Journal articles on the topic 'Broadcasting house'

Selection for commission member of Central Indonesian Broadcasting is administered by house of representative; nonetheless, the implementation is managed by the selection committee formed by the ministry of Communication and Information. The house of representative will conduct proper test to selection committee in order to examine the element of community and academic capacity within broadcasting field. Indonesian Ministry of Communication and information as the official has unjustly determined lists of Central Indonesian Broadcasting Commission Member candidates that has passed proper test selection by the house of representative. As a result, it harms those who do not qualify. The non-transparent determination violates the applicable laws and general principles of good governance so that it has harmed the rights and interests of some prospective members of the Central Indonesian Broadcasting Commission who have spent their energy, thoughts and time, as well as costs to participate in the selection

Digitalization must begin a strong law that is Acts. Based on the records, digital broadcasting regulations using Republic of Indonesia Minister of Communication and Informatics’s regulations could be canceled through lawsuits at Supreme Court and State Administration Court. Broadcast digitalization was begun in 2011 through a digitalization Road Map and till date, the process at House of Representatives has not been completed. 85% of countries in the world have migrated to digital broadcasts. The study aims to describe how changes and various roles in broadcasting digitalization if the revision of the Broadcasting Acts is implemented. The study also aims to find out the impact and benefits of broadcasting digitalization for the public and broadcasting stakeholders compared to present Broadcasting Acts. This study uses participant observation methods and text analysis to categorize the articles of digitalization in the revision draft of the Broadcasting Acts from the House of Representatives Commission I in 2017, accompanied by media coverage analysis. Discourse analysis is used to relate to the problems arised due to broadcast digitalization. The results show that digitalization can provide more channels in the same space than analog broadcasting. Political parties and state institutions will be allowed to have broadcasting institutions. The State through Television Radio of the Republic of Indonesia (RTRI) will become the important player in terrestrial digital broadcasting with a single multiplexer (mux) system, which is considered undemocratic for private television associations. All "television stations" will change and compete to become "content providers" similar to new digital televisions. The government will formulate the mechanisms, socialization, models, roles in digitalizing television broadcasting in a blue print. Digital dividend will be used for the development of internet and telecommunications. The dynamics that occur due to interests’ differences of the state, the private sector and society take part at each stage of broadcasting digitalization regulation. The conclusion of the study illustrates that the use of digital technology in broadcasting through the Acts’ revision could be a solution for both frequency limitation and the efficient use for more diverse broadcasters (diversity of ownership).

This article investigates the production and consumption of Canadian Prime Minister Harper’s 2008 apology to the victims of residential schools. The apology used contextual elements and linguistic devices to construct a particular reality of both the government’s role in residential schools and the nature of Canadian diversity. By comparing themes from Harper’s speech to responses on the Canadian Broadcasting Corporation’s website, the article seeks to understand whether Canadians reaffirm or contest the prime minister’s message. The analysis reveals that although the majority felt the apology was appropriate and important, many contested the discourse that suggested that the attitudes that led to the schools have ‘no place’ in modern-day Canada. Instead the intercultural audience offered competing discourses of genocide and colonialism suggesting that Canada’s identity as it relates to its Aboriginal peoples is still a site of struggle.

This article is my response to the House of Lords Communications Committee Inquiry on ‘Public service broadcasting in the age of video on demand’, which was carried out in 2019. The inquiry was important and relevant as the successful UK public service broadcasters (PSBs) BBC, ITV, C4, C5 and S4C are currently facing major challenges from video-on-demand (VoD) services. These challenges primarily concern competition for content from VoD services in a highly competitive broadcasting market characterized by shifts in audience behaviour. Audiences are watching less scheduled TV as they are attracted by the business model of global streaming services like YouTube, Amazon Prime Video and Netflix. Fierce competition from mainly US-based, unregulated global VoD players investing billions of pounds in content has escalated programming costs and made it difficult for tightly regulated PSBs with modest domestic UK budgets to compete. This article is largely in favour of sustaining properly funded, universally available PSBs, who can deliver quality and original programming, alongside impartial and trusted news in the era of fake news and post-truth politics.

After years of debate, and pages of parliamentary reports, the House of Commons has agreed in principle to allow the televising of its proceedings, both in the Chamber and in Select Committee hearings.’ The purpose of this article is to consider the application of parliamentary privilege to the broadcasting of Parliament by radio or television. The issue of parliamentary privilege arises because of the absolute privilege’ of freedom of speech for Members, which enables them in the course of ‘proceedings in Parliament’ to say or do something which, had it been said or done elsewhere, could have given rise to civil or criminal liability by the person concerned. Absolute privilege exists because it is of outstanding public importance that Members should be able to speak their minds, and this outweighs any consequential harm that may be suffered by an individual or the State. Examples of the use of the protection of absolute privilege are the making of a statement that appears to be defamatory, and the oral commission of one of a variety of criminal offences.

Journalism education training was started at the University of PNG at the beginning of 1975, when the New Zealand Government agreed to fund a one-year Diploma in Journalism for an initial two-year period. Before this, the few national journalists employed in Papua New Guinea had been trained in-house by the two-principal employers of the time— the Office of Information and the National Broadcasting Commission.

It's difficult to imagine the relatively civilised, slightly worn corridors of London's old Broadcasting House, headquarters of the BBC, as being the frontline in a war. No trenches; no barbed wire; not a sign of battle-fatigue to be seen … Yet here whizz-bangs are almost as frequent as they were at the Somme. For frontline this indeed is; a place where battle-royal is pitched between the opposing camps of linguistic orthodoxy and originality. The spot where, like a pair of weirdly-named opponents from Gulliver's Travels, the Descriptivists do battle with the Prescriptivists.

AbstractThis article examines early pedagogical experiments in opera on television that were meant to attract new audiences in the 1950s. The aesthetics of early television have often been thought to run contrary to opera, particularly in its grander iterations, but I argue that television producers capitalized upon the traits of early television to personalize opera, both on and off screen. Comparing two NBC pedagogical initiatives—a 1958 Omnibus program starring Leonard Bernstein and the 1956–57 visits of the NBC Opera Company to Saint Mary's College (South Bend, Indiana)—I explore how these efforts were meant to approximate the opera fan's experience as well as prepare audience members to enter the opera house. Ultimately, although opera on television failed to secure a strong foothold in the 1950s, it helped to re-envision the ways in which American audiences could relate to the art form and set the terms for the Metropolitan Opera Live in HD broadcasts today.

This paper is devoted to specific features of settling and development of Ukrainian broadcasting on Polish radio and its Lviv branch in 1930s. It is claimed that being launched after building the radio station in Lviv, broadcasting nonetheless didn’t embrace any Ukrainian programs. The author highlighted the role of Ukrainian public and cultural figures, journalists and radio listeners in a struggle for Ukrainian’s right to obtain radio information in Ukrainian language and analyzed distinctive features of Ukrainian radio movement in Halychyna region. The present study, having investigated the issue by examining the publications of newspaper Dilo, showed the reasons for its foundation and indicated the main aspects of Ukrainian Radio Society’s activity as well as of Ukraiinradio publishing house. The author stated that in 1932 it was officially declared a consent between Ukrainian ethnic minority in Poland and Polish Radio’s management. Music, religious and literary topics were outlined as the main for Ukrainian programs. At first they were prepared by polish journalists, who had difficulties with its contents. But even in such a deficient way, the Ukrainian content’s share became a good sign for Ukrainians, since gave an opportunity to introduce Polish citizens with creative work of Ukrainian talented well-known figures. It is pointed out, that Ukrainian professionals — journalists, writers, musicians, literary critics like Mykola Rudnytskyi and Roman Kupchynskyi joined the process in the second half of 1930s. The author identified such features of Ukrainian programs as a lack of political and social programs, so important for Ukrainians. Problems of content’s amount and quality were constantly discussed. Key words: radio journalism, radio programs’ topics, Polish Radio, Ukrainian Radio Society, Ukrainradio publishing House, «Ukrayinska Hazetka», radio listeners.

This paper is aimed at showing that subtitling can be used to foster bilingualism and patriotism in Cameroon. The objectives are to investigate how deeply rooted the practice of audiovisual translation is in local media outlets, focusing on how it can help in promoting bilingualism; promote the use of subtitling in the Cameroonian audiovisual media landscape; and assess the pivotal role of the audiovisual translator in this sector. A sample of 151 persons was used. Questionnaires were administered to respondents and stakeholders were interviewed in two media houses: Hi TV and CRTV. Hi TV is based in an English-speaking region, and CRTV is a State-owned media house and believed to have the widest audience in the country. Findings revealed that subtitling does not only provide TV viewers with information in their second official language, but also enables them to improve on their reading and writing skills, as well as their bilingualism, among others. Subtitling is not advanced in media houses in Cameroon. Recommendations were made to improve on the practice of subtitling in media houses in Cameroon. These include increasing the level of subtitled programmes broadcast on TV stations, raising awareness on the importance of media information access by the hearing impaired; creating an audiovisual translation unit in each TV broadcasting house and recruiting audiovisual translators; voting of laws to make the subtitling of some, if not, all TV programmes broadcast by Cameroonian TV channels mandatory; educating the public on the importance of subtitling by gradually introducing them to viewers through TV programmes, so that their eyes and mind could progressively get used to watching subtitled material and thus avoid total rejection of the subtitles; and training more audiovisual translators in Cameroon. Key words: Translation, Bilingualism, Patriotism, Vector, Subtitling

This paper introduces an advanced E-education provision via space systems for Africa or any other regions in remote dispersed communities, such as rural, mining, agriculture, surveying, construction, tourism, military and etc. Based on the specific needs and requirements E-education implies significant broadband applications, interconnectivity, and timely and quality-assured content delivery of service. The E-education solutions of distance learning and training for remote and rural areas, which are beyond range of terrestrial and short distance wireless cellular facilities, cannot provide broadband access without space-enabled communication solutions, such as satellite constellations and Stratospheric Platform Systems (SPS) or High Altitude Platforms (HAP). This paper also discusses the integration challenges that are presented by combining space solutions for implementation E-education and learning in rural and mobile environments. Configuration of in-house development of all segments, installation of the scale-down Digital Video Broadcasting-Return Channel via Satellite (DVB-RCS) Hub (Gateway), Ground Network and Very Small Aperture Terminal (VSAT), known as Fixed Interactive Terminals (FIT), for E-education, distance learning and staff training initiative in Africa are described.

In 1986 I made six programmes about The Mysterious Art of the Conductor for the BBC's World Service. These derived from Interviews with nine conductors, among them Pierre Boulez, Colin Davis, Bernard Haitink and Charles Mackerras. Each programme lasted half-an-hour and included music examples. The interviews were much longer, but each was filleted and spliced so as to juxtapose – and sometimes contrast – the views of different conductors on particular aspects of their art. The interview with Pierre Boulez, reproduced here in full, was recorded in Broadcasting House on 25 October 1986. It gave me special pleasure and is, I believe, of special interest.

The overwhelming critical response in Germany to the publication ofVictor Klemperer’s journals, particularly those spanning the yearsfrom 1933 to 1945, has been a veritable sensation. Hundreds ofreviews, mostly appreciations, have appeared. Klemperer’s journalshave also turned into big business. On October 12, 1999, the Germantelevision channel ARD began broadcasting a thirteen-episode serieson the diaries in the most expensive, made-for-television program ofits kind in Germany. Additionally, the English-language rights to thejournals were sold to Random House for a record $550,000, morethan has ever been paid for translation rights of any German book inhistory. The selling of Klemperer’s journals may have led to a distortedevaluation of their author’s position and importance.

Entering the era of digital revolutionary guards head general yahya at the time of this where do information can be we simply get for had such a closeness to local revenue for example through hp us to our personal. All the information can be accessed 've gone through lots of social media electronic. By how easily be run as soon as information program needs to be in can keep looking at whether the contents of the information in the table containing news of the population of that is less appropriate or was not appropriate to be broadcast and publish through the medium of such as television, radio and soon.Because of the law of information, the public which had bought have arranged what was set before them based on the information in a manner worthy of getting by the community in accordance with legislative regulations. Be launched since many broadcasting hearing with the house commission Indonesia the regions where they are into the arm of the state that rules and regulates all it comes to dealing with be launched since many broadcasting ethics. With growing information was not appropriate these changes in the future by the community this certainly shall be the responsibility of office KPID in protecting every station on television responds by sending out the radio to a press statement on the great commission nor related to in order to keep it hold fast regulated in the law

Introduction: The purpose of this quasi-experimental research was to study the effectiveness of a behavioral change program in reducing house index of mosquito in Village Baan-Wangpong, Lomsak district in Phetcabun province, Thailand. Methods: The sample size of experimental and control group was 42 representatives of household in each group. Representatives of each sampled household were tested for knowledge, perception and behavioral practice in prevention of dengue fever before and after the program intervention. The program included training on dengue fever prevention by health personnel, demonstration of making mosquito repellents from local product, organising an awareness contest, broadcasting health messages through media and surveying households for mosquitoes’ larvae. Results: The study found that most households in village Baan-Wangpong had low knowledge (60.4%), perceived risk (60.4%), perceived severity (64.6%) and behavioral practice (77.1%) in the prevention of dengue fever prior to the program, with comparability in intervention versus control. The results showed that after the program intervention, the experimental group had a significantly higher level of knowledge (p=0.001), perceived risk (p=0.042), perceived severity (p=0.002) and behavior (p=0.028) in preventing dengue fever than before the program intervention and higher than the control group post-intervention. The experimental group’s house index was also significantly (p=0.001) lower than before the program and lower than the control group post-intervention. Conclusions: This study suggests that a proactive program about knowledge, perceptions and behaviors on prevention of dengue fever with support from public health personnel and community participation, can positively change health behavior, resulting in reducing the house index of mosquito larva.

