Passive Audience Research Articles

Heckle: To Disconcert with Questions, Challenges, or Gibes

Can a case be made for permitting, encouraging and protecting the activity of heckling? Heckling has the effect of disconcerting speakers and preventing them from the presentation of their speech on exactly the terms that they have planned. And that is actually the purpose and the value of heckling. At a time when political choreography dominates public speech, it is a good idea to encourage modes of speech and interaction that do not require a passive audience sitting still to attend to speech on exactly the speaker's own terms. Heckling can be viewed through the lens of suppression of speech, disruption, and the potential for violence (the heckler's veto); or it can be viewed through the lens of lively exchange and a more interactive understanding of free speech values. This paper takes the latter perspective, and uses it to analyze and evaluate campus speech issues and questions such as the relation between speakers' rights and listeners' rights.

Beyond the \u201cc\u201d and the \u201cx\u201d: Learning with algorithms in massive open online courses (MOOCs)

This article examines how algorithms are shaping student learning in massive open online courses (MOOCs). Following the dramatic rise of MOOC platform organisations in 2012, over 4,500 MOOCs have been offered to date, in increasingly diverse languages, and with a growing requirement for fees. However, discussions of learning in MOOCs remain polarised around the “xMOOC” and “cMOOC” designations. In this narrative, the more recent extended or platform MOOC (“xMOOC”) adopts a broadcast pedagogy, assuming a direct transmission of information to its largely passive audience (i.e. a teacher-centred approach), while the slightly older connectivist model (“cMOOC”) offers only a simplistic reversal of the hierarchy, posing students as highly motivated, self-directed and collaborative learners (i.e. a learner-centred approach). The online nature of both models generates data (e.g. on how many times a particular resource was viewed, or the ways in which participants communicated with each other) which MOOC providers use for analysis, albeit only after these data have been selectively processed. Central to many learning analytics approaches is the desire to predict students’ future behaviour. Educators need to be aware that MOOC learning is not just about teachers and students, but that it also involves algorithms: instructions which perform automated calculations on data. Education is becoming embroiled in an “algorithmic culture” that defines educational roles, forecasts attainment, and influences pedagogy. Established theories of learning appear wholly inadequate in addressing the agential role of algorithms in the educational domain of the MOOC. This article identifies and examines four key areas where algorithms influence the activities of the MOOC: (1) data capture and discrimination; (2) calculated learners; (3) feedback and entanglement; and (4) learning with algorithms. The article concludes with a call for further research in these areas to surface a critical discourse around the use of algorithms in MOOC education and beyond.

