Crossroads in Cultural Studies Conference 14-17th December 2016 Program Index
Crossroads-2016-final-draft-program-30-Nov
Crossroads-2016-final-draft-program-30-Nov
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advantage of developments <strong>in</strong> non-traditional approaches <strong>in</strong> security studies on the other. It seeks to<br />
relocate the study of security <strong>in</strong> the everyday rather than <strong>in</strong> “security elites”, while also recognis<strong>in</strong>g the<br />
everyday is always already imbricated <strong>in</strong> multi-scalar security projects. It argues that relocat<strong>in</strong>g the study of<br />
security <strong>in</strong> the everyday allows us to centralise the impacts national and <strong>in</strong>ternational security projects have<br />
on everyday forms of (<strong>in</strong>)security, while also highlight<strong>in</strong>g how security projects are marketed and advertised<br />
to an imag<strong>in</strong>ed public (or <strong>in</strong>deed enemy), as well as <strong>in</strong>terpreted and consumed <strong>in</strong> everyday contexts.<br />
Holly Randell-Moon<br />
Compet<strong>in</strong>g Futures: Community build<strong>in</strong>g and the Gigatown competition <strong>in</strong> the South Island<br />
Gigatown was a jo<strong>in</strong>t <strong>in</strong>itiative between the telecommunications company Chorus and the New Zealand<br />
government to award a town “the fastest <strong>in</strong>ternet <strong>in</strong> the Southern Hemisphere” through a social media<br />
competition. With South Island towns and urban centres fac<strong>in</strong>g Northern population drift and <strong>in</strong>frastructural<br />
obstacles to global competitiveness, Gigatown promised security <strong>in</strong> economic and technological terms for<br />
the w<strong>in</strong>n<strong>in</strong>g town. Although framed as an energis<strong>in</strong>g and creative endeavour, the Gigatown <strong>in</strong>itiative<br />
mobilises competition as the policy mechanism through which resource allocation and a secure urban future<br />
can be realised. The competition positions residents as both citizens, who have the right to participate <strong>in</strong><br />
policy plann<strong>in</strong>g and development, and consumers, whose social media proficiency is construed as good<br />
citizenship for a development scheme assumed to yield benefits for all community members.<br />
Joshua Pocius<br />
The Liv<strong>in</strong>g End: Security, Immunity, Biopolitics<br />
A quarter-century on from Gregg Araki’s “irresponsible” queer rework<strong>in</strong>g of the North American road genre<br />
film <strong>in</strong> the age of AIDS, a spectre is haunt<strong>in</strong>g Europe: a spectre which similarly <strong>in</strong>vokes the image of the<br />
seropositive subject aimlessly wander<strong>in</strong>g on a destructive path. As populist politicians call for a halt to<br />
immigration <strong>in</strong> Europe and an exit from the European Union, as UKIP leader Nigel Farage recently advocated<br />
<strong>in</strong> relation to HIV-positive migrants “swarm<strong>in</strong>g” the UK <strong>in</strong> search of publicly-funded antiretroviral therapy,<br />
peculiarly neoliberal paradigms of securitisation, immunitarian biopolitics and conta<strong>in</strong>ment are thrust <strong>in</strong>to<br />
focus. This paper seeks to address the outer limits of comparative analysis by redress<strong>in</strong>g Araki’s 1992 film<br />
The Liv<strong>in</strong>g End <strong>in</strong> a post-AIDS climate of biometrics and biosecurity.<br />
10W<br />
Playful engagements and gam<strong>in</strong>g cultures (Chair, Robbie Fordyce)<br />
Ben Egliston Modulat<strong>in</strong>g videogame experience and perception through broadcast: Young people, videogames,<br />
and broadcast<strong>in</strong>g gameplay<br />
Young people, particularly children born with<strong>in</strong> the last decade, are an important demographic of<br />
videogame-players. They represent a generation “born <strong>in</strong>to” an environment where broadcast<strong>in</strong>g play,<br />
through fixtures like Twitch.tv and YouTube, are central characters <strong>in</strong> the experience of games. This paper<br />
presents theoretical and empirical contributions aris<strong>in</strong>g from ongo<strong>in</strong>g research <strong>in</strong>to young people,<br />
videogames, and broadcast (with focus on games M<strong>in</strong>ecraft and DOTA 2). I am occupied with identify<strong>in</strong>g and<br />
explor<strong>in</strong>g the impacts and outcomes of contemporary videogame culture”s networked ecology of screens,<br />
with regards to modes of videogame experience. I venture questions surround<strong>in</strong>g experience and<br />
perception, focus<strong>in</strong>g on technical, bodily and material aspects of play, and how they are tempered by the<br />
forces of broadcast. Young people “play<strong>in</strong>g along” with popular broadcasters is a key po<strong>in</strong>t addressed<br />
(configuratively, <strong>in</strong>game, and also through physical gesture). Another po<strong>in</strong>t, refracted through an analysis of<br />
the material, is the way <strong>in</strong> which screens are physically situated alongside others dur<strong>in</strong>g play sessions;<br />
augment<strong>in</strong>g the environment of play (for <strong>in</strong>stance, early f<strong>in</strong>d<strong>in</strong>gs show children play<strong>in</strong>g while watch<strong>in</strong>g<br />
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