My own presentation at ATOM2006 comes towards the end of this last day - I'm one of the featured speakers here. I'm speaking about produsers and produsage (and I'm happy to have seen the term in good usage throughout the conference already) - and of course at a conference for teachers of media, I'm particularly interested in the question of how to shape media education in order to enable the younger generations to be effective and innovative participants in produsage.

I'm including my Powerpoint here - and I'll try to record the talk as well and will add it to this post as soon as I can. the recorded talk is now also online here.

The last keynote at ATOM2006 is by Andrew Urban, editor of Urban Cinefile, and previously the creator and host of SBS's Front Up programme. He begins by noting the importance of media teachers for the future development of society; further, he also notes the increasing question of information accuracy in an ever more highly mediatised environment - in Jerry Bruckheimer's words, 'the media are a mile wide and an inch deep'.

Journalism is today still posited as a noble profession, standing for honesty, objectivity, and truth - and Andrew shows an excerpt from Edward R. Murrow's famous 1958 speech (as seen recently in Good Night, and Good Luck) accusing the television industry of its failings - deluding, amusing, and insulating us. Broadcasting - and the media more broadly - today are as crucial as then, but their basis has shifted, now taking in also a broad range of new participants, all the way through to individual produsers.

Ben Goldsmith from the Australian Film, Television, and Radio School is the next featured presenter at ATOM2006. His focus here is particularly on new media and institutions (as well as perhaps also on new media institutions). He begins by noting the convergence of communications networks, computing and information technology, and content (as explored for example by Henry Jenkins). Such convergence touches on technological, industrial, cultural, and social aspects - and it is defined both from the top down (by media conglomerates) and from the bottom up (by consumers and DIY content creators). People (and not only the young) can now control content flows, collaborate, access, and build collective intelligence, and create new content as well as remix old content - and this has a profound impact on the development of the mediasphere. Ben also notes Mark Pesce's view that television died on the day that Battlestar Galactica was accessed by viewers in the U.S. via Bittorrent after its premiere in the UK (rather than waiting for the SciFi Channel to broadcast it some months later) - and yet it is notable that this did not affect BSG's ratings when it eventually did screen in the U.S.

My colleague Justin Brow is next; he's been involved in the development of Sticky.net.au and is a researcher in the QUT Institute for Creative Industries and Innovation (iCi). He begins with a brief introduction to the economic role of the creative industries - some 140,000 people are working directly in the CI in Australia, but the focus of CI analysis is now shifting from the production of creative outputs themselves to creative industries' input into other industries; some 160,000 people in Australia work in creative occupations within other industries. A further 150,000 people work in managerial and administrative roles related to the CI, establishing a 'creative trident' of occupations and contributing some $21billion to Australian GDP (this is set to double in the coming years).

Lee Burton and Peter Maggs from the Australian Children's Television Foundation are the next keynote speakers at ATOM 2006, speaking on the children's television debate. The Australian Communications and Media Authority's current review of children's television standards provides a backdrop to this debate. They begin by showing a brief video of kids' statements of what thye'd like to see on TV - perhaps in the form of a dedicated kids' TV channel...

Peter now notes the long history and conflicted future of the ACTF. Government requirements call for 260 hours of C and 130 hours of P programming; within this C quota, Australian TV channels must show a total of 32 hours of first-run children's drama (financed usually around 30% with txpayers' money). However, such shows are invcreasingly shown at times when the intended audience isn't around - kids typically aren't home at 4 p.m. on Friday afternoon, for example. Daytime programming is largely filled with U.S.- and Japanese-made animation, which is often provided to channels free of charge and makes its money through selling related merchandise. In the afternoon, on the other hand, the 4 p.m. timeslot is filled with locally-made shows competing for the same audience, even though the audience isn't likely to be home yet. This could be seen as a waste of taxpayers' money. On the other hand, the audience figures for kid watching TV peak between 5 and 10 p.m. - along with primetime for other demographics.

I was interviewed for an ABC Online science story the other day, about an article published by a number of physicists recently. Not the most likely story to comment on for an Internet researcher, you might think (even if, as it turns out, my first degree was in physics) - but what's happened here is that the researchers in question have applied complex network theory to the musicians' database of the All Music Guide (AMG), which both tracks collaborations between musicians and provides recommendations of musical similarity made by its panel of expert contributors. What's come out of this are two datasets, one indicating the network of collaborations across the 30,000-odd musicians tracked by AMG, and one showing the similarities between these artists as AMG's pundits see them.

I should have expected little else, of course - all I got to see at AoIR 2006 were the two panels I participated in, and the two conference keynotes; my duties as conference chair (i.e. running about to make sure there were no major disasters) prevented me from anything else. The two panels, organised by Terry Flew and Ted M. Coopman, went very well, though. Together, they presented the two sides of citizen journalism: its grounding in the activist tactical media movements of the 1980s and 1990s (on Ted's panel "Byte Me! Digital Media as an Activist Critique and Parallel Mediasphere"), and its continuing longer-term establishment as a legitimate form of journalism in relation to the traditional news industry (on Terry's panel "Online News Media and Citizen Journalism").

A quick heads-up for anyone in the Brisbane region: I'll be on ABC radio 612 this afternoon, some time after 1 p.m., getting interviewed by Richard Fidler about YouTube. Questions we'll cover may include:

• What kind of videos are on YouTube?

• Who is using it?

• Will YouTube change the way we access entertainment/info/news?

• How is it different to MySpace?

• Are there any censorship/copyright issues?

Tartu
We're now in the preliminary summary session for the second day at CATaC 2006. By the way, in the meantime the CATaC wiki has also been revived, with some additional materials on the presentations also posted up there. In terms of the session I chaired, I found the combination of theory and practice, and of development and definition of collaborative, productive online environments particularly interesting - the direct practical engagement of researchers in the tools and communities they study appears to have a number of benefits. Other session chairs right now seem to present more of a summary of their sessions - but for example, Laurel Dyson points once again to the importance of alternatives to traditional forms of copyright, as well as to the associated traditional view of content producers as individuals: perhaps there is a need for computer technology which also provides for multiple participants, similar to the way computer games already do. Anne Hewling notes the shift in e-learning from a technological to a cultural focus, and a recognition of learning environments as culturally complex and in need of further study.