Seeing is understanding : the effect of visualisation in understanding programming concepts

How and why visualisations support learning was the subject of this qualitative instrumental collective case study. Five computer programming languages (PHP, Visual Basic, Alice, GameMaker, and RoboLab) supporting differing degrees of visualisation were used as cases to explore the effectiveness of software visualisation to develop fundamental computer programming concepts (sequence, iteration, selection, and modularity). Cognitive theories of visual and auditory processing, cognitive load, and mental models provided a framework in which student cognitive development was tracked and measured by thirty-one 15-17 year old students drawn from a Queensland metropolitan secondary private girls’ school, as active participants in the research. Seventeen findings in three sections increase our understanding of the effects of visualisation on the learning process. The study extended the use of mental model theory to track the learning process, and demonstrated application of student research based metacognitive analysis on individual and peer cognitive development as a means to support research and as an approach to teaching. The findings also forward an explanation for failures in previous software visualisation studies, in particular the study has demonstrated that for the cases examined, where complex concepts are being developed, the mixing of auditory (or text) and visual elements can result in excessive cognitive load and impede learning. This finding provides a framework for selecting the most appropriate instructional programming language based on the cognitive complexity of the concepts under study.

Vom Prosumenten zum Produtzer

Auch wenn Alvin Tofflers „Prosumer“ oder „Prosument“ in diesem Band von zentralem Interesse ist, lohnt es sich, zunächst etwas weiter auszuholen und kurz zu umreißen, worauf dieses Modell fußt und welche Grundmodelle es modifizieren soll. Prosumtion soll nämlich die herkömmliche Wertschöpfungskette erweitern und verbessern, welche beim Übergang zur industriellen Massenproduktion etabliert wurde. Die Notwendigkeit, industrielle Produktionsmittel zu bauen, zu betreiben und zu warten und die Waren aus Massenproduktion an ihre Zielmärkte zu vertreiben, führte schnell zu einer immer größeren Trennung von Produzenten, Distributoren und Konsumenten als separaten Stationen in der Wertschöpfungskette der industriellen Produktion. Besonders zu Beginn des industriellen Zeitalters war eine solche Trennung ein angemessenes und wirksames Organisationsmodell, das Teilnahme an der Industriegesellschaft in drei klar definierte Aufgaben aufteilte.

Television’s greatest hits : compiling a television studies canon

You’ve got a thirteen week course to take students through the most important programs in television history. The programs should be the most popular, the most successful, the most important, giving students a sense of what audiences like, what is possible in the medium, and what counts more generally as a successful television program. The course is based around screenings of the programs. Which programs are you going to choose?

Is Doctor Who Australian?

As part of an ARC Discovery project to write a history of Australian television from the point of view of audiences, I looked for Australian television fan communities. It transpired that the most productive communities exist around imported programming like the BBC’s Doctor Who. This program is an Australian television institution – and I was thus interested in finding out whether it should be included in an audience-centred history of Australian television. Research in archives of fan materials showed that the program has been made distinctively Australian through censorship and scheduling practices. There are uniquely Australian social practices built around it. Also, its very Britishness has become part of its being – in a sense - Australian. Through all of this, there is a clear awareness that this Australian institution originates somewhere else – that for these fans Australia is always secondary, relying on other countries to produce its myths for it, no matter how much it might reshape them.

Social scientists don’t say titwank’

Drawing on the textual evidence of a number of referees’ reports, this article maps key differences between the humanities and social sciences approaches to the study of pornography, in order to facilitate better understanding and communication between the areas. 1. Social scientists avoid ‘vulgar’ language to describe sex. Humanities scholars need not do so. 2. Social scientists remain committed to the idea of ‘objectivity’ while humanities scholars reject the idea – although this may be a confusion in language, with the term in the social sciences used to mean something more like ‘falsifiability’. 3. Social science assumes that the primary effects of exposure to pornography must be negative. 4. More generally, social science resists paradigm changes, insisting that all new work agrees with research that has gone before. 5. Social science believes that casual sex and sadomasochism are negative; humanities research need not do so.

