After the flood

FRUSTRATED residents of Grantham, the Lockyer Valley township devastated by Queensland's deadly summer floods, are demanding that the commission of inquiry into the disaster investigate whether an earth wall around a sand quarry helped cause the "inland tsunami" that killed 12 people and destroyed scores of homes.

Amanda Gearing Queensland Flood Collection 2011-2012

A collection of oral history recordings, photographs, hand drawn maps, videos and speech notes relating to the 2011 Queensland floods and the major flood event that occurred in Toowoomba and the Lockyer Valley region on 10 January 2011: a flash flood (described as an 'inland tsunami') which devastatingly took 21 human lives. The collection, amassed by Toowoomba-based journalist Amanda Gearing for her Master of Arts degree, includes 86 oral history recordings of flood survivors and rescuers in Spring Bluff, Murphys Creek, Toowoomba, Withcott, Postmans Ridge, Helidon, Carpendale and Grantham as well as digital photographs and videos taken by a number of those interviewed including those taken by Amanda Gearing and other locals. The interviews are very personal and powerful recollections of the experience of the flood event. Some recall feelings of fear and despair and tell of trauma and loss which continues well after the flood event. All are stories of resilience and hope, of rebuilding lives, of lessons learnt, and recommendations in order to avoid the same devastating results in future disasters.

Queensland farmers rise up to take on the miners

Queensland’s Surat Basin has the third largest energy resource in the world — with vast coal seam gas and coal reserves — but farm groups are warning that mining areas, which are prime farm land, risk catastrophic environmental damage to food-producing areas. Mining development is moving very quickly with 36,000 wells due to be sunk in the next few years. A Senate inquiry into the impacts of mining in the Murray-Darling Basin heard evidence from farm and mining industry representatives in Oakey on the Darling Downs yesterday.

The day that changed Grantham

"'Within two minutes it went from being no water out in the street to being waist deep inside the shop.' When Queensland went under water in January this year the tiny town of Grantham suffered the greatest loss of life: 12 people died. The locals clung to fences, floated on top of cars and supported each other to survive the unexpected and sudden wall of muddy water and debris that inundated their town. You'll hear tales of fear, bravery and loss in this moving radio feature."

Toowoomba floods

TOOWOOMBA has been inundated with flood water following a freak storm that smashed roads and swept away cars. Amanda Gearing REPORTS.

Queensland flood waters head south

AN explanation of the path of flood waters that have surged east and south west in southern Queensland. CREDITS: Audio by Amanda Gearing

One year on : the devastating Queensland floods

"Tomorrow will mark the one year anniversary of the devastating floods that hit Queensland's Lockyer Valley and Toowoomba and starting today, we'll begin a series of interviews with survivors of those floods on the 10th of January last year. In today's program, Murphy's Creek resident Nelly Gitsham how she sent her family to safety and then ventured into the flood to try to save her neighbour's horse, only to find herself needing to be rescued by another neighbour, John Taylor." Reporter: Amanda Gearing

Queensland floods anniversary : Peter McCarron

"Today marks the one year anniversary of the devastating floods that hit Queensland. This is the second in our series of survival from the Toowoomba and Lockyer Valley floods on the 10th of January 2011. Today, Queensland Fire and Rescue officer Peter McCarron tells Amanda Gearing about the flood emergency in Toowoomba's central business district: torrential rain suddenly caused flash flooding of city streets and swept away dozens of people and hundreds of cars."

Queensland floods anniversary : Brian Willmett

"In today's story we hear from Postmans Ridge helicopter pilot, Brian Willmett, and how he and his neighbours worked together to rescue four people, including Kevin and Eileen Lees, from the inland tsunami which swept down the Lockyer Valley during last year's Queensland floods. It was a ten metre high wave that swept through Postmans Ridge that day, ripping houses from their foundations and sweeping two people to their deaths. Brian Willmett was at home when he suddenly ran to rescue neighbours who were in danger. To mark the anniversary of the floods in Queensland, ABC Open has compiled Aftermath, an extensive look at the Queensland floods as well as floods in NSW, Victoria and remote Western Australia, Cyclone Yasi and the 2009 Victorian 'Black Saturday' bushfires. Australia certainly has been hit by a few disasters in the past two or so years. The site has a timeline showing content from these six disasters, with links to about 40 people effected by these disasters. If you go to that site you will be able to choose a person to watch videos about them."

Queensland floods anniversary : Angela Emmerson

"We're marking the anniversary of the destructive floods that hit Queensland a year ago this week with our series of interviews from survivors. Today's story is from Helidon teenager and university student Angela Emmerson, who tells Amanda Gearing how she and her sister scrambled to the roof to escape the dangerous flash flood which suddenly engulfed their house on the 10th of January last year. Tomorrow we'll hear from Grantham resident Rob Wilkin who rescued 31 local people using his car and boat. He helped them escape to safety as 138 houses in the town were destroyed. To mark the anniversary of the floods in Queensland, ABC Open has compiled Aftermath, an extensive look at the Queensland floods as well as floods in NSW, Victoria and remote Western Australia; Cyclone Yasi and the 2009 Victorian 'Black Saturday' bushfires. Australia certainly has been hit by a few disasters in the past two or so years. The site has a timeline showing content from these six disasters, with links to about 40 people effected by these disasters. If you go to that site you will be able to choose a person to watch videos about them."

