Working on the edge : Exploring the creative tensions experienced by practitioners facilitating participatory media projects with refugees and asylum seekers in Australia

This paper aims to provide a contextualised and embedded exploration of how the notions of "practice" and "participation", key concepts in the study of culture and media, are manifest in an example of a complex creative project. This project aimed to engage with refugees and asylum seekers through the co-creation of cultural material and is an outcome of an? ethnographic action research (Tacchi et al. 2003) partnership involving a community development worker in a settlement support agency and a storytelling/community media researcher (the author), along with other project collaborators. The discussion of this project focuses on the role of the facilitator and illustrates the processes of orchestrating a complex project involving a series of linked stages with cumulative effect. As practitioners at this site we are working in the space where personal narratives, participatory arts and media, and the staging of intercultural, civic dialogue events, intersect. Co-creative media facilitation in these contexts involves both managing hybrid communicative spaces and (re)combining the "integrative practices" (Schatzki 1996) of a range of professional approaches and creative roles. This is liminal work, located on the boundaries of several disciplines and practices. Drawing on reflections gathered from collaborative ethnographic descriptions (Bhattacharya 2008), this paper traces moments of practitioner uncertainty that can be linked to the way "practice" and “participation” is problematised within the community cultural development field in a way that is at times an uneasy fit with conventional ways of operating in social service roles. These moments of tension also indicate where this project pushed practitioners into spaces of improvisation and new learning. Keywords: Youth, refugees, community cultural development, co-creative media facilitation, ethnographic action research, intercultural dialogue.

Creative interoperability: A new concept to guide, understand and evaluate innovation by cross-sector collaboration

Creative digital media are increasingly utilized by companies in all industries. Here cases studies of creative media innovations in manufacturing, mining and education were facilitated and evaluated. The cases dealt respectively with designs in manufacturing, visualizing mining data, and developing tools for adult literacy. The difficulties of merging creative media teams into these different contexts were noted and the idea of creative interoperability was developed. Creative interoperability explains how creative teams can connect with other disciplines to bring about innovations.

Audience as performer: The changing role of theatre audiences in the twenty-first century

'Actors always talk about what the audience does. I don’t understand, we are just sitting here.' Audience as Performer proposes that in the theatre, there are two troupes of performers: the actors and the audience. Although academics have scrutinised how audiences respond, make meaning and co-create while watching a performance, little research has considered the behaviour of the theatre audience as a performance in and of itself. This insightful book describes how an audience performs through its myriad gestural, vocal and paralingual actions, and considers the following questions: •If the audience are performers, who are their audiences? •How have audiences’ roles changed throughout history? •How do talkbacks and technology influence the audience’s role as critics? •What influence does the audience have on the creation of community in theatre? •How can the audience function as both consumer and co-creator? Drawing from over 140 interviews with audience members, actors and ushers in the UK, USA and Australia, Heim reveals the lived experience of audience members at the theatrical event. It is a fresh reading of mainstream audiences’ activities, bringing their voices to the fore and exploring their emerging new roles in the theatre of the Twenty-First Century.

Environmental dynamism as a moderator of the relationship between bricolage and firm performance

Many firms initially face significant resource constraints during attempts to develop and grow (Shepherd et al., 2000). One promising theory that explicitly links to ways entrepreneurial firms respond to resource constraints is bricolage (Lévi-Strauss, 1966). Bricolage is defined as “making do by applying combinations of the resources at hand to new problems and opportunities” (Baker & Nelson, 2005, p. 333). Bricolage aligns with notions of resourcefulness: using what’s on hand, through making do, and recombining resources for new or novel purposes. Through a bias for action and a refusal to enact limitations on the resources that are available to create solutions, bricoleurs can tackle unexpected complex challenges, take advantage of opportunities, and go where most other firms won’t, in their attempts at firm development. Bricolage studies have previously not empirically examined the impact of bricolage on firm performance. Our work contributes to the emerging behavioral theory of bricolage by offering the first empirical test evaluating the impact of bricolage on early stage firm performance (i.e. venture emergence in nascent firms and sales in young firms). Using new product development (NPD) theories of speed of development, co-creation and innovativeness, we theorise that bricolage has a positive effect on early stage firm performance. We then introduce environmental dynamism as a moderator which influences this relationship.

Provocare

A new digital story exploring female agency and violence against women Launched this month, ‘Provocare’ is a multimedia verse thriller created by Meg Vann, writer; Mez Breeze, interaction designer; and Donna Hancox, research lead for Creative Industries at Queensland University of Technology (QUT). It is the first work to be commissioned and produced for ‘Queensland Writers on the International Stage’, an Arts Queensland funded programme created by QUT and The Writing Platform.

