The impression that I get : educational inclusion explored through the voices of young people with vision impairment

Despite the notion of educational inclusion of students with disabilities increasing in popularity, the day-to-day reality of its effectiveness remains mostly unknown. This paper reports key findings of a small-scale qualitative study that was conducted with a group of young people with vision impairment who attended an inclusive secondary school. The aim of the research was to ascertain their voiced experiences of their inclusion. Relevant to the study was the researcher’s insider status, which allowed for his unique insight and shared experiences with participants to influence data collection and analysis. The students reported a constant trade off that occurred between their aspirations for access and autonomy and practices of other stakeholders in the school that both facilitated and inhibited their inclusion. In sum, the students’ inclusion was ineffective because of habitual inhibiting actions of others. Recommendations are made based on Slee’s (2001) call for altered teaching and learning realities to promote educational inclusion, and a model of social justice that could bring about increased student agency (Higgins, Macarthur & Kelly, 2009).

The strange and the familiar : seeing beyond when we know

My novel is a collection of interrelated stories. Each story is framed by the idiosyncrasies and prejudices of a different first-person voice. There are gaps in narrative time and there is disparity between the narrators’ voices. The result is a ‘discontinuous narrative’; this term describes the early work of Frank Moorhouse: ‘an innovative narrative method using interconnected stories’ (Griffith University 2011).
As I draft and re-draft the stories, I am forced to assess the interaction between the voices. I am aware of the disjuncture, and I ask myself: Why not tell the story through the eyes of one narrator? Why not choose a third-person perspective, an omniscient narrator who might collect all of the voices together, in a coherent way?
As I second-guess my approach, I realise that the splintering of voices feels like the right way to tell the story and, in this way, I approach the question of methodology. I am aware that a sense of disjuncture arises out of the medley of voices, but I also realise that the disjuncture is carefully constructed; it is not accidental. This is an intuitive judgement.
If I edit my novel ethically, I ask what the discontinuity achieves, rather than how it fails in the context of logic. This means that I recognise that the narrative begins from a place that does not worry about logic, and I realise that second-guessing the surface content of the narrative, from a rational perspective, may be counterproductive.
The conscious mind, fettered as it is with inhibitions, may fail to see that the logical track is not necessarily the most productive route. The conscious mind may not recognise that going off-track is the way forward and, perhaps, the only way that the story can become something other than what I, in my rational mind, believe that it should be.
Ethical editing means that I am attentive to my intuitive response to the narrative; it means that I tolerate incongruous elements of the narrative, even if they do not fit the criteria of logic.
Ethical editing is a meeting of minds (both mine); the fully conscious mind meets the work of the subconscious mind with surprise and approval, at best, skepticism and derision, at worst. The work of the subconscious mind is elusive but it need not be subjugated to logical, rational considerations, for this means that I delimit the work of the subconscious; it means I assess the discontinuity on the basis of an external operating system; it means that I impose certain criteria upon the surface narrative, criteria that has nothing to do with understanding why the discontinuity exists in the first instance.
Alternatively, when I pay heed to a primal moment of narrative composition, a moment that is not necessarily consciously determined or logical, I apprise the surface of the narrative as a metaphorical map, I attempt to engage with the possibilities for meaning that the map encompasses; this constitutes a quest for the unstable how of meaning attribution.

A probabilistic framework for extracting narrative act boundaries and semantics in motion pictures

This work constitutes the first attempt to extract the important narrative structure, the 3-Act storytelling paradigm in film. Widely prevalent in the domain of film, it forms the foundation and framework in which a film can be made to function as an effective tool for story telling, and its extraction is a vital step in automatic content management for film data. The identification of act boundaries allows for structuralizing film at a level far higher than existing segmentation frameworks, which include shot detection and scene identification, and provides a basis for inferences about the semantic content of dramatic events in film. A novel act boundary likelihood function for Act 1 and 2 is derived using a Bayesian formulation under guidance from film grammar, tested under many configurations and the results are reported for experiments involving 25 full-length movies. The result proves to be a useful tool in both the automatic and semi-interactive setting for semantic analysis of film, with potential application to analogues occuring in many other domains, including news, training video, sitcoms.

Narrative structure detection through audio pace

We use the concept of film pace, expressed through the audio, to analyse the broad level narrative structure of film. The narrative structure is divided into visual narration, action sections, and audio narration, plot development sections. We hypothesise, that changes in the narrative structure signal a change in audio content, which is reflected by a change in audio pace. We test this hypothesis using a number of audio feature functions, that reflect the audio pace, to detect changes in narrative structure for 8 films of varying genres. The properties of the energy were then used to determine the. audio pace feature corresponding to the narrative, structure for each film analysed. The method was successful in determining the narrative structure for 1 of the films, achieving an overall precision of 76.4% and recall of 80.3%, We map the properties of the speech and energy of film audio to the higher level semantic concept of audio pace. The audio pace was in turn applied to a higher level semantic analysis of the structure of film.

