title: Exploring social music behaviour: An investigation of music selection at parties

authors: Cunningham, Sally Jo

subjects: computer science

abstract: This paper builds an understanding how music is currently listened to by small (fewer than 10 individuals) to medium-sized (10 to 40 individuals) gatherings of people— how songs are chosen for playing, how the music fits in with other activities of group members, who supplies the music, the hardware/software that supports song selection and presentation. This fine-grained context emerges from a qualitative analysis of a rich set of participant observations and interviews focusing on the selection of songs to play at social gatherings. We suggest features for software to support music playing at parties.

text: Exploring social music behaviour: An investigation of music selection at parties This paper builds an understanding how music is currently listened to by small (fewer than 10 individuals) to medium-sized (10 to 40 individuals) gatherings of people— how songs are chosen for playing, how the music fits in with other activities of group members, who supplies the music, the hardware/software that supports song selection and presentation. This fine-grained context emerges from a qualitative analysis of a rich set of participant observations and interviews focusing on the selection of songs to play at social gatherings. We suggest features for software to support music playing at parties.

year: 2009

title: Synergistic literacies: Fostering critical and technological literacies in teaching legal research methods at the University of Waikato

authors: Havemann, Paul

abstract: Nowadays, new law courses are not approved unless both the "needs analysis" is convincing and the "consumer demand" is certain. Needs and demands today are driven by new pressures for technological literacy accelerated by globalisation and the current revolution in information and communication technologies (ICTs). The popular logic is that new global "knowledge economies" need "knowledge workers" or "wired workers" to labour in the new e-markets for goods and services and to use the burgeoning number and high quality of electronic information databases now essential to legal research. Students are acutely aware of these developments as well as of the highly competitive nature of the contemporary labour market for law graduates. Consequently, students are demanding more "how to" research skills training.
This article puts in context the reasons why, at the University of Waikato, we regard creating synergy between critical and technological literacy as essential for teaching and learning law-in-context research methods, and then describes the curriculum we designed for a legal research methods course in order to trial this approach.
From the start we have been clear that the new course was not just to be a "how to" course, and that we would be concentrating on critical literacy as much as technological literacy. For us, critical literacy is fundamental because it relates to the way in which one analyses the world, a process described as "becoming aware of the underlying structure of conceptions".1 This awareness includes the politics in the architectures that constitute the Internet and the assembly of information accessible on it.
We designed our curriculum for critical literacy around five types of analysis. Our shorthand for this is to call these "the five 'Cs'". Our five interrelated categories for analysis focus on:
 Change - in society, economy and culture
 Concepts - legal and sociological concepts and analytical frameworks
 Critique (and standpoint or perspective) 
 Comparisons (and Contrasts) 
 Contexts.
We argue that, at a minimum, these are the conceptual tools necessary to critique and engage the operation of the law in the context of society, noting especially inequalities and injustices. Throughout the course students are encouraged to harness technological literacy to each dimension of their analysis.
This article consists of two main parts. The first part ("Context and Assumptions") explores in some depth the reasons for the need to teach critical literacy alongside technological literacy. The second part ("The Legal Research Methods Course") describes our efforts to promote the synergy between critical and technological literacies in the context of a fourth year optional course, Legal Research Methods 2000, at the University of Waikato School of Law.