The reader-assembled narrative: Representing the random in print fiction

The growing interest in co-created reading experiences in both digital and print formats raises interesting questions for creative writers who work in the space of interactive fiction. This essay argues that writers have not abandoned experiments with co-creation in print narratives in favour of the attractions of the digital environment, as might be assumed by the discourse on digital development. Rather, interactive print narratives, in particular ‘reader-assembled narratives’ demonstrate a rich history of experimentation and continue to engage writers who wish to craft individual reading experiences for readers and to experiment with their own creative process as writers. The reader-assembled narrative has been used for many different reasons and for some writers, such as BS Johnson it is a method of problem solving, for others, like Robert Coover, it is a way to engage the reader in a more playful sense. Authors such as Marc Saporta, BS Johnson, and Robert Coover have engaged with this type of narrative play. This examination considers the narrative experimentation of these authors as a way of offering insights into creative practice for contemporary creative writers.

Asiakassuunnitelma asiakaslähtöistä auttamista tavoitteellistamassa : Kohteen rakentumisen moniääninen menetelmä

The research focuses on client plan in the field of health care and social work on families with children. The purpose of the plan is to create objectives for helping the client and to assist in coordinating the ever-increasing multi-professional work. In general, the plan is understood in terms of assignments and as a contract specifying what to do in client cases. Taking this into consideration, the plan is outsourced into a written document. Instead of understanding the plan as a tool that stabilizes the objectives of action, documents it and facilitates evaluation, the client plan is conceptualized in this study as a practice. This kind of practice mediates client work as being itself also a process of action that focuses on an object whose gradual emergence and definition is the central question in multi-professional collaboration with a client. The plan is examined empirically in a non-stabilized state which leads to the research methodology being based on the dynamics between stabilization and emerging, non-stabilized entities the co-creation and formulation of practice and context. The theoretical approach of the research is the micro analytic approach of activity theory (Engeström R. 1999b). Grounding on this, the research develops a method of qualitative analysis which follows an emerging object with multiple voices. The research data is composed of the videotaped sessions from client meetings with three families, the interviews with the client and the workers as well as client documents that are used to follow up on client processes for at least one year. The research questions are as follows: 1) How is the client plan constructed between the client and different professional agents? 2) How are meanings constructed in a client-centred plan? 3) What are the elements of client-employee relationships that support the co-configuration necessitated by the changes in the client s everyday life? The study shows that the setting of objectives were limited by the palette of institutional services, which caused that the clients interpretations and acts of giving meaning to the kinds of help that was required were left out of the plan. Conceptually, the distinctions between client-centred and client-specific ways of working as well as an action-based working method are addressed. Central to this action-based approach is construing the everyday life of the client, recognizing different meanings and analyzing them together with the client as well as focusing attention on developing the prerequisites for social agency of the clients. The research portrays the elements for creating an action-based client plan. Key words: client plan, user perspective, multi-voiced meaning, multi-professional social work with children and families, agency

A framework for designing product service systems

In this competitive globalizing scenario, manufacturers are adopting a strategy of bundling products and services into an integrated solution to create sustainable competitive advantage. Servitizing manufacturers are increasingly transforming their processes and practices to build product-service systems (PSS). During this transformation they require substantial support to face stringent challenges. Research in the PSS domain is heading towards the development of a design theory and methodology that facilitates the systematic creation of viable PSS conceptual designs. In this paper, various proposed design methods are reviewed and research gaps are summarized. Primarily, it has been observed that the importance of the capabilities of the stakeholders involved in designing PSS has not been noted in the proposed methods. Regarding this capability view point, a framework for designing PSS has been proposed. This framework highlights the important features required in designing PSS such as co-creation, responsibilities and competences. Every step in the framework has been explained with a case study involving laser systems used for manufacturing cutting operation.

Comparison of diagnostic ability between a fast strategy, tendency-oriented perimetry, and the standard bracketing strategy

Purpose: To compare the diagnostic abilities of the standard bracketing strategy (BR) and a fast strategy, the tendency-oriented perimetry (TOP). Methods: Seventy-seven controls and 91 eyes from patients with glaucoma were analyzed with the strategies TOP and BR. Sensitivity (Se), specificity (Sp), the area under the receiver operating characteristic (ROC) curve (AC) and the optimum cutoff value (CO) were calculated for the visual field indices mean defect (MD), the square root of the loss variance (sLV) and the number of pathological points (NPP). Results: In the glaucoma group, the mean MD value using TOP and BR was 7.5 and 8.3 dB, respectively. The mean sLV value using TOP and BR was 5.0 and 5.3 dB, respectively. Indices provided by TOP had higher ROC values than the ones provided by BR. Using TOP, the index with the best diagnostic ability was sLV (Sp = 94.8, Se = 90.1, AC = 0.966, CO = 2.5 dB), followed by NPP and MD. Using BR, the best results were obtained for MD (Sp = 92.2, Se = 81.3, AC = 0.900, CO = 2.5 dB) followed by sLV and NPP. Conclusions: A fast strategy, TOP, had superior diagnostic ability than the standard BR. Although TOP provided lower LV values than BR, the diagnostic ability of this index was higher than that of the conventional strategy. Copyright © 2005 S. Karger AG.

