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Jason B. Fischer
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Many of the revelations stood out to me. For instance, that "as the technology became more powerful, many of my students' stories became weaker" (Ohler, 2013, p. 5) is slightly counterintuitive yet makes perfect sense after reflection. While the aesthetics of story may be advanced by technology, the heart of it (i.e. structure, arc, etc) may, by many, drop down a few pegs on the priority list. Instagram, Vine, Snapchat, Tumblr, Pinterest, and other social media applications do a brilliant job of capturing moments, but are less effective at threading these together into something akin to storytelling. There may be a story to tell, but the internet requests it be told, oftentimes, in as little as six seconds. The pieces of our stories may, as result, emerge more quickly and vividly, but it seems that increasingly less reverence is given to dramatic substance and the nature of story at its core. This decay in the general storytelling ability of the masses likely began with the advent of television, which replaced the our need to construct, from our imaginations, tales of wonder to amuse the minds of our children and friends. 

Another revelation which resonated with me was how essential storytelling is for survival itself. As a therapist, I encounter this fact in each and every counseling session. As I told a client yesterday, "It is not the truth that causes suffering, but rather our relationship to the truth." This relationship can be defined as story, the story we devise about what a certain event means to us personally. The ability that we have to create our stories is likewise the ability that we have to transform our own suffering. This is perhaps the very greatest power, as humans, we have at our disposal.

Finally, the entire concept of creatical thinking bears special mention. The divide between traditional academics and the creative arts has, for too long, been a wide one. Yet I agree that DST provides a brilliant opportunity to develop critical thinking skills. Art (the fourth R) is not merely about beauty; it's about message (i.e. the story we have to tell). No academic paper has ever been written, I dare say, without a story to tell, which is to say, without a measure or creativity on the part of the author. I see DST, now, as the invitation to learn how to tell these stories of ours well, using both critical thinking AND creativity.

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