Journal articles on the topic 'Creative ability in technology – Cross-cultural studies'

Purpose: This article examines affective technology to understand the significance of creative labour in Indonesia multinational oil and gas companies in the city of Balikpapan, East Kalimantan. Methodology: The data is gathered from desk studies by reviewing policies, monographs, and printed documents, and ethnographic observations to understand the social and cultural context. Main findings: We identified two types of affective technologies created by creative labours: the visual simulation to create new subjects and visual efforts to forge corporate reputation. They are important in helping in the production of subjects and the value of corporate branding. Practical Implications: This study shows the need for extractive industries to pay more detail in providing safety instructions for their employees. Creative workers can be the right agents to compose effective messages with their ability to touch the affective side of employees through the works they produce. Social Implications: The creative workers are increasing in number; however, their nature of work which is mainly based on gigs is somewhat vulnerable in developing countries like Indonesia. Closer cooperation with the big industries will be favorable for them with the hope that in return they will come up with some products to strengthen the companies' social responsibility. The novelty of study: While previous studies have rarely underlined the interplay between creative work and extractive industries, this article provides insight into affective technology within the context of extractive industries.

Purpose This paper aims to contribute to the emerging discussion on the contextualization of knowledge-oriented research by examining the universality of knowledge management (KM) practices. Knowledge is a firm’s most valuable resource, and KM, or the ability to leverage knowledge resources, constitutes the base for the firm’s competitive advantages. Design/methodology/approach A theorized ten-fold conceptualization of KM practices is tested on a sample of 622 firms from four countries (Finland, Spain, China and Russia). Confirmatory factor analysis and principal component analysis are used to test the applicability of the concept in various country contexts. Findings The findings provide interesting evidence of variation in the managerial assessment of KM practices among countries. This shows that KM practices are socially embedded phenomena, affected by the managers’ institutional and cultural contexts. Research limitations/implications Researchers and managers are advised to be mindful of the differences in terms of KM practices between the studied countries and to display a certain cultural sensitivity when approaching KM. Originality/value The paper is the first to examine the managerially assessed structure of KM practices in a cross-country context with multi-firm datasets. The results will help to determine the similarity of KM practices in four economically and culturally distinct countries. It also adds to the discussion about the potential national peculiarities of KM and provides a novel concept of KM practices, which is tested in a cross-national context. Thus, this study provides an outline for future KM studies and increases managerial understanding about the variety of value-creating KM practices.

Aim/Purpose: In this study, the authors examine how an online word processing tool can be used to encourage participation among students of different language back-grounds, including English Language Learners. To be exact, the paper discusses whether student participation in anonymous collaborative writing via Google Docs can lead to more successful products in a linguistically diverse eighth-grade English Language Arts classroom. Background: English Language Learners (ELLs) make up a considerable portion of elementary and secondary public school students, as language and ethnic diversity has become the norm in the United States. The research literature finds that ELLs are statistically behind their monolingual peers on such key language and academic development indicators as writing. Educators and researchers then turn to collaborative writing with the assistance of online technology. Although it is shown in literature to be a worthwhile endeavor for students of all ages and ability levels, no studies have investigated the differences it makes, namely, in comparison to traditional face-to-face collaboration in the classroom, and to anonymous online collaboration in the virtual space. Methodology: Through face-to-face, online, and anonymous writing activities, a rubric, and a survey, this quantitative study asks if anonymous collaborative writing, com-pared to other modalities, equalizes participation among students of varying language fluencies, and if anonymous collaborative writing, compared to other modalities, affect student comfort levels. Contribution: This builds on research of online collaborative writing tools and suggests that using such tools (Google Docs in particular) is beneficial, especially for students who are building their language abilities. The study further reveals varied degree of success and student comfort level in participating writing tasks in three modalities. Findings: We ascertain that students of varying language fluencies participated more equally when they were able to remain anonymous. Face-to-face writing exhibited the highest overall scores, and students enjoyed working on Google Docs. Recommendations for Practitioners: Future and current teachers are encouraged to be open to new technologies and be creative in the use of technology to facilitate student learning. They should have the opportunity to participate in the discussion on how, not if, integrating technology impacts the cognitive, social, and cultural dimensions of teaching. Recommendation for Researchers: After this initial quantitative study on students’ reactions to various modalities of technology-supported writing formats, the next questions to ask may be how students were engaging in dialogues during face-to-face sessions or chat features of Google Docs trials, and what types of edits students are making. Researchers should turn their focus on secondary school classrooms where there is an increasing impact of technology-assisted collaborative writing on student learning and teaching pedagogy. Impact on Society: As online technology has become an integral part of daily life, it is beneficial to educators, policy makers, and classroom teachers to understand how technology can be integrated in writing programs and to what extent the integration can help boost student motivation and participation. Future Research: More longitudinal research on online assisted collaborative writing and addi-tional quantitative data are needed to further understand the complexities of the writing process in-group online writing and the nature of collaboration.

Abstract A comparison of the behaviors of two creative populations operating within cross-media environments in the United States and Australia tests the comparative effect of the two nations' legal environments on the range of creative expression and on costs of production in increasingly digitized production processes. The U.S. creators have access to the flexible and expansive exception of fair use, while Australian creators' ability to use third-party copyrighted content are far more constrained. While availability of copyright exceptions plays a crucial role, other factors including demographics, disciplinary norms, and social inequality may also be important in creative practices and professions.

In recent decades, within the boundaries of postclassical culture, the concept of “event”, which has long been actively used both in everyday life and in scientific discourse, acquires new meanings and is realized in innovative forms. In this regard, it becomes necessary to highlight an “artistic event” as a cultural creative technology, which is becoming widespread in the development of postclassical culture, and study the role of “special artistic event” in the modern process of functioning of global and local cultures. Objectives. The aim of the article is to conceptualize events in the artistic and empirical reality and identify the conditions of their convergence. Research methodology. The author applies the method of terminological analysis for the insight into the concept of “event” in the empirical and artistic reality. The article provides a detailed application of philosophical and culturological method whereby the event is seen as sociocultural phenomenon; psychoanalytical method for the analysis of the impact of life events on the emotional state of a man; the methods of analysis and synthesis to determine the existence conditions of the events in the empirical and artistic reality; structural and comparative method that has permitted to reveal the basic elements in the structure of an artistic event and its difference from an empirical event. Results. The development trends of artistic practices in the post-classical culture convey the blending of the mundane and the social, cultural plan, the destruction of boundaries between the life and the artistic, the ability to create the events that can be classified both as empirical evidence and as an artistic act. All these properties are included in actionism as a form of modern art. The events that are created within this trend have the character of artistic events: the organization of action, the presence of the author, ideological content, focus on the target audience, publicity. At the same time such an event occurs in the empirical reality of an object (objects) that it is designed to. Such an event affects a human being (society) very seriously, introducing new concepts (ideas, images) into the outlook. These effects can be both positive and negative, aesthetic as well as anti-aesthetic. A classification of events according to the level of subjectivity has been developed, which includes such concepts as “micro-event”, “event”, “special event” and “special artistic event”. In any case, a person that perceives a creative product of actionism experiences life events that affect and sometimes change his mental nature, behaviour, emotional state. The author of such event can be any person who needs and has a desire to introduce the idea into the socio-cultural environment. “Micro-event” is a familiar action to an individual. It develops the course of everyday life and does not require the analysis and the search for interpretations. Micro-events occur as a result of natural changes that are logical in the given circumstances of human actions, which are part of the framework of everyday existence. “Event” is an act, as the result of which a person experiences changes in his/ her internal and external environment. The result of the event is always a change in the internal state, the break up, forming new views, gaining new knowledge. “Special event” is an action organized for the purpose of achieving certain goals through direct influence on the subject’s consciousness. A “special event” always has a specific initiator and a certain level of organization, that is, it cannot happen by chance, even if the subject perceives it in such a way. An individual can be both the author of a “special event” and the subject on which it is directed. In the latter case, it can be said that a “special event” has occurred if there has been an internal process of comprehension and certain indoctrination, characteristic of the “event” in general. That is, the mechanism of human perception of a random natural “event” or deterministic by another individual remains unchanged. “Special artistic event” is an action organized for the purpose of achieving certain goals, through the direct influence on the subject’s consciousness using artistic methods. The purpose of creating a “special artistic event” is to unite groups of people, introduce new ones and maintain the conventional value paradigms during a certain action. That is, a “special artistic event” cannot be organized solely for aesthetic reasons, cannot represent value in and of itself, in the isolation from the information and emotional innate content. “Special artistic events” contain significant creative potential; they can be used as an instrument for developing a dialogue between social and cultural groups, for the creation of united global communities based on common axiological guidelines. Conclusions. The reason for the rapid spread of ideas embodied in “special artistic events” is the principle of an action, based on an emotional rather than rational piece of information. Symbolic, nonverbal elucidation of the ideological component is the most productive tool for influencing and interrelating with broad audiences. Since “special artistic events” are now a powerful, effective tool for advancing ideas and forming values, it is important to use their potential for designing and introducing into the culture of socially significant values and paradigms. Their scope extends to the entire field of culture: the author confirms this fact by considering the most important aspects of socio-cultural life, in which “special artistic events” are realized. The dominant feature that distinguishes a “special event” from a “special artistic event” is the artistic and symbolic component, the presence of which indicates the relation of the latter to artistic reality, at the same time it has synchronous unfolding in the everyday reality. Novelty. An attempt is made at identifying the differences of events in the empirical and artistic reality and considering the aspects of their convergence in terms of the post-classical culture. The practical significance. The obtained results make it possible to establish the basis for further reflection of the concept “event”. The findings in this paper can be used in pedagogical and educational practice while preparing the general and specialized courses in cultural studies, art criticism, directing mass festivals.

PurposeThe purpose of this study is to explore the role of continuous learning and the mitigation or elimination of knowledge barriers affecting information technology (IT) assimilation in the health-care sector. Most of the problems with IT assimilations stem from a poor understanding of the nature of suitable information, the lack of trust, cultural differences, the lack of appropriate training and hierarchical bureaucratic structures and procedures. To overcome these barriers, this study provides evidence that a continuous learning process can play a part in overcoming some of the obstacles to the assimilation of IT.Design/methodology/approachThis study investigates how a continuous learning environment can counteract the presence of knowledge barriers, and, along with such an environment, can, in turn, facilitate IT assimilation. The study uses ADANCO 2.0.1 Professional for Windows and involves the collection and analysis of data provided by 210 health-care end users.FindingsThe study provides evidence in support of the proposition that continuous learning may facilitate the assimilation of IT by health-care end users through the mitigation of knowledge barriers (e.g. lack of trust or resistance to change). The mitigation of these barriers requires the gathering and utilization of new knowledge and knowledge structures. The results support the hypothesis that one way in which this can be achieved is through continuous learning (i.e. through assessing the situation, consulting experts, seeking feedback and tracking progress).Research limitations/implicationsA limitation of the study is the relatively simple statistical method that has been used for the analysis. However, the results provided here will serve as a preliminary basis for more sophisticated analysis which is currently underway.Practical implicationsThe study provides useful insights into ways of using continuous learning to facilitate IT assimilation by end users in the health-care domain. This can be of use to hospitals seeking to implement end user IT technologies and, in particular, telemedicine technologies. It can also be used to develop awareness of knowledge barriers and possible approaches to mitigate the effects of such barriers. Such an awareness can assist hospital staff in finding creative solutions for using technology tools. This potentially augments the ability of hospital staff to work with patients and carers, encouraging them to take initiative (make choices and solve problems relevant to them). This, in turn, allows hospitals to avoid negative and thus de-motivating experiences involving themselves and their end users (patients) and improving IT assimilation. This is liable to lead to improved morale and improved assimilation of IT by end users (patients).Social implicationsAs ICT systems and services should entail participation of a wide range of users, developers and stakeholders, including medical doctors, nurses, social workers, patients and programmers and interaction designers, the study provides useful social implication for health management and people well-being.Originality/valueThe paper contributes to a better understanding of the nature and impacts of continuous learning. Although previous studies in the field of knowledge management have shown that knowledge management procedures and routines can provide support to IT assimilation, few studies, if any, have explored the relationship between continuous learning and IT assimilation with particular emphasis on knowledge barriers in the health-care domain.

PurposeThe aim of this paper is to explore how small and medium enterprises (SMEs) in Taiwan employ technology to participate in global supply chains so as to respond to the Fourth Industrial Revolution.Design/methodology/approachThis study chose four small to medium textile SMEs using qualitative exploratory multiple case studies to examine their participation in the global value chain (GVC) and under the context of Industry 4.0.FindingsThis study proffered a strategic model for the innovative integration of textile manufacturing companies and cultural content industry into the global market. The results identified four types of cross-disciplinary value creation strategies by Industry 4.0-driven technology and cultural content infusion: enhancing digital product display capabilities, integrating cultural content design and online marketing, creative brand marketing with cyber-physical channel integration and emotional marketing incorporated with smart services.Originality/valueThe author proposed the following cross-disciplinary value creation strategies for clothing SMEs in Taiwan: (1) enhancing digital product display capabilities, (2) integrating cultural content design and online marketing, (3) creative brand marketing with cyber-physical integration and (4) emotional marketing incorporated with smart services. Using these strategies, SMEs can incorporate cultural and lifestyle aspects into products and services and embed themselves in the global marketing links of GVCs.

Abstract Terrestrial laser scanning (TLS) technology is increasingly used in surveying, construction and architecture. The potential of the data obtained by this method creates the possibility of its versatile application also in conservation and revitalization of monuments, archaeology or history. The use of this technology during the creation of architectural documentation of a historic building greatly facilitates the acquisition of comprehensive information about its actual condition in a fast, non-invasive and very precise manner. Thanks to digital technology, it also creates the possibility to accurately interpret the condition of an object and present its model in a virtual space. This technology provides the ability to transfer acquired image elements with high accuracy of their mapping to plans and designs prepared by architects and contractors. It is also possible to maintain high technical standards in the processes aimed at the preparation of the required graphical studies, thanks to the use of the point cloud obtained in TLS. One of the most important advantages of using this measurement method is the possibility of combining it with data from e. g. from photogrammetric tools, which gives the possibility to fill in the missing elements creating a more complete picture of the needed data. This paper presents the implementation of terrestrial laser scanning technology as a non-invasive method for the modelling of walls and buildings of the so-called “greenfield”. Revers BIM on the example of the measurement of the facades of the buildings of the old market in Jarosław. This technology allows for preparation of precise architectural documentation including: projections, sections, elevation views, 3D models or multimedia visualizations. The use of TLS for cultural heritage research also enables the preparation of fully complete documentation for conservation and restoration works aimed at maintaining the current state of monuments or even at reconstructing their damaged architectural elements.

Cultural intelligence (CQ), defined as ‘an individual’s ability to be effective in situations characterized by cultural diversity’ (Ang, Van Dyne, 2008), can be developed and strengthened through experience, education and training. For a number of years, research on cultural intelligence has found important and recurring results for individuals with higher levels of CQ: better cross-cultural adjustment, improved job performance and enhanced personal well-being. More recent works have focused on the relation between cultural intelligence, creativity and innovation, opening new horizons for studies in the field. In light of these recent developments, the paper explores the link between cultural intelligence and creativity in a specific context: a program for American college students doing their traineeship in Rome, Italy. The research is based on the analysis of field journals written by trainees. While reading and coding them, we looked for ‘proofs’ of divergent and critical thinking, assuming, based on a literature review, that they are important components of the creative process. Results show that divergent and critical thinking are consistently present in the journals written by trainees who have been positively assessed by their academic tutors and placement supervisors. Critical and divergent thinking, and subsequently creativity, are likely to be higher among individuals who demonstrate interest and openness to the new culture they encounter and are capable not only to describe it, but also to compare it with their own. This re-confirms the importance of cross cultural training to enhance the learning outcomes of a traineeship abroad.

The vulnerability of the moral crisis that occurs in millennial children has led to numerous irregularities such as rape, taurine, extortion, bullying and other negative forms of violence. These changes occur due to globalization and the increasing development of technology, thereby leading to deviant behaviours amongst children. Therefore, character education based on Ethno pedagogy in Islamic basic education institutions is important due to its ability to reduce the impact of negative behaviours on primary-age children. The purpose of this research is to describe the meaning of Ethno pedagogy of MIN 1 Sambas in applying local cultural values. This research uses a naturalistic phenomenology approach through participant observation, interview, and documentation techniques with primary data obtained from students, teachers, parents, and community leaders. The results showed the importance of integrating the self-development program of students based on Ethno pedagogy of Melayu Sambas, familiar with fostering character education in creating local cultures such as the Sambas Malay language. Furthermore, ethnology tends to foster a religious character in the millennial generation, namely religious character, such as the attitudes and behaviour of priests and taqwa applied in everyday life.

This article analyzes Spotify as a media company that operates at the intersection of advertising, technology, music, and finance. In doing so, this article contributes to media industry studies as a field that investigates the relation between various industrial and economic actors. Given that the media industries, as any other industry, can be defined as a set of markets, one of which is the leading market, and to which other markets are auxiliary, the question asked is what market is leading in the case of Spotify. What the article describes as the “Spotify effect” is the company’s ability to fold markets into each other: to make disappear an aggressive financial growth strategy and business set-up based on ad tech engineering by creating an aura of Nordic cool and public benefit around its use of music. Spotify’s financial strategy has implications for the digital distribution of cultural content more generally.

Purpose Though there is broad agreement on the beneficial impact of diversity in management and leadership roles, much of the innovative capacity of an organization is realized at the unit level in working teams. Recent research points to cultural diversity having an especially significant impact on innovation team performance. The reports also highlight the need for the optimal team operating principles to derive maximum benefit. To prepare such innovation teams for success, it is valuable to understand the dynamics of team diversity at the project level and the underlying barriers and opportunities presented. Design/methodology/approach This paper reviews the literature and case studies on cultural inputs to ideation and innovation, assessing team diversity through readily available instruments and the deployment of the science of team science (SciTS) principles in innovation teams. Findings The key learnings include the importance of establishing communication standards, SciTS principles, team assessment of thinking styles and the utility of cultural awareness instruments. Practical implications Diversity provides a creative advantage for innovation teams. However, team dynamics play an important role in maximizing these advantages, and cross-cultural competence of team members is required. Deployment of appropriate assessment tools and team methodologies enhances the likelihood of successful outcomes including in remote team settings. Originality/value Literature from diverse functional areas is summarized including the science of team science, organizational management, diversity and inclusion methodologies and ethnocultural dynamics. It provides pointers for the optimal formation and operating principles with highly culturally diverse teams.

A growing body of literature addressing the need for educational innovations has also stressed the value of interdisciplinary approaches that incorporate art into teaching and learning. This paper aims to extend educators’ understanding of art–science interactions by presenting an empirical study that explores a unique art residency program created on the campus of a university that specializes in science and technology. The study reviews the art practices of three contemporary artists who participated in a program developed in conjunction with an interdisciplinary research project seeking ways to build an ecologically sustainable community and operated by a renewable energy resource-based economic system. Data that include observations, artist talks, and in-person interviews were collected from multiple sources during the residency to understand the distinguished processes involved in the development of individual art projects. A follow-up cross-case analysis revealed a few notable characteristics: connecting art with life through waste recycling, process-oriented practices highlighting resource circulation, and creating value using bricolage strategies. Regarding educational implications, discussions centered upon the potential transformational space identified from the creative art practices in the context of interdisciplinary research.

This research examines the links between national culture, entrepreneurship, networks and innovation. Both networking and entrepreneurship are seen as central to the innovative capacity of smaller firms. At the same time, the cultural environment in which such firms operate will influence the ability of entrepreneurs to develop new products and processes. We consider these problems by examining five SMEs in the United Kingdom (UK) and five in Portugal. All 10 companies are manufacturing-based and operate in "traditional" (low-technology) sectors. The case studies are utilised as a means of identifying the problems confronting owner/managers in such companies as they try to access newer technologies. We conclude that Portuguese managers are less likely to have been exposed to management education and tend to place greater reliance on family members for creating networks. Hence the options for innovation tend to be much narrower than small firms in the UK.

Job transfers within the country can lead to adjustment issues, similar to what expatriates face, especially in the case of highly diverse countries, where a host of sub-cultures exist with distinct cultural practices within a single national culture. Intra-national variations in terms of language, ethnicity, food, clothing, economic development, geographic regions or urban-rural differences can be as significant as cross-cultural differences and cause barriers to social integration. Thus, it becomes important to equip employees with cross-cultural capabilities when they are deployed to a culturally distinct part of the country. The purpose of this study is to investigate the role of cultural intelligence (CQ) as a critical capability that can enable the cross-cultural adjustment (CCA) of employees in a domestic context. Participants of this study consisted of employees from the information technology sector of India, who were transferred to a different state within the country in the past 1-month. They were further categorized into those working in culturally homogenous versus heterogeneous environments. Data were gathered using a structured questionnaire. The hypotheses under study were tested using structural equation modeling. The results indicated that CQ enabled the adjustment of employees within the domestic context. Furthermore, the CQ-CCA relationship was found to be positively moderated by intra-national diversity. While the ability of CQ to predict outcomes in cross-cultural scenarios has already been explored in employee mobility literature, this paper addresses the issues of intra-national diversity and domestic adjustment within the CQ framework, and establishes the usefulness of CQ to overcome the challenges put forth by intra-national differences and within-country cultural variations.