The changing university business model: a stakeholder perspective

Universities are in a current state of transition, whereby they are expected to develop a wide range of relationships with stakeholders in order to enhance regional innovation systems. However, despite external environmental pressures commonly regarded as one of the main drivers of business model evolution, there is a lack of studies that explore business model innovation as a result of multiple stakeholder influences. Accordingly, the aim of this paper is to examine the changing university business model within a region of the United Kingdom, using a stakeholder perspective that will aid theoretical development and refinement in both the business model and stakeholder fields. This examination is aided by consideration of the university business model as an activity system. Repeat interviews, combined with stakeholder theory, have been used to show how the changing university business model–stakeholder relationship has progressed through different stakeholder stages with resultant changes in content, structure and governance. Furthermore, conflicting objectives between each of the stakeholder groups (i.e. academics, industry liaison staff, technology transfer office staff and government support agency representatives) have led to the university business model evolving not as a process of co-creation but rather in a series of transitions whereby multiple stakeholders are continually shaping the university business model through strategies that are dependent upon their salience. Finally, this paper contributes to the development and refinement of business model innovation research, in that the use of stakeholder constructs can illustrate the impact of multiple stakeholders' power and influence on business model innovation.

Modelo para a valorização partilhada da marca: a comunicação mediada por computador como suporte ao envolvimento dos recursos humanos na cocriação da marca organizacional

No atual contexto de disseminação e uso das tecnologias da comunicação para a geração de conteúdo não especializado, igualmente partilhado e utilizado, torna-se pertinente sublinhar a participação dos recursos humanos na cocriação da marca organizacional. Esta participação, todavia, encontra alguns constrangimentos e necessidades, tais como a falta de orientação no uso devido da marca gráfica, e a adequação das ferramentas comunicacionais e de gestão do conhecimento de que estes indivíduos são portadores. Neste enquadramento, pretende-se validar um modelo heurístico que explique, satisfatoriamente, de que forma as organizações podem envolver os seus recursos humanos em atividades de valorização da marca, em contextos de informação e comunicação tecnologicamente mediados, e que possa assumirse como um impulsionador da adoção destas práticas. A abordagem metodológica é de natureza exploratória, iterativa e qualitativa, assentando na Grounded Theory e, portanto, num processo indutivo de produção de conhecimento, reconhecendo a existência de momentos de descoberta e, aproximando-se do paradigma construtivista. O estudo que conduz à proposta final de um modelo de comunicação mediada por computador para a valorização da marca assenta, essencialmente, na revisão da literatura através da pesquisa bibliográfica, e num estudo de caso, que assume como procedimentos técnicos os inquéritos por entrevista, para uma primeira verificação dos pressupostos do modelo, a construção de um protótipo não-funcional de uma Central Participativa de Marca (CPM), capaz de expressar a componente tecnológica presente no modelo, e a realização de grupos focais, com o intuito de alcançar a sua validação não-experimental. O estudo de caso realizado debruça-se sobre a Universidade de Aveiro (UA) e sobre o uso e apropriação da sua marca, por parte dos membros da sua comunidade docente e não-docente. Os resultados das entrevistas exploratórias, para as quais se recorre a uma amostra por conveniência composta por entidades relevantes no que à promoção da marca da UA concerne, são combinados com os conteúdos extraídos do levantamento bibliográfico, de modo a serem contemplados tanto na aferição dos domínios de interação que informam o modelo, como na conceção do protótipo de uma plataforma de colaboração online, especificamente orientada à marca, apresentado a cinco grupos focais que neles integram a população-alvo estudada. Este estudo empírico permite uma primeira validação do modelo heurístico proposto, confirmando que a participação na cocriação de artefactos de marca tende a acontecer de forma não oficial, por falta de iniciativas organizacionais que valorizem o capital humano, e que a orientação para o uso e apropriação da marca é fundamental na concretização deste tipo de contributos, dados por indivíduos não especializados em branding, design, comunicação ou estratégia de marketing. Os resultados permitem validar ainda a configuração e a estrutura de interação propostas para o sistema subjacente ao protótipo da CPM, assim como a generalidade das suas funcionalidades, permitindo a proposta de uma heurística focada na experimentação da marca no seio organizacional. Finalmente, são identificadas linhas de investigação futura nesta área, decorrentes dos resultados alcançados e das limitações do estudo realizado.