Danish legal deposit legislation mandates that the Royal Danish Library must collect contemporary culture for the benefi t of the public and researchers, now and in the future. In this article, I analyse how the move toward access models and the subsequent streamifi cation of media content challenges the collection of cultural heritage. I draw on empirical data from two central activities. The main empirical data stems from archival research and interviews with the library’s internal and external stakeholders. Th e second source of empirical data is the in-house testing performed by web curators when they analysed the collection of streaming-only content via an API from the Danish Broadcasting Corporation (DR). The analysis is followed by a discussion of the eff ects of streaming software and services on collection methods such as stream-ripping, screen capture (image or video), and research collaborations with the producers and distributors of born-digital content.

Recently, a wide range of small devices, such as Wi-Fi Internet of things development boards, which are a kind of the microcontroller units in a general purpose board, are interrelated throughout the planet. In addition, certain microcontroller units interact inside our homes when turning lights on or detecting movements, measuring various parameters, such as gas concentrations, [Formula: see text], humidity, and the temperature inside a room, or adjusting the intensity of the lights inside and outside of the house. Likewise, there is a great diversity of microcontroller units, ranging from smart cellular telephones or reduced general purpose devices, ESP8266 or RaspberryPi3 to any type of Internet of things devices. Therefore, the general way of connecting the microcontroller units to the Internet is through hub nodes, so that the information can be propagated and shared among them. The main purpose of this article is to yield an adaptive reconfiguration algorithm to link all the sensor nodes (microcontroller units) of a network based on the fractal topology, avoiding the use of hub nodes, in order for the microcontroller units to share all the parameters established in the Internet of things network only through two adjacent sensor nodes as long as any sensor node in the network knows all the parameters of the other ones, even if the sensor nodes are not adjacent. To achieve the above, in this work, an Internet of things network was built based on the Hilbert fractal for being a filling-space curve yielded from the L-systems paradigm, so this fractal Hilbert topology allows access to the entire Internet of things network in a dynamic way, and it is possible to reconfigure the network topology when a new sensor node is attached by applying artificial intelligence to intelligent and dynamic environments.

From disasters to celebrations, camera phone practices play a key role in the abundance of shared images globally (Frosh 2015; Hjorth and Hendry 2015; Hjorth and Burgess 2014; Van House et al. 2005). Photography has always had a complicated relationship with death. This paper focuses on how mobile devices, through the broadcasting of troubling material, can simultaneously lead to misrecognition of the self (Wendt 2015) alongside an often-public evidentiary experience of trauma and grief. In this paper we will focus on the companionship of mobile devices in users’ most desperate hours. Use of mobile devices in crisis situations generate affective responses and uses. We will draw from case studies to highlight the power of the mobile to not only remind us that media has always been social, but that mobile media is challenging how the social is constituted by the political and the personal, and the ethical mediation between both. The ethical, psychological, moral and existential challenges that this new kind of witnessing poses will be explored.

This article is an attempt to show the beginning of Eduard Borisovich Abdullin’s creative path in the pedagogy of music education, in particular, his experience in teaching as an artistic director and conductor of the choir studio “Melodia” of the Palace of Pioneers in the city of Podolsk, Moscow Region. As a graduate student of the Lenin Moscow State Pedagogical Institute, the young teacher achieved tremendous creative success: the choir studio under his direction performed in the Great Hall of the Moscow Conservatory, the Column Hall of the House of Unions, the P. I. Tchaikovsky Concert Hall, in the Kremlin Palace of Congresses; toured in the cities of the USSR and European countries. On the first television channel, two hour-long television programs were shown. The studio of the State House of Radio Broadcasting and Sound Recording has released educational records. For almost half a century, the “Melodiya” studio continued to meet with its leader, and all members of the choir strove to attend them in order to meet their Teacher again. Special attention is paid to the significance of the fundamental works by Eduard Borisovich Abdullin, which became the basis for the pedagogical interpretation by the author in his research activities of the conceptual provisions of the methodology of pedagogy of music education. The sequential expansion of the problem field of the conducted musical pedagogical research is described: from the theoretical substantiation of the model for the development of the Central Russian folk song tradition by children to the formation of a new direction of research searches associated with the use of various vocal techniques at the junction of different genres.

In the summer of 1998, in order to conduct field research, I visited Colonia Okinawa, an agricultural settlement of Okinawan immigrants established in 1954 in the Santa Cruz region of Bolivia.1 I tried to make interview appointments with issei, or the first-generation settlers, and suggested that I visit them around noon, a time of the day I thought would be easy for them to accommodate. The first few I approached, however, asked me to see them at a different time of the day, reasoning that they might be sleeping around noon. Sleeping? At noon? My confusion was soon cleared up when I found out that many issei woke up in the middle of the night to watch the Sumo Grand Tournament telecast by the Nihon Hμsμ Kyμkai (NHK), or Japan Broadcasting Company, and then went back to sleep. A nisei, or second-generation, child of one of my issei interviewees who was an avid Sumo fan told me that he often heard cheers and grunts from his father in the middle of the night, while everybody else in the house was sleeping.

The present study aimed to evaluate factors associated with canine visceral leishmaniasis (CVL) in areas with higher seroprevalence of it in Uruguaiana city, Rio Grande do Sul state, Brazil, during the year of 2012. A semi-structured questionnaire with socioeconomic and environmental questions was applied in Leishmania endemic regions of the city. The survey data were analyzed by multivariate statistics and the associations between them were presented as odds ratio within a 95% confidence limit. The relationships between the studied variables showed no statistically significant difference between the dwellings with positive and negative dogs. However, when analyzing the odds ratio, the presence of green areas larger than 10m² turned the house into an area of potential risk for CVL (OR= 2.53). There was no difference among the socioeconomic variables education and income, though the groups with lower education and income showed a higher seroprevalence of CVL. The city of Uruguaiana is already located within the CVL broadcasting area and is taken as an endemic region of the disease, with seropositive dogs in all neighborhoods. Thus, the determinants for an increased Leishmania sp. infection could not be indicated, even so, the maintenance of green areas around the households represented a risk factor for being a potential vector shelter.

Since of Donald Trump was elected President of the US, American journalism in general and TV journalists in particular has been going through transformations in genres, topics, variety of linguistic means and general content strategy. The article is an attempt to determine the most significant changes in the news broadcast. Using the information content of CNN as the main detractor of Trump’s media policy, the author analyzes and describes the new trends in the broadcasting policy. These include a significant reduction in the number of news items per news bulletin, attractivation of panel discussions, dominance of political topics and Donald Trump himself as the main news maker, negative evaluation in the frontmen’s language, journalists’ switch-over from observing to criticizing and assessing, changes in the president’s image and in the concept of D. Trump in American mass media, and the emergence and development of a new “White House chaos” concept. The article shows the dynamics in the main CNN’s structural indicators, such as genres ratio, thematic preferences, linguistic components, over the past five years. The author infers that the adversarial relationship between the president and TV journalists results in overall decreased taping content quality and lower professional standards for frontment and news channel correspondents. In this relation, lack of objectivity, biased discussions and prevalence of negative evaluation are of particular concern. The research was carried out in the second half of 2018, a case study of CNN newscasts of 2017 and 2018.

We live in the world of digital technologies – everyone has a digital phone, television has switched to a digital broadcasting format as it is more noise-immune, digital processes are literally in every household appliance, from the iron to the computer on which this article was written. Digital technologies simplify our lives, some operations performed by humans require large material costs, for example, writing text on a typewriter and computer vary greatly. The gain of the computer is especially evident when editing the test. They brought us comfort – how nice it is when the processor that monitors the temperature in the house increased the heat supply during a cold snap or reduced it in order to save money in the absence of people in the house.But in order for the digital system to perform this or that action, it needs a command coming from the sensor. It can be a temperature, humidity, pressure sensor. Or maybe a microphone used in voice control systems. All these sensors, without which the operation of a digital system is impossible, give an analog signal that changes its value over time. The digital system is not sensitive to such a signal. It “does not understand” the signal. The problem is solved by ADC (analog-to-digital converters). They have a different structure, varying degrees of complexity, the device, depending on the parameters of the digitized signal. For example, the temperature in the house changes very slowly, even when warming up or when the heating is turned off in frost, the temperature rises or, accordingly, does not fall faster than one degree per hour. The ADC speed requirements for the temperature sensor are very low. Instead, a microphone is used to receive voice commands. In order to distinguish the voices of people and to carry out the commands of some people and not to carry out commands from others, processing of the signal spectrum with a width of kilohertz is required - which means that the signal level will change at a frequency of thousands of times per second. This is a very high demand. The different types of ADCs, their design and application will be discussed in this article.

This monograph explores how corporate, political, and public health concerns shaped the Nixon administration’s public service advertising campaign against drug abuse. Between 1970 and 1973, the Nixon administration worked with the nonprofit Advertising Council to orchestrate a national, “one-voice” mass media campaign to change Americans’ attitudes toward the use of drugs. Papers preserved in the archives of the Advertising Council and by Nixon administration officials expose behind-the-scenes conflicts over the government’s drug-abuse message among the White House, federal agency staff, and private partners in the campaign, including drug companies and the advertising and broadcasting industries. Controversies included whether to include alcohol, marijuana, legally marketed prescription drugs such as amphetamines, and dangerous retail drugs such as headache medicines and caffeine, and whether the campaign should promote safe drug use or only discourage “abuse.” Archival records reveal the president’s power to set the government’s message, despite bureaucratic and expert resistance. However, government control over the propaganda campaign was limited by reliance on the Ad Council and the voluntary participation of networks and broadcasters to distribute public service announcements (PSAs). Through the Ad Council’s process of reviewing and obtaining broadcast network clearances for individual PSAs, advertisements that disparaged alcohol and other legally advertised products were weeded from the national campaign. Ultimately, the White House’s vision of a mass media offensive against drug abuse in all its forms was implemented primarily as a campaign against the use of illegal drugs, particularly by youth. Although successful with broadcasters, the campaign was terminated in 1973 amid concerns it was actually stimulating illegal drug use.

Background: Currently, syphilis and gonorrhoea among women is a topic great concernin Bangladesh. To date, little is known in the existing literature regarding its prevalence, and the current level of syphilis and gonorrhoea awareness among women with regard to prevention is inadequate. This research aims to identify factors associated with awareness of syphilis and gonorrhoea among women in Bangladesh. Methods: Data were collected from women by the Bangladesh Demographic and Health Survey (BDHS) 2011 as a cross-sectional study. The seven divisions surveyed were Dhaka, Rajshahi, Rangpur, Chittagong, Barisal, Khulna and Sylhet. The number of women in the seven divisions totalled 17,842. The chi-squared test and a logistic regression model were used to determine the social-demographic factors associated with awareness about syphilis and gonorrhoea among women in Bangladesh. Results: The rate of awareness about syphilis and gonorrhoea among women in Bangladesh was 13.3% and 15.7%, respectively. The chi-squared test and logistic analysis demonstrated that there is a significant association between the awareness of syphilis and gonorrhoea with the respondents’ age, location of the respondents’ house, educational level of the respondent, socioeconomic status, geographic region, and respondents that listened to the radio and watched TV. Conclusions: There is an essential need to expand the learning and teaching program in Bangladesh regarding syphilis and gonorrhoea, mainly among younger women (<25 years) in all topographical and rural areas. Advertising drives and mass broadcasting programs can be used to increase knowledge within societies, particularly among women. In addition, the low awareness of syphilis and gonorrhoea indicates that prevention interventions are required among women.

