XD: Experience Design Magazine (Issue One)

XD: Experience Design Magazine is an interdisciplinary publication that focuses on the concept and practice of ‘experience design’, as a holistic concept separate from the well known concept of ‘user experience’. The magazine aims to present a mixture of interrelated perspectives from industry and academic researchers with practicing designers and managers. The informal, journalistic style of the publication aims to simultaneously provide a platform for researchers and other writers to promote their work in an applied way for global impact, and for industry designers to present practical perspectives to inspire a global research audience. Each issue will feature a series of projects, interviews, visuals, reviews and creative inspiration – all of which help everyone understand why experience design is important, who does it and where, how experience design is done in practice and how experience design research can enhance practice. Contents Issue 1 Miller, F. Developing Principles for Designing Optimal Experiences Lavallee, P. Design for Emotions Khan, H. The Entropii XD Framework Bowe, M. & Silvers, A. First Steps in Experience Design Leaper, N. Learning by Design Forrest, R. & Roberts, T. Interpretive Design: Think, Do, Feel Tavakkoli, P. Working Hard at Play Stow, C. Designing Engaging Learning Experiences Wood, M. Enhance Your Travel Experience Using Apps Miller, F. Humanizing It Wood, M. Designing the White Night Experience Newberry, P. & Farnham, K. Experience Design Book Excerpt

Peace education

Peace education can be most simply thought of as educating students to create a more peaceful world. However, just as peace needs to be thought of as more than merely the absence of war, so too peace education needs to be thought of as being more than educating students to understand the importance of avoiding war. Peace is the presence of justice, and thus a fuller definition of peace education is educating students to create a more just and harmonious world. Peace education may thought of as having an international dimension, that is, educating for peace and social justice between nation-states; as having a domestic dimension, that is, educating for peace and social justice within societies, groups and families; and as having a personal dimension, that is, educating for peace and justice in our individual personal relationships and educating for inner peace. Moreover, many writers now also see peace education as encompassing our inter-relationship with our natural environment. All these dimensions of peace education can be seen to be inter-related...

Catering for cultural and linguistic diversity: Using teacher created information texts

Teachers in the Pacific region have often signalled the need for more locally produced information texts in both the vernacular and English, to engage their readers with local content and to support literacy development across the curriculum. The Information Text Awareness Project (ITAP), initially informed by the work of Nea Stewart-Dore, has provided a means to address this need through supporting local teachers to write their own information texts. The article reports on the impact of an ITAP workshop carried out in Nadi, Fiji in 2012. Nine teacher volunteers from the project trialled the use of the texts in their classrooms with positive results in relation to student learning and belief in themselves as writers.

"Unruly women and semiotic spaces": Jay Verney's a mortality tale

Written at a time of significant changes for women and for women writers in Queensland, Australia, Jay Verney's A Mortality Tale (1994), privileges women's experiences of place and seeks to redeem the feminine from its entrapment in masculine stories/discourses of self and place. This chapter draws on Julia Kristeva's conceptualisation of the semiotic as a way of reading Verney's witty and reflective re-articulation of phallocentric orderings of spatiality and gender.

The Demidenko affair: Copyright law, plagiarism and ridicule

This article provides an account of one of Australia's great literary hoaxes - the Demidenko affair. In particular, it focuses upon the accusations that Helen Darville plagiarised a number of historical and literary texts in her novel, The Hand That Signed The Paper. This article considers how the dispute was interpreted in three different contexts - the literary community, the legal system, and the media. Part 1 examines how writers, publishers, and editors understood the controversy in terms of the aesthetics and ethics of plagiarism. Part 2 details how lawyers framed the discussion in light of economic rights and moral rights under copyright law. Part 3 deals with the media attention upon the personalities and politics of the scandal. The conclusion charts the competition between these various communities over who should resolve the dispute.