Differences between journalistic and academic accounts of child sexual abuse in Australia

The paper uses qualitative textual analysis to compare journalistic and academic accounts of child sexual abuse. There are seven main differences. Academic accounts suggest higher levels of neglect, emotional abuse, and physical abuse than sexual abuse in Australia, by contrast, journalistic accounts highlight sexual abuse. Academic accounts suggest that child sexual abuse in Australia is decreasing; journalistic accounts suggest that it is increasing. Academic accounts suggest that the majority of cases of child sexual abuse are perpetrated by family members; journalistic accounts focus on abuse by institutional figures (teachers, priests) or by strangers. Academic accounts have shown that innocent sexual play is a normal part of childhood development; journalistic accounts suggest that any sexual play is either a sign of abuse, or in itself constitutes sexual abuse. Academic accounts suggest that one of the best ways to prevent sexual abuse is for children to receive sex education; journalistic accounts suggest that children finding out about sex leads to sexual abuse. Academic accounts can gather data from the victims; journalistic accounts are excluded from doing so. Academic researchers talk to abusers in order to understand how child sexual abuse can be prevented; journalistic accounts exclude the voices of child sexual abusers.

Remediating vernacular creativity : photography and cultural citizenship in the Flickr photosharing network

Read through a focus on the remediation of personal photography in the Flickr photosharing website, in this essay I treat vernacular creativity as a field of cultural practice; one that that does not operate inside the institutions or cultural value systems of high culture or the commercial popular media, and yet draws on and is periodically appropriated by these other systems in dynamic and productive ways. Because of its porosity to commercial culture and art practice, this conceptual model of ‘vernacular creativity’ implies a historicised account of ‘ordinary’ or everyday creative practice that accounts for both continuity and change and avoids creating a nostalgic desire for the recuperation of an authentic folk culture. Moving beyond individual creative practice, the essay concludes by considering the unintended consequences of vernacular creativity practiced in online social networks: in particular, the idea of cultural citizenship.

High Culture as Subculture : Brisbane's Contemporary Chamber Music Scene

The aim of the dissertation is to discover the extent to which methodologies and conceptual frameworks used to understand popular culture may also be useful in the attempt to understand contemporary high culture. The dissertation addresses this question through the application of subculture theory to Brisbane’s contemporary chamber music scene, drawing on a detailed case study of the contemporary chamber ensemble Topology and its audiences. The dissertation begins by establishing the logic and necessity of applying cultural studies methodologies to contemporary high culture. This argument is supported by a discussion of the conceptual relationships between cultural studies, high culture, and popular culture, and the methodological consequences of these relationships. In Chapter 2, a brief overview of interdisciplinary approaches to music reveals the central importance of subculture theory, and a detailed survey of the history of cultural studies research into music subcultures follows. Five investigative themes are identified as being crucial to all forms of contemporary subculture theory: the symbolic; the spatial; the social; the temporal; the ideological and political. Chapters 3 and 4 present the findings of the case study as they relate to these five investigative themes of contemporary subculture theory. Chapter 5 synthesises the findings of the previous two chapters, and argues that while participation in contemporary chamber music is not as intense or pervasive as is the case with the most researched street-based youth subcultures, it is nevertheless possible to describe Brisbane’s contemporary chamber music scene as a subculture. The dissertation closes by reflecting on the ways in which the subcultural analysis of contemporary chamber music has yielded some insight into the lived practices of high culture in contemporary urban contexts.

