Information Technology Reference
In-Depth Information
5.9
Conclusions
Throughout this text, we have defended the idea that as the people of the world
become more able to use computer networks to create and disseminate their own
narratives about their pasts and their presents, whether with more or less deliberate
intention of transcending or infl uencing their futures, knowledge will also increase
of beliefs about the past and the effect that human consumers or narratives have of
experiences of times lived and known. We have sustained that digitalization applied
to narrative creativity makes it possible to suppose that we are heading towards the
construction of more sophisticated, lived and different narrative experiences in the
present, while we confi gure the future in a new way and on the basis of an exponen-
tially recreated and reinterpreted past. But, moreover, we have defended the idea
that the richness of individual expressions in narration could make it possible to
document the present and past using vivid details to the extent that, in the experi-
ence of these narratives, after the synthesis of the interpersonal variabilities in the
description of the events, versions of both will be produced that are indistinctive,
that contain a high level of verisimilitude, and with the appearance of reality (it goes
without saying that the idea is not for the experience to be real, but for it to appear
to be real). Finally, we have defended the idea that experiences of narratives from
the past in the present, through the verisimilar simulation of disappeared people and
realities, and their incorporation in our experiences of current life by a greater num-
ber of citizens of the world, could be added to the ways of narrating and recognising
the world, with cognitive, affective and behavioural effects of increased
magnitudes.
Despite the above, we believe that when someone creates their own narrative,
they are transformed by the process, and some of the changes to that person depend
on the process that they themselves believe to design. The tools they use, the repre-
sentations that inspire them and the cultural environments in which they live are
also infl uential. In fact, the narrator may be very aware that he or she has control
over said factors. However, there is a limit to the amount of control one has of the
narrative. It is impossible for the narrator to be sure about the effect that the narra-
tive might have on others. Paradoxically, knowledge of the effects of narrations on
individuals is currently very fast in comparison with earlier periods and will become
even faster. However, narrations will gradually penetrate more, through moments of
fl eeting infl uence, and will only produce visible changes through convergent strate-
gies that are maintained in time and creatively persistent. The narrator, however,
changes himself or herself during the process of creating and disseminating the
narration, even through the very sphere of the effects of their manipulations. The
narrator that narrates himself or herself changes in his or her own times.
To conclude, we should make it clear that we believe that the person that con-
structs themselves through their digital narrations more or less consciously displays
contradictory attitudes. On the one hand, they seem to want to liberate themselves
from some of the identity labels imposed by their social environments in the present
(many of which stem from their past) and impose their own creative criteria (their