In Malaysia, the development of information and communication technology (ICT) has created an impact on children’s book in the publishing world. Subsequent to this development, local book publishers were challenged to produce reading material in interactive digital form for children. Recognizing the importance of ICT and the benefit brought to the society, the government has implemented both the National Creative Industry Policy (DIKN) and the Malaysian Education Development Plan (2013-2025). Under this policy, players in the broadcasting and publishing industry in Malaysia were encouraged to develop the country's creative industry in order to raise the Gross Domestic Product (GDP). However, how prepared are players in the bookkeeping industry to produce interactive digital books for children? This is because the number of publications until 2017 is still small. This article will analyze the publishing status of children's digital books produced by the local publishers. Additionally, this article aims to investigate the readiness of publishers to publish interactive digital books for children in Malaysia. The method used in this study is through the analysis of children’s book titles in digital format from the website. In addition, the study also interviewed the management of the publishing house. Results showed Malaysian book publishers sought to bring the organization's direction towards the publication of interactive digital books. However, a few were found to be reluctant to change. In conclusion, Malaysian publishers will do well with the support of all parties in order to strive for the publication of children's interactive digital books via the online platform.

This paper, and the following six papers, were presented during the NAV 98 Conference held at Church House, Westminster, London on 9th and 10th December 1998. A full listing of the Conference, and how to obtain a copy of the proceedings, is shown on Page 300.The existing Loran-C and Chayka infrastructure can, with some minor changes, become a very powerful augmentation system for GNSS (GPS, GLONASS and the future Galileo). Delft University initially proposed the Eurofix concept in 1989. Although the necessary modification to the LF navigation systems are minimal, the GNSS user may get significant benefits from the Eurofix signals in terms of accuracy, integrity and availability. The reason is the high signal structure, signal propagation, and the operations dissimilarity of both systems. The broadcast correction and integrity data improves GNSS accuracy down to the metre level. In this way, the measured Loran-C and Chayka ranges are continuously updated. Thus, in the case of GNSS signal interruptions, highly calibrated Loran-C/Chayka may take over the navigation function. Tests carried out in Europe at the Loran-C station at Sylt (Germany) drew large international attention, leading to further tests in the USA by the US Coast Guard in 1998. Recently, a Dutch–Russian consortium implemented Eurofix on the Chayka transmitter at Bryansk (Russia) which is now successfully broadcasting DGPS as well as DGLONASS correction data. This paper highlights some on-air Eurofix DGPS performance experiments carried out in Europe and the USA. With all the European Loran-C and Chayka transmitters modified, Eurofix can be used all over the European continent. As multiple stations can normally be received simultaneously, the user may locally apply networked DGNSS, which may reduce spatial decorrelation effects significantly. Post- processed results of this Regional Area Augmentation System are presented.

<p><span><strong><em>ABSTRACT</em></strong><br /><span><em>This study describes the problem about the strategy of hard news program conducted by </em><span><em>Kompas TV. The object of this research is the hard news program on Kompas TV which is </em><span><em>examined by using qualitative descriptive approach. The sampling technique used in this </em><span><em>research is purposive sampling. Methods of data collection using participative observation, </em><span><em>interviews, and literature study. The results of the study show that the strategy undertaken </em><span><em>by producers and programming team in Kompas TV includes strategy in program planning</em><br /><span><em>consisting of program product arrangement, and program promotion. Strategy in self </em><span><em>production (in house production) and program purchase through three systems. The strategy </em><span><em>on program execution involves broadcasting the program according to the broadcast pattern </em><span><em>and in accordance with the target audience. In addition, the program supervision strategy is </em><span><em>conducted through internal control quality by the producer and programming team that refers</em><br /><span><em>to Broadcasting Behavior Guidelines and Broadcast Program Standards (P3SPS) and </em><span><em>external supervision by Indonesian Broadcasting Commission (KPI), as well as strategies </em><span><em>that are compiled through daily and weekly evaluation.</em><br /><span><strong><em>Keywords: </em></strong><span>Strategy <span><em>program, news program, hard news, Kompas TV</em></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><em></em><span><strong>ABSTRAK</strong><br /><span>Penelitian ini mendiskripsikan permasalahan tentang strategi program <span><em>hard news </em><span>yang <span>dilakukan oleh Kompas TV. Objek penelitian ini adalah program <span><em>hard news </em><span>pada Kompas <span>TV yang diteliti dengan menggunakan pendekatan deskriptif kualitatif. Teknik pengambilan <span>sampel yang digunakan dalam penelitian ini yaitu sampling bertujuan (<span><em>Purposive Sampling</em><span>). <span>Metode pengumpulan data menggunakan observasi partisipatif, wawancara, dan studi <span>pustaka. Hasil dari penelitian menunjukkan strategi yang dilakukan oleh produser dan tim<br /><span><em>programming </em><span>di Kompas TV meliputi strategi dalam perencanaan program yang terdiri dari <span>penyusunan produk program, dan promosi program. Strategi dalam produksi sendiri <span><em>(in </em><span><em>house production) </em><span>dan pembelian program melalui tiga sistem<span><em>. </em><span>Strategi pada eksekusi<br /><span>program meliputi penayangan program sesuai pola siar dan sesuai dengan target penonton. <span>Selain itu strategi pengawasan program dilakukan melalui <span><em>quality control </em><span>yang secara <span>internal oleh produser dan tim <span><em>programming </em><span>yang mengacu pada Pedoman Perilaku<br /><span>Penyiaran dan Standar Program Siaran (P3SPS) dan pengawasan secara eksternal oleh <span>Komisi Penyiaran Indonesia (KPI), serta strategi yang disusun melalui evaluasi secara <span>harian dan mingguan.<br /><span><strong>Kata Kunci</strong><span><strong><em>: </em></strong><span>Strategi program, program berita, <span><em>hard news, </em><span>Kompas TV</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br /><span><span><span><span><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p>

On April 21—23, 2021, the Russian State Library (RSL) hosted the International scientific and practical conference “Rumyantsev Readings”, which is one of the largest annual library events. The conference traditionally raises issues of preserving and studying the world cultural heritage, promotes intercultural interaction. In 2021, it covered a wide range of issues of theory and practice of library science, bibliography science, and bibliology. The participants are specialists of libraries of all levels, from federal to municipal, and various departmental subordination, museums, archives, higher educational institutions and research institutes from 19 regions of Russia, as well as from the Republic of Belarus, the Republic of Kazakhstan, the Kyrgyz Republic, the Republic of Lithuania and the Republic of Uzbekistan. Broadcasting of the meetings, as well as holding a number of sections and round tables both in face-to-face and zoom-conference format, significantly increased the audience coverage. The Rumyantsev Readings attracted the highest number of remote participants (2,427 connections), that determined the relevance of the conference in modern conditions. Three hundred and one participants attended the conference personally.The rich program included a plenary session, 13 round tables, seminars, and sections. The following sections were organised at the Rumyantsev Readings: “Library in the modern world: accessibility in the period of restrictions”; “Information and bibliographic activity: theory and practice”; “Collectors, researchers, curators. Libraries and museums in the context of history”; “Art Publications in the collections of libraries. Creation, existence, study”; “Specialized collections (printed music and maps) in the library holdings”; “Manuscript sources in the collections of libraries”; “Rare books and book monuments”; “Theory and practice of library science”; “Library classification systems”. As part of the pre-session meeting of the 32nd Section on Library Management and Marketing of the Russian Library Association, there was a round table “Social networking activity of libraries: how to record and report (methodological approaches and solutions)”. There were also the following events: a round table a “The Register of book monuments: government database of recording and registration and scientific research resource”, an expert session “Actual problems of formation of digital competencies of learners in the library and information sphere” and a scientific and practical seminar “Actual heritage” devoted to the 150th birth anniversary of L.B. Khavkina. The publishing house of the Russian State Library “Pashkov Dom” has released the conference proceedings.

The architecture of houses of parliament and of legislative chambers in countries around the world is analysed for its relationship to political culture. It is argued that parliamentary buildings and spaces (1) preserve cultural values of the polity over time; (2) articulate contemporaneous political attitudes and values; and (3) contribute to the formation of political culture. Preservation is illustrated by how parliament buildings occupy sacred sites, symbolize the state and assure the continuity of legislative traditions. Articulation is exemplified by reflecting the relative importance of the two legislative houses and making expressive statements about the role of parties, executives and individual legislators. Formation can be affected by the physical dimensions of chambers, the arrangement of seats, aisles and lecterns, and spatial relationships between houses and the parliament versus the executive. It is concluded that the advent of television broadcasting of parliamentary sessions may make these architectural features even more important in perpetuating, manifesting and shaping political culture.

ABSTRACTThe Studio di Fonologia Musicale of Milan, Italy's first electronic music studio, opened in 1955. Housed in the national broadcasting (RAI) studios in Milan, the studio was founded by two celebrated Italian composers: Luciano Berio and Bruno Maderna. The institution is often remembered nowadays for being the first electronic music studio to focus its activity on the human voice. As I argue, this focus was not only of an aesthetic nature, but rather reflected long-standing political and intellectual conceptions of voice, speech and public space that were rooted in Italy's early days as a republic, and in mid-twentieth-century Milan as the flagship city for this newly achieved political modernity.

In this research, the color system was analyzed according to the International Lighting Commission (CIE) standard by studying the theoretical aspect of the general color system according to the latest communication theories of the visual image supported by mathematical equations and illustrations supporting the relevant hypotheses and then a comparison of evolution. There is an enormous use in color spaces and systems according to their own use, where the use of colors has become in various areas including television systems; computer systems; industry and product colors; printing of all kinds of black and white and color; paint colors for buildings, houses, and cities; and many other color-related uses. The development of color spaces and systems from 1931 to the present day has expanded a lot, and this led to the emergence of new areas of color systems characterized by accuracy and beauty and became the color of the subcolors according to the desire of the customer and the quality of use. The development of color systems has an impact on visual communication such as television broadcasting systems, medical image processing, and video signal processing, as well as in the field of computer such as graphic equipment and printing.

On October 22—23, 2019, the Russian State Library hosted the Annual Meeting of the Heads of Federal and Central Regional Libraries of Russia. The Forum, focused on the analysis of the current state of the library sector and the development of priority areas for its further development, was held for the 26th time. The Meeting was organized by the Ministry of Culture of the Russian Federation, the Russian State Library and the National Library of Russia. 294 participants from 57 regions of Russia, including employees of the Ministry of Culture and the Ministry of Science and Higher Education of the Russian Federation, the Main Information Computing Centre (GIVC) of the Ministry of Culture of the Russian Federation, regional authorities, heads and specialists of libraries of various levels, universities, publishing houses and corporations attended the Meeting. The broadcasting of the meetings on the website of the Russian Association of Electronic Libraries significantly expanded the number of participants — there were recorded 609 connections.The main theme of the 2019 Meeting is “The National Project “Culture” as the New Stage of Development of Libraries”. The Meeting considered the issues of formation of the Concept of librarianship development in the Russian Federation, the results and prospects of creation of model municipal libraries within the framework of the Federal project “Cultural Environment”, the development of the National Electronic Library (NEL), the formation of the register of book monuments, including the issues of their digitization and inclusion in the NEL in the framework of the Federal project “Digital Culture”, etc.There were announced the results of two competitions: The Third All-Russian Competition of Library Innovations and the Sixth All-Russian Competition “Library Analytics 2019”. The Meeting included sessions of the jury of the All-Russian Competition “Librarian 2019” and the Board of the Russian Library Association. There were organized two Round tables: “The new mission of libraries — new competences of staff: How the system of professional education of library-information workers should change in the new reality” and “Subject fields statistics (6-NC Form) and Indicators of the National project “Culture””. The outcome document of the Meeting reflects the results of discussions.

<span>This paper examines and compares the appropriateness of broadcasting and narrowcasting to delivering educational programs for adult learners. It describes some recent developments in Australia and gives a number of examples of how specific groups of students can be targeted by narrowcasting.</span><p>It examines the ability of television to be used in a live, interactive capacity using as a major example North Island College and the Knowledge Network in British Columbia, Canada and discusses the recent report of The House of Representatives Standing Committee on Employment, Education and Training, An Apple for the Teacher? Choice and technology in learning and comments upon a number of recommendations that the Committee made about education and television.</p>

Abstract To examine whether mass media and social media relate to political knowledge, the study draws upon an original survey of adults from 11 countries, the 2014 CESifo DICE Report on public service broadcasting, and the 2015 Press Freedom Index by Freedom House. Findings reveal that news use via television, newspapers, online news sites, and social media is positively associated with political knowledge. Furthermore, press freedom and strong public broadcasting strengthen the association between news use (via both mass and social media) and political knowledge. The findings suggest that the media system plays a crucial role in creating a political learning environment even in this social media age.

On August 31, 1994, the Provisional IRA (PIRA) declared a cessation of military operations. For the past thirty years, the conflict in Northern Ireland has been raging almost without pause.1 British security forces have attempted to control the violence by establishing road blocks, conducting house searches, altering the judicial system to allow conviction on informant testimony, instituting internment without trial for paramilitary suspects, garrisoning over thirty thousand British soldiers in Northern Ireland, instituting broadcasting bans of Sinn Féin, and conducting intensive interrogation of suspects. Despite the best attempts of the British government over the past few decades to thwart PIRA, the conflict persisted. To sustain a low-intensity war under these conditions requires more than guns and ammunition; it requires the support of a political community, extensive organization of economic resources, and cultural values that give meaning to the conflict.

