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flaneur musings by teodor mitew Posts

Drones, not droning on

Late last year I was in Hong Kong to establish our school’s media program at the City University College, and while there I gave an interview to The Standard, which is Hong Kong’s widest circulation English daily newspaper. Here is a reprint of the piece by Kelis Wong.

At first glance, communication studies and drones seem like an unlikely pairing. If the study of how human produces, processes and exchanges information is a subject in the social sciences, then learning how to operate a flying robot will be a matter of engineering.

But think about the purpose of a drone. Apart from the sheer pleasure of controlling an aerial vehicle, a commercial drone performs the function of gathering visual information in the form of pictures and videos for other people to consume.

That’s why Teodor Mitew, senior lecturer in digital media and communication at the University of Wollongong in Australia, kickstarted last year in his classes a technology exploration project called PlayMake Sessions.

“Any technology which allows digitalization, which allows the translation of materials into digital is an object of study for us,” said Mitew.

Every week, Mitew presents to a group of media and communication majors a trolley filled with quadcopters, mini cube action cameras, virtual reality headsets, gesture control devices, computer circuit boards and 3D printers.

One goal of the sessions is to encourage undergraduate students to play with the gadgets, and come up with a novel use for them in their digital lives.

A project, which originated from these sessions, created a digital archive of the university library, translating still images into virtual reality.

In another student project, some first year students started an open page on Facebook, called UOW Admirers, which posts love notes sent in anonymously. One year on, the page is still active, and has become a well-known matchmaking site on campus.

“The process of random experimentation without a goal is very important,” said Mitew. “That’s how students discover the affordance of a medium. So it’s not about me telling them do this and that, it’s about me telling them take the drone and see what happens.”

In the new school year, the University of Wollongong has introduced Mitew’s exploration project to a group of students enrolled in a top-up degree program taught at the community college of the City University of Hong Kong.

The students who take Mitew’s class are asked to engage in classroom activities which some people might find unconventional. A part of the course requires the students to get active on Reddit, Twitter, YouTube and WordPress.

The students also have to write short essays in an exercise which Mitew calls digital artefact. Here are things that the students have to hand in every week: one blog post, three tweets and three online comments.

“You can also make podcasts and memes. I love memes,” said Mitew in his first lecture.

Under the guise of juvenile fun, Mitew explained that his students are acquiring the cognitive skill sets which prepare them for a paradigm shift toward an information economy in which everyone can produce their own digital content from anywhere.

The paradigm shift will affect aspiring media professionals as they will face great career challenges in the proliferation stage of digitization.

“If you are in the legacy media industry, be it news, book publishing, or music and film, this is a terrible challenge because digitization entirely destroys your business model. You cannot charge for your content like you used to do,” said Mitew.

“Look at the content produced today in newspapers, then look at the online content produced by so-called amateurs. A lot of that stuff online are more professionally done, aesthetically more pleasing, and of much better quality.”

“This dichotomy will only increase in size as the pressure on legacy media increases, and as more and more people join the internet to the realization of everyone being a content producer.”

But producing interesting content is a big challenge. Some students will struggle with the task as they are confined by the reality, their educational experiences and the environment, said Mitew.

So, creating materials that others will find amusing is the ultimate goal. Writing on a deadline, writing different copies, making do on the go, and self- directed learning are also the abilities that Mitew expects his students to master.

And by making, aggregating and curating content in the online public sphere, students demonstrate their competencies in these aspects.

“I don’t teach technology. It’s more important to teach students how not to be afraid of technology,” said Mitew.

“We try to prepare our students for a radically different reality, giving them the opportunity to work on a self chosen project in public.”


Robots sorting through 200,000 packages a day in a Chinese delivery firm’s warehouse. The robots are self-charging and operate 24/7, apparently saving more than 70% of the costs associated with human workers performing similar tasks.

The power of networks: distributed journalism, meme warfare, and collective intelligence

These are the slides for what was perhaps my favorite lecture so far in BCM112. The lecture has three distinct parts, presented by myself and my PhD students Doug Simkin and Travis Wall. I opened by building on the previous lecture which focused on the dynamics of networked participation, and expanded on the shift from passive consumption to produsage. The modalities of this shift are elegantly illustrated by the event-frame-story structure I developed to formalize the process of news production [it applies to any content production]. The event stage is where the original footage appears – it often is user generated, raw, messy, and with indeterminate context. The frame stage provides the filter for interpreting the raw data. The story stage is what is produced after the frame has done its work. In the legacy media paradigm the event and frame stages are closed to everyone except the authority figures responsible for story production – governments, institutions, journalists, academics, intellectuals, corporate content producers. This generates an environment where authority is dominant, and authenticity is whatever authority decides – the audience is passive and in a state of pure consumption. In the distributed media paradigm the entire process is open and can be entered by anyone at any point – event, frame, or story. This generates an environment where multiple event versions, frames, and stories compete for produser attention on an equal footing.

