1. MACROMEDIA UNIVERSITY FOR MEDIA AND COMMUNICATION
UNIVERSITY OF APPLIED SCIENCES
MASTER’S THESIS
FINAL PAPER FOR THE OBTAINMENT OF THE
MASTER OF ARTS DEGREE
Multimedia Storytelling: An analytical perspective towards
designing information inside a journalistic environment.
What journalists need to know of designers, and vice versa, to
develop a qualitative multimedia story?
in the study course Media and Design
- Information Design -
First examiner: Prof. Dr. Christof Breidenich
Second examiner: Prof. Jürgen Faust
Submitted by: Andree Müller
Student ID-Number: M-22085
Study course: Media and Design (M.A.)
Place, date: Munich, September 2014.

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Abstract
New technical possibilities as well as changing usage and perceptual structures of the recipients
have promoted the development of the multimedia storytelling in the past few years. Multimedia
Storytelling designated journalistic reportage or features that integrate multimedia content such as
videos, animations or image galleries, to tell a story. Who wants to convince, needs a team that can
handle every spectrum of multimedia storytelling. Initiate a multimedia project requires the consi-
deration of team work and collaboration. Professions of different disciplines meet each other and
all have their own views, methods, and procedures to develop innovative user-oriented publications.
In my research I asking: What is multimedia storytelling? Which professions are involved during the
creation process? What characterizes a multimedia story? How is the cooperation of various disci-
plines? I compared different international multimedia stories published between 2010 and 2014 and
set up a qualitative design research: Guideline-based interviews with experts with practical expe-
rience in producing multimedia stories in order to compare the needs, intentions and challenges.
Keywords: Stroytelling; Multimedia; Qualitative Journalism; Journalistic Design;
Design Processes; Design Thinking; Human-Centered Design; Cooperation;
Transdisciplinarity;

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CONTENTS
Abstract 3
List of Figures 10
List of Tables 11
Theoretical Framework
Introduction 17
Framing the Research Question 19
Methodology 19
Literature Review 21
Comparative Qualitative Research 21
Subject Matter Expert (SME) Interviews 23
Best Practice Model and Conceptual Model 23
Verification 23
The Researcher’s Role 25
Design – Information – Journalism 27
Design and Process 27
Human-Centered Design (HCD) User-Centered Design (UCD) 29
Design Thinking 33
User Experience (UX) and the Web 35
Designing Information inside Digital Environments for a Journalistic Purpose 37
Theoretical Foundations of Information Design (ID) 39
Digital Peculiarities of Information Design 41
Journalism and Information Transfer 45
Journalistic Quality 45
Narrative Forms of Representation 47
Cooperation Discipline Approaches 53
Interdisciplinarity 55
Multidisciplinarity 57
Pluridisciplinarity 59
Crossdisciplinarity 59
Transdisciplinarity 61

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Multimedia Storytelling 65
General Aspects of Storytelling 65
Storytelling in the Journalistic Sense 67
Classical Narrative 69
Digital Storytelling 69
Multimedia 71
Journalistic Multimedia Storytelling 77
Practical Framework
Comparative Qualitative Research
of Multimedia Stories 82
Analysis Criteria’s 84
Supported Languages 84
Involved Professions 84
Business Type 84
Business Model 84
Business Production Cooperation 84
Supported Desktop and Mobile Devices 85
Kind of Multimedia Story 85
Integrated Media Elements 86
Applied Technical Functions, Elements and Issues 87
Layout Composition 88
Multimedia Stories Investigation Report 90
Business Segment 90
Availability on Desktop Computer and Mobile Devices 91
Kind of Multimedia Story 92
Layout Composition 92
Integrated Media Elements 93
Applied Technical Functions, Elements and Issues 94
Involved Professions 94
Overall Discovery 95

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Subject Matter Expert Interviews 96
Question Catalogue 96
Interview Report 97
Best Practices Model 98
One Page Concept 98
Chapter Division Navigation 99
Interactive Multimedia Elements 99
Typography 100
Parallax Scrolling 100
Full Screen Media Backgrounds 100
Mobile Devices 101
Recommendations 101
Conclusion 102
Qualitative Multimedia Storytelling inside a Journalistic Environment 102
Future Potential as a Sustainable Economic Resource 102
Bibliography 106
Literature 106
Online Magazines 110
List of Multimedia Stories 111

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List of Figures
Theoretical Framework
• Figure 1 – Distinctions within design practices by Klaus Krippendorff (2006, p. 32). 29
• Figure 2 – Three Factor Balance Inside Innovation Programs by Tom and David Kelley (2013, p. 19). 31
• Figure 3 – Trajectory of artificiality by Klaus Krippendorff (2013, p. 28). 39
• Figure 4 – Information Interaction Design by Nathan Shedroff (Jacobson 1999, p. 268). 43
• Figure 5 – Interaction Spectra by Nathan Shedroff (Jacobson 1999, p. 282). 43
• Figure 6 – Story and Discourse by Seymour Chatman (1978, p. 26) 67
Practical Framework
• Figure 7 – Represented Languages 90
• Figure 8 – Business Segment Business Model 90
• Figure 9 – A particularly Outstanding Interactive Multimedia Story – Killing Kennedy (No. 29) 91
• Figure 10 – Availabilities on Various Devices 91
• Figure 11 – Interactive Information Element – Flights interactive: See the Planes in the Sky Right Now (No. 50) 92
• Figure 12 – Division Kind of Multimedia Story 92
• Figure 13 – Represented Media Elements Integrated Social Media Services 93
• Figure 14 – Great Story with Outstanding Use of Parallax Scrolling - Tomato Can Blues (No. 50) 94
• Figure 15 – Technical Functions 94
• Figure 16 – All Discovered Professions displayed after frequency of mention 95
• Figure 17 – Corporte Website using Multimedia Storytelling – Code Rood from Werken voor Nederland (No. 23) 95
• Figure 18 – One Page Layout 98
• Figure 19 – Highly Interactive Information Graphic with Customization Factor – NSA Files: Decoded (No. 15) 99
• Figure 20 – Full Screen Image with Customized Content Orientated Font and Parallax Scrolling Function – Pixel
Perfect: The Story of eBoy (No. 34) 100
• Figure 21 – Information Screen with Reference to the Lack of Support for the Current Device (No. 25) 101

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List of Tables
• Table 1 – List of Selected Multimedia Stories sorted by date. 83
• Table 2 – List of Criterias For Supported Desktop and Mobile Device 85
• Table 3 – List of Criterias For Kind of Multimedia Story 85
• Table 4 – List of Criterias For Integrated Media Elements 86
• Table 5 – List of Criterias For Applied Technical Functions, Elements and Issues 87
• Table 6 – Layout Composition 88

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Theoretical
Framework
Part edited by firstediting.com

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I. Introduction
Regarding the issue of multimedia storytelling, “Snow Fall” (http://goo.gl/TNg4px), the
epic report on a heavy avalanche published in The New York Times in December 2012, is
always mentioned as the initiation point for a new journalistic format. The combination of
traditional qualitative journalistic text with extensive media attention from feature journa-
list John Branch paved the way in the following years for several new online journalistic
projects. The new journalistic form of representation uses a classical journalistic text in
combination with pictures, videos, sounds, graphics, and links to expand the nature of the
information received, characterized by a special and individual layout. Terms like scrolly-
telling, multimedia long form, and multimedia storytelling can be found in the designation
of this form of representation, thus indicating that the area is still very young and, from a
scientific point of view, very little has been considered. Jens Franke (2014) reports suc-
cinctly on the changing structures within the media houses preparing content for users
triggered by the success of The New York Times as well as through the story “Firestorm”
(http://goo.gl/qxL6dP) in The Guardian. He addresses the potential power available, com-
bined with the high financial input and the huge amount of time required. Professors
Marlis Prinzing and Christof Breidenich (2014) examine, in their quantitative and qualita-
tive research paper, the understanding of multimedia based on eight realized multimedia
projects in Germany. In particular, they investigate the role of design in the process of
development. It is pointed out that design is indeed understood as an innovation factor,
but it is reduced in practice to a visual appearance. By referring to Krippendorff’s (2006)
six levels of the extended design concept, Prinzing and Breidenich (2014, p. 15) state, “De-
sign in its extended definition is trend-setting for the networking and media interaction as
also for the impact of a good storytelling.” The recommendation of the two authors is an
increased focus on a transdisciplinary approach in the development of multimedia stories.
The purpose of this paper is to investigate the meaning and the possibilities of MMS
in the context of design and journalism and what new considerations in the design process
must be integrated in order to meet the new quality requirements. The next sections are
a consideration of the related fields, which come from the theory of design, the theory of
narration, the theory of multimedia, and the theory of cooperation models. Further, the
focus of the study is on comparative qualitative research and guideline-based interviews.
Firstly, this study compares 50 multimedia case stories selected based on the importance

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of the publisher, country, and journalistic relevance regarding democratic education and
independence. Secondly, 15 interviews, with each five representatives from the disciplines
of journalism, design, and development, are reported on. The main pursued intention of
this comparative qualitative study is to point out what kind of media types for MMS pro-
jects are used, to determine which professions are or could be involved.
I.I. Framing the Research Question
The construction of MMS involves various types of media and diverse fields of knowledge
from various professions. Therefore, the research question was established to hone in on
the specific relevant factors: What do journalists need to know about designers, and vice
versa, to develop a qualitative multimedia story? This question is corroborated by the fact
that in this kind of journalistic project, the designer is given a subordinated position (Prin-
zing 2014). The description of the empirical research is located in the second part of this
thesis. The first part of the data collection is founded on another question: What different
kinds of media types are used inside multimedia stories? Which professions are involved
during the creation process? The treatment of the main research question is performed in
the second part of the data collection through subject matter expert interviews.
The first section of this paper is designed to expand the understanding of qualita-
tive journalistic multimedia storytelling in connection with user-related, content-oriented
web products. To this end, the study systematically addresses the questions ‘What charac-
terizes a qualitative journalistic multimedia story?’, ‘How can systematic cooperation bet-
ween unbound professions be made possible?’, and ‘What are the journalistic qualitative
story standards in gaining loyal users in the use of content-oriented web products?’.
I.II. Methodology
This study aims to determine a cooperation structure between different professions for
the development of qualitative multimedia stories. The first part covers a literature review
framework of relevant studies to review the topic-related scholarly literature. The main
topics include the fields of design, journalism, multimedia, and storytelling. For data coll-
ection, a mix of different methods was selected to gain different information and perspec-
tives. In the qualitative phenomenological research (cf. Creswell 2014), I collected data by
examining, analyzing, and studying selected cases of multimedia websites, and I intervie-
wed experts from the examined environments: journalism, design, and development. The

