Blogs bother me : social media, journalism and the curriculum

This paper grew out of the authors’ interest in updating the journalism curriculum at AUT (Aukland University of Technology) to better reflect the impact of online media, including social media, on the work of journalists. The challenge for journalism educators is to remain relevant in rapidly changing news and education environments. Our study suggests that while the vast majority of students have some engagement with social media, particularly social networking, and are aware that it can be a powerful tool for journalists, they are still not entirely comfortable with its techniques and they are not experimenting with social media as a production platform as much as we first thought. In short, it appears that they do not have command of professional fluency with social media tools. In response to these findings we have begun to introduce some social media tools and processes directly into the units we teach, in particular: digital story-telling techniques; the use of Twitter and location-based applications; encouraging the ethical use of Facebook etc. for sourcing stories and talent for interviews; podcasting, soundslides and video for the Web, Dreamweaver, InDesign and PHP-based content management systems. We do not see the work to date as the end-point of the changes that we know are necessary, but we are acutely aware of the limitations (structural, institutional and financial) that suggest we should continue with this small-steps approach for the foreseeable future.

Online role play stories, engagement and learning in higher education

This thesis studies online role plays as they are used in higher education. It finds that where students are able to develop engaging stories together, their story-building can promote a range of learning outcomes. It also identifies techniques to develop their critical awareness and skills, and makes design recommendations.

That's artertainment! Art galleries, events and city life

This key note address uses branding, as one way for galleries to tell their stories about 'artertainment' to enrich the wider story of the city to their various audiences.  Despite the centrality of telling stories in galleries as a means of positioning city cultural life, rarely has branding 'artetainment' been explored in the marketing literature.  What do case studies reveal about the marketing techniques used by art galleries as far as representing culture in the city? Using historical research methods, annual reports and interviews, the paper views art galleries from the inside out as a means of branding city cultural life through 'artertainment'.  The originality of this article is in its depiction of case studies of art galleries from the inside out as brands for city cultural life.

Weaving stories in digital media : when Spielberg makes home movies

In this paper we describe research aimed at enabling amateur video makers to improve both the technical quality and communicative capacity of their work. Motivated by the recognition that untold hours of home video are simply abandoned after capture, we have formulated the problem as one of defining the what and how of footage capture. We have implemented a framework that answers the first problem, the what, by means of the age-old communicative powers of Story; the second problem, the how, is addressed by means of well documented aesthetic principles that constitute the film profession, which impact both technical and cinematic considerations for a given project. We provide a brief overview of the process, beginning with the narrative template, embodying a chosen story, through the principal phases of generating a storyboard, directing, and editing, resulting in the finished product. We demonstrate the interplay of narrative, purpose for the production, and aesthetic agents, and their influence on the automatically generated storyboard with examples.

Humanising contact zones : the stories and faces of cross-cultural dialogue

We live in a radically ‘cosmopolitanised’ world, facing a plethora of mostly unwanted or unforeseen cross-cultural encounters as side effects of global trade and global threats (Beck, 2006). The potentially positive role of both cultural tourism and museums in this context has been widely recognised and theorised. But what does cross-cultural dialogue mean for the person experiencing it, and how is it negotiated within time and space? Drawing on a long-term narrative study of global visitors to the Museum of New Zealand Te Papa Tongarewa (Te Papa), I explore cross-cultural meanings empirically through a hermeneutic interpretation embedded in Beck’s ‘cosmopolitan critical theory’. The evidence presented in this research suggests that the individual is the point of departure from which cross-cultural dialogue is humanised by giving it ‘faces’ and stories. I argue that the impact of any travel experience is best understood via the meanings tourists make and negotiate in the long-term.

Challenging choices : welfare to work, lived lives and told stories

This examination of the introduction of welfare to work for single mothers exposes the contradictory political rationality of contemporary welfare reform. The thesis contributes to broader understandings of social policy, choice and decision making through exploration of the complex interplay between social structures, individuals’ lived lives and their told stories.

Narrating heritage's living stories : a comparative study of China's Suojia ecomuseum and Australia's Melbourne living museum of the West

The Ecomusée, as emerged in France in the 1970s, is a form of open-air museum that aims to maintain collections in their original environments with local communities serving as curators and managing their own heritage. This approach and philosophy implies and is dependent upon democratic principles in the conservation and interpretation processes. Since the 1990s, China has adopted the ecomusée concept for the conservation of selected ethnic villages to relieve tensions between poverty and heritage conservation. However, does this concept really work in China? To answer this question, the Suojia Ecomuseum, the first such initiative - has been selected as a case study and assessed using the mixed methodologies of on-site observation, documentation and semistructured interviews. This process has identified several issues and problems associated with this ecomuseum. It demonstrates that Suojia Ecomuseum has not achieved international benchmarks, neither philosophical nor practical expectations have been met. This conclusion challenges the internationally acknowledged notion that all ecomuseums develop and are operated using a bottom-up approach, that they were all community-based and democratic. These discrepancies lead to other questions about the differences between ecomuseums in China and elsewhere. In order to map and compare the differences between ecomuseums in China and in Western democracies, a detailed survey was undertaken using Melbourne’s Living Museum of the West, Australia. Applying the same methodologies as in China, a comparable examination was undertaken as to its background, objectives, management structures, programs and activities, and project outcomes as well as problems. The differences between Suojia Ecomuseum and Melbourne’s Living Museum are then explained and shown. They demonstrate quite diverse organisations with different objectives and management structures relating to different cultural and natural resources. However, the unexpected finding was that the futures of both ecomuseums relied on the financial support and passion of younger generations and hence were vulnerable.

Light the towel : narrative and the negotiated unconscious

This investigation is a practice-based inquiry. It takes place in the context of writing and editing a novel manuscript: The earth does not get fat (Prendergast 2012). The unpublished novel manuscript is a fractured narrative, a tale told in multiple first-person voices. One of the problems the writer encountered, as the novel developed, was a problem from the perspective of logic and continuity: the stories did not fit together in a linear way. As a result, the writer felt estranged from the writing and, at the same time, strangely familiar with it. Despite having produced the narrative, the writer felt that it was ‘other’. This paper summarises the writer's methodology; it explains the writer's attachment to this fractured style of telling. This fractured style is assessed within the context of the mind's ability to produce its effects without full consciousness. The analysis of authorial intention therefore focuses upon the influence of altered states of consciousness upon narrative material. In particular, the writer uses Andreas Mavromatis’ (1987) work on hypnagogia: described as ‘the unique state of consciousness between wakefulness and sleep’ to describe the experience of the operation of the unconscious in authorial intention.

Wonsa-ponna time. His stories, her stories and my stories : stories about teaching and learning

The article provides an example of a teaching story, embedded in a child’s learning story, makes connections to teacher identities and discusses the way that teachers can increase their professional self-awareness through critiquing their practice.