Browsing Faculty of Arts and Media by Publisher "Taylor & Francis"
Now showing items 1-3 of 3
Evidence on the extent of harms experienced by children as a result of online risks: Implications for policy and researchIntense media and policy focus on issues of online child protection have prompted a resurgence of moral panics about children and adolescents' Internet use, with frequent confounding of different types of risk and harm and little reference to empirical evidence of actual harm. Meanwhile, within the academic literature, the quantity and quality of studies detailing the risks and opportunities of online activity for children and young people has risen substantially in the past 10 years, but this is also largely focused on risk rather than evidence of harm. Whilst this is understandable given the methodological and ethical challenges of studying Internet-related harms to minors, the very concept of risk is dependent on some prior understanding of harm, meaning that without efforts to study what harms are connected with children's online experiences, discussions of risk lack a strong foundation. This article makes a key contribution to the field by reviewing available evidence about the scale and scope of online harms from across a range of disciplines and identifying key obstacles in this research area as well as the major policy implications. The findings are based on a review of 148 empirical studies. Results were found in relation to main types of harms: health-related harms as a result of using pro-eating disorder, self-harm or pro-suicide websites; sex-related harms such as Internet-initiated sexual abuse of minors and cyber-bullying.
Meaningful play: applying game and play design practices to promote agency in participatory performanceAs interactive and immersive forms of performance have proliferated, performance scholars have devoted increasing attention to gaming practices in order to describe the types of agency that these forms offer to their participants. This article seeks to problematise links that have been drawn between interactive performance and games, however, arguing that discussions of gaming in relation to performance are often limited to a textual paradigm which conceives game play as the exploratory uncovering of performance texts rather than the generative creation of emergent play narratives. This argument will be advanced by making three propositions: firstly, that performance practitioners and scholars who wish to draw upon games in their work should move beyond a textual paradigm to develop an understanding of how games can be understood as systems. Secondly, the article will propose that if the enhancement of participatory agency is desired, participatory performance designs might usefully respond to the cultural particularity of those involved. Thirdly, the article will argue that although system-based design can imply connotations of top down control, participatory performance design can be reconceived as a ‘curatorial’ practice that creates contexts for play that is co-created by participants, affirming their agency in shaping the emergent content of the work.
Medium (un)specificity as material agency – the productive indeterminacy of matter/materialIn this article, I consider some of the debates brought to the fore by the proliferation of recent textile focused exhibitions; namely the tension between a continued allegiance to medium specific conventions and the richness, hybridity and heterogeneity afforded by the post-medium condition of contemporary art. Through a new body of sculptural and installational practice I propose a constellatory opening up of textile in which the medium specific can be (re)mapped in a fluid and fragmentary way. Drawing particular reference from Adorno’s conception of the constellation and mimetic comportment, this model of practice involves a mode of behaviour that actively opens up to alterity and returns authority to the affective indeterminacy of the sensuously bound experiential encounter. This is manifest through a range of practice strategies - “thingness”, “staged (dis)contiguity”, and the play between “sensuous immediacy and corporeal containment” - which mobilise a precarious relationship between processes of attachment and detachment. Acknowledging the critical currency afforded to textile through feminist and poststructuralist critique, the work moves away from “a rhetoric of negative opposition” and predetermined discursive frameworks, returning authority to the aesthetic impulse, privileging the ambiguous resonances of an abstract sculptural language over more overt strategies of representation.