In the new issue, our scientific journal offers you thirteen scientific articles. As always, we try to offer a wide variety of topics and areas and follow current trends in the history of science and technology. In the article by Olha Chumachenko, оn the basis of a wide base of sources, the article highlights and analyzes the development of research work of aircraft engine companies in Zaporizhzhia during the 1970s. The existence of a single system of functioning of the Zaporizhzhia production association “Motorobudivnyk” (now the Public Joint Stock Company “Motor Sich”) and the Zaporizhzhia Machine-Building Design Bureau “Progress” (now the State Enterprise “Ivchenko – Progress”) has been taken into account. Leonid Griffen and Nadiia Ryzheva present their vision of the essence of technology as a socio-historical phenomenon. The article reveals the authors' vision of the essence of the technology as a sociohistorical phenomenon. It is based on the idea that technology is not only a set of technical devices but a segment of the general system – a society – located between a social medium and its natural surroundings in the form of a peculiar social technosphere, which simultaneously separates and connects them. Definitely the article by Denis Kislov, which examines the period from the end of the XVII century to the beginning of the XIX century, is also of interest, when on the basis of deep philosophical concepts, a new vision of the development of statehood and human values raised. At this time, a certain re-thinking of the management and communication ideas of Antiquity and the Renaissance took place, which outlined the main promising trends in the statehood evolution, which to one degree or another were embodied in practice in the 19th and 20th centuries. A systematic approach and a comparative analysis of the causes and consequences of those years’ achievements for the present and the immediate future of the 21st century served as the methodological basis for a comprehensive review of the studies of that period. The article by Serhii Paliienko is devoted to an exploration of archaeological theory issues at the Institute of archaeology AS UkrSSR in the 1960s. This period is one of the worst studied in the history of Soviet archaeology. But it was the time when in the USSR archaeological researches reached the summit, quantitative methods and methods of natural sciences were applied and interest in theoretical issues had grown in archaeology. Now there are a lot of publications dedicated to theoretical discussions between archaeologists from Leningrad but the same researches about Kyiv scholars are still unknown The legacy of St. Luke in medical science, authors from Greece - this study aims to highlight key elements of the life of Valentyn Feliksovych Voino-Yasenetskyi and his scientific contribution to medicine. Among the scientists of European greatness, who at the turn of the XIX and XX centuries showed interest to the folklore of Galicia (Halychyna) and Galician Ukrainians, contributed to their national and cultural revival, one of the leading places is occupied by the outstanding Ukrainian scientist Ivan Verkhratskyi. He was both naturalist and philologist, as well as folklorist and ethnographer, organizer of scientific work, publisher and popularizer of Ukrainian literature, translator, publicist and famous public figure. I. H. Verkhratskyi was also an outstanding researcher of plants and animals of Eastern Galicia, a connoisseur of insects, especially butterflies, the author of the first school textbooks on natural science written in Ukrainian. A new emerging field that has seen the application of the drone technology is the healthcare sector. Over the years, the health sector has increasingly relied on the device for timely transportation of essential articles across the globe. Since its introduction in health, scholars have attempted to address the impact of drones on healthcare across Africa and the world at large. Among other things, it has been reported by scholars that the device has the ability to overcome the menace of weather constraints, inadequate personnel and inaccessible roads within the healthcare sector. This notwithstanding, data on drones and drone application in Ghana and her healthcare sector in particular appears to be little within the drone literature. Also, little attempt has been made by scholars to highlight the use of drones in African countries. By using a narrative review approach, the current study attempts to address the gap above. By this approach, a thorough literature search was performed to locate and assess scientific materials involving the application of drones in the military field and in the medical systems of Africans and Ghanaians in particular. The paper by Artemii Bernatskyi and Vladyslav Khaskin is devoted to the analysis of the history of the laser creation as one of the greatest technical inventions of the 20th century. This paper focuses on establishing a relation between the periodization of the stages of creation and implementation of certain types of lasers, with their influence on the invention of certain types of equipment and industrial technologies for processing the materials, the development of certain branches of the economy, and scientific-technological progress as a whole. The paper discusses the stages of: invention of the first laser; creation of the first commercial lasers; development of the first applications of lasers in industrial technologies for processing the materials. Special attention is paid to the “patent wars” that accompanied different stages of the creation of lasers. A comparative analysis of the market development for laser technology from the stage of creation to the present has been carried out. Nineteenth-century world exhibitions were platforms to demonstrate technical and technological changes that witnessed the modernization and industrialization of the world. World exhibitions have contributed to the promotion of new inventions and the popularization of already known, as well as the emergence of art objects of world importance. One of the most important world events at the turn of the century was the 1900 World's Fair in Paris. Thus, the author has tried to analyze the participation of representatives of the sugar industry in the World's Fair in 1900 and to define the role of exhibitions as indicators of economic development, to show the importance and influence of private entrepreneurs, especially from Ukraine, on the sugar industry and international contacts. The article by Viktor Verhunov highlights the life and creative path of the outstanding domestic scientist, theorist, methodologist and practitioner of agricultural engineering K. G. Schindler, associated with the formation of agricultural mechanics in Ukraine. The methodological foundation of the research is the principles of historicism, scientific nature and objectivity in reproducing the phenomena of the past based on the complex use of general scientific, special, interdisciplinary methods. For the first time a number of documents from Russian and Ukrainian archives, which reflect some facts of the professional biography of the scientist, were introduced into scientific circulation. The authors from Kremenchuk National University named after Mykhailo Ostrohradskyi presented a fascinating study of a bayonet fragment with severe damages of metal found in the city Kremenchuk (Ukraine) in one of the canals on the outskirts of the city, near the Dnipro River. Theoretical research to study blade weapons of the World War I period and the typology of the bayonets of that period, which made it possible to put forward an assumption about the possible identification of the object as a modified bayonet to the Mauser rifle has been carried out. Metal science expert examination was based on X-ray fluorescence spectrometry to determine the concentration of elements in the sample from the cleaned part of the blade. In the article by Mykola Ruban and Vadym Ponomarenko on the basis of the complex analysis of sources and scientific literature the attempt to investigate historical circumstances of development and construction of shunting electric locomotives at the Dnipropetrovsk electric locomotive plant has been made. The next scientific article continues the series of publications devoted to the assessment of activities of the heads of the Ministry of Railways of the Russian Empire. In this article, the authors have attempted to systematize and analyze historical data on the activities of Klavdii Semyonovych Nemeshaev as the Minister of Railways of the Russian Empire. The article also assesses the development and construction of railway network in the Russian Empire during Nemeshaev's office, in particular, of the Amur Line and Moscow Encircle Railway, as well as the increase in the capacity of the Trans-Siberian Railway. The article discusses K. S. Nemeshaev's contribution to the development of technology and the introduction of a new type of freight steam locomotive for state-owned railways. We hope that everyone will find interesting useful information in the new issue. And, of course, we welcome your new submissions.

The article presents a review of studies on the problem of professional self-determination in adolescence in the aspect of the development of future professionalism, based on the specifics of the laws of age development, which expands the traditional sociological, sociopsychological and differential psychological representations accepted in the literature. Cross-cultural and ethno-cultural differences in the development of professional self-determination are considered. Particular attention is paid to the analysis of the prerequisites for the development of the components of such a megastructure of professional maturity as career adaptability, defined as the ability to respond flexibly to dynamically changing requirements and conditions of professional activity, using psychological resources of self-development. It is shown that in the transition from adolescence to youth, adaptability to a career means a balance between interest in a future profession and a realization of the realism of the realization of professional expectations through awareness of their resources and capabilities. In the framework of the Social Cognitive Theory of Professional Development (SCCT), the analysis of complex systems and the social interaction, the concept of strong and weak ties, nonspecific and specific influence, the article discusses the role of sociocognitive and creative factors as mediators which until now have been little studied in relation to the process of professional self-determination in adolescence and young age. The studies revealed the influence of social intelligence on the interest of adolescents and youths in the subject content and social status of the future profession and in interpersonal professional culture. Also, there is a correlation between social intelligence and the second component of the “career adaptability” mega-structure, such as curiosity and orientation in the requirements of the profession, professional expectations (career curiosity). Modern research shows a significant correlation between creativity and the first component (career concern) — planning your own professional future, especially in the early stages of professional self-determination.

The article deals with the problem of cultural identity in mastering a foreign language by adult students during the lifelong learning process. It reveals the meaning of the terms “self-identity”, “self-identification”, “cultural identification”. The problems of forming students’ intercultural competence, a deep view of their native culture, and awareness of their own ethno-cultural identity are discussed. The article reveals the potential of the discipline “Foreign Language” for the development of cultural identity, defines the role of linguistic education in enriching the individual picture of the world of students in the comparative context of different cultures. Recommendations on the organization of the pedagogical process in line with the current trends of the Federal Project “Education” are offered. The article highlights the stages of teaching foreign languages within the framework of the intercultural paradigm. According to the authors, cognitive-intellectual, emotional and behavioral components should be included in the educational process aimed at developing cultural self-identity. The authors consider the development of cultural self-identity of adults as a basic principle of continuous self-education. For the purpose of its practical implementation, cross-cultural trainings are used, namely, the creation of communicative situations, role-playing game, webinar, coworking and project. The development of distance education makes it possible to successfully implement webinars in the educational process, which make it possible to reach a wide audience and attract native speakers more easily. The co-working technology helps to create a creative atmosphere, quickly helps participants establish contact and establish friendships. The project activity allows one to thoroughly work out and analyze a specific task, search for conditions and methods aimed at achieving a practical result. The authors conducted experimental training in two blocks at Nizhny Novgorod Dobrolyubov State Linguistic University and OJSC “GAZ” in order to test the possibility of using various cross-cultural trainings for the formation and development of self-identity of adults when they master a foreign language. The results were evaluated by tests on the skills and abilities of cross-cultural communication, as well as a questionnaire of the audience’s evaluation of their ability to enter into intercultural interaction and develop self-identity. Thus, the authors come to the conclusion that mastering a foreign language from the point of view of the development of cultural identity of adults should be built on a contrast-comparative basis using various cross-cultural trainings that include materials of a comparative nature.

Background Numerous instruments are designed to measure digital literacy among the general population. However, few studies have assessed the use and appropriateness of these measurements for older populations. Objective This systematic review aims to identify and critically appraise studies assessing digital literacy among older adults and to evaluate how digital literacy instruments used in existing studies address the elements of age-appropriate digital literacy using the European Commission’s Digital Competence (DigComp) Framework. Methods Electronic databases were searched for studies using validated instruments to assess digital literacy among older adults. The quality of all included studies was evaluated using the Crowe Critical Appraisal Tool (CCAT). Instruments were assessed according to their ability to incorporate the competence areas of digital literacy as defined by the DigComp Framework: (1) information and data literacy, (2) communication and collaboration, (3) digital content creation, (4) safety, and (5) problem-solving ability, or attitudes toward information and communication technology use. Results Searches yielded 1561 studies, of which 27 studies (17 cross-sectional, 2 before and after, 2 randomized controlled trials, 1 longitudinal, and 1 mixed methods) were included in the final analysis. Studies were conducted in the United States (18/27), Germany (3/27), China (1/27), Italy (1/27), Sweden (1/27), Canada (1/27), Iran (1/27), and Bangladesh (1/27). Studies mostly defined older adults as aged ≥50 years (10/27) or ≥60 years (8/27). Overall, the eHealth Literacy Scale (eHEALS) was the most frequently used instrument measuring digital literacy among older adults (16/27, 59%). Scores on the CCAT ranged from 34 (34/40, 85%) to 40 (40/40, 100%). Most instruments measured 1 or 2 of the DigComp Framework’s elements, but the Mobile Device Proficiency Questionnaire (MDPQ) measured all 5 elements, including “digital content creation” and “safety.” Conclusions The current digital literacy assessment instruments targeting older adults have both strengths and weaknesses, relative to their study design, administration method, and ease of use. Certain instrument modalities like the MDPQ are more generalizable and inclusive and thus, favorable for measuring the digital literacy of older adults. More studies focusing on the suitability of such instruments for older populations are warranted, especially for areas like “digital content creation” and “safety” that currently lack assessment. Evidence-based discussions regarding the implications of digitalization for the treatment of older adults and how health care professionals may benefit from this phenomenon are encouraged.

AbstractThe article deals with the problem of conceptual aspects of professional training for English language teachers in the UK. It is found that many curricula of British universities are based on the technology and procedure of exclusively professional training of future specialists, whereas general scientific and additional intellectual training is incorporated into extracurricular activities as proved by the ratio of study time allocated to different courses. Humanities and social sciences courses provide students with fundamental knowledge and the ability to navigate in the ever-growing volume of scientific knowledge, possibility and knowledge of social interaction. General professional and specialist courses cultivate professional mastery of future specialists and the ability to express, if necessary, professional mobility. It is clarified that English is a broad subject, which comprises three complementary elements studied either separately or combined. They are the following: English Literature (interpretation and analysis of literary texts and study of the history and theory of literature), English Language (the study of spoken, written and multimodal communication, their historical development and their distinctive levels of analysis: phonology, grammar and lexis) and creative writing (the practice of writing, the study of the literary and cultural contexts of writing and the exploration of the relationships that writing generates between writer, publisher, text and audience). It is concluded that professional training of English language teachers in the UK is based on conceptual aspects of such principles as neobehaviourism, liberalism, progressivism, social reconstructivism, cognitivism and humanism.

Internet access provides a number of ways to read, share, and discuss politics. However, the political benefits from technology are most likely afforded to those with greater Internet skill, political interest, and education. This study used nationally representative cross-sectional survey data collected during the 2016 U.S. general election to investigate two online news behaviors. Guided by research on digital inequalities, the opportunities–motivation–ability framework, and communication gaps, we found that Internet skill and political interest, but not education, are related to greater online news reading and sharing. We also found conditional relationships between Internet skill and online news behaviors that were moderated by political interest and education. Skill-based digital inequalities in online news behaviors are exacerbated for those with greater political interest, but the gap is reduced for those with less education. We discuss the threat and opportunity that a digital skill communication gap poses for online citizen engagement.

In the article, modern advertising is studied as a result of the interaction of cultural and economic features of postmodern society, which determines all the components of the advertising product, its new functions and goals, among which such an important strategic asset as a brand acquires importance in the economy of impressions. Postmodern techniques in modern advertising are considered. Methods of postmodern advertising are analyzed on the example of “white” brands: jeans “Levis” and sneakers “Nike”. Conclusions are made about the effectiveness and popularity of non-traditional advertising content, as well as about its understanding and acceptance by the modern user under the condition of quality performance. Postmodern advertising in recent years has begun to receive the status of a special direction in this area, which has its own style, language, image system, methodology and philosophy, tools and technology. In general, postmodern advertising can be described as a type of advertising activity that uses the principles of postmodernism. Postmodern advertising departs from the usual single-vector images, unambiguous meanings and increasingly-from the direct display of the real object, which is devoted to the advertising campaign. A possible consumer of the product is attracted to a game that can intrigue him and give him the opportunity to test his own creative abilities, the ability to think associatively, IQ, etc.

Art shop in Tegallalang is one of the businesses that were built by the community with a small capital as well as the livelihoods of local communities. The expansion of the art shop in Tegallalang causing the large number of tourists visiting Tegallalang, it is also supported by the presence of a tourism destination with the beauty of rice fields across the village that is known for its slender stones. This research uses qualitative descriptive method, i.e. by doing interviews, observation, documentation, library studies and questionnaires. The technique of determination of informants used is purposive sampling technique and determination of the sample using the quota sampling and accidental sampling. The result of this study show a marketing strategy that can be used by traders to face competition that is creating cultural tourism atttractions activities, introducing product manufacturing techniques to consumer, improving the ability in technologi, providing parking lots and transit places, providing facilities that can facilitate employes in work, improving quality or multiplaying product models, working with other in buying raw materials, make arrangement of prices agreement with other art shop and angage in English training. Keywords: Businesses, local Art shop, marketing strategies, and competitiveness

This paper examines prosthetic technology in the context of posthumanism and disability studies. The following research discusses the posthuman subject in contemporary times, focusing on prosthetic applications to deliberate how the disabled body is empowered through prosthetic enhancement and cultural representations. The disability market both intersects and transcends race, religion, and gender; the promise of technology bettering the human condition is its ultimate product. Bionic technology, in particular, is a burgeoning field; our engineering skills already show promise of a future where physical impediment will be almost obsolete. I aim to cross-examine empowering marketing images and phrases embedded in cinema and media that emphasize how disability becomes super-ability with prosthetic enhancement. Though the benefits of biotechnology are most empowering to the disabled population, further scrutiny raises a number of paradoxical questions exposed by the market’s advance. With all these tools at our disposal, why is it that the disabled have yet to reap the rewards? How are disabled bodies, biotechnology, and posthuman possibilities commodified and commercialized? Most importantly, what impact will this have on our society? This paper exemplifies empowering and inclusive messages emphasized in disabled representation, as well as raising bioethical concerns that fuel the ongoing debate of the technological haves and have-nots. Furthermore, this paper challenges the ideals of normative bodies while depicting the disabled as an open, embodied site where technology, corporeality, and sociology interact. To conclude, I believe that an interdisciplinary approach that balances the debate between scientific advance, capital gain, and social equality is essential to embracing diverse forms of embodiment.

In the mid-1990s, a small group of video game designers attempted to lessen gaming’s gender gap by creating software targeting girls. By 1999, however, these attempts collapsed, and video games remained a masculinized technology. To help understand why this movement failed, this article addresses the unexplored role of consumer press in defining “gamers” as male. A detailed content analysis of Nintendo Power issues published from 1994 to 1999 shows that mainstream companies largely ignored the girls’ games movement, instead targeting male audiences through player representations, sexualized female characters, magazine covers featuring men, and predominantly male authors. Given the mutually constitutive nature of representation and reality, the lack of women in consumer press then affected girls’ ability to identify as gamers and enter the gaming community. This shows that, even as gaming audiences diversify, inclusive representations are also needed to redefine gamer as more than just “male.”

Purpose Studies have highlighted concerns about the role of knowledge creation between human resource management practices and employee behaviour. The purpose of this paper is to examine the impact of green human resource management (green HRM) on employee green behaviour (EGB) through the mediation of environmental knowledge of lecturers in public research universities in Malaysia. Design/methodology/approach This cross-sectional study examines the mechanism in which green HRM affects the EGB of lecturers through environmental knowledge in Malaysian public research universities. Smart PLS was used to analyse the relationships from 425 valid responses. Findings The findings of the study show that green HRM affects EGB through the full mediation of environmental knowledge. This finding gives a theoretical implication in terms of ability, motivation and opportunity theory. Research limitations/implications The scope of this study is limited to public research universities in Malaysia. Future studies may explore other variables that could expedite the relationship between green HRM and EGB. Implications include policy making that emphasises on enhancing environmental knowledge of lecturers. Originality/value To the best of the authors’ knowledge, no study has been conducted using environmental knowledge as a mediator between green HRM and EGB.

Purpose – Professor Slawomir Magala is a full professor of Cross-Management at the Department of Organization and Personnel Management in Rotterdam School of Management (RSM), Erasmus University (RSM, 2015). His education stems from Poland, Germany and the USA, and has taught and conducted research in China, Egypt, Kazakhstan, Croatia, Estonia, the United Kingdom and Namibia. He is a former Chair for Cross-Cultural Management at RSM and has achieved many things, from being editor-in-chief of the Journal of Organizational Change Management (JOCM), to receiving the Erasmus Research Institute in Management (ERIM) Book Award (2010), for The Management of Meaning in Organizations (Routledge, 2009). It has received honors for being the best book in one of the domains of management research. It was selected by an academic committee, consisting of the Scientific Directors of CentER (Tilburg University), METEOR (University of Maastricht) and SOM (University of Groningen). All these research schools are accredited by the Royal Netherlands Academy of Arts and Sciences (KNAW). The paper aims to discuss this issue. Design/methodology/approach – This is a review of Professor Slawomir Magala’s contributions as editor of Journal of Organizational Change Management. Findings – Slawomir (Slawek) Magala will be known for many contributions to social, organizational, managerial research, and it will be remembered that he has created a great legacy in the field of cross-cultural competence and communication on processes of sense making in professional bureaucracies. He has authored and co-authored many publications including articles, books, professional publications, book contributions and other outputs, and is an established professor of cross-cultural management at the Department of Organization and Personnel Management in RSM, Erasmus University. He will be known for his work as editor of Qualitative Sociology Review, and one of the founding members of the Association for Cross-Cultural Competence in Management, not to mention the Journal of Organizational Change Management. Many of his articles have appeared regularly in leading refereed journals, such as the European Journal of International Management, Public Policy, Critical Perspectives on International Business and Human Resources Development International. His greatest legacy is in the field of cross-cultural management, but branches out to many other management studies. Research limitations/implications – The research is limited to his work in capacity of editor of Journal of Organizational Change Management. Practical implications – This review provides a guide for positive role model of an excellent editorship of a journal. Social implications – Magala’s legacy acknowledges this research and its power to create numerous papers and attract a lot of attention (Flory and Magala, 2014). Because of these conferences, these empirical findings have led to disseminating the conference findings with JOCM (Flory and Magala, 2014). According to them, narrative research has become a respectable research method, but they also feel that it is still burdened with a lot of controversies on with difficulties linked to applying it across different disciplines (Flory and Magala, 2014). Originality/value – The review covers the creative accomplishment of Professor Magala as editor.

Nowadays in culinary practices there is a great variety of regional cuisine in line with the cultural diversity of a place. This raises the question of whether there is a common pattern in determining the combination of food ingredients or the same principles in making recipes and producing certain tastes. For example, Western cuisine tends to use ingredients that have many flavor compounds, while East Asian cuisine tends to avoid ingredients sharing compounds. This study is driven by the results of previous studies showing the science of gastronomy is developing and producing the domain of computational gastronomy which contributes to the creation of recipes in innovative and creative ways. The purpose of this study is to understand the use of computational gastranomy in diverse food network in culinary creativity. The research design is exploring and looking for relationships between various aspects of food such as taste, aroma, seasoning, food ingredient, texture, and cooking methods. Cross sectional and longitudinal research are also carried out to find a causal relationship between computational gastronomy and culinary creation. The results showed that there was a relationship between various aspects, namely computational gastronomy, culinary creations, food content, and the use of technology in creating food recipes. The application of computational creativity in the culinary field can increase business value in the hotel kitchen area, the creation of recipes and food science.

Leadership style is an important factor influencing enterprise management innovation. Paternalistic leadership is a typical leadership style in China, which has a significant impact on enterprise management innovation. Objective: This paper is to explore the relationship between paternalistic leadership and business management innovation, and analyze potential variables to investigate the source of their differences. Methods: This paper takes 74 empirical studies (157 effect values, total sample size 28335) as the object, using meta-analysis technology to study the relationship between the three leadership types of paternalistic leadership, benevolent leadership, moral leadership and authoritative leadership and multi-focus enterprise management innovation. Based on a multi-dimensional perspective, enterprise management innovation under paternalistic leadership can be divided into: innovation ability orientation and innovation behavior orientation. In the context of paternalistic leadership, it is unclear which level of innovation has a stronger tendency to implement enterprise management innovation. Results: The correlation between benevolent leadership, authoritarian leadership, moral leadership and overall management innovation is 0.377, -0.158 and 0.319; the correlation between moral leadership, benevolent leadership, authoritarian leadership and capability oriented management innovation is 0.344, 0.395 and-0.192 respectively; benevolent leadership has the strongest correlation with behavior and ability oriented management innovation. Conclusion: the relationship between eastern and Western paternalistic leadership and enterprise management innovation is influenced by cultural context and innovation level. Benevolent leadership and moral leadership have significant positive effects on enterprise management innovation, and authoritative leadership has significant negative effects on enterprise management innovation. To a large extent, cross-cultural situations (China, non-China) and levels of innovation (individuals, teams, organizations ) have a moderating effect on the relationship between them.

The purpose of the work is the investigation of the modern approaches to augmented reality usage in mathematics and physics learning and the development of mobile application with graphical tips in the augmented reality mode for solving the dynamics typical problems.Materials and methods. The review of the modern articles on the augmented reality usage for mathematics and physics learning is provided; the iOS applications usage in mathematics learning such as GeoGebraAR for second order surfaces learning; the game MultiplicationAR for the multiplication table studying in an fascinating way; VectorAR application for vectors, cross and dot products, Cartesian and skew coordinate systems learning and iOS apps for physics learning such as Physics-Lab for conducting of the experiments with electrical circuits connections in the augmented reality, astrophysics and electromagnetism learning; Galileo application for accompanying of the theoretical material in physics with experiments to demonstrate paradoxes in mechanics, gravitational slingshot etc.; Arious application for students’ acquaintance with famous physicists and their discoveries in the augmented reality are considered. The analysis of tools for lecturers that can be used for the augmented reality content creation, such as HP Reveal and web-application Augment is performed. It should be noted the high personal interests of lecturers for the augmented reality technology implementation.Results. In the course of the work, the difficulties encountered by students in the study of mathematics and physics and possibilities of the augmented reality usage to overcome these difficulties are studied. A mobile application with the ability to receive graphical tips for solving dynamics problems that aimed at students with difficulties of forces and their projections understanding is developed. The methods for the mobile application are developed based on the basic classes of ARKit framework such as SCNNode, SCNBox, SCNPlane, SCNText, SCNGeometry, SCNGeometryElement, SCNShape, SCNMaterial etc. To conduct the experiments a pilot group of 14 random students is created, 9 of which experienced difficulties in solving some types of dynamic problems. The results of the experiment show a positive attitude of students to use of the augmented reality. 7 of 9 students who had difficulties got the skills to solve typical dynamic problems. Conclusion. Based on results of the research, we can conclude about the effectiveness of the augmented reality usage for studying of the abstract concepts in mathematics and physics. The developed mobile application with graphical tips in the augmented reality mode has improved the students’ performance in the pilot group. The lecturers play an important role in the implementation of AR-technology in the educational process. They help to maintain the student’s interest to AR-technology throughout the lesson. The disadvantages of the augmented reality applications include their narrow focus on studying of specific process, phenomenon or concept. The results of research can be applied in the educational process for mathematics and physics learning in order to increase the motivation and interest of students.

