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Abstract
The internet provides a means for non-professional media-makers to produce and publish their own video and audio content, as community television and radio have done for several decades. While the web seems to exemplify the principles of media access and diversity championed by the community media sector, it also raises challenges for broadcast community media participants and their online equivalents, not least being the co-opting of the term ‘community media’ by large commercial interests. A symposium held in Melbourne by Open Spectrum Australia (‘Quality/Control’, State Library of Victoria, Oct 2008) brought together people with a wide range of community media experience to discuss this and other issues, particularly the possibilities for greater cooperation between broadcast and online community media participants.

This paper draws on participant contributions at the symposium to explore the relationship between broadcast and online community media. Despite shared values, we identify different, and possibly incompatible, cultures within the two groups. We argue that this disjoint stems from two different systems of control or validation (licensing and networks), as well as producer-centered accounts of community media that are out of sync with the contemporary media environment. Instead, we propose that theory and practice begin to address issues of consumption in relation to community media, including identification, navigation and the notion of ethical choice.

Abstract
What is particular to the culture of our time is the pace at which everything changes. The moving image is entrenched into every part of our lives. We not only rely on it to entertain us; we also expect to be able to interact with it and participate in its making, whether as consumer or content producer. The moving image has become the ubiquitous lens through which we view the world, and through it we explore and understand ourselves, other cultures and societies, experiences and places. It helps us shape our identity.

The Australian Centre for the Moving Image is a cultural institution situated in Melbourne and dedicated to the moving image. It is a place where the moving image is presented in all its forms, with a charter to research, create, collect, exhibit, teach, nurture and advocate the use of the moving image in all areas of society. It is one of the few centres of its kind world wide.

This paper charts the development of the Digital Storytelling program at ACMI. In doing so, it captures some of the understandings gleaned as a result of being one of the first cultural institutions to develop a major user-generated content program, and identifies the challenges for the organisation in ensuring this program stays relevant in a rapidly changing media landscape.

Abstract
In 2007 the Hope Vale – Pelican project (now in its 6th year) inaugurated a digital storytelling component into the program. The project is a partnership between Hope Vale Elders (championed by Des and Estelle Bowen) and Pelican Expeditions. In 2007 Pelican Expeditions and the Elders invited Samia Goudie, a researcher and digital storytelling consultant, to pilot a digital storytelling project with Natalie Davey, a founding member of Pelican Expeditions. The Hope Vale – Pelican (HVP) project is mainly run out of Connie’s beach, Cape Flattery in Cape York. The success of this pilot resulted in the design and implementation of a larger digital storytelling media camp being embedded as a co-creative practice in the 2008 Hope Vale – Pelican project. This paper seeks to tell the story of this process and explore some of the early findings of both the benefits and problems of using digital storytelling to promote social and emotional wellbeing and caring for country with an Indigenous community within a trans-disciplinary partnership project.

Abstract
This paper offers a descriptive account of the development, operation and management of the youth media program YouthWorx Media that engages disadvantaged young people in media creation. Through the combined perspectives of the project manager and researcher working on the project, we reflect on the actual, on-the-ground practices. A provision of intermediary pathways for reconnection with education and employment via media training for Melbourne ‘youth at risk’ is the key objective of the project, against which the project’s ‘real world’ social outcomes are being documented and measured. However, we recognise also the ‘messiness’ of the program’s delivery process, and its uneasy documentation through ethnographic research. The implementation of projects like YouthWorx involves a series of calculated strategic decisions informed by a set of shared values and underlying philosophies (e.g., a pedagogy of working with ‘youth at risk’ via media presented here), but also—and equally important—numerous ad hoc responses to ‘real’ situations at hand. This paper emphasises then an inherent process of translation of the project’s original conceptions or ideas, constantly tested and re-visited, into on-the-ground educational and media activities. It underscores a value of exploring connections between theory/philosophies and practice, social work and academic research, hoping to contribute to a wider discussion of the role of community media/arts initiatives in stimulating positive social change.

Abstract
The growth of the internet and related technologies such as mobile phones, digital film and photography in the last decade has seen a substantial shift in the way young people communicate and share information. The role that information and communication technologies (ICT) may play and the impact they may have on the mental health and wellbeing of young people is not well understood and there are gaps in the evidence base surrounding the efficacy of mental health promotion and prevention initiatives that utilise technology. The Bridging the Digital Divide Project examines the potential use of ICT to promote social connectedness and civic engagement in young people experiencing marginalisation. This paper provides an overview of the project rationale and presents preliminary research that explores the barriers and enablers to implementing an ICT based project designed to promote civic engagement and social connectedness with young people experiencing marginalisation.

Abstract
In 2007, it cannot be denied that Information and Communication Technologies (ICTs) have had a transformative impact on communities in Australia. Unfortunately, a results-oriented development framework often continues to advocate what Iris Marion Young calls a ‘distributive paradigm’, without a holistic overview of the outcomes for communities.

In this paper I outline some of the ways that community-practitioners can avoid some of these pitfalls in planning and evaluating their projects. It entails looking beyond the project's practical outcomes which may mask deeper levels of unintended consequences or lack of effectiveness. Central to this process is a need for detailed stakeholder engagement and active management of donor and funder expectations.

While community broadcasters continue to wrestle with regulatory constraints, policy limitations, lack of resources and internal conflict, technology is rapidly transforming the way media content i

Abstract
To ground an assessment of community radio’s contributions to political life, this paper reviews recent developments in public sphere theory and discourse ethics. Tracing a genealogy of thinking from Habermas to Warner, the paper argues that formative contexts of contemporary politics such as the radical pluralisation of culture, the emergence of lifestyle politics and the epistemic change to a communication paradigm – also powerful forces in community radio – can find parallel theoretical resources in recent writing on the public sphere. The dialectical engagement of open and inclusive publicity (associated with liberal public life), with a more enclosed, strategic approach (associated with community groups’ decision processes) is not a theoretical obstacle, but a highly useful resource. Underpinning ‘circulation of opinion’ analysis, it can ground a contemporary policy analysis which values both normativity and diversity.

I took it as somewhat symbolic that, in a book consisting of four community media case studies, two of them should be located in old fire stations (WFHB and DCTV).