Revisiting the conceptualization and measurement of service quality

Since the 1980s, industries and researchers have sought to better understand the quality of services due to the rise in their importance (Brogowicz, Delene and Lyth 1990). More recent developments with online services, coupled with growing recognition of service quality (SQ) as a key contributor to national economies and as an increasingly important competitive differentiator, amplify the need to revisit our understanding of SQ and its measurement. Although ‘SQ’ can be broadly defined as “a global overarching judgment or attitude relating to the overall excellence or superiority of a service” (Parasuraman, Berry and Zeithaml 1988), the term has many interpretations. There has been considerable progress on how to measure SQ perceptions, but little consensus has been achieved on what should be measured. There is agreement that SQ is multi-dimensional, but little agreement as to the nature or content of these dimensions (Brady and Cronin 2001). For example, within the banking sector, there exist multiple SQ models, each consisting of varying dimensions. The existence of multiple conceptions and the lack of a unifying theory bring the credibility of existing conceptions into question, and beg the question of whether it is possible at some higher level to define SQ broadly such that it spans all service types and industries. This research aims to explore the viability of a universal conception of SQ, primarily through a careful re-visitation of the services and SQ literature. The study analyses the strengths and weaknesses of the highly regarded and widely used global SQ model (SERVQUAL) which reflects a single-level approach to SQ measurement. The SERVQUAL model states that customers evaluate SQ (of each service encounter) based on five dimensions namely reliability, assurance, tangibles, empathy and responsibility. SERVQUAL, however, failed to address what needs to be reliable, assured, tangible, empathetic and responsible. This research also addresses a more recent global SQ model from Brady and Cronin (2001); the B&C (2001) model, that has potential to be the successor of SERVQUAL in that it encompasses other global SQ models and addresses the ‘what’ questions that SERVQUAL didn’t. The B&C (2001) model conceives SQ as being multidimensional and multi-level; this hierarchical approach to SQ measurement better reflecting human perceptions. In-line with the initial intention of SERVQUAL, which was developed to be generalizable across industries and service types, this research aims to develop a conceptual understanding of SQ, via literature and reflection, that encompasses the content/nature of factors related to SQ; and addresses the benefits and weaknesses of various SQ measurement approaches (i.e. disconfirmation versus perceptions-only). Such understanding of SQ seeks to transcend industries and service types with the intention of extending our knowledge of SQ and assisting practitioners in understanding and evaluating SQ. The candidate’s research has been conducted within, and seeks to contribute to, the ‘IS-Impact’ research track of the IT Professional Services (ITPS) Research Program at QUT. The vision of the track is “to develop the most widely employed model for benchmarking Information Systems in organizations for the joint benefit of research and practice.” The ‘IS-Impact’ research track has developed an Information Systems (IS) success measurement model, the IS-Impact Model (Gable, Sedera and Chan 2008), which seeks to fulfill the track’s vision. Results of this study will help future researchers in the ‘IS-Impact’ research track address questions such as: • Is SQ an antecedent or consequence of the IS-Impact model or both? • Has SQ already been addressed by existing measures of the IS-Impact model? • Is SQ a separate, new dimension of the IS-Impact model? • Is SQ an alternative conception of the IS? Results from the candidate’s research suggest that SQ dimensions can be classified at a higher level which is encompassed by the B&C (2001) model’s 3 primary dimensions (interaction, physical environment and outcome). The candidate also notes that it might be viable to re-word the ‘physical environment quality’ primary dimension to ‘environment quality’ so as to better encompass both physical and virtual scenarios (E.g: web sites). The candidate does not rule out the global feasibility of the B&C (2001) model’s nine sub-dimensions, however, acknowledges that more work has to be done to better define the sub-dimensions. The candidate observes that the ‘expertise’, ‘design’ and ‘valence’ sub-dimensions are supportive representations of the ‘interaction’, physical environment’ and ‘outcome’ primary dimensions respectively. The latter statement suggests that customers evaluate each primary dimension (or each higher level of SQ classification) namely ‘interaction’, physical environment’ and ‘outcome’ based on the ‘expertise’, ‘design’ and ‘valence’ sub-dimensions respectively. The ability to classify SQ dimensions at a higher level coupled with support for the measures that make up this higher level, leads the candidate to propose the B&C (2001) model as a unifying theory that acts as a starting point to measuring SQ and the SQ of IS. The candidate also notes, in parallel with the continuing validation and generalization of the IS-Impact model, that there is value in alternatively conceptualizing the IS as a ‘service’ and ultimately triangulating measures of IS SQ with the IS-Impact model. These further efforts are beyond the scope of the candidate’s study. Results from the candidate’s research also suggest that both the disconfirmation and perceptions-only approaches have their merits and the choice of approach would depend on the objective(s) of the study. Should the objective(s) be an overall evaluation of SQ, the perceptions-only approached is more appropriate as this approach is more straightforward and reduces administrative overheads in the process. However, should the objective(s) be to identify SQ gaps (shortfalls), the (measured) disconfirmation approach is more appropriate as this approach has the ability to identify areas that need improvement.

Democracy, participation and convergent media : case studies in contemporary online news journalism in Australia

The shift from 20th century mass communications media towards convergent media and Web 2.0 has raised the possibility of a renaissance of the public sphere, based around citizen journalism and participatory media culture. This paper will evaluate such claims both conceptually and empirically. At a conceptual level, it is noted that the question of whether media democratization is occurring depends in part upon how democracy is understood, with some critical differences in understandings of democracy, the public sphere and media citizenship. The empirical work in this paper draws upon various case studies of new developments in Australian media, including online- only newspapers, developments in public service media, and the rise of commercially based online alternative media. It is argued that participatory media culture is being expanded if understood in terms of media pluralism, but that implications for the public sphere depend in part upon how media democratization is defined.

