In the Culture of Service: Australian Content in TV Advertising

The role of advertising in the service of popular culture has been recognised, researched and debated in media and cultural studies for many decades. ‘National flagship’ advertising continues to evolve as an important space in which civic expectations about Australianness are represented, articulated and negotiated as part of the popular cultural life of the nation. It has been somewhat harder for this productive capacity of advertising to be captured in cultural policy settings and mobilised in the service of national culture. The Australian case is an important exception to this more general experience. But for how much longer? Recent developments in policy thinking about the Australian content requirement for TVCs suggest that the transnational culture of service is poised to claim another victory here

Animating and sustaining niche social networks

Within the communicative space online Social Network Sites (SNS) afford, Niche Social Networks Sites (NSNS) have emerged around particular geographic, demographic or topic-based communities to provide what broader SNS do not: specified and targeted content for an engaged and interested community. Drawing on a research project developed at the Queensland University of Technology in conjunction with the Australian Smart Services Cooperative Research Centre that produced an NSNS based around Adventure Travel, this paper outlines the main drivers for community creation and sustainability within NSNS. The paper asks what factors motivate users to join and stay with these sites and what, if any, common patterns can be noted in their formation. It also outlines the main barriers to online participation and content creation in NSNS, and the similarities and differences in SNS and NSNS business models. Having built a community of 100 registered members, the staywild.com.au project was a living laboratory, enabling us to document the steps taken in producing a NSNS and cultivating and retaining active contributors. The paper incorporates observational analysis of user-generated content (UGC) and user profile submissions, statistical analysis of site usage, and findings from a survey of our membership pool in noting areas of success and of failure. In drawing on our project in this way we provide a template for future iterations of NSNS initiation and development across various other social settings: not only niche communities, but also the media and advertising with which they engage and interact. Positioned within the context of online user participation and UGC research, our paper concludes with a discussion of the ways in which the tools afforded by NSNS extend earlier understandings of online ‘communities of interest’. It also outlines the relevance of our research to larger questions about the diversity of the social media ecology

Talking Turkey: Digital storytelling goes to Ankara in 2013

In the last fifteen years digital storytelling has come to stand for considerably more than a specific form of collaborative media production. It is also an international network of new media artists, creative practitioners, curators, scholars, and facilitating community media organisations. In May this year the movement will converge on Ankara, Turkey for its Fifth International Conference and Exhibition. The event will draw together key adopters, adapters and innovators in community-based methods of collaborative media production from around the world. Researchers from the Queensland University of Technology will lead a delegation that will include key players in the Australian digital storytelling movement

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 theoretically frame their use of digital storytelling as an action research platform for investigating participatory new media culture. 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

Introduction

This issue of Cultural Science emerges largely from research undertaken through the Australian Research Council Linkage project, Community Uses of Co-Creative Media. The project has sought to better understand how community arts and media networks – incorporating cultural development, heritage, arts, activist, broadcasting and Indigenous media sectors – can increase the capacity of communities to engage in participatory media culture

Kapori: Researching local responses to sorcery accusation–related violence in Papua New Guinea through Indigenous storytelling

This article explores kapori, an Indigenous form of storytelling to investigate and report experiences, motivations, responses, and challenges of sorcery accusation–related violence (SARV) by the Yuri people, a tribal group from the Papua New Guinea highlands. SARV is attributed to the belief that some people use supernatural powers to cause illness, deaths, or misfortunes to a community and, therefore, become targets of violent accusations. We outline the rationale for incorporating kapori into SARV research and discuss the findings from a storytelling workshop with 14 participants representing 13 clans of Yuri. The findings suggest that key strategies for curbing SARV include building community capacity to respond to the challenges of SARV, addressing the physical and emotional scars of SARV, and valuing collective interventions to prevent SARV. The use of kapori in this research helped to diversify, expand, and circulate Yuri narratives about SARV to support prevention strategies

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

Media mapping: Reflections on Australian and Swedish experiences with a new educational technology in media and communication studies

This paper reports on Australian and Swedish experiences in the iterative design, development, and ongoing usage of an interactive educational system we call 'Media Maps'. Like maps in general, Media Maps are usefully understood as complex cultural technologies. That is, they are not only physical objects, tools and artefacts, but also information creation and distribution technologies, the use and development of which is embedded in systems of knowledge and social meaning. Drawing upon Australian and Swedish experiences, this paper illustrates this three-layered approach to the development of media mapping. It shows how media mapping is being used to create authentic learning experiences for students preparing for work in the rapidly evolving media and communication industries. We also contextualise media mapping as a response to various challenges for curriculum and learning design in Media and Communication studies that arise from shifts in tertiary education policy in a global knowledge economy

Unsupervised segmentation of irradiation\unicode{x2010}induced order\unicode{x2010}disorder phase transitions in electron microscopy

We present a method for the unsupervised segmentation of electron microscopy images, which are powerful descriptors of materials and chemical systems. Images are oversegmented into overlapping chips, and similarity graphs are generated from embeddings extracted from a domain\unicode{x2010}pretrained convolutional neural network (CNN). The Louvain method for community detection is then applied to perform segmentation. The graph representation provides an intuitive way of presenting the relationship between chips and communities. We demonstrate our method to track irradiation\unicode{x2010}induced amorphous fronts in thin films used for catalysis and electronics. This method has potential for "on\unicode{x2010}the\unicode{x2010}fly" segmentation to guide emerging automated electron microscopes.Comment: 7 pages, 3 figures. Accepted to Machine Learning and the Physical Sciences Workshop, NeurIPS 202

Deep Learning for Automated Experimentation in Scanning Transmission Electron Microscopy

Machine learning (ML) has become critical for post-acquisition data analysis in (scanning) transmission electron microscopy, (S)TEM, imaging and spectroscopy. An emerging trend is the transition to real-time analysis and closed-loop microscope operation. The effective use of ML in electron microscopy now requires the development of strategies for microscopy-centered experiment workflow design and optimization. Here, we discuss the associated challenges with the transition to active ML, including sequential data analysis and out-of-distribution drift effects, the requirements for the edge operation, local and cloud data storage, and theory in the loop operations. Specifically, we discuss the relative contributions of human scientists and ML agents in the ideation, orchestration, and execution of experimental workflows and the need to develop universal hyper languages that can apply across multiple platforms. These considerations will collectively inform the operationalization of ML in next-generation experimentation.Comment: Review Articl