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methods included in the qualitative data collection were comparative qualitative research
and subject matter expert interviews. Based on my interpretation and analysis of the coll-
ected data, the outcomes flowed into the development of the best practice model and the
conceptual model.
I.II.I. Literature Review
The observation of topic related literature aimed to get a deeper understanding of what
is being written about the fields related to the conducted research (Kumar 2012, p. 65). In
general, the purpose of this literature review is to analyze segments of published studies
critically through summary, classification, and comparison of prior research studies from
related fields: theory of design, theory of narration, theory of multimedia, and theory re-
search on cooperation models. The gathered information has influenced my summary of
the meaning of multimedia storytelling. Information was collected from online databases,
books, and digital copies of scientific articles. The obtained information, with the final
definition of MMS, was necessary to have a theoretical basis for qualitative data collection
through the methods of comparative qualitative research and subject matter expert inter-
views. Due to limited processing time, five months in total, literature research was limited
relative to the whole scope of available literature.
I.II.II. Comparative Qualitative Research
Structured data analysis is used as a form of statistical measurement to break down infor-
mation. The goal is to summarize elements of different independent MMS websites under
a higher-level terminology. “Comparative research is a broad term that refers to the eva-
luation of the similarities, differences, and associations between entities” (Given 2008, p.
100). The underlying goal of comparative research is to search for similarity and variation
between the entities that are the object of comparison. The examination of similarity often
involves the application of a more general theory and a search for universals or underly-
ing general processes across different contexts or categories. The ontology of patterns
or categories is assumed to be universal and independent of time and space. The main
purpose of the comparative qualitative research is to gather information to apply in the
following of a more detailed and better selection of potential interview candidates. The
detailed structure and higher-level terminologies for the analysis are described in detail in
the practical framework of this document in chapter XY.

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I.II.III. Subject Matter Expert (SME) Interviews
The interview form is focused on subject matter experts, individual persons with bona fide
expert knowledge, who understand a business process or area well enough to determine
what it takes to do a particular job (DEOH 2007, p. 195; Kumar 2013, p. 82). Interviews
were conducted with such experts in order to gain in-depth knowledge of the subject.
This gained insight was needed for the later creation of the model. The structure of the in-
terviews was based on a structured guided orientation. This structure enabled interviews
across country borders through various time zones to be completed easily and inexpen-
sively. The type of interviews included face-to-face interviews, interviews by telephone,
and email interviews. If an interview was accomplished via voice, it was recorded. The
evaluation of the empirical data collection was based on a qualitative content analysis. A
detailed description of each participant is presented in detail in the interview summaries
in the practical framework of this document in chapter XY.
I.II.IV. Best Practice Model and Conceptual Model
“A conceptual model is an explanation, usually highly simplified, of how something works”
(Norman 2014, p. 25). It presents the results obtained from the comparative qualitative
research and the subject matter expert interviews in an abstract, simplified form. It is a
descriptive model of a system based on qualitative assumptions about its elements, their
interrelationships, and the system boundaries. It systematizes existing experiences of, e.g.,
successful organizations or users. It compares different solutions, which are used in practi-
ce, evaluates them on the basis of operational goals, and determines on this basis which
designs and procedures contribute best to achieve these goals. A best practice is merely a
non-binding recommendation on how to proceed in a particular case (cf. Schedler 2009).
I.III. Verification
Achieving an internal and external validity is attempted by ensuring a strategy that uses
multiple approaches (Creswell 2014, p. 201). The validity strategy first involves the triangu-
lation of data—data collection from different types of data sources, including interviews,
document analysis, and case study analysis, providing rich, thick, detailed descriptions—
creating the possibility that anyone interested in transferability has a solid framework for
comparison. Clarification of researcher bias is also important; self-reflection of the resear-
cher is used to provide his experience and background. Additionally, prolonged time in
the field develops an in-depth understanding of the phenomenon under study; this study

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was performed over a period of four months. Lastly, peer debriefing, utilizing two persons
with background in the design field who had impartial views to the study, was also used
to verify the data.
In ensuring reliability in this study, three techniques were used. First, triangulation
or combining multiple methods of data collection and analysis to get in-depth insight into
a topic, recognize inconsistencies in data sets, and strengthen the reliability as well as the
validity was used. Second, data collection and analysis strategies were reported in detail
in order to provide a clear picture of the used methods in this study. Finally, the purpose
and the focus of the research study, the role of the researcher, and the related context of
the gathered information was provided in detail by the researcher.
I.IV. The Researcher’s Role
Particularly in qualitative research, the role of the researcher as the primary data collector
necessitates the identification of personal values, assumptions and biases at the outset of
the study (Creswell 2014). My orientation towards journalistic information design was in
the highest degree influenced by my design-oriented fields of study of the Master School
at Macromedia University for Media and Communication. Choosing the aforementioned
topic stems from an interest in information design as well as the potential of innovation in
the achievement of readers and the creation of new business lines. The ongoing discourse
and the search for new innovative ideas to spread quality journalism formats through new
media and thereby detach his image from the newspaper medium, cover already today
a great opportunity to participate active in the transformation of information provision.
Personal experiences are based on my practical work in the area of screen design as a
freelancer in Europe.

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II. Design – Information –
Journalism
The focus in this chapter is directed on the meaning and understanding of design in ge-
neral and its importance as an innovative process in developing solutions. Following are
considered the design approaches: human-centered and user-centered design, the theory
of design thinking, and the user experience in connection with content-oriented web pro-
ducts. I also consider the relation of information and design, the meaning of information
design, and its role in a journalistic sense. Finally, I provide insight on the possibility of
journalists in the form of representation of their work.
II.I. Design and Process
US computer engineer industrialist Steve Jobs simplified once: “Design is not just what
it looks like and feels like. Design is how it works” (Walker 2003). According to Herbert
Simon (1996, p. 111), “Everyone designs who devises courses of action aimed at changing
existing situations into preferred ones.” In other words, design is the improvement of the
status quo of an object. Don Kumaragamage (2011) described design as “a roadmap or
a strategic approach for someone to achieve a unique expectation. It defines the speci-
fications, plans, parameters, costs, activities, processes and how and what to do within
legal, political, social, environmental, safety and economic constraints in achieving that
objective.” The process of design is therefore the first line in the creation of a solution,
concept, or plan for a predefined problem, which in the end will be proposed to stakehol-
ders. The intention of the designer is to consider possible futures, evaluate the desirability,
and search and define areas of possible actions (cf. Krippendorff 2006). The professional
designer relies “on publicly acknowledged competencies, the use of methods, but above
all on an organized way of languaging, a design discourse, that coordinates working in
teams and with clients” (Krippendorff 2006, p. 31).
Simons’s (1996) explanation of design originates from a technical rationality that
comes from engineering, which follows a more systematic form of technical problem sol-
ving without consideration of the human aspect. Horst Rittel observed that if intelligent
humans are involved, a clear, guiding problem- solving structure cannot be applied. On
this basis, he distinguished two kinds of problems and called problems of technical nature

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tame problems in contrast to undefined problems, which he identified as wicked problems
(Rittel 1973). Wicked problems are characterized by the fact that they cannot be defined
as a problem in advance. The definition of a problem can only occur if there is already a
solution. Solution approaches have in turn the consequence that new requests arise for
additional information to describe the wicked problem adequately and in detail (Rittel
2013). Nigel Cross (2006) spoke in this context, from a solution-focused strategy instead
of a problem-focused one. Considering problems under human influence supplementary,
Klaus Krippendorff determined that “design must support the lives of ideally large com-
munities” (2006, p. 25) and not affect a few with less impact. He applied this thinking to
the consideration of ethical issues as well (ibid.). Don Norman (1969; 2013) claimed that
objects with a weak design concept would contain the possibility of a frustrating and
laborious usage. This consideration of Norman and Rittel brought the human-centered
concept of design into the center of the discourse. Here, the design process is focused
on the “needs and capabilities of the people for whom they are intended” (Norman 1969;
2013, p. 9).
Figure 1 – Distinctions within design practices by Klaus Krippendorff (2006, p. 32).
II.I.I. Human-Centered Design (HCD) User-Centered Design (UCD)
The human-centered design approach is seen as a creative problem-solving process, de-
signing solutions for problems with the sensitivity for a defined target group to make
interactive systems more usable. The aim of human-oriented shaping is a high service-
ability with the lead of breakthrough innovations. In Donald Norman’s (1988) definition
can be detected the basic idea and the accompanying importance that designers have to
Design
The realization of everyday life
Professional
Human-Centered
Design
Derived from stakeholders’ lives
and made available to community
Professional
Technology-Centered
Design
Created with expert knowledge
and imparted to users

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take the user’s needs and interests into account. Norman explains “the failures of design
and shows why even the best-trained and best-motivated designers can go wrong when
they listen to their instincts instead of testing their ideas on actual users. Designers know
too much about their product to be objective judges: the features they come to love and
prefer may not be understood or preferred by the future customers” (Norman 1988, p. VI).
The consideration and integration of the future-affected people should be reflected in an
active role. When developing solution concepts, the main consideration should build on
the grounded information about people who will use the product (Greenhouse 2013). The
approach involves obtaining and understanding peoples’ needs, desires and experiences
through the usage of techniques which communicate, interact, empathize, and stimulate.
HCD starts by verifying the needs, dreams, and behaviors of the people. Here, the aspects
of human factors are considered through the lens of desirability. The identification of the
peoples’ desires is supplemented by technical factors, feasibility, and the economic via-
bility. “A new technology [...] can be extremely valuable, and can provide the basis for a
successful new company or a new line of business, [...] but it also needs to be produced
and distributed in an economically viable way (Kelley Kelley 2013, p 19).
Figure 2 – Three Factor Balance Inside Innovation Programs by Tom and David Kelley (2013, p. 19).
Donald Norman (2005), who amplified the discourse regarding the orientation of design
with his book The Design of Everyday Things, criticized in his essay “Human-Centered
Design Considered Harmful” the reckless use of this method. His central point of criticism
is that the approach is accepted by designers automatically, without thought and critical
examination. User research collects diverse information to create the actual ideal users
which represent the subsequent target group. A small group users are standing genera-
Business
(viable)
People
(disrable)
Technical
(feasible)