text: Synergistic literacies: Fostering critical and technological literacies in teaching legal research methods at the University of Waikato Nowadays, new law courses are not approved unless both the "needs analysis" is convincing and the "consumer demand" is certain. Needs and demands today are driven by new pressures for technological literacy accelerated by globalisation and the current revolution in information and communication technologies (ICTs). The popular logic is that new global "knowledge economies" need "knowledge workers" or "wired workers" to labour in the new e-markets for goods and services and to use the burgeoning number and high quality of electronic information databases now essential to legal research. Students are acutely aware of these developments as well as of the highly competitive nature of the contemporary labour market for law graduates. Consequently, students are demanding more "how to" research skills training.
This article puts in context the reasons why, at the University of Waikato, we regard creating synergy between critical and technological literacy as essential for teaching and learning law-in-context research methods, and then describes the curriculum we designed for a legal research methods course in order to trial this approach.
From the start we have been clear that the new course was not just to be a "how to" course, and that we would be concentrating on critical literacy as much as technological literacy. For us, critical literacy is fundamental because it relates to the way in which one analyses the world, a process described as "becoming aware of the underlying structure of conceptions".1 This awareness includes the politics in the architectures that constitute the Internet and the assembly of information accessible on it.
We designed our curriculum for critical literacy around five types of analysis. Our shorthand for this is to call these "the five 'Cs'". Our five interrelated categories for analysis focus on:
 Change - in society, economy and culture
 Concepts - legal and sociological concepts and analytical frameworks
 Critique (and standpoint or perspective) 
 Comparisons (and Contrasts) 
 Contexts.
We argue that, at a minimum, these are the conceptual tools necessary to critique and engage the operation of the law in the context of society, noting especially inequalities and injustices. Throughout the course students are encouraged to harness technological literacy to each dimension of their analysis.
This article consists of two main parts. The first part ("Context and Assumptions") explores in some depth the reasons for the need to teach critical literacy alongside technological literacy. The second part ("The Legal Research Methods Course") describes our efforts to promote the synergy between critical and technological literacies in the context of a fourth year optional course, Legal Research Methods 2000, at the University of Waikato School of Law.

year: 2002-01-01

title: Performing Femininity. Carmen - Good Ship Lollipop: A solo performance

authors: Fraser, Elroy

subjects: Performance

abstract: In the tradition of queer fringe theatre, Carmen - Good Ship Lollipop: a solo performance was written by a queer playwright, with a queer message for a queer audience.  The play was devised by drawing on Queer Theatre practice and methodology.
The following thesis details the process I undertook to create Carmen - Good Ship Lollipop: a solo performance. The story was created using biographical content already in the public arena. The play is about the public life of the late Carmen Rupe, New Zealand’s most famous transsexual. 
A historical perspective of men performing as women, or more fittingly, femininity performed by those other than female is presented by drawing on literature of this genre. The place of the solo performer and the combined roles of the actor, director, and producer are explored. Definitions of queer theatre and female impersonation are presented and issues of imitation, innovation and authenticity discussed.
The first methodology section details the choice of the particular playtext, the scriptwriting process, and dramaturgical analysis of Carmen – Good Ship Lollipop: a solo performance 
The second methodology section details the ‘script to stage’ production process. The development of the rehearsal script and the decision to limit the rehearsal period to one week is discussed. The plays evolution in terms of style and structure is presented.
The conclusion analyses the final product: to what extent Carmen - Good Ship Lollipop: a solo performance is faithful the Queer Theatre genre, successful as a performance piece, and reactive enough to be relevant. What further development could be applied in order to perform a future season.

text: Performing Femininity. Carmen - Good Ship Lollipop: A solo performance In the tradition of queer fringe theatre, Carmen - Good Ship Lollipop: a solo performance was written by a queer playwright, with a queer message for a queer audience.  The play was devised by drawing on Queer Theatre practice and methodology.
The following thesis details the process I undertook to create Carmen - Good Ship Lollipop: a solo performance. The story was created using biographical content already in the public arena. The play is about the public life of the late Carmen Rupe, New Zealand’s most famous transsexual. 
A historical perspective of men performing as women, or more fittingly, femininity performed by those other than female is presented by drawing on literature of this genre. The place of the solo performer and the combined roles of the actor, director, and producer are explored. Definitions of queer theatre and female impersonation are presented and issues of imitation, innovation and authenticity discussed.
The first methodology section details the choice of the particular playtext, the scriptwriting process, and dramaturgical analysis of Carmen – Good Ship Lollipop: a solo performance 
The second methodology section details the ‘script to stage’ production process. The development of the rehearsal script and the decision to limit the rehearsal period to one week is discussed. The plays evolution in terms of style and structure is presented.
The conclusion analyses the final product: to what extent Carmen - Good Ship Lollipop: a solo performance is faithful the Queer Theatre genre, successful as a performance piece, and reactive enough to be relevant. What further development could be applied in order to perform a future season.

year: 2013