These dynamics have profound effects on information as a tool for persuasion and frame shifting, or in other words – propaganda. In legacy media propaganda is a function of the dynamics of the paradigm: high cost of entry, high cost of failure, minimum experimentation, inherent quality filter, limited competition, cartelization with limited variation, and an inevitable stagnation.

In distributed media propaganda is memes. Here too propaganda is a function of the dynamics of the paradigm, but those are characterized by collective intelligence as the default form of participation in distributed networks. In this configuration users act as a self-coordinating swarm towards an emergent aggregate goal. The swarm has an orders of magnitude faster production time than the legacy media. This results in orders of magnitude faster feedback loops and information dissemination.

The next part of the lecture, delivered by Doug Simkin, focused on a case study of the /SG/ threads on 4chan’s /pol/ board as an illustration of an emergent distributed swarm in action. This is an excellent case study as it focuses on real-world change produced with astonishing speed in a fully distributed manner.

The final part of the lecture, delivered by Travis Wall, focused on a case study of the #draftourdaughters memetic warfare campaign, which occurred on 4chan’s /pol/ board in the days preceding the 2016 US presidential election. This case study is a potent illustration of the ability of networked swarms to leverage fast feedback loops, rapid prototyping, error discovery, and distributed coordination in highly scalable content production.

Trajectories of convergence I: user empowerment, information access, and networked participation

These are slides from a lecture I delivered in the fifth week of BCM112, building on open-process arguments conceptualized in a lecture on the logic and aesthetics of digital production. My particular focus in this lecture was on examining the main dynamics of the audience trajectory in the process of convergence. I develop the conceptual frame around Richard Sennet’s notion of dialogic media as ontologically distinct from monologic media, where the latter render a passive audience as listeners and consumers, while the former render conversational participants. I then build on this with Axel Bruns’ ideas on produsage [a better term than prosumer], and specifically his identification of thew new modalities of media in this configuration: a distributed generation of content, fluid movement of produsers between roles, digital artefacts remaining open and in a state of indeterminacy, and permissive ownership regimes enabling continuous collaboration. The key conceptual element here is that the entire chain of the process of production, aggregation, and curation of content is open to modification, and can be entered at any point.

The Medium is the Message II: craft, and the logic of digital making

Following from the opening lecture for BCM112, in which I laid the foundation for approaching digital media convergence from a McLuhan perspective,  these are the prezi slides for the follow-up lecture focusing on the logic of digital production. I open the lecture with a fairly dense conceptual frame establishing the logic of craft and production in digital media, and then follow this up with a range of examples focusing on the aesthetics of glitch, hyper kawaii, vaporwave, and Twitch mess. Again, I build up the concept frame as a shift from the industrial logic of the assembly line to the internet’s logic of mass-customization, where the new aesthetic form is characterized by rapid prototyping, experimentation, rapid error discovery, and open-process mods leading to unexpected outcomes . The key element of this logic-frame is that the openness of the process of digital making – all aspects of the object are open for modification even after release – leads to an emergent unpredictability of the end-result [there is no closure], and a resultant risk embedded in the process. This state of indeterminacy is how digital craft operates, and it is the risky openness that generates the new aesthetic of the medium.

The Medium is the Message I: trajectories of convergence

These are the prezi slides for my opening lecture in BCM112 Convergent Media Practices [live twitter #bcm112 hashtag]. The lecture is an introduction to the state of play in digital media, and specifically the open-ended process of media convergence as mapped by Henry Jenkins. I use McLuhan’s work as a basic frame of reference through which to analyze the process, while focusing on the three distinct trajectories of audiences, industries, and platforms. It is a dual-layered analysis, where the interplay between the three trajectories drives the dynamics of the process, and changes in media platforms act as phase transitions shifting the process on another plane. I am illustrating this dynamic with a number of examples, ranging from papyrus to codex and hypertext, to the shift from newspaper to radio, and of course – the internet.

