Do you have a big stick?

Can I write across media? Yes and no. No, I can’t begin writing a sentence with a pen on paper and then use that pen to write on a screen. I have to change my tools. But, I can use those different tools to write a story that begins in paper and ends on the screen. At it most fundamental level, this is transmedia. Transmedia is not synonymous with digital media as it often involves both digital and nondigital media. A transmedia writer is also not synonymous with writers who write both screenplays and novels. Instead, transmedia often involves the continuation of a story across media.

Creating quality cross-media experiences

There are many ways to create a cross-media project, but there are approaches which facilitate a quality implementation. The crucial starting point with any creative project is a great story or game. However, because the cross-media artform is still emerging and many practitioners are new to the area, just how to produce a quality cross-media project is not well known. Based on my work on both small- and large-scale projects, I outline ten approaches that will aid in facilitating a quality cross-media project.

Forward slash story

FORWARD/STORY (Forward Slash Story) is an invite-only 3 day residential lab taking place May 16, 17 & 18th, 2014. A lab where storytellers working in tech don’t give presentations. There are no projects or mentors only peers. Participants share and explore the creative challenges of telling stories that break new ground. Five core challenges that storytellers face will be explored in a collaborative environment. On-site expenses are covered for those who attend. FORWARD/STORY attempts to tackle some of the most difficult problems surrounding storytelling in the 21st Century. A gathering of thinkers & doers working across a diversity of creative fields come together for 3 days focused on sharing, experimentation and innovation.

Kindred spirits

A real life conversation with different friends often reveals more information about the same story: so too is the case in Willowbrook.

Evaluation of the Australian Performing Arts Market 2014-2018 - Year One Report

The Australia Council awarded the tender of APAMs 2014, 2016 and 2018 to the Brisbane Powerhouse. The Australia Council, in awarding the contract for the presentation of APAM by Brisbane Powerhouse, stipulated that a formal evaluation of the three iterations of APAM and activity in the intervening years be undertaken. Queensland University of Technology, Creative Industries Faculty, under the leadership of Associate Professor Sandra Gattenhof, were contracted to undertake the formal evaluation. This is the first year report on the Brisbane iteration of the Market. This report has drawn from data collected across a range of sources, drawing on the scoping study undertaken by Justin Macdonnell addressing the Market from 1994–2010; the tender document submitted by the Brisbane Powerhouse; in-person interviews with APAM staff, APAM Stakeholders, Vox Pops from delegates in response to individual sessions, producer company/artist case studies and, most significantly, responses from a detailed online survey sent to all delegates. The main body of the report is organised around three key research aims, as outlined in the Brisbane Powerhouse Tender document (2011). These have been articulated as: Evaluation of international market development outcomes through showcasing work to targeted international presenters and agents Evaluation of national market development outcomes through showcasing work to national presenters and producers Evaluation of the exchange ideas, dialogue, skill 
development, partnerships, collaborations and co- productions and networks with local and international peers. The culmination of the data analysis has been articulated through five key recommendations, which may assist the APAM delivery team for the next version, in 2016. In summary, the recommendations are described as: 1. Indigenous focus to remain central to the conception and delivery of APAM 2. Re-framing APAM’s function and its delivery 3. Logistics and communications in a multi-venue approach, including communications and housekeeping, volunteers, catering, re-calibrating the employment of Brisbane Powerhouse protocols and processes for APAM 4. Presentation and promotion for presenters 5. Strategic targeting of Asian producers.

Mustering a wild bunch

A travel article about the South Dakota Governor's annual Buffalo Roundup Publication title: "Saddle up for South Dakota Governor Buffalo Roundup" “The crowd always cheers for the buffalo,” says Linda Daugaard, wife of the South Dakota governor. Up to now she and I have been talking about life in the state and her role, as its First Lady, in promoting youth literacy and other programs for families and children...

Chinese resort of epic proportions

A travel article about Haikou, southern China. Publication title: "Mission Hills Resort in Hainan, China" A giant spa, 10 golf courses and amazing hazards in the swimming pool – what more do you need at a resort, asks Kari Gislason If I kept to this line, I could make it through the passage between the iceberg and the castle, however narrow...

