Dead, done for and dangerous: teaching editing students what not to do

The most difficult aspect of teaching editing at a university tutorial is imparting to students a sensitivity to the appropriate relationship between the editor and author and, more particularly, between the editor and the author's work. Students are tempted to see themselves as critics or assessors of the author's work rather than assistants in the writing process. This paper discusses where teaching editing is difficult in a classroom, arguing that such difficulty is a symptom of both problems experienced in the editing profession and limitations of university teaching.

A case for blended and collaborative learning as strategies for teaching editing and publishing within a postgraduate writing program

Several recent studies have called for the breakdown of' arbitrary distinctions between virtual and "face-to-face" classrooms' (Comeaux & McKenna-Byington 2003: 348; see also McDonald 2002; Rosset, Douglis & Frazee 2003; Morse 2003). In 2004 the Professional and Creative Writing discipline at Deakin University added Editing and Publishing (which had previously been available as on-campus-only units at our institution) to an established list of online postgraduate writing units taught via the auspices of the new (to our university) WebCT technology. This paper describes and evaluates our experience of challenging the 'arbitrary distinctions' between our two cohorts of students by incorporating blended and collaborative learning strategies into our course via two specific projects.

We must become gatekeepers : editing indigenous writing

With the proliferation of Indigenous texts currently published by specialist and mainstream publishers, non-Indigenous editors increasingly find themselves negotiating the uncomfortable territories of race, politics and power for which current training (in an Australian context) leaves them poorly prepared. Indigenous writer Anita Heiss advocates the employment of Indigenous editors as an 'ideal' solution, though few are currently working in the Australian industry. Margaret McDonell, an experienced non-Indigenous editor of Indigenous texts, suggests non-Indigenous editors need to 'undertake a journey of learning' during which 'assumptions, biases, tastes and preconceptions' are examined. Yet this presents a difficult task within a postcolonial society, when, as identified by Clare Bradford, even the classification of texts into genres such as fiction and the short story represents an entirely Eurocentric construct, 'not readily correspond[ing] with Aboriginal schemata'. The Australian Society of Authors' discussion paper 'Writing about Indigenous Australia: Some Issues to Consider and Protocols to Follow' provides practical guidelines that may be adapted for editorial use. This article canvasses these and other ideas with a focus on establishing an ethical and appropriately sensitive cross-cultural approach to editing Indigenous writing.

Differential tumor necrosis factor receptor 2-mediated editing of virus-specific CD8+ effector T cells

Much of the CD8+ T cell response in H2b mice with influenza pneumonia is directed at the nucleoprotein366-374 (NP366) and acid polymerase224-233 (PA224) peptides presented by the H2Db MHC class I glycoprotein. These DbNP366- and DbPA224-specific T cell populations are readily analyzed by staining with tetrameric complexes of MHC+ peptide (tetramers) or by cytokine production subsequent to in vitro stimulation with the cognate peptides. The DbPA224-specific CD8+ effector T cells make more tumor necrosis factor (TNF) α than the comparable CD8+DbNP366+ set, a difference reflected in the greater sensitivity of the CD8+DbPA224+ population to TNF receptor (TNFR) 2-mediated apoptosis under conditions of in vitro culture. Freshly isolated CD8+DbNP366+ and CD8+DbPA224+ T cells from influenza-infected TNFR2-/- mice produce higher levels of IFN-γ and TNF-α after in vitro stimulation with peptide, although the avidity of the T cell receptor-epitope interaction does not change. Increased numbers of both CD8+DbPA224+ and CD8+DbNP366+ T cells were recovered from the lungs (but not the spleens) of secondarily challenged TNFR2-/- mice, a pattern that correlates with the profiles of TNFR expression in the TNFR2+/+ controls. Thus, it seems that TNFR2-mediated editing of influenza-specific CD8+ T cells functions to limit the numbers of effectors that have localized to the site of pathology in the lung but does not modify the size of the less activated responder T cell populations in the spleen. Therefore, the massive difference in magnitude for the secondary, although not the primary, response to these DbNP366 and DbPA224 epitopes cannot be considered to reflect differential TNFR2-mediated T cell editing.

OVIE : object-oriented and vector-based image editing

A powerful image editing system called OVIE is described, which provides fast and accurate creation, composition, rendering and other manipulation of image contents. Flexibility and convenience of the system are achieved by including two modules: image decomposition and image vectorization to understand and represent an image respectively. To understand an image comprehensively, we propose to integrate image segmentation, shape completion and image completion techniques to ensure a seamless image editing. An array of pixels is replaced by vector data with geometric edit ability for image representation since the geometrically-based editing has physical meanings and thus it is more natural or intuitive for users to edit. Compared to the existing works, our system is more convenient and can generate effects with higher quality. © 2012 IEEE.

Collaborative authorship in film production: Walter Murch and film editing

Filmmaking is frequently cited as the most collaborative of all arts, yet for the most part, mainstream and scholarly literature have received films as the creative voice of just one artist – the director. The reasons for this are many: general ignorance of how films are made; the hijacking of film theory by literary theory, and the continuing popularity of the myth of the Romantic Artist as solitary genius are some of them. The case for collaborative authorship has gained momentum since the 1980s as studies on the production of individual films, actors, production companies and the history of the film industry as a whole have proliferated and drawn attention to the disparities between how films are perceived and how they are actually made. This article analyses collaboration in film production culture through examination of the role of the film editor. Concentrating specifically on the film/sound editor and mixer Walter Murch, it examines his role as a collaborative author in his early work with director Francis Ford Coppola and his later work with English director Anthony Minghella.

Genome editing in zebrafish: a practical overview

Zebrafish is a powerfulmodel for the study of vertebrate development, being amenable to a wide range of genetic and other manipulations to probe themolecular basis of development and its perturbation in disease. Over recent years, genome editing approaches have become increasingly used as an efficient and sophisticated approach to precisely engineer the zebrafish genome, which has further enhanced the utility of this organism. This review provides a practical overview of genome editing and its application in zebrafish research, including alternate strategies for introducing and screening for specific genetic changes.