Disability, public space performance & spectatorship : Unconscious performers

Why would disabled people want to re-engage, re-enact and re-envisage the everyday encounters in public spaces and places that cast them as ugly, strange, stare-worthy? In Disability, Public Space Performance and Spectatorship: Unconscious Performers, Bree Hadley examines the performance practices of disabled artists in the US, UK, Europe and Australasia who do exactly this. Operating in a live or performance art paradigm, artists like James Cunningham (Australia), Noemi Lakmaier (UK/Austria), Alison Jones (UK), Aaron Williamson (UK), Katherine Araniello (UK), Bill Shannon (US), Back to Back Theatre (Australia), Rita Marcalo (UK), Liz Crow (UK) and Mat Fraser (UK) all use installation and public space performance practices to re-stage their disabled identities in risky, guerilla-style works that remind passersby of their own complicity in the daily social drama of disability. In doing so, they draw spectators' attention to their own role in constructing Western concepts of disability. This book investigates the way each of us can become unconscious performers in a daily social drama that positions disability people as figures of tragedy, stigma or pity, and the aesthetics, politics and ethics of performance practices that intervene very directly in this drama. It constructs a framework for understanding the way spectators are positioned in these practices, and how they contribute to public sphere debates about disability today.

The curious case of the embedded creative : creative cultural occupations outside the creative industries

This chapter is concerned with innovation that involves creative cultural occupations, but not within the creative industries. Rather, we examine the operation of cultural creative occupations that exist outside the creative industries - so-called 'embedded creatives' who work across all industry sectors (Cunningham and Higgs 2009). In doing so, we concur with Bilton (2007) that the separation of creative industries from other industries is a 'false step'. All industries must be innovative; however, they also must be able to combine both scientific and artistic creativity, and that creativity comes from the intersection of different thinking styles (Kurtzberg 2005). Moreover, we suggest that there are now detailed empirical studies, as well as a nascent theoretical base, to suggest that the transdisciplinarity which results from embedded cultural creativity is an engine of growth in the broader economy. Thus, it is relevant to both policymakers and managers. This chapter addresses the following questions: What is the role and significance of the embedded creative? Given a paucity of detailed empirical work in the area to date, what can be deduced from what extant literature there is about the nature of employment and management of these workers? And what are the practical implications of these consideration?

Games and entertainment software

Games and the broader interactive entertainment industry are the major ‘born global/born digital’ creative industry. The videogame industry (formally referred to as interactive entertainment) is the economic sector that develops, markets and sells videogames to millions of people worldwide. There are over 11 countries with revenues of over $1 billion. This number was expected to grow 9.1 per cent annually to $48.9 in 2011 and $68 billion in 2012, making it the fastest-growing component of the international media sector (Scanlon, 2007; Caron, 2008).

Indexing without spam

The presence of spam in a document ranking is a major issue for Web search engines. Common approaches that cope with spam remove from the document rankings those pages that are likely to contain spam. These approaches are implemented as post-retrieval processes, that filter out spam pages only after documents have been retrieved with respect to a user’s query. In this paper we suggest to remove spam pages at indexing time, therefore obtaining a pruned index that is virtually “spam-free”. We investigate the benefits of this approach from three points of view: indexing time, index size, and retrieval performances. Not surprisingly, we found that the strategy decreases both the time required by the indexing process and the space required for storing the index. Surprisingly instead, we found that by considering a spam-pruned version of a collection’s index, no difference in retrieval performance is found when compared to that obtained by traditional post-retrieval spam filtering approaches.

MIA – Musings in appreciation

Stuart Cunningham has been a regular contributor to MIA since 1987, and was one of the six editors appointed to manage MIA after Henry Mayer’s death in 1991.

The Media and Communications in Australia, [4th Edition]

The most widely used introduction to the Australian media, fully updated to reflect the increasing prominence of the internet in the communication and entertainment industries. Description Traditional media are being reshaped by digital technologies. The funding model for quality journalism has been undermined by the drift of advertising online, demarcations between different forms of media are rapidly fading, and audiences have fragmented. We can catch up with our favourite TV show on a tablet, social media can be more important than mainstream radio in a crisis, and organisations large and small have become publishers in their own right on apps. Nevertheless mainstream media remain powerful. The Media and Communications in Australia offers a systematic introduction to this dynamic field. Fully updated and revised to take account of recent developments, this fourth edition outlines the key media industries and explains how communications technologies are impacting on them. It provides a thorough overview of the main approaches taken in studying the media, and includes an expanded 'issues' section with new chapters on social media, gaming, apps, the environment, media regulation, ethics and privacy. With contributions from some of Australia's best researchers and teachers in the field, The Media and Communications in Australia remains the most comprehensive and reliable introduction to media and communications available. It is an ideal student text, and a reference for teachers of media and anyone interested in this influential industry.