Follow the lighthouse route in Nova Scotia, Canada

Within half an hour of leaving Halifax Airport I managed to get myself lost. I noticed an exit sign for St Margaret’s Bay and, despite written instructions to the contrary, it sounded like the right way to go. But I was on the Lighthouse Route and on my way back to Halifax...

Explore Darwin and Litchfield National Park in the Northern Territory

The city as it now stands marks the fifth attempt at a settlement in the north. Fearful of Dutch territorial claims, the British were sure they had to establish a permanent base, and acted quickly to get one started. They had more than a little trouble getting one to work...

Hyperlinking history and illegitimate imagination : the historiographic metafictional E-novel

‘Historiographic Metafiction’ (HM) is a literary term first coined by creative writing academic Linda Hutcheon in 1988, and which refers to the postmodern practice of a fiction author inserting imagined--or illegitimate--characters into narratives that are intended to be received as authentic and historically accurate, that is, ostensibly legitimate. Such adventurous and bold authorial strategies frequently result in “novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages” (Hutcheon, A Poetics 5). They can be so entertaining and engaging that the overtly intertextual, explicitly inventive work of biographical HM can even change the “hegemonic discourse of history” (Nunning 353) for, as Philippa Gregory, the author of HM novel The Other Boleyn Girl (2001), has said regarding this genre of creative writing: “Fiction is about imagined feelings and thoughts. History depends on the outer life. The novel is always about the inner life. Fiction can sometimes do more than history. It can fill the gaps” (University of Sussex). In a way, this article will be filling one of the gaps regarding HM...

Visit Perth, Fremantle and Rottnest Island in Western Australia

A travel article about Perth, Freemantle, and Rottnest Island. In all probability, the water at Cottesloe Beach is no bluer than at all the other beaches of Australia. But early afternoon on the day I arrive, that blue seems total, or perhaps even on the edge of some other colour spectrum still being invented. The blue of the west...

North West Music Festival in Port Hedland, Western Australia

A travel article about a music festival in Port Hedland, Western Australia. At first, the crowd gathers in small groups, as though we’ve arrived at a picnic day. Girls in long skirts wearing bands in their hair call out across the wide lawn of the Turf Club, and run over to meet friends. They sit cross-legged in the sun, half swaying to the music, chatting. On stage, Thelma Plum, a girl with a voice from the 1960s, circles her lyrics with her hands. You wonder if she’s casting a spell, an appeal to the decade of revolutions...

Longing band play at beautiful hope

This article enquires into the contextual dimensions of Indonesian consumerism by presenting the rise to national fame of provincial boy band, Kangen (Longing) Band. The case of Kangen Band suggests that Indonesian consumerism entails new ways of heralding the masses that rely on and play with old generic terms, kampungan (hick-ish) and ‘Melayu’ (Malay). It also reveals some of the specificities of the Indonesian consumerist environment, in which ring back tones, pirate recordings and corporatized fandom are important resources in the formation of consumer subjectivities.

Introduction : studying Indonesian media worlds at the intersections of area and cultural studies

When preparing this special issue,1 our discussions with the editorial board of the International Journal of Cultural Studies (IJCS) included a moment of simultaneous surprise and reflection, which we would like to use as a starting point for our introduction to the articles appearing here. This occurred during communications about the number and length of the articles required for a special issue. The board’s representative stipulated that a specific number of articles were to be written by Indonesian scholars. The request surprised us. We had neither discussed nor anticipated ethnic or national quotas for authorial participation. But although the request caught us off guard it also stimulated us to think about the two disciplinary terrains traversed in the articles to follow.

God Bless come back : new experiments with nostalgia in Indonesian rock

This article discusses the production of an Indonesian rock past through a case study of the 1970s rock band God Bless, which has been gradually ‘coming back’ since the middle of the 2000s. In doing so, the article documents this comeback, analyses shifts in the band’s position vis-à-vis nationality, and places these shifts in the context of the industrial and aesthetic transformation of Indonesian popular music over the past decade or so. Furthermore, it considers how the range of nostalgic productions associated with the comeback might be understood not only in light of the scholarship on nostalgia, but also the political environment it inhabits.