Consciousness and Chiasmus: Narrating Embodied Intersubjectivities

Consciousness and Chiasmus: Narrating Embodied Intersubjectivities Merle A. Williams George Butte. Suture & Narrative: Deep Intersubjectivity in Fiction and Film. Columbus: Ohio State UP, 2017. 246 + vi pp. $29.95 (Paperback). George Butte’s Suture & Narrative offers a searching reappraisal of the diverse narrative strategies that inform both fiction and film, drawing on the established resources of film theory and particularly a creative application of phenomenological thinking. Central to the argument is Maurice Merleau-Ponty’s notion of “the chiasm” or “the intertwining” between individual consciousness and the perceptual world or other embodied consciousnesses, as explored in The Visible and the Invisible (first published in French in 1964). Butte’s account is rich and challenging, despite a few conceptual lapses in his engagement with his chosen philosophical material. The book is constructed as a cumulating sequence of case studies, each of which is aptly staged and developed. Butte’s fine attention to detail adds subtlety to his readings of astutely selected filmic images or passages from literary texts. By “deep intersubjectivity” Butte means “the form in narrative of self-knowledge by way of others in an intricate set of encounters” that yield varying degrees of understanding and coherence (4). In this regard, he at once elaborates and strategically realigns the principal concerns of his earlier I Know That You Know That I Know (2004). His idea of “suture” takes its impetus from Lacanian film theory of the 1960s and 70s yet displaces that discourse in the direction of qualified presence and embodiment. The wounding of the body or the body-mind complex is anticipated by the epigraphs to chapter 1, which include a surgeon’s reflection on making his first incision as a student (1). In broad terms, “suture” is taken to involve the stitching together of human consciousnesses that are never entirely transparent to one another. This process presupposes the function of an enunciator, whose approach is more or less subtly oblique. In effect, an aspect of wounding both infuses the process of enunciation and is thematic to the literary and filmic works identified for discussion (6–9). Butte contends that his version of suture theory is equally applicable to fiction and film because certain core concerns are “fundamentally similar for print and film narrative: who controls the construction of a diegesis, who moves across a fabula to [End Page E-20] piece together a specific syuzhet from its broader canvas, who shifts from one image to another . . .” (10). The primary technique for film is shown to be the shot/reverse shot sequence, whereas free indirect discourse is characteristic of fiction. While this position is balanced and reasonable, it seems to me to foreground similarity at the expense of difference. As Butte himself acknowledges in the course of his commentary, the films of classic novels (for example) cannot be construed simply as direct translations of those literary texts, because the new medium simultaneously makes its own demands and offers its own opportunities. The very multi-modality of film as a composite of script, visual image, the spoken word, music, special effects, and the like—not to mention the technical means of production and the accompanying commercial imperatives—must set it apart from a novel that functions predominantly as a tissue of language. At least at the level of meta-theory there might have been closer investigation of the innate incommensurabilities between fictional narrative, with its burgeoning formal freedoms, and the bricolage of narrative in film, especially as Butte’s practice nimbly enacts such divergences. Butte begins to fashion his innovative orientation by taking issue with a film theory of absence, as influenced by the Lacanian perspectives of Jacques-Alain Miller and Jean-Pierre Oudart. Oudart’s preoccupation with the potential of montage for concealing the gap between individual shots, and especially the default of any grounding origin for the series, comes to be associated with the anxious longing of a putatively passive audience for a plenitude of viewing experience. By contrast, Butte focuses on Merleau-Ponty’s receptiveness to the Kuleshov effect, which recognizes a whole film as greater than the sum of its parts, thus facilitating a sense of intersecting lives in the representation of a common reality. This...

Manipulating Memory and Mourning in Post-socialist Art

When it comes to global contemporary art practice, the present-day humanitarian discourse abounds in a variety of self-explanatory notions and imperatives such as: political art, community- based art, post-studio practices, participatory art, contextual art, socially engaged art, collaborative art, interactive art. It long ago became apparent that artistic practice can no longer revolve around producing objects for consumption by a passive audience, but must take an active part in interfacing with social reality. In perceiving the modality of a work of art and artistic practice, such a change goes hand in hand with the post-Fordist economic changes and the immaterial and flexible labour imperatives. Claire Bishop has already extensively depicted such artistic phenomena in several of her publications.
 Since the early 90s, after the fall of the Iron Curtain in 1989, we have been informed that we ought to be involved with the humanist struggle for the ‘politics of human rights’, and for ‘Art against terrorism’, or engaged with social groups and minorities with the aim of integrating them into a ‘legal sphere’ of life. The humanitarian/humanist imperative, present in everyday political discourse, art and culture, presupposes an opposition between good and evil, where art as a human, humanist and humanitarian activity, is supposed to assume a ‘responsible’ role. In the view of such rhetoric, Art must be ‘political’, ‘socially engaged’ and ‘participatory’, to the extent that it indicates the sharp distinction between the places of violence and those of justice. However, as Marx indicated so many times, the division between those who have the right to be seen (the ‘polis’, or public sphere) and those who do not have a right to a voice (private sphere), assents to social division as such, as well as a rather contingent ethical contraposition between good and evil. Humanitarianism/Humanism in art only affirms the existing democratic phraseology. The humanitarian/humanist regime of art validates a separation between civil society and the abstract society of political equality. Therefore, the aim of this paper is to trace the conceptual distinction between the humanitarian ideology of the current time in the post-socialist context of art and culture, and the thinking and practical application of the concept of the dehumanisation of art.
 The manuscript consists of three parts: In the first part, I will recall Adorno’s thesis regarding the ‘after-Auschwitz’ ethic of representation; in the second part, I will discuss the controversy and the implementation of this thesis following 9/11 as related to culture; and finally, in the third part, I will address the issue of how this thesis, as the main current ideological weapon, conditions the contemporary state of affairs in the post-socialist spaces of art and culture, by indicating several key symptoms in artistic production.