Location and labor: Critical crossroads in global film and television

I approached the editorial prompt as an opportunity to work through some of the concerns driving my current research on creative labor in emergent or ‘peripheral’ media hubs, centers of production activity outside established media capitals that are nevertheless increasingly integrated into a global production apparatus. It builds from my research on the role that film, television and digital media production have played in the economic and cultural strategies of Glasgow, Scotland, and extends the focus on media work to other locations, including Prague and Budapest. I am particularly drawn to the spatial dynamics at play in these locations and how local producers, writers, directors and crew negotiate a sense of place and creative identity against the flows and counter-flows of capital and culture. This means not only asking questions about the growing ensemble of people, places, firms and policies that make international productions possible, but also studying the more quotidian relationships between media workers and the locations (both near and far) where they now find work. I do not see these tasks as unrelated. On the one hand, such queries underscore how international production depends on a growing constellation of interchangeable parts and is facilitated by various actors whose agendas may or may not converge. On the other hand, these questions also betray an even more complicated dynamic, a process that is shifting the spatial orientation of both location and labor around uneven and contested scales. As local industries reimagine themselves as global players, media practitioners are caught up in a new geography of creative labor: not only are personnel finding it increasingly necessary to hop from place to place to follow the work, but also place itself is changing, as locations morph into nebulous amalgamations of tax rebates, subsidized facilities, production services and (when it still matters) natural beauty.

Musicalising theatre, theatricalising music: Writing and performing intermediality in composed theatre

This investigation combined musicality and theatricality in the creation of four shows: Bear with Me, The Empty City, Gentlemen Songsters and Warmwaters. Led by creative practice, the research identified four polyvalences that characterise Composed Theatre, a transformational artistic domain which offers distinct challenges for performance makers. These include tensions and resolutions between compositional and theatrical thinking; music and words; setlist and script; and finally persona and character. The research finds that these interplays not only lend Composed Theatre its distinct qualities, but offer a potential set of balances to strike for writers, performers, composers and musicians who mix music and theatre in intermedial performance.

Provocare

A new digital story exploring female agency and violence against women Launched this month, ‘Provocare’ is a multimedia verse thriller created by Meg Vann, writer; Mez Breeze, interaction designer; and Donna Hancox, research lead for Creative Industries at Queensland University of Technology (QUT). It is the first work to be commissioned and produced for ‘Queensland Writers on the International Stage’, an Arts Queensland funded programme created by QUT and The Writing Platform.

The reader-assembled narrative: Representing the random in print fiction

The growing interest in co-created reading experiences in both digital and print formats raises interesting questions for creative writers who work in the space of interactive fiction. This essay argues that writers have not abandoned experiments with co-creation in print narratives in favour of the attractions of the digital environment, as might be assumed by the discourse on digital development. Rather, interactive print narratives, in particular ‘reader-assembled narratives’ demonstrate a rich history of experimentation and continue to engage writers who wish to craft individual reading experiences for readers and to experiment with their own creative process as writers. The reader-assembled narrative has been used for many different reasons and for some writers, such as BS Johnson it is a method of problem solving, for others, like Robert Coover, it is a way to engage the reader in a more playful sense. Authors such as Marc Saporta, BS Johnson, and Robert Coover have engaged with this type of narrative play. This examination considers the narrative experimentation of these authors as a way of offering insights into creative practice for contemporary creative writers.

Slow napalm

From Kurt Vonnegut to Stephen King, many novelists use metanarrative techniques to insert fictional versions of themselves in the stories they tell. The function of deploying such techniques is often to draw attention to the liminal space between the fictional constructs inherent in the novel as a form, and the real world from which the constructs draw inspiration, and indeed, are read by an audience. For emerging writers working in short form narratives, however, the structural demands of the short story or flash fiction make the use of similar techniques problematic in the level of depth to which they can be deployed. Slow Napalm, the first in series of short stories, works to overcome the structural limitations of a succinct form by developing a fractured fictional version of the author over a number of pieces and published across a range of sites. The accumulative affect is a richer metanarrative textual arrangement that also allows for the individual short stories to function independently.