IntroductionOrientation and mobility (O&M) specialists assess the functional vision and O&M skills of people with mobility problems, usually relating to low vision or blindness. There are numerous O&M assessment checklists but no measures that reduce qualitative assessment data to a single comparable score suitable for assessing any O&M client, of any age or ability, in any location. Functional measures are needed internationally to align O&M assessment practices, guide referrals, profile O&M clients, plan appropriate services and evaluate outcomes from O&M programmes (eg, long cane training), assistive technology (eg, hazard sensors) and medical interventions (eg, retinal implants). This study aims to validate two new measures of functional performance vision-related outcomes in orientation and mobility (VROOM) and orientation and mobility outcomes (OMO) in the context of ordinary O&M assessments in Australia, with cultural comparisons in Malaysia, also developing phone apps and online training to streamline professional assessment practices.Methods and analysisThis multiphase observational study will employ embedded mixed methods with a qualitative/quantitative priority: corating functional vision and O&M during social inquiry. Australian O&M agencies (n=15) provide the sampling frame. O&M specialists will use quota sampling to generate cross-sectional assessment data (n=400) before investigating selected cohorts in outcome studies. Cultural relevance of the VROOM and OMO tools will be investigated in Malaysia, where the tools will inform the design of assistive devices and evaluate prototypes. Exploratory and confirmatory factor analysis, Rasch modelling, cluster analysis and analysis of variance will be undertaken along with descriptive analysis of measurement data. Qualitative findings will be used to interpret VROOM and OMO scores, filter statistically significant results, warrant their generalisability and identify additional relevant constructs that could also be measured.Ethics and disseminationEthical approval has been granted by the Human Research Ethics Committee at Swinburne University (SHR Project 2016/316). Dissemination of results will be via agency reports, journal articles and conference presentations.

Purpose With trade amounting to more than US$400bn, counterfeiting is already affecting many successful brands. Often, consumers are deceived into buying fake products due to the visual similarity between fake and original brand logos. This paper aims to explore the varying forms of fraudulent imitation of original brand logotypes (operationalized at the level of logotype transposition), which can aid in the detection of a counterfeit brand. Design/methodology/approach Across two studies, this research tested how well consumers can differentiate counterfeit from original logos of well-known brands both explicitly and implicitly. Seven popular brand logos were altered to create different levels of visual dissimilarity and participants were required to discriminate the logos as fake or genuine. Findings Results demonstrate that although consumers can explicitly discriminate fake logos with a high degree of accuracy, the same is not true under conditions in which logos are presented very briefly (tapping participants’ implicit or automatic logo recognition capabilities), except when the first and last letters of the logotype are substituted. Originality/value A large body of research on counterfeit trade focuses on the individual or cross-cultural differences behind the prevalence of counterfeit trade. There is limited research exploring the ability of a consumer to correctly identify a fake logo, based on its varying similarity with the original logotype; this paper addresses this gap. Given that many of the purchase decisions are often made automatically, identifying key implicit differentiators that can help a consumer recognize a fake logo should be informative to both practitioners and academics.

Virtual Museums (VMs) and their audiences have always been studied as separated worlds. Recently the importance of cross-methodological studies has been accepted by the academic sector for their usefulness in the process of assessing the impact of such VMs. Hedonic aspects, such as emotions, senses, perception, and environmental atmosphere rather than technicalities, like usability and affordance, have indeed played a precise and crucial role in the meaning-making of the world around us. This contribution will highlight the need for a collaborative sharing of ideas among designers and developers, creators and technicians, in order to reach sensory immersion and emotional involvement in VMs that will translate into enhanced participation and the predisposition to assimilate and memorize cultural contents. It has been stated that “a virtual museum is a digital entity.” As such, it is inevitably based on technology, on its user interface (UI), on the visualization solutions it employs, and on its usability and ability to interact with the end user in order to transfer a certain message. VMs are designed to complement, enhance, or augment the ordinary museum experience through contextualization, narration, personalization, interactivity and richness of content. This contribution originates not only from the lessons learned in twenty years of research by CNR ITABC, but it also moves one step further in the direction of exchanged experiences and good practices between the humanistic and the technological sectors, therefore contributing to the promotion of lifelong learning in Virtual Museums.

Background Web-based technology has recently become an important source for sharing health information with patients after an acute cardiac event. Therefore, consideration of patients’ perceived electronic health (eHealth) literacy skills is crucial for improving the delivery of patient-centered health information. Objective The aim of this study was to translate and adapt the eHealth Literacy Scale (eHEALS) to conditions in Norway, and to determine its psychometric properties. More specifically, we set out to determine the reliability (internal consistency, test-retest) and construct validity (structural validity, hypotheses testing, and cross-cultural validity) of the eHEALS in self-report format administered to patients after percutaneous coronary intervention. Methods The original English version of the eHEALS was translated into Norwegian following a widely used cross-cultural adaptation process. Internal consistency was calculated using Cronbach α. The intraclass correlation coefficient (ICC) was used to assess the test-retest reliability. Confirmatory factor analysis (CFA) was performed for a priori-specified 1-, 2-, and 3-factor models. Demographic, health-related internet use, health literacy, and health status information was collected to examine correlations with eHEALS scores. Results A total of 1695 patients after percutaneous coronary intervention were included in the validation analysis. The mean age was 66 years, and the majority of patients were men (1313, 77.46%). Cronbach α for the eHEALS was >.99. The corresponding Cronbach α for the 2-week retest was .94. The test-retest ICC for eHEALS was 0.605 (95% CI 0.419-0.743, P<.001). The CFA showed a modest model fit for the 1- and 2-factor models (root mean square error of approximation>0.06). After modifications in the 3-factor model, all of the goodness-of-fit indices indicated a good fit. There was a weak correlation with age (r=–0.206). Between-groups analysis of variance showed a difference according to educational groups and the eHEALS score, with a mean difference ranging from 2.24 (P=.002) to 4.61 (P<.001), and a higher eHEALS score was found for patients who were employed compared to those who were retired (mean difference 2.31, P<.001). The eHEALS score was also higher among patients who reported using the internet to find health information (95% CI –21.40 to –17.21, P<.001), and there was a moderate correlation with the patients’ perceived usefulness (r=0.587) and importance (r=0.574) of using the internet for health information. There were also moderate correlations identified between the eHEALS score and the health literacy domains appraisal of health information (r=0.380) and ability to find good health information (r=0.561). Weak correlations with the mental health composite score (r=0.116) and physical health composite score (r=0.116) were identified. Conclusions This study provides new information on the psychometric properties of the eHEALS for patients after percutaneous coronary intervention, suggesting a multidimensional rather than unidimensional construct. However, the study also indicated a redundancy of items, indicating the need for further validation studies. Trial Registration ClinicalTrials.gov NCT03810612; https://clinicaltrials.gov/ct2/show/NCT03810612

Purpose The purpose of this paper is twofold: first, to explore the influence of an individual’s attitude towards advertising and country-of-origin (COO) images (brand origin (BO) and country of manufacture (COM)) on brand equity creation; and second, to investigate how brand typicality moderates the effect of BO macro image on perceived quality. Design/methodology/approach The data to test the hypotheses were elicited from a consumer survey in the Greater Lisbon area (305 Portuguese consumers). The product category of smartphones was selected for two main reasons: it has not been extensively analysed in previous studies on the subject of brand equity; it is a device well-known to Portuguese consumers (particularly in the Greater Lisbon area). Three criteria guided the selection of the brands. The first criterion is to select brands which are well-known to consumers. The second is to choose brands with a distinctive BO and a main COM. The third and final criterion is to consider brands in different positions in the brand ranking. In order to estimate structural path coefficients, R2, Q2, and bootstrap techniques, the current study employs the partial least squares approach. Findings The results show that individuals’ attitudes towards advertisements have a positive impact on brand equity creation, whereas those towards the COM do not significantly influence brand equity creation. Attitudes towards BO only have a partial influence. Brand typicality, however, exerts a significant direct effect on brand equity dimensions and, hence, does not have a significant moderating effect. Research limitations/implications The authors suggest analysing the influence of COO on dimensions of brand equity considering consumer segmentation, types of industry and a range of brands, as well as different levels of consumer involvement with the product category. Several brands with the same COO should be analysed in order to understand whether the effects on brand equity depend on the product category. Although the current study is a first attempt to combine the potential effect of individuals’ attitudes towards advertisements and COO on creating brand equity, further research should examine additional potential antecedents of brand equity. Finally, cross-cultural studies are recommended. Practical implications Regarding managerial implications, three main aspects should be taken into consideration. First, creative, original and different advertising strategies are more effective than the COO in creating brand equity and, consequently, in building loyalty among smartphone consumers. Second, consumers do not tend to care about the place, country or region where the smartphone is produced, but the image of the country where the brand originated may be important. Finally, managers should be aware that, at least, in the smartphone sector, the way consumers create favourable associations with the brand and typicality, trust the company and consider it good value for money, are more effective in building brand loyalty than the perceived quality of the product/brand. Social implications Relating to the interrelationship between COO and brand equity, the results of the current study prove that the effects of COO are category specific. Therefore, more studies focussed on other contexts of products and brands are still needed to know in more detail how COO exerts an influence on brand equity dimensions. Even within a product category context, the results can depend on individual brands being analysed. Originality/value To the knowledge of the authors, this study is the first to investigate the dual (simultaneous) effect of individuals’ attitudes towards advertisements and COO images on brand equity dimensions. Adding to the originality of the paper, the category of smartphone with respect to brand equity has not been extensively analysed in previous studies.

Language skills are essential for early childhood, being able to speak clearly and process speech sounds, understand others, express ideas, and interact with others are the building blocks for a child's development. Therefore, this study will examine the effect of the Inside Outside Circle (IOC) instructional strategies with media images on children's language skills. This research is a quasi-experimental design with a posttest only and using a control group. The sample in this study were children in two kindergartens in the village of Banjar Tegal. Data analysis in this study was carried out by quantitative descriptive methods using t-test analysis techniques. The results of this study in kindergarten students in Banjar Tegal Village show that there is an influence of the IOC learning model with picture media on children's language skills (tcount = 6.28> ttable = 2.00). This shows that language skills achieved by groups of children participating in learning with the IOC model with drawing media are better than groups of children who attend learning without the IOC model. The implication is that further research is expected to develop other aspects of child devel- opment through the IOC model. Keywords: Children Language skills, Image media, Inside-Outside Circle Instructional Strategies Reference: Afrida, Ni., & Mahriza, R. (2019). Visual and Cognitive Media : The Language Acquisition of Children With Dyslexia in Aceh. IJLRES - International Journal on Language , Research and Education Studies, 3(1), 112–126. https://doi.org/10.30575/2017/IJLRES-2019010409 Al Otaiba, S., & Fuchs, D. (2006). Who are the young children for whom best practices in reading are ineffective? An experimental and longitudinal study. Journal of Learning Disabilities, 39(5), 414–431. https://doi.org/10.1177/00222194060390050401 Asrifan, A. (2015). 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The ratification by Ukraine of the Convention on Biological Diversity in 1994, the approval of the Interlaken Declaration in 2007, the Global Plan of Action on Farm Animal Genetic Resources and the Nagoya Protocol on Access to Genetic Resources and Fair and Equitable Benefit-Sharing, signed in 2012, imposes certain obligations to our country, especially concerning farm animal breed conservation. Indigenous breeds have considerable store of variability, high cultural, aesthetic and ecological value and should therefore be unequivocally preserved. The state of this issue in Ukraine and the place of Zubets Institute of Animal Breeding and Genetics of NAAS in the solution of the issue are covered in this article. The research was conducted using methodological approaches that are consistent with the Global Action Plan on Animal Genetic Resources, EU Directives, the current legislative framework for livestock in Ukraine, programs and plans of breeding of specific breeds and herds of farm animals. The degree of inbreeding was determined using the method of S. Wright in the modification of D. A. Kislovsky. Conservation of farm animal gene pool is a global issue and affair of certain international organizations, in particular FAO. In Ukraine M.V.Zubets Institute of Animal Breeding and Genetics has been actively engaged in the issue of conservation of biodiversity of farm animals during 1996–2017. By the decision of the Bureau of the Presidium of the UAAS on March 11, 2004 (protocol No. 3), the Institute of Animal Breeding and Genetics assigned to be the main institution for the organization and implementation of a new scientific and technical program "Preservation of farm animal gene pool". In 2004 there was prepared a "Report on the Status of Genetic Resources of Livestock in Ukraine: Materials for FAO" (authors: M. V. Zubets, V. P. Burkat, D. O. Melnychuk, O. I. Kostenko, Yu. F. Melnyk, I. V. Guzev, R. M. Schmidt, G. G. Omelyanenko, V. I. Drobot, V. A. Pidzhelkova, A.F. Gordin, M. V. Stompel) with the participation of the Institute of Animal Breeding and Genetics of the NAAS. To fulfill stated tasks, in 2006 the technology and methodology of breeding resources survey holding, breeding resources’ integrated assessment and identification of their economic and genetic specificity were proposed. According to the developed technology, in 2006–2010, 208 breeding herds of cattle, horses, sheep, pigs and poultry were surveyed. In the next year (2007), the Institute held a creative discussion "Problems of farm animal gene pool conservation." In the same year, the Institute workers (I. V. Guzev) took part in the International Scientific Conference "Conservation of Animal Genetic Resources in Poland and Europe" (Krakow, Poland), in 2009 – at the International Congress "On the Traces of Grey Podolic Cattle" (Matera, Italy), 2012 (S. I. Kovtun, N. L. Rieznykova) – in the workshop of the ERFP working group on the conservation ex situ "Legal and institutional arrangements for ex situ conservation at national level" (Zagreb, Croatia), 2016 (N. L. Rieznykova) – in a seminar on the conservation in situ and ex situ (Godöllo, Hungary). M. V. Zubets Institute of Animal Breeding and Genetics of NAAS in 2017 formed the request for the participation in the international project of FAO on the conservation and rational use of the Brown Carpathian cattle gene pool. The monitoring of the status of local small-scale and endangered farm animal breeds of different species on their number and number of breeding farms in Ukraine (2011–2017), according to the State Breeding Registry, revealed a tendency to the annual reduction of both the number of subjects of the breeding business in the relevant livestock sector and the general number of animals in breeds. According to the results of the analysis conducted amongst a large number of small-scale farm animal breeds in Ukraine, the most vulnerable populations were chosen on the basis of the number of females and breeding farms. In Ukraine Grey Ukrainian, Ukrainian Whiteheaded, Brown Carpathian, Lebedyn cattle breeds, Hutsul horse breed, Sokil sheep breed, Mirgorodian, Ukrainian Steppe Black-and-White and Ukrainian Steppe White pig breeds are going to disappear. Taking into account the above mentioned, the Program of conservation of local and endangered breeds of farm animals in Ukraine for 2017–2025, based on the initiative and direct participation of Zubets Institute of Animal Breeding and Genetics, has been developed. It requires the annual budget subsidy at the level of 22.01–42.85 mln. UAH. One of the methods of rational use and conservation of local, small-scale and indigenous farm animal breeds’ gene pool is the establishment of banks for long-term storage of biological material. Inventory of available resources of local cattle sperm was carried out. The bulls' sperm is stored at the Bank of Genetic Resources of Animals at M.V.Zubets Institute of Animal Breeding and Genetics of NAAS and nine enterprises of Ukraine. The level of inbreeding among local and endangered breeds was studied. It was established that the highest level of inbreeding is observed among the bulls of the Brown Carpathian breed. Amonst promising further scientific research directions are the next: expeditionary research on the availability of pure-blood animals in gene pool herds, identification of biological characteristics of indigenous animals’ products, estimation of cultural and aesthetic value, resistance level, adaptive ability, and the search for genetic markers of local, small-scale and disappearing breeds.

Team creative processes of generating and elaborating ideas tend to be laden with emotional expressions and communication. Yet, there is a noticeable lack of theory on how differences in teams’ management and support of affect expressions influence their ability to produce creative outcomes. We investigate why and when team authentic affect climates, which encourage members to share and respond to authentic affect, generate greater creativity compared with more constrained affect climates where members suppress or hide their genuine feelings. We propose that authentic affect climate enhances team creativity through greater information elaboration by the team and that these informational and creative benefits are more likely in functionally diverse teams. Results from three complementary studies—one multisource field study of management teams and two experiments—provide support for our predictions. In our experiments, we also examine the theorized affective mechanisms and find that authentic affect climate increases information elaboration and creativity through members’ affect expressions (Study 2) and empathic responses to each other’s expressed affect (Studies 2 and 3). We discuss the implications of our findings for the team creativity, diversity, and affect literatures.

The students of MTs Sultan Hasanuddin Pattunggalengang Limbung, Bajeng Subdistrict, Gowa Regencyare the people of the nation, full of potential which is expected to equip themselves to build their independencethrough various training activities related to the field of study of cultural arts which they have been studying forexample art studies. In the information and technology era, students are expected to take part and participate indeveloping the potential and talents that they have, in order to realize their independence and avoid full dependenceon others in the future. One form in filling students' lives while they are still in the learning process is practicing finearts skills in the form of training in making collage craft from natural waste raw materials in the form of eggshellsthat are processed in such a way as to become a form of art. The purpose of this activity is to provide knowledge inpsychomotor (skills) aspects of expression and creative creation freely through a number of media such as eggshells,glue, pottery, clear (varnish), and brushes. The method used in this training activity is the lecture method, questionand answer, demonstration (practice and exhibition), while the presentation is sorted according to the schedule andallocation of time provided. This activity lasts for three working days, starting on Wednesday, September 6-8 2018in one of the classrooms. To find out and measure the extent of the participants' ability to process and compilevarious media provided, the instructor evaluates in practical activities. The results of the activity showed that theparticipants were able to express and be creative in creating interesting motifs according to each section with anaverage quality of 60-80, the minimum completeness value of the entire work produced.