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lized for the particular customers. Again, Norma is asking himself how it is possible that a
few generalized users represent a whole society with each of its individuals.
II.I.II. Design Thinking
The discipline of systematic thinking (Margolin 1996) is focused on producing innova-
tions that are geared to the needs of the user. It should be understood as a culture of
thinking and working that can uncover a greater context and make them visible at the
same time (cf. Brown 2009). It puts the individual, his perceptions and experiences, as
well as his social and cultural environment into the center. “It is a discipline that uses the
designer’s sensibility and methods to match people’s needs with what is technologically
feasible and what a viable business strategy can convert into customer value and market
opportunity”(Brown 2008). The two essential components are the iterative process and
the cooperation of disciplines supported by various methods with different intentions. The
implementation of stakeholders located in various disciplines into the design process re-
quires for Norman “the cooperative efforts of multiple disciplines” (Norman 1969; 2013, p.
34). The system approach is characterized by a procedure that is structured by a specific
course of action with an unchanging sequence of steps and phases. Generally applicable
phases are understanding, observing, evaluation and specification, concept development,
prototyping, implementation, testing, and modification (cf. Ambrose 2010; Kelley Kelley
2013; Rittel 2013). Horst Rittel (2013) is also a representative of the view that problems,
especially wicked problems, cannot be treated by one single person. The necessary ex-
pertise that is needed to deal with a wicked problem should be distributed amongst many
people. This approach is part of his critical concern regarding the usefulness of the men-
tioned systems thinking process in terms of developing solutions for wicked problems.
His proposed approach suggests integrating the stakeholders in the process and relying
less on expert knowledge. Solutions to wicked problems cannot be classified as true or
false. The evaluation of this kind of problem exposes much more than a subjective opinion.
Because of this, Rittel recommended the creation of an open discourse for notification of
different views (2013). He writes that the “planning process of solving wicked problems
should be understood as an argumentative process: A process that raises questions and
topics on which you can adopt different positions” (p. 53). The process of design thinking
should be understood as a helpful guide in addressing problems and defining solutions
supported by several methods. The division into several process stages can help to struc-
ture the whole process to have a better overview. Most importantly, it can easily show the

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team which stage the project is in at the moment.
II.I.III. User Experience (UX) and the Web
The user experience design process encompasses all aspects of the user’s experience
with the product, happening without conscious, explicit intent. “This means taking into
account every possibility of every action the user is likely to take and understanding the
user’s expectations at every step of the way through that process” (Garrett 2011, p. 19).
The UX encompasses all effects that a product has on the user prior to use and after use.
The interaction between the product and (or) service with the user is considered in the
user experience. The UX design process deals with the design and function of the surface
(outside). In turn, usability is focused on the actual usage situation, the effectiveness, and
the efficiency. Identical to human-centered, the user is taken into account in every step of
the development of the product or service.
One factor of UX is usability, which refers to the learnability and usability of the
product. This also includes the aspects of emotionality. “Usability is a narrow concern
compared with the larger issue of system acceptability, which basically is the question of
whether the system is good enough to satisfy all the needs and requirements of the users
and other potential stakeholders, such as the users’ clients and managers” (Wilson 2010).
Usability is the consideration of the situation of use: whether a product is easy to use
and learn. Regardless of the type of site, in virtually every case, a website is a self-service
product. There is no instruction manual to read beforehand, no training seminar to attend,
and no customer service representative to help guide the user through the site (cf. Garrett
2011). There is only the user, facing the site alone with only her wits and personal experi-
ence to guide her. “The good design of a Website is essential for its success, as one user
only needs to select the back button on the browser to leave the site – possibly never to
return. Thus, as a designer, you need to create a site that is usable and useful, providing
content and functionality that are of value to your users” (Wilson 2010, p. 244). However,
having more features turns out to be only a temporary source of competitive advantage.
With the added complexity that comes with an ever-expanding feature set, sites become
increasingly unwieldy, hard to use, and unappealing to the very first timers they are sup-
posed to draw in. If the site consists mainly of informative content, one of the main goals
of the site is to communicate that information as effectively as possible. Because of that,
as Jesse James Garrett suggests, the process of development should be broken down into
its component elements to understand the various user experience tasks. “How the site

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looks, how it behaves, and what it allows you to do. These decisions build upon each other,
informing and influencing all aspects of the user experience” (Garrett 2011, p. 20). Garrett
suggests the subdivision in strategy plane, scope plane, structure plane, skeleton plane,
and surface plane.
A major aspect of quality is the structure of the content-oriented Web product.
Websites have mainly implemented the concept of nonlinearity, but this feature can be
confusing for the user (cf. Wilson 2010). This type of unstructured design involves the
risk that the user gets lost, loses track of where he is, and becomes disoriented. From this
comes the concept of navigation with the development of logical lead structure (Fleming
1998). How people interact and navigate a website greatly depends on how the content of
the website is organized and what kinds of navigation mechanisms are implemented. This
can be achieved through good information architecture, focusing on organizing, structu-
ring, and labeling content in an effective and sustainable way. The purpose of informati-
on architecture is to help users understand where they are, what they can find, what is
around, and what can be expected. Information architecture encompasses a broad range
of design and planning disciplines, and the boundaries among information architecture,
technical design, user interface, and graphic design are necessarily blurred by the need
for all of these communities of practice to cooperate to produce a cohesive, coherent, and
consistent experience for the user.
II.II. Designing Information inside Digital Environments
for a Journalistic Purpose
The pursued goal in this section is to deal with the meaning of information design, the
extraction of related areas, and its relation to journalism and design, which creates some
confusion and uncertainty among practitioners involved with information solutions.
Referring once more to Krippendorff, the evolution and development of design and
his understanding of the contextual meaning of design can be seen (see Figure 3). The
first two points (products, goods, services, identities) consider the design of products.
Here, the concentration is more on the product itself as a material object united with it
individual identity, functionality, and marketability. The aspects of interface and multi-user
system take into account the interaction and communication with the consumer. However,
the active exchange does not only exist between product and consumer but also between
the consumer and consumers (or the community). The last two points concentrate on the

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design of projects and the discourse. This covers the cognitive deliberation of possibilities
regarding cause and effect (Krippendorff 2013, pp. 28-36).
Figure 3 – Trajectory of artificiality by Klaus Krippendorff (2013, p. 28).
Journalistic-based multimedia content and distribution through the Internet leads to a
focus on an interactive consensus and knowledge exchange as well as knowledge creation
with the consumer, based on Krippendorff‘s matrix.
II.II.I. Theoretical Foundations of Information Design (ID)
With a growing flood of information, broad interest and terminology have also increased.
In addition to information design, information graphics and information architecture are
everywhere in the public debate these days (cf. Jacobson 1999). First, it can gain the im-
pression that a thoughtless use of different terminology, with an origin in ID, takes place
as synonyms. The importance of information here is the starting point. Information is a
subset of knowledge that is conveyed from a sender to a receiver by means of signals over
a particular medium. Without a functioning communication channel, the sender does not
reach the receiver (Stock 2007). Furthermore, the processing of received knowledge is
exposed of the interpretation of the receiver. The knowledge of the sender is not a cloned
implementation. The discipline of information architecture (IA) is focused on to providing
structural design solutions. In the context of IA, Richard Saul Wurman is understood as
the founder of the term ‘information architect.’ Wurman defined an information architect
as an “individual who organizes the patterns inherent in data, making the complex clear
and who creates the structure or map of information which allows others to find their
Products
Utility
Functionality
Universal aesthetics Goods, Services, and Identities
Marketability
Symbolic diversity
Folk and local aesthetics
Multiuser Systems/Networks
Informativeness
Connectivity
Accessibility
Interfaces
Natural interactivity
Understandability
Reconfigurability / adaptability
Projects
Social viability
Directionality
Commitment
Discourses
Generativity
Rearticulability
Solidarity

41. 41
personal paths to knowledge” (Wurman 1997, p. 117). The task of information architects is
more focused on making the complex clear through better organization and presentation
of information. “Information architecture is about organizing and simplifying informati-
on, designing, integrating and aggregating information spaces/systems; creating ways for
people to find, understand, exchange and manage information; and, therefore, stay on top
of information and make right decisions” (Ding 2010, p. 2). In comparison, Robert E. Horn
defined ID as follows: “Information design is defined as the art and science of preparing
information so that it can be used by human beings with efficiency and effectiveness”
(Jacobson 1999, p. 17). Isabel Meirelles (2013) describes ID as a communication design
practices with the general purpose to inform. Summarized, ID requires the ability to pre-
sent the right information to the right people at the right time. The value is obtained from
the efficient and effective communication management. Associated positions, such as the
graphic designer, the writer, and the information architect make some claim to the term
ID. All are pursuing the same goal to deliver information, but they each use different me-
thods. Compared, consider and consult ID a superordinate level of information to “provide
the most possible clarity, understanding and effectiveness” (Knemeyer 2003). The role of
ID can be understood as an integrator who brings other disciplines together to creating
successful information solutions.
II.II.II. Digital Peculiarities of Information Design
Distribution of information and knowledge has gained, through new media and the con-
nection with the Internet, new ways of receiving and processing. Interactive exchange and
change can probably nowadays be considered the most spectacular element. Definition
of interaction design from the Interaction Design Association:
“Interaction design (IxD) is the branch of User Experience Design that illu-
minates the relationship between people and the interactive products they
use. While Interaction Design has a firm foundation in the theory, practice,
and methodology of traditional user interface design, its focus is on defining
the complex dialogues that occur between people and interactive devices of
many types— from computers to mobile communications devices to appli-
ances” (Ding 2010, p. 69).
Nathan Shedroff points out that the ability to create valuable, compelling, and em-
powering information and experiences for others through information interaction design
(Figure 4) is the most important skill in the creation process (Jacobson 1999, p. 276). He

