Projects > Multimedia Storytelling & Collective Imagination
Multimedia Storytelling & Collective imagination
Background
This project, Multimedia Storytelling and Collective Imagination, was born from the challenge of addressing the growing divide between socio-ecological research and socio-technical studies. As technology continues to evolve and impact our environment, there's an urgent need for innovative approaches that integrate human imagination with science and governance. Simultaneously, conservation efforts and environmental policy often lack the creative foresight necessary to inspire action.
Through this project, I aimed to bridge that gap by using multimedia storytelling—here, a blend of documentary filmmaking, creative and journalistic writing, and AI imagery—to explore how collective imagination might drive meaningful conversations about the future of our natural world and the role technology plays in it.
My approach
To approach the project challenge I set for myself, I employed a range of technology solutions, design strategies, and storytelling techniques. Central to the project was anticipatory governance, a process which relies on scenario-building as one method of envisioning future outcomes. I used such platforms and software as Shorthand, Adobe Premiere Pro, getimg.ai, and Padlet to blend fiction, nonfiction, and interactive elements. These tools allowed my stakeholders and I to visually explore futures where only one African elephant remains, a combination of collaborative foresight with environmental concerns.
Design played a crucial role in shaping the project’s collaborative approach. I structured my workflow around participatory design to ensure that different stakeholders, from researchers to community members, had a voice in the storytelling process. I gave some directorial power to my main subject, Jono Benjamin, to envision portions of his own narrative. This collaborative method additionally provided for improved scientific accuracy, as Jono was the expert in the research and I in the storytelling.
Naturally, storytelling was at the heart of this project and helped to bridge the gap between ecological research and public engagement. My associated film, An Imaginary Elephant, blends reality and fantasy to challenge viewers’ perceptions of what is real. In the journalistic piece, fictional interviews were inspired by actual news, scientific studies, and pop culture, and readers are invited to engage with the same scenarios presented to Jono in the film. My multimedia approach aimed to not only inform and persuade, but also provoke deeper reflections on the intersections of conservation, technology, and governance.
Challenges & Solutions
One significant challenge I faced during the project was the difficulty in securing interviews with multiple participants. My original plan involved interviewing four key figures—a researcher, an activist, a civil servant, and a farmer—to explore how changes in the life of the “last” African elephant impacted their alternative futures. Ultimately, due to permit issues, scheduling conflicts, and commitment challenges, I was only able to interview Jono Benjamin, the researcher. To overcome this, I pivoted by incorporating the written piece that created fictional characters based on real research, which allowed me to retain the project’s scope and depth.
Another challenge was balancing the power dynamics in the collaborative process. While I wanted to give participants, especially Jono, a voice in directing his narrative, I also needed to maintain creative control as the storyteller. I used Arnstein’s ladder of participation to navigate this challenge, assigning Jono “delegated power,” allowing him to direct some scenes while ensuring I retained final editorial control.
Impact & results
The impact of this project is evident through both its creative and academic contributions. Qualitatively, the project has facilitated deeper engagement with the intersection of socio-ecological research and socio-technical studies, particularly through its use of anticipatory governance and scenario-building. The documentary, An Imaginary Elephant, successfully blurred the lines between fiction and reality, prompting audiences to reflect on the implications of environmental change and technology.
Although I initially faced challenges with participant involvement, the written component added significant value by encouraging public engagement. Readers were invited to imagine alternate realities, sparking conversations about the future of wildlife conservation and public interest technology. Additionally, the project built new relationships with researchers and conservationists in Botswana and reconnected me with previous collaborators, enhancing its long-term impact.
Reflections
Throughout this project, I learned the importance of blending technology with social and environmental needs to create meaningful, forward-looking narratives. By using tools like AI-generated imagery and documentary filmmaking, I explored how speculative futures can engage the public in conversations about conservation. This reinforced the idea that technology—my filmmaking equipment and technology in general—should not only serve technical advancement but also foster collaboration and imagination to address socio-ecological challenges.
I also gained insights into the complexities of participatory design. Giving participants, like Jono, a voice in shaping their narrative taught me the balance between collaboration and maintaining creative control. This approach will shape my future work by emphasizing the importance of shared agency in storytelling, ensuring that diverse perspectives are integrated into both technical and environmental projects.
Acknowledgments
This project would not have been possible without the support and collaboration of many individuals and organizations. I would like to extend my deepest gratitude to my project advisors, Mahmud Farooque and Darlene Cavalier, for their guidance, as well as the film’s participants for their invaluable contributions, especially Jono Benjamin. Special thanks to the researchers and conservationists in Botswana who inspired much of the narrative. I’m also incredibly grateful to the friends and colleagues who provided feedback, and to the community members who helped bring this project to life through their insights and support.