Diversions

The article offers information about crosswords and the effective means of playing the game. To start with the game, the author suggests that two or more players use pencil and paper and 5 x 5 square grid. The contest among players commences by calling out any letter of the alphabet and then writing it in any empty square in the grid. Player gets scores if he could be able to form words, just like in an ordinary crossword.

Shut the decimal box - a mathematics dice game

The table-top game of Shut the Box is popular in Europe and England, but not well known in Australia. Sets can be purchased, but the game can be played with home-made equipment. A variant of the game which illustrates the standard rules, with a decimal twist to the scoring, is described. A list of the equipment required is also provided.

Writing reports for court : a practical guide for psychologists working in forensic contexts

Examines relevant mental health state legislation relating to criminal, civil and family courts and then sets out a logical structure for writing reports for such matters.

Game-centred models and teaching in culturally diverse settings

This presentation draws on the observations and experiences that we, as teacher educators, have had using Teaching Games for Understanding (TGfU) as a pedagogical tool with generalist pre-service teachers in two different sites: Malaysia and Australia. TGfU is a game-centred pedagogy in which students learn the „Why‟ of game playing before the „How‟ of the skills associated with the game. This concept is based on a student-centred approach to learning. The benefit of this pedagogy to generalist teachers is the notion that they are not required to be a master of many sports. This narrative relates the observations and experiences of teacher educators of Malaysian and Australian generalist pre-service teachers confronted with teaching and learning TGfU for the first time in their culturally specific contexts. The two key issues arising from teaching the TGfU model were: the disparity in the cohorts‟ experiences arising from institutionalised conceptions by the pre-service teachers of what and how learning occurs in physical education; and the pre-service teachers‟ difficulty with implementing the TGfU model in a practical situation. Crossing the cultural divide for the Malaysian and Australian pre-service teachers required them to explore more fully the range of approaches to teaching and to recognise a more student-centred approach as a valid and authentic tool. As both teachers and observers of this process, our intention was to examine the two cohorts‟ learning and subsequent teaching with the aim of developing better understandings of the challenges when teaching TGfU in tertiary settings.

Ferals, nomads, drifters, gypsies, vagrants, blow-ins, thieves, troublemakers, tricksters and terrorists : creative writing, from creative industries to creative ecologies

In this paper I consider some issues that I, as a creative writer and academic, find with the concept and current understandings of the term creative industries. The subject of creative industries is not one that has been adequately teased out in relation to creative writing, even though the creative industries model has been a strong force in cultural policymaking internationally since the late 1990s. It influences policies that in turn may affect writers, especially those applying for state or national funds to resource their writing, and also writers working within the academy and attempting to gain recognition and funding for creative work there. The issues relating to creative industries are also particularly pertinent at this time in Australian universities, as the new system of research quality measurement is negotiated, and creative arts scholars, including those in creative writing, struggle to define their work in terms of those negotiations. I will argue that the recent work of Paul Carter looks towards ways in which creative industries may be more inclusive and useful for the creative arts, including creative writing, and suggest that a reclaimed term, creative ecologies, indicates a good way of taking creative industries into the future.