Social networking sites and participatory reluctance: A case study of Gaydar, user resistance and interface rejection

This article conceptualises ‘participatory reluctance’ as a particular orientation to social media that problematises binarised notions of connection and disconnection in social networking sites. It qualitatively examines how the concept has functioned within gay men’s social networking service, Gaydar, among 18- to 28-year-old users of the site in Brisbane, Australia. Participatory reluctance is shown to be a central aspect of the culture of this space, fostered among the studied demographic by the convergence of the growing global push for marriage equality and increasing normalisation of the kinds of gay male identities commonly adopted among this group, with three key factors rooted primarily in Gaydar’s design: (1) young users’ perceptions of the site as a space for procuring casual sex; (2) their perceptions of the imagined user as embodying existing stereotypes of gay masculinity, and; (3) a lack of genuine alternatives in terms of niche digital spaces for gay men’s social networking.

Book Review "Selling sex: a hidden history of prostitution", R. Frances, UNSW Press, Sydney, 2007

In the opening pages of Selling Sex we are introduced to 'Joy', a statue of a young female sex worker which stood in East Sydney for eighteen months during 1995- 1997. Following complaints by local residents, the statue was removed from public view and returned to its owner. Evidently, Joy was considered a reminder of the community's 'bad old days', when it was better known for prostitution than restaurants. In a nation in which almost every sizable community has proudly erected monuments to military men, the removal of Joy reveals much about labour and gender relations in Australia. For Frances, the removal of Joy is symbolic, our historical treatment of sex workers having parallels with our treatment of the convicts. This work sets out to give these women (male prostitutes do not figure in this history) a voice and break with the stereotypes of 'abandoned whores' or 'sad victims'. It also sets out to place the sex industry in the broader national and international context in which it has historically operated...

Women's progression to leadership: A project-based organisational perspective

This is a qualitative study of female underrepresentation in leadership roles in project-based organisations in Australia, specifically the construction and property development industries. Using a gender lens, the underlying structural and cultural barriers to women's advancement to leadership in those organisations was studied and, in particular, what challenges they face in their career advancement and what attempts they make to resolve those challenges. The findings show that the unique characteristics of project-based organisations, with their perpetual masculine work practices, embedded masculine logic, gender-based bias and masculine organisational culture, all maintain the pattern of underrepresentation of women.

Is stereotype threat a useful construct for organizational psychology research and practice?

Stereotypes about different groups persist in organizations. Employees from such groups may experience stereotype threat, or the concern that they are being judged on the basis of demeaning stereotypes about groups to which they belong. The goal of this focal article is to discuss whether stereotype threat is a useful construct for organizational psychology research and practice. To this end, we focus on consequences other than acute performance deficits in laboratory settings. In particular, we examine studies that highlight the effects of stereotype threat on intrapersonal outcomes (e.g., job attitudes), interpersonal outcomes (e.g., negotiation), and on the relationship between employees and their organization. The research reviewed suggests that stereotype threat is a potentially important phenomenon in organizations, but it also highlights the paucity of research in an organizational context. We provide suggestions for future research directions as well as for the prevention and amelioration of stereotype threat in the workplace.

A lifespan perspective on creativity and innovation at work

In this review, we address the relationship of aging with creativity and innovation at work. Organizing our review around the triad of person, environment, and behavior, we first discuss relevant theories and empirical findings from the creativity/innovation and aging literatures, and then review meta-analytical and primary studies on the aging-creativity/innovation relationship. In contrast to prevalent age stereotypes, we show that the empirical literature does not support direct, zero-order relationships, but that more complex (moderated, indirect, and curvilinear) relationships are highly plausible. We illustrate this point with a discussion of research on aging and scientific creativity. Finally, we outline opportunities for future research, both methodological and conceptual.

Ma Ma Ma Mad

Ma Ma Ma Mad is an autobiographical work, written and performed by Singaporean-Australian theatre maker Merlynn Tong. This production, presented at the Brisbane Powerhouse in December 2015, was a multi-genre work incorporating aspects of Butoh, physical theatre, cabaret and contemporary monologue. More than an experiment in mixed performative forms, however, this particular production was also an exercise in inter-cultural collaboration as well as gender in (and of) performance. Heavily influenced by the creator's experiences growing up in urban Southeast Asia, the director's specialisation in contemporary Australian theatre and experience telling uniquely Australian stories worked to manipulate the form in an endeavour to succinctly speak to local audiences, without pandering to entrenched stereotypes or diluting the underlying Chinese-Singaporean themes. The success of this production was also somewhat of a personal challenge for the creatives, after being told by some of Brisbane's most influential theatre venues and festivals that they would rather not support the work because a) it was a one woman show, and b) it was a one woman show about an Asian woman; and therefore would not sell well. One very influential local producer even said that he already had a one-woman show about an Asian person programmed, so he couldn't possibly program another. Operating in such a biased and out-of-touch artistic environment was seen as an easy challenge for the artists involved, which resulted in a highly successful and critically acclaimed sell-out run of Ma Ma Ma Mad, followed by offers to tour the work nationally and internationally. As such, this production also stands as a practical example of the ingrained and patriarchal structures of the Australian arts scene, and how art can work to break down the very barriers that it has helped to construct through a lack of vision and diversity amongst its leaders.