We need to talk (denim workshop)

A collaborative, participatory denim craft station installed by the LEVEL feminist collective in the Q[ARI] Project - Artist-Run Initiatives exhibition, at the Griffith University Art Gallery in 2013. The exhibition was funded by the Queensland Government through Arts Queensland, and featured seven artist-run-initiatives from Brisbane.

We need to talk (MCA picnic)

This collaborative, participatory work by feminist collective LEVEL took place at the Museum of Contemporary Art (MCA) as part of the official program of activities surrounding the exhibition 'War is over: (If you want it!): Yoko Ono', 2013. It took the form of a public picnic where women and their friends were invited to share food and discuss what they wanted to see in the world. Groups discussed their desires before a public declaration of these outside the museum at Circular Quay in Sydney.

Building communities through co-creative storytelling : sound walking in New England

The Story Project is a small, not-for-profit community media arts company based on the Sunshine Coast hinterland. It specialises in facilitating first-person storytelling. Since 2012 The Story Project has been collaborating with a small community arts organisation based in northern NSW, Uralla Arts, to record local heritage in first-person story form and to curate and present it ways that will appeal to new generations of listeners. The initial collaboration was funded by a Federal government Community Heritage program. The project successfully adapted a participatory method of life storytelling to this regional context and some 40 stories were contributed to a collection. A more ambitious suite of projects to develop soundwalks in a number of towns across the New England region has since grown from this initial collaboration. The soundwalks seek to combine local creative works in oral story, music and visual forms, and make them accessible through an application that can be downloaded to GPS-enabled mobile devices. While soundwalks are not new, the needs and challenges of creative community-building that New England soundwalks attempt to solve in this regional setting hold value for a broader range of interests than just those of the immediate project stakeholders. This paper reports on a research collaboration between The Story Project and QUT researchers that looked at The Story Project’s engagement with Uralla Arts and other New England community-based networks and organisations. It considers how this instance of story-centred, participatory media arts practice contributes to building population-wide capacity for creative expression.

We need to talk : feminism and food (GOMA Harvest Picnic)

This collaborative, participatory work by feminist collective LEVEL took place at the Gallery of Modern Art (GOMA) as part of the official program of activities surrounding the exhibition 'Harvest', 2014. It took the form of a public picnic, where women and their friends were invited to share cooking recipes while also discussing the possible recipe for a gender revolution. Groups discussed their ideas, before a public reading of potential 'ingredients' and 'methods' outside the museum on the Maiwar Green.

Bluebird AR

"What is Bluebird AR? Bluebird AR was the ABC's alternate reality drama set around the leak of Bluebird, a clandestine geoengineering initiative created by eco-billionaire Harrison Wyld. Proposing a fictional scenario set against a backdrop of real world possibilities, Bluebird AR took some of the conventions of the well-established alternate reality game (ARG) genre and pulled them into the relatively new area of online drama, to create a hybrid entertainment form best described as 'participatory drama'. With Bluebird AR's interactive narrative centred on the experimental science of geoengineering, the deliberate manipulation of the Earth's atmosphere to counteract global warming, the events and characters in the Bluebird story were entirely fictional but fused with reality online. Inhabiting a mixture of third party social media spaces and websites created by the ABC, the story incorporated real online articles, scientific journals, media and debate around geoengineering. In an Australian first, ABC Innovation launched Bluebird AR on 27 April 2010, with a 6 week live phase. Audience members were invited to play collectively to help 'unlock the drama' and push forward the emerging narrative, or passively watch the story unfold in real-time across the internet. Bluebird AR subverted ARG conventions with the high quality of its production and assets, and raised the stakes for online drama with its level of audience participation." © 2014 ABC "Introduction One of the most exciting creative challenges of producing Bluebird AR was formulating the broad array of visual styles and treatments required for the project's diverse range of content. Many assets also needed to translate well not only online but across other media, including television and print. With the project's producers keen to create a visually rich narrative with high production values from the outset, inspiration for the production design for various aspects of the Bluebird story began in the earliest pitching phase in September 2008. Particular visual treatments and styles for Bluebird's characters, their web spaces and real world possessions were formulated concurrently with the creation of their profiles. Ideas around how various clues and gameplay spaces might look and feel were also explored at this early stage. Bluebird AR's small but tight creative team produced 7 website designs and brands, motion graphics for title sequences and logo animations, rotoscope animation, 3D compositing and animation, 3D wireframes and schematics, countless Photoshop composites, and a vast array of character assets for the DC (including Kyle's Bluebird Labs security pass and resignation letter, Kruger's American and Russia passports and birth certificate, Harrison's divorce papers, and more)…" © 2014 ABC

Social clothing experiments

Social Clothing Experiments was a large-scale outdoor installation staged for the opening of the Pacific Standard Time exhibition at the Getty Center in 2011. It was part of a ten day performance festival.Each body-pillow was made out of second-hand tie-dyed t-shirts that were patch-worked together in various formations. The public was welcomed to move, play and rest with the installation.It explores Wyman's interest in art's role in social engagement and participation.

