Singapore.
The first full day at ISEA 2008 starts with a number of parallel paper sessions - and the first paper in one of these sessions is mine (that is, the paper I've co-authored with Jason Wilson, Barry Saunders, Tim Highfield, Lars Kirchhoff, and Thomas Nicolai). I've posted the slides below, and will try to record the audio as well the audio is up now, too.

The next paper is by Atteqa Malik, who begins with a political rock video from Pakistan that has now been parodied by the Pakistani lawyers' movement (replacing rock musicians with lawyers, etc.). That movement, and other online and offline protests, is in response to the takeover of mainstream Pakistani media during the Musharraf regime, of course - indeed, there has been an explosion of media channels in Pakistan in recent years. One further catalyst for such developments was the 2005 earthquake, which created a strong response from younger generations.

Singapore.
After a quick refreshment break with some tasty Singaporean food, we're now in a plenary panel session at ISEA 2008, on culture, technology, and Asian (or as it turns out, mainly Japanese) pop culture. Blogging panels is always difficult, but we'll see how it goes.

Adrian Cheok begins by noting the shift in policy in Asia towards a greater focus on cultural development in addition to science and technology (linked in part to the embrace of the idea of creative industries in Asia, of course). In particular, though, it's the interlinkage of culture and technology that's particularly productive here.

Singapore.
I'm spending the next few days at the ISEA 2008 conference in steamy Singapore. My last ISEA was 2004 in Helsinki and Tallinn (and on the cruise ship to Helsinki), an experience which will be very hard to top - but I'm sure the local organisers have a great deal of interesting events in store for us, too. ISEA - the International Symposium on Electronic Art - is always a strange beast: a wild mixture of new media artists and performers, free culture and open source activists, and more conventional new media researchers (like me). Well, we'll see...

Brisbane.
The final session here at the CCi conference is billed as a copyright perspectives panel in the context of user-led content creation on Web 2.0. The panel begins with Oli Wilson from New Zealand indie band Knives at Noon and Otago University. Knives at Noon released its EP online under a Creative Commons 3.0 (BY-NC-SA) licence, free to share and remix for non-commercial purposes. The band was somewhat unhappy with the content of the EP itself, but wanted this creative material not to be wasted - they hoped that it would take on a life of its own by releasing it online as a ProTools source file (roughly following Linus Torvalds's logic in releasing the initial Linux kernel). Release in this format also allowed users to access the individual components of their tracks, not just the mixed end product - and it suited the band's creative philosophy.

Brisbane.
The post-lunch sessions on this last day of the CCi conference take a somewhat more legal angle. The keynote speaker here is Graham Vickery from the OECD, which has just published a set of high-level recommendations related to making public sector information more publicly accessible, as appropriate to the emerging participative Web environment. The OECD is interested in the economic framework for this new environment (for example, online games, music, publishing, film, video, advertising, and news distribution) in order to identify what aspects (of value chains, business models, etc.) are shared across these environments.

Brisbane.
The next plenary session at the CCi conference responds to Mark Deuze's talk - John-Paul Marin from SBS and Tony Walker (blogger at ABC Digital Futures and the ABC's Manager of Digital Radio) will share their own experiences of operating in the new, user-led, media environment that Mark has sketched out.