Media and politics have a symbiotic relationship. Politicians need media to get the oxygen of publicity and the exposure they need to woo electorate and mould public opinion. With many a media house turning indifferent to their needs an ever increasing number of political parties and leaders are setting up their own small and big media shops to propagate their views, cover up their shortcomings, or to settle scores with their rivals. The Entertainment and Media (E&M) industry broadly consists of four segments i.e. Television, Print, Radio and other media platforms (such as Internets, Film, Out of Home Advertising (OOH), Music, Gaming and Internet Advertising).In today‘s technologically fast moving environment, media plays a significant role. Its inherent ability to reach the masses implies that it has a crucial role in building public opinion and creating awareness among the masses. It also plays a very important role in delineating the economic, political, social and cultural characteristics of a country. Thus, media pluralism is a cornerstone of democracy and this fact should be reflected in the plurality of an independent and autonomous media and in diversity of media content. Print, television, radio and new media such as Internet are the most popular media. The Indian media landscape is witnessing several changes that may have far reaching consequences. Major players are looking for expansion of their business interests in various segments of the print and broadcasting sectors. Many of the Indian media houses are either owned or controlled by political leaders or parties. This paper is an attempt to highlight and understand the political ownership of media in India, its implications for the readers. viewers, listeners and other media users as also the society and polity at large.

Pomacea spp. or apple snails are one of the main rice pests in Malaysia. It is unfortunate that farmers prefer to use chemical molluscicides especially the illegal mollusicicides from other countries to control this pest. The use of chemicals brings negative effect to farmer's health and environment. One of the suggested measures to avoid the excessive use of chemical molluscicides is by physical control through handpicking. However, manual handpicking is backbreaking and not very effective. The use of attractant baits can ease the hard work of manual handpicking or enabling spot spraying of molluscicides which minimizes the overuse of application. The effectiveness of several materials as apple snail attractant baits was studied on screen house scale and field scale. Jackfruit and papayas are highly recommended to be used as attractant baits as well as cassava leaves and water spinach. Most of the snails were found attached to the materials either to feed or for shelter. All these type of attractant baits can be used to gather and collect apple snails in rice fields especially before the broadcasting stage of the rice seeds. The use of attractant baits also is seen as an important component of integrated management of the apple snail.

Electromagnetic Field (EMF) radiation is a wave of the electromagnetic field. The radiation from mobile phones, cordless phones, mobile antennas, and many other devices pose health threats, especially when they are close to the body for extended period. In humans and animals, bioelectrical signals regulate many processes. Therefore, EMF radiations can interfere with the natural way of how our body works; it affects our body at cell level. Moreover, the impact of EMF radiation on our eco-system is serious due to growing number of broadcasting antennas, mobile communications base stations etc. World Health Organization (WHO) says the EMF radiations produced by mobile phone is classified by the International Agency for Research on Cancer (IARC) as possible carcinogen to humans. The aim of this research paper is to survey on mobile phone usage and EMF radiation awareness. Our results from analyzing the survey data shows that 86.2% people keep their mobile phones near their ears while receiving calls, 77.7% people keep mobile phones in their bedroom before going to bed. Based on the results and considering the major impact of EMF radiations, we propose innovative house design called Radiation Reduced Dwelling (RRD) by which the EMF radiation exposure can be minimized at home. Moreover, we propose an Environment Friendly Link (EFL) by which mobile base stations case be avoided in forests and hilly areas.

The Australian Broadcasting Corporation is in the midst of significant change as a result of budgetary pressures from the government and the challenge of the oncoming digital age. Lack of funding and dwindling resources have forced the ABC to shut down many of its regional services and to outsource many of its formerly in-house productions. However, there do appear some ways in which the ABC might meet, as the rhetoric goes, "the challenge of the digital era". Traditionally, the role of the ABC has included the provision of comprehensive coverage of, and service for, the whole of Australia, including regions that would be economically unfeasible for commercial operations to penetrate. Recently, however, budgetary cuts have eroded this role substantially, with the axing of state based current affairs and the cessation of Radio Triple J's planned expansion into regional Australia. The Internet has provided a potential, if problematic, stop-gap solution, through the launch of the ABC's online news service. Internet based news solutions have few of the production-end overheads of the television service. There are no expensive studio set ups, no presenters, no cameras, just text that can be quickly keyed into the system and formatted for instantaneous, non-linear delivery. I should note at this point that currently, this "delivery" is in the passive sense of the word: users must search out the content and download it onto their machines. In Internet jargon, this is called "pull" technology. New technologies being developed promise to "push" the content automatically and directly to a user's computer. The ABC's implementation, taking advantage of all these benefits, is text-based, comprehensive, updated constantly, and easy to use. Currently, however, delivery of Internet-based content is tied to the existing phone network, and with most Internet service providers based in state capitals, regional Internet access is hindered by the cost of long-distance calls. The potential exists, nonetheless, for the ABC to achieve truly national coverage by methods that bypass existing structures. The planned shift by Australian TV networks to digital transmission has the potential to enable new possibilities for public broadcasting. A digital infrastructure could allow information and programming to be cheaply produced at the local level, then recompiled centrally and redistributed across the country. The convergence of computer and television will enable a greater variety of content to be sent to the home -- and, possibly, sent back out again in an altered form. Such a transformation of the way we experience television may well alter the concept of public broadcasting beyond recognition, if not render it obsolete. However, these possibilities, although reasonable given projected advances in technology, so far largely remain fantasy due to the debate over regulation between the Federal government and the commercial networks. It remains to be seen whether the ABC will be able to take advantage of the new opportunities. Citation reference for this article MLA style: Nick Caldwell. "Looking to a Digital Future: Thoughts on the New ABC." M/C Journal 1.1 (1998). [your date of access] <http://www.media-culture.org.au/9807/abc.php>. Chicago style: Nick Caldwell, "Looking to a Digital Future: Thoughts on the New ABC," M/C Journal 1, no. 1 (1998), <http://www.nedia-culture.org.au/9807/abc.php> ([your date of access]). APA style: Nick Caldwell. (1998) Looking to a digital future: thoughts on the new ABC. M/C Journal 1(1). <http://www.media-culture.org.au/9807/abc.php> ([your date of access]).