Taming the roving camera : a framework for creating professional home movies through narrative and cinesthetic elements

In this paper we present an application designed to improve the quality of amateur video production. The majority of home movie material is negatively impacted by two factors: lack of narrative content- "what to shoot?", and the absence or inappropriate use of cinesthetic elements for effective reinforcement of content - "how to shoot?". We leverage the age-old communicative powers of Story to answer the what For the second problem, the how, we turn to the corpus of aesthetic principles that constitute the film profession, which impact both technical and cinematic considerations for a given project.

Narrative structure analysis with education and training videos for e-learning

This paper deals with the problem ofstructuralizing education and training videos for high-level semantics extraction and nonlinear media presentation in e-learning applications. Drawing guidance from production knowledge in instructional media, we propose six main narrative structures employed in education and training videos for both motivation and demonstration during learning and practical training. We devise a powerful audiovisual feature set, accompanied by a hierarchical decision tree-based classification system to determine and discriminate between these structures. Based on a two-liered hierarchical model, we demonstrate that we can achieve an accuracy of 84.7% on a comprehensive set of education and training video data.

Indexing narrative structure and semantics in motion pictures with a probabilistic framework

This work constitutes the first attempt to extract an important narrative structure, the 3-Act story telling paradigm, in film. This narrative structure is prevalent in the domain of film as it forms the foundation and framework in which the film can be made to function as an effective tool for story telling, and its extraction is a vital step in automatic content management for film data. A novel act boundary likelihood function for Act 1 is derived using a Bayesian formulation under guidance from film grammar, tested under many configurations and the results are reported for experiments involving 25 full length movies. The formulation is shown to be a useful tool in both the automatic and semi-interactive setting for semantic analysis of film.

Raising the volume : Indigenous voices in news media and policy

This article explores Indigenous contributions to shaping public and policy agendas through their use of the news media. It reports on research conducted for the Australian News Media and Indigenous Policy-making 1988–2008 project that is investigating relationships between the representation of Indigenous peoples in public media and the development of Indigenous affairs policies. Interviews with Indigenous policy advocates, journalists and public servants identified the strategies that have been used by individuals and Indigenous organisations to penetrate policy debates and influence public policy. The article concludes that in the face of a neo-liberal policy agenda amplified through mainstream media, particular Indigenous voices nevertheless have had a significant impact, keeping alive debate about issues such as the importance of bilingual education programs and community involvement in the delivery of primary health care.

Learners' incidental vocabulary acquisition : a case on narrative and expository texts

This study was intended to determine whether or not the genre of a reading text affects the incidental vocabulary acquisition of L2 learners while reading. To this aim, 40 Iranian EFL students whose vocabulary knowledge was within a limited range (already determined by Nation’s Vocabulary Levels Test) were divided into two groups of 20 each for the reading sections. The Narrative Group comprised the participants who read the narratives, and the Expository Group were those who read the expository texts. Three types of vocabulary tests (i.e., Form recognition, Meaning translation and Multiple-choice items) were administered after the reading sessions to assess the incidental vocabulary gains of the participants. Overall, this study demonstrated the relative superiority of expository texts over narratives in terms of enhancing readers' incidental acquisition of unknown words. It is argued that depending on the genre of a text, readers will invest processing resources with different depths and varying degrees of cognitive elaboration for the task of comprehension.

'Smart' technologies in early years literacy education: a meta-narrative of paradigmatic tensions in iPad use in an Australian preparatory classroom

With the revolution that has taken place in the functionality and uptake of portable networked ‘smart’ technologies, educators are looking to see what potential applications such technologies might have for school education. This article reports on a study into the use of portable personal computing devices in the early years of schooling. Specifically, it focuses on emerging patterns of use of Apple iPads in an Australian Preparatory (first year of compulsory schooling) classroom across the first year of implementation of these devices. We draw on student and teacher interviews and classroom observation data to provide a research meta-narrative of the intentions, practices and reflections of a ‘first year out’ teacher, and to discuss points of tension found in the contested space of early years literacy education, which are highlighted when potentially transformative technologies meet institutionalized literacy education practices. Our findings suggest that the broader policy and curriculum context of early years literacy education, and institutionalized practices found in this space, are potentially at odds with teacher-held intentions to transform learning through technology use, particularly with respect to tensions between print-based traditions and new digital literacies, and those between standards-based classroom curricular and more emancipatory agendas.

What does a museum mean? A narrative approach to museum impact

This paper presents ‘narrative’ as a theoretically informed qualitative perspective to explore and substantiate such abstract concept as ‘museum impact’. It argues that the impact of museums is best understood via the meanings visitors make and negotiate in the long-term. This provides critical insights into what a museum visit means and how its impact is negotiated within time and space. I lay out the theoretical rationale and methodological approach for the research project underpinning this paper while future publications will provide empirical findings and theoretical conclusions.