Changes in outdoor workers' sun-related attitudes, beliefs, and behaviors : a pre-post workplace intervention

OBJECTIVE To evaluate changes in outdoor workers' sun-related attitudes, beliefs, and behaviors in response to a health promotion intervention using a participatory action research process. METHODS Fourteen workplaces across four outdoor industry types worked collaboratively with the project team to develop tailored sun protection action plans. Workers were assessed before and after the 18-month intervention. RESULTS Outdoor workers reported increases in workplace support for sun protection (P < 0.01) and personal use of sun protection (P < 0.01). More workers reported seeking natural shade (+20%) and wearing more personal protective equipment, including broad-brimmed hats (+25%), long-sleeved collared shirts (+19%), and long trousers (+16%). The proportion of workers reporting sunburn over the past 12 months was lower at postintervention (-14%) (P = 0.03); however, the intensity of reported sunburn increased. CONCLUSIONS This intervention was successful in increasing workers' sun protective attitudes, beliefs, and behaviors.

The ethics, aesthetics and practical politics of ownership in co-creative media

What is ‘best practice’ when it comes to managing intellectual property rights in participatory media content? As commercial media and entertainment business models have increasingly come to rely upon the networked productivity of end-users (Banks and Humphreys 2008) this question has been framed as a problem of creative labour made all the more precarious by changing employment patterns and work cultures of knowledge-intensive societies and globalising economies (Banks, Gill and Taylor 2014). This paper considers how the problems of ownership are addressed in non-commercial, community-based arts and media contexts. Problems of labour are also manifest in these contexts (for example, reliance on volunteer labour and uncertain economic reward for creative excellence). Nonetheless, managing intellectual property rights in collaborative creative works that are created in community media and arts contexts is no less challenging or complex than in commercial contexts. This paper takes as its focus a particular participatory media practice known as ‘digital storytelling’. The digital storytelling method, formalised by the Centre for Digital Storytelling (CDS) from the mid-1990s, has been internationally adopted and adapted for use in an open-ended variety of community arts, education, health and allied services settings (Hartley and McWilliam 2009; Lambert 2013; Lundby 2008; Thumin 2012). It provides a useful point of departure for thinking about a range of collaborative media production practices that seek to address participation ‘gaps’ (Jenkins 2006). However the outputs of these activities, including digital stories, cannot be fully understood or accurately described as user-generated content. For this reason, digital storytelling is taken here to belong to a category of participatory media activity that has been described as ‘co-creative’ media (Spurgeon 2013) in order to improve understanding of the conditions of mediated and mediatized participation (Couldry 2008). This paper reports on a survey of the actual copyrighting practices of cultural institutions and community-based media arts practitioners that work with digital storytelling and similar participatory content creation methods. This survey finds that although there is a preference for Creative Commons licensing a great variety of approaches are taken to managing intellectual property rights in co-creative media. These range from the use of Creative Commons licences (for example, Lambert 2013, p.193) to retention of full copyrights by storytellers, to retention of certain rights by facilitating organisations (for example, broadcast rights by community radio stations and public service broadcasters), and a range of other shared rights arrangements between professional creative practitioners, the individual storytellers and communities with which they collaborate, media outlets, exhibitors and funders. This paper also considers how aesthetic and ethical considerations shape responses to questions of intellectual property rights in community media arts contexts. For example, embedded in the CDS digital storytelling method is ‘a critique of power and the numerous ways that rank is unconsciously expressed in engagements between classes, races and gender’ (Lambert 117). The CDS method privileges the interests of the storyteller and, through a transformative workshop process, aims to generate original individual stories that, in turn, reflect self-awareness of ‘how much the way we live is scripted by history, by social and cultural norms, by our own unique journey through a contradictory, and at times hostile, world’ (Lambert 118). Such a critical approach is characteristic of co-creative media practices. It extends to a heightened awareness of the risks of ‘story theft’ and the challenges of ownership and informs ideas of ‘best practice’ amongst creative practitioners, teaching artists and community media producers, along with commitments to achieving equitable solutions for all participants in co-creative media practice (for example, Lyons-Reid and Kuddell nd.). Yet, there is surprisingly little written about the challenges of managing intellectual property produced in co-creative media activities. A dialogic sense of ownership in stories has been identified as an indicator of successful digital storytelling practice (Hayes and Matusov 2005) and is helpful to grounding the more abstract claims of empowerment for social participation that are associated with co-creative methods. Contrary to the ‘change from below’ philosophy that underpins much thinking about co-creative media, however, discussions of intellectual property usually focus on how methods such as digital storytelling contribute to the formation of copyright law-compliant subjects, particularly when used in educational settings (for example, Ohler nd.). This also exposes the reliance of co-creative methods on the creative assets storytellers (rather than on the copyrighted materials of the media cultures of storytellers) as a pragmatic response to the constraints that intellectual property right laws impose on the entire category of participatory media. At the level of practical politics, it also becomes apparent that co-creative media practitioners and storytellers located in copyright jurisdictions governed by ‘fair use’ principles have much greater creative flexibility than those located in jurisdictions governed by ‘fair dealing’ principles.