Diaspora This article looks at diaspora through the transformations of an established public service broadcaster, the BBC World Service, by considering some of the findings of the AHRC-funded Tuning In: Contact Zones at the BBC World Service, which is part of the Diasporas, Migration and Identities program. Tuning In has six themes, each of which focuses upon the role of the BBC WS: The Politics of Translation, Diasporic Nationhood, Religious Transnationalism, Sport across Diasporas, Migrating Music and Drama for Development. The World Service, which was until 2011 funded by the Foreign Office, was set up to cater for the British diaspora and had the specific remit of transmitting ideas about Britishness to its audiences overseas. Tuning In demonstrates interrelationships between the global and the local in the diasporic contact zone of the BBC World Service, which has provided a mediated home for the worldwide British diaspora since its inception in 1932. The local and the global have merged, elided, and separated at different times and in different spaces in the changing story of the BBC (Briggs). The BBC WS is both local and global with activities that present Britishness both at home and abroad. The service has, however, come a long way since its early days as the Empire Service. Audiences for the World Service’s 31 foreign language services, radio, television, and Internet facilities include substantive non-British/English-speaking constituencies, rendering it a contact zone for the exploration of ideas and political opportunities on a truly transnational scale. This heterogeneous body of exilic, refugee intellectuals, writers, and artists now operates alongside an ongoing expression of Britishness in all its diverse reconfiguration. This includes the residual voice of empire and its patriarchal paternalism, the embrace of more recent expressions of neoliberalism as well as traditional values of impartiality and objectivism and, in the case of the arts, elements of bohemianism and creative innovation. The World Service might have begun as a communication system for the British ex-pat diaspora, but its role has changed along with the changing relationship between Britain and its colonial past. In the terrain of sport, for example, cricket, the “game of empire,” has shifted from Britain to the Indian subcontinent (Guha) with the rise of “Twenty 20” and the Indian Premier League (IPL); summed up in Ashis Nandy’s claim that “cricket is an Indian game accidentally discovered by the English” (Nandy viii). English county cricket dominated the airways of the World Service well into the latter half of the twentieth century, but the audiences of the service have demanded a response to social and cultural change and the service has responded. Sport can thus be seen to have offered a democratic space in which new diasporic relations can be forged as well as one in which colonial and patriarchal values are maintained. The BBC WS today is part of a network through which non-British diasporic peoples can reconnect with their home countries via the service, as well as an online forum for debate across the globe. In many regions of the world, it continues to be the single most trusted source of information at times of crisis and disaster because of its traditions of impartiality and objectivity, even though (as noted in the article on Al-Jazeera in this special issue) this view is hotly contested. The principles of objectivity and impartiality are central to the BBC WS, which may seem paradoxical since it is funded by the Commonwealth and Foreign office, and its origins lie in empire and colonial discourse. Archive material researched by our project demonstrates the specifically ideological role of what was first called the Empire Service. The language of empire was deployed in this early programming, and there is an explicit expression of an ideological purpose (Hill). For example, at the Imperial Conference in 1930, the service was supported in terms of its political powers of “strengthening ties” between parts of the empire. This view comes from a speech by John Reith, the BBC’s first Director General, which was broadcast when the service opened. In this speech, broadcasting is identified as having come to involve a “connecting and co-ordinating link between the scattered parts of the British Empire” (Reith). Local British values are transmitted across the globe. Through the service, empire and nation are reinstated through the routine broadcasting of cyclical events, the importance of which Scannell and Cardiff describe as follows: Nothing so well illustrates the noiseless manner in which the BBC became perhaps the central agent of national culture as its cyclical role; the cyclical production year in year out, of an orderly, regular progression of festivities, rituals and celebrations—major and minor, civic and sacred—that mark the unfolding of the broadcast year. (278; italics in the original) State occasions and big moments, including those directly concerned with governance and affairs of state, and those which focused upon sport and religion, were a big part in these “noiseless” cycles, and became key elements in the making of Britishness across the globe. The BBC is “noiseless” because the timetable is assumed and taken for granted as not only what is but what should be. However, the BBC WS has been and has had to be responsive to major shifts in global and local—and, indeed, glocal—power geometries that have led to spatial transformations, notably in the reconfiguration of the service in the era of postcolonialism. Some of these massive changes have involved the large-scale movement of people and a concomitant rethinking of diaspora as a concept. Empire, like nation, operates as an “imagined community,” too big to be grasped by individuals (Anderson), as well as a material actuality. The dynamics of identification are rarely linear and there are inconsistencies and disruptions: even when the voice is officially that of empire, the practice of the World Service is much more diverse, nuanced, and dialogical. The BBC WS challenges boundaries through the connectivities of communication and through different ways of belonging and, similarly, through a problematisation of concepts like attachment and detachment; this is most notable in the way in which programming has adapted to new diasporic audiences and in the reworkings of spatiality in the shift from empire to diversity via multiculturalism. There are tensions between diaspora and multiculturalism that are apparent in a discussion of broadcasting and communication networks. Diaspora has been distinguished by mobility and hybridity (Clifford, Hall, Bhaba, Gilroy) and it has been argued that the adjectival use of diasporic offers more opportunity for fluidity and transformation (Clifford). The concept of diaspora, as it has been used to explain the fluidity and mobility of diasporic identifications, can challenge more stabilised, “classic” understandings of diaspora (Chivallon). A hybrid version of diaspora might sit uneasily with a strong sense of belonging and with the idea that the broadcast media offer a multicultural space in which each voice can be heard and a wide range of cultures are present. Tuning In engaged with ways of rethinking the BBC’s relationship to diaspora in the twenty-first century in a number of ways: for example, in the intersection of discursive regimes of representation; in the status of public service broadcasting; vis-à-vis the consequences of diverse diasporic audiences; through the role of cultural intermediaries such as journalists and writers; and via global economic and political materialities (Gillespie, Webb and Baumann). Tuning In thus provided a multi-themed and methodologically diverse exploration of how the BBC WS is itself a series of spaces which are constitutive of the transformation of diasporic identifications. Exploring the part played by the BBC WS in changing and continuing social flows and networks involves, first, reconfiguring what is understood by transnationalism, diaspora, and postcolonial relationalities: in particular, attending to how these transform as well as sometimes reinstate colonial and patriarchal discourses and practices, thus bringing together different dimensions of the local and the global. Tuning In ranges across different fields, embracing cultural, social, and political areas of experience as represented in broadcasting coverage. These fields illustrate the educative role of the BBC and the World Service that is also linked to its particular version of impartiality; just as The Archers was set up to provide information and guidance through a narrative of everyday life to rural communities and farmers after the Second World War, so the Afghan version plays an “edutainment” role (Skuse) where entertainment also serves an educational, public service information role. Indeed, the use of soap opera genre such as The Archers as a vehicle for humanitarian and health information has been very successful over the past decade, with the “edutainment” genre becoming a feature of the World Service’s broadcasting in places such as Rwanda, Somalia, Nigeria, India, Nepal, Burma, Afghanistan, and Cambodia. In a genre that has been promoted by the World Service Trust, the charitable arm of the BBC WS uses drama formats to build transnational production relationships with media professionals and to strengthen creative capacities to undertake behaviour change through communication work. Such programming, which is in the tradition of the BBC WS, draws upon the service’s expertise and exhibits both an ideological commitment to progressive social intervention and a paternalist approach drawing upon colonialist legacies. Nowadays, however, the BBC WS can be considered a diasporic contact zone, providing sites of transnational intra-diasporic contact as well as cross-cultural encounters, spaces for cross-diasporic creativity and representation, and a forum for cross-cultural dialogue and potentially cosmopolitan translations (Pratt, Clifford). These activities are, however, still marked by historically forged asymmetric power relations, notably of colonialism, imperialism, and globalisation, as well as still being dominated by hegemonic masculinity in many parts of the service, which thus represent sites of contestation, conflict, and transgression. Conversely, diasporic identities are themselves co-shaped by media representations (Sreberny). The diasporic contact zone is a relational space in which diasporic identities are made and remade and contested. Tuning In employed a diverse range of methods to analyse the part played by the BBC WS in changing and continuing social and cultural flows, networks, and reconfigurations of transnationalisms and diaspora, as well as reinstating colonial, patriarchal practices. The research deconstructed some assumptions and conditions of class-based elitism, colonialism, and patriarchy through a range of strategies. Texts are, of course, central to this work, with the BBC Archives at Caversham (near Reading) representing the starting point for many researchers. The archive is a rich source of material for researchers which carries a vast range of data including fragile memos written on scraps of paper: a very local source of global communications. Other textual material occupies the less locatable cyberspace, for example in the case of Have Your Say exchanges on the Web. People also featured in the project, through the media, in cyberspace, and physical encounters, all of which demonstrate the diverse modes of connection that have been established. Researchers worked with the BBC WS in a variety of ways, not only through interviews and ethnographic approaches, such as participant observation and witness seminars, but also through exchanges between the service, its practitioners, and the researchers (for example, through broadcasts where the project provided the content and the ideas and researchers have been part of programs that have gone out on the BBC WS (Goldblatt, Webb), bringing together people who work for the BBC and Tuning In researchers). On this point, it should be remembered that Bush House is, itself, a diasporic space which, from its geographical location in the Strand in London, has brought together diasporic people from around the globe to establish international communication networks, and has thus become the focus and locus of some of our research. What we have understood by the term “diasporic space” in this context includes both the materialities of architecture and cyberspace which is the site of digital diasporas (Anderssen) and, indeed, the virtual exchanges featured on “Have Your Say,” the online feedback site (Tuning In). Living the Glocal The BBC WS offers a mode of communication and a series of networks that are spatially located both in the UK, through the material presence of Bush House, and abroad, through the diasporic communities constituting contemporary audiences. The service may have been set up to provide news and entertainment for the British diaspora abroad, but the transformation of the UK into a multi-ethnic society “at home,” alongside its commitment to, and the servicing of, no less than 32 countries abroad, demonstrates a new mission and a new balance of power. Different diasporic communities, such as multi-ethnic Londoners, and local and British Muslims in the north of England, demonstrate the dynamics and ambivalences of what is meant by “diaspora” today. For example, the BBC and the WS play an ambiguous role in the lives of UK Muslim communities with Pakistani connections, where consumers of the international news can feel that the BBC is complicit in the conflation of Muslims with terrorists. Engaging Diaspora Audiences demonstrated the diversity of audience reception in a climate of marginalisation, often bordering on moral panic, and showed how diasporic audiences often use Al-Jazeera or Pakistani and Urdu channels, which are seen to take up more sympathetic political positions. It seems, however, that more egalitarian conversations are becoming possible through the channels of the WS. The participation of local people in the BBC WS global project is seen, for example, as in the popular “Witness Seminars” that have both a current focus and one that is projected into the future, as in the case of the “2012 Generation” (that is, the young people who come of age in 2012, the year of the London Olympics). The Witness Seminars demonstrate the recuperation of past political and social events such as “Bangladesh in 1971” (Tuning In), “The Cold War seminar” (Tuning In) and “Diasporic Nationhood” (the cultural movements reiterated and recovered in the “Literary Lives” project (Gillespie, Baumann and Zinik). Indeed, the WS’s current focus on the “2012 Generation,” including an event in which 27 young people (each of whom speaks one of the WS languages) were invited to an open day at Bush House in 2009, vividly illustrates how things have changed. Whereas in 1948 (the last occasion when the Olympic Games were held in London), the world came to London, it is arguable that, in 2012, in contemporary multi-ethnic Britain, the world is already here (Webb). This enterprise has the advantage of giving voice to the present rather than filtering the present through the legacies of colonialism that remain a problem for the Witness Seminars more generally. The democratising possibilities of sport, as well as the restrictions of its globalising elements, are well represented by Tuning In (Woodward). Sport has, of course become more globalised, especially through the development of Internet and satellite technologies (Giulianotti) but it retains powerful local affiliations and identifications. At all levels and in diverse places, there are strong attachments to local and national teams that are constitutive of communities, including diasporic and multi-ethnic communities. Sport is both typical and distinctive of the BBC World Service; something that is part of a wider picture but also an area of experience with a life of its own. Our “Sport across Diasporas” project has thus explored some of the routes the World Service has travelled in its engagement with sport in order to provide some understanding of the legacy of empire and patriarchy, as well as engaging with the multiplicities of change in the reconstruction of Britishness. Here, it is important to recognise that what began as “BBC Sport” evolved into “World Service Sport.” Coverage of the world’s biggest sporting events was established through the 1930s to the 1960s in the development of the BBC WS. However, it is not only the global dimensions of sporting events that have been assumed; so too are national identifications. There is no question that the superiority of British/English sport is naturalised through its dominance of the BBC WS airways, but the possibilities of reinterpretation and re-accommodation have also been made possible. There has, indeed, been a changing place of sport in the BBC WS, which can only be understood with reference to wider changes in the relationship between broadcasting and sport, and demonstrates the powerful synchronies between social, political, technological, economic, and cultural factors, notably those that make up the media–sport–commerce nexus that drives so much of the trajectory of contemporary sport. Diasporic audiences shape the schedule as much as what is broadcast. There is no single voice of the BBC in sport. The BBC archive demonstrates a variety of narratives through the development and transformation of the World Service’s sports broadcasting. There are, however, silences: notably those involving women. Sport is still a patriarchal field. However, the imperial genealogies of sport are inextricably entwined with the social, political, and cultural changes taking place in the wider world. There is no detectable linear narrative but rather a series of tensions and contradictions that are reflected and reconfigured in the texts in which deliberations are made. In sport broadcasting, the relationship of the BBC WS with its listeners is, in many instances, genuinely dialogic: for example, through “Have Your Say” websites and internet forums, and some of the actors in these dialogic exchanges are the broadcasters themselves. The history of the BBC and the World Service is one which manifests a degree of autonomy and some spontaneity on the part of journalists and broadcasters. For example, in the case of the BBC WS African sports program, Fast Track (2009), many of the broadcasters interviewed report being able to cover material not technically within their brief; news journalists are able to engage with sporting events and sports journalists have covered social and political news (Woodward). Sometimes this is a matter of taking the initiative or simply of being in the right place at the right time, although this affords an agency to journalists which is increasingly unlikely in the twenty-first century. The Politics of Translation: Words and Music The World Service has played a key role as a cultural broker in the political arena through what could be construed as “educational broadcasting” via the wider terrain of the arts: for example, literature, drama, poetry, and music. Over the years, Bush House has been a home-from-home for poets: internationalists, translators from classical and modern languages, and bohemians; a constituency that, for all its cosmopolitanism, was predominantly white and male in the early days. For example, in the 1930s and 1940s, Louis MacNeice was commissioning editor and surrounded by a friendship network of salaried poets, such as W. H. Auden, Dylan Thomas, C. Day Lewis, and Stephen Spender, who wrote and performed their work for the WS. The foreign language departments of the BBC WS, meanwhile, hired émigrés and exiles from their countries’ educated elites to do similar work. The biannual, book-format journal Modern Poetry in Translation (MPT), which was founded in 1965 by Daniel Weissbort and Ted Hughes, included a dedication in Weissbort’s final issue (MPT 22, 2003) to “Poets at Bush House.” This volume amounts to a celebration of the BBC WS and its creative culture, which extended beyond the confines of broadcasting spaces. The reminiscences in “Poets at Bush House” suggest an institutional culture of informal connections and a fluidity of local exchanges that is resonant of the fluidity of the flows and networks of diaspora (Cheesman). Music, too, has distinctive characteristics that mark out this terrain on the broadcast schedule and in the culture of the BBC WS. Music is differentiated from language-centred genres, making it a particularly powerful medium of cross-cultural exchange. Music is portable and yet is marked by a cultural rootedness that may impede translation and interpretation. Music also carries ambiguities as a marker of status across borders, and it combines aesthetic intensity and diffuseness. The Migrating Music project demonstrated BBC WS mediation of music and identity flows (Toynbee). In the production and scheduling notes, issues of migration and diaspora are often addressed directly in the programming of music, while the movement of peoples is a leitmotif in all programs in which music is played and discussed. Music genres are mobile, diasporic, and can be constitutive of Paul Gilroy’s “Black Atlantic” (Gilroy), which foregrounds the itinerary of West African music to the Caribbean via the Middle Passage, cross-fertilising with European traditions in the Americas to produce blues and other hybrid forms, and the journey of these forms to Europe. The Migrating Music project focused upon the role of the BBC WS as narrator of the Black Atlantic story and of South Asian cross-over music, from bhangra to filmi, which can be situated among the South Asian diaspora in east and south Africa as well as the Caribbean where they now interact with reggae, calypso, Rapso, and Popso. The transversal flows of music and lyrics encompasses the lived experience of the different diasporas that are accommodated in the BBC WS schedules: for example, they keep alive the connection between the Irish “at home” and in the diaspora through programs featuring traditional music, further demonstrating the interconnections between local and global attachments as well as points of disconnection and contradiction. Textual analysis—including discourse analysis of presenters’ speech, program trailers and dialogue and the BBC’s own construction of “world music”—has revealed that the BBC WS itself performs a constitutive role in keeping alive these traditions. Music, too, has a range of emotional affects which are manifest in the semiotic analyses that have been conducted of recordings and performances. Further, the creative personnel who are involved in music programming, including musicians, play their own role in this ongoing process of musical migration. Once again, the networks of people involved as practitioners become central to the processes and systems through which diasporic audiences are re-produced and engaged. Conclusion The BBC WS can claim to be a global and local cultural intermediary not only because the service was set up to engage with the British diaspora in an international context but because the service, today, is demonstrably a voice that is continually negotiating multi-ethnic audiences both in the UK and across the world. At best, the World Service is a dynamic facilitator of conversations within and across diasporas: ideas are relocated, translated, and travel in different directions. The “local” of a British broadcasting service, established to promote British values across the globe, has been transformed, both through its engagements with an increasingly diverse set of diasporic audiences and through the transformations in how diasporas themselves self-define and operate. On the BBC WS, demographic, social, and cultural changes mean that the global is now to be found in the local of the UK and any simplistic separation of local and global is no longer tenable. The educative role once adopted by the BBC, and then the World Service, nevertheless still persists in other contexts (“from Ambridge to Afghanistan”), and clearly the WS still treads a dangerous path between the paternalism and patriarchy of its colonial past and its responsiveness to change. In spite of competition from television, satellite, and Internet technologies which challenge the BBC’s former hegemony, the BBC World Service continues to be a dynamic space for (re)creating and (re)instating diasporic audiences: audiences, texts, and broadcasters intersect with social, economic, political, and cultural forces. The monologic “voice of empire” has been countered and translated into the language of diversity and while, at times, the relationship between continuity and change may be seen to exist in awkward tension, it is clear that the Corporation is adapting to the needs of its twenty-first century audience. ReferencesAnderson, Benedict. Imagined Communities, Reflections of the Origin and Spread of Nationalism. London: Verso, 1983. Anderssen, Matilda. “Digital Diasporas.” 2010. 30 Nov. 2010 ‹http://www8.open.ac.uk/researchprojects/diasporas/cross-research/digital-diasporas›. Bhabha, Homi. The Location of Culture. London: Routledge, 1994. Briggs, Asa. A History of Broadcasting in the United Kingdom, Volume II: The Golden Age of Wireless. Oxford: Oxford UP, 1995. Cheesman, Tom. “Poetries On and Off Air.” 2010. 30 Nov. 2010 ‹http://www8.open.ac.uk/researchprojects/diasporas/cross-research/bush-house-cultures›. Chivallon, Christine. “Beyond Gilroy’s Black Atlantic: The Experience of the African Diaspora.” Diaspora 11.3 (2002): 359–82. Clifford, James. Routes: Travel and Translation in the Late Twentieth Century. Cambridge: Cambridge UP, 1997. Fast Track. BBC, 2009. 30 Nov. 2010 ‹http://www.bbc.co.uk/worldservice/sport/2009/03/000000_fast_track.shtml›. Gillespie, Marie, Alban Webb, and Gerd Baumann (eds.). “The BBC World Service 1932–2007: Broadcasting Britishness Abroad.” Special Issue. The Historical Journal of Film, Radio and Television 28.4 (Oct. 2008). Gillespie, Marie, Gerd Baumann, and Zinovy Zinik. “Poets at Bush House.” 2010. 30 Nov. 2010 ‹http://www8.open.ac.uk/researchprojects/diasporas/about›. Gilroy, Paul. Black Atlantic. MA: Harvard UP, 1993. Giulianotti, Richard. Sport: A Critical Sociology. Cambridge: Polity, 2005. Goldblatt, David. “The Cricket Revolution.” 2009. 30 Nov. 2010 ‹http://www.bbc.co.uk/programmes/p0036ww9›. Guha, Ramachandra. A Corner of a Foreign Field: The Indian History of an English Game. London: Picador, 2002. Hall, Stuart. “Cultural Identity and Diaspora.” Identity: Community, Culture, Difference. Ed. Jonathan Rutherford. London: Lawrence and Wishart, 1990, 223–37. Hill, Andrew. “The BBC Empire Service: The Voice, the Discourse of the Master and Ventriloquism.” South Asian Diaspora 2.1 (2010): 25–38. Hollis, Robert, Norma Rinsler, and Daniel Weissbort. “Poets at Bush House: The BBC World Service.” Modern Poetry in Translation 22 (2003). Nandy, Ashis. The Tao of Cricket: On Games of Destiny and the Destiny of Games. New Delhi: Oxford UP, 1989. Pratt, Mary Louise. Imperial Eyes: Travel Writing and Transculturation. London: Routledge, 1992. Reith, John. “Opening of the Empire Service.” In “Empire Service Policy 1932-1933”, E4/6: 19 Dec. 1932. 30 Nov. 2010 ‹http://www.open.ac.uk/socialsciences/diasporas/research.htm›. Scannell, Paddy, and David Cardiff. A Social History of British Broadcasting, 1922-1938. Oxford: Basil Blackwell, 1991. Skuse, Andrew. “Drama for Development.” 2010. 30 Nov. 2010 ‹http://www8.open.ac.uk/researchprojects/diasporas/core-research/drama-for-development›. Sreberny, Annabelle. “The BBC World Service and the Greater Middle East: Comparisons, Contrasts, Conflicts.” Guest ed. Annabelle Sreberny, Marie Gillespie, Gerd Baumann. Middle East Journal of Culture and Communication 3.2 (2010). Toynbee, Jason. “Migrating Music.” 2010. 30 Nov. 2010 ‹http://www8.open.ac.uk/researchprojects/diasporas/core-research/migrating-music›. Tuning In. 30 Nov. 2010 ‹http://www.open.ac.uk/socialsciences/diasporas/index.htm›. Webb, Alban. “Cold War Diplomacy.” 2010. 30 Nov. 2010 ‹http://www8.open.ac.uk/researchprojects/diasporas/projects/cold-war-politics-and-bbc-world-service›. Woodward, Kath. Embodied Sporting Practices. Regulating and Regulatory Bodies. Basingstoke, Palgrave Macmillan, 2009.