IntroductionThis paper is concerned with recent attempts to develop the creative economy in rural Scotland. Research shows that the creative economy is far from self-organising, and that an appropriate institutional landscape is important to its development (Andersson and Henrekson). In Scotland, there is a proliferation of support mechanisms – from those designed to help creative entrepreneurs improve their business, management, or technical expertise, to infrastructure projects, to collective capacity-building. In rural Scotland, this support landscape is particularly cluttered. This article tackles the question: How do rural creative entrepreneurs negotiate this complex funding and support landscape, and how do they aid the development of the rural creative economy ‘from below’? From Creative Industries to the Creative EconomyThe creative industries have been central to the UK’s economic growth strategy since the 1990s. According to the Centre for Economics and Business Research the creative industries contributed £5.9bn to the economy in 2013 (CEBR 17). In the last five years there have been significant improvements in ICTs, leading to growth in digital creative production, distribution, and consumption. The established creative industries, along with the nascent ‘digital industries’ are often grouped together as a separate economic sector – the ‘creative economy’ (Nesta A Manifesto for the Creative Economy).Given its close association with creative city discourses (see Florida 2002), research on the creative economy remains overwhelmingly urban-focused. As a result of this urban bias, the rural creative economy is under-researched. Bell and Jayne (209) note that in the last decade a small body of academic work on the rural creative economy has emerged (Harvey et al.; White). In particular, the Australian context has generated a wealth of discussion as regards national and regional attempts to develop the rural creative economy, the contribution of ‘creativity’ to rural economic and social development, sustainability and resilience, and the role that individual creative practitioners play in developing the rural creative economy (see Argent et al.; Gibson, Gibson and Connell; Waitt and Gibson).In the absence of suitable infrastructure, such as: adequate transport infrastructure, broadband and mobile phone connectivity, workspaces and business support, it often falls to rural creative practitioners themselves to ‘patch the gaps’ in the institutional infrastructure. This paper is concerned with the ways in which rural creative practitioners attempt to contribute to the development of the creative economy ‘from below’. ICTs have great potential to benefit rural areas in this respect, by “connecting people and places, businesses and services” (Townsend et al. Enhanced Broadband Access 581).The Scottish InfrastructureSince 1998, cultural policy has been devolved to Scotland, and has fallen under the control of the Scottish Government and Parliament. In an earlier examination of a Scottish creative business support agency, I noted that the Scottish Government has adopted a creative industries development strategy broadly in line with that coming out of Westminster, and subsequently taken up worldwide, and that the Scottish institutional infrastructure is extremely complex (Schlesinger et al.). Crucially, the idea of ‘intervention’, or, the availability of a draw-down programme of funding and support that will help creative practitioners develop a business from their talent, is key (Schlesinger).The main funder for Scottish artists and creative practitioners is Creative Scotland, who distribute money from the Scottish Government and the National Lottery. Highlands and Islands Enterprise (HIE) also offer funding and support for creative practitioners working in the Highlands and Islands region. Further general business support may be drawn down from Business Gateway (who work Scotland-wide but are not creative-industries specific), or Scottish Enterprise (who work Scotland-wide, are not creative-industries specific, and are concerned with businesses turning over more than £250,000 p.a.). Additionally, creative-sector specific advice and support may be sought from Cultural Enterprise Office (based in Glasgow and primarily serving the Central Belt), Creative Edinburgh, Dundee or Stirling (creative networks that serve their respective cities), the Creative Arts and Business Network (based in Dumfries, serving the Borders), and Emergents (based in Inverness, dealing with rural craftspeople and authors).MethodologyThe article draws on material gathered as part of three research projects, all concerned with the current support landscape for creative practitioners in Scotland. The first, ‘Supporting Creative Business’ was funded by the Arts and Humanities Research Council, the second, ‘Towards a model of support for the rural creative industries’ was funded by the University of Glasgow and the third, ‘The effects of improved communications technology of rural creative entrepreneurs’ funded by CREATe, the Research Council's UK Centre for the Study of Copyright and New Business Models in the Creative Economy.In all three cases, the research was theoretically and practically informed by the multi-sited ethnographies of cultural, creative and media work conducted by Moeran (Ethnography at Work, The Business of Ethnography) and Mould et al. Whilst the methodology for all three of my projects was ethnography, the methods utilised included interviews (n=23) – with interviewees drawn from across rural Scotland – participant and non-participant observation, and media and document analysis. Interviewees and study sites were accessed via snowball sampling, which was enabled by the measure of continuity between the three projects. This paper draws primarily on interview material and ethnographic ‘vignettes’. All individuals cited in the paper are anonymised in line with the University of Glasgow’s ethics guidelines.Cities, Creativity, and ‘Buzz’As noted earlier, cities are seen as the driving force behind the creative industries; and accordingly, much of the institutional infrastructure that supports the rural creative industries is modelled on urban systems of intervention. Cities are seen as breeding grounds for creativity by virtue of what Storper and Venables call their ‘buzz’ – consider, for example, the sheer numbers of creative practitioners that congregate in cities, the presence of art schools, work spaces and so on. Several of the creative practitioners I spoke to identified the lack of ‘buzz’ as one key difference between working in cities and working from rural places:It can be isolating out here. There are days when I miss art school, and my peers. I really valued their support and just the general chit chat and news. […] And having everything on your doorstep. (Visual artist, Argyll)Of course, rural creatives didn’t equate the ‘buzz’ of activity in cities with personal or professional creative success. Rather, they felt that developing a creative business was made easier by the fact that most funders and support agencies were based in Scotland’s Central Belt. The creatives resident there were able to take advantage of that proximity and the relationships that it enabled them to build, but also, the institutional landscape was supplemented by the creative ‘buzz’, which was difficult to quantify and impossible to replicate in rural areas.Negotiating the Funding and Support LandscapeI spoke to rural creative practitioners about whether the institutional infrastructure – in this case, relevant policy at national and UK level, funding and support agencies, membership bodies etcetera – was adequate. A common perspective was that the institutional infrastructure was extremely complex, which acted as a barrier for creatives seeking funding and support:Everything works ok, the problem is that there’s so many different places to go to for advice, and so many different criteria that you have to meet if you wanted funding, and what’s your first port of call, and it’s just too complicated. I feel that as a rural artist I fall between the cracks […] am I a creative business, a rural creative business, or just a rural business? (Craftsperson, Shetland) Interviewees suggested that there were ‘gaps’ in the institutional infrastructure, caused not by the lack of appropriate policy, funders, or support agencies but rather by their proliferation and a sense of confusion about who to approach. Furthermore, funding agencies such as Creative Scotland have, in recent years, come under fire for the complexity of their funding and support systems:They have simplified their application process, but I just can’t be bothered trying to get anything out of Creative Scotland at the moment. I don’t find their support that useful and they directed me to Cultural Enterprise Office when I asked for advice on filling in the form and tailoring the application, and CEO were just so pushed for time, I couldn’t get a Skype with them. The issue with getting funding from anywhere is the teeny tiny likelihood of getting money, coupled with how time-consuming the application process is. So for now, I’m just trying to be self-sufficient without asking for any development funds. But I am not sure how sustainable that is. (Craftsperson, Skye, interview) There was a sense that ‘what works’ to enable urban creative practitioners to develop their practice is not necessarily sufficient to help rural creatives. Because most policymakers, funders and support bodies are based in the Central Belt, rural creatives feel that the challenges they face are poorly understood. One arts administrator summed up why, statingthe problem is that people in the Central Belt don’t get what we’re dealing with up here, unless they’ve actually lived here. The remoteness, poor transport links, internet and mobile access […] it impacts on your ability to develop your business. If I want to attend a course, some organisations will pay travel and accommodation. But they don’t account for the fact that if I travel from Eigg, I’ll need to work around the ferry times, which might mean two extra nights’ accommodation plus the cost of travel … we’re excluded from opportunities because of our location. (Arts administrator, the Small Isles) A further issue identified by several participants in this research is that funding and support agencies Scotland-wide tend to work to standardised definitions of the creative industries that privilege high-growth sectors (see Luckman). This led to many heritage and craft businesses feeling excluded. One local authority stakeholder told me,exactly what the creative industries are, well that might be obvious on paper but real life is a bit more complicated. Where do we put a craftsperson whose craft work is done in her spare time but pays just enough to stop her needing a second job? How do we tell people like this, who say they are in the creative industries, that they aren’t actually according to this criteria or that criteria? (Local authority stakeholder, Shetland, interview)Creating Virtual ‘Buzz’? The Potential of ICTsAccording to 2015 OFCOM figures (10-12), in rural Scotland 85.9% of households can receive broadband, and 6.3% can receive superfast. The Scottish Government’s ambition is to deliver superfast broadband to up to 90 per cent of premises in Scotland by March 2016, and to extend this to 95 per cent by 2017. Whilst the current landscape as regards broadband provision is far from ideal, there are signs that improved provision is profoundly affecting the way that rural creatives develop their practice, and the way they engage with the institutional infrastructure set up to support them.At an industry event run by HIE in July 2015, a diverse panel of rural creatives spoke of how they exploited the possibilities associated with improved ICTs in order to offset some of the aforementioned problems of working from rural and remote areas. As the event was conducted under Chatham House rules, the following is adapted from field notes,It was clear from the panel and the Q&A that followed that improved ICTs meant that creatives could access training and support in new ways–online courses and training materials, webinars, and one-on-one Skype coaching, training and mentoring. Whilst of course most people would prefer face-to-face contact in this respect, the willingness of training providers to offer online solutions was appreciated, and most of the creatives on the panel (and many in the audience) had taken advantage of these partial solutions. The rural creatives on the panel also detailed the tactics that they used in order to ‘patch the gaps’ in the institutional infrastructure:There were four things that emerged from the panel discussion, Q&A and subsequent conversations I had on how technology benefited rural creatives: peer support, proximity to decision-makers, marketing and sales, and heritage and provenance.In terms of peer support, the panel felt that improved connectivity allowed them to access ‘virtual’ peer support through the internet. This was particularly important in terms of seeking advice regarding funding, business support and training, generating new creative ideas, and seeking emotional support from others who were familiar with the strains of running a creative business.Rural creatives found that social media (in particular) meant that they had a closer relationship with ‘distant’ decision-makers. They felt able to join events via livestreaming, and took advantage of hash tagging to take part in events, ‘policy hacks’ and consultations. Attendees I spoke to also mentioned that prominent Government ministers and other decision-makers had a strong Twitter presence and made it clear that they were at times ‘open’ to direct communication. In this way, rural creatives felt that they could ‘make their voices heard’ in new ways.In terms of marketing and sales, panel members found social media invaluable in terms of building online ‘presence’. All of the panel members sold services and products through dedicated websites (and noted that improved broadband speeds and 3G meant that these websites were increasingly sophisticated, allowing them to upload photographs and video clips, or act as client ‘portals’), however they also sought out other local creatives, or creatives working in the same sector in order to build visible networks on social media such as Instagram, Twitter and Facebook. This echoes an interview I conducted with a designer from Orkney, who suggested that these online networks allowed designers to build a rapport with customers, but also to showcase their products and build virtual ‘buzz’ around their work (and the work of others) in the hope their designs would be picked up by bloggers, the fashion press and stylists.The designer on the panel also noted that social media allowed her to showcase the provenance of her products. As she spoke I checked her Twitter and Instagram feeds, as well as the feeds of other designers she was linked to; a large part of their ‘advertising’ through these channels entailed giving followers an insight into life on the islands. The visual nature of these media also allowed them to document how local histories of making had influenced their practice, and how their rural location had influenced their work. It struck me that this was a really effective way to capture consumers’ imaginations. As we can see, improved ICTs had a substantial impact on rural creatives’ practice. Not only did several of the panel members suggest that improved ICTs changed the nature of the products that they could produce (by enabling them to buy in different materials and tools, and cultivate longer and more complex supply chains), they also noted that improved ICTs enabled them to cultivate new markets, to build stronger networks and to participate more fully in discussions with ‘distant’ policymakers and decision makers. Furthermore, ICTs were seen as acting as a proxy for ‘buzz’ for rural creatives, that is, face-to-face communication was still preferred, but savvy use of ICTs went some way to mitigating the problems of a rural location. This extends Storper and Venables’s conceptualisation of the idea, which understands ‘buzz’ as the often-intangible benefits of face-to-face contact.Problematically however, as Townsend et al. state, “rural isolation is amplified by the technological landscape, with rural communities facing problems both in terms of broadband access technologies and willingness or ability of residents to adopt these” (Enhanced Broadband Access 5). As such, the development activities of rural creatives are hampered by poor provision and a slow ‘roll out’ of broadband and mobile coverage. ConclusionsThis paper is concerned with recent attempts to develop the rural creative economy in Scotland. The paper can be read in relation to a small but expanding body of work that seeks to understand the distinctive formation of the rural creative industries across Europe and elsewhere (Bell and Jayne), and how these can best be developed and supported (White). Recent, targeted intervention in the rural creative industries speaks to concerns about the emergence of a ‘two tier’ Europe, with remote and sparsely-populated rural regions with narrow economic bases falling behind more resilient cities and city-regions (Markusen and Gadwa; Wiggering et al.), yet exactly how the rural creative industries function and can be further developed is an underdeveloped research area.In order to contribute to this body of work, this paper has sketched out some of the problems associated with recent attempts to develop the creative economy in rural Scotland. On a Scotland-wide scale, there is a proliferation of policies, funding bodies, and support agencies designed to organise and regulate the creative economy. In rural areas, there is also an ‘overlap’ between Scotland-wide bodies and rural-specific bodies, meaning that many rural creatives feel as if they ‘fall through the cracks’ in terms of funding and support. Additionally, rural creatives noted that Central Belt-based funders and support agencies struggled to fully understand the difficulties associated with making a living from a rural location.The sense of being distant from decision makers and isolated in terms of practice meant that many rural creatives took it upon themselves to develop the creative economy ‘from below’. The creatives that I spoke to had an array of ‘tactics’ that they used, some of which I have detailed here. In this short paper I have focused on one issue articulated within interviews – the idea of exploiting ICTs in order to build stronger networks between creatives and between creatives and decision makers within funding bodies and support agencies. Problematically, however, it was recognised that these creative-led initiatives could only do so much to mitigate the effects of a cluttered, piecemeal funding and support landscape.My research suggests that as it stands, ‘importing’ models from urban contexts is alienating and frustrating for rural creatives and targeted, rural-specific intervention is required. Research demonstrates that creative practitioners often seek to bring about social and cultural impact through their work, rather than engaging in creative activities merely for economic gain (McRobbie Be Creative, Rethinking Creative Economies; Waitt and Gibson). Whilst this is true of creatives in both urban and rural areas, my research suggests that this is particularly important to rural creatives, who see themselves as contributing economically, social and culturally to the development of the communities within which they are embedded (see Duxbury and Campbell; Harvey et al.). ‘Joined up’ support for this broad-based set of aims would greatly benefit rural creatives and maximise the potential of the rural creative industries.ReferencesAndersson, Martin, and Magnus Henrekson. "Local Competiveness Fostered through Local Institutions for Entrepreneurship." Research Institute on Industrial Economics Work Paper Series (2014), 0-57. Argent, Neil, Matthew Tonts, Roy Jones and John Holmes. “A Creativity-Led Rural Renaissance? Amenity-Led Migration, the Creative Turn and the Uneven Development of Rural Australia.” Applied Geography 44 (2013): 88-98.Bell, David, and Mark Jayne. "The Creative Countryside: Policy and Practice in the UK Rural Cultural Economy." Journal of Rural Studies 26.3 (2010): 209-18.Centre for Economic and Business Research. The Contribution of the Arts and Culture to the National Economy. London: CEBR, 2013. 1-13.Duxbury, Nancy, and Heather Campbell. “Developing and Revitalizing Rural Communities through Arts and Culture.” Small Cities Imprint 3.1 (2011): 1-7.Florida, Richard. The Rise of the Creative Class: And How It's Transforming Work, Leisure, Community and Everyday Life. London: Basic Books, 2002.Gibson, Chris. “Cultural Economy: Achievements, Divergences, Future Prospects.” Geographical Research 50.3 (2012): 282-290.Gibson, Chris, and Jason Connell. “The Role of Festivals in Drought-Affected Australian Communities.” Event Management 19.4 (2015): 445-459.Harvey, David, Harriet Hawkins, and Nicola Thomas. "Thinking Creative Clusters beyond the City: People, Places and Networks." Geoforum 43.3 (2012): 529-39.Luckman, Susan. Locating Cultural Work: The Politics and Poetics of Rural, Regional and Remote Creativity. London: Palgrave Macmillan, 2012.McRobbie, Angela. Be Creative! London: Polity, 2016.———. “Rethinking Creative Economies as Radical Social Enterprise.” Variant 41 (2011): 32–33 Moeran, Brian. Ethnography at Work. London: A&C Black, 2007.———. The Business of Ethnography. London: Berg, 2005.Mould, Oliver, Tim Vorley, and Kai Liu. “Invisible Creativity? Highlighting the Hidden Impact of Freelancing in London's Creative Industries.” European Planning Studies 12 (2014): 2436-55.Nesta. Creative Industries and Rural Innovation. London: Nesta, 2007.———. A Manifesto for the Creative Economy. London: Nesta, 2013.Oakley, Kate. "Good Work? Rethinking Cultural Entrepreneurship." Handbook of Management and Creativity (2014): 145-59.O'Brien, Dave, and Peter Matthews. After Urban Regeneration: Communities, Policy and Place. London: Policy Press, 2015.Office of the Communications Regulator. Communications Market Report 2015. London: OFCOM, 2015. i-431.Schlesinger, Philip. “Foreword.” In Bob Last, Creativity, Value and Money. Glasgow: Cultural Enterprise Office, forthcoming 2016. 1-2.Schlesinger, Philip, Melanie Selfe, and Ealasaid Munro. Curators of Cultural Enterprise: A Critical Analysis of a Creative Business Intermediary. London: Springer, 2015. 1-134.Storper, Michael, and Anthony J. Venables. "Buzz: Face-to-Face Contact and the Urban Economy." Journal of Economic Geography 4.4 (2004): 351-70.Townsend, Leanne, Arjun Sathiaseelan, Gorry Fairhurst, and Claire Wallace. "Enhanced Broadband Access as a Solution to the Social and Economic Problems of the Rural Digital Divide." Local Economy 28.6 (2013): 580-95.Townsend, Leanne, Claire Wallace, Alison Smart, and Timothy Norman. “Building Virtual Bridges: How Rural Micro-Enterprises Develop Social Capital in Online and Face-to-Face Settings.” Sociologia Ruralis 56.1 (2016): 29-47.Waitt, Gordon, and Chris Gibson. “The Spiral Gallery: Non-Market Creativity and Belonging in an Australian Country Town.” Journal of Rural Studies 30 (2013): 75-85.White, Pauline. "Creative Industries in a Rural Region: Creative West: The Creative Sector in the Western Region of Ireland." Creative Industries Journal 3.1 (2010): 79-88.