Beyond Presentation: Shared Slideware Control as a Resource for Collocated Collaboration

Traditional models of slideware assume one presenter controls attention through slide navigation and pointing while a passive audience views the action. This paradigm limits group interactions, curtailing opportunities for attendees to use slides to participate in a collaborative discourse. However, as slideware permeates contexts beyond simple one-to-many presentations, there are growing efforts to shift the dynamics of collocated interactions. Technologies exist to shift the one-to-many information control paradigm to variations that extend functions to multiple attendees. But there is limited detailed research on how to design such multi-person attentional control and facilitate collocated interactions without disrupting existing work practices. We report on a detailed naturalistic case of using presentation in a design meeting, where participants used Office Social, an experimental slideware technology that enabled open access to shared interaction with slides across multiple devices. We explore how the design of Office Social supported informal collaboration. Our video-based analysis reveals how the orderly structures of conversational turn-taking and bodily conduct were used in conjunction with the affordances of the socio-technical ecosystem to organize collective activity. We suggest that supporting collocated interactions should take account of the existing conversational methods for achieving orderly collaboration rather than superimposing prescriptive technological methods of order.

Heckle: To Disconcert with Questions, Challenges, or Gibes

Can a case be made for permitting, encouraging and protecting the activity of heckling? Heckling has the effect of disconcerting speakers and preventing them from the presentation of their speech on exactly the terms that they have planned. And that is actually the purpose and the value of heckling. At a time when political choreography dominates public speech, it is a good idea to encourage modes of speech and interaction that do not require a passive audience sitting still to attend to speech on exactly the speaker's own terms. Heckling can be viewed through the lens of suppression of speech, disruption, and the potential for violence (the heckler's veto); or it can be viewed through the lens of lively exchange and a more interactive understanding of free speech values. This paper takes the latter perspective, and uses it to analyze and evaluate campus speech issues and questions such as the relation between speakers' rights and listeners' rights.

Musical protagonism: Beyond participation in punk and post-punk

Abstract This article applies the notion of participation in artworks to the phenomenon of punk and post-punk. Participation has been championed as a means of describing the activity of art moving on from a static sense of art/audience reception. The punk DIY call seems to be an expression of that move, that is, from passive audiences to active audience members turning into band members. Carol Bishop is a key theorist in the analysis of participation. However, Bishop moved from a positive position of promoting the value of participation to a much more negative reading of attempts at artistic engagement. It is significant that both positive and negative readings of these activities occurred a considerable amount of time after similar debates were worked through in practice in the arenas of punk and post-punk. The article uses personal testimony in terms of the motives and drives for people in 1977 and those looking back to that time. This testimony points to something qualitatively different from participation, in fact the activity of newly empowered musical protagonists using simple means of production to develop new contexts outside of the norm. The ‘bridge’ of the article draws on Wire’s ‘It’s So Obvious’ and the Au Pairs’ ‘It’s Obvious’ to argue that it is the expectation of creative/personal expression that marks punk and post-punk out from other musical forms – what can be termed musical protagonism. This article draws on the author’s Ph.D. research and the author’s contemporaneous experience as a member of a post-punk band. It is argued that subsequent academic/creative practices of the author, and many others, stem back to experiences of punk and post-punk. The article concludes with the suggestion of applying the concept of musical protagonists to the present day.