Working drawings are produced, when a house is designed, to envisage an imagined building. They are a tangible representation of an object that has no tangible existence. These working drawings act as a manual for constructing the house; they represent that which is to be built. The house comes into being, therefore, via this set of drawings. This is known as documentation. However, these drawings record the house at an ideal moment in time; they capture the house in stasis. They do not represent the future life of the house, the changes and traces the inhabitants make upon a space, nor do they document the path of the person, the arc of their actions, within the space of the house. Other types of documentation of the house allow these elements to be included. Documentation that is produced after-the-event, that interprets ‘the existing’, is absent from discourses on documentation; the realm of post factum documentation is a less examined form of documentation. This paper investigates post factum documentation of the house, and the alternative ways of making, producing and, therefore, thinking about, the house that it offers. This acknowledges the body in the space of architecture, and the inhabitation of space, and as a dynamic process. This then leads to the potential of the‘model of an action’ representing the motion and temporality inherent within the house. Architecture may then be seen as that which encloses the inhabitant. The word ‘document’ refers to a record or evidence of events. It implies a chronological sequence: the document comes after-the-event, that is, it is post factum. Within architecture, however, the use of the word documentation, predominantly, refers to working drawings that are made to ‘get to’ a building, drawings being the dominant representation within architecture. Robin Evans calls this notion, of architecture being brought into existence through drawing, the principle of reversed directionality (Evans 1997, 1989). Although it may be said that these types of drawings document the idea, or document the imagined reality of the building, their main emphasis, and reading, is in getting to something. In this case, the term documentation is used, not due to the documents’ placement within a process, of coming after the subject-object, but in referring to the drawings’ role. Other architectural drawings do exist that are a record of what is seen, but these are not the dominant drawing practice within architecture. Documentation within architecture regards the act of drawing as that process upon which the object is wholly dependent for its coming into existence. Drawing is defined as the pre-eminent methodology for generation of the building; drawings are considered the necessary initial step towards the creation of the 1:1 scale object. During the designing phase, the drawings are primary, setting out an intention. Drawings, therefore, are regarded as having a prescriptive endpoint rather than being part of an open-ended improvisation. Drawings, in getting to a building, draw out something, the act of drawing searches for and uncovers the latent design, drawing it into existence. They are seen as getting to the core of the design. Drawings display a technique of making and are influenced by their medium. Models, in getting to a building, may be described in the same way. The act of modelling, of making manifest two-dimensional sketches into a three-dimensional object, operates similarly in possessing a certain power in assisting the design process to unfurl. Drawing, as recording, alters the object. This act of drawing is used to resolve, and to edit, by excluding and omitting, as much as by including, within its page. Models similarly made after-the-fact are interpretive and consciously aware of their intentions. In encapsulating the subject-object, the model as documentation is equally drawing out meaning. This type of documentation is not neutral, but rather involves interpretation and reflection through representational editing. Working drawings record the house at an ideal moment in time: at the moment the builders leave the site and the owners unlock the front door. These drawings capture the house in stasis. There is often the notion that until the owners of a new house move in, the house has been empty, unlived in. But the life of the house cannot be fixed to any one starting point; rather it has different phases of life from conception to ruin. With working drawings being the dominant representation of the house, they exclude much; both the life of the house before this act of inhabitation, and the life that occurs after it. The transformations that occur at each phase of construction are never shown in a set of working drawings. When a house is built, it separates itself from the space it resides within: the domain of the house is marked off from the rest of the site. The house has a skin of a periphery, that inherently creates an outside and an inside (Kreiser 88). As construction continues, there is a freedom in the structure which closes down; potential becomes prescriptive as choices are made and embodied in material. The undesignedness of the site, that exists before the house is planned, becomes lost once the surveyors’ pegs are in place (Wakely 92). Next, the skeletal frame of open volumes becomes roofed, and then becomes walled, and walking through the frame becomes walking through doorways. One day an interior is created. The interior and exterior of the house are now two different things, and the house has definite edges (Casey 290). At some point, the house becomes lockable, its security assured through this act of sealing. It is this moment that working drawings capture. Photographs comprise the usual documentation of houses once they are built, and yet they show no lived-in-ness, no palimpsest of occupancy. They do not observe the changes and traces the inhabitants make upon a space, nor do they document the path of the person, the arc of their actions, within the space of the house. American architects and artists Elizabeth Diller and Ricardo Scofidio have written of these traces of the everyday that punctuate floor and wall surfaces: the intersecting rings left by coffee glasses on a tabletop, the dust under a bed that becomes its plan analog when the bed is moved, the swing etched into the floor by a sagging door. (Diller & Scofidio 99) It is these marks, these traces, that are omitted from the conventional documentation of a built house. To examine an alternative way of documenting, and to redress these omissions, a redefinition of the house is needed. A space can be delineated by its form, its edges, or it can be defined by the actions that are performed, and the connections between people that occur, within it. To define the house by what it encapsulates, rather than being seen as an object in space, allows a different type of documentation to be employed. By defining a space as that which accommodates actions, rooms may be delineated by the reach of a person, carved out by the actions of a person, as though they are leaving a trace as they move, a windscreen wiper of living, through the repetition of an act. Reverse directional documentation does not directly show the actions that take place within a house; we must infer these from the rooms’ fittings and fixtures, and the names on the plan. In a similar way, Italo Calvino, in Invisible Cities, defines a city by the relationships between its inhabitants, rather than by its buildings: in Ersilia, to establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or grey or black-and-white according to whether they mark a relationship of blood, of trade, authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain … Thus, when travelling in the territory of Ersilia, you come upon the ruins of the abandoned cities without the walls which do not last, without the bones of the dead which the wind rolls away: spiderwebs of intricate relationships seeking a form. (Calvino 62) By defining architecture by that which it encapsulates, form or materiality may be given to the ‘spiderwebs of intricate relationships’. Modelling the actions that are performed in the space of architecture, therefore, models the architecture. This is referred to as a model of an action. In examining the model of an action, the possibilities of post factum documentation of the house may be seen. The Shinkenchiku competition The Plan-Less House (2006), explored these ideas of representing a house without using the conventional plan to do so. A suggested alternative was to map the use of the house by its inhabitants, similar to the idea of the model of an action. The house could be described by a technique of scanning: those areas that came into contact with the body would be mapped. Therefore, the representation of the house is not connected with spatial division, that is, by marking the location of walls, but rather with its use by its inhabitants. The work of Diller and Scofidio and Allan Wexler and others explores this realm. One inquiry they share is the modelling of the body in the space of architecture: to them, the body is inseparable from the conception of space. By looking at their work, and that of others, three different ways of representing this inhabitation of space are seen. These are: to represent the objects involved in a particular action, or patterns of movement, that occurs in the space, in a way that highlights the action; to document the action itself; or to document the result of the action. These can all be defined as the model of an action. The first way, the examination of the body in a space via an action’s objects, is explored by American artist Allan Wexler, who defines architecture as ‘choreography without a choreographer, structuring its inhabitant’s movements’ (Galfetti 22). In his project ‘Crate House’ (1981), Wexler examines the notion of the body in a space via an action’s objects. He divided the house into its basic activities: bedroom, bathroom, kitchen and living room. Each of these is then defined by their artefacts, contained in their own crate on wheels, which is rolled out when needed. At any point in time, the entire house becomes the activity due to its crate: when a room such as the kitchen is needed, that crate is rolled in through one of the door openings. When the occupant is tired, the entire house becomes a bedroom, and when the occupant is hungry, it becomes a kitchen … I view each crate as if it is a diorama in a natural history museum — the pillow, the spoon, the flashlight, the pot, the nail, the salt. We lose sight of everyday things. These things I isolate, making them sculpture: their use being theatre. (Galfetti 42–6) The work of Andrea Zittel explores similar ideas. ‘A–Z Comfort Unit’ (1994), is made up of five segments, the centrepiece being a couch/bed, which is surrounded by four ancillary units on castors. These offer a library, kitchen, home office and vanity unit. The structure allows the lodger never to need to leave the cocoon-like bed, as all desires are an arm’s reach away. The ritual of eating a meal is examined in Wexler’s ‘Scaffold Furniture’ (1988). This project isolates the components of the dining table without the structure of the table. Instead, the chair, plate, cup, glass, napkin, knife, fork, spoon and lamp are suspended by scaffolding. Their connection, rather than being that of objects sharing a tabletop, is seen to be the (absent) hand that uses them during a meal; the act of eating is highlighted. In these examples, the actions performed within a space are represented by the objects involved in the action. A second way of representing the patterns of movement within a space is to represent the action itself. The Japanese tea ceremony breaks the act of drinking into many parts, separating and dissecting the whole as a way of then reassembling it as though it is one continuous action. Wexler likens this to an Eadweard Muybridge film of a human in motion (Galfetti 31). This one action is then housed in a particular building, so that when devoid of people, the action itself still has a presence. Another way of documenting the inhabitation of architecture, by drawing the actions within the space, is time and motion studies, such as those of Rene W.P. Leanhardt (Diller & Scofidio 40–1). In one series of photographs, lights were attached to a housewife’s wrists, to demonstrate the difference in time and effort required in the preparation of a dinner prepared entirely from scratch in ninety minutes, and a pre-cooked, pre-packaged dinner of the same dish, which took only twelve minutes. These studies are lines of light, recorded as line drawings on a photograph of the kitchen. They record the movement of the person in the room of the action they perform, but they also draw the kitchen in a way conventional documentation does not. A recent example of the documentation of an action was undertaken by Asymptote and the students at Columbia University Graduate School of Architecture in their exhibition at the Venice Biennale of Architecture in 2000. A gymnast moving through the interior space of the pavilion was recorded using a process of digitisation and augmentation. Using modelling procedures, the spatial information was then reconstructed to become a full-scale architectural re-enactment of the gymnast’s trajectory through the room (Feireiss 40). This is similar to a recent performance by Australian contemporary dance company Chunky Move, called ‘Glow’. Infra-red video tracking took a picture of the dancer twenty-five times a second. This was used to generate shapes and images based on the movements of a solo dancer, which were projected onto the floor and the dancer herself. In the past, when the company has used DVDs or videos, the dancer has had to match what they were doing to the projection. This shifts the technology to following the dancer (Bibby 3). A third way of representing the inhabitation of architecture is to document the result of an action. Raoul Bunschoten writes of the marks of a knife being the manifestation of the act of cutting, as an analogy: incisions imply the use of a cutting tool. Together, cuts and cutting tool embrace a special condition. The actual movement of the incision is fleeting, the cut or mark stays behind, the knife moves on, creating an apparent discontinuity … The space of the cut is a reminder of the knife, its shape and its movements: the preparation, the swoop through the air, the cutting, withdrawal, the moving away. These movements remain implicitly connected with the cut as its imaginary cause, as a mnemonic programme about a hand holding a knife, incising a surface, severing skin. (Bunschoten 40) As a method of documenting actions, the paintings of Jackson Pollack can be seen as a manifestation of an act. In the late 1940s, Pollack began to drip paint onto a canvas laid flat on the floor; his tools were sticks and old caked brushes. This process clarified his work, allowing him to walk around it and work from all four sides. Robert Hughes describes it as ‘painting “from the hip” … swinging paintstick in flourishes and frisks that required an almost dancelike movement of the body’ (Hughes 154). These paintings made manifest Pollack’s gestures. As his arm swung in space, the dripping paint followed that arc, to be preserved on a flat plane as pictorial space (Hughes 262). Wexler, in another study, recorded the manifestation of an action. He placed a chair in a one-room building. It was attached to lengths of timber that extended outdoors through slots in the walls of the building. As the chair moved inside the building, its projections carved grooves in the ground outside. As the chair moved in a particular pattern, deeper grooves were created: ‘Eventually, the occupant of the chair has no choice in his movement; the architecture moves him.’ (Galfetti 14) The pattern of movement creates a result, which in turn influences the movement. By redefining architecture by what it encapsulates rather than by the enclosure itself, allows architecture to be documented by the post factum model of an action that occurs in that space. This leads to the exploration of architecture, formed by the body within it, since the documentation and representation of architecture starts to affect the reading of architecture. Architecture may then be seen as that which encloses the inhabitant. The documentation of the body and the space it makes concerns the work of the Hungarian architect Imre Makovecz. His exploration is of the body and the space it makes. Makovecz, and a circle of like-minded architects and artists, embarked on a series of experiments analysing the patterns of human motion and subsequently set up a competition based around the search for a minimum existential space. This consisted of mapping human motion in certain spatial conditions and situations. Small light bulbs were attached to points on the limbs and joints and photographed, creating a series of curves and forms. This led to a competition called ‘Minimal Space’ (1971–2), in which architects, artists and designers were invited to consider a minimal space for containing the human body, a new notion of personal containment. Makovecz’s own response took the form of a bell-like capsule composed of a double shell expressing its presence and location in both time and space (Heathcote 120). Vito Acconci, an artist turned architect by virtue of his installation work, explored this notion of enclosure in his work (Feireiss 38). In 1980 Acconci began his series of ‘self-erecting architectures’, vehicles or instruments involving one or more viewers whose operation erected simple buildings (Acconci & Linker 114). In his project ‘Instant House’ (1980), a set of walls lies flat on the floor, forming an open cruciform shape. By sitting in the swing in the centre of this configuration, the visitor activates an apparatus of cables and pulleys causing walls to rise and form a box-like house. It is a work that explores the idea of enclosing, of a space being something that has to be constructed, in the same way for example one builds up meaning (Reed 247–8). This documentation of architecture directly references the inhabitation of architecture. The post factum model of architecture is closely linked to the body in space and the actions it performs. Examining the actions and movement patterns within a space allows the inhabitation process to be seen as a dynamic process. David Owen describes the biological process of ‘ecopoiesis’: the process of a system making a home for itself. He describes the building and its occupants jointly as the new system, in a system of shaping and reshaping themselves until there is a tolerable fit (Brand 164). The definition of architecture as being that which encloses us, interests Edward S. Casey: in standing in my home, I stand here and yet feel surrounded (sheltered, challenged, drawn out, etc.) by the building’s boundaries over there. A person in this situation is not simply in time or simply in space but experiences an event in all its engaging and unpredictable power. In Derrida’s words, ‘this outside engages us in the very thing we are’, and we find ourselves subjected to architecture rather than being the controlling subject that plans or owns, uses or enjoys it; in short architecture ‘comprehends us’. (Casey 314) This shift in relationship between the inhabitant and architecture shifts the documentation and reading of the exhibition of architecture. Casey’s notion of architecture comprehending the inhabitant opens the possibility for an alternate exhibition of architecture, the documentation of that which is beyond the inhabitant’s direction. Conventional documentation shows a quiescence to the house. Rather than attempting to capture the flurry — the palimpsest of occupancy — within the house, it is presented as stilled, inert and dormant. In representing the house this way, a lull is provided, fostering a steadiness of gaze: a pause is created, within which to examine the house. However, the house is then seen as object, rather than that which encapsulates motion and temporality. Defining, and thus documenting, the space of architecture by its actions, extends the perimeter of architecture. No longer is the house bounded by its doors and walls, but rather by the extent of its patterns of movement. Post factum documentation allows this altering of the definition of architecture, as it includes the notion of the model of an action. By appropriating, clarifying and reshaping situations that are relevant to the investigation of post factum documentation, the notion of the inhabitation of the house as a definition of architecture may be examined. This further examines the relationship between architectural representation, the architectural image, and the image of architecture. References Acconci, V., and K. Linker. Vito Acconci. New York: Rizzoli, 1994. Bibby, P. “Dancer in the Dark Is Light Years Ahead.” Sydney Morning Herald 22 March 2007: 3. Brand, S. How Buildings Learn: What Happens after They’re Built. London: Phoenix Illustrated, 1997. Bunschoten, R. “Cutting the Horizon: Two Theses on Architecture.” Forum (Nov. 1992): 40–9. Calvino, I. Invisible Cities. London: Picador, 1979. Casey, E.S. The Fate of Place. California: U of California P, 1998. Diller, E., and R. Scofidio. Flesh: Architectural Probes. New York: Princeton Architectural Press, 1994. Evans, R. Translations from Drawing to Building and Other Essays. Cambridge, Mass.: MIT Press, 1997. ———. “Architectural Projection.” Eds. E. Blau and E. Kaufman. Architecture and Its Image: Four Centuries of Architectural Representation: Works from the Collection of the Canadian Center for Architecture. Exhibition catalogue. Cambridge, Mass.: MIT Press, 1989. 19–35. Feireiss, K., ed. The Art of Architecture Exhibitions. Rotterdam: Netherlands Architecture Institute, 2001. Galfetti, G.G., ed. Allan Wexler. Barcelona: GG Portfolio, 1998. Glanville, R. “An Irregular Dodekahedron and a Lemon Yellow Citroen.” In L. van Schaik, ed., The Practice of Practice: Research in the Medium of Design. Melbourne: RMIT University Press, 2003. 258–265. Heathcote, E. Imre Mackovecz: The Wings of the Soul. West Sussex: Academy Editions, 1997. Hughes, R. The Shock of the New: Art and the Century of Change. London: British Broadcasting Corporation, 1980. Kreiser, C. “On the Loss of (Dark) Inside Space.” Daidalos 36 (June 1990): 88–99. Reed, C. ed. Not at Home: The Suppression of Domesticity in Modern Art and Architecture. London: Thames & Hudson, 1996. “Shinkenchiku Competition 2006: The Plan-Less House.” The Japan Architect 64 (Winter 2007): 7–12. Small, D. Paper John. USA: Farrar, Straus and Giroux, 1987. Wakely, M. Dream Home. Crows Nest, NSW: Allen & Unwin. 2003. Citation reference for this article MLA Style Macken, Marian. "And Then We Moved In: Post Factum Documentation of the House." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/04-macken.php>. APA Style Macken, M. (Aug. 2007) "And Then We Moved In: Post Factum Documentation of the House," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/04-macken.php>.

