentiality” (Boje, 1995, p. 114) and in nonhuman’s materialism featured in Karen Barad’s (2007) and Anete Strand’s material storytelling work. Quantum storytelling of Tamara-Land mapping at macro scale traces the interplay of people, planet, and profit (aka Triple Bottom Line, 3BL) but does not reduce it to imagined profitability metrics. I will critique 3BL for not proposing any method to measure people and planet first and by default reducing all dimensions to just bottom line profit measures. The consequence is that a runaway, maximizing fractal, known in socioeconomic work as the Taylor–Fayol–Weber rationality or “TFW virus” (Worley, Zardet, Bonnet, & Savall, 2015, pp. 23–24; Savall& Peron, 2015), attains functional structuralism (Alvesson & Spicer, 2012). In quantum storytelling fractal work, it’s “TFW fractal” profiteering that is destroying both planet and people, at an ever-accelerating rate (Boje & Henderson, 2014; Boje, 2015; Henderson & Boje, 2015). My contribution is to propose a different fractal pattern, the Mandelbrot fractal that actually sets limits on runaway fractal appetite. Both the 3BL and the VA techno-digital fractal narrative spiral more and more materials, energy, and people into the risk of an addictive TFW virus pattern, without limit.