Forest reflections

Interactive art installation Artist in Residence Queensland Government grant. Awarded June 2011 for period July-September 2011. This project involved co-creating an interactive artwork on site and in the forest with Grovely Primary school children aged 6-10, some with high needs. Affiliated with the United Nations International Year of the Forest. Final work is tangible, real-time visualization created using participatory design methods.

Mark form experience

Weblog of participatory arts Community interactive art project with Cerebral Palsy League. Regional Arts Development grant, Queensland Government. Awarded June 2012. This project has involved exploring and visualising participants’ movements through their drawings and co-designing an interactive, visualisation artwork based on these gestures and images.

Conservation communication camp : come with ideas, leave with a plan

IUCN´s core work involves generating knowledge and tools to influence policy and practice for nature conservation. Whilst it appears that we are collectively making progress in some areas, we acknowledge the need to improve our communication processes and practices to ´move to action´ in this regard. We need to extend the influence of the science and the knowledge beyond the documents to achieve effective impact and action. The training course will focus on the process of getting the conservation messages out to a wider audience. This interactive and participatory training course will develop the skills and knowledge needed to communicate effective conservation messages for a range of IUCN internal and external audiences. The course will cover: • what is communication for conservation? • the communication planning process (developing your communication objectives) • identifying and understanding your target audiences • developing your conservation message • choosing your communication media and • evaluating the effectiveness of your communication strategies. A unique feature of the training course will be the use of Web 2.0 tools in innovative conservation communications e.g. use of social media in concept branding and social marketing. In the spirit of the Forum´s objective of ´Sharing know how´, each participant will bring a current conservation issue to the training course and will leave with their own communication plan. Potentially, the training course adopts a cross-thematic approach as the issues addressed could be drawn from any of the IUCN´s program themes. Primarily though, the training course´s best fit is with the ´Valuing and Conserving Biodiversity´ theme since it will provide concrete and pragmatic solutions to enhancing the implementation of conservation measures through participatory planning and capacity building.

Citizen’s right to the digital city: Urban interfaces, activism, and placemaking

Edited by thought leaders of the fields of urban informatics and urban interaction design, this book brings together case studies and examples from around the world to discuss the role that urban Interfaces, citizen action, and city making play in the quest to create and maintain not only secure and resilient, but productive, sustainable, and liveable urban environments. The book debates the impact of these trends on theory, policy, and practice. The chapters in this book are sourced from blind peer reviewed contributions by leading researchers working at the intersection of the social / cultural, technical / digital, and physical / spatial domains of urbanism scholarship. The book appeals not only to research colleagues and students, but also to a vast number of practitioners in the private and public sector interested in accessible accounts that clearly and rigorously analyse the affordances and possibilities of urban interfaces, mobile technology, and location-based services to engage people towards open, smart and participatory urban environments.

Decriminalization of Health and Safety at Work in Australia

ABOUT THE BOOK As the title Safety or Profit? suggests, health and safety at work needs to be understood in the context of the wider political economy. This book brings together contributions informed by this view from internationally recognized scholars. It reviews the governance of health and safety at work, with special reference to Australia, Canada, Sweden, and the United Kingdom. Three main aspects are discussed. The restructuring of the labor market: this is considered with respect to precarious work and to gender issues and their implications for the health and safety of workers. The neoliberal agenda: this is examined with respect to the diminished power of organized labor, decriminalization, and new governance theory, including an examination of how well the health-and-safety-at-work regimes put in place in many industrial societies about forty years ago have fared and how distinctive the recent emphasis on self-regulation in several countries really is. The role of evidence: there is a dearth of evidence-based policy. The book examines how policy on health and safety at work is formulated at both company and state levels. Cases considered include the scant regard paid to evidence by an official inquiry into future strategy in Canada; the lack of evidence-based policy and the reluctance to observe the precautionary principle with respect to work-related cancer in the United Kingdom; and the failure to learn from past mistakes in the Deepwater Horizon disaster in the Gulf of Mexico. Intended Audience: Researchers; policymakers, trade union representatives, and officials interested in OHS; postgraduate students of OHS; OHS professionals; regulatory and socio-legal scholars.