Swarm networks and the design process of a distributed meme warfare campaign

I am developing a paper on swarm networks and meme warfare together with Travis Wall who is a PhD student of mine. The topic is very interesting in light of the astonishing mobilization of collective intelligence across various internet forums [4chan, and Reddit in particular] during the 2016 US presidential campaign. We are focusing on a single case study – the #draftourdaughters campaign – developing in the final pre-election week on 4chan’s /pol/ forum. Ironically, some of the material we are discussing is quite contentious and therefore picking a journal to publish our piece requires some strategizing.

Swarm networks and the design process of a distributed meme warfare campaign

The 2016 US presidential elections were surrounded by a vast social media campaign, involving the phenomenon of distributed memetic warfare on a scale unseen before. #draftourdaughters was a viral memetic campaign organised and produced by anonymous members of the internet board 4chan, and then deployed to wider audiences on platforms such as Reddit, Twitter and Facebook. Memetic warfare in social media has recently been documented in case studies of the 2014 Israel-Gaza conflict (Rodley 2016) and the 2014 Russia-Ukraine conflict (Wiggins 2016). These studies present and analyse the content generated by users, with a central focus on continual content remixing, and generation of semiotic messaging. In contrast, this paper aims to develop a systemic perspective of the mechanics of generation of targeted memes, by analysing the swarm like topology of 4chan’s /pol/ forum (Hine et al. 2016), and the logistics of the swarm’s rapid prototyping, coordination, production, and dissemination of content.

The paper uses as it’s case study the #draftourdaughters campaign, which is documented in its entirety from inception to completion. The anonymous conversations conceptualising the campaign, as well as the rapid prototyping and ideation process informed by the swarm’s quick feedback loop, are analysed with a conceptual apparatus informed by actor network theory, and then mapped to design process research. Concepts native to the open source movement make the foundation of the framework analysing the collaborative dynamics and production of content (Raymond 2001, Robb 2007), further developing open source remix as a fundamental mechanic to content production. Further analysis is performed using concepts from systems theory (Baran 1962), swarming in conflict scenarios (Arquilla and Ronfeldt 2000), and approaches to fourth generation warfare (Lind and Thiele 2015). The behaviour of the swarm in response to an identified goal is mapped to concepts central to design process methodology (Dubberly 2008).

The main focus of the argument is in developing a coherent and systemic perspective on the logistics of distributed memetic production in online spaces potentiating swarm-like behaviour in their user-base. The authors examine this process in its entirety, from the logistics of swarm formation to the rapid prototyping of ideas leveraging short feedback loops, and the collaborative creation of semantically targeted media. Anonymous online spaces such as 4chan are identified as environments fostering a powerful feedback loop of distributed ideation, content production and dissemination. Through examining these phenomena, the paper also provides perspective on the manifestation of collaborative design practice in online participatory media spaces.


Arquilla, J and Ronfeldt, D 2000, Swarming and the Future of Conflict, RAND Corporation, Santa Monica, viewed 9 February 2017,

Baran, P 1962, ‘On Distributed Communications Networks’, RAND Corporation, Santa Monica, viewed 9 February 2017,

Dubberly, H 2008, How Do You Design? A Compendium of Models, Dubberly Design Office, viewed 9 February 2017,

Hine, G, Onaolapo J, De Cristofaro E, Kourtellis N, Leontiadis I, Samaras R, Stringhini G, Blackburn J 2016, ‘A Longitudinal Measurement Study of 4chan’s Politically Incorrect Forum and its Effect on the Web’, viewed 9 February 2017,

Lind, W and Thiele, G 2015, 4th Generation Warfare, Castalia House

Raymond, E 2001, The Cathedral & the Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary, O’Reilly, Beijing.

Rodley, C 2016, ‘When Memes Go to War: Viral Propaganda in the 2014 Gaza-Israel Conflict’, Fibreculture Journal, Issue 27, viewed 9 February 2017,

Robb, J 2008, Brave New War: The Next Stage of Terrorism and the End of Globalization, Wiley, Hoboken

Wiggins B 2016, ‘Crimea River: Directionality in Memes from the Russia-Ukraine Conflict’, International Journal of Communication, vol 10, pp-451-485, viewed 9 February 2017,

A conversation about the Internet of Things

This is a conversation on the Internet of Things I recorded with my colleague Chris Moore as part of his podcasted lecture series on cyberculture. As interviews go this is quite organic, without a set script of questions and answers, hence the rambling style and side-stories. Among others, I discuss: the Amazon Echo [Alexa], enchanted objects, Mark Weiser and ubiquitous computing, smart clothes, surveillance, AI, technology-induced shifts in perception, speculative futurism, and paradigm shifts.

