Nocturne

Chris Denaro is a Brisbane-based animator whose work incorporates a blend of physical stop motion and digital motion graphics. This exhibition, Nocturne, uses animation to embody the genius loci of the former Peel Island Lazaret on the island of Teerk Roo Ra in Moreton Bay, Queensland. This project developed a form of animation that harnesses animation’s plasmatic quality to express an in-between state of being, and examines the capacity of animation to push and pull at the boundary lines between what can be apprehended as the ‘real’ and the ‘imaginary’. The Nocturne constructions cycle forever, with no beginning and no end,only a slightly familiar hypnotic rhythm to describe a continual process of adaptation and renewal. These artworks consider the animation loop as a mental state, rather than a sequence of events which illustrate a narrative. The loop can also be an anxious, compulsive place, divorced from the linear nature of reality, hypnotised in a trance like repetition. Nocturne investigates how conceptions of place are overlaid by aspects of history, memory and the imagination.

Deeply superficial digital media engagement? The case of Twitter and Movember 2013

Using activity generated with Twitter during Movember 2013, we interrogate the natures of superficiality running through what can be defined as a highly successful public health engagement intervention. Indeed, Movember arguably has not just been successful in one year in terms of raising funds for the causes it is concerned with, it has done this year-on-year since 2004. We tracked the keyword 'movember' (without the hash symbol) using an in-house installation of YourTwapperkeeper hosted on a NECTAR server. Data collection ran from 01 October - 04 December 2013, covering the ramp-up and wind-down periods of the event. We collected a total of 1,313,426 tweets from 759,345 unique users.

Global Media and National Policies : The Return of the State

Conventional wisdom views globalization as a process that heralds the diminishing role or even 'death' of the state and the rise of transnational media and transnational consumption, that defy state control or regulation. This book questions these assumptions and shows that the nation-state never left and is still a force to be reckoned with.

National media regulations in an age of convergent media: Beyond globalisation, neo-liberalism and internet freedom theories

There is a widely held view that the nation-state has become less central to media and communications policy over the last two decades. As Jan van Cuilenberg and Denis McQuail (2003, p. 181) observed in their overview of trends in communications policy-making, 'the old normative media policies have been challenged and policy-makers are searching for a new communications policy paradigm'. There are characteristically five factors put forward as to why the nation-state has become less central to media in the twenty-first century

Media accounts of school performance: Reinforcing dominant practices of accountability

Media reportage often act as interpretations of accountability policies thereby making the news media a part of the policy enactment process. Within such a process, their role is that of policy reinforcement rather than policy construction or contestation. This paper draws on the experiences of school leaders in regional Queensland, Australia, and their perceptions of the media frames that are used to report on accountability using school performance. The notion of accountability is theorised in terms of media understandings of ‘holding power to account’, and forms the theoretical framework for this study. The methodological considerations both contextualise aspects of the schools involved in the study, and outline how ‘framing theory’ was used to analyse the data. The paper draws on a number of participant experiences and newspaper accounts of schools to identify the frames that are used by the press when reporting on school performance. Three frames referring to school performance are discussed in this paper: those that rank performance such as league tables; frames that decontextualise performance isolating it from school circumstances and levels of funding; and frames that residualise government schools.

New lads or ladettes? A critique of current theoretical explanations for young women’s violence proliferated over social media

Current theoretical explanations for young women’s violence examine physical violence as a masculine behaviour. This means that young women are constructed as rejecting elements of their femininity in favour of masculine behaviours in order to perform violence in an acceptable way, which results in them being constructed as violent femmes, new lads or ladettes. Alternatively, theoretical explanations construct young women as adhering to a feminine gender performance when avoiding physical violence, or engaging what are traditionally considered to be feminine characteristics of aggression. This paper critiques existing theoretical approaches applied to young women’s violence, by drawing on empirical research that examined young women’s physical altercations proliferated through social media. Preliminary research findings illustrate how continuing to construct young women’s violence through a gendered paradigm offers inadequate explanations for what young women’s violence actually entails. It concludes by suggesting how young women’s violence may be more adequately explained using a theoretical framework of embodying gender that moves away from gender dichotomies and constructs violence as a series of bodily practices.

'Create a Better Online You': Designing online learning resources to develop undergraduate social media skills

This article charts the development of the 'Create a Better Online You' (CBOY) project. The focus of CBOY was the social media skills of undergraduate students at QUT. While many students will have encountered 'cybersafety' training in primary or secondary school, however, a comprehensive environmental scan revealed little in the way of social media resources targeted at undergraduate students. In particular, there was little to no focus on the ways in which social media could be used strategically to develop a positive online reputation and enhance chances of employability post tertiary education. The resources created as part of CBOY were the result of a comprehensive literature review, environmental scan, interviews with key internal and external stakeholders, and in discussion with undergraduate students at Queensland University of Technology (QUT). Following the comprehensive environmental scan, it appears that CBOY represents one of the first free, openly accessible, interactive resources targeting the social media skills of undergraduates.

Formalising the vernacular: Social media skills in higher education

This paper discusses the issue of social media skills using a literacy framework. Firstly, it argues that social media skills are a form of vernacular, or ‘everyday’, literacy and articulates the issues associated with trying to formalise these skills within the curriculum. Secondly, it calls for greater explicit attention to social media skills within higher education, by arguing that social media literacies are a part of new literacies. It evaluates QUT’s “Create a Better Online You” suite of social media resources in light of this framework, and discusses the role of libraries in addressing social media skills.