Background: Hand-foot-mouth disease (HFMD) is an infectious disease that mainly occurs in children under five years old. Vietnam is a developing country with high prevalence of the disease outbreak every year. Can Tho City, Co Do District had the highest incidence of children under five years old acquired HFMD. Objective: 1) To determine the factors correlating with knowledge, attitude, and practice in HFMD prevention of mothers having children under five years old, and 2) to evaluate the alteration in knowledge, attitude, and practice in prevention HFMD of mothers having children under five years old after intervention with health educational communication. Materials and Methods: Community intervention study was done in 420 subjects. At first, all the participants would do the questionnaire and practicing assessment. Then, the participants were divided into two groups, the intervened group for educational communication, and the control group with no intervention. The intervention included three steps, 1) training knowledge and skills for medical staffs and collaborators, 2) providing information about HFMD for the mothers, 3) broadcasting information leaflets to the subjects’ house every month. The assessment in awareness, attitude, and practice would be performed again after one month. The present study staff achieved approval from the Science and Educating Council of Can Tho University of Medicine and Pharmacy. In addition, the present study also received the agreement from The People’s Committee of Co Do District. Results: The present study results shows that 23.3% of mothers had the right knowledge, 50.5% of mothers had the right attitude, and 17.4% of mothers with children under five years of age had the right disease prevention practice. There was an association between education level of mothers with children under five years of age with knowledge, attitude, and practice in disease prevention. After intervention, knowledge of the mothers in the intervened group improved more than 2.79 times, right attitude more than 2.84 times, and practice improvement more than 1.83 times in compared with the control group. Conclusion: Educational communication plays an important role in HFMD disease prevention through increasing the awareness, opinion, and disease prevention of the mothers who directly take care of the under five years old children. Keywords: Hand-foot-mouth disease; Knowledge; Attitudes; Practices; Effective intervention