Post-populism in Zambia: Michael Sata’s rise, demise and legacy

Models explaining populism as a policy response to the interests of the urban poor struggle to understand the instability of populist mobilisations. A focus on political theatre is more helpful. This article extends the debate on populist performance, showing how populists typically do not produce rehearsed performances to passive audiences. In drawing ‘the people’ on stage they are forced to improvise. As a result, populist performances are rarely sustained. The article describes the Zambian Patriotic Front’s (PF) theatrical insurrection in 2006 and its evolution over the next decade. The PF’s populist aspect had faded by 2008 and gradually disappeared in parallel with its leader Michael Sata’s ill-health and eventual death in 2014. The party was nonetheless electorally successful. The article accounts for this evolution and describes a ‘post-populist’ legacy featuring of hyper-partisanship, violence and authoritarianism. Intolerance was justified in the populist moment as a reflection of anger at inequality; it now floats free of any programme.

Video Game Industry and User-Generated Content: A Dynamic Interplay Between Laws and Video Game Community Norms

In the course of the past few years, the traditional model of media production, based on the premise that content is produced by professional creators and then consumed by passive audiences, has become increasingly outdated. The development of new digital media networks and online content-sharing platforms has bridged the divide between creators and consumers, and significantly changed the way in which culture is produced, distributed and consumed. From user reviews and blogs to video ‘mashups’ and music remixes, it is clear that members of the public want to actively participate in the creation of original media content. On the other hand, many media producers feel very differently about the creative desires of their fans. Wishing to protect their intellectual and commercial interests, they frequently rely on intellectual property laws and license agreements to either completely restrict their fans’ rights to create user-generated content or, alternatively, seek to secure legal ownership of all such content. At first glance, it may seem that only one side’s interests can prevail. Focusing on the video game industry, this paper will argue that a compromise is possible. The interactions between developers and publishers of video games, and fans engaged in the creation of video game modifications show that IP owners can unlock the creative potential of their fans without having to surrender control over their IP or fan-made works. In fact, by departing from their standard deterrence-based strategies for IP protection, acknowledging the existence of community norms, and actively engaging in an open dialogue with their fans, IP owners can not only secure greater compliance with, and even increase the normative support for, their rules and policies but, potentially, also discover a more effective solution to the problem of piracy and online IP infringement.

Defining Primary Tasks for the First Lady that Become the Foundation in Forming a Positive Public Image

Objective: to research various aspects that part of the positive image shaping, her influence on the nation’s leader image perception both within the country and without; to observe the interdependence between the first lady positioning and the country’s image in the press. The author sets out to research tools and methods used to build up the image, create an efficient technology to reinforce the positive image, the algorithm of communication with media and translation of the image to the target audience. Methods: learning from predecessors, we may conclude that researchers, political engineers, practicing scientists, achieved various levels of understanding of the concept of public image, about the role of first lady in forming of nation’s image, her influence on mass media, her perception of information and forming of public thought. The author conducted her own research, learning about Ukrainian and other first ladies from 2006 to 2014. Specific sources include an interview for author program at Golos Kieva radio station, Safari Ukraine magazine, and, especially for this research, an interview with the first ladies Aliyeva Mehriban First Lady of Azerbaijan; L. Kuchma, K. Chumachenko-Yushchenko, L. Yanukovitch - First Lady of Ukraine, Y. Timoshenko; monitoring and analysis of publications in business media and information analytical press about first ladies’ public image, inquiry with professional image makers and journalists, PR professionals.. Results: An extra to the external image could be specific results of the activity of the first lady publicized in mass media: the part she took in social projects, the promotion of the programs of reforms in some specific educational, social, or healthcare initiatives. The stand and the public action of the first lady can first of all influence the passive apolitical audience, those who have electoral right: housewives, the elderly, the disabled and people having medical conditions, including young citizens who haven’t decided about their political views. Conclusion: The suggested material in structured and is relevant to the practical realities of imagemaking for the first lady in Ukraine. Currently, the standard depends on mentality. For example, domestically the standard is a caring, wife and mother, loving and sincere patriot, femininity, but externally, for example in France, an exquisite lady, gallant and reserved partner of the president, in Arabic countries it is a silent jewel that decorates her man. In this research a range of ways of developing the image of the first lady and female politician in the modern information space is offered to influence the forming of the image of the country. The image created by professionals will mask personal characteristics and will only inform the public about socially important qualities of the first lady, will satisfy general audience’s expectations: obligation, adherence to principles, willpower, femininity, honesty, service to the country and to the people. Currently, mass media is the most efficient instrument in the forming of the state image.