The National Cultural Policy Discussion Paper—drafted to assist the Australian Government in developing the first national Cultural Policy since Creative Nation nearly two decades ago—envisages a future in which arts, cultural and creative activities directly support the development of an inclusive, innovative and productive Australia. "The policy," it says, "will be based on an understanding that a creative nation produces a more inclusive society and a more expressive and confident citizenry by encouraging our ability to express, describe and share our diverse experiences—with each other and with the world" (Australian Government 3). Even a cursory reading of this Discussion Paper makes it clear that the question of impact—in aesthetic, cultural and economic terms—is central to the Government's agenda in developing a new Cultural Policy. Hand-in-hand with the notion of impact comes the process of measurement of progress. The Discussion Paper notes that progress "must be measurable, and the Government will invest in ways to assess the impact that the National Cultural Policy has on society and the economy" (11). If progress must be measurable, this raises questions about what arts, cultural and creative workers do, whether it is worth it, and whether they could be doing it better. In effect, the Discussion Paper pushes artsworkers ever closer to a climate in which they have to be skilled not just at making work, but at making the impact of this work clear to stakeholders. The Government in its plans for Australia's cultural future, is clearly most supportive of artsworkers who can do this, and the scholars, educators and employers who can best train the artsworkers of the future to do this. Teaching Artsworkers to Measure the Impact of Their Work: The Challenges How do we train artsworkers to assess, measure and articulate the impact of what they do? How do we prepare them to be ready to work in a climate that will—as the National Cultural Policy Discussion Paper makes clear—emphasise measuring impact, communicating impact, and communicating impact across aesthetic, cultural and economic categories? As educators delivering training in this area, the Discussion Paper has made this already compelling question even more pressing as we work to develop the career-ready graduates the Government seeks. Our program, the Master of Creative Industries (Creative Production & Arts Management) offered in the Creative Industries Faculty at Queensland University of Technology in Brisbane, Australia, is, like most programs in arts and cultural management in the US, UK, Europe and Australia, offering a three-Semester postgraduate program that allows students to develop the career-ready skills required to work as managers of arts, cultural or creative organisations. That we need to train our graduates to work not just as producers of plays, paintings or recordings, but as entrepreneurial arts advocates who can measure and articulate the value of their programs to others, is not news (Hadley "Creating" 647-48; cf. Brkic; Ebewo and Sirayi; Beckerman; Sikes). Our program—which offers training in arts policy, management, marketing and budgeting followed by training in entrepreneurship and a practical project—is already structured around this necessity. The question of how to teach students this diverse skill set is, however, still a subject of debate; and the question of how to teach students to measure the impact of this work is even more difficult. There is, of course, a body of literature on the impact of arts, cultural and creative activities, value and evaluation that has been developed over the past decade, particularly through landmark reports like Matarasso's Use or Ornament? The Social Impact of Participation in the Arts (1997) and the RAND Corporation's Gifts of the Muse: Reframing the Debate about the Benefits of the Arts (2004). There are also emergent studies in an Australian context: Madden's "Cautionary Note" on using economic impact studies in the arts (2001); case studies on arts and wellbeing by consultancy firm Effective Change (2003); case studies by DCITA (2003); the Asia Pacific Journal of Arts and Cultural Management (2009) issue on "value"; and Australia Council publications on arts, culture and economy. As Richards has explained, "evaluation is basically a straightforward concept. E-value-ation = a process of enquiry that allows a judgment of amount, value or worth to be made" (99). What makes arts evaluation difficult is not the concept, but the measurement of intangible values—aesthetic quality, expression, engagement or experience. In the literature, discussion has been plagued by debate about what is measured, what method is used, and whether subjective values can in fact be measured. Commentators note that in current practice, questions of value are still deferred because they are too difficult to measure (Bilton and Leary 52), discussed only in terms of economic measures such as market share or satisfaction which are statistically quantifiable (Belfiore and Bennett "Rethinking" 137), or done through un-rigorous surveys that draw only ambiguous, subjective, or selective responses (Merli 110). According to Belfiore and Bennett, Public debate about the value of the arts thus comes to be dominated by what might best be termed the cult of the measurable; and, of course, it is those disciplines primarily concerned with measurement, namely, economics and statistics, which are looked upon to find the evidence that will finally prove why the arts are so important to individuals and societies. A corollary of this is that the humanities are of little use in this investigation. ("Rethinking" 137) Accordingly, Ragsdale states, Arts organizations [still] need to find a way to assess their progress in …making great art that matters to people—as evidenced, perhaps, by increased enthusiasm, frequency of attendance, the capacity and desire to talk or write about one's experience, or in some other way respond to the experience, the curiosity to learn about the art form and the ideas encountered, the depth of emotional response, the quality of the social connections made, and the expansion of one's aesthetics over time. Commentators are still looking for a balanced approach (cf. Geursen and Rentschler; Falk and Dierkling), which evaluates aesthetic practices, business practices, audience response, and results for all parties, in tandem. An approach which evaluates intrinsic impacts, instrumental impacts, and the way each enables the other, in tandem—with an emphasis not on the numbers but on whether we are getting better at what we are doing. And, of course, allows evaluators of arts, cultural and creative activities to use creative arts methods—sketches, stories, bodily movements and relationships and so forth—to provide data to inform the assessment, so they can draw not just on statistical research methods but on arts, culture and humanities research methods. Teaching Artsworkers to Measure the Impact of Their Work: Our Approach As a result of this contested terrain, our method for training artsworkers to measure the impact of their programs has emerged not just from these debates—which tend to conclude by declaring the needs for better methods without providing them—but from a research-teaching nexus in which our own trial-and-error work as consultants to arts, cultural and educational organisations looking to measure the impact of or improve their programs has taught us what is effective. Each of us has worked as managers of professional associations such as Drama Australia and Australasian Association for Theatre, Drama and Performance Studies (ADSA), members of boards or committees for arts organisations such as Youth Arts Queensland and Young People and the Arts Australia (YPAA), as well as consultants to major cultural organisations like the Queensland Performing Arts Centre and the Brisbane Festival. The methods for measuring impact we have developed via this work are based not just on surveys and statistics, but on our own practice as scholars and producers of culture—and are therefore based in arts, culture and humanities approaches. As scholars, we investigate the way marginalised groups tell stories—particularly groups marked by age, gender, race or ability, using community, contemporary and public space performance practices (cf. Hadley, "Bree"; Gattenhof). What we have learned by bringing this sort of scholarly analysis into dialogue with a more systematised approach to articulating impact to government, stakeholders and sponsors is that there is no one-size-fits-all approach. What is needed, instead, is a toolkit, which incorporates central principles and stages, together with qualitative, quantitative and performative tools to track aesthetics, accessibility, inclusivity, capacity-building, creativity etc., as appropriate on a case-by-case basis. Whatever the approach, it is critical that the data track the relationship between the experience the artists, audience or stakeholders anticipated the activity should have, the aspects of the activity that enabled that experience to emerge (or not), and the effect of that (or not) for the arts organisation, their artists, their partners, or their audiences. The combination of methods needs to be selected in consultation with the arts organisation, and the negotiations typically need to include detailed discussion of what should be evaluated (aesthetics, access, inclusivity, or capacity), when it should be evaluated (before, during or after), and how the results should be communicated (including the difference between evaluation for reporting purposes and evaluation for program improvement purposes, and the difference between evaluation and related processes like reflection, documentary-making, or market research). Translating what we have learned through our cultural research and consultancy into a study package for students relies on an understanding of what they want from their study. This, typically, is practical career-ready skills. Students want to produce their own arts, or produce other people's arts, and most have not imagined themselves participating in meta-level processes in which they argue the value of arts, cultural and creative activities (Hadley, "Creating" 652). Accordingly, most have not thought of themselves as researchers, using cultural research methods to create reports that inform how the Australian government values, supports, and services the arts. The first step in teaching students to operate effectively as evaluators of arts, cultural and creative activities is, then, to re-orient their expectations to include this in their understanding of what artsworkers do, what skills artsworkers need, and where they deploy these skills. Simply handing over our own methods, as "the" methods, would not enable graduates to work effectively in a climate were one size will not fit all, and methods for evaluating impact need to be negotiated again for each new context. 1. Understanding the Need for Evaluation: Cause and Effect The first step in encouraging students to become effective evaluators is asking them to map their sector, the major stakeholders, the agendas, alignments and misalignments in what the various players are trying to achieve, and the programs, projects and products through which the players are trying to achieve it. This starting point is drawn from Program Theory—which, as Joon-Yee Kwok argues in her evaluation of the SPARK National Mentoring Program for Young and Emerging Artists (2010) is useful in evaluating cultural activities. The Program Theory approach starts with a flow chart that represents relationships between activities in a program, allowing evaluators to unpack some of the assumptions the program's producers have about what activities have what sort of effect, then test whether they are in fact having that sort of effect (cf. Hall and Hall). It could, for example, start with a flow chart representing the relationship between a community arts policy, a community arts organisation, a community-devised show it is producing, and a blog it has created because it assumes it will allow the public to become more interested in the show the participants are creating, to unpack the assumptions about the sort of effect this is supposed to have, and test whether this is in fact having this sort of effect. Masterclasses, conversations and debate with peers and industry professionals about the agendas, activities and assumptions underpinning programs in their sector allows students to look for elements that may be critical in their programs' ability to achieve (or not) an anticipated impact. In effect to start asking about, "the way things are done now, […] what things are done well, and […] what could be done better" (Australian Government 12).2. Understanding the Nature of Evaluation: PurposeOnce students have been alerted to the need to look for cause-effect assumptions that can determine whether or not their program, project or product is effective, they are asked to consider what data they should be developing about this, why, and for whom. Are they evaluating a program to account to government, stakeholders and sponsors for the money they have spent? To improve the way it works? To use that information to develop innovative new programs in future? In other words, who is the audience? Being aware of the many possible purposes and audiences for evaluation information can allow students to be clear not just about what needs to be evaluated, but the nature of the evaluation they will do—a largely statistical report, versus a narrative summary of experiences, emotions and effects—which may differ depending on the audience.3. Making Decisions about What to Evaluate: Priorities When setting out to measure the impact of arts, cultural or creative activities, many people try to measure everything, measure for the purposes of reporting, improvement and development using the same methods, or gather a range of different sorts of data in the hope that something in it will answer questions about whether an activity is having the anticipated effect, and, if so, how. We ask students to be more selective, making strategic decisions about which anticipated effects of a program, project or product need to be evaluated, whether the evaluation is for reporting, improvement or innovation purposes, and what information stakeholders most require. In addition to the concept of collecting data about critical points where programs succeed or fail in achieving a desired effect, and different approaches for reporting, improvement or development, we ask students to think about the different categories of effect that may be more or less interesting to different stakeholders. This is not an exhaustive list, or a list of things every evaluation should measure. It is a tool to demonstrate to would-be evaluators points of focus that could be developed, depending on the stakeholders' priorities, the purpose of the evaluation, and the critical points at which desired effects need to occur to ensure success. Without such framing, evaluators are likely to end up with unusable data, which become a difficulty to deal with rather than a benefit for the artsworkers, arts organisations or stakeholders. 4. Methods for Evaluation: Process To be effective, methods for collecting data about how arts, cultural or creative activities have (or fail to have) anticipated impact need to include conventional survey, interview and focus group style tools, and creative or performative tools such as discussion, documentation or observation. We encourage students to use creative practice to draw out people's experience of arts events—for example, observation, documentation still images, video or audio documentation, or facilitated development of sketches, stories or scenes about an experience, can be used to register and record people's feelings. These sorts of methods can capture what Mihaly Csikszentmihalyi calls "flow" of experience (cf. Belfiore and Bennett, "Determinants" 232)—for example, photos of a festival space at hourly intervals or the colours a child uses to convey memory of a performance can capture to flow of movement, engagement, and experience for spectators more clearly than statistics. These, together with conventional surveys or interviews that comment on the feelings expressed, allow for a combination of quantitative, qualitative and performative data to demonstrate impact. The approach becomes arts- and humanities- based, using arts methods to encourage people to talk, write or otherwise respond to their experience in terms of emotion, connection, community, or expansion of aesthetics. The evaluator still needs to draw out the meaning of the responses through content, text or discourse analysis, and teaching students how to do a content analysis of quantitative, qualitative and performative data is critical at this stage. When teaching students how to evaluate their data, our method encourages students not just to focus on the experience, or the effect of the experience, but the relationship between the two—the things that act as "enablers" "determinants" (White and Hede; Belfiore and Bennett, "Determinants" passim) of effect. This approach allows the evaluator to use a combination of conventional and creative methods to describe not just what effect an activity had, but, more critically, what enabled it to have that effect, providing a firmer platform for discussing the impact, and how it could be replicated, developed or deepened next time, than a list of effects and numbers of people who felt those effects alone. 5. Communicating Results: Politics Often arts, cultural or creative organisations can be concerned about the image of their work an evaluation will create. The final step in our approach is to alert students to the professional, political and ethical implications of evaluation. Students learn to share their knowledge with organisations, encouraging them to see the value of reporting both correct and incorrect assumptions about the impact of their activities, as part of a continuous improvement process. Then we assist them in drawing the results of this sort of cultural research into planning, development and training documents which may assist the organisation in improving in the future. In effect, it is about encouraging organisations to take the Australian government at its word when, in the National Cultural Policy Discussion Paper, it says it that measuring impact is about measuring progress—what we do well, what we could do better, and how, not just success statistics about who is most successful—as it is this that will ultimately be most useful in creating an inclusive, innovative, productive Australia. Teaching Artsworkers to Measure the Impact of Their Work: The Impact of Our Approach What, then, is the impact of our training on graduates' ability to measure the impact of work? Have we made measurable progress in our efforts to teach artsworkers to assess and articulate the impact of their work? The MCI (CP&AM) has been offered for three years. Our approach is still emergent and experimental. We have, though, identified a number of impacts of our work. First, our students are less fearful of becoming involved in measuring the value or impact of arts, cultural and creative programs. This is evidenced by the number who chooses to do some sort of evaluation for their Major Project, a 15,000 word individual project or internship which concludes their degree. Of the 50 or so students who have reached the Major Project in three years—35 completed and 15 in planning for 2012—about a third have incorporated evaluation into their Major Project. This includes evaluation of sector, business or producing models (5), youth arts and youth arts mentorship programs (4), audience development programs (2), touring programs (4), and even other arts management training programs (1). Indeed, after internships in programming or producing roles, this work—aligned with the Government's interest in improving training of young artists, touring, audience development, and economic development—has become a most popular Major Project option. This has enabled students to work with a range of arts, cultural and creative organisations, share their training—their methods, their understanding of what their methods can measure, when, and how—with Industry. Second, this Industry-engaged training has helped graduates in securing employment. This is evidenced by the fact that graduates have gone on to be employed with organisations they have interned with as part of their Major Project, or other organisations, including some of Brisbane's biggest cultural organisations—local and state government departments, Queensland Performing Arts Centre, Brisbane Festival, Metro Arts, Backbone Youth Arts, and Youth Arts Queensland, amongst others. Thirdly, graduates' contribution to local organisations and industry has increased the profile of a relatively new program. This is evidenced by the fact that it enrols 40 to 50 new students a year across Graduate Certificate / MCI (CP&AM) programs, typically two thirds domestic students and one third international students from Canada, Germany, France, Denmark, Norway and, of course, China. Indeed, some students are now disseminating this work globally, undertaking their Major Project as an internship or industry project with an organisation overseas. In effect, our training's impact emerges not just from our research, or our training, but from the fact that our graduates disseminate our approach to a range of arts, cultural and creative organisations in a practical way. We have, as a result, expanded the audience for this approach, and the number of people and contexts via which it is being adapted and made useful. Whilst few of students come into our program with a desire to do this sort of work, or even a working knowledge of the policy that informs it, on completion many consider it a viable part of their practice and career pathway. When they realise what they can achieve, and what it can mean to the organisations they work with, they do incorporate research, research consultant and government roles as part of their career portfolio, and thus make a contribution to the strong cultural sector the Government envisages in the National Cultural Policy Discussion Paper. Our work as scholars, practitioners and educators has thus enabled us to take a long-term, processual and grassroots approach to reshaping agendas for approaches to this form of cultural research, as our practices are adopted and adapted by students and industry stakeholders. Given the challenges commentators have identified in creating and disseminating effective evaluation methods in arts over the past decade, this, for us—though by no means work that is complete—does count as measurable progress. References Beckerman, Gary. "Adventuring Arts Entrepreneurship Curricula in Higher Education: An Examination of Present Efforts, Obstacles, and Best pPractices." The Journal of Arts Management, Law, and Society 37.2 (2007): 87-112. Belfiore, Eleaonora, and Oliver Bennett. "Determinants of Impact: Towards a Better Understanding of Encounters with the Arts." Cultural Trends 16.3 (2007): 225-75. ———. "Rethinking the Social Impacts of the Arts." International Journal of Cultural Policy 13.2 (2007): 135-51. Bilton, Chris, and Ruth Leary. "What Can Managers Do for Creativity? Brokering Creativity in the Creative Industries." International Journal of Cultural Policy 8.1 (2002): 49-64. Brkic, Aleksandar. "Teaching Arts Management: Where Did We Lose the Core Ideas?" Journal of Arts Management, Law and Society 38.4 (2009): 270-80. Czikszentmihalyi, Mihaly. "A Systems Perspective on Creativity." Creative Management. Ed. Jane Henry. Sage: London, 2001. 11-26. Australian Government. "National Cultural Policy Discussion Paper." Department of Prime Minster and Cabinet – Office for the Arts 2011. 1 Oct. 2011 ‹http://culture.arts.gov.au/discussion-paper›. Ebewo, Patrick, and Mzo Sirayi. "The Concept of Arts/Cultural Management: A Critical Reflection." Journal of Arts Management, Law and Society 38.4 (2009): 281-95. Effective Change and VicHealth. Creative Connections: Promoting Mental Health and Wellbeing through Community Arts Participation 2003. 1 Oct. 2011 ‹http://www.vichealth.vic.gov.au/en/Publications/Social-connection/Creative-Connections.aspx›. Effective Change. Evaluating Community Arts and Community Well Being 2003. 1 Oct. 2011 ‹http://www.arts.vic.gov.au/Research_and_Resources/Resources/Evaluating_Community_Arts_and_Wellbeing›. Falk, John H., and Lynn. D Dierking. "Re-Envisioning Success in the Cultural Sector." Cultural Trends 17.4 (2008): 233-46. Gattenhof, Sandra. "Sandra Gattenhof." QUT ePrints Article Repository. Queensland University of Technology, 2011. 1 Oct. 2011 ‹http://eprints.qut.edu.au/view/person/Gattenhof,_Sandra.html›. Geursen, Gus and Ruth Rentschler. "Unravelling Cultural Value." The Journal of Arts Management, Law and Society 33.3 (2003): 196-210. Hall, Irene and David Hall. Evaluation and Social Research: Introducing Small Scale Practice. London: Palgrave McMillan, 2004. Hadley, Bree. "Bree Hadley." QUT ePrints Article Repository. Queensland University of Technology, 2011. 1 Oct. 2011 ‹http://eprints.qut.edu.au/view/person/Hadley,_Bree.html›. ———. "Creating Successful Cultural Brokers: The Pros and Cons of a Community of Practice Approach in Arts Management Education." Asia Pacific Journal of Arts and Cultural Management 8.1 (2011): 645-59. Kwok, Joon. When Sparks Fly: Developing Formal Mentoring Programs for the Career Development of Young and Emerging Artists. Masters Thesis. Brisbane: Queensland University of Technology, 2010. Madden, Christopher. "Using 'Economic' Impact Studies in Arts and Cultural Advocacy: A Cautionary Note." Media International Australia, Incorporating Culture & Policy 98 (2001): 161-78. Matarasso, Francis. Use or Ornament? The Social Impact of Participation in the Arts. Bournes Greens, Stroud: Comedia, 1997. McCarthy, Kevin. F., Elizabeth H. Ondaatje, Laura Zakaras, and Arthur Brooks. Gifts of the Muse: Reframing the Debate about the Benefits of the Arts. Santa Monica: RAND Corporation, 2004. Merli, Paola. "Evaluating the Social Impact of Participation in Arts Activities." International Journal of Cultural Policy 8.1 (2002): 107-18. Muir, Jan. The Regional Impact of Cultural Programs: Some Case Study Findings. Communications Research Unit - DCITA, 2003. Ragsdale, Diana. "Keynote - Surviving the Culture Change." Australia Council Arts Marketing Summit. Australia Council for the Arts: 2008. Richards, Alison. "Evaluation Approaches." Creative Collaboration: Artists and Communities. Melbourne: Victorian College of the Arts, University of Melbourne, 2006. Sikes, Michael. "Higher Education Training in Arts Administration: A Millennial and Metaphoric Reappraisal. Journal of Arts Management, Law and Society 30.2 (2000): 91-101.White, Tabitha, and Anne-Marie Hede. "Using Narrative Inquiry to Explore the Impact of Art on Individuals." 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The ProjectThe Hand Up Linkage project focuses on the family as a communication context through which to explore the dynamics of intergenerational welfare dependency. In particular, it explores ways that creative life-course interventions might allow children in welfare dependent families to construct alternative realities for themselves and alternative views of their future. Formed through an alliance between a key Western Australian social welfare not-for-profit organisation, St Vincent de Paul WA (SVDPWA and also, in the context of volunteers, ‘Vinnies’), and Edith Cowan University, the project aims to address the organisation’s vision to provide “a hand up” (St Vincent 1) rather than ‘a hand out’, so that people can move forward with their lives without becoming dependent upon welfare. Prior to the start of the research, SVDPWA already had a whole of family focus in its outreach to poverty-impacted families including offering homework clubs and school holiday children’s camps run by their youth services division. Selected families supported by SVDPWA have been invited to participate in an in-depth interview for the project (Seidman), partly so that researchers can help identify “turning points” (King et al.) that might disrupt the communication of welfare dependency and inform more generalised intervention strategies; but also in order to explore the response to creative interventions within the children’s daily lives, including investigation of how strategies the child (and family) employed might help them to imagine alternative realities and futures for themselves. This paper closely examines the way that one 10 year old child from a non-English-speaking background family has employed alternative ways of viewing her life, through the camp program provided by the Linkage Partner St Vincent de Paul WA, and through reading novels such as Harry Potter and the Lemony Snicket Unfortunate Incidents series. Such activities help fuel hope for a different future which, in Snyder’s view has “two main components: the ability to plan pathways to desired goals despite obstacles, and agency or motivation to use those pathways” (Carr 96).The FamilyKani is a 10 year old girl living in a migrant sole parent family. The parents had moved to Australia from Bangladesh on student visas when Kani was 5 years old, however due to domestic violence the mother had recently separated from her husband, first into a women’s refuge then into private rental accommodation. The mother is in protracted negotiations with the Department of Immigration for permanent residency, which she had to recommence due to her separation. There are also family court negotiations for child custody and which restrict her leaving Australia. She receives no government benefits and minimal child support, works fulltime and pays full childcare fees for Kani’s 3 year old brother Adil and full primary school fees for Kani at a local religious school, given that Kani had experienced bullying and social aggression in previous schools. Kani was referred to SVDPWA by the women’s refuge and she began attending SVDPWA Kids’ Camps thereafter. (NB: Whilst the relevant specifics of this description are accurate, non-relevant material has been added or changed to protect the child’s and family’s identity.)Creative Life-Course InterventionsThe creative engagement that Kani experienced in the Hand Up project is constructed as one component in a larger model of creativity which includes “intrapersonal insights and interpretations, which often live only within the person who created them,” (Kaufman and Beghetto 4). Such an approach also acknowledges Csikszentmihalyi’s work on the concept of “flow”, whereby optimal experiences can result from positive absorption in a creative activity. Relevant Australian research such as the YouthWorx project has identified participatory engagement in creativity as one means of engaging with young people at risk (Hopkins; Podkalicka). The creative interventions in the Hand Up project take two forms; one is the predesigned and participatory creative activities delivered as part of the SVDPWA Kids’ Camp program. The second is a personalised intervention, identified by way of an in-depth interview with the child and parent, and is wholly dependent on the interests expressed by the child, the ability for the family to engage in that activity, and the budget restraints of the project.Reading as an Alternative RealityA key creative intervention embedded in the Hand Up Linkage project is determined by the interests expressed by the child during their in-depth interview. Also taken into account is the ability for the family to engage in that activity. For example, Kani’s mother works fulltime at a location which is an hour by public transport from home and does not have a car or driver’s license, so the choice of creative opportunity was restricted to a home-based activity or a weekend activity accessible by public transport. A further restriction is the limited budget available for this intervention in the project, along with an imperative that such interventions should be equitable between families and within families, and be of benefit to all the children in addition to the interviewed child. Fortunately, transport was not an issue because Kani expressed her interest very emphatically as books and reading. When asked what she liked doing most in life, Kani replied: “Reading. I like reading like big books, like really thick books and stuff. I have like 30 in my room. Like those really big books. And I'm starting to read Harry Potter now. Okay, the books that I like reading is Harry Potter, the entire set Roald Dahl books and the Baudelaire Orphans by Lemony Snicket. I like reading David Walliams. I like Little Women” (Kani). Her excitement in listing these books further animated the interview and was immediately emphasised because Kani took the interviewer (second author) and her mother into her room to demonstrate the truth of her statement. When asked again at the close of the interview “what’s a favourite thing that makes you feel good inside?” Kani’s answer was “Family and reading”. The energy and enthusiasm with which Kani talked about her reading and books made these the obvious choice as her creative intervention. However, participation in book-related courses or after-school activities was restricted by Kani’s mother’s transportation limitations. Taking into account how the financial constraints of her sole parent family impacted upon their capacity to buy books, and the joy that Kani clearly experienced from having books of her own, it was decided that a book voucher would be provided for her at a local bookstore easily accessible by bus. The research team negotiated with the bookstore to try to ensure that Kani could choose a book a month until the funds were expended so that the intervention would last most of the coming six months.What Kani was expressing in her love of books was partly related to the raw material they provide that help her to imagine the alternative reality of the fictional worlds she loved reading about. Kani’s passionate engagement in these alternative realities reflects theories of narrative immersion in one’s chosen medium: “One key element of an enjoyable media experience is that it takes individuals away from their mundane reality and into a story world. We call the process of becoming fully engaged in a story transportation into a narrative world” (Green et al. 311–12). Kani said: “Reading is everything, yeah. Like getting more books and like those kind of things and making me read more... ‘cause I really love reading, it’s like watching a movie. Do you know ... have you watched Harry Potter? … the book is nothing like the movie, nothing, they’ve missed so many parts so the book is more enjoyable than the movie. That’s why I like reading more. ‘Cause like I have my own adventures in my head.” This process of imagining her own adventures in her head echoes Green and Brock’s explanation of the process of being transported into alternative realities through reading as a result of “an integrative melding of attention, imagery, and feelings” (701).Constructing Alternative Realities for Herself and an Alternative Possible FutureLike many 10 year olds, Kani has a challenging time at school, exacerbated by the many school moves brought about by changes in her family circumstances. Even though she is in a school which supports her family’s faith, her experience is one of being made to feel an outsider: “all the boys and the girls in our class are like friends, they’re like ... it’s a group. But I’m not in their group. I have my friends in other classes and they’re [my classmates are] not happy with it, that’s why they tease me and stuff. And like whenever I play with my friends they’re like ... yeah”. The interviewer asked her what she liked about her special friends. “They’re fun. Creative like, enjoyable, yeah, those kind of things …they have lots of cool ideas like plans and stuff like that.” As Hawkins et al. argue, the capacity to develop and maintain good relationships with peers (and parents) is a key factor in helping children be resilient. It is likely that Kani also shares her creativity, ideas and plans with her friendship group as part of her shared contribution to its existence.A domestication of technology framework (Silverstone et al.) can be useful as part of the explanation for Kani’s use of imaginative experience in building her social relationships. Silverstone et al. argue that technology is domesticated via four interlocking activities: ‘appropriation’ (where it embraced, purchased, taken into the household), ‘objectification’ (where a physical space is found for it), ‘incorporation’ (the spaces through which it is inserted into the everyday activities of the household or users) and ‘conversion’ (whereby the experience and fact of the technology use – or lack of use – becomes material through which family members express themselves and their priorities to the social world beyond the home). Arguably, Kani ‘converts’ her engagement with books and associated imaginative experiences into social currency through which she builds relationships with the like-minded children with whom she makes friends. At the same time, those children feed into her ideas of what constitutes a creative approach to life and help energise her plans for the future.Kani’s views of her future (at the age of 10) are influenced by the traditional occupations favoured by high achieving students, and by the fact that her parents are themselves educational high achievers, entering Australia on student visas. “I want to be a doctor … my cousin wants to be a doctor too. Mum said lawyer but we want to be a doctors anywhere. We want to be a ...me and my cousin want to be doctors like ...we like being doctors and like helping people.” Noting the pressures on the household of the possible fees and costs of high school, Kani adds “I need to work even harder so I get a scholarship. ‘Cause like my mum can’t pay for like four terms, you know how much money that will be? Yeah.” Kani’s follow-on statement, partly to justify why she wants “a big house”, adds some poignancy to her reference to a cousin (one of many), who still lives in Bangladesh and whom Kani hasn’t seen since 2011. “Like I want to live with my mum and like yeah and like I live with my cousin too because like I have a cousin ... she’s a girl, yeah? And like yeah, she’s in Bangladesh, I haven’t seen her for very long time so yeah.” In the absence of her extended family overseas, Kani adds her pets to those with whom she shares her family life: “And my mum and my uncle and then our cat Dobby. I named it [for Harry Potter’s house elf] ...and the goldfish. The goldfish are Twinkle, Glitter, Glow and Bobby.”Kani’s mum notes the importance of an opportunity to dream a future into existence: “maybe she’s too young or she hasn’t really kind of made up her mind as yet as to what she wants to do in life but just going out and just you know doing stuff and just giving them the opportunity”. The SVDPWA Kids’ Camp is an important part of this “they [the refuge] kind of told us like ‘there’s this child camp’. … I was like yeah, sure, why not?” Providing Alternative Spaces at the SVDPWA Kids’ CampThe SVDPWA Kids’ Camps themselves constitute a creative intervention in offering visions of alternative realities to their young participants. Their benefit is delivered via anticipation, as well as the reality of the camp experience. As Kani said “I forget all about the things that’s just past, like all the hard things, you know like I go through and stuff and it just makes me forget it and it makes me like think about camp, things we’re going to do at camp”. The Kids’ Camps take place three times a year and are open to children aged between 8 and 13, with follow-on Teen Camps for older age groups. Once a child is part of the program she or he can continue to participate in successive camps while they are in the target age group. Consisting of a four day activity-based experience in a natural setting, conducted by Vinnies Youth and staffed by key SVDPWA employees and Youth volunteers, the camps offer children a varied schedule of activities in a safe and supported environment, with at least one volunteer for every two child participants. The camps are specifically made available to children from disadvantaged families and are provided virtually free to participants. (A nominal $10 enrolment fee is applied per child). Kani was initially reticent about attending her first camp. She explained: “I was shy, scared because I sleep with my mum so it’s different sleeping without Mum. I know it’s kind of embarrassing ‘cause, sleeping with my mum like, but I just get scared at night”. Kani went on to explain how the camp facilitators were able to allay her fears “I knew I was safe. And I had people I could talk to so yeah ...like the leader”. As one Vinnies Youth volunteer explains, the potential of offering children like Kani time out from the pressures of everyday life is demonstrated when “towards the end of every camp we always see that progression of, they came out of their shell … So I think it’s really just a journey for everyone and it’s understandable if they did feel stuck. It’s about what we can do to help them progress forward” (VY1). Kani was empowered to envision an alternative idea of herself at camp, one which was unexpectedly intuited by the research interviewer.When the interviewer closed the interview by expressing that it had been lovely to talk to Kani as she was “such a bundle of energy”, Kani grinned and replied “Do you know the warm fuzzies, yeah? [When positive thoughts about others are exchanged at the SVDPWA Kids’ Camp]. The bundle ... all the leaders say I’m a bundle of happiness”. The Kids’ Camp provided Kani with a fun and positive alternative reality to the one she experienced as a child handling the considerable challenges experienced by social isolation, domestic violence and parental separation, including the loss of her home, diminished connection to her overseas extended family, legal custody issues, and several school changes. Taking the role of cultural intermediary, by offering the possibility of alternative realities via their camp, SVDPWA offered Kani a chance that supported her work on creating a range of enticing possible futures for herself. This was in contrast to some commercial holiday camp experiences which might more centrally use their “cultural authority as shapers of taste and … new consumerist dispositions” (Nixon and Du Gay 497). Even so, Kani’s interview made clear that her experience with the SVDPWA Kids’ Camps were only part of the ways in which she was crafting a range of possible visions for her adult life, adding to this her love of books and reading, her fun, creative friends, and her vision for a successful future which would reunite her with her distant cousin and offer security to her mother. ConclusionUnderstandably, Kani at 10 lacks the critical insight required to interpret how her imaginative and creative life provides the raw materials from which she crafts her visions for the future. Further, the interviewer is careful not to introduce words like ‘creative’ into her work with the participant families, so that when Kani used it to talk about her friends she did so drawing upon her own store of descriptions and not as a result of having recently been reminded of creativity as a desirable attribute. The interview with this young person indicates, however, how greatly she values the imaginative and cultural inputs into her life and how she converts them in ways which help ensure access to further such creative currency. Apart from referencing her reading in the naming of her cat, Kani’s vision for herself reflects both the conventional idea of success (“a doctor”) and a very specific idea of her future living as an adult in house large enough to include her mum and her cousin.Kani’s love of reading, her pleasure in books, her choice of friends and her aspirations to scholarly excellence all offer her ways to escape the restricted options available to families who seek support from organisations such as SVDPWA. At the same time the Kids’ Camps themselves, like Kani’s books, provide an escape from the difficulties of the present. Kani’s appropriation of the cultural raw materials that she draws into her life, and her conversion of these inputs into a creative, social currency, offers her an opportunity to anticipate a better future, and some tools she can use to help bring it into existence.ReferencesCarr, A. Positive Psychology: The Science of Happiness and Human Strengths. 2nd ed. Hove, UK: Routledge, 2011.Csikszentmihalyi, M. Creativity: Flow and the Psychology of Discovery and Invention. New York: HarperCollins, 1996.Green, M., and T. Brock. “The Role of Transportation in the Persuasiveness of Public Narratives.”. Journal of Personality and Social Psychology 79 (2000): 701–21.———, T. Brock, and G. Kaufman. “Understanding Media Enjoyment: The Role of Transportation into Narrative Worlds." Communication Theory 14.4 (2004): 311–27.Hawkins, J.D., R. Kosterman, R.F. Catalano, K.G. Hill, and R.D. Abbott. “Promoting Positive Adult Functioning through Social Development Intervention in Childhood: Long-Term Effects from the Seattle Social Development Project.” Archives of Pediatrics & Adolescent Medicine 159.1 (2005): 25. Hopkins, L. “YouthWorx: Increasing Youth Participation through Media Production.” Journal of Sociology 47.2 (2011): 181–197. doi: 10.1177/1440783310386827.Kani. In-depth interview, de-identified, 2016.Kaufman, J. C., and R.A. Beghetto. “Beyond Big and Little: The Four C Model of Creativity.” Review of General Psychology 13.1 (2009): 1–12. <http://dx.doi.org/10.1037/a0013688>. King, G., T. Cathers, E. Brown, J.A. Specht, C. Willoughby, J.M. Polgar, and L. Havens. “Turning Points and Protective Processes in the Lives of People with Chronic Disabilities.” Qualitative Health Research 13.2 (2003): 184–206.Nixon, S., and P. Du Gay. “Who Needs Cultural Intermediaries?” Cultural Studies 16.4 (2002): 495–500.Podkalicka, A. “Young Listening: An Ethnography of YouthWorx Media’s Radio Project.” Continuum 23.4 (2009): 561–72.St Vincent de Paul Society (WA). St Vincent de Paul Society, Annual Report 2013. Perth, WA: St Vincent de Paul Society (WA), 2013. 5 Jan 2017 <http://www.vinnies.org.au/icms_docs/169819_Vinnies_WA_2012_Annual_Report.pdf>.Seidman, I. Interviewing as Qualitative Research: A Guide for Researchers in Education and the Social Sciences. New York: Teachers College Press, Columbia University, 2006.Silverstone, R., E. Hirsch, and D. Morley. “Information and Communication Technologies and the Moral Economy of the Household.” Consuming Technologies: Media and Information in Domestic Spaces. Eds. R. Silverstone and E. Hirsch. London: Routledge, 1992. 9–17.Snyder, C.R. Handbook of Hope. Orlando, FL: Academic Press, 2000.VY1. In-depth interview with Vinnies Youth volunteer, de-identified, 2016.