Participatory media and 'co-creative' storytelling

Distinguishing critical participatory media from other participatory media forms (for example user-generated content and social media) may be increasingly difficult to do, but nonetheless remains an important task if media studies is to remain relevant to the continuing development of inclusive social political and media cultures. This was one of a number of the premises for a national Australian Research Council-funded study that set out to improve the visibility of critical participatory media, and understand its use for facilitating media participation on a population wide basis (Spurgeon et. al. 2015). The term ‘co-creative’ media was adopted to make this distinction and to describe an informal system of critical participatory media practice that is situated between major public, Indigenous and community arts, culture and media sectors. Although the co-creative media system is found to be a site of innovation and engine for social change its value is still not fully understood. For this reason, this system continues to provide media and cultural studies scholars with valuable sites for researching the sociocultural transformations afforded by new media and communication technologies, as well as their limitations.

Chapter 1: Precarious creativity: Global media, local labor

In most parts of the world, screen media workers—actors, directors, gaffers, and makeup artists—consider Hollywood to be glamorous and aspirational. If given the opportunity to work on a major studio lot, many would make the move, believing the standards of professionalism are high and the history of accomplishment is renowned. Moreover, as a global leader, Hollywood offers the chance to rub shoulders with talented counterparts and network with an elite labor force that earns top-tier pay and benefits. Yet despite this reputation, veterans say the view from inside isn’t so rosy, that working conditions have been deteriorating since the 1990s if not earlier. This grim outlook is supported by industry statistics that show the number of good jobs has been shrinking as studios outsource production to Atlanta, London, and Budapest, among others...

Stillness: A meditation in new media art

While technology is often seen as a noisy, impatient and pervasive aspect of our lives, this practice-led research project investigated the counter proposition–that we might be able to evoke sensations of stillness through technology-mediated artworks. Investigations into stillness were informed by Buddhism, phenomenology, and experiences of meditation and the practice of archery. By combining visual art, performance, installation, video and interaction design, a series of experimental, interdisciplinary artworks were produced and exhibited to evoke a sense of stillness and to impel audiences to consider the form and nature of stillness in relation to time, space and motion.

Private power and new media: The case of the corporate suppression of WikiLeaks and its implications for the exercise of fundamental rights on the internet

Globalization, along with its digital and information communication technology counterparts, including the Internet and cyberspace, may signify a whole new era for human rights, characterized by new tensions, challenges, and risks for human rights, as well as new opportunities. Human Rights and Risks in the Digital Era: Globalization and the Effects of Information Technologies explores the emergence and evolution of ‘digital’ rights that challenge and transform more traditional legal, political, and historical understandings of human rights. Academic and legal scholars will explore individual, national, and international democratic dilemmas--sparked by economic and environmental crises, media culture, data collection, privatization, surveillance, and security--that alter the way individuals and societies think about, regulate, and protect rights when faced with new challenges and threats. The book not only uncovers emerging changes in discussions of human rights, it proposes legal remedies and public policies to mitigate the challenges posed by new technologies and globalization.

Mobile Dating and Hookup App Culture

This chapter surveys the landscape of mobile dating and hookup apps—understood as media technologies, as businesses, and as sites of social practice. It situates the discussion within the broader contexts of technologically mediated dating and digital sexual cultures. By outlining a number of methodological approaches and data sources that can be used in the study of dating and hookup apps, it equips the reader with tools and approaches for investigating hookup app culture in ways that go beyond “media panics” – the familiar combination of moral panics and media effects which is so prevalent in discussions of sexuality in digital media.

On hashtaggery and portmanteaugraphy: Memetic wordplay as social media practice

I wouldn’t necessarily consider myself a meme scholar outright; rather, the memes within my research have emerged from studying everyday practices and cultures of social media, within political and topical discussions, as well as popular culture and fandom contexts. This piece is an extension of ideas that have come out of my recent work around the “irreverent internet” (in the first and last of the blatant plugs, see this [sorry, paywall] and this). I’ve used this term as a descriptor for how play and silliness are popular strategies for the coverage and presentation of the topical and the mundane online. Here, I am especially focusing on playful and irreverent engagement with issues, events, and breaking news, where irony, sarcasm, parody, satire, snark, and more, are important framing devices on social media. While my work (and this post) generally falls on the side of “nice” irreverence, these approaches are also applicable for meaner, vindictive, hateful, offensive, and vitriolic comments. These include meme communities dealing in racist attitudes and content or various hashtags and related comments which promote racist, far-right views and/or denote contexts rife with abuse and harassment — and not just the Gamergate example. This is not positioning trolling as a single practice or intent, either— see Whitney Phillips’ work...

Improvising a future in the performing arts: The benefits of reframing performing arts entrepreneurship education in familiar terms

Improvisation is a central concept in any drama, theatre or performance studies degree. It is a critical skill, which helps performers learn to ‘make it up as they go along’, apply existing skills to new situations and environments, and, of course, adapt find the most effective or creative pathway towards a their aims. As such, the fact that improvisation is rarely listed as a core career competency — even for performing arts graduates, who can struggle to engage with entrepreneurial skill sets they will need to learn to manage their unpredictable portfolio careers when they are couched in business terms — is somewhat strange. This paper examines the benefits of reframing the administrative, management and entrepreneurial skills arts graduates need to navigate a complex, uncertain, constantly changing industrial landscape in terms of improvisation, play, and playful self - performance. It suggests that adding improvisation to our career training arsenal may be worthwhile, not just because it may assist graduates in navigating their way through a portfolio career, but because it may offer a more familiar, user- friendly terminology to assist graduates in understanding the need to develop administrative, management and entrepreneurial as well as artistic skills, and, in a sense, understand the similarities between the two sets of skills.