Narrative, machinima and cognitive realism: Constructing an authentic real-world learning experience for law students

In Australian law schools didactic pedagogies such as lectures devoted to the transmission of theory and knowledge to a largely passive audience still predominate. However, curriculum design embedding authentic learning pedagogies has been shown to be supportive of student learning. The challenge in adopting such curriculum design is how to offer situated cognitive learning opportunities on a large scale to increasingly diverse cohorts. This paper is a case study of a blended learning approach introduced into a second year undergraduate law unit to teach negotiation theory and practice to a large cohort of students studying in full-time, part-time, and distance external modes. This innovation was situated in an authentic simulated learning environment created through careful design of a high-fidelity scenario, utilising a narrative depicted by Second Life machinima video and simulated documentation. This approach resulted in greater student engagement and improved learning outcomes.

‘Live and local’?

Literary festivals throughout the English-speaking world have been enthusiastic adopters of digital technology: uploading podcasts of author talks, posting videos of panel sessions to video-sharing sites such as YouTube, inviting guest bloggers to comment on proceedings and encouraging live-tweeting as a means of reinforcing audience members’ participatory agency. Such innovations serve to expand festivals’ reach to encompass dispersed audiences and, moreover, increase the longevity of previously transient events. They hence provide evidence to justify writers’ festivals’ claims on public funding as well as to delineate vibrant online and offline bookish communities of interest. However, wholesale uptake of digital technology destabilizes some previous givens of the literary festival as they have coalesced since the phenomenon’s 1980s efflorescence. The concept of authorship undergoes profound changes in a climate of online performativity, constant availability to readerships and digitally diminished ‘aura’. Equally, previously passive audiences are reconceptualized as amateur critics, co-publicists and even co-publishers in the case of crowdsourced subscription publishing. Festival programming may be sampled live or archived, and audiences are only partially tethered to a particular geographical location – a disarticulation taken to another level by emerging online-only writers’ festivals such as the #TwitterFiction Festival and the Digital Writers’ Festival. What are the implications of these shifts for our conceptualization of 21st-century literary community? This article seeks to address this question by proposing a theoretical framework for examining the digital/literary festival interface, analyzing a wide range of terrestrial and online-only festivals and underpinning this analysis with empirical audience interviewing conducted at multiple Australian and UK writers’ festivals and book towns. In bringing together these strands, the article presents a detailed picture of an important and currently underexplored dimension of the public encounter with literature at a moment of profound digital change.

The Role of Spectator in the Screen Arts

The object of this research is the spectator’s role in the system of screen culture: in cinema, television, video art and computer games, especially those designed for the virtual reality. Special attention is paid to the differences in unspoken rules and conventions in such spaces as cinema-halls and contemporary art galleries, because of the way such differences affect the spectators’ behaviour and perception, as well as the degree of their activeness in the communication process. The field of virtual reality is perceived as the newest medium, the aesthetic value of which is still to be clarified. The novelty of the research is in problematisation of the spectator’s figure in the post-classic screen culture. While the role of cinemagoer is analyzed in a large number of cultural and psychoanalytic works depicting the communicative mechanics of cinema, the role of video and new media art spectator has not been explored yet. The author concludes that the video and modern screen arts call for a significant activeness of the viewer, who plays the role of critically thinking subject and due to this becomes the co-author of the artwork. However, the “hot” media of mass culture are designed for the passive audience and can change the situation. The findings of this study can be used in analytical work, as well as in educational practice to give lectures and seminars on the courses of history and theory of contemporary art, cultural studies, media theory.

