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This paper looks at how technology can increase inclusion and integration in puppetry, and whether such use undermines artistic integrity. It looks at puppetry as a technology and what types of adaption can be made, such as adapting the puppet itself, or introducing animatronics or a computer. The range of power sources that can be used are outlined in the ‘operating technique spectrum’. The benefits of adaptation are discussed.

Promotes the view that puppets are an ideal medium for health education in primary schools. Describes how puppets may be used in health education lessons not only to transmit facts but also to open the way for wide‐ranging discussions. Discusses the development of two projects linking follow‐up work to the science curriculum and, in turn, to design and technology. Concludes by summarizing the educational benefits not only with regard to health education but right across the curriculum. Asserts that the quality of learning is high as a result of the children′s full and enthusiastic commitment to the work.

Argues that too little attention is paid in schools to helping children to process their everyday feelings. Describes how the author decided to run afterschool groups which would put children in touch with their feelings by the use of the arts, including play with paints, clay or sand, drama, puppetry, dance, music, storytelling and children′s literature. Suggests that, if the arts become the preserve of the élite and/or the talented, such exclusivity undermines individuals′ creative abilities. Summarizes how many children who attend are those experiencing family changes such as divorce, and how the groups give them the permission and space to express their feelings of sadness and anger at what is happening.

The chapter reviews recent evidence of, and debates about, the integration of art, entertainment, and media in media portrayals (e.g., movies, photographs, theater, music, performance art, museums, story-telling, modifications of an environmental space, social media, painting, comics, dance, videogames, etc.) of climate change based on three sources of data: 1) articles listed in academic reference databases and Google Scholar, 2) online sites, and 3) climate change news images. 1) Retrieved articles discuss both the potential and challenges of communicating about climate change through art, entertainment, and media. However, research is inconsistent on and in some cases is critical of the nature and extent of effects of art-based climate communication. 2) The Internet is a rich and diverse source of websites and videos about climate change. We analyzed 49 sites based on the art medium or form discussed, the primary content related to climate change, and the apparent goal of the site or video. The most frequent goals were promote action, collaboration, raise awareness, climate change communication, discussion, empowerment, reshape public perception, and engagement. 3) Based on the major themes and frames identified through content and cluster analysis of 350 images associated with 200 news articles from 11 US newspaper and magazine sources through late 2009, we summarize the theme of art and mass media representations of the environment, and how those are associated with the other major themes. We conclude by suggesting promising areas for future research on the intersection of art and science in communicating about climate change.

The aim of this paper is to illustrate how scholars may adopt a multi‐method – not just multidisciplinary – approach on research on conflict management. Taking the Diaoyu Islands as a case, the author draws on literature from management, political sciences, war, military studies, history, etymology and culture. In the process, the author deepens, enriches and expands the Thomas‐Kilman (T‐K) model for mapping out possible solutions in resolving conflicts: not just between people at workplaces but for between states as well. For instance, the author explains why the Diaoyu Islands conflict, if not amicably resolved may well lead to obliteration (integrated as part of the model) in resolving the conflict via a nuclear outbreak. Third World War may just be sparked off with Russia aligned with China against Japan and the USA.

Of all the issues in management, conflict management is the most culturally embedded. Through a multi‐method approach, the author illuminates the complexity of the Diaoyu Islands case. Literature from past empirical war studies are reviewed to suggest the geography of the islands (proximity, borderless, richness of resources) makes war highly probable. Past Chinese‐Japanese hatred (utilizing visual imagery), antagonism and guanxi are reviewed in exploring their impacts on outcomes (see model). Etymological research is attempted using English, Japanese and Chinese words, characters and pictograms that are related to concepts within the T‐K model. To better grasp how young Chinese feel towards the Diaoyu Islands and the Japanese, the author conducted some field research in Harbin, China. The continuing Chinese angst against Japanese is explained through war imagery: there remains in young Chinese an unquenchable thirst for exacting revenge on the Japanese. In a search to uncover ways of resolving the dispute, a further, extended study is undertaken on ancient Chinese pictograms: for example, whether a 5,000 years old Chinese concept of compromise zhe zhong (Graphic 1; oracular bones) or splitting into halves may be relevant. The role of time in conflict management is discussed in relation to the Diaoyu Islands.

By providing the WWII visual imagery as a backdrop to Chinese‐Japanese antagonism, the author explains to readers why the Diaoyu Islands is such a complex case to resolve. Also in his fieldwork, he highlights that the younger Chinese are as equally indignant about Japanese unethical grabbing, “thieving” behaviour. In their minds, such behaviour harks back to the blatant seizure of Manchuria and Japanese puppetry of Manchukuo. Through the Diaoyu Islands case, the T‐K model and theory of conflict management is broadened, enriched and enhanced. The paper illustrates how in conflicts that involve cultures are very different from the West, for instance very ancient civilizations like China and India, authors should take a multi‐method approach and explore the issues and search for solutions far more deeply.