The article is devoted to the analysis of the influence of technology evolution on the process of producing and replicating works of art. There is a trans- formation of musical creativity, which occurs due to the opportunities that arise because of sound recording technologies development, processing and reproduction of musical sound. The process of performing a musical pieces and actually creating it are experiencing great improvisation. Live looping en- ables recording and playing looped audio samples in real time using special devices or software. The ability to create audio tracks and to use them in "real time" can concern both the concert activity of leading and well-known musicians, recordings in professional studios of performers of different genre and style directions, but the most expedient and influential are those who create compositions in "amateur" single. This expediency is based on the spectrum of practical application of one's own voice, which is impossible without devices equipped with such a technology. The development of artistic practice is not possible beyond the cultural context. Changes in one of the cultural spheres associated with emergence of ability to record audio, emergence of new tech- nologies, software – necessarily lead to essential or structural modifications in other areas. Using the principle of live looping allows you bypass most of the links associated with the show business infrastructure. However, the essence and stages of creative process remain largely unchanged. Improvisation, which is proclaimed as the main form of presentation of musical material while using live looping, becomes a pledge of creative maturity and skill of the performer, who acts as a composer, arranger and sometimes even a conductor. The development of the technological level helps create artistic projects, the appearance and implementation of which will depend on one person.

Introduction The construction of meaning is specifically denoted by texts that are created and published by the mass media. To highlight how that meaning is constructed, we might take a communication research approach which then enables us to understand how mass media texts impact society. To undertake such an approach it is useful to reflect on two methods outlined by Adoni and Mane who suggest there are two communication research methodologies. “The first focuses on the social construction of reality as an important aspect of the relationship between culture and society. The second approach concentrates on the social construction of reality as one type of media effect.” (Adoni and Mane 323). Relying on Adoni and Mane’s second communication research approach and combining this with the practice of remix, we can begin to understand how practitioners construct a reality from the mass audience perspective and not the mass media’s construction. This aligns with the approach taken by the ABC Pool remix practitioners in that they are informed by the mass media’s construction of meaning, yet oppose their understanding of the text as the basis for their altered construction of meaning. The oppositional reading of the media text also aligns with Hall’s encoding/decoding theory, specifically the oppositional reading where audiences resist the dominant or preferred reading of the text (Long & Wall). If we align Deuze’s (Media Work) thinking to mass media that suggests we live in media as opposed to with media, the effects of the construction of reality have a major impact on how we construct our own lives. Until recently, that media and consequent meaning has been constructed by the mass media and broadcast into our living rooms, headphones, billboards and other public spaces where media resides. The emergence of Web 2.0 technologies and the affordances these information and communication technologies provide for the audience to talk back in new and innovative ways has challenged that traditional model of meaning construction. Now, instead of the mass media designing and disseminating meaning through our media consumption channels, the audience also has an opportunity to participate in this consumption and production process (Bruns; Jenkins; Shirky). “Remix means to take cultural artifacts and combine and manipulate them into new kinds of creative blends,” according to (Knobel & Lankshear 22) where Lessig argues that digital remix is writing on a mass cultural practice scale (Remix). Remix within this paper is considered a practice that takes the affordances of the technology and couples that with the creative ability of the artists to create socially constructed meanings through new and inventive methods. In considering socially constructed meaning, it is useful to reflect on media dependency theory, which suggests the amount of subjective reality depends on direct experience with various phenomena and the exposure to the media in relation to those phenomena (Ball-Rokeach and DeFleur). “According to the media dependency hypothesis, the degree of media contribution to the individual's construction of subjective reality is a function of one's direct experience with various phenomena and consequent dependence on the media for information about these phenomena” (Adoni and Mane 324). Remix requires a parent piece of media (the original meaning) to create a remixed child (the re-constructed meaning). There is a clear dependency relationship between the parent and child pieces of media in this arrangement, which realistically shapes how the child will be created. If this material is published in a non-institutional environment, the artist is more or less free to demonstrate what ever meaning they wish to express. However when this practice emerges from within an institutional environment, this raises concerns of the media production, namely is the media institution challenging the original meaning they placed on certain texts and are they endorsing the new socially constructed meaning provided by remix artists? Constructing new forms of meaning and challenging the preferred meaning of institutionally generated texts intrinsically connects remix to the act of online activism. Activism can be defined as “people and organisations that work to promote social or political changes” for the benefit of society (Jones 1). Scholars have noted the significance of online technologies to aid in the mobilisation of mass groups of individuals in protest. In light of the recent Arab Spring uprisings, González-Bailón et al. note “the number of events connecting social media with social unrest has multiplied, not only in the context of authoritarian regimes exemplified by the recent wave of upsurges across the Arab world but also in western liberal democracies, particularly in the aftermath of the financial crisis and changes to welfare policies” (para 1). Although the majority of work that is remixed on ABC Pool is not related to an authoritarian regime, it is representative of the frustrations many citizens have towards the inequality of distribution of wealth and power to a few privileged individuals. Remix as an online activism activity also explicitly demonstrates Hall’s oppositional reading of encoded texts. This paper will use media dependency theory as a lens to investigate how remix occurs outside of the institution to challenge the meanings created by authorities within the institutional setting, while challenging the mass media approach towards social discourse construction. To do this, the paper will focus on the case study of one remix artist, Main$treaM, who was an active participant within the institutional online community, ABC Pool. ABC Pool was a user created content space that ceased to operate during May 2013 from within the Australian Broadcasting Corporation (ABC). The Pool project enabled users to publish their audio, video, photography and writing on a platform that was developed and resourced by the ABC. ABC Pool was open to everyone and was governed by the same editorial policies that regulated all media and activities across the ABC in relation to the ABC Charter (ABC Act 1983). ABC Pool also operated under a Creative Commons licensing regime which enabled media to flow across platforms, for example the Internet, radio and television, while providing attribution to the original author (generally under a Creative Commons Attribution Non-Commercial license). Main$treaM was one active user that engaged in remix to pursue his creative direction but to also challenge the meanings of texts that had been created by the mass media. Max Prophet$ equals Ca$h for Comments Main$treaM had been active in Pool for several months when he began publishing his remixed works. His approach towards media and its production is especially important as his technique involved challenging the societal discourse that is accepted from traditional forms of media production and reappropriating them to reflect how an audience would reconstruct them, from their Deuzian lived in experience. Main$treaM can also be classified as an oppositional reader of text in regards to how he decodes the meaning within the message (Hall). His online activist approach is obvious in his self-described profile. Main$treaM’s profile on ABC Pool says: Making animations, music & loads of max prophet$ However, his profile on Discogs (Discogs is one of the largest online music databases, where users can contribute music information and data while locating collectables within the global marketplace) reveals the artist’s creative and political perspectives: Main$treaM started off wanting to piss people off. He loathed the studio recording industry professionals & Sound Production Mass Media Culture in general. How could it be that a TV Camera can record what you say in the street, then edit it into something YOU DID NOT SAY but take a little news sample off the TV & bam: "WE WILL SUE YOU" These days it makes me sick that hard breaks & media cut ups are trendy. Not sick enough to actually stop. Main$treaM’s approach is one that challenges the stereotypical rhetoric tropes of the mass media and is concerned with choosing a remix style that aligns with the media dependency theory. That is, he draws on the one perspective which is garnered by the traditional media figureheads and applies his lived in experience with those same societal discourses to provide a significantly different meaning (Ball-Rokeach & DeFleur). The tool he uses to operationalise this is the art of remix by taking multiple cultural artefacts to create new creative blends (Knobel & Lankshear). John Laws is a radio celebrity who has dominated the Australian media landscape for decades with his at times controversial ‘shock jock’ talk back radio program. He is right wing in his political alignment and has at times been the centre of controversial programming efforts that has riled Australian audiences, which also involved input from Australian media authorities. His political alignment coupled with his disregard for audience sensitivities makes Laws an ideal character for an activist remix artist such as Main$treaM to target. Main$treaM had taken comments that Laws had made, placed them out of context and remixed them to deliberately misrepresent Laws’s opinion. One track in particular, Max Prophet$, is a reaction to the controversial Cash for Comments scandal (Johnson). In this case, John Laws was accused of receiving remuneration from Toyota to endorse their products on his radio program without acknowledging this activity as advertising. Main$treaM, through one of his ABC Pool contributions Max Prophet$, selected various comments that Laws had made during his radio broadcasts, and remixed them in a format that had John Laws say he was indeed receiving large amounts of money from Toyota. His remix, in the tradition of Pauline Pantsdown, took Laws’s comments and connected them to say “That really is a terrific vehicle that Hilux Workmate, great name too isn’t it”, highlighting a clear endorsement of the Toyota product by the radio presenter. However, Main$treaM did not stop at proving his point with this one remix contribution. He also provided in addition to the Max Prophet$ contribution, many other controversial social commentary works, including Cock Cheek parts One and Two, Prickseye Picture of You and I, and Ca$h for Comment$. Each contribution focussed on a particular character trait that Laws had become known for, such as inviting input from his listeners and then hanging up on them when they provided commentary that was contrary to his opinion. “Did I call you or did you call me” was Main$treaM’s method of whimsically suggesting that Laws is a rude, right wing conservative. The public opinion within Australia of John Laws is split between support from the conservatives and disdain from the liberals. Main$treaM was attempting to provide a voice from within the liberal perspective that illuminates the public opinion of Laws. The public opinion of Laws is one cultural discourse that is difficult to define, and almost impossible to publish to the broader public. Remix, as Lessig suggests, provides the most suitable genre of mass cultural practice to interrogate both perspectives of someone as controversial as Laws, where ABC Pool provides the most suitable platform to publish remixed societal perspectives on contemporary controversial issues. However, as outlined earlier, ABC Pool is contained within the same regulatory framework as any other publication space of the ABC. Essentially by publishing this controversial work on an ABC platform is blurring the boundaries between the ABC providing a place to publish the material and the ABC endorsing the material. ABC Pool operated under a reactive mode of moderation which suggests that content can be published without any form of moderation but if it were flagged as inappropriate by another user or audience member it had to be investigated by the ABC Pool team. Main$treaM’s contemporary material contained confronting concepts, language and techniques and was flagged as inappropriate by an anonymous Pool user during 2011. In this instance, it becomes clear that remix within an institutional setting is a complicated activity to facilitate. By providing a Creative Commons licensing regime, the ABC Pool project is endorsing remix as an institutional activity, and given the ethos of ABC Pool to experiment with new and innovative ways of engaging the audience, remix is crucial to its operation. However given the complaints of the other users that Main$treaM’s material was inappropriate, the problem arose of how to manage contentious remix activity. Aligning with Jenkins’s convergent cultures and Bruns’s produsage theories which incorporates the audience into the production process, the ABC Pool project was required to promote remix as a suitable activity for its users. Remix as an online activist activity in turn attracted the societal dissent approach from remix artists, providing a problem of adhering to the rules and regulations of the ABC more broadly. In the immediacy of the complaint, a large proportion of Main$treaM’s material was temporarily unpublished from ABC Pool until the team could provide a suitable solution on how to solve the tensions. The Legal Consultation Process In an instance such as this, an ABC employee is required to consult the editorial policy people to seek their advice on the most appropriate approach on the problematic material. The ABC Editorial Policies representatives referenced the material in the then Section 9 of the Editorial Policies, which relates to user-generated content. After the consultation process, they could see no breach of the guidelines; however, given the obscene constitution of the material, they suggested the Pool team refer the material to ABC Legal, a process in the ABC known as ‘referring up’. ABC Legal had a team of media lawyers interrogate the material from a criminal law perspective. It is worth noting, in both departments, Legal and Editorial Policies, there was support for Main$treaM’s creative expression (Fieldnotes, 2011). However, both parties were approaching the material and acting in a risk management capacity to protect the integrity of the ABC brand. After receiving the approval of the editorial policy people, the ABC Pool team had to seek the advice from ABC Legal. After two weeks of investigation, ABC Legal returned the following recommendations for the Pool team: Ultimately, risk management is the deciding factor to determine if the material should be published or not, supported by a solid defense should the case go to court.There are three areas to be considered with Main$treaM’s content:CopyrightDefamatoryObscenityIn regards to copyright, it is OK to publish in this case because the works are covered by parody or satire as the pieces have a focussed angle, or subject (John Laws).Defamation is more complicated. Firstly, we have to establish if the usual person could identify the defamed person. If yes, we need to establish what imputations there are, i.e. homophobic tendencies, pedophilia, etc. For each imputation, we need to establish if there is a defense. Typical defenses are honest opinion, expressed as one’s view, or truth. Honest Opinion needs to have a base to relate it to and not just a rant – i.e. John Laws was caught in the Cash for Comments scandal but there is no evidence to suggest he is a pedophile (unless the artists knows a truth – which becomes complicated again).Obscenity comes under classification, and since Pool does not have a rating system in place, we cannot offer this as a way to avoid publishing. A standard example of this relates to a younger audience member having the same access to an obscene piece of content (as guided by Pool’s Guidelines Section 4.1 a and b).These rules are premised by how do I read it/hear it. This is how a jury of citizens will approach the same piece of content. Risk management is also present when we ask how will John Laws hear about it, and what will the community think about it.(Fieldnotes, 2011) The suggestions the legal team returned are significant in highlighting the position of a media institution that facilitates remix. What is relevant here is a public service media organisation is a specific type of media organisation that is responsible for facilitating increased citizenry through its activities (Cunningham). Martin builds on the work of Jacka and Hartley to highlight how the ABC should be encouraging ‘DIY citizenry’. She says the combination of the core Reithian values of educate, inform and entertain can be combined with new media technologies that enable a “semiotic self determination model” to construct a “national semiosis model” (Hartley 161). However, there is a clear misalignment between the values of the PSM and the remix artist. What was required was the presence of a cultural intermediary to assist in calibrating those values and engaging in a negotiation phase between the two stakeholders. A cultural intermediary is a human or non-human actor that is located between the production and consumption of cultural artifacts and aids in facilitating the negotiation space between different expertise disciplines. In this case, it was the role of the community manager to attempt to connect the two approaches and enable remix practice to continue under the auspices of the ABC. The ABC had shifted its approach towards some of the Main$treaM material, but given its regulatory framework was unable to facilitate all of his contributions. Unfortunately in this case, Main$treaM did not align with the requirements of the ABC, left the Pool community and did not continue his practice of remix within the ABC any further. Conclusion Remixed texts that are published on PSM platforms demonstrate high levels of dependency on existing mass media texts, aligning them with the approach of the media dependency theory (Ball-Rokeach & DeFleur). Remixed texts are also cultural products of artists that live in media and not with media, as noted by Deuze (Media Industries, Work and Life) and are the result of mass cultural practice that manipulates the meaning of multiple cultural artefacts (Lessig). Remix as a form of online activism is also representative of Hall’s oppositional reading of texts which enable the practitioner to deepen their involvement within the social construction of reality (Adoni & Mane). Convergence cultures represent the audience’s ever-increasing desire to participate in the production of media and not merely consume it (Jenkins). The theoretical alignment of remix with these theories suggests remixed texts have a deeper and richer cultural representation than that of its institutionally produced parent text. However, collaboratively produced cultural artefacts via remix are problematised by the digital divide debate, specifically through the access of tools and knowledge for this practice. Lin terms this problem as ‘techno-elite’ where only certain individuals have access and knowledge and tools to engage in these types of cultural activities facilitated by PSM. Further, Carpentier challenges this type of participation by asking if we have access and can interact, are we really participating in a democratising activity, given the promises of online activism? Given that PSM is pursuing the concept of the audience as user, which positions the audience as a producer of content across online environments, facilitating the practice of remix should align with its core values to inform, educate and entertain (Martin). However as we have seen with the Main$treaM case, this is problematic when attempting to align the focus of a remix artist with that of PSM. In these instances the work of the cultural intermediary as the disciplinary expertise negotiator becomes critical to increase the societal representation within the production and consumption of cultural artefacts produced through the activity of remix. A public service broadcaster that is supportive of both institutionally produced texts, along with socially informed text production through remix, will be a rigorous media organisation that supports a better informed citizenry, or as Hartley suggests a self determined national semiosis model. References Adoni, Hanna, and Sherrill Mane. "Media and the Social Construction of Reality: Toward and Integration of Theory and Research." Communication Research 11.3 (1984): 323-40. Ball-Rokeach, Sandra, and DeFluer, Melvin. "A Dependency Model of Mass Media Effects." Communication Research 3 (1976): 3-21. Bruns, Axel. Blogs, Wikipedia, Second Life and Beyond: From Production to Produsage. New York: Peter Lang, 2008. Carpentier, Nico. "The Concept of Participation. If They Have Access and Interact, Do They Really Participate?" Communication Management Quarterly 21 (2011): 13-36. Cunningham, Stuart. Hidden Innovation: Policy, Industry and the Creative Sector. Creative Economy and Innovation Culture. Brisbane: University of Queensland Press, 2013. Deuze, Mark. Media Work. London: Polity Press, 2007. Deuze, Mark. "Media Industries, Work and Life." European Journal of Communication 24 (2009): 467. Enli, Gunn Sara. "Redefining Public Service Broadcasting." Convergence: The International Journal of Research into New Media Technologies 14.1 (2008): 105 - 20. González-Bailón, Sandra, et al. "The Dynamics of Protest Recruitment through an Online Network." Scientific Reports 1.197 (2011). Hall, Stuart. Encoding and Decoding in the Television Discourse. Council of Europe Colloquy on "Training In The Critical Reading of Television Language". 1973. Hartley, John. "Communicative Democracy in a Redactional Society: The Future of Journalism Studies." Journalism: Theory, Practice and Criticism 1.1 (2001): 39-48. Jacka, Liz. "'Good Democracy': The Role of Public Service Broadcasting." The Centre for Culture and History (2001). 2 Feb. 2013 < http://www.cmchnyu.org/pdfs/jacka.pdf >. Jenkins, Henry. Convergence Culture - Where Old and New Media Collide. New York: New York University Press, 2006. Johnson, Rob. Cash for Comment: The Seduction of Journo Culture. Media.Culture Series. Sydney: Pluto Press, 2000. Jones, Christopher. "Activism or Slacktivism? The Role of Social Media in Effecting Social Change." Research Paper. School of Engineering and Applied Science: University of Virginia, 2013. Knobel, Michele, and Colin Lankshear. "Remix: The Art and Craft of Endless Hybridization." Journal of Adolescent & Adult Literacy 52.1 (2008): 22-33. Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid Economy. New York: Penguin, 2008. Lin, Yu-Wei. "The Emergence of the Techno-Elite Audience and Free/Open Source Content: A Case Study on Bbc Backstage." Participations: Journal of Audience & Reception Studies 9.2 (2012): 597-613. Long, Paul, and Tim Wall. "Investigating Audiences: What Do People Do with Media?" Media Studies: Texts, Production and Context. Eds. P. Long et al. Harlow, England: Pearson Education Limited, 2009. 240-72. Martin, Fiona. "Beyond Public Service Broadcasting? ABC Online and the User/Citizen." Southern Review: Communication, Politics and Culture 35.1 (2002): 42-62. Rosen, Jay. "The People Formerly Known as the Audience." Pressthink: Ghost of Democracy in the Media Machine (2006). 2 Feb. 2013 < http://www.guardian.co.uk/media/2006/apr/25/bbc.broadcasting >. Shirky, Clay. Here Comes Everybody: The Power of Organising without Organisations. New York: Allen Lane, 2008.

