Asunto de The Orinoco steamship company limited. [Contra-alegatos del representante de Venezuela,

At head of title: Los Estados Unidos de Venezuela y los Estados Unidos de América ante el tribunal de la Corte permanente de arbitraje de la Haya constituido conforme al protocolo venezolano-americano, otorgado en Caracas á 13 de febrero de 1909.

Scott Misener Steamships Co. Ltd. Records, 1965, 1967, 1972-1977, 1987, n.d.

Ontario Editorial Bureau (O.E.B.)

Documentos contentivos de la liquidación de la Compañía de vapores del Orinoco, ordenada en el acta de la Asamblea general extraordinaria de 18 de marzo de 1908.

Cover-title.

Report to the President by the Emergency Board ... to investigate and report in respect to the dispute between the Duluth, Missabe & Iron Range Railway Co., Chicago & North Western Railway, Great Northern Railway, Minneapolis, St. Paul & Sault Ste. Marie Railway, and certain of their employees as represented by the Brotherhood of Railway and Steamship Clerks, Freight Handlers, Express, and Station Employees.

Cover title.

Representación de The Orinoco corporation á los ciudadanos ministros de relaciones interiores y de fomento de los Estados Unidos de Venezuela (marzo 28 de 1908) con motivo de la sentencía recaída en 18 de marzo de 1908 en el juicio seguido por la nación venezolana contra The Manoa co. lt. y The Orinoco co. lt.

Mode of access: Internet.

In memoriam. Memorial services in honor of James Abram Garfield ... held at sea, on the Cunard steamship "Scythia," September 26, 1881.

Mode of access: Internet.

Co-creative media : theorising digital storytelling as a platform for researching and developing participatory culture

This paper considers the question, ‘what is co-creative media, and why is it a useful idea in social media research’? The term ‘co-creative media’ is now used by Creative Industries researchers at QUT to describe their digital storytelling practices. Digital storytelling is a set of collaborative digital media production techniques that have been used to facilitate social participation in numerous Australian and international contexts. Digital storytelling has been adapted by Creative Industries researchers at QUT as a platform for researching the potential of vernacular creativity in a variety of contexts, including social inclusion of marginalized and disadvantaged groups; inclusion in public histories of narratives that might be overlooked; and articulation of voices that otherwise remain silent in the formulation of social and economic development strategies. The adaption of digital storytelling to different contexts has been shaped by the reflexive, recursive, and pragmatic requirements of action research. Amongst other things, this activity draws attention to the agency of researchers in facilitating these kinds of participatory media processes and outcomes. This discussion serves to problematise concepts of participatory media by introducing the term ‘co-creative media’ and differentiating these from other social media production practices.

Co-creating games: A co-evolutionary analysis

ABSTRACT. The phenomenon of consumer co-creation is often framed in terms of whether either economic market forces or socio-cultural non-market forces ultimately dominate. We propose an alternate model of consumer co-creation in terms of co-evolution between markets and non-markets. Our model is based on a recent ethnographic study of a massively multiplayer online game through its development, release and ultimate failure, and cast in terms of two explanatory models: multiple games and social network markets. We conclude that consumer co-creation is indeed complex, but in ways that relate to both emergent market expectations and the evolution of markets, not to the transcendence of markets.

Co-creative expertise : Auran Games and Fury - a case study

This article discusses the ways in which the relations among professional and non-professional participants in co-creative relations are being reconfigured as part of the shift from a closed industrial paradigm of expertise toward open and distributed expertise networks. This article draws on ethnographic consultancy research undertaken throughout 2007 with Auran Games, a Brisbane, Australia based games developer, to explore the co-creative relationships between professional developers and gamers. This research followed and informed Auran’s online community management and social networking strategies for Fury (http://unleashthefury.com), a massively multiplayer online game released in October 2007. This paper argues that these co-creative forms of expertise involve co-ordinating expertises through social-network markets.