43. 43
goes on to state that information interaction design is the intersection of three disciplines:
information design (representation of data), interaction design (creation of compelling ex-
periences), and sensorial design (inset of all sense-oriented communication techniques).
Figure 4 – Information Interaction Design by Nathan Shedroff (Jacobson 1999, p. 268).
Interactivity adds a feedback channel to the classic communication model of sender and
receiver (Hartmann 2008). It provides the option of influencing and changing existing
information services specifically by the user. Here, the possible interaction of the user has
a wide spectrum of influence. Besides the feedback channel, other interactive spectrums
can coincide side by side: control, productivity and creative experience, adaptive experi-
ence, and communicative experience. Shedroff says: “All products and experiences can,
therefore, by placed along a continuum. The only value judgment should be whether the
level of interactivity (place on the continuum) is appropriate to the goals of the experi-
ence or the messages to be communicated” (Jacobson 1999, p. 284).
Figure 5 – Interaction Spectra by Nathan Shedroff (Jacobson 1999, p. 282).
Interaction
Design
Information
Design
Sensorial
Design
Content
Passive
Simple Navigation; Playback Only
Interactive
Feedback
Control
Creativity/ Co-Creativity
Productivity
Communication
Adaptivity
Sophisticated Navigation; High Audience Control
Creation Tools; Creation Help
Living Information
Pseudo-Intelligence; Modifiable Behavior; Personalization

45. 45
II.III. Journalism and Information Transfer
After the preceding determination of information design, journalism is a subordinate dis-
cipline to ID. The general purpose of journalism is to provide independent reporting to
contribute to the formation of public opinion. The combination of certain quality cha-
racteristics such as truth and truthfulness, protection of sources, and diversity of opinion
(Noske 2012, p. 220) have led to some basic expectations in the public opposite a qua-
litative journalism. He also added “a special quality of understandable, informative and
surprising writing style and the variety of forms of representation” (ibid.). After Haller
(2008), in its standardized form, journalism is called objective reporting. Here, all proper-
ties are condensed to represent and provide unadulterated, unbiased information without
opinions, interpretations, or a need to guess at motives (cf. Haller 2008). This constitutes
the main feature of objective reporting: separating hard news and opinions. In contrast is
subjective-oriented reporting, to which the reportage, feature, or interview can be classi-
fied (La Roche 2013, p. 151). All forms are, opposite the objective conveying of information,
a supplementary oriented form in providing information (ibid., p. 156).
II.III.I. Journalistic Quality
The previously seized upon quality characteristic of truth and truthfulness, protection of
sources, and diversity of opinion only reflect a portion of issues to consider in the creation
of high-quality and sustainable journalistic products. Sustainability in terms of quality here
means the creation of a long bonding between the reader and producer (Sturm 2013). The
term quality has been in use since ancient times in philosophy and comes from the Latin
word ‘qualitas,’ which means, approximately, condition or property. As is shown in the next
sections, journalism cannot be pinned down as one single discipline. Rather, it defines
itself differently depending on the medium and therefore also lists various quality charac-
teristics (cf. Bucher 2003; Sturm 2013). A variety of literary works can be found in which
the definition of journalistic quality is attempted. Lutz Hagen (2009) lists eight factors,
Horst Pöttker (2000) ten, and Klaus Arnold (2009) has recently distinguished sixteen
factors that are crucial for quality journalism. Hans-Jürgen Buchner (2003) suggests that
if journalism is considered to be a system (Buchner 2003, p. 18 ff.), standards, norms, and
quality criteria should understood as part of the control instances that ensure the stability
and integration of the system and its coordination with other systems. For this purpose,
Niklas Luhmann writes: “The function of the mass media is that they provide background

47. 47
knowledge, and each continued to write, from where you can go out in the communica-
tion” (Luhmann 1995, p. 49). “The function of the mass media is [...] in conducting the
introspection of the social system” (Luhmann 1995, p. 173). According to Manfred Rühl
(1980), the primary function of journalism “lies in its focus on the production and supply
of topics for public communication” (Rühl 1980, p. 322). Deriving from this, the object of
journalism is to provide topics for media communication, with the containing attributes
of a novelty value and facticity. Therefore, the defined journalistic quality characteristics
by Günter Rager topicality, relevance, accuracy, mediation (see Bentele 1994), and ethical
consideration (see Schicha 2000) can be considered as relevant and generally accepted
quality characteristics (cf. Bucher 2003 Sturm 2013 Noske 2012).
II.III.II. Narrative Forms of Representation
Usually, the subjective form of representation does not deal with current issues but relies
on events which have already been treated by objective journalism. The core of all subjec-
tive forms shapes the research and documentation. The underlying intention of research
is to identify, investigate, explore, reconnoiter, and examine (cf. Meyer 1985 La Roche
2013). “The goal of any journalistic research is to ascertain events comprehensive and as
accurately as possible” (Haller 2004, p. 51). Documentation in journalism be divided into
two different areas (cf. La Roche 2013). Firstly, the documentation is meant to utilize infor-
mation for further use. It is a collection, analysis, and detection of all types of documents
for information about the current state of knowledge of findings and experiences (Bertels-
mann 2002, p. 81; cf. La Roche 2013, p. 15). Secondly, it also refers to a form of journalistic
representation (La Roche 2013, p. 16) and uses as sources excerpts of documents as well
as original recordings. Mainly, this form finds its application in the areas of radio and te-
levision (cf. Bayerischer Rundfunk 2012; La Roche 2013). In the field of written journalism,
documentation forms a supportive information element.
The origin of today‘s style of reporting can be traced back to the union of two old
traditions: travel reports and eyewitness reports. A travel report is the description of a
personal experience on the subjective level. In contrast to this, the transmitted eyewitness
report or incident report should provide fact-based information (Haller 2008, p. 77). Simi-
larly, as in the literature, the reportage uses an arc of tension through emotionally orien-
ted content to engage the reader “mentally and emotionally to the action” (ibid., p. 72).
The intention is that the reader has the feeling of shared experience in itself through an
authentic narration. In a comparison of different literary views from the scientific as well

49. 49
as from the practical area, a different categorization can be determined. The representa-
tives of the scientific study create their definition from analytical comparisons with recent
journalistic history. In the classification of the reportage in the range of various forms
of depiction, a discrepancy can be observed (cf. Koszyk 1981; Weischenberg 2001; Mast
2004). In practical application the reportage is given by the journalists experience as well
as additionally researched information (cf. Schneider 1996; Schlüter 2004; Meyer 2001).
The impression can be gained that both sides try to assign the reportage in the broad
diversity of forms of representation. Michael Haller considered with several colleagues
during a seminar the current situation in defining the reportage. Contrarily, Haller writes
that in the practical handling, the modern reportage can not be set to one display type.
“Often it is mixed with other forms of implementation, primarily with forms of reporting,
the researched background report and the features” (Haller 2008, p. 110). In the summary
of the report, Haller (2008) reflected:
“The modern reportage [...] uses evidence-based eyewitness report and de-
scribes experience reports. It refers to events and conveys them as expe-
riences. [...] It gathered together witness accounts, own observations and
experiences and bring the contents in a partly narrative, partly descriptive
language the readers closer. [...] The modern reportage should [...] be pre-
dominantly a supplement or extension of the memorandum” (p. 111ff.).
The present reportage is an amalgamation of diverse journalistic as well as literary me-
thods and techniques to bring an event or experience, but not in a revealing way, closer
on the level of cognitive entertainment to the reader. The reportage requires the depiction
of an experience of the author.
As mentioned earlier the feature story and even the human-interest story also be-
long to the subjective representation forms. For Henning Noske (2012), the feature story
is a “diverting, inspiring collage of different stylistic forms, for example reportage, report,
interview, and documentation.” It covers the possibility “to present and stage the content
suspenseful with change in time and place. Often this feature is used to pick up not [...]
current, or controversial issues, but rather lighter, more timeless” (Noske 2012, p. 206).
However, this is not a necessary condition, Udo Flade contrarily writes. In his description,
it can also treat abstract topics and work out a wide variety of details (Udo Flade 1963,p.
112). Distinct from reporting, the feature illustrates general processes and backgrounds of
individual concrete examples or persons (DIE ZEIT 2010/2011, p. 53) under a sensual im-

51. 51
plementation of structures and situations by an inclusion of the affected (Haller 2008, p.
107). Features are characterized by their dramatic construction and their linguistic form in
an exemplary manner (DIE ZEIT 2010/2011; Haller 2008). A feature story may look at news
in a more entertaining way, especially by focusing on particular affected people, places,
and events. The feature examines the subject from many sides and with a variety of style
elements. It concludes with a generality. The goal is to engage the reader emotionally in
processing the news.
The main feature of the discussed forms of representation is the way it is written.
Non-fiction narrative forms especially make up the difference. Narrative nonfiction (also
known as literary nonfiction or creative nonfiction) can be found readily in the English
language literature. The impression can be gained that it is used as an umbrella term for
all story-based forms of representation (cf. Cheney 2001; Dowrick 2007; Gutkind 2007;
Haller 2008). It covers all the requirements in the narrative information transfer through
the manner of another exchange of perspective opposite the objective journalism. Theo-
dore A. Rees Cheney writes: “Creative nonfiction tells a story using facts, but uses many
of the techniques of fiction for its compelling qualities and emotional vibrancy. Creative
nonfiction doesn’t just report facts, it delivers facts in ways that move the reader toward
a deeper understanding of a topic.” In addition, Cheney pointed out that the creation of
a nonfiction narrative requires the skills of “research ability” and “the storyteller” (ibid.).
Based on narrative writing, a closer look at the approach of storytelling will be discussed
in Section 3.2.