Introduction This article situates the dark as a liminal and creative space of experimentation where tensions are generative and people tinker with emerging technologies to create alternative futures. Darkness need not mean chaos and fear of violence – it can mean privacy and protection. We define dark as an experimental space based upon uncertainties rather than computational knowns (Bridle) and then demonstrate via a case study of cryptocurrencies the contribution of dark and liminal social spaces to future(s)-making. Cryptocurrencies are digital cash systems that use decentralised (peer-to-peer) networking to enable irreversible payments (Maurer, Nelms, and Swartz). Cryptocurrencies are often clones or variations on the ‘original’ Bitcoin payment systems protocol (Trump et al.) that was shared with the cryptographic community through a pseudonymous and still unknown author(s) (Nakamoto), creating a founder mystery. Due to the open creation process, a new cryptocurrency is relatively easy to make. However, many of them are based on speculative bubbles that mirror Bitcoin, Ethereum, and ICOs’ wealth creation. Examples of cryptocurrencies now largely used for speculation due to their volatility in holding value are rampant, with online clearing houses competing to trade hundreds of different assets from AAVE to ZIL. Many of these altcoins have little to no following or trading volume, leading to their obsolescence. Others enjoy immense popularity among dedicated communities of backers and investors. Consequently, while many cryptocurrency experiments fail or lack adoption and drop from the purview of history, their constant variation also contributes to the undertow of the future that pulls against more visible surface waves of computational progress. The article is structured to first define how we understand and leverage ‘dark’ against computational cultures. We then apply thematic and analytical tactics to articulate future-making socio-technical experiments in the dark. Based on past empirical work of the authors (Maddox "Netnography") we focus on crypto-cultures’ complex emancipatory and normative tensions via themes of construction, disruption, contention, redirection, obsolescence, and iteration. Through these themes we illustrate the mutation and absorption of dark experimental spaces into larger social structures. The themes we identify are not meant as a complete or necessarily serial set of occurrences, but nonetheless contribute a new vocabulary for students of technology and media to see into and grapple with the dark. Embracing the Dark: Prework & Analytical Tactics for Outside the Known To frame discussion of the dark here as creative space for alternative futures, we focus on scholars who have deeply engaged with notions of socio-technical darkness. This allows us to explore outside the blinders of computational light and, with a nod to Sassen, dig in the shadows of known categories to evolve the analytical tactics required for the study of emerging socio-technical conditions. We understand the Dark Web to usher shifting and multiple definitions of darkness, from a moral darkness to a technical one (Gehl). From this work, we draw the observation of how technologies that obfuscate digital tracking create novel capacities for digital cultures in spaces defined by anonymity for both publisher and user. Darknets accomplish this by overlaying open internet protocols (e.g. TCP/IP) with non-standard protocols that encrypt and anonymise information (Pace). Pace traces concepts of darknets to networks in the 1970s that were 'insulated’ from the internet’s predecessor ARPANET by air gap, and then reemerged as software protocols similarly insulated from cultural norms around intellectual property. ‘Darknets’ can also be considered in ternary as opposed to binary terms (Gehl and McKelvey) that push to make private that which is supposed to be public infrastructure, and push private platforms (e.g. a Personal Computer) to make public networks via common bandwidth. In this way, darknets feed new possibilities of communication from both common infrastructures and individual’s platforms. Enabling new potentials of community online and out of sight serves to signal what the dark accomplishes for the social when measured against an otherwise unending light of computational society. To this point, a new dark age can be welcomed insofar it allows an undecided future outside of computational logics that continually define and refine the possible and probable (Bridle). This argument takes von Neumann’s 1945 declaration that “all stable processes we shall predict. All unstable processes we shall control” (in Bridle 21) as a founding statement for computational thought and indicative of current society. The hope expressed by Bridle is not an absence of knowledge, but an absence of knowing the future. Past the computational prison of total information awareness within an accelerating information age (Castells) is the promise of new formations of as yet unknowable life. Thus, from Bridle’s perspective, and ours, darkness can be a place of freedom and possibility, where the equality of being in the dark, together, is not as threatening as current privileged ways of thinking would suggest (Bridle 15). The consequences of living in a constant glaring light lead to data hierarchies “leaching” (Bridle) into everything, including social relationships, where our data are relationalised while our relations are datafied (Maddox and Heemsbergen) by enforcing computational thinking upon them. Darkness becomes a refuge that acknowledges the power of unknowing, and a return to potential for social, equitable, and reciprocal relations. This is not to say that we envision a utopian life without the shadow of hierarchy, but rather an encouragement to dig into those shadows made visible only by the brightest of lights. The idea of digging in the shadows is borrowed from Saskia Sassen, who asks us to consider the ‘master categories’ that blind us to alternatives. According to Sassen (402), while master categories have the power to illuminate, their blinding power keeps us from seeing other presences in the landscape: “they produce, then, a vast penumbra around that center of light. It is in that penumbra that we need to go digging”. We see darkness in the age of digital ubiquity as rejecting the blinding ‘master category’ of computational thought. Computational thought defines social/economic/political life via what is static enough to predict or unstable enough to render a need to control. Otherwise, the observable, computable, knowable, and possible all follow in line. Our dig in the shadows posits a penumbra of protocols – both of computational code and human practice – that circle the blinding light of known digital communications. We use the remainder of this short article to describe these themes found in the dark that offer new ways to understand the movements and moments of potential futures that remain largely unseen. Thematic Resonances in the Dark This section considers cryptocultures of the dark. We build from a thematic vocabulary that has been previously introduced from empirical examples of the crypto-market communities which tinker with and through the darkness provided by encryption and privacy technologies (Maddox "Netnography"). Here we refine these future-making themes through their application to events surrounding community-generated technology aimed at disrupting centralised banking systems: cryptocurrencies (Maddox, Singh, et al.). Given the overlaps in collective values and technologies between crypto-communities, we find it useful to test the relevance of these themes to the experimental dynamics surrounding cryptocurrencies. We unpack these dynamics as construction, rupture and disruption, redirection, and the flip-sided relationship between obsolescence and iteration leading to mutation and absorption. This section provides a working example for how these themes adapt in application to a community dwelling at the edge of experimental technological possibilities. The theme of construction is both a beginning and a materialisation of a value field. It originates within the cyberlibertarians’ ideological stance towards using technological innovations to ‘create a new world in the shell of the old’ (van de Sande) which has been previously expressed through the concept of constructive activism (Maddox, Barratt, et al.). This libertarian ideology is also to be found in the early cultures that gave rise to cryptocurrencies. Through their interest in the potential of cryptography technologies related to social and political change, the Cypherpunks mailing list formed in 1992 (Swartz). The socio-cultural field surrounding cryptocurrencies, however, has always consisted of a diverse ecosystem of vested interests building collaborations from “goldbugs, hippies, anarchists, cyberpunks, cryptographers, payment systems experts, currency activists, commodity traders, and the curious” (Maurer, Nelms, and Swartz 262). Through the theme of construction we can consider architectures of collaboration, cooperation, and coordination developed by technically savvy populations. Cryptocurrencies are often developed as code by teams who build in mechanisms for issuance (e.g. ‘mining’) and other controls (Conway). Thus, construction and making of cryptocurrencies tend to be collective yet decentralised. Cryptocurrencies arose during a time of increasing levels of distrust in governments and global financial instability from the Global Financial Crisis (2008-2013), whilst gaining traction through their usefulness in engaging in illicit trade (Saiedi, Broström, and Ruiz). It was through this rupture in the certainties of ‘the old system’ that this technology, and the community developing it, sought to disrupt the financial system (Maddox, Singh, et al.; Nelms et al.). Here we see the utility of the second theme of rupture and disruption to illustrate creative experimentation in the liminal and emergent spaces cryptocurrencies afford. While current crypto crazes (e.g. NFTs, ICOs) have their detractors, Cohen suggests, somewhat ironically, that the momentum for change of the crypto current was “driven by the grassroots, and technologically empowered, movement to confront the ills perceived to be powered and exacerbated by market-based capitalism, such as climate change and income inequality” (Cohen 739). Here we can start to envision how subterranean currents that emerge from creative experimentations in the dark impact global social forces in multifaceted ways – even as they are dragged into the light. Within a disrupted environment characterised by rupture, contention and redirection is rife (Maddox "Disrupting"). Contention and redirection illustrate how competing agendas bump and grind to create a generative tension around a deep collective desire for social change. Contention often emerges within an environment of hacks and scams, of which there are many stories in the cryptocurrency world (see Bartlett for an example of OneCoin, for instance; Kavanagh, Miscione, and Ennis). Other aspects of contention emerge around how the technology works to produce (mint) cryptocurrencies, including concern over the environmental impact of producing cryptocurrencies (Goodkind, Jones, and Berrens) and the production of non-fungible tokens for the sale of digital assets (Howson). Contention also arises through the gendered social dynamics of brogramming culture skewing inclusive and diverse engagement (Bowles). Shifting from the ideal of inclusion to the actual practice of crypto-communities begs the question of whose futures are being made. Contention and redirections are also evidenced by ‘hard forks’ in cryptocurrency. The founder mystery resulted in the gifting of this technology to a decentralised and leaderless community, materialised through the distributed consensus processes to approve software updates to a cryptocurrency. This consensus system consequently holds within it the seeds for governance failures (Trump et al.), the first of which occurred with the ‘hard forking’ of Bitcoin into Bitcoin cash in 2017 (Webb). Hard forks occur when developers and miners no longer agree on a proposed change to the software: one group upgraded to the new software while the others operated on the old rules. The resulting two separate blockchains and digital currencies concretised the tensions and disagreements within the community. This forking resulted initially in a shock to the market value of, and trust in, the Bitcoin network, and the dilution of adoption networks across the two cryptocurrencies. The ongoing hard forks of Bitcoin Cash illustrate the continued contention occurring within the community as crypto-personalities pit against each other (Hankin; Li). As these examples show, not all experiments in cryptocurrencies are successful; some become obsolete through iteration (Arnold). Iteration engenders mutations in the cultural framing of socio-technical experiments. These mutations of meaning and signification then facilitate their absorption into novel futures, showing the ternary nature of how what happens in the dark works with what is known by the light. As a rhetorical device, cryptocurrencies have been referred to as a currency (a payment system) or a commodity (an investment or speculation vehicle; Nelms et al. 21). However, new potential applications for the underlying technologies continue emerge. For example, Ethereum, the second-most dominant cryptocurrency after Bitcoin, now offers smart contract technology (decentralised autonomous organisations, DAO; Kavanagh, Miscione, and Ennis) and is iterating technology to dramatically reduce the energy consumption required to mine and mint the non-fungible tokens (NFTs) associated with crypto art (Wintermeyer). Here we can see how these rhetorical framings may represent iterative shifts and meaning-mutation that is as pragmatic as it is cultural. While we have considered here the themes of obsolescence and iteration threaded through the technological differentiations amongst cryptocurrencies, what should we make of these rhetorical or cultural mutations? This cultural mutation, we argue, can be seen most clearly in the resurgence of Dogecoin. Dogecoin is a cryptocurrency launched in 2013 that takes its name and logo from a Shiba Inu meme that was popular several years ago (Potts and Berg). We can consider Dogecoin as a playful infrastructure (Rennie) and cultural product that was initially designed to provide a low bar for entry into the market. Its affordability is kept in place by the ability for miners to mint an unlimited number of coins. Dogecoin had a large resurgence of value and interest just after the meme-centric Reddit community Wallstreetbets managed to drive the share price of video game retailer GameStop to gain 1,500% (Potts and Berg). In this instance we see the mutation of a cryptocurrency into memecoin, or cultural product, for which the value is a prism to the wild fluctuations of internet culture itself, linking cultural bubbles to financial ones. In this case, technologies iterated in the dark mutated and surfaced as cultural bubbles through playful infrastructures that intersected with financial systems. The story of dogecoin articulates how cultural mutation articulates the absorption of emerging techno-potentials into larger structures. Conclusion From creative experiments digging in the dark shadows of global socio-economic forces, we can see how the future is formed beneath the surface of computational light. Yet as we write, cryptocurrencies are being absorbed by centralising and powerful entities to integrate them into global economies. Examples of large institutions hoarding Bitcoin include the crypto-counterbalancing between the Chinese state through its digital currency DCEP (Vincent) and Facebook through the Libra project. Vincent observes that the state-backed DCEP project is the antithesis of the decentralised community agenda for cryptocurrencies to enact the separation of state and money. Meanwhile, Facebook’s centralised computational control of platforms used by 2.8 billion humans provide a similarly perverse addition to cryptocurrency cultures. The penumbra fades as computational logic shifts its gaze. Our thematic exploration of cryptocurrencies highlights that it is only in their emergent forms that such radical creative experiments can dwell in the dark. They do not stay in the dark forever, as their absorption into larger systems becomes part of the future-making process. The cold, inextricable, and always impending computational logic of the current age suffocates creative experimentations that flourish in the dark. Therefore, it is crucial to tend to the uncertainties within the warm, damp, and dark liminal spaces of socio-technical experimentation. References Arnold, Michael. "On the Phenomenology of Technology: The 'Janus-Faces' of Mobile Phones." Information and Organization 13.4 (2003): 231-56. Bartlett, Jamie. "Missing Cryptoqueen: Why Did the FCA Drop Its Warning about the Onecoin Scam?" BBC News 11 Aug. 2020. 19 Feb. 2021 <https://www.bbc.com/news/technology-53721017>. Bowles, Nellie. "Women in Cryptocurrencies Push Back against ‘Blockchain Bros’." New York Times 25 Feb. 2018. 21 Apr. 2021 <https://www.nytimes.com/2018/02/25/business/cryptocurrency-women-blockchain-bros.html>. Bridle, James. New Dark Age: Technology, Knowledge and the End of the Future. London: Verso, 2018. Castells, Manuel. The Information Age: Economy, Society and Culture. 2nd ed. Oxford: Blackwell, 2000. Cohen, Boyd. "The Rise of Alternative Currencies in Post-Capitalism." Journal of Management Studies 54.5 (2017): 739-46. Conway, Luke. "The 10 Most Important Cryptocurrencies Other than Bitcoin." Investopedia Jan. 2021. 19 Feb. 2021 <https://www.investopedia.com/tech/most-important-cryptocurrencies-other-than-bitcoin/>. Gehl, Robert, and Fenwick McKelvey. "Bugging Out: Darknets as Parasites of Large-Scale Media Objects." Media, Culture & Society 41.2 (2019): 219-35. Goodkind, Andrew L., Benjamin A. Jones, and Robert P. Berrens. "Cryptodamages: Monetary Value Estimates of the Air Pollution and Human Health Impacts of Cryptocurrency Mining." Energy Research & Social Science 59 (2020): 101281. Hankin, Aaron. "What You Need to Know about the Bitcoin Cash ‘Hard Fork’." MarketWatch 13 Nov. 2018. 21 Apr. 2021 <https://www.marketwatch.com/story/what-you-need-to-know-about-the-bitcoin-cash-hard-fork-2018-11-13>. Howson, Peter. "NFTs: Why Digital Art Has Such a Massive Carbon Footprint." The Conversation April 2021. 21 Apr. 2021 <https://theconversation.com/nfts-why-digital-art-has-such-a-massive-carbon-footprint-158077>. Kavanagh, Donncha, Gianluca Miscione, and Paul J. Ennis. "The Bitcoin Game: Ethno-Resonance as Method." Organization (2019): 1-20. Li, Shine. "Bitcoin Cash (Bch) Hard Forks into Two New Blockchains Following Disagreement on Miner Tax." Blockchain.News Nov. 2020. 19 Feb. 2021 <https://blockchain.news/news/bitcoin-cash-bch-hard-forks-two-new-blockchains-disagreement-on-miner-tax>. Maddox, Alexia. "Disrupting the Ethnographic Imaginarium: Challenges of Immersion in the Silk Road Cryptomarket Community." Journal of Digital Social Research 2.1 (2020): 31-51. ———. "Netnography to Uncover Cryptomarkets." Netnography Unlimited: Understanding Technoculture Using Qualitative Social Media Research. Eds. Rossella Gambetti and Robert V. Kozinets. London: Routledge, 2021: 3-23. Maddox, Alexia, Monica J. Barratt, Matthew Allen, and Simon Lenton. "Constructive Activism in the Dark Web: Cryptomarkets and Illicit Drugs in the Digital ‘Demimonde’." Information Communication and Society 19.1 (2016): 111-26. Maddox, Alexia, and Luke Heemsbergen. "The Electrified Social: A Policing and Politics of the Dark." Continuum (forthcoming). Maddox, Alexia, Supriya Singh, Heather Horst, and Greg Adamson. "An Ethnography of Bitcoin: Towards a Future Research Agenda." Australian Journal of Telecommunications and the Digital Economy 4.1 (2016): 65-78. Maurer, Bill, Taylor C. Nelms, and Lana Swartz. "'When Perhaps the Real Problem Is Money Itself!': The Practical Materiality of Bitcoin." Social Semiotics 23.2 (2013): 261-77. Nakamoto, Satoshi. "Bitcoin: A Peer-to-Peer Electronic Cash System." Bitcoin.org 2008. 21 Apr. 2021 <https://bitcoin.org/bitcoin.pdf>. Nelms, Taylor C., et al. "Social Payments: Innovation, Trust, Bitcoin, and the Sharing Economy." Theory, Culture & Society 35.3 (2018): 13-33. Pace, Jonathan. "Exchange Relations on the Dark Web." Critical Studies in Media Communication 34.1 (2017): 1-13. Potts, Jason, and Chris Berg. "After Gamestop, the Rise of Dogecoin Shows Us How Memes Can Move Market." The Conversation Feb. 2021. 21 Apr. 2021 <https://theconversation.com/after-gamestop-the-rise-of-dogecoin-shows-us-how-memes-can-move-markets-154470>. Rennie, Ellie. "The Governance of Degenerates Part II: Into the Liquidityborg." Medium Nov. 2020. 21 Apr. 2021 <https://ellierennie.medium.com/the-governance-of-degenerates-part-ii-into-the-liquidityborg-463889fc4d82>. Saiedi, Ed, Anders Broström, and Felipe Ruiz. "Global Drivers of Cryptocurrency Infrastructure Adoption." Small Business Economics (Mar. 2020). Sassen, Saskia. "Digging in the Penumbra of Master Categories." British Journal of Sociology 56.3 (2005): 401-03. Swartz, Lana. "What Was Bitcoin, What Will It Be? The Techno-Economic Imaginaries of a New Money Technology." Cultural Studies 32.4 (2018): 623-50. Trump, Benjamin D., et al. "Cryptocurrency: Governance for What Was Meant to Be Ungovernable." Environment Systems and Decisions 38.3 (2018): 426-30. Van de Sande, Mathijs. "Fighting with Tools: Prefiguration and Radical Politics in the Twenty-First Century." Rethinking Marxism 27.2 (2015): 177-94. Vincent, Danny. "'One Day Everyone Will Use China's Digital Currency'." BBC News Sep. 2020. 19 Feb. 2021 <https://www.bbc.com/news/business-54261382>. Webb, Nick. "A Fork in the Blockchain: Income Tax and the Bitcoin/Bitcoin Cash Hard Fork." North Carolina Journal of Law & Technology 19.4 (2018): 283-311. Wintermeyer, Lawrence. "Climate-Positive Crypto Art: The Next Big Thing or NFT Overreach." Forbes 19 Mar. 2021. 21 Apr. 2021 <https://www.forbes.com/sites/lawrencewintermeyer/2021/03/19/climate-positive-crypto-art-the-next-big-thing-or-nft-overreach/>.

Teaching undergraduate nursing research courses can be challenging. There is substantial research explicating why this is so, but little has been written about strategies to enhance students’ ability to engage in and learn about research, especially in the context of large classes offered over brief periods of time. An important role for those who teach research is to communicate their experiential successes, as these may be of value to other colleagues in the field. In this paper, we share some creative teaching strategies. These strategies include games, cross word puzzles, and projects based on common multimedia data such as commercial advertisements. The activities are designed to help students use what they already know to learn the concepts and terminology used in the research world.