On 19 January 1975, Australia’s first youth station 2JJ (Double Jay) launched itself onto the nation’s airwaves with a NASA-style countdown and You Only Like Me ‘Cause I’m Good in Bed by Australian band Skyhooks. Refused airtime by the commercial stations because of its explicit sexual content, this song was a clear signifier of the new station’s intent—to occupy a more radical territory on Australian radio. Indeed, Double Jay’s musical entrée into the highly restrictive local broadcasting environment of the time has gone on to symbolise both the station’s role in its early days as an enfant terrible of radio (Inglis 376), and its near 40 years as a voice for youth culture in Australia (Milesago, Double Jay). In this paper we explore the proposition that Double Jay functioned as an outlet for youth counterculture in Australia, and that it achieved this even with (and arguably because of) its credentials as a state-generated entity. This proposition is considered via brief analysis of the political and musical context leading to the establishment of Double Jay. We intend to demonstrate that although the station was deeply embedded in “the system” in material and cultural terms, it simultaneously existed in an “uneasy symbiosis” (Martin and Siehl 54) with this system because it consciously railed against the mainstream cultures from which it drew, providing a public and active vehicle for youth counterculture in Australia. The origins of Double Jay thus provide one example of the complicated relationship between culture and counterculture, and the multiple ways in which the two are inextricably linked. As a publicly-funded broadcasting station Double Jay was liberated from the industrial imperatives of Australia’s commercial stations which arguably drove their predisposition for formula. The absence of profit motive gave Double Jay’s organisers greater room to experiment with format and content, and thus the potential to create a genuine alternative in Australia broadcasting. As a youth station Double Jay was created to provide a minority with its own outlet. The Labor government committed to wrenching airspace from the very restrictive Australian broadcasting “system” (Wiltshire and Stokes 2) to provide minority voices with room to speak and to be heard. Youth was identified by the government as one such minority. The Australian Broadcasting Commission (ABC) contributed to this process by enabling young staffers to establish the semi-independent Contemporary Radio Unit (CRU) (Webb) and within this a youth station. Not only did this provide a focal point around which a youth collective could coalesce, but the distinct place and identity of Double Jay within the ABC offered its organisers the opportunity to ignore or indeed subvert some of the perceived strictures of the “mothership” that was the ABC, whether in organisational, content and/or stylistic terms. For these and other reasons Double Jay was arguably well positioned to counter the broadcasting cultures that existed alongside this station. It did so stylistically, and also in more fundamental ways, At the same time, however, it “pillaged the host body at random” (Webb) co-opting certain aspects of these cultures (people, scheduling, content, administration) which in turn implicated Double Jay in the material and cultural practices of those mainstream cultures against which it railed. Counterculture on the Airwaves: Space for Youth to Play? Before exploring these themes further, we should make clear that Double Jay’s legitimacy as a “counterculture” organisation is observably tenuous against the more extreme renderings of the concept. Theodore Roszak, for example, requires of counterculture something “so radically disaffiliated from the mainstream assumptions of our society that it scarcely looks to many as a culture at all” (5). Double Jay was a brainchild of the state: an outcome of the Whitlam Government’s efforts to open up the nation’s airwaves (Davis, Government; McClelland). Further, the supervision of this station was given to the publicly funded Australian national broadcaster, the ABC (Inglis). Any claim Double Jay has to counterculture status then is arguably located in less radical invocations of the term. Some definitions, for example, hold that counterculture contains value systems that run counter to culture, but these values are relational rather than divorced from each other. Kenneth Leech, for example, states that counterculture is "a way of life and philosophy which at central points is in conflict with the mainstream society” (Desmond et al. 245, our emphasis); E.D. Batzell defines counterculture as "a minority culture marked by a set of values, norms and behaviour patterns which contradict those of the dominant society" (116, our emphasis). Both definitions imply that counterculture requires the mainstream to make sense of what it is doing and why. In simple terms then, counterculture as the ‘other’ does not exist without its mainstream counterpoint. The particular values with which counterculture is in conflict are generated by “the system” (Heath and Potter 6)—a system that imbues “manufactured needs and mass-produced desires” (Frank 15) in the masses to encourage order, conformity and consumption. Counterculture seeks to challenge this “system” via individualist, expression-oriented values such as difference, diversity, change, egalitarianism, and spontaneity (Davis On Youth; Leary; Thompson and Coskuner‐Balli). It is these kinds of counterculture values that we demonstrate were embedded in the content, style and management practices within Double Jay. The Whitlam Years and the Birth of Double Jay Double Jay was borne of the Whitlam government’s brief but impactful period in office from 1972 to 1975, after 23 years of conservative government in Australia. Key to the Labor Party’s election platform was the principle of participatory democracy, the purpose of which was “breaking down apathy and maximising active citizen engagement” (Cunningham 123). Within this framework, the Labor Party committed to opening the airwaves, and reconfiguring the rhetoric of communication and media as a space of and for the people (Department of the Media 3). Labor planned to honour this commitment via sweeping reforms that would counter the heavily concentrated Australian media landscape through “the encouragement of diversification of ownership of commercial radio and television”—and in doing so enable “the expression of a plurality of viewpoints and cultures throughout the media” (Department of the Media 3). Minority groups in particular were to be privileged, while some in the Party even argued for voices that would actively agitate. Senator Jim McClelland, for one, declared, “We say that somewhere in the system there must be broadcasting which not only must not be afraid to be controversial but has a duty to be controversial” (Senate Standing Committee 4). One clear voice of controversy to emerge in the 1960s and resonate throughout the 1970s was the voice of youth (Gerster and Bassett; Langley). Indeed, counterculture is considered by some as synonymous with a particular strain of youth culture during this time (Roszak; Leech). The Labor Government acknowledged this hitherto unrecognised voice in its 1972 platform, with Minister for the Media Senator Doug McClelland claiming that his party would encourage the “whetting of the appetite” for “life and experimentation” of Australia’s youth – in particular through support for the arts (160). McClelland secured licenses for two “experimental-type” stations under the auspices of the ABC, with the youth station destined for Sydney via the ABC’s standby transmitter in Gore Hill (ABCB, 2). Just as the political context in early 1970s Australia provided the necessary conditions for the appearance of Double Jay, so too did the cultural context. Counterculture emerged in the UK, USA and Europe as a clear and potent force in the late 1960s (Roszak; Leech; Frank; Braunstein and Doyle). In Australia this manifested in the 1960s and 1970s in various ways, including political protest (Langley; Horne); battles for the liberalisation of censorship (Hope and Dickerson, Liberalisation; Chipp and Larkin); sex and drugs (Dawson); and the art film scene (Hope and Dickerson, Happiness; Thoms). Of particular interest here is the “lifestyle” aspect of counterculture, within which the value-expressions against the dominant culture manifest in cultural products and practices (Bloodworth 304; Leary ix), and more specifically, music. Many authors have suggested that music was pivotal to counterculture (Bloodworth 309; Leech 8), a key “social force” through which the values of counterculture were articulated (Whiteley 1). The youth music broadcasting scene in Australia was extremely narrow prior to Double Jay, monopolised by a handful of media proprietors who maintained a stranglehold over the youth music scene from the mid-50s. This dominance was in part fuelled by the rising profitability of pop music, driven by “the dreamy teenage market”, whose spending was purely discretionary (Doherty 52) and whose underdeveloped tastes made them “immune to any sophisticated disdain of run-of-the-mill” cultural products (Doherty 230-231). Over the course of the 1950s the commercial stations pursued this market by “skewing” their programs toward the youth demographic (Griffen-Foley 264). The growing popularity of pop music saw radio shift from a “multidimensional” to “mono-dimensional” medium according to rock journalist Bruce Elder, in which the “lowest-common-denominator formula of pop song-chat-commercial-pop-song” dominated the commercial music stations (12). Emblematic of this mono-dimensionalism was the appearance of the Top 40 Playlist in 1958 (Griffin-Foley 265), which might see as few as 10–15 songs in rotation in peak shifts. Elder claims that this trend became more pronounced over the course of the 1960s and peaked in 1970, with playlists that were controlled with almost mechanical precision [and] compiled according to American-devised market research methods which tended to reinforce repetition and familiarity at the expense of novelty and diversity. (12) Colin Vercoe, whose job was to sell the music catalogues of Festival Records to stations like 2UE, 2SER and SUW, says it was “an incredibly frustrating affair” to market new releases because of the rigid attachment by commercials to the “Top 40 of endless repeats” (Vercoe). While some air time was given to youth music beyond the Top 40, this happened mostly in non-peak shifts and on weekends. Bill Drake at 2SM (who was poached by Double Jay and allowed to reclaim his real name, Holger Brockmann) played non-Top 40 music in his Sunday afternoon programme The Album Show (Brockmann). A more notable exception was Chris Winter’s Room to Move on the ABC, considered by many as the predecessor of Double Jay. Introduced in 1971, Room to Move played all forms of contemporary music not represented by the commercial broadcasters, including whole albums and B sides. Rock music’s isolation to the fringes was exacerbated by the lack of musical sales outlets for rock and other forms of non-pop music, with much music sourced through catalogues, music magazines and word of mouth (Winter; Walker). In this context a small number of independent record stores, like Anthem Records in Sydney and Archie and Jugheads in Melbourne, appear in the early 1970s. Vercoe claims that the commercial record companies relentlessly pursued the closure of these independents on the grounds they were illegal entities: The record companies hated them and they did everything they could do close them down. When (the companies) bought the catalogue to overseas music, they bought the rights. And they thought these record stores were impinging on their rights. It was clear that a niche market existed for rock and alternative forms of music. Keith Glass and David Pepperell from Archie and Jugheads realised this when stock sold out in the first week of trade. Pepperell notes, “We had some feeling we were doing something new relating to people our own age but little idea of the forces we were about to unleash”. Challenging the “System” from the Inside At the same time as interested individuals clamoured to buy from independent record stores, the nation’s first youth radio station was being instituted within the ABC. In October 1974, three young staffers—Marius Webb, Ron Moss and Chris Winter— with the requisite youth credentials were briefed by ABC executives to build a youth-style station for launch in January 1975. According to Winter “All they said was 'We want you to set up a station for young people' and that was it!”, leaving the three with a conceptual carte blanche–although assumedly within the working parameters of the ABC (Webb). A Contemporary Radio Unit (CRU) was formed in order to meet the requirements of the ABC while also creating a clear distinction between the youth station and the ABC. According to Webb “the CRU gave us a lot of latitude […] we didn’t have to go to other ABC Departments to do things”. The CRU was conscious from the outset of positioning itself against the mainstream practices of both the commercial stations and the ABC. The publicly funded status of Double Jay freed it from the shackles of profit motive that enslaved the commercial stations, in turn liberating its turntables from baser capitalist imperatives. The two coordinators Ron Moss and Marius Webb also bypassed the conventions of typecasting the announcer line-up (as was practice in both commercial and ABC radio), seeking instead people with charisma, individual style and youth appeal. Webb told the Sydney Morning Herald that Double Jay’s announcers were “not required to have a frontal lobotomy before they go on air.” In line with the individual- and expression-oriented character of the counterculture lifestyle, it was made clear that “real people” with “individuality and personality” would fill the airwaves of Double Jay (Nicklin 9). The only formula to which the station held was to avoid (almost) all formula – a mantra enhanced by the purchase in the station’s early days of thousands of albums and singles from 10 or so years of back catalogues (Robinson). This library provided presenters with the capacity to circumvent any need for repetition. According to Winter the DJs “just played whatever we wanted”, from B sides to whole albums of music, most of which had never made it onto Australian radio. The station also adapted the ABC tradition of recording live classical music, but instead recorded open-air rock concerts and pub gigs. A recording van built from second-hand ABC equipment captured the grit of Sydney’s live music scene for Double Jay, and in so doing undercut the polished sounds of its commercial counterparts (Walker). Double Jay’s counterculture tendencies further extended to its management style. The station’s more political agitators, led by Webb, sought to subvert the traditional top-down organisational model in favour of a more egalitarian one, including a battle with the ABC to remove the bureaucratic distinction between technical staff and presenters and replace this with the single category “producer/presenter” (Cheney, Webb, Davis 41). The coordinators also actively subverted their own positions as coordinators by holding leaderless meetings open to all Double Jay employees – meetings that were infamously long and fraught, but also remembered as symbolic of the station’s vibe at that time (Frolows, Matchett). While Double Jay assumed the ABC’s focus on music, news and comedy, at times it politicised the content contra to the ABC’s non-partisan policy, ignored ABC policy and practice, and more frequently pushed its contents over the edges of what was considered propriety and taste. These trends were already present in pockets of the ABC prior to Double Jay: in current affairs programmes like This Day Tonight and Four Corners (Harding 49); and in overtly leftist figures like Alan Ashbolt (Bowman), who it should be noted had a profound influence over Webb and other Double Jay staff (Webb). However, such an approach to radio still remained on the edges of the ABC. As one example of Double Jay’s singularity, Webb made clear that the ABC’s “gentleman’s agreement” with the Federation of Australian Commercial Broadcasters to ban certain content from airplay would not apply to Double Jay because the station would not “impose any censorship on our people” – a fact demonstrated by the station’s launch song (Nicklin 9). The station’s “people” in turn made the most of this freedom with the production of programmes like Gayle Austin’s Horny Radio Porn Show, the Naked Vicar Show, the adventures of Colonel Chuck Chunder of the Space Patrol, and the Sunday afternoon comic improvisations of Nude Radio from the team that made Aunty Jack. This openness also made its way into the news team, most famously in its second month on air with the production of The Ins and Outs of Love, a candid documentary of the sexual proclivities and encounters of Sydney’s youth. Conservative ABC staffer Clement Semmler described the programme as containing such “disgustingly explicit accounts of the sexual behaviour of young teenagers” that it “aroused almost universal obloquy from listeners and the press” (35). The playlist, announcers, comedy sketches, news reporting and management style of Double Jay represented direct challenges to the entrenched media culture of Australia in the mid 1970s. The Australian National Commission for UNESCO noted at the time that Double Jay was “variously described as political, subversive, offensive, pornographic, radical, revolutionary and obscene” (7). While these terms were understandable given the station’s commitment to experiment and innovation, the “vital point” about Double Jay was that it “transmitted an electronic reflection of change”: What the station did was to zero in on the kind of questioning of traditional values now inherent in a significant section of the under 30s population. It played their music, talked in their jargon, pandered to their whims, tastes, prejudices and societal conflicts both intrinsic and extrinsic. (48) Conclusion From the outset, Double Jay was locked in an “uneasy symbiosis” with mainstream culture. On the one hand, the station was established by federal government and its infrastructure was provided by state funds. It also drew on elements of mainstream broadcasting in multiple ways. However, at the same time, it was a voice for and active agent of counterculture, representing through its content, form and style those values that were considered to challenge the ‘system,’ in turn creating an outlet for the expression of hitherto un-broadcast “ways of thinking and being” (Leary). As Henry Rosenbloom, press secretary to then Labor Minister Dr Moss Cass wrote, Double Jay had the potential to free its audience “from an automatic acceptance of the artificial rhythms of urban and suburban life. 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