Very few scholars seek to integrate the two streams of research in resolving conflict as illustrated through this paper: management and social sciences (e.g. political sciences, military and war studies). Conflict is about people and therefore integral use of multi‐methods needs to be used.

Recent years have witnessed an unexpected and astonishing rise of AI-generated (AIGC), thanks to the rapid advancement of technology and the omnipresence of social media. AIGCs created to mislead are more commonly known as DeepFakes, which erode our trust in online information and have already caused real damage. Thus, countermeasures must be developed to limit the negative impacts of AIGC. This position paper aims to provide a conceptual analysis of the impact of DeepFakes considering the production cost and overview counter technologies to fight DeepFakes. We will also discuss future perspectives of AIGC and their counter technology.

We summarize recent developments in generative AI and AIGC, as well as technical developments to mitigate the harmful impacts of DeepFakes. We also provide an analysis of the cost-effect tradeoff of DeepFakes.

The mitigation of DeepFakes call for multi-disciplinary research across the traditional disciplinary boundaries.

Government and business sectors need to work together to provide sustainable solutions to the DeepFake problem.

The research and development in counter-technologies and other mitigation measures of DeepFakes are important components for the health of future information ecosystem and democracy.

Unlike existing reviews in this topic, our position paper focuses on the insights and perspective of this vexing sociotechnical problem of our time, providing a more global picture of the solutions landscape.

The purpose of this paper is to illustrate how designers attempt to engage audiences through different media in TV idents; and to explore how the human mark (such as drawing and model making) in a hybrid with digital media can not only revitalise traditions in design, but also the reception of illusion in this context.

The study focuses on the work of RedBee Media, a company that has a global market and reputation. The phenomenology of how BBC Three and BBC 2 Christmas were rebranded was examined through interviews with the designers and animators involved. Taking a media industry studies lens to examine an art/technology divide the author will expand the visual culture theory of Manovich’s (2007) metamedium.

The influence of technology on television graphic design is contested and continual. Designers might begin to question rather than rely on technology through the process of design. They can confront generic software solutions and apply more critical skills to explore fusions of heritage and digital processes in a metamedium.

This research was focused on a UK broadcaster and a single UK creative agency with a global influence. Future research should examine leading creative practice in other international markets.

The significance of this research is in understanding the materiality and creativity in the artform of TV idents and how designers attempt to engage audiences through different media.

Academics in media and design history are acknowledging the cultural significance of television branding. Design practitioners need to understand why and how in the work of others.

In January 2021, the state government of NSW, Australia, announced that all year 9 and 10 elective courses developed by schools will be phased out. This paper offers a brief historical account of school-developed board-endorsed courses (SDBECs) in NSW and a close analysis of the policy to phase them out.

I give an historical account of the meaning and place of SDBECs within the NSW school system, before situating the policy decision to phase them out within the broader historical and political context of curriculum reform in NSW. Finally, I offer an analysis of the discourses and framing of the policy both across curriculum review reports and in the government and public rhetoric, by examining policy documents, government media releases, news and blog articles at the time of the policy change.

This policy change and surrounding discourses are contextualised and analysed to show how the curriculum came to be blamed for a host of educational problems, and how the government arrived at their irrational yet politically expedient policy response by distorting the meaning of one metaphor: the crowded curriculum. I conclude with a reading of the policy as indicative of centralisation and de-legitimisation of teachers’ curriculum development work.

The convergence of state and federal discourse about curriculum as a site of cleaning up, reforming or re-organising should concern educators in Australia especially as authority over education is increasingly centralised and made vulnerable to political whim. Close studies of such minor policy decisions provide a window into how larger processes of centralisation are justified and enacted at the local level.

Fans are proactive consumers of pop culture products, who can be seen as prosumers. Fanvideo production is one of their most widespread practices in the participatory culture scenario. Thus, the aim of the present study is to analyze how ludic prosumption is featured on plays performed in Brazilian fanvideos based on successful pop culture franchises.

Research based on the interpretive content analysis of fanvideos of plays produced by Brazilian fans based on five emblematic pop culture franchises and published on YouTube.

Results have shown six play types in the analyzed fanvideos – i.e. child's play, performing powers, cosplay, play in social rites, teaching to play and “zuêra” –, which revealed a way of having fun in different situations through different practices based on ludic consumption experiences in different spheres of social life.

CCT-based studies focused on investigating plays as ludic consumption phenomenon, as well as fan culture, remain at early research stage. Thus, the main contribution of the present study lies on associating such concepts based on the concept of prosumption.