Australian Indigenous Art : Local Dreamings, Global Consumption (Autohtona Australijska Umetnost : Lokalno Sanjarenje, Globalna Potražnja)

Indigenous Australian visual art is an outstanding case of the dynamics of globalization and its intersection with the hyper-local wellsprings of cultural expression, and of the strengths and weaknesses of state, philanthropic and commercial backing for cultural production and dissemination. The chapter traces the development of the international profile of Indigenous ‘dot’ art – a traditional symbolic art form from the Western Desert – as ‘high-end’ visual art, and its positioning within elite markets and finance supported by key international brokers, collectors and philanthropists.

Australian screen content in education research project

Researchers from Queensland University of Technology have teamed up with the Australian Research Council (ARC), Screen Australia, The Australian Broadcasting Corporation (ABC), the Special Broadcasting Service (SBS) and the Australian Children’s Television Foundation (ACTF) to investigate the use of Australian screen content in primary, secondary and tertiary education. Over the next three years (2014-2016), researchers and investigators will undertake a national survey of schools and universities, and will conduct in-depth interviews with hundreds of industry representatives, teachers, principals, librarians and students. Furthermore, new approaches to developing screen content and curricula will be trialled. The project aims to develop a comprehensive picture of why, how, how much and where Australian screen content is used in education.

The Seventeenth Australasian Document Computing Symposium

Newsletter ACM SIGIR Forum: The Seventeenth Australian Document Computing Symposium was held in Dunedin, New Zealand on the 5th and 6th of December 2012. In total twenty four papers were submitted. From those eleven were accepted for full presentation and 8 for short presentation. A poster session was held jointly with the Australasian Language Technology Workshop.

Hidden innovation : Policy, industry and the creative sector

The term ‘two cultures’ was coined more than 50 years ago by scientist and novelist C.P. Snow to describe the divergence in the world views and methods of scientists and the creative sector. This divergence has meant that innovation systems and policies have focused for decades on science, engineering, technology and medicine and the industries that depend on them. The humanities, arts and social sciences have been bit players at best; their contributions hidden from research agendas, policy and program initiatives, and the public mind. But structural changes to advanced economies and societies have brought services industries and the creative sector to greater prominence as key contributors to innovation. Hidden Innovation peels back the veil, tracing the way innovation occurs through new forms of screen production enabled by social media platforms as well as in public broadcasting. It shows that creative workers are contributing fresh ideas across the economy and how creative cities debates need reframing. It traces how policies globally are beginning to catch up with the changing social and economic realities. In his new book, Cunningham argues that the innovation framework offers the best opportunity in decades to reassess and refresh the case for the public role of the humanities, particularly the media, cultural and communication studies disciplines.

Creative Work Beyond the Creative Industries: An Introduction

Creative occupations exist across the entire economy. The creative worker’s habitus cannot be discovered by looking only in film studios, games companies or artist’s garrets. Work practices, evolved through the traditions of the creative and performing arts, are now deployed to create new services and products across all sectors, to develop process innovations, and to change the distribution thereof. Yet the bulk of academic study of creative work (both functionalist and critical), as well as the content of higher/further professional education programs and everyday understanding of creative workers, focuses on one subset of the Creative Industries: those involved in the production of cultural goods or services (film, television, music etc.) for consumption by the general public. And further, the bulk of existing academic work focuses on those creative workers employed in cultural production industries. However, as recent work has shown, this focus misses both the large (and increasing) number of creative workers embedded in industries beyond the core Creative Industries (for example, manufacturing, banking, mining) and those creative workers and firms that supply services to business as well as to the general public, such as architects, technical writers, and graphic designers (see Cunningham 2013; Potts and Cunningham 2008; Potts, Cunningham, Hartley and Omerod 2008). This book focuses on this subset of very important, and yet under-recognized creative workers: embedded creative workers and providers of creative services into other sectors of the economy, as indicated in the following taxonomy (Figure 1.1), which juxtaposes occupation and industry sector...

Embedded creatives in the Australian manufacturing industry

According to 2011 Australian Census figures, embedded creative employees (creative employees not working in the core Creative Industries) make up 2 per cent (or a total of 17 635) of manufacturing industry employees. The average for all industries is 1.6 per cent. In the 2011–2012 financial year the manufacturing industry formed 7.3 per cent of Australia’s gross domestic product (GDP), contributing approximately AU$106.5 billion to the economy (Department of Industry, Innovation, Science, Research and Tertiary Education 2013). Manufacturing is central to innovation, accounting for over one-quarter of all business expenditure in R&D in 2010–2011, representing around AU$4.8 billion invested in R&D (ibid.). Facing challenges such as sustainability concerns, ever-increasing offshore production and the global financial crisis, the Australian manufacturing industry needs to remain relevant and competitive to succeed. Innovation is one way to do this. Given the contribution of the manufacturing industry to the Australian economy, and the above-average portion of embedded creatives in manufacturing, it is important to consider what exactly embedded creatives add to the industry. This chapter, inspired by the Getting Creative in Healthcare report (Pagan, Higgs and Cunningham 2008), examines the contribution of embedded creatives to innovation in the manufacturing industry via case studies and supplemental data.