Comparative hierophany at three object scales

This is an extended chapter abstract I wrote for an edited collection titled Atmospheres of Scale and Wonder: Creative Practice and Material Ecologies in the Anthropocene, due by the end of this year. I am first laying the groundwork in actor network theory, then developing the concept of hierophany borrowed from Eliade, and finally [where the fun begins], discussing the Amazon Echo, the icon of the Black Madonna of Częstochowa, and the asteroid 2010 TK7 residing in Earth Lagrangian point 4. An object from the internet of things, a holy icon, and an asteroid. To my best knowledge none of these objects have been discussed in this way before, either individually or together, and I am very excited to write this chapter.

Comparative hierophany at three object scales

What if we imagined atmosphere as a framing device for stabilizing material settings and sensibilities? What you call a fetishized idol, is in my atmosphere a holy icon. What your atmosphere sees as an untapped oil field, I see as the land where my ancestral spirits freely roam. Your timber resource is someone else’s sacred forest. This grotesque, and tragic, misalignment of agencies is born out of an erasure, a silencing, which then proceeds to repeat this act of forced purification across all possible atmospheres. This chapter unfolds within the conceptual space defined by this erasure of humility towards the material world. Mirroring its objects of discussion, the chapter is constructed as a hybrid.

First, it is grounded in three fundamental concepts from actor network theory known as the irreduction, relationality, and resistance-relation axioms. They construct an atmosphere where things respectively: can never be completely translated and therefore substituted by a stand-in; don’t need human speakers to act in their stead, but settings in which their speech can be recognized; resist relations while also being available for them. When combined, these axioms allow humans to develop a sensibility for the resistant availability of objects. Here, objects speak incessantly, relentlessly if allowed to, if their past is flaunted rather than concealed.

Building on that frame, the chapter adopts, with modifications, the notion of a hierophany, as developed by Mircea Eliade, as a conceptual frame for encountering the resistant availability of material artefacts. In its original meaning a hierophany stands for the material manifestation of a wholly other, sacred, order of being. Hierophanies are discontinuities, self-enclosed spheres of meaning. Arguably though, hierophanies emerging from the appearance of a sacred order in an otherwise profane material setting can be viewed as stabilizing techniques. They stabilise an atmospheric time, where for example sacred time is cyclical, while profane time is linear; and they stabilise an atmospheric space, where sacred space is imbued with presence by ritual and a plenist sensibility, while profane space is Euclidean, oriented around Cartesian coordinates and purified from sacred ritual.

Finally, building on these arguments, the chapter explores the variations of intensity of encounters with hierophanic presences at three scales, anchored by three objects. Three objects, three scales, three intensities of encounter. The first encounter is with the Amazon Echo, a mundane technical object gendered by its makers as Alexa. An artefact of the internet of things, Alexa is a speaker for a transcendental plane of big data and artificial intelligence algorithms, and therefore her knowledge and skills are ever expanding. The second encounter is with the icon of the Black Madonna of Częstochowa in Poland, a holy relic and a religious object. The icon is a speaker for a transcendental plane of a whole different order than Alexa, but crucially, I argue the difference to be not ontological but that of hierophanic intensities. The third encounter is with TK7, an asteroid resident in Earth Lagrangian Point 4, and discovered only in 2010. TK7 speaks for a transcendental plane of a wholly non-human order, because it is quite literally not of this world. All three objects have resistant availability at various intensities, all three have a hierophanic pull on their surroundings, also at various intensities. Alexa listens, and relentlessly answers with a lag less than 1 second. The Black Madonna icon listens, and may answer to the prayers of pilgrims. TK7 is literally not of this world, a migratory alien object residing, for now, as a stable neighbor of ours.

Teaching digital media in a systemic way, while accounting for non-linearity

Recently I have been trying to formulate my digital media teaching and learning philosophy as a systemic framework. This is a posteriori work because philosophies can be non-systemic, but systems are always based on a philosophy. I also don’t think a teaching/learning system can ever be complete, because entropy and change are the only givens [even in academy]. It has to be understood as dynamic, and therefore more along the lines of rules-of-thumb as opposed to prescriptive dogma.