53. 53
III. Cooperation Discipline
Approaches
When considering the various scientific disciplines, a number of discrepancies in the con-
ceptual definition of the individual cross-disciplinary science practices can be found. “The
fuzziness of the interdisciplinarity concept starts with the fact that next to him numerous
‘competing’ concepts exist that have to do likewise in any way with the relationship of sci-
entific disciplines to each other, will partly overlap in their meaning and very inconsistently
used” (Jungert 2013, p. 1, translated). Joseph Kockelmans (1979) already described the
terminological confusion which still exists today. For him, the reason is that the authors
who deal with the disciplines of cooperation use no uniform terminology. (Kockelmans
1979, p. 123). Balsiger (2005) emphasizes that the set of concepts are, not only in quanti-
tative but also in qualitative terms, very different. Julie Thompson Klein gives one expla-
nation for the increased interest and willingness to solve problems using the expertise of
various disciplines:
“Today it is not unusual for a high-level administrator to request help creating
a more favorable institution wide support system. The multiple connotations
of the word signal the reasons for heightened interest. Interdisciplinarity is
associated with bold advances in knowledge, solutions to urgent societal
problems, an edge in technological innovation, and a more integrative edu-
cational experience. Administrators, in particular, value the organizational
flexibility to respond to new needs, offer new fields and forms of education,
attract faculty in new areas, stimulate greater coherence in the curriculum,
establish a distinct identity among peer institutions, enhance collaborative
use of facilities, be more competitive in securing external funding, and forge
new partnerships with government, industry, and the community. Faculty
cite the ability to pursue new intellectual questions, work in new areas of
teaching and research, counterbalance the isolation of specialization, infu-
se innovative and active-learning pedagogies into the curriculum, develop
integrative and collaborative skills in students, and respond to societal pro-
blems” (Klein 2010, p. 2).
In reflecting on the common understanding of the term interdisciplinarity, it seems that

55. 55
it stands as a synonym for all cooperation approaches. It is often used as a superordinate
term for the entire range of cooperation models (cf. Balsiger 2005) between different
disciplines. A single discipline can be seen as “a specific body of teachable knowledge
with its own background of education, training, procedures, methods and content areas”
(Völker 2004, p. 14). Uwe Voigt describes scientific disciplines as “special forms of human
activities.” They are characterized by the fact that they ensure a sound knowledge in a
certain way to the greatest possible extent: by committing to a particular subject area
using a specific method or by means of a lot of specific methods (cf. Jungert 2013, p. 32).
Because of the broad literary density of terminologies, only the five most common terms,
interdisciplinarity, multidisciplinarity, pluridisciplinarity, crossdisciplinarity, and transdisci-
plinarity will be classified..
III.I. Interdisciplinarity
Interdisciplinary has seen increased importance, even outside the scientific fields, espe-
cially in innovation-driven environments. Teams of experts of different disciplines, such
as scientists, graphic designers, product designers, programmers, directors, and artists,
support an interdisciplinary collaboration with their different perspectives to find com-
prehensive solutions (Nik 2012), which “cannot be addressed through a single discipline”
(Harvard Project Zero 2014). “Interdisciplinarity has become a mantra for change in the
twenty-first century. The word appears in countless reports from professional associations,
educational organizations, funding agencies, and science policy bodies. It is a keyword in
strategic plans, accompanied by a companion rhetoric of innovation, collaboration, com-
petitiveness, and the cutting edge” (Klein 2010, p. 1). For Thomas Sukopp a common un-
derstanding of interdisciplinarity is the interdisciplinary cooperation which, for example,
“involves the application of theories, models or methods of a subject for another or in
another subject. The possibility that some forms of cooperation of different subjects or
disciplines define just interdisciplinarity remains unaffected” (Jungert 2013, p. 13). Klaus
Mainzer sees interdisciplinarity as being problem-oriented and temporarily defined. “From
interdisciplinarity we speak, if the cooperation between the disciplines on individual prob-
lems and to a certain period will be limited without a change from the involved disciplines
of their methods and goals” (Mainzer 1993, p. 18). An OECD working group at the Inter-
disciplinarity; Problems of Teaching and Research in Universities (Nice, 7-September 12,
1970) conference developed the following definition for interdisciplinarity:

57. 57
An adjective describing the interaction among two or more different discip-
lines. This interaction may range from simple communication of ideas to the
mutual integration of organizing concepts, methodology, procedures, epis-
temology, terminology, data, and organization of research and education in
a fairly large field. An interdisciplinary group consists of persons trained in
different fields of knowledge (disciplines) with different concepts, methods
and data and terms organized into a common effort on a common problem
with continuous intercommunication among the participants from the diffe-
rent disciplines. (Apostel 1972, p. 33)
Scientifically interdisciplinary is the combination or involvement of two or more academic
disciplines or fields of study. The involved professions interact with the goal of transferring
knowledge from one discipline to another. This allows researchers to inform each other’s
work and compare individual findings for a limited time frame under the utilization of the
disciplines’ known methods.
III.II. Multidisciplinarity
The term multidisciplinarity, which can be found in the scientific literature since the 1950s
(cf. Luszki 1958; Balsiger 2005; Jungert 2013), is often equated with the concept of pluri-
disciplinarity. First, this study will discuss the characteristics of multidisciplinarity, and then
in the next section it will address the distinction to pluridisciplinarity. Predominantly can
be implied in the manner of use “a disciplinary juxtaposition” (Lungert 2013, p. 2) with the
orientation on the “same or similar topic without structured cooperation or interdisciplina-
ry synthesis efforts” (ibid., p. 2) imply. In the opinion of Philipp W. Balsiger (2005, p. 154),
one of the main features is the independence of the individual disciplines in their choice of
methods, as well as the principal waiver of creating mutual structural dependencies in the
treatment of the main project. Symbiosis between the individual disciplines is achieved
once the temporal specification within the overall project is completed, as well as in the
thematic specification, including the assembling of the individual achieved results. “The
participating disciplines are devoted to the same subject,” but each discipline covers “only
that part aspect of the problem” (Klein 1990, p. 56) without treating a disciplinary issue
outside its own area. “It is essentially additive, not integrative” (ibid.). Professionals from a
variety of disciplines work together to solve a cross-discipline problem but treat separate
questions, proffer separate conclusions, and disseminate in different journals.

59. 59
III.III. Pluridisciplinarity
In the general understanding of multidisciplinarity and pluridisciplinarity, synonymy can
be detected. However, in the literature, one can see a distinction between the two con-
cepts (cf. Jungert 2013). According to Balsiger (2005), pluridisciplinarity is “the first stage
of actual collaboration between different disciplines” (Balsiger 2005, p. 147). The basis
is the understanding of the conceptual definition of the multidisciplinarity, as described
in the previous section. The existence of different disciplines side by side in solving a su-
perordinate question is, after Erich Jantsch (1970, p. 411), extended with the intention “to
enhance the relationship between them” without a coordinated cooperation between the
involved disciplines (Balsiger 2005, p. 147). Michael Jungert pointed out that this kind of
cooperation does not include special coordination efforts and usually takes place bet-
ween related subjects at the same hierarchical level (Jungert 2013, p. 2). It seems that
multidisciplinarity describes the cooperation of unfamiliar disciplines. Pluridisciplinarity,
on the other hand, determines a cooperation between familiar disciplines.
III.IV. Crossdisciplinarity
The position in the row of cooperation disciplines Erich Jantsch (1972) see the method of
crossdisciplinarity in his book, Towards Interdisciplinarity and Transdisciplinarity in Edu-
cation und Innovation, as an intermediate element between multi- and pluridisciplinarity
and inter- and transdisciplinarity. “The axiomatics of one discipline are imposed upon
other disciplines at the same hierarchical level, thereby creating a rigid polarization across
disciplines towards a disciplinary axiomatics” (Jantsch 1970, p. 411). Additionally, includes
crossdisciplinarity the idea of a common ground: “[...] Without such a common ground
there would be no overarching conceptual framework, and thus genuine communication
between those who participate in the discussion would be impossible” (Kockelmans 1979,
p. 82). It can be reasoned that the concept adapts “methods or research programs of
another discipline” (Jungert 2013, p. 3) for solving the research question inside each disci-
pline. The description of Kockelmans requires the adaptation of an interdisciplinary basis
in relation of a common terminology and theoretical framework. Further, he points out
that the difference between the two is primarily “in the goal the researcher attempts to
achieve. Interdisciplinarians attempt to develop new research fields that eventually will
lead to new disciplines. Crossdisciplinarians wish to solve important and urgent problems

61. 61
that cannot be defined and solved from the perspective of any one of the existing disci-
plines” (Kockelmans 1979, p. 82). As Michael Jungert pointed out, the difference between
multi-and pluridisciplinarity lies in the use of stranger discipline “approaches and insights
for their own disciplinary field of research” (Jungert 2013, p. 3).
III.V. Transdisciplinarity
The scientist Jürgen Mittelstraß can be identified as one of the leaders in the theoretical
discussion to determine interdisciplinary meaning. In his latest constitution, he describes
the concept as follows:
Whereas scientific cooperation in general means the readiness to engage in
cooperation in science, and interdisciplinarity normally means concrete co-
operation with a finite duration, transdisciplinarity is intended to imply that
cooperation will lead to an enduring and systematic scientific order that will
change the outlook of subject matters and disciplines. Transdisciplinarity
is a form of scientific work which arises in cases concerning the solution of
non-scientific problems, […] as well as an intrascientific principle concerning
the order of scientific knowledge and scientific research itself. In both cases,
transdisciplinarity is a principle of research and science one which becomes
operative wherever it is impossible to define or attempt to solve problems
within the boundaries of subjects or disciplines, or where one goes beyond
such definitions. (Mittelstraß 2011, p. 331)
Accordingly, a differentiation to interdisciplinarity can be seen in three aspects, which
Michael Jungert also interpreted,: the durability of cooperation, the transformation of
disciplinary orientations, and the engagement with non-academic problems (cf. Jungert
2013; Mittelstraß 2000). Essentially, the transdisciplinary cooperation approach is a team
science. Experts of different unacquainted disciplines work entirely outside their own dis-
cipline to contribute a cross-border project with their unique expertise. The understan-
ding of the complexities of a whole project is in the focus, rather than just one part of it.
Transdisciplinarity is a scientific and problem-solving cooperation, “as opposed to forms
lying outside of scientific boundaries” (Mittelstraß 2000). In contrast, interdisciplinarity is,
as Erich Jantsch (1970, p. 411) understands it, “the coordination of all disciplines and inter-
disciplines in the education/innovation system on the basis of a generalized axiomatic and
an emerging epistemological pattern. Transdisciplinarity allows investigators to transcend

63. 63
their own disciplines to inform one another’s work, capture complexity, and create new in-
tellectual spaces. Transdisciplinarity provides the best conditions to understand new work
areas and unknown tasks. Especially with the creation of new innovative ideas based on
knowledge of several unrelated disciplines, transdisciplinarity offers the best condition to
generate new knowledge.