This issue of M/C Journal explores the notion of "impact" and the capacity of contemporary research work to influence not only academia but the direction of current debates in the public sphere surrounding social, political and cultural agendas. The nine papers selected cover a broad range of topics: experimental research methodologies which confront the problem of 'measuring' research impact in the world of work; the creative industries and documentary films; identity politics debates address queer, migrant, racial issues; as well as investigations into the use of storytelling and autoethnography to promote cultural understanding and social inclusion. "Impact" for the vast majority of these contemporary cultural and social researchers is a moot term, especially the idea that the impact of research outcomes is a measurable quantity. However measuring and assessing the affect and applicability of research outcomes is an all too familiar reality, particularly since the majority of funding applications expect such a consideration. Even at the very early stages in a researcher's career, the doctoral Confirmation of Candidature demands a discussion of the proposed study's significance and potential wider cultural and social purpose. The comments of UK-based academic Ananya Kabir support this concern for the "state of research" that resonates far beyond the UK context: Academics cannot afford not to want to be impactful, or their work to be 'applicable'. On every application for funding we make to any Research Council, a 'statement of impact' is not merely desirable; it is very much a demand. This is certainly true of the situation in Australia with the previous government's 2005 planned Research Quality Framework (RQF) which advocated a strong focus on impact and the measuring of it, and the subsequent establishment in 2007 of the Excellence in Research for Australia (ERA) initiative (McDonald). While ERA's main aim is the assessment of research quality with no specific reference to "impact" as such, one of ERA's evaluation indicator categories—research application—requires such a consideration (ERA 2). Moreover, the very recent publication Measuring the Impact of Research by the Group of Eight illustrates the Australian academia's concern with the term, stressing that impact measures would greatly complement ERA's assessment (Rymer 3). However, there is substantial debate and questions raised concerning these government policy developments. Notwithstanding the difficulties of finding reliable measurement methods and differing perspectives on the evaluation of findings (cf. Group of Eight); will a single regime of measurement suit all disciplines equally? As Stefano Harney stresses impact will "subject the humanities to the same pressure as knowledge transfer did engineering and science. And meanwhile the professional schools, business, law, medicine, use their regulative status to prove impact easily, putting yet more pressure on the humanities." Stephen Shapiro paints an even darker picture: "The lesson is clear: 'impact' is the Trojan horse designed to institutionalize entrepreneurial interests that will be the 'invisible hand' policing the British academy." However, does measuring impact really restrict us to a particular definition of the term? It is impact that should be at the heart of these types of discussions not the obsession with measurement. Perhaps the challenge is to encourage high impact research without the constraint of a specific metrics. As Rick Rylance puts it: For me, thinking about impact as a challenge and not as a threat is part of this recognition. This is because impact encourages us to conceive of the disparate kinds of benefit research produces which are of many kinds. Sometimes the outcomes are of direct practical advantage. What is needed then is a greater flexibility with the term and a clearer distinction between impact and impact evaluation or measurement. Although, to some extent, we have to acknowledge the significance of impact evaluation as a necessity in demonstrating that research funding is fairly distributed and spent. Like government funding for the arts for example, it is difficult to demonstrate the value of research aside from the ability to attract financial support. Paula Gilligan observes: "The defence of the Humanities is invariably linked to the defence of the 'Arts'. We are seen to have common cause, united against the scientists, who are 'winning'. We need to start questioning this assumption." In particular, Hadley and Gattenhof's paper in this issue of M/C Journal engages a number of discourses surrounding these concerns, with their response to the Australian Government's "National Cultural Policy Discussion Paper", suggesting an approach for measuring and assessing the impact of the work of artsworkers. Central to their model is the demands of policy requirements for progress to be 'measurable' and therefore the necessity to train arts, cultural and creative workers to conduct such an assessment and to make the impact of this work evident to stakeholders. This investigation also raises questions for scholars, educators and employers about what artsworkers actually do, the worth of their work and how it could be improved upon. Two other papers propose diverse methodologies for addressing the problematic area of measurement and assessment. Humphrey's unique approach to the often neglected area of contemporary work and media, introduces the term "officing" (the daily use of information and communication technology) to explore new ways to approach the identification and measurement of the space, time and technology in everyday work practices. Drawing on the ideas of Anselm Strauss to analyse the office workplace as a "contingent and provisional arrangement or process", the author highlights the benefits of this investigation and its impact on productivity and work-life balance, with the ultimate aim to "contribute to the design of more sustainable work environments". Karlin and Johnson, on the other hand, explore another under-researched area where assessment is required: measuring the impact of films on individual attitudes and cultural narratives and evaluating its importance for documentary film campaigns. The authors argue that though it is increasingly necessary for "issue-based" films to provide information on their social investment returns to justify production costs, of equal importance is that the questions asked and the methods used to answer such queries are "valid and respectful." The paper proposes an "emerging research agenda" for the examination of documentary film which allows investigation of the importance of such evaluations and the key issues relevant to assessing their impact. The power of personal narratives is explored when Hummel investigates the tension between culture and autoethnographic performance. The author questions the "capacity of gender identification to justify the crisis of representation" and the impact of autoethnography with its "resistance to traditional culture and power divisions through its emphasis on shared experience, emotion and subjectivity." This researcher presents a highly personal narrative of her experience as a woman in Bangladesh to highlight the potential of autoethnography to promote alternate ways of understanding and transcend cultural boundaries. Hancox also examines the potential and capacity of storytelling and personal narratives to contribute to cultural research and social inclusion. Through a 2009 digital storytelling project conducted with a group of Forgotten Australians prior to the public apology in the Australian Parliament, the paper explores how the "endemic, institutionalised abuse of a group of people was translated to the broader community and galvanised support through the impact of their personal stories." This approach is advocated as a way of enhancing broader issues, such as public understanding of the needs of marginalized groups, which can result in changes to social inclusion through policy and community based solutions as "personal narratives energise public narratives and shape our ways of thinking and collective understandings" (Harter et al. 4). The effect of Government policy on citizenship and its impact on individuals and communities is examined by two writers: Chisari and Raj. Through a Foucaultian genealogical analysis of Becoming an Australian Citizen, (the resource booklet that prepares a potential new Australian for the citizenship test), Chisari explores Australian identity and how subjects are shaped by the operations of governance and the interrelationship of truth, power and knowledge. In an attempt to move beyond the History Wars, the author problematises the notion of historical "objective truths," endeavouring to influence policy-making surrounding issues of civil education for the Australian migrant. Chisari argues that such an approach has the potential to impact upon historical narratives and promote the inclusion of multiple, alternate stories of Australia and Australian identity. Raj's paper tackles the hot topic of gay marriage in policy and activist debates. With reference to the writings of Judith Butler and Michael Warner, Raj explores neo-liberal political arguments, queer theory and community politics to critique issues such as intimacy, citizenship and equality. Advocating the belief that by "understanding cultural difference(s) rather than conforming to a norm," this paper proposes a critical framework for "intimate citizenship" that provides a platform for further policy and activist dialogues. Another arena of contemporary debate is explored by Malatzky's article which examines representations surrounding what Western women should "look like as mothers," and the importance of cultural research projects for the broader community in terms of their potential to inform and direct discussions. Utilising qualitative feminist methodologies', this researcher investigates the media's role in shaping contemporary expectations surrounding the postnatal body, arguing that such investigations can influence the "creation of alternate mothering discourses, and can direct current debates that have a direct impact on, and relevance for, everyday Australian women and men." Identity is also an issue for our last early career researcher's paper. Al-Natour uses his personal experiences as a researcher investigating the controversy over a proposed Islamic school in Sydney to examine the ways a researcher's identity can affect their participants, and whether this relationship impacts data collection processes. As an outcome of these field work experiences, Al-Natour proposes a series of suggestions for fellow cultural studies researchers in dealing with such dilemmas. An exploration of the impact of cultural and social researchers in this issue of M/C Journal has ranged from the problems of measuring research outcomes to debates surrounding citizenship and identity and the power of narratives to transcend cultural boundaries. A shared belief that emerges from these explorations and proposals is that though the measurement of impact is problematic, by introducing new discourses, perspectives and paradigms which have the capacity to sway policy making, cultural researchers can position themselves as intermediaries to inform societal groups and various communities. The outcomes of these research projects can then address this concern about the affect and applicability of their findings which have the potential to present accessible, transparent and practicable forms of cultural understanding and genuine solutions to social and cultural problems. ReferencesERA. Excellence in Research for Australia – National Report. Canberra: Australian Research Council, 2010.Gilligan, Paula. "'Creative' Functionalism and Continental Philosophy at Middlesex." SocialText - Periscope (Aug. 2010). 12 Dec. 2011 ‹http://www.socialtextjournal.org/periscope/2010/08/impact-innovation-and-creative-functionalism-in-the-uk-the-case-of-the-department-of-philosophy-at-m.php›.Harney, Stefano. "The Real Knowledge Transfer." SocialText - Periscope (Aug. 2010). 12 Dec. 2011 ‹http://www.socialtextjournal.org/periscope/2010/08/the-real-knowledge-transfer.php›.Kabir, Ananya. "The Impact of 'Impact'." SocialText - Periscope (Aug. 2010). 12 Dec. 2011 ‹http://www.socialtextjournal.org/periscope/2010/08/the-impact-of-impact.php›.McDonald, Kate. "New ERA for Research Quality - Science Minister Kim Carr Announces Replacement for Dumped RQF." LifeScientist 27 Feb. 2008. 12 Dec. 2011 ‹http://www.lifescientist.com.au/article/207244/new_era_research_quality/›.Rymer, Les. "Measuring the Impact of Research – The Context for Metric Development." Go8 Backgrounder 23 (2011).RQF. Assessing the Quality and Impact of Research in Australia - Issues Paper. Canberra: Commonwealth of Australia, 2005.Rylance, Rick. "The Impact Effect." SocialText - Periscope (Aug. 2010). 12 Dec. 2011 ‹http://www.socialtextjournal.org/periscope/2010/08/the-impact-effect.php›.Shapiro, Stephen. "Deepwater Impact." SocialText - Periscope (Aug. 2010). 12 Dec. 2011 ‹http://www.socialtextjournal.org/periscope/2010/08/deepwater-impact.php›.

In this article the author gives the analysis of dissertations in the field of cross-cultural competence, an educational potential of texts and the development of an interpretative activity of students. The author evaluates and analyses the situation in higher education and gives the grounds to the necessity to modernize it in a social and cultural field and to orient it on developing cross-cultural competence as the major factor of competitive performance of a modern man. The thematic justification is caused by onrush of science and technology together with transformations of the society into a post-industrial and information oriented one, by the transition of a technological era into a systemic and technological era and by changing the requirements to the man to be an active and free personality. In the first rate these changes demand a creative activity, creative consciousness to be developed so as to be able to work with a big flow of information. In this turn the author investigates a text ( educational, literary and so on) as a means of developing cross-cultural competence as an ability to communicate successfully with partners from different cultures in a extra linguistic and professional context. The author also gives thematic justification, deduces contradictions, gives the ground to the pedagogical perspective of developing cross-cultural competence of students while working with a text. In her pedagogical concept the author elaborates criteria, factors, conditions, backgrounds and descriptors of the process under study as well as deduces logical relations. The target audience is PhD candidates, researchers, lecturers at higher institutions, secondary school teachers.

The article analyzes the logic of transformation of social connections in modern society, the impact of new technologies of communication and continuous education on the diminishing reliance on vertical connections, increased demand for mediation and partnership building both in education and social life in general. Partnership is studied as a key paradigm of modernity, the technology of reproduction of system stability in the conditions of globalization. The authors reviewed the history of the changing attitudes to competition and partnership and the modern correlation of these approaches within the social and cultural process. The diversity of partnership cultures is shown as an attribute of societal sustainable development, the creation of a system of stable reproduction of social and cultural process. At the same time, the expanded reproduction of subjectivity makes it necessary to develop the ability and desire to maintain constant dialogue interaction in educational sphere, joint development of goals and forms of partnership. The development of mediation practices and partnerships in various areas of modern social life is studied on the basis of examples from Poland

Critique of Ability In July 2008, we could be on the eve of an enormously important shift in disability in Australia. One sign of change is the entry into force on 3 May 2008 of the United Nations convention on the Rights of Persons with Disabilities, which will now be adopted by the Rudd Labor government. Through this, and other proposed measures, the Rudd government has indicated its desire for a seachange in the area of disability. Bill Shorten MP, the new Parliamentary Secretary for Disabilities and Children’s Services has been at pains to underline his commitment to a rights-based approach to disability. In this inaugural speech to Parliament, Senator Shorten declared: I believe the challenge for government is not to fit people with disabilities around programs but for programs to fit the lives, needs and ambitions of people with disabilities. The challenge for all of us is to abolish once and for all the second-class status that too often accompanies Australians living with disabilities. (Shorten, “Address in reply”; see also Shorten, ”Speaking up”) Yet if we listen to the voices of people with disability, we face fundamental issues of justice, democracy, equality and how we understand the deepest aspects of ourselves and our community. This is a situation that remains dire and palpably unjust, as many people with disabilities have attested. Elsewhere I have argued (Goggin and Newell) that disability constitutes a systemic form of exclusion and othering tantamount to a “social apartheid” . While there have been improvements and small gains since then, the system that reigns in Australia is still fundamentally oppressive. Nonetheless, I would suggest that through the rise of the many stranded movements of disability, the demographic, economic and social changes concerning impairment, we are seeing significant changes in how we understand impairment and ability (Barnes, Oliver and Barton; Goggin and Newell, Disability in Australia; Snyder, Brueggemann, and Garland-Thomson; Shakespeare; Stiker). There is now considerable, if still incomplete, recognition of disability as a category that is constituted through social, cultural, and political logics, as well as through complex facets of impairment, bodies (Corker and Shakespeare), experiences, discourses (Fulcher), and modes of materiality and subjectivity (Butler), identity and government (Tremain). Also there is growing awareness of the imbrication of disability and other categories such as sex and gender (Fine and Asch; Thomas), race, age, culture, class and distribution of wealth (Carrier; Cole; Davis, Bending over Backwards, and Enforcing Normalcy; Oliver; Rosenblum and Travis), ecology and war (Bourke; Gerber; Muir). There are rich and wide-ranging debates that offer fundamental challenges to the suffocating grip of the dominant biomedical model of disability (that conceives disability as individual deficit — for early critiques see: Borsay; Walker), as well as the still influential and important (if at times limiting) social model of disability (Oliver; Barnes and Mercer; Shakespeare). All in all,there have been many efforts to transform the social and political relations of disability. If disability has been subject to considerable examination, there has not yet been an extended, concomitant critique of ability. Nor have we witnessed a thoroughgoing recognition of unmarked, yet powerful operations of ability in our lives and thought, and the potential implications of challenging these. Certainly there have been important attempts to reframe the relationship between “ability” and “disability” (for example, see Jones and Mark). And we are all familiar with the mocking response to some neologisms that seek to capture this, such as the awkward yet pointed “differently-abled.” Despite such efforts we lack still a profound critique of ability, an exploration of “able”, the topic that this special issue invites us to consider. If we think of the impact and significance of “whiteness”, as a way to open up space for how to critically think about and change concepts of race; or of “masculinity” as a project for thinking about gender and sexuality — we can see that this interrogation of the unmarked category of “able” and “ability” is much needed (for one such attempt, see White). In this paper I would like to make a small contribution to such a critique of ability, by considering what the concept of innovation and its contemporary rhetorics have to offer for reframing disability. Innovation is an important discourse in contemporary life. It offers interesting possibilities for rethinking ability — and indeed disability. And it is this relatively unexplored prospect that this paper seeks to explore. Beyond Access, Equity & Diversity In this scene of disability, there is attention being given to making long over-due reforms. Yet the framing of many of these reforms, such as the strengthening of national and international legal frameworks, for instance, also carry with them considerable problems. Disability is too often still seen as something in need of remediation, or special treatment. Access, equity, and anti-discrimination frameworks offer important resources for challenging this “special” treatment, so too do the diversity approaches which have supplemented or supplanted them (Goggin and Newell, “Diversity as if Disability Mattered”). In what new ways can we approach disability and policies relevant to it? In a surprisingly wide range of areas, innovation has featured as a new, cross-sectoral approach. Innovation has been a long-standing topic in science, technology and economics. However, its emergence as master-theme comes from its ability to straddle and yoke together previously diverse fields. Current discussions of innovation bring together and extend work on the information society, the knowledge economy, and the relationships between science and technology. We are now familiar for instance with arguments about how digital networked information and communications technologies and their consumption are creating new forms of innovation (Benkler; McPherson; Passiante, Elia, and Massari). Innovation discourse has extended to many other unfamiliar realms too, notably the area of social and community development, where a new concept of social innovation is now proposed (Mulgan), often aligned with new ideas of social entrepreneurship that go beyond earlier accounts of corporate social responsibility. We can see the importance of innovation in the ‘creative industries’ discourses and initiatives which have emerged since the 1990s. Here previously distinct endeavours of arts and culture have become reframed in a way that puts their central achievement of creativity to the fore, and recognises its importance across all sorts of service and manufacturing industries, in particular. More recently, theorists of creative industries, such as Cunningham, have begun to talk about “social network markets,” as a way to understand the new hybrid of creativity, innovation, digital technology, and new economic logics now being constituted (Cunningham and Potts). Innovation is being regarded as a cardinal priority for societies and their governments. Accordingly, the Australian government has commissioned a Review of The National Innovation System, led by Dr Terry Cutler, due to report in the second half of 2008. The Cutler review is especially focussed upon gaps and weaknesses in the Australian innovation system. Disability has the potential to figure very strongly in this innovation talk, however there has been little discussion of disability in the innovation discourse to date. The significance of disability in relation to innovation was touched upon some years ago, in a report on Disablism from the UK Demos Foundation (Miller, Parker and Gillinson). In a chapter entitled “The engine of difference: disability, innovation and creativity,” the authors discuss the area of inclusive design, and make the argument for the “involvement of disabled people to create a stronger model of user design”:Disabled people represented a market of 8.6 million customers at the last count and their experiences aren’t yet feeding through into processes of innovation. But the role of disabled people as innovators can and should be more active; we should include disabled people in the design process because they are good at it. (57) There are two reasons given for this expertise of disabled people in design. Firstly, “disabled people are often outstanding problem solvers because they have to be … life for disabled people at the moment is a series of challenges to be overcome” (57). Secondly, “innovative ideas are more likely to come from those who have a new or different angle on old problems” (57). The paradox in this argument is that as life becomes more equitable for people with disabilities, then these ‘advantages’ should disappear” (58). Accordingly, Miller et al. make a qualified argument, namely that “greater participation of disabled people in innovation in the short term may just be the necessary trigger for creating an altogether different, and better, system of innovation for everyone in the future” (58). The Demos Disablism report was written at a time when rhetorics of innovation were just beginning to become more generalized and mainstream. This was also at a time in the UK, when there was hope that new critical approaches to disability would see it become embraced as a part of the diverse society that Blair’s New Labor Britain had been indicating. The argument Disablism offers about disability and innovation is in some ways a more formalized version of vernacular theory (McLaughlin, 1996). In the disability movement we often hear, with good reason, that people with disability, by dint of their experience and knowledge are well positioned to develop and offer particular kinds of expertise. However, Miller et al. also gesture towards a more generalized account of disability and innovation, one that would intersect with the emerging frameworks around innovation. It is this possibility that I wish to take up and briefly explore here. I want to consider the prospects for a fully-fledged encounter between disability and innovation. I would like to have a better sense of whether this is worth pursuing, and what it would add to our understanding of both disability and innovation? Would the disability perspective be integrated as a long-term part of our systems of innovation rather than, as Miller et al. imply, deployed temporarily to develop better innovation systems? What pitfalls might be bound up with, or indeed be the conditions of, such a union between disability and innovation? The All-Too-Able User A leading area where disability figures profoundly in innovation is in the field of technology — especially digital technology. There is now a considerable literature and body of practice on disability and digital technology (Annable, Goggin, and Stienstra; Goggin and Newell, Digital Disability; National Council on Disability), however for my purposes here I would like to focus upon the user, the abilities ascribed to various kinds of users, and the user with disability in particular. Digital technologies are replete with challenges and opportunities; they are multi-layered, multi-media, and global in their manifestation and function. In Australia, Britain, Canada, the US, and Europe, there have been some significant digital technology initiatives which have resulted in improved accessibility for many users and populations (Annable, Goggin, and Stienstra; National Council on Disability) . There are a range of examples of ways in which users with disability are intervening and making a difference in design. There is also a substantial body of literature that clarifies why we need to include the perspective of the disabled if we are to be truly innovative in our design practices (Annable, Goggin and Stienstra; Goggin and Newell, “Disability, Identity and Interdependence”). I want to propose, however, that there is merit in going beyond recognition of the role of people with disability in technology design (vital and overlooked as it remains), to consider how disability can enrich contemporary discourses on innovation. There is a very desirable cross-over to be promoted between the emphasis on the user-as-expert in the sphere of disability and technology, and on the integral role of disability groups in the design process, on the one hand, and the rise of the user in digital culture generally, on the other. Surprisingly, such connections are nowhere near as widespread and systematic as they should be. It may be that contemporary debates about the user, and about the user as co-creator, or producer, of technology (Haddon et al.; von Hippel) actually reinstate particular notions of ability, and the able user, understood with reference to notions of disability. The current emphasis on the productive user, based as it is on changing understandings of ability and disability, provides rich material for critical revision of the field and those assumptions surrounding ability. It opens up possibilities for engaging more fully with disability and incorporating disability into the new forms and relations of digital technology that celebrate the user (Goggin and Newell, Digital Disability). While a more detailed consideration of these possibilities require more time than this essay allows, let us consider for a moment the idea of a genuine encounter between the activated user springing from the disability movement, and the much feted user in contemporary digital culture and theories of innovation. People with disability are using these technologies in innovative ways, so have much to contribute to wider discussions of digital technology (Annable, Goggin and Stienstra). The Innovation Turn Innovation policy, the argument goes, is important because it stands to increase productivity, which in turn leads to greater international competitiveness and economic benefit. Especially with the emergence of capitalism (Gleeson), productivity has strong links to particular notions of which types of production and produce are valued. Productivity is also strongly conditioned by how we understand ability and, last in a long chain of strong associations, how we as a society understand and value those kinds of people and bodies believed to contain and exercise the ordained and rewarded types of ability, produce, and productivity. Disability is often seen as antithetical to productivity (a revealing text on the contradictions of disability and productivity is the 2004 Productivity Commission Review of the Disability Discrimination Act). When we think about the history of disability, we quickly realize that productivity, and by extension, innovation, are strongly ideological. Ideological, that is, in the sense that these fields of human endeavour and our understanding of them are shaped by power relations, and are built upon implicit ‘ableist’ assumptions about productivity. In this case, the power relations of disability go right to the heart of the matter, highlighting who and what are perceived to be of value, contributing economically and in other ways to society, and who and what are considered as liabilities, as less valued and uneconomical. A stark recent example of this is the Howard government workplace and welfare reforms, which further disenfranchised, controlled, and impoverished people with disability. If we need to rethink our ideas of productivity and ability in the light of new notions of disability, then so too do we need to rethink our ideas about innovation and disability. Here the new discourses of innovation may actually be useful, but also contain limited formulations and assumptions about ability and disability that need to be challenged. The existing problems of a fresh approach to disability and innovation can be clearly observed in the touchstones of national science and technology “success.” Beyond One-Sided Innovation Disability does actually feature quite prominently in the annals of innovation. Take, for instance, the celebrated case of the so-called “bionic ear” (or cochlear implant) hailed as one of Australia’s great scientific inventions of the past few decades. This is something we can find on display in the Powerhouse Museum of Technology and Design, in Sydney. Yet the politics of the cochlear implant are highly controversial, not least as it is seen by many (for instance, large parts of the Deaf community) as not involving people with disabilities, nor being informed by their desires (Campbell, also see “Social and Ethical Aspects of Cochlear Implants”). A key problem with the cochlear implant and many other technologies is that they are premised on the abolition or overcoming of disability — rather than being shaped as technology that acknowledges and is informed by disabled users in their diverse guises. The failure to learn the lessons of the cochlear implant for disability and innovation can be seen in the fact that we are being urged now to band together to support the design of a “bionic eye” by the year 2020, as a mark of distinction of achieving a great nation (2020 Summit Initial Report). Again, there is no doubting the innovation and achievement in these artefacts and their technological systems. But their development has been marked by a distinct lack of consultation and engagement with people with disabilities; or rather the involvement has been limited to a framework that positions them as passive users of technology, rather than as “producer/users”. Further, what notions of disability and ability are inscribed in these technological systems, and what do they represent and symbolize in the wider political and social field? Unfortunately, such technologies have the effect of reproducing an ableist framework, “enforcing normalcy” (Davis), rather than building in, creating and contributing to new modes of living, which embrace difference and diversity. I would argue that this represents a one-sided logic of innovation. A two-sided logic of innovation, indeed what we might call a double helix (at least) of innovation would be the sustained, genuine interaction between different users, different notions of ability, disability and impairment, and the processes of design. If such a two-sided (or indeed many-sided logic) is to emerge there is good reason to think it could more easily do so in the field of digital cultures and technologies, than say, biotechnology. The reason for this is the emphasis in digital communication technologies on decentralized, participatory, user-determined governance and design, coming from many sources. Certainly this productive, democratic, participatory conception of the user is prevalent in Internet cultures. Innovation here is being reshaped to harness the contribution and knowledge of users, and could easily be extended to embrace pioneering efforts in disability. Innovating with Disability In this paper I have tried to indicate why it is productive for discourses of innovation to consider disability; the relationship between disability and innovation is rich and complex, deserving careful elaboration and interrogation. In suggesting this, I am aware that there are also fundamental problems that innovation raises in its new policy forms. There are the issues of what is at stake when the state is redefining its traditional obligations towards citizens through innovation frameworks and discourses. And there is the troubling question of whether particular forms of activity are normatively judged to be innovative — whereas other less valued forms are not seen as innovative. By way of conclusion, however, I would note that there are now quite basic, and increasingly accepted ways, to embed innovation in design frameworks, and while they certainly have been adopted in the disability and technology area, there is much greater scope for this. However, a few things do need to change before this potential for disability to enrich innovation is adequately realized. Firstly, we need further research and theorization to clarify the contribution of disability to innovation, work that should be undertaken and directed by people with disability themselves. Secondly, there is a lack of resources for supporting disability and technology organisations, and the development of training and expertise in this area (especially to provide viable career paths for experts with disability to enter the field and sustain their work). If this is addressed, the economic benefits stand to be considerable, not to mention the implications for innovation and productivity. Thirdly, we need to think about how we can intensify existing systems of participatory design, or, better still, introduce new user-driven approaches into strategically important places in the design processes of ICTs (and indeed in the national innovation system). Finally, there is an opportunity for new approaches to governance in ICTs at a general level, informed by disability. New modes of organising, networking, and governance associated with digital technology have attracted much attention, also featuring recently in the Australia 2020 Summit. Less well recognised are new ideas about governance that come from the disability community, such as the work of Queensland Advocacy Incorporated, Rhonda Galbally’s Our Community, disability theorists such as Christopher Newell (Newell), or the Canadian DIS-IT alliance (see, for instance, Stienstra). The combination of new ideas in governance from digital culture, new ideas from the disability movement and disability studies, and new approaches to innovation could be a very powerful cocktail indeed.Dedication This paper is dedicated to my beloved friend and collaborator, Professor Christopher Newell AM (1964-2008), whose extraordinary legacy will inspire us all to continue exploring and questioning the idea of able. 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