title: The Matrix of Transmedia Creative Production: Multi-Platform Production and the Fragmentation of the 'Auteur' Model

authors: Cameron, Valentine Junior

subjects: Transmedia

abstract: Media entrepreneurship has given rise to a new media space in which new innovative forms of digital technology have emerged and revolutionised the way we now see the content of new media. The on flowing relation between the creative practitioner and the medium has enabled ‘auteurs’ to use digital technology to present new reflections of their work and to create a projection of commercial content with somewhat of an advertising component. We tend to look at the commercialisation of a medium in retrospect with regard to the medium as ‘means’, forgetting however that it is the emphasis on the means which compromises the outlook of how the work of an auteur evolves through multiple digital mediums.
Though commercialized in many forms, this dissertation points out the many pathways in which ordinary auteurs have the power to claim digitally networked fame to advertise not only their own work but also to recreate that presence of in the form of a community of celebrity stardom and appeal. We could argue that the work of an auteur can achieve the role of celebrity endorser once driven and sustained through the avenues presented through digital media.
Consequently, the role of the auteur has now been transformed to the celebrity ‘quota’ who can now drive multiple projects and revenue streams thereby redefining the auteur’s significance as a primary advertising utility. We see it in musical artists, actors, sports people and even gamers. The requirement to achieve authenticity through presenting to audiences on transmedia platforms leads to new forms of verification of a million subscribers or 20 million views and likes which has enabled prosumers to connect with their audiences, offering their special talents or advice while at the same time collecting a reward to enhance their celebrity status. The role of the auteur is still alive and it can be said that digital transmedia media networks have helped kept it alive, albeit in a transformed state.

text: The Matrix of Transmedia Creative Production: Multi-Platform Production and the Fragmentation of the 'Auteur' Model Media entrepreneurship has given rise to a new media space in which new innovative forms of digital technology have emerged and revolutionised the way we now see the content of new media. The on flowing relation between the creative practitioner and the medium has enabled ‘auteurs’ to use digital technology to present new reflections of their work and to create a projection of commercial content with somewhat of an advertising component. We tend to look at the commercialisation of a medium in retrospect with regard to the medium as ‘means’, forgetting however that it is the emphasis on the means which compromises the outlook of how the work of an auteur evolves through multiple digital mediums.
Though commercialized in many forms, this dissertation points out the many pathways in which ordinary auteurs have the power to claim digitally networked fame to advertise not only their own work but also to recreate that presence of in the form of a community of celebrity stardom and appeal. We could argue that the work of an auteur can achieve the role of celebrity endorser once driven and sustained through the avenues presented through digital media.
Consequently, the role of the auteur has now been transformed to the celebrity ‘quota’ who can now drive multiple projects and revenue streams thereby redefining the auteur’s significance as a primary advertising utility. We see it in musical artists, actors, sports people and even gamers. The requirement to achieve authenticity through presenting to audiences on transmedia platforms leads to new forms of verification of a million subscribers or 20 million views and likes which has enabled prosumers to connect with their audiences, offering their special talents or advice while at the same time collecting a reward to enhance their celebrity status. The role of the auteur is still alive and it can be said that digital transmedia media networks have helped kept it alive, albeit in a transformed state.

year: 2017

title: Personalised learning with mobile technologies in mathematics: An exploration of classroom practice

authors: Willacy, Helen

subjects: Personalised learning;

abstract: Personalised learning is generally understood to be of benefit to students’ learning. In addition, the flexible nature of mobile technologies (MTs) and the variety of available apps are seen to respond to the needs of individual students, and hence have the potential to support personalised learning. This paper reports on an aspect of a larger research project that investigated the use of mobile technologies in primary mathematics classrooms. Personalised learning was determined as one theme that emanated from the teachers’ and students’ use of MTs, and this paper aims to investigate how personalised learning was evidenced within the practice of three teachers. Video data of classroom practice were used to analyse the use of MTs within the theme of personalised learning. Four pathways to personalised learning emerged, enabling a more practical understanding of different types of personalisation afforded by MTs.

text: Personalised learning with mobile technologies in mathematics: An exploration of classroom practice Personalised learning is generally understood to be of benefit to students’ learning. In addition, the flexible nature of mobile technologies (MTs) and the variety of available apps are seen to respond to the needs of individual students, and hence have the potential to support personalised learning. This paper reports on an aspect of a larger research project that investigated the use of mobile technologies in primary mathematics classrooms. Personalised learning was determined as one theme that emanated from the teachers’ and students’ use of MTs, and this paper aims to investigate how personalised learning was evidenced within the practice of three teachers. Video data of classroom practice were used to analyse the use of MTs within the theme of personalised learning. Four pathways to personalised learning emerged, enabling a more practical understanding of different types of personalisation afforded by MTs.

year: 2017

title: Te kū o te kupu

authors: Raerino, Heddell Robert

subjects: Māori language

abstract: Ko tēnei tuhingaroa, he rangahau hai wherawhera ake i te āhuatanga o te reo Māori, e kiia ana ko tōna oro, me te kū o ngā kupu kōrero o taua reo. Ko te aronga whakaaro o tēnei rangahau, he rapu i tētahi āhuatanga kāore anō kia tirotirohia, kia tuhia rānei mō te reo Māori. Ehara tēnei rangahau i te kaupapa, i te mahi hou. Otirā, kai te whai te kaituhi i ngā rangahau kua oti kē i wētahi tohunga te wānanga mō wētahi atu reo. Ko tā te kaituhi he whai i ngā tauira a te hunga wetewete reo nei, ka uwhi ai ki runga i te reo Māori hai āwhina i ngā tātaritanga ā te kaituhi mō tōna ake reo, arā, te reo Māori.

