Christina Spurgeon

THE PROMISE OF COMPUTATIONAL JOURNALISM

Computational journalism involves the application of software and technologies to the activities of journalism, and it draws from the fields of computer science, the social sciences, and media and communications. New technologies may enhance the traditional aims of journalism, or may initiate greater interaction between journalists and information and communication technology (ICT) specialists. The enhanced use of computing in news production is related in particular to three factors: larger government datasets becoming more widely available; the increasingly sophisticated and ubiquitous nature of software; and the developing digital economy. Drawing upon international examples, this paper argues that computational journalism techniques may provide new foundations for original investigative journalism and increase the scope for new forms of interaction with readers. Computational journalism provides a major opportunity to enhance the production of original investigative journalism, and to attract and retain readers online.

Premium rate culture: the new business of mobile interactivity:

This article considers a neglected but crucial aspect of the new business of mobile interactivity: the premium rate data services industry. It provides an international anatomy of this industry model and the ways in which it has been used to capitalize upon the surprising success of short message service (SMS) to provide a basis for the development of consumer markets for mobile data services. It situates this analysis within a wider consideration of the role of premium rate culture in the social shaping of interactivity in convergent media. Specifically, it looks at how premium rate services are being constructed in relation to telecommunications, television and the internet. The article concludes that although premium rate culture has rejuvenated innovation in broadcast television, potentially it may constrain the interactive potential of the mobile internet.

Mobile message services and communications policy

Something of a design after‐thought, mobile phone SMS (Short‐Message Services) have been enthusiastically adopted by consumers worldwide, who have created a new text culture. SMS is now being deployed to provide a range of services and transactions, as well as playing a critical role in offering an interactive path for television broadcasting. In this paper we offer a case study of a lucrative, new industry developing internationally at the intersection of telecommunications, broadcasting, and information services—namely, premium rate SMS/MMS. To explore the issues at stake we focus on an Australian case study of policy responses to the development of premium rate mobile messaging services in the 2002–2005 period. In the first part, we give a brief history of premium rate telecommunications. Secondly, we characterise premium rate mobile message services and examine their emergence. Thirdly, we discuss the responses of Australian policy‐makers and industry to these services. Fourthly, we place the Australian experience in international context, and indicate common issues. Finally, we draw some conclusions from the peregrinations of mobile message services for regulators grappling with communications policy frameworks.

Losers and lovers : mobile phone services advertising and the new media consumer/producer

ABSTRACT How do advertising practices need to adapt and change in order to effectively engage new media consumers? Integration has been an important, overarching industry response in recent decades (Cappo 2003; Turow 1997). More recently, branded content has attracted a lot of attention as an integrated technique that is potentially well-suited to nationally and internationally recognized brands (Donaton 2004). This paper considers ‘conversational’ interaction with consumers as another technique that has been successfully used to market new media usage, most notably to drive consumer adoption of mobile phone data services. It also highlights the international significance of the mobile phone as an immensely popular new media platform, but one which has generally developed “under the radar” (Bond 1998) of much academic and trade literature.

Mobiles into Media: Premium Rate SMS and the Adaptation of Television to Interactive Communication Cultures

The use of SMS as a feedback channel or return path (that is, a new communication channel) in broadcasting is increasingly commonplace. But, what is the real significance of these SMS-mediated television events? Is this massive shift in the new digital mobile messaging landscape a lifeline for broadcast television, now struggling with its advertising base? How are new developments in SMS and MMS (multimedia messaging) building synergies between old and new media? How do they extend mobile phone culture? We address these questions by identifying factors that are shaping the rapid development of SMS as a powerful technology of cooperation (Rheingold, 2002). We also consider how these ubiquitous technologies are implicated in the development of new circuits of culture and new media forms (Marshall, 2004), specifically SMS-enabled interactive television formats.

Participatory media and 'co-creative' storytelling

Distinguishing critical participatory media from other participatory media forms (for example user-generated content and social media) may be increasingly difficult to do, but it nonetheless remains an important task if media studies is to remain relevant to the continuing development of inclusive social political and media cultures. This was one of a number of the premises for a national Australian Research Council-funded study that set out to improve the visibility of critical participatory media, and to understand its use for facilitating media participation on a population-wide basis. The term ‘co-creative’ media was adopted to make this distinction and to describe an informal system of critical participatory media practice that is situated between major public, Indigenous and community arts, culture and media sectors. Although the co-creative media system is found to be a site of innovation and engine for social change, its value is still not fully understood. For this reason, this system continues to provide media and cultural studies scholars with valuable sites for researching the socio-cultural transformations afforded by new media and communication technologies, as well as their limitations.