None of the specific elements of the framework I use are critical to its success, and the only axiom is that the elements have to form a coherent system. By coherence, I understand a dynamic setting where 1] the elements of the system are integrated both horizontally and vertically [more on that below], and 2] the system is bigger than the sum of its parts. The second point needs further elaboration, as I have often found even highly educated people really struggle with non-linear systems. Briefly, linear progression is utterly predictable [x + 1 + 1…= x + n] and comfortable to build models in – i.e. if you increase x by 1, the new state of the system will be x +1. Nonlinear progression by contrast is utterly unpredictable and exhibits rapid deviations from whatever the fashionable mean is at the moment – i.e. x+1= y. Needless to say, one cannot model nonlinear systems over long periods of time, as the systems will inevitably deviate from the limited variables given in the model.

Axiom: all complex systems are nonlinear when exposed to time [even in academy].

The age of the moderns has configured us to think exceedingly in linear terms, while reality is and has always been regretfully non-linear [Nassim Taleb built a career pointing this out for fun and profit]. Unfortunately this mass delusion extends to education, where linear thinking rules across all disciplines. Every time you hear the “take these five exams and you will receive a certificate that you know stuff” mantra you are encountering a manifestation of magical linear thinking. Fortunately, learning does not follow a linear progression, and is in fact one of the most non-linear processes we are ever likely to encounter as a species.

Most importantly, learning has to be understood as paradigmatically opposed to knowing facts, because the former is non-linear and relies on dynamic encounters with reality, while the latter is linear and relies on static encounters with models of reality.

With that out of the way, let’s get to the framework I have developed so far. There are two fundamental philosophical pillars framing the assessment structure in the digital media and communication [DIGC] subjects I have been teaching at the University of Wollongong [UOW], both informed by constructivist pedagogic approaches to knowledge creation [the subjects I coordinate are BCM112, DIGC202, and DIGC302].

1] The first of those pillars is the notion of content creation for a publicly available portfolio, expressed through the content formats students are asked to produce in the DIGC major.

Rule of thumb: all content creation without exception has to be non-prescriptive, where students are given starting points and asked to develop learning trajectories on their own – i.e. ‘write a 500 word blog post on surveillance using the following problems as starting points, and make a meme illustrating your argument’.

Rule of thumb: all content has to be publicly available, in order to expose students to nonlinear feedback loops – i.e. ‘my video has 20 000 views in three days – why is this happening?’ [first year student, true story].

Rule of thumb: all content has to be produced in aggregate in order to leverage nonlinear time effects on learning – i.e. ‘I suddenly discovered I taught myself Adobe Premiere while editing my videos for this subject’ [second year student, true story].

The formats students produce include, but are not limited to, short WordPress essays and comments, annotated Twitter links, YouTube videos, SoundCloud podcasts, single image semantically-rich memetic messages on Imgur, dynamic semantically-rich memetic messages on Giphy, and large-scale free-form media-rich digital artefacts [more on those below].

Rule of thumb: design for simultaneous, dynamic content production of varying intensity, in order to multiply interface points with topic problematic – i.e. ‘this week you should write a blog post on distributed network topologies, make a video illustrating the argument, tweet three examples of distributed networks in the real world, and comment on three other student posts’.

 2] The second pillar is expressed through the notion of horizontal and vertical integration of knowledge creation practices. This stands for a model of media production where the same assessments and platforms are used extensively across different subject areas at the same level and program of study [horizontal integration], as well as across levels and programs [vertical integration].

Rule of thumb: the higher the horizontal/vertical integration, the more content serendipity students are likely to encounter, and the more pronounced the effects of non-linearity on learning.

Crucially, and this point has to be strongly emphasized, the integration of assessments and content platforms both horizontally and vertically allows students to leverage content aggregates and scale up in terms of their output [non-linearity, hello again]. In practice, this means that a student taking BCM112 [a core subject in the DIGC major] will use the same media platforms also in BCM110 [a core subject for all communication and media studies students], but also in JOUR102 [a core subject in the journalism degree] and MEDA101 [a core subject in media arts]. This horizontal integration across 100 level subjects allows students to rapidly build up sophisticated content portfolios and leverage content serendipity.

Rule of thumb: always try to design for content serendipity, where content of topical variety coexists on the same platform – i.e. a multitude of subjects with blogging assessments allowing the student to use the same WordPress blog. When serendipity is actively encouraged it transforms content platforms into so many idea colliders with potentially nonlinear learning results.

Adding the vertical integration allows students to reuse the same platforms in their 200 and 300 level subjects across the same major, and/or other majors and programs. Naturally, this results in highly scalable content outputs, the aggregation of extensively documented portfolios of media production, and most importantly, the rapid nonlinear accumulation of knowledge production techniques and practices.