Kai te upoko tuatahi ka whaia ngā rerenga whakaaro i pūpū ake ai te taitara 'te kū o te kupu' mō tēnei mahi rangahau. Inā ka tirohia i ahu ngā oro o te reo mai i whea e ai ki tā te Māori wānanga. Mai i ngā oro ka puta ko ngā ku o ngā kupu me ngā kupu o ngā rārangi kōrero.

Hai te upoko tuarua ka tirohia ngā kōrero kua tuhia e ngā tohunga wetewete reo e pā ana ki te kaupapa o tēnei tuhingaroa, arā, te kū o te kupu. Ko ngā tirohanga mō te reo ake, arā, i ahu mai i whea, he aha ōna momo whakaata me tōna pakaritanga ka tirohia i roto i te upoko tuatoru.

Mai i ngā momo whakaata o te reo i roto i ngā momo waiata, ka āta tahuri te kaituhi ki te whakawhānui haere i tana wetewete me tāna tūhononga i ngā rerenga me ngā pekanga o te ku o te kupu.

Kai te upoko tuarima ka tirohia ngā whāinga me ngā aronga ā wētahi kaitito
waiata Māori me wētahi kaikōrero i te reo Māori, mō ō rātau māramatanga ki ngā kū me ngā oro o te reo Māori.

Kai te upoko tuaono e whāriki ana wētahi tauira kōrero Māori, hai whakaata i ngā momo orōmāhara, oro ohorere, ororite, kupu whakahuarua me wērā atu tauira whakaahua i ngā kū o te kupu me ngā oro o te reo Māori.

Ko ngā hua o tēnei rangahau, o tēnei tuhingaroa ka kitea i roto i te upoko
tuawhitu. Kōinei te whakakopinga o tēnei mahi.

text: Te kū o te kupu Ko tēnei tuhingaroa, he rangahau hai wherawhera ake i te āhuatanga o te reo Māori, e kiia ana ko tōna oro, me te kū o ngā kupu kōrero o taua reo. Ko te aronga whakaaro o tēnei rangahau, he rapu i tētahi āhuatanga kāore anō kia tirotirohia, kia tuhia rānei mō te reo Māori. Ehara tēnei rangahau i te kaupapa, i te mahi hou. Otirā, kai te whai te kaituhi i ngā rangahau kua oti kē i wētahi tohunga te wānanga mō wētahi atu reo. Ko tā te kaituhi he whai i ngā tauira a te hunga wetewete reo nei, ka uwhi ai ki runga i te reo Māori hai āwhina i ngā tātaritanga ā te kaituhi mō tōna ake reo, arā, te reo Māori.

Kai te upoko tuatahi ka whaia ngā rerenga whakaaro i pūpū ake ai te taitara 'te kū o te kupu' mō tēnei mahi rangahau. Inā ka tirohia i ahu ngā oro o te reo mai i whea e ai ki tā te Māori wānanga. Mai i ngā oro ka puta ko ngā ku o ngā kupu me ngā kupu o ngā rārangi kōrero.

Hai te upoko tuarua ka tirohia ngā kōrero kua tuhia e ngā tohunga wetewete reo e pā ana ki te kaupapa o tēnei tuhingaroa, arā, te kū o te kupu. Ko ngā tirohanga mō te reo ake, arā, i ahu mai i whea, he aha ōna momo whakaata me tōna pakaritanga ka tirohia i roto i te upoko tuatoru.

Mai i ngā momo whakaata o te reo i roto i ngā momo waiata, ka āta tahuri te kaituhi ki te whakawhānui haere i tana wetewete me tāna tūhononga i ngā rerenga me ngā pekanga o te ku o te kupu.

Kai te upoko tuarima ka tirohia ngā whāinga me ngā aronga ā wētahi kaitito
waiata Māori me wētahi kaikōrero i te reo Māori, mō ō rātau māramatanga ki ngā kū me ngā oro o te reo Māori.

Kai te upoko tuaono e whāriki ana wētahi tauira kōrero Māori, hai whakaata i ngā momo orōmāhara, oro ohorere, ororite, kupu whakahuarua me wērā atu tauira whakaahua i ngā kū o te kupu me ngā oro o te reo Māori.

Ko ngā hua o tēnei rangahau, o tēnei tuhingaroa ka kitea i roto i te upoko
tuawhitu. Kōinei te whakakopinga o tēnei mahi.

year: 2000