The role of objects in creative collaborations

Objects matter when professionals collaborate to create new products. Chapter 1 explains the intention of this work, to apply theories on objects in the empirical context of fashion design. Chapter 2 addresses the question of how creative professionals learn about and use strategy tools to turn their artistic fame into a commercial success. For Chapter 3 I collected ethnographic data on the development of a seasonal collection from the idea to the presentation at Fashion Week. The result is a deep insight into the collaborative processes and material objects used when a stable team of designers works with several outside experts. Chapter 4 applies the knowledge of the role of objects in fashion design gained during the ethnography in the context of online co-creation and crowd sourced fashion items. The synthesis of the empirical studies allows me to present the conceptual leap in Chapter 5. In the theoretical essay I review the findings on the role of objects in collaborations in relation to practice theory, present the new concept of the comprehensive object and conclude by stating the possibilities for future research.

Sur les traces du virtuel : de la nature et du rôle de la dimension affective dans le processus de communication

La présente thèse rend compte de la dimension affective de la communication. Pour ce faire, l’expérience est d’abord considérée comme durée qualitative (Henri Bergson). Donc, l’expérience est mouvement. Point de départ : le mouvement comme caractéristique intrinsèque du corps qui, ainsi compris, devient un point de passage. Qu’est-ce qui le traverse? Des événements. Il se constitue par ce passage même, ce qui fait de lui un devenir-corps. Ici, toute expérience est acte de communication à son stade le plus pur. Qui est-ce qui communique? L’expérience est une occasion d’actualisation du virtuel. Il s’agit de l’actualisation d’une force virtuelle – que A. N. Whitehead appelle la forme subjective. Le sens du message est l’événement lui-même, c’est-à-dire ce qui émerge dans l’expérience (Gilles Deleuze). Non pas l’expérience subjective d’un sujet préconstitué, mais l’expérience pure, telle que définie par William James : une relationalité. Ce qui s’actualise est une tonalité affective (Whitehead), vécue comme qualité esthétique. Quels sont les facteurs constitutifs du sens? Élargissons la traditionnelle dualité sujet-objet à un complexe relationnel : nous pouvons ainsi percevoir des acteurs affectifs, perceptifs, humains et technologiques, dans un agencement qui se concrétise comme relationalité émergente. Tout événement est situé. Par conséquent, l’émergence du sens devient acte de co-création dans lequel participent les multiples facteurs qui conditionnent l’événement. Cette vision sort d’un anthropocentrisme pour concevoir l’événement lui-même comme sujet de ses propres expériences (Whitehead). De sorte que, tout comme chaque acte de communication, l’expérience des médias est aussi événement vécu. Ce dernier est incorporé par les dimensions du devenir-corps – la conscience-affective et la conscience-réflexive. Celles-ci sont si intimement interreliées qu’elles deviennent mutuellement inclusives dans l’expérience et totalement actives dans l’actualisation du sens.

COMP1205 Student Presentations Q-T

Monday 12th May Building 34 Room 3001, 10.00-12.45 Su & Rikki Presenting: Groups: Q, R, S, T Marking Groups: U, V, W, X Schedule and Topics 10.00-10.05: Introduction and protocol for the session 10.05-10.25 Group Q: Disablitites and rights – legal responsibilities 10.25-10.45 Group R: Computer Ethics, Professional bodies and accreditation 10.45-11.05 Group S: Digital divide 11.05-11.25 Group T: How the web is chaning the world: co-operation, co-creation, crowd funding and crowd sourcing 11.25-11.45: Wash-up: feedback session for presentation groups

Análisis Diagnóstico de la ecoaldea Aldeafeliz y propuesta de solución a la luz del Paradigma del Desarrollo a Escala Humana

El interés de este análisis diagnóstico es examinar, dentro de la nueva ruralidad, los niveles de calidad de vida en un tipo particular de asentamiento denominado ecoaldea. Para ello se realiza una inmersión en campo por medio de la construcción de una bitácora –etnografía-, para luego describir y analizar como se satisfacen las necesidades humanas en la ecoaldea Aldeafeliz (2006-2013) a la luz del Paradigma del Desarrollo a Escala Humana y el concepto mismo de ecoaldea, entregando a la comunidad los resultados del análisis y una metodología diseñada para la priorización de las necesidades y co-creación de sus respectivas soluciones, además de una propuesta de mejoramiento del asentamiento. Abstrayendo igualmente las lecciones replicables de esta ecoaldea en el desarrollo rural.