65. 65
IV. Multimedia Storytelling
Multimedia storytelling comprises the area of storytelling in general and, in the journalistic
sense, the explanation of the concepts of multimedia and the clarification of the meaning
of quality. The consideration of these different areas is used to define journalistic multi-
media storytelling.
IV.I. General Aspects of Storytelling
“Basically, a story is a narrative account of an event or events – true or fictional” (Simmons
2006, p. 31).In movies, newspapers, books, pictures, or even companies, the power of
the narrative approach is applied to transfer information, entertain, and influence people
in a certain way. The goal of storytelling, as Marie Lampert (2013, p. 11) describes it, is to
create and direct the attention of the audience on the story and to keep them curious,
nevertheless, if reader, user or listener. Storytelling embodies the possibility for the creator
to mediate information with a sustained effect. It can be described as an instrument for
communicating personal or strange experiences in an exciting and compelling manner
that it can be empathized by others (Adamczyk 2014, p. 30). Storytelling is used to evoke
in readers or listeners a sense of shared experience. The cognitive scientist Roel Williams
explains the success of good stories as follows: “If we read or hear something that is writ-
ten concretely, the same sensory-motor areas are activated as if we experience the thing
in reality” (Reiter 2012, p. 231, translated). Detailed explanations in terms of the effective
mechanism of a story come mainly from the fields of neuroscience and psychology. The
processing of incoming information is carried out in the brain in an unconscious or con-
scious way (Libet 2004). Scientists refer to the unconscious and conscious perceptions as
tacit (implicit) knowledge and explicit knowledge (Polanyi 1962). In studies it is demons-
trated that the majority of information is processed unconsciously. Unconscious thinking
draws on memories that were obtained from positive and negative experiences to make
faster decisions. It therefore accesses the tacit knowledge. Hence, unconscious thinking
requires less energy than conscious thought (Herbst 2014, p. 26) and thus is less exhausti-
ve. In contrast, explicit knowledge is unambiguously encoded stored knowledge and thus
is simply and unambiguously communicable (cf. Schreier 2007; Libet 2007; Roth 2001) by
language or writing. Neuroscientist Werner Fuchs (2006) explains that storytelling is the

67. 67
most optimized way of disseminating information, because it makes use of the property
of the brain to process information through linkages of patterns. In the processing of in-
formation, the brain does not store the entire input but only looks for key information. A
narrative uniquely combines cognitive and emotional schemas and uses pictorial and de-
scriptive interpretations on the implied experience to interpret the new input. This special
ability to transform information into imaginary or real pictures was used by the Greeks in
ancient times. In the so-called mnemotechnics, a learning technique that aids information
retention, a special anchor is created in the memory to which the new information will be
appended (cf. Yates 1999). Due to the reunion, a retrieval of a particular image or associ-
ated information is accessed in memory. Based on this processing, the narrative structure
is of overriding importance to the components used for the transmission and the inner
transformation of information. Thus, storytelling implies a dynamic connection between
what is said (substantive components) and how it is told (manner) (Chatman 1978, p. 19).
Figure 6 – Story and Discourse by Seymour Chatman (1978, p. 26)
Good stories have a dramatically designed narrative. They occur in the time and have a
topic immanent beginning and an end. A dramatic design means that the main actors go
through a process of change.
IV.II. Storytelling in the Journalistic Sense
“The good narrative text in the tradition of the narrative journalism brings to light the
human element, even if indirectly by describing inhumane processes and relationships.
}
}
{Narrative
Story
(Content
Plot, What)
Discourse
(Expression,
Presentation
Structure, How)
Events
(Content)
Existens
(Expression)
People, things, etc.,
as preprocessed by the author's cultural codes
Structure of narrative transmission
Manifestation
Actions
Happenings
Characters
Settings
Verbal
Cinematic
Balletic
Pantomimic
etc.
Form of Content
Substance of
Content
Form of Expression
Substance
of Expression
{ }
}=
=
=
=
{
{
{
{

69. 69
The language of the facts journalism, however, is an expression of inhuman because dead
world of objects” (Weber 2006). The simple difference between fact-oriented reports
and telling a story “is the addition of emotional content and added sensory details in the
telling” (Simmons 2006, p. 31). A story consists of action, form, and structure. Fascinating
stories work with motifs which encourage, affect, and influence people. The quintessence
of storytelling is to detect the potential of a topic. News and currency are not necessarily
the core of the text. A storyteller should be interested rather in people, motives, and struc-
tures. Nowadays, storytelling is divided into two areas. The oldest form is known as analog
or linear storytelling and is applied, e.g., inside print mediums or the traditional television.
The other category is digital storytelling, with a focus on new media and new technolo-
gies. Both categories are considered in more detail in subsequent sections.
IV.II.I. Classical Narrative
Traditional entertainment, especially material that is story based, is almost always linear,
and linear narratives follow a straight line. In the words of Carolyn Handler Miller, “one
event follows another in a logical, fixed, and progressive sequence. […] The structural
path is a single straight line” (Miller 2004, p. 11). It starts at the beginning, moves to the
middle, and proceed to the end of the story. Here, the structure is usually modeled after
the traditional three-act structure of problem, climax, and resolution (Lavandier 2005).
The whole narrative appears as a closed system and the consumer has no influence on
the outcome or the sequence of events. He has in this form of narration only the role of a
passive spectator.
IV.II.II. Digital Storytelling
“Digital storytelling is narrative entertainment that reaches its audience via digital tech-
nology and media” (Miller 2004, p. xiii). In the mediation of information, several digital
narrative forms can be used : web-based stories, interactive stories, hypertexts, and nar-
rative computer games. Digital storytelling includes several new characterizing attributes.
Carolyn Handler Miller singles out: “They are interactive; they are immersive; they are non-
linear; and they are participatory” (Miller 2008, p. 2). In the context of digital storytelling, a
non-linear story is one in which the user has the impression of direct influence in the story
(McIntosh 2010), in which his actions and decisions have consequences in the proceeding
and the outcome inside the consumed media. “The deal with the creation of dynamic
narratives –and narrative structures- a user can interact with, in order to create some (or
several) changes in the story narrated” (Ramírez 2002, p. 3). Simon Sturm advises that

71. 71
especially complex issues should be divided into modules so as to give the user a struc-
ture and orientation so that it does not get lost in the depth of the content (Strum 2013,
p. 26). The growth of new media and the new technological possibilities have created an
environment which greatly simplifies the creation and dissemination of individual stories.
Dennis Eick (2014, p. 24) describes this new direction of storytelling as humanization and
personalization. The special feature of a digital narrative lies in the possibility of interac-
tivity with the content. The interactivity changes the core material and the experience of
the receivers profoundly. ‘‘Interactivity is fundamentally a dialogue between a user and
the material” (Miller 2004, p. 56). In addition to the technical interactivity, digital compo-
nents offer the possibility of social interactivity between two or more people (cf. Sturm
2013). The greatest feature of digital storytelling compared to analog storytelling lies in
the principle of jumping, navigating between the different content elements. However,
the linear narrative structure should not be ignored in the digital story. Journalistic text
elements especially require a logical and clear structure and should, in spite of interactive
alignment, give the reader, in detail, a linear structure.
IV.III. Multimedia
Der Rundfunk von morgen: ein Druck auf den Knopf, und rauschen-
der Schall, mit Tiefen und Perspektiven; und noch ein Druck: bewegtes
Bild, Ton und Klang illustrierend, eine Drehung am Hebel, und England
kommt, Boxkampf in London, mit Fäuste krachen und Schmerzensstöh-
nen, mit den raschen Gesten der Kämpfer; [...] Und übermorgen viel-
leicht: der plastische, farbige, sprechende Rundfunk-Film, Erlebnis mit
allen Sinnen erfassend und durch die Technik meistern, daß durch den
Druck auf schwarzen Knopf Millionen Erlebenshungriger es sich enthülle.
(Ludwig Kapeller, Magazine UHU 1925, p. 70)
As early as 1926, there was a discussion of the link, the convergence, of different media.
At that time, of course, it was in connection with cinema and the first successful television
transmission tests.
Nowadays, with the digital exchange of content, the term has won growing im-
portance. In the contemplation of multimedia, text, images, sound, animation, and video
can be considered the main ingredients (cf. Vaughan 2010; Henning 2007). Tay Vaughan

73. 73
(2010) defines multimedia in his book Multimedia: Making It Work as “any combination
of text, art, sound, animation, and video delivered to you by computer or other elect-
ronic or digitally manipulated means” (Vaughan 2010, p. xii). Peter A. Henning’s (2007)
description stays in the center of multimedia the people and their way to communicate
with other people and their environment. For him, multimedia is due to the involvement
of the human framework and a high cross-linking of sources of information a non-linear
and complex system. To complement this, he adds: “Multimedia is the trend, to integrate
the channels with the tools of information science over all sources to use it as a whole
for the communication” (Henning 2007, p. 19ff.). Based on the biological features of hu-
mans, perception happens at various levels. Multimedia has the characteristic address
different senses of man simultaneously through integrated media application (Hartmann
2008, p. 19). “We include various senses and live hence in different realities at the same
time - human beings and their cultures forms different communicative worlds.” (ibid., p.
13). Bernd Weidenmann’s consideration of multimedia comes from the field of educational
psychology, where the effect of multimedia content is examined for success in learning.
His assumption is that learners acquire new facts better and thus learning faster if the
facts are illustrated by text and images, as if only text will be used for delivering new
content (Weidenmann 2001, p. 32). According toly, the cognitive theory of multimedia
learning states, the processing of information exists in two separate channels (cf. Clark
Paivio 1991; Baddeley 1999; Mayer 2001). In the theory of dual-coding (Clark Paivio 1991),
words can be assigned pictorial ideas and images corresponding words. The processing of
information happens on a verbal channel and a non-verbal channel, both audio and visual
communication (Hartmann 2008, p. 29ff.; p. 37ff.). “Information is encoded and remembe-
red better when it is delivered in multiple modes […] than when delivered in only a single
mode” (Graesser 2007, p. 56). During the process of information processing, a continuous
change of the activities of the two channels will take place, which is influenced by the in-
dividual characteristics of a person. Merlin C. Wittrock (1974) assumes that learning can be
understood as an active creation of knowledge and meaning that has to be coordinated
with previously learned facts. “According to the knowledge-construction view, people are
not passive recipients of information, but rather are active sense makers. They engage in
active cognitive processing during learning, including attending to relevant information,
mentally organizing it into a coherent structure, and integrating it with what they already
know” (Mayer 2011, p. 35).