The Ethics, Aesthetics and Practical Politics of Ownership in Co-creative Media

What is ‘best practice’ when it comes to managing intellectual property rights in participatory media content? As commercial media and entertainment business models have increasingly come to rely upon the networked productivity of end-users (Banks and Humphreys 2008) this question has been framed as a problem of creative labour made all the more precarious by changing employment patterns and work cultures of knowledge-intensive societies and globalising economies (Banks, Gill and Taylor 2014). This paper considers how the problems of ownership are addressed in non-commercial, community-based arts and media contexts. Problems of labour are also manifest in these contexts (for example, reliance on volunteer labour and uncertain economic reward for creative excellence). Nonetheless, managing intellectual property rights in collaborative creative works that are created in community media and arts contexts is no less challenging or complex than in commercial contexts. This paper takes as its focus a particular participatory media practice known as ‘digital storytelling’. The digital storytelling method, formalised by the Centre for Digital Storytelling (CDS) from the mid-1990s, has been internationally adopted and adapted for use in an open-ended variety of community arts, education, health and allied services settings (Hartley and McWilliam 2009; Lambert 2013; Lundby 2008; Thumin 2012). It provides a useful point of departure for thinking about a range of collaborative media production practices that seek to address participation ‘gaps’ (Jenkins 2006). However the outputs of these activities, including digital stories, cannot be fully understood or accurately described as user-generated content. For this reason, digital storytelling is taken here to belong to a category of participatory media activity that has been described as ‘co-creative’ media (Spurgeon 2013) in order to improve understanding of the conditions of mediated and mediatized participation (Couldry 2008). This paper reports on a survey of the actual copyrighting practices of cultural institutions and community-based media arts practitioners that work with digital storytelling and similar participatory content creation methods. This survey finds that although there is a preference for Creative Commons licensing a great variety of approaches are taken to managing intellectual property rights in co-creative media. These range from the use of Creative Commons licences (for example, Lambert 2013, p.193) to retention of full copyrights by storytellers, to retention of certain rights by facilitating organisations (for example, broadcast rights by community radio stations and public service broadcasters), and a range of other shared rights arrangements between professional creative practitioners, the individual storytellers and communities with which they collaborate, media outlets, exhibitors and funders. This paper also considers how aesthetic and ethical considerations shape responses to questions of intellectual property rights in community media arts contexts. For example, embedded in the CDS digital storytelling method is ‘a critique of power and the numerous ways that rank is unconsciously expressed in engagements between classes, races and gender’ (Lambert 117). The CDS method privileges the interests of the storyteller and, through a transformative workshop process, aims to generate original individual stories that, in turn, reflect self-awareness of ‘how much the way we live is scripted by history, by social and cultural norms, by our own unique journey through a contradictory, and at times hostile, world’ (Lambert 118). Such a critical approach is characteristic of co-creative media practices. It extends to a heightened awareness of the risks of ‘story theft’ and the challenges of ownership and informs ideas of ‘best practice’ amongst creative practitioners, teaching artists and community media producers, along with commitments to achieving equitable solutions for all participants in co-creative media practice (for example, Lyons-Reid and Kuddell nd.). Yet, there is surprisingly little written about the challenges of managing intellectual property produced in co-creative media activities. A dialogic sense of ownership in stories has been identified as an indicator of successful digital storytelling practice (Hayes and Matusov 2005) and is helpful to grounding the more abstract claims of empowerment for social participation that are associated with co-creative methods. Contrary to the ‘change from below’ philosophy that underpins much thinking about co-creative media, however, discussions of intellectual property usually focus on how methods such as digital storytelling contribute to the formation of copyright law-compliant subjects, particularly when used in educational settings (for example, Ohler nd.). This also exposes the reliance of co-creative methods on the creative assets storytellers (rather than on the copyrighted materials of the media cultures of storytellers) as a pragmatic response to the constraints that intellectual property right laws impose on the entire category of participatory media. At the level of practical politics, it also becomes apparent that co-creative media practitioners and storytellers located in copyright jurisdictions governed by ‘fair use’ principles have much greater creative flexibility than those located in jurisdictions governed by ‘fair dealing’ principles.

Is Anyone Listening?: The Fate of Diversity in Digital Broadcasting Policy

This commentary examines how diversity of content is being addressed in the Howard governments 2006 media policy reforms. In particular, it identifies which services and providers have an interest in providing genuinely new content on new digital platforms.