КОМПЬЮТЕРНЫЕ ИГРЫ И НОВЫЕ МЕДИА: ИГРОВОЙ ПОДХОД К КОММУНИКАЦИЯМ В ВИРТУАЛЬНОМ ПРОСТРАНСТВЕ

The author of the article states that there is a problem of a controlled transition to the WWW of a passive audience that perceives online information on the type of traditional media consumers. In this regard, she suggests that researchers focus on the phenomenon of computer games that develop the ability of Internet users to evolve analytical thinking and work independently with information. Thus, the quality of proactivity is formed in the audience. The article deals with the classification of computer games that is relevant for new media. It is based on active action options for players. This is an instrumental embodiment of the subject-subject model of network communication.

Постдраматический режиссер / зритель и современный московский театральный контекст

<p>Одно из центральных положений книги Х.-Т. Лемана «Постдраматический театр» (1999 г., изданной на русском языке в 2013 г.) связано с переосмыслением роли зрителя в современном театре. Согласно Леману, зритель больше не пассивный объект воздействия зрелища, он становится полноправным соавтором театрального представления. Режиссер в этой новой системе театральной коммуникации лишается исключительного права на смысл постановки, на однозначное, не предполагающее спектра трактовок «послание» публике.</p><p>Цель данной статьи — рассмотреть, применимы ли тезисы Лемана к актуальным условиям театральной коммуникации в г. Москве. Для этого проанализировано интервью театрального режиссера Константина Богомолова по поводу отмены премьеры в 2013 г. спектакля «Карамазовы» в Московском Художественном театре им. А. П. Чехова. Мнение зрителей проанализировано на примере их отзывов в Интернете, в социальных сетях. Несмотря на то что К. Богомолов представляется в прессе и репликах театральной общественности в пространстве социальных сетей как один из наиболее радикальных современных экспериментаторов, его высказывание строится не по постмодернистской, а по модернистской модели: функцию режиссера-«творца» он видит в том, чтобы ставить «объективные» диагнозы своему времени, зрителю же остается лишь достаточно пассивно воспринять высказывание режиссера. Сотворчества и сотрудничества в данном случае не предполагается. Однако и высказывания зрителей показывают, что сильна тенденция отношения к театру как к культурно-просветительской институции, а к режиссеру — как к тому, кто предъявит ясное и однозначное высказывание. Зритель сам себе отводит пассивную роль.</p><p>Таким образом, понятие эксперимента, а также представления о разделяемой в пространстве театральной коммуникации ответственности нуждаются в исследовательской проблематизации.</p>

Regulating film, regulating emotion: the emotional history of public opinion

ABSTRACTThe article argues that the legal about face in 1950s law in which film was granted First Amendment protection was driven in part by a change in the “emotional regimes” of US democracy, or emotions/performances of emotion that are part of legitimate political culture. The legal understanding of how film does or does not contribute to democratic political culture tracks historical shifts in these emotional regimes. In the teens, elites feared the activation of the masses, as crowds, in political uprisings. By 1950, elite fears had turned to passive audiences, “narcotized” masses that might easily be seduced by totalitarian demagogues.

Drug breakthrough offers hope to arthritis sufferers: qualitative analysis of medical research in UK newspapers.

