Differences that matter: From ‘gender’ to ‘ethnicity’ in contemporary Aotearoa New Zealand

Gender and ethnicity are recognised as two of the leading axes of marginality in late twentieth century western liberal democratic societies – the former emerged in the wake of Second Wave feminism of the 1970s and the latter, with the rise of ‘identity politics’ in the 1980s and 1990s. Both have similarities. As categories of disadvantage, their basis is ‘natural’ in that the complex webs of social and political organisation, and consequent disadvantages, based on gender or ethnicity can be traced to physiology, that is, differences in either skin colour or sex. These are also, as Nancy Fraser (1997) points out, ‘bivalent categories’ of disadvantage in that gender and ethnicity display simultaneous discriminations in areas of resource allocation (Redistribution) and as socially acceptable identities (Recognition). Here, however, the common trajectory followed by these social markers ends. Drawing on the changing nature of society and governance in New Zealand, the present paper argues that the differences between gender and ethnicity, rather than their similarities,expose fundamental attributes of contemporary marginality in increasingly diverse western democracies. This paper advances the following proposition (and contradiction): in the past decade, ethnicity and diversity as an axis of social division has gained credibility and has markedly influenced political, economic and social (re)organisation in New Zealand, while in contrast, it has proven harder to justify gender as structural disadvantage. Thus, while the boundaries of ‘gender’ are ruptured, porous and, at moments, open to erasure, ‘ethnicity’ has coalesced to become a new, valid, and increasingly relevant border of social inequity

Mediating Conflict: Al-Jazeera English and the Possibility of a Conciliatory Media

Based on a multi-country survey, examines the role of the satellite news channel in educating audiences and providing a forum for cross-cultural communications. Analyzes its impact on viewers' tolerance toward others and engagement with competing claims

Factors in human recognition of timbre lexicons generated by data clustering

Since the development of sound recording technologies, the palette of sound timbres available for music creation was extended way beyond traditional musical instruments. The organization and categorization of timbre has been a common endeavor. The availability of large databases of sound clips provides an opportunity for obtaining datadriven timbre categorizations via content-based clustering. In this article we describe an experiment aimed at understanding what factors influence the process of learning a given clustering of sound samples. We clustered a large database of short sound clips, and analyzed the success of participants in assigning sounds to the “correct” clusters after listening to a few examples of each. The results of the experiment suggest a number of relevant factors related both to the strategies followed by users and to the quality measures of the clustering solution, which can guide the design of creative applications based on audio clip clustering

Creativity and Art Education: Gaps Between Theories and Practices

Theories of creativity from different disciplines map onto teaching strategies within the fine art field. In particular, the outcomes of historical studies by psychologists and experimental studies within cognitive science have significant resonance with some long-standing methods of teaching artists. Through a series of interviews with experienced teachers of studio art in the UK university context, and analysis of written material to support teaching, this paper recognizes the need for a more systematic exploration of how creative thinking may have been embedded in the teaching of artists. We identify the presence of practical strategies, field knowledge, artistic identity, and the importance of ‘space’ within the accounts of teaching and the documents considered. We note that notions of identity and space are not clearly present within existing models of creativity, but aspects of them reflect tolerance for ambiguity. We conclude by reflecting that this space within conceptions of fine art education is a gap that needs attention and that the field that generates the creative practitioners of the future should understand creativity

Building audiences: Aboriginal and Torres Strait Islander arts

Building Audiences examines the barriers to and the strategies for increasing audiences in the Aboriginal and Torres Strait Islander arts sector. This research investigates the attitudes, beliefs and behaviours of current and potential audiences. What is in the report? The findings reveal the key barriers facing audience attendance include: uncertainty about how to behave at cultural events and fear of offending lack of awareness with audiences not actively seeking information about Indigenous arts and outdated perceptions of the sector – that it is only perceived as ‘serious or educational’. Building Audiences also considered several strategies to build audiences for Indigenous arts: providing skills development, advice and resourcing to Indigenous practitioners within the arts sector; increasing representation of Indigenous artists in the main programing of arts companies by including more Indigenous people in decision making roles; promoting relationships between Indigenous arts and non-Indigenous companies to present their work to wider audiences; introducing children and young people to Indigenous arts through schools and extracurricular activities; allowing audiences to feel comfortable engaging by creating accessible experiences; implementing long-term strategies to change negative perceptions of Indigenous arts. The project was commissioned by the Australia Council for the Arts and funding partners include Australia Council for the Arts; Faculty of Business and Law and Institute of Koorie Education, Deakin University; Melbourne Business School, The University of Melbourne