75. 75
For the development of a multimedia project with the component of active infor-
mation processing, further properties are required in addition to those already mentioned.
For this purpose, a new terminology inside the scientific as well as the practical area has
evolved. This refers to the active involvement of the user by the interactive multimedia. An
interactive multimedia quality can be referred to when placed, in addition to the combina-
tion of various media, “into a structured digital computerized environment” (England 2011,
p. 2), the possibility of interaction is integrated “to control what and when the elements
are delivered” (Vaughan 2010, p. 1). Interactive elements include active navigation, mani-
pulation of content, and control of rendering parameters.

77. 77
V. Journalistic Multimedia
Storytelling
A multimedia story, in a journalistic sense, is the combination of qualitative narrative text
with nonfiction content, still photographs, video clips, audio, graphics, and interactivity
presented on a digital medium in a nonlinear format in which the information in each me-
dium is complementary, not redundant. Nonlinear means that rather than reading a rigidly
structured single narrative, the user chooses how to navigate through the elements of a
story. Not redundant means that rather than having a text version of a story accompanied
by a video clip that essentially tells the same story, different parts of a story are told using
different media. The key is using a media forms—video, audio, photos, text, animation—
which will present a segment of a story in the most compelling and informative way. In the
substantive representation, different journalistic formats are used which already include
elements from their past in the narrative. The main quality goal is to achieve a strong
connection and complement the individual media elements and not a physical separation
between the elements. A separation of the individual elements, however, can be found at
the time of use.
Because of the association of knowledge from different fields, quality characte-
ristics of these disciplines also have to be considered in the conceptual design process.
Regarding the quality characteristics of journalism, this study has explained the factors of
topicality, relevance, accuracy, mediation, and ethical consideration as relevant and gene-
rally accepted quality characteristics. The combination of classical journalistic reportage
with multimedia content is an essential new quality characteristic for digital journalism. To
fulfill this kind of quality, it is important that every multimedia element embodies in turn
its own quality characteristics. Qualitative, professionally produced motion pictures and
interactive graphics are crucial for quality assurance in a digital journalistic production
and generate a positive image and thus the possibility of recurring users. Further decisive
criterion result from a skillful user being guided through the principle of limitless Internet
content combined with interactivity. As a result, the user is given an added value to navi-
gate individually and according to his own interest in the digital content. Multimedia sto-
rytelling paired with interactivity allows the creation of information with unprecedented
depth and variety.

79. 79

81. 81
Practical
Framework

82. 82
Comparative
Qualitative
Research
of Multimedia
Stories
The main purpose of this comparative
qualitative research is to filter out what
kind of and disciplines are touched
and what professions are involved in
the creation process of multimedia
stories. The selection of the concerned
profession is used for preparation of the
interviews in order to obtain possible
interview candidates.
For the selection and creation of the
list of candidates several parameters
served as criteria to set up the selec-
tion. My analysis includes the considera-
tion of 50 stories in total. Most selected
stories are taken from the open Google
Doc file “Snowfallen Stories”, http://goo.
gl/0rc7KQ, started by Bobbie Johnson.
He has started the list to accompany an
article about how multimedia elements
were being included in many stories
similar to the “Snow Fall” article of The
New York Times. This databank includes
more than 200 different stories, initiated
in 2010. In addition, the published article
“A list of the Best of Digital Design
Award Winners”, http://goo.gl/s4rmSc,
of the Society for News Design (SND),
March 2014, is used for the selection.
Further are considered the published
books of the SND from the years 2011
– 2013, which presents the winning
entries of the yearly competition (cf.
SND 2013; SND 2012; SND 2011). Most
stories are hosted by news publisher
because of their historical background
of news publishing and the professional
focus of journalism and the ongoing
innovation process in developing new
business strategies. Language forms
the last selection criteria to guarantee
the understandability of the content
and the purpose of each web site. The
story “Snow Fall” shapes the point zero
inside the analysis and all other stories
are compared in relation to this story.
Indeed, includes the selection also
products which were already published
before the Snow Fall story but have only
received increasing attention due to
their success.
In the ensuing table all selected and
analyzed multimedia stories listed
ordered by associated number label,
title, publisher, country and date of
publication. The sorting is done by date.
The Internet addresses of the respec-
tive stories are listed in the bibliography
under ‘List of Multimedia Stories’. The
labeling number of each story is equal
with the numbering in the list.

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No. Title Publisher Country Date
31 Prison Valley ARTE Germany, France 2010-04-22
32 Alma – A Tale of Violence ARTE Germany, France 2012
40 BEAR 71 NFB Canada 2012-01-25
47 The Long, Strange Trip of Dock Ellis ESPN USA 2012-08
46 Lost and Found NPR USA 2012-09-14
44 Atari Teenage Riot: The Inside Story Of Pong And The Video
Game Industry’s Big Bang
Buzzfeed USA 2012-11-29
1 Snow Fall The New York Times USA 2012-12-26
27 Wahl Los Axel Springer Akademie Germany 2013
37 Begleiter Süddeutsche Zeitung Germany 2013
20 Arabellion Rheinzeitung Germany 2013-01-06
33 For Amusement Only: The Life and Death of the American
Arcade
The Verge USA 2013-01-16
16 Keine Zeit für Wut Neue Züricher Zeitung Switzerland 2013-03-08
43 Six:01 The Commercial Appeal USA 2013-04-05
14 Firestorm The Guardian UK 2013-05-26
11 When The Beautiful Game Turns Ugly ESPN USA 2013-06-05
48 New Adventures for Older Workers PBS USA 2013-06-16
45 Wrappers Delight The Telegraph UK 2013-06-21
39 Human Cannonballs L’Equipe France 2013-06-27
17 100 Jahre Tour de France Die Zeit Germany 2013-06-29
42 The Town That Wouldn’t Disappear The Global Mail Australia 2013-07-12
35 Fighting Dirty The Verge USA 2013-08-13
2 The Jockey The New York Times USA 2013-08-14
28 The Black Budget The Washington Post USA 2013-08-29
38 Out in the Great Alone ESPN; Grantland USA 2013-09-09
8 Tomato Can Blues The New York Times USA 2013-09-18
41 A Short History of the Highrise The New York Times; NFB USA, Canada 2013-10-08
5 Russia Left Behind The New York Times USA 2013-10-10
18 Das neue Leben der Stalinallee Die Zeit Germany 2013-10-22
3 A Game of Shark and Minnow The New York Times USA 2013-10-27
6 Forging an Art Market in China The New York Times USA 2013-10-28
15 NSA Files: Decoded The Guardian UK 2013-11-01
29 Killing Kennedy National Geographic USA 2013-11-10
50 The Surge Wired USA 2013-11-21
7 Two Gunshots The New York Times; Frontline USA 2013-11-23
30 Fort McMoney TOXA; NFB; ARTE Canada; Germany;
France
2013-11-25
24 Planet Money Makes a T-Shirt NPR USA 2013-12-02
9 A Deadly Mix in Benghazi The New York Times USA 2013-12-29
4 Invisible Child The New York Times USA 2013-12-9
12 Lionel Messi ESPN USA 2014
13 Me to We Award Winners Canadian Living Canada 2014
49 Flights Interactive: See the Planes in the Sky Right Now The Guardian UK 2014-01-21
19 Himmler Die Welt Germany 2014-01-25
26 Welcome to Paradise The Telegraph UK 2014-03-05
23 Code Rood Werken voor Nederland Netherlands 2014-03-07
21 Arms Wide Open BBC UK 2014-03-10
25 Energiewende Handelsblatt Online Germany 2014-03-11
36 The Uncounted CNN USA 2014-03-14
10 The Ballad of Geeshie and Elvie The New York Times USA 2014-04-13
22 Mein Vater der Werwolf Der Spiegel Germany 2014-04-14
34 Pixel Perfect: The Story of eBoy The Verge USA 2014-06-17
Table 1 – List of Selected Multimedia Stories sorted by date.