On digital artefacts

A significant challenge across academy as a whole, and media studies as a discipline, is giving students the opportunity to work on projects with real-world implications and relevance, that is, projects with nonlinear outcomes aimed at real stakeholders, users, and audiences. The digital artefact [DA] assessment framework I developed along the lines of the model discussed above is a direct response to this challenge. The only limiting requirements for a DA are that 1] artefacts should be developed in public on the open internet, therefore leveraging non-linearity, collective intelligence and fast feedback loops, and 2] artefacts should have a clearly defined social utility for stakeholders and audiences outside the subject and program.

Rule of thumb: media project assessments should always be non-prescriptive in order to leverage non-linearity – i.e. ‘I thought I am fooling around with a drone, and now I have a start-up and have to learn how to talk to investors’ [second year student, true story].

Implementing the above rule of thumb means that you absolutely cannot structure and/or limit: 1] group numbers – in my subjects students can work with whoever they want, in whatever numbers and configurations, with people in and/or out of the subject, degree, university; 2] the project topic – my students are expected to define the DA topic on their own, the only limitations provided by the criteria for public availability, social utility, and the broad confines of the subject area – i.e. digital media; 3] the project duration – I expect my students to approach the DA as a project that can be completed within the subject, but that can also be extended throughout the duration of the degree and beyond.

Digital artefact development rule of thumb 1: Fail Early, Fail Often [FEFO]

#fefo is a developmental strategy originating in the open source community, and first formalized by Eric Raymond in The Cathedral and the Bazaar. FEFO looks simple, but is the embodiment of a fundamental insight about complex systems. If a complex system has to last in time while interfacing with nonlinear environments, its best bet is to distribute and normalize risk taking [a better word for decision making] across its network, while also accounting for the systemic effects of failure within the system [see Nassim Taleb’s Antifragile for an elaboration]. In the context of teaching and learning, FEFO asks creators to push towards the limits of their idea, experiment at those limits and inevitably fail, and then to immediately iterate through this very process again, and again. At the individual level the result of FEFO in practice is rapid error discovery and elimination, while at the systemic level it leads to a culture of rapid prototyping, experimentation, and ideation.

Digital artefact development rule of thumb 2: Fast, Inexpensive, Simple, Tiny [FIST]

#fist is a developmental strategy developed by Lt. Col. Dan Ward, Chief of Acquisition Innovation at USAF. It provides a rule-of-thumb framework for evaluating the potential and scope of projects, allowing creators to chart ideation trajectories within parameters geared for simplicity. In my subjects FIST projects have to be: 1] time-bound [fast], even if part of an ongoing process; 2] reusing existing easily accessible techniques [inexpensive], as opposed to relying on complex new developments; 3] constantly aiming away from fragility [simple], and towards structural simplicity; 4] small-scale with the potential to grow [tiny], as opposed to large-scale with the potential to crumble.

In the context of my teaching, starting with their first foray into the DIGC major in BCM112 students are asked to ideate, rapidly prototype, develop, produce, and iterate a DA along the criteria outlined above. Crucially, students are allowed and encouraged to have complete conceptual freedom in developing their DAs. Students can work alone or in a group, which can include students from different classes or outside stakeholders. Students can also leverage multiple subjects across levels of study to work on the same digital artefact [therefore scaling up horizontally and/or vertically]. For example, they can work on the same project while enrolled in DIGC202 and DIGC302, or while enrolled in DIGC202 and DIGC335. Most importantly, students are encouraged to continue working on their projects even after a subject has been completed, which potentially leads to projects lasting for the entirety of their degree, spanning 3 years and a multitude of subjects.

In an effort to further ground the digital artefact framework in real-world practices in digital media and communication, DA creators from BCM112, DIGC202, and DIGC302 have been encouraged to collaborate with and initiate various UOW media campaigns aimed at students and outside stakeholders. Such successful campaigns as Faces of UOW, UOW Student Life, and UOW Goes Global all started as digital artefacts in DIGC202 and DIGC302. In this way, student-created digital media content is leveraged by the University and by the students for their digital artefacts and media portfolios. To date, DIGC students have developed digital artefacts for UOW Marketing, URAC, UOW College, Wollongong City Council, and a range of businesses. A number of DAs have also evolved into viable businesses.

In line with the opening paragraph I will stop here, even though [precisely because] this is an incomplete snapshot of the framework I am working on.