Deepening our understanding about school leadership : learning from educators and non-educators

Increasingly, leadership is argued as a way forward to improve performance and practice in a variety of contexts. School leadership is no different. There is little doubt that in the current globalised world characterized by change and complexity, effective school leadership is a key requirement. The contribution of this chapter is framed around a synthesis of current research, writing and theoretical insights regarding leadership. It draws upon three bodies of writing, Firstly, it begins by distilling several key themes and trends regarding educational leadership from the current research and writing. Secondly, it reports on the findings of a current research project carried out by the authors that explored the leadership stories of ten outstanding leaders from non-educational settings in Australia. Finally, it concludes by referring to some of the paradoxes and tensions inherent in the work of school leaders. It is argued that understanding and endeavouring to reconcile these dilemmas is a pre-requisite for school leaders as they continue to operate in an environment fraught with change and complexity.

Produtzung : Von medialer zu politischer Partizipation

Wahrscheinlich war es ja nur ein Versuch einer alteingesessenen Institution der Massenmedien, sich bei „den Leuten, die man früher ‚das Publikum‘ nannte“ („the people formerly known as the audience“; Rosen, 2006, n.pag.) wieder einzuschmeicheln. Dennoch, die Anerkennung des kollektiven „You“ in YouTube und anderen kollaborativen Onlineplattformen als Person des Jahres durch das amerikanische Magazin Time (Grossman, 2007) liefert ein weiteres Indiz für die wachsende Bedeutung solcher Projekte zur gemeinschaftlichen Produktion und Distribution von Inhalten. Kreative Websites wie Flickr und YouTube, kollaborative Wissenssammlungen von Wikipedia über Digg bis zu Google Earth, nutzergesteuerte Diskussionen in Slashdot, OhmyNews, und der allgemeinen Blogosphäre, aber auch die Softwareentwicklungsgemeinschaften im Open‐Source‐Bereich – sie alle dienen als Beispiele für diese nun etablierten Trend zur Entwicklung neuer Produktions‐, Geschäfts‐, Gemeinschafts‐ und Selbstlenkungsmodelle, die wesentlich durch zunehmend komplexere Web‐2.0‐Tools unterstützt werden. Hinter diesen Beispielen wird eine allgemeiner Tendenz sichtbar, die aus ökonomischer Sicht bereits von Yochai Benkler als „commons‐based peer production“ (2006), und von Eric von Hippel als „democratizing innovation" (2005) beschrieben worden ist. Henry Jenkins spricht zudem von einer „convergence culture“ (2006), in der solche nutzergesteuerten Projekte operieren, und es können auch Verbindungen zwischen diesen stärker aktive gewordenen Nutzern und Alvin Tofflers professionellen Konsumenten, den „Prosumers“ ziehen (1971).

Dancing doctorates down-under? Defining and assessing ‘doctorateness’ when embodiment enters the thesis

Assessment frames the focus of this paper, which emerges from our collaborative research, Dancing Between Diversity and Consistency: Refining Assessment in Postgraduate Degrees in Dance, funded by the Australian Learning and Teaching Council (ALTC). We examine the attributes of danced ‘doctorateness’, giving special attention to those factors in the Australian environment, which may endow resilience to concepts of excellence, independent thinking and originality when kinaesthetic knowledge becomes pivotal to research. Have the small pool of examiners and relationships between academia and the professional artistic environment shaped these doctorates in a particular way? Can these perspectives illuminate and forge parameters by which to legitimate danced insight? These and related issues are interrogated giving voice to supervisors, research deans, candidates and industry professionals across Australia who participated in this research project.

What is in the name of a fashion designer

Currently, fashion quite comfortably covers the space between unique pieces and serialisation, mobilising as necessary the discourses of art or commerce; however, the question of what a fashion designer is remains open. Historically, the image of the fashion designer has been constructed within a heroic and Romantic narrative centred on the concept of designers as artists and hence authors. The recent development of the fashion industry as an image-driven industry, on the one hand, and the placement of fashion in museum contexts on the other, requires a re-thinking of the function of the designer. This paper does not set out to identify a theory that establishes a truthful answer to the position and significance of the fashion designer within the fashion system, but it proposes that an analytical and critical understanding of the fashion designer requires a contextualisation of the philosophies and institutions (including fashion magazines and fashion criticism) that support it.