BackgroundNewspaper stories can impact behaviours, particularly in relation to research participation. It is therefore important to understand the narratives presented and ways in which these are received. Some work to date assumes journalism transmits existing medical knowledge to a passive audience. This study aimed to explore how newspaper articles present stories about medical research and how people interpret and use them.DesignQualitative research methods were employed to analyse two data sets: newspaper articles relating to ‘rheumatoid arthritis’ and ‘research’ from UK local and national news sources; and existing transcripts of interviews with patients with rheumatoid arthritis and their carers.ResultsNewspapers present a positive account of medical research, through a simple narrative with three essential components: an ‘innovation’ offers ‘hope’ in the context of ‘burden’. Patients frequently feature as passive subjects without attributed opinions. Few articles include patients’ experiences of research involvement. Patients with rheumatoid arthritis and their carers read articles about medical research critically, often with cynicism and drawing on other sources for interpretation.ConclusionsAn understanding of the simple, positive narrative of medical research found in newspaper articles may enable researchers to gain mass media exposure for their work and challenge this typical style of reporting. The critical and cynical ways patients and carers read stories about medical research suggest that concerns about newspaper articles misinforming the public may be overstated, but any effect on research engagement is unknown. Newspaper articles rarely present patients’ views or their experiences of research, and this can be conceptualized as ‘depersonalization bias’.

Wikistudents. Teaching consumption through production hands on with Wikipedia

This paper describes and reflects on a teaching experience developed as a complimentary workshops to MA class on history, theory and politics of consumption. We used Wikipedia as a tool to consider the circuit of knowledge production in the Web 2.0 era, where consumers are no longer passive audiences but producers and consumers at the same time. We developed a collaborative team-work workshop aimed at the production of Wikipedia entries on topics related to the class content. In this note we describe the structure of such “Wikiworshops”, our teaching strategy on sources management, teamwork and group teaching, and elaborate on students' reception of the workshop. Wikiworkhops proved to be an effective exercise in a collaborative economy of knowledge, and an opportunity for young sociologists to be part of it, expressing their creativity as well as becoming aware of the boundaries and limits inherent in the mechanism.

How to engage customers in co-creation: customers’ motivations for collaborative innovation

The term ‘customer engagement’ has been increasingly used in academic marketing literature. Empowered by the rise of the internet, customers are no longer a ‘passive audience’ but ‘active co-producers’ and engage in behaviours that strengthen their relationship with the product, company or brand, such as collaborating to co-create value through innovation. However, few studies exist on collaborative innovation and how to engage customers in co-creation, namely in specific virtual environments. Drawing on insights from product innovation and virtual communities, our study seeks to understand why customers participate voluntarily and freely in co-creation online activities, by testing a conceptual model which considers an integrated set of motivations for members to engage in collaborative innovation. On a managerial level, our study intends to provide valuable insights to firms on how to create an experience to engage consumers in co-creation in virtual communities.

SU‐E‐P‐17: Flipping the Classroom: Improving Physics Education in a Clinical Environment

Purpose:The traditional model of an active presenter with a passive audience is one of the least effective methods of education availiable.1 Additionally, it is difficult for an instructor to balance time preparing for course lectures with clinical duties. An alternative method would be to reduce the amount of lecture time in the class, with a greater emphasis on outside readings or videos that students watch prior to attending scheduled class hours.Methods:The Clinical Rotation course at ECU was revamped to incorporate >30 TG Reports to develop deeper understanding of clinical aspects. Students were expected to read and bring questions on the topics to a weekly discussion session. Additional questions were asked by the instructor to verify understanding and emphasize key points of the reports. A final oral exam was given in the style of ABR part 3 to determine comprehensive analysis of the students understanding.Results:Over the past five semesters of the course, students have consistently had positive feedback on the course and overall scores have been good. Students benefited greatly from active learning during class discussions. A comparison with previous average grades was not possible. Time for preparation of the discussion is greatly reduced from time consuming powerpoint presentations.Conclusion:It is important to balance time in clinic and time teaching to optimize efficiency in education without sacrificing patient care. It is also important to deliver a quality education to students. This method also has the added benefit of emphasizing the importance of task group reports to students which will be a primary source of reference in clinical settings.1McIntosh, N.,&Sullivan, N. (1996). Delivering effective lectures. JHPIEGO Strategy Papers.