84. 84
Analysis
Criteria’s
All 50 stories are investigated systematically by 10 categories. Each category is further divided for a more accurate determina-
tion of differences and similarities in sub-second level and occasionally in the third sub-level. The investigation focuses on the
questions, ‘What languages are supported?’, ‘How is the website functionality on desktop browsers and on mobile devices?’,
‘What technical options are used in the design of the website?’, ‘What kind of multimedia narrative is applied regarding the
involvement of the user?’, ‘What kind of multimedia elements are used?’, ‘How is the basic layout design of the website?’, ‘What
kinds of professions are involved at the development of the site?’, ‘Which superordinate business segment can be assigned to
the publisher?’, ‘Which business model is behind the production?’, and ‘How many producers are involved in the production?’.
In the following all 10 categories are
listed with detailed explanation. This
section is used to better understand
and facilitate traceability of the investi-
gation.
Supported Languages
The list of investigates story sites come
from different countries resulting in the
conclusion of narratives with different
languages. The concentration is on the
issue, how many different languages
provided by one story. The full list of
languages will appear during the inves-
tigation and cannot set up previously.
Involved Professions
Determination of all during the deve-
lopment process involved professions.
The full list of all profession will appear
during the investigation and cannot set
up previously. The result of this provision
serves as basis establishing of the inter-
viewees.
Business Type
Here, the purpose is to define in which
media segment the publisher is located.
The full list of all business types results
from the investigation and cannot set
up previously.
Business Model
The business model category consi-
dered how the publisher wants create
and capture value for his company. It
is detected as the editor tries to make
money with his product. In this research
two possibilities are considered in
more detail.
Advertisement: Assigned publisher
integrate banner advertisements within
the story.
Subscription: Associated Publishers
pursue the goal that the users registered
and pay a monthly fee for use for the
usage of the offered items.
Business Production
Cooperation
This category specifies how many
publishers were involved at the develop-
ment process. It tries to detect whether
the cost of production were distributed
at several companies.
• None Cooperation
• Two Cooperations
• Three Cooperations
• Four Cooperations

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Supported Desktop and
Mobile Devices
This category captures the support
devices for which a story is optimized.
The investigation includes a desktop
engine as well as mobile devices of the
category tablet and smartphone. Opera-
tion System on the desktop computer is
Microsoft Windows 7, 64-Bit OS, and
Services Pack One. The 22 inches screen
runs with a resolution of 1920x1080,
landscape orientation. On the Android
based mobile devices is for the inves-
tigation used the Internet browser
Google Chrome. For verification two
different Internet browsers are used
on the desktop computer. On mobile
devices the verification is focused on
the content orientation of portrait or
landscape. Portrait means the device is
hold upright. Landscape describes the
use longitudinal.
Desktop Computer Microsoft Windows 7
Google Chrome Browser,
Vers. XY
Verification if browser is completely supported
Internet Explorer Browser,
Vers. XY
Verification if browser is completely supported.
Tablet
Samsung Galaxy Tab 3 Internet Browser: Google Chrome
Portrait Verification if screen orientation is supported.
Landscape Verification if screen orientation is supported.
Smartphone
HTC ONE Internet Browser: Google Chrome
Portrait Verification if screen orientation is supported.
Landscape Verification if screen orientation is supported.
Desktop Version on Mobile
Devices
Comparison if the same web site layout of the desktop
browser is shown also in the mobile browser. Are the
desktop layout and the mobile device layout equal?
Information Screen for not
Supported Devices
If a web site is not constructed for a type of device
or browser will the user shown a notification screen
about the not supported devices or browser?
Table 2 – List of Criterias For Supported Desktop and Mobile Device
Kind of Multimedia
Story
Consideration what type of multimedia
story it is. Basis for the determination
results from the described property of
multimedia in the journalistic sense in
the theoretical section (see chapter
Journalistic Multimedia Storytelling). Is
called into question whether it is a multi-
media narrative in the journalistic sense
and will be the user addressed through
active experience of the content.
Multimedia Integration of different media elements, like text,
images, graphics, or videos in a mutual supportive
way in forming a unit than separated elements.
Interactive Multimedia Property of multimedia (see row above) plus the
active integration of the user. The lowest level of
interactivity is the click through an image slide show.
Further interactive activities could be the creation of
a own story of the user, or the output change of infor-
mation graphics. In here, it is not meant the possibi-
lity to start and stop a video or sound element, or to
scroll. Interactivity in sense of social interaction is not
taken into account.
Table 3 – List of Criterias For Kind of Multimedia Story

86. 86
Integrated Media Elements
Each multimedia concentrated story has the possibility to integrate several different kinds of media elements. Each element can
support the main statement in his particular way based on the addressed sensory channel. This category focus on the filtering of
the different used media elements.
Static Media Elements Static element like picture or graphic.
Animated Media Elements Animated element like picture or graphic.
Interactive Media Elements Interactive element like picture or graphic in which the user can change the
displayed composition.
Interview Video Dynamic video element, that shows in the core the interviewee. The spoken text
come mostly also from the interviewee.
Video Any kind of dynamic video element, that can just show photographs in a row, images
to transport an atmosphere, or documentary recordings. The sound element can
be integrated but is not required. Sound in this case could be atmosphere as well
as the voice of a narrator.
Sound Sound element without support of visual material. Content can be materials such
as ambient noise, music, or interviews.
Static Information Graphic Static element that display, simplify and transport data via information graphic that
cannot be changed through the user.
Animated Information Graphic Animated element that display, simplify and transport data via information graphic
that cannot be changed through the user.
Interactive Information Graphic Interactive element that display, simplify and transport data via an information
graphic. The user must have the option to change the displayed element through
changing e.g. numbers or the shift of a controller.
Unexpected Specials Special services offered by the publisher which were not considered before the
analysis.
Social Media Integration What kind of social media platforms are embedded?
Table 4 – List of Criterias For Integrated Media Elements

87. 87
Applied Technical Functions, Elements and Issues
Magazines and blogs publish annual reviews on the current web trends mainly in terms of new functions (Hedemann 2012; Zaglov
2014). The research looks after proven functions as well as of experts touted trends.
Chapter Navigation Provides the site a navigation menu for the user to browse between the different
chapters if needed?
Support of Full Screen Support the site the function to look at it in full screen mode. The availability and
usability must be easily accessible as well as visible e.g. via a button.
Image Slide Show Gallery of images through which the user can scroll forward and backward.
Image Library List of images displayed in a table format.
Scroll Activated Animations If the user scroll upward or downward animations and especially videos will started
automatically if the user can see them inside his display frame.
Parallax Scrolling If various layers of a website move at different speeds, the observer has the impres-
sion of depth. It involves the background moving at a slower rate to the foreground,
creating a 3D effect as the user scroll down the page. This effect is known of the
physical world, if one look in the train out of the window. Nearby objects such as
people or houses seem to move much faster as far away objects as whole forests
or mountains.
Comment Function Enabling of a communication between the readers and between reader and the
author.
Sound ON / OFF Function In the previously research sites were filtered out which play sound immediately
after finishing the loading process.
Language Selection If the story is published in two or more languages offers the site the option to
switch between them easily?
Table 5 – List of Criterias For Applied Technical Functions, Elements and Issues

88. 88
Layout Composition
In this category is the focus aligned on the design principles of in the conception of a multimedia narrative. One main focus is on
gathering information, in which way the different multimedia elements are positioned to each other. The obtained information
will have a great influence in the creation of the best practices model later.
Independent Own Layout From the main page dissolved and independent layout concept which is tailored to the
content of the story.
Vertical Vertical page flow of the web site.
Horizontal Horizontal page flow of the web site.
One Pager No scroll bar in any direction. The site uses the full screen resolution for displaying the
content. Navigation or interaction take place also inside this format.
One Page Website designed as a single page. This means that all relevant information housed
on a long, scrollable page. The user does not need to jump from page to page to find
interesting content for him.
Interaction between chapters How are the different chapters of a story connected if a chapter structure is given?
Smooth transition to
the next chapter
The transition between the different chapters is fluent and the user can proceed without
clicking. This does not mean that no navigation element is integrated. Certainly there
can be a one page navigation.
Forwarding Link to next chapter
at the end of a chapter
At the end of every chapter the user is given the option to move easily to the next
chapter by a separate highlighting.
No connection between
the different chapters
The production includes different chapters but these are not interconnected. Each
chapter stands on its own. No promotion of other chapters.
No chapter layout The whole story is not divided into different chapters.
Navigation Menu If the web site has the possibility of navigation, where is the navigation menu placed?
Navigation menu means the possibility to navigate between the different chapters. Not
meant is an area inside the page in which e.g. the logo of the publisher is integrated.
Top
Left
Right
Bottom
Teaser Image, Video, or Graphic The story starts with a media element which uses the whole screen space. Element
adapts to the current horizontal size of the browser. Headlines and text sections can be
included but is not a criterion.
Background Images with Text The journalistic text has in the background a large topics relevant image.
Position of Media Elements Distinction of the positioning of the media elements in realtion to the text. List of
possible media elements: Images, Graphics, Videos, Quotes, etc.
Center Media element is placed centered between two text paragraphs.
Left Left alignment inside or beside the text section.
Right Right alignment inside or beside the text section.
Full Screen Element uses the whole screen space, whether between two text sections or behind a
text section. Element adapts to the current size of the browser.
Table 6 – Layout Composition

89. 89

90. 90
Multimedia Stories
Investigation
Report
The investigated 50 different multimedia
stories are produced in eight diffe-
rent countries, USA, Germany, France,
Canada, UK, Switzerland, Netherlands,
and Australia. This results in a variety of
5 different languages. However, only five
pages offer their story in multiple langu-
ages. And only four sides in turn offer
the possibility to easily switch between
languages by menu. Here, English is the
most represented language, followed by
German and French.
The explanation of the found results will
take place on the basis of a descriptive
text if applicable supported by graphi-
cally representation in the form of infor-
mation graphics.
Business Segment
Mainly originate the publishers of the
newspaper segment, followed by tele-
vision broadcaster, and online media
publisher. The majority of the multi-
media pages, exactly 88 percent, have
been produced and published by a
single publisher. Four productions
based on the cooperation of three
publishers, and two on the cooperation
of two publishers.
The financing of journalistic
performance, especially of print media,
was done in the past on the sale price
and mainly by the advertising business.
Due to the increasing use of the Internet
activity of the vast majority of the
population, the business model of the
media fell into difficulties. As a result,
publishers have lost their decades of
monopoly as an intermediary between
advertisers and consumers. Informa-
tion publicists looking since then for
English
German
French
Spanish
Dutch
40x
12x
5x
1x 1x
Figure 7 – Represented Languages
NEWSPAPER
TV BROADCASTER
ONLINE MEDIA PUBLISHER
MAGAZINE
RADIO BROADCASTER
STATE ORGANIZATION
UNIVERSITY ORGANIZATION
52 %
20%
10%
8%
4%
4%
2%
41%
59%
Subscription
Advertisement
Figure 8 – Business Segment Business Model