Queensland floods anniversary : Rob Wilkin

"This week, we have been marking the anniversary of the destructive floods that hit Queensland a year ago this week with a series of interviews from survivors. Today's story comes from Grantham resident Rob Wilkin who helped save 31 people in the flash flood disaster on the 10th of January last year. 23 people in Toowoomba and the Lockyer Valley died and 138 houses in the town were destroyed.. To mark the anniversary of the floods in Queensland, ABC Open has compiled 'Aftermath', an extensive look at the Queensland floods as well as floods in NSW, Victoria and remote Western Australia, Cyclone Yasi and the 2009 Victorian 'Black Saturday' bushfires. Australia certainly has been hit by a few disasters in the past two or so years. The site has a timeline showing content from these six disasters, with links to about 40 people effected by these disasters. If you go to that site you will be able to choose a person to watch videos about them."

Party tricks struggles for votes with a social media audience

With Ten’s new drama Party Tricks set for an October 6 premiere, coverage has focused on the social media campaign to promote the show. In advance of the screening, Ten has created in-character accounts for the lead characters, Kate Ballard (Asher Keddie) and David McLeod (Rodger Corser)...

The ethics, aesthetics and practical politics of ownership in co-creative media

What is ‘best practice’ when it comes to managing intellectual property rights in participatory media content? As commercial media and entertainment business models have increasingly come to rely upon the networked productivity of end-users (Banks and Humphreys 2008) this question has been framed as a problem of creative labour made all the more precarious by changing employment patterns and work cultures of knowledge-intensive societies and globalising economies (Banks, Gill and Taylor 2014). This paper considers how the problems of ownership are addressed in non-commercial, community-based arts and media contexts. Problems of labour are also manifest in these contexts (for example, reliance on volunteer labour and uncertain economic reward for creative excellence). Nonetheless, managing intellectual property rights in collaborative creative works that are created in community media and arts contexts is no less challenging or complex than in commercial contexts. This paper takes as its focus a particular participatory media practice known as ‘digital storytelling’. The digital storytelling method, formalised by the Centre for Digital Storytelling (CDS) from the mid-1990s, has been internationally adopted and adapted for use in an open-ended variety of community arts, education, health and allied services settings (Hartley and McWilliam 2009; Lambert 2013; Lundby 2008; Thumin 2012). It provides a useful point of departure for thinking about a range of collaborative media production practices that seek to address participation ‘gaps’ (Jenkins 2006). However the outputs of these activities, including digital stories, cannot be fully understood or accurately described as user-generated content. For this reason, digital storytelling is taken here to belong to a category of participatory media activity that has been described as ‘co-creative’ media (Spurgeon 2013) in order to improve understanding of the conditions of mediated and mediatized participation (Couldry 2008). This paper reports on a survey of the actual copyrighting practices of cultural institutions and community-based media arts practitioners that work with digital storytelling and similar participatory content creation methods. This survey finds that although there is a preference for Creative Commons licensing a great variety of approaches are taken to managing intellectual property rights in co-creative media. These range from the use of Creative Commons licences (for example, Lambert 2013, p.193) to retention of full copyrights by storytellers, to retention of certain rights by facilitating organisations (for example, broadcast rights by community radio stations and public service broadcasters), and a range of other shared rights arrangements between professional creative practitioners, the individual storytellers and communities with which they collaborate, media outlets, exhibitors and funders. This paper also considers how aesthetic and ethical considerations shape responses to questions of intellectual property rights in community media arts contexts. For example, embedded in the CDS digital storytelling method is ‘a critique of power and the numerous ways that rank is unconsciously expressed in engagements between classes, races and gender’ (Lambert 117). The CDS method privileges the interests of the storyteller and, through a transformative workshop process, aims to generate original individual stories that, in turn, reflect self-awareness of ‘how much the way we live is scripted by history, by social and cultural norms, by our own unique journey through a contradictory, and at times hostile, world’ (Lambert 118). Such a critical approach is characteristic of co-creative media practices. It extends to a heightened awareness of the risks of ‘story theft’ and the challenges of ownership and informs ideas of ‘best practice’ amongst creative practitioners, teaching artists and community media producers, along with commitments to achieving equitable solutions for all participants in co-creative media practice (for example, Lyons-Reid and Kuddell nd.). Yet, there is surprisingly little written about the challenges of managing intellectual property produced in co-creative media activities. A dialogic sense of ownership in stories has been identified as an indicator of successful digital storytelling practice (Hayes and Matusov 2005) and is helpful to grounding the more abstract claims of empowerment for social participation that are associated with co-creative methods. Contrary to the ‘change from below’ philosophy that underpins much thinking about co-creative media, however, discussions of intellectual property usually focus on how methods such as digital storytelling contribute to the formation of copyright law-compliant subjects, particularly when used in educational settings (for example, Ohler nd.). This also exposes the reliance of co-creative methods on the creative assets storytellers (rather than on the copyrighted materials of the media cultures of storytellers) as a pragmatic response to the constraints that intellectual property right laws impose on the entire category of participatory media. At the level of practical politics, it also becomes apparent that co-creative media practitioners and storytellers located in copyright jurisdictions governed by ‘fair use’ principles have much greater creative flexibility than those located in jurisdictions governed by ‘fair dealing’ principles.

Kindred spirits

A real life conversation with different friends often reveals more information about the same story: so too is the case in Willowbrook.

Setting the agenda, influencing public opinion, and advocating for social change

This study seeks to contribute to the systematic explanation of journalists’ professional role orientations. Focusing on three aspects of journalistic interventionism – the importance of setting the political agenda, influencing public opinion and advocating for social change – multilevel analyses found substantive variation in interventionism at the individual level of the journalist, the level of the media organizations, and the societal level. Based on interviews with 2100 journalists from 21 countries, findings affirm theories regarding a hierarchy of influences in news work. We found journalists to be more willing to intervene in society when they work in public media organizations and in countries with restricted political freedom. An important conclusion of our analysis is that journalists’ professional role orientations are also rooted within perceptions of cultural and social values. Journalists were more likely to embrace an interventionist role when they were more strongly motivated by the value types of power, achievement and tradition.