The Joke

From Kurt Vonnegut to Stephen King, many novelists use metanarrative techniques to insert fictional versions of themselves in the stories they tell. The function of deploying such techniques is often to draw attention to the liminal space between the fictional constructs inherent in the novel as a form, and the real world from which the constructs draw inspiration, and indeed, are read by an audience. For emerging writers working in short form narratives, however, the structural demands of the short story or flash fiction make the use of similar techniques problematic in the level of depth to which they can be deployed. 'The Joke', the second in series of short stories, works to overcome the structural limitations of a succinct form by developing a fractured fictional version of the author over a number of pieces and published across a range of sites. The accumulative affect is a richer metanarrative textual arrangement that also allows for the individual short stories to function independently.

Experimental people

From Kurt Vonnegut to Stephen King, many novelists use metanarrative techniques to insert fictional versions of themselves in the stories they tell. The function of deploying such techniques is often to draw attention to the liminal space between the fictional constructs inherent in the novel as a form, and the real world from which the constructs draw inspiration, and indeed, are read by an audience. For emerging writers working in short form narratives, however, the structural demands of the short story or flash fiction make the use of similar techniques problematic in the level of depth to which they can be deployed. Experimental People, the third in series of short stories, works to overcome the structural limitations of a succinct form by developing a fractured fictional version of the author over a number of pieces and published across a range of sites. The accumulative affect is a richer metanarrative textual arrangement that also allows for the individual short stories to function independently.

The micropolitics of management in universities: Challenges and opportunities

In recent decades, there has been a strong call by writers in education for alternative forms of leadership and management that are human centred and that value social cohesion, fairness, and democratic practices. Referred to by names such as transformative leadership (Shields, 2013) and ethical leadership (Starratt, 1996), those promoting these types of leadership argue for the use of “power as a moral force for the common good” (Duignan, 2007, p.12). In this chapter, our interest lies with managers in universities and how they use power in ethical and unethical ways. We consider some macro forces (e.g., globalisation, neo-liberal policies) that have impacted universities, making it difficult for managers to promote socially just and equitable practices. In particular, we examine the influence of managerialism—the application of private sector practices to the public sector—where the role of manager is not to question current practices, but to conform to performance targets, and to ensure compliance (O’Brien & Down, 2002). To come to an understanding of what might constitute ethical practices, we refer to the field of micropolitics as a way to help illuminate current practice and point to more positive ways of working.

Collaborative writing to enhance cross-cultural understanding within the academy

This paper describes the design and implementation of a research writing workshop for postgraduate students. The workshop was developed to respond to two key issues currently on the agenda in Australia’s universities: a push to embed Indigenous perspectives into the curriculum, and a desire to develop creative works as quality research outputs. The workshop was carefully designed to provide opportunities for participants to practise and improve their writing; develop transferable writing skills; develop a culturally safe environment where Indigenous and non-Indigenous Australians could work together; provide a place to practise collaborative writing and collaborative facilitating; and provide an opportunity to develop a publication-ready, creative writing piece that was co-developed by participants. In this paper, the authors provide an overview of the literature relevant to Indigenizing a workshop curriculum and reflect on the genre of Indigenous writing in Australia. They also discuss the literature relevant to their collaboration as both writers and facilitators. They conclude that the workshop processes contributed to building a relationship of collaboration and trust between the facilitators and participants, and that these processes directly contributed to the successful workshop outcomes.

Earth song as storywork: Reclaiming Indigenous knowledges

Is it possible for Indigenous ways of knowing, which draw on earth song and storywork, to find a place within the academy? Indigenous peoples recognise that the earth has a song, which we can listen to as story. In return, we can sing our story to the world and of the world. In this paper, the authors explore their own stories and songs. They explain the ways that listening to the earth’s song and working with stories can inform their work in the academy – as teachers who support younglings to hear their voices and develop their own songs, and as the writers and tellers of curriculum. The authors ask whether it is possible for Indigenous academics to combine their academic work with Indigenous ways of knowing. They argue that, not only is the combination possible, it can be used to create a harmonious voice that will help them to reclaim their power as Indigenous academic women.