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Traditionally, documentary has been presented as an objective portrayal of fact: the actualité. Recently, a new breed of 'dramatic' documentary that uses coercion; persuasion, and emotional manipulation has emerged to critical and commercial success. Contemporaneously, interactive entertainment has evolved to the point at which near-realism can be portrayed in real time. This, taken alongside the immersive interaction in which the industry specialises, and the dramatic techniques of engagement employed by the latest documentary films suggests that we may be at the brink of a new cultural form: the interactive documentary. In this paper we discuss the form that interactive documentary might take, and the historical and cultural context into which it fits. We conclude by detailing the issues raised by the concept of the interactive documentary, and how the role of documentary maker as auteur is reconciled with the notion of a truly interactive pathway through such a production. 325 Keywords interactivity documentary new-media interactive entertainment JMP 8 (3) 325-339

This book explores the development of and the social, cultural, and historical context of chiptune, a form of electronic music that emerged from the first generation of video game consoles and home computers in the 1980s. Through a combination of musical and procedural analysis and practitioner interviews, the book explores the role the technical constraints of early video game hardware played in shaping the sound of 8-bit video game music and the inventive approaches to coding and composition musicians used to circumvent them. It examines the sounds, culture, and personalities behind the music and shows how chiptune links as closely to the music of Bach as to the aggressive posturing of punk or the driving electronic sounds of house. The book begins by looking at chiptune’s roots in video game music and discusses how, as the sound chips that gave rise to its distinctive voice were superseded by more sophisticated hardware, chiptune moved underground to become an important part of the demoscene, a networked community of digital artists. It discusses chiptune’s reemergence in the late 1990s as a new wave of young musicians rediscovered these obsolete machines and began to use them as quirky and characterful musical instruments, in the process taking chiptune from the desktop and placing it centre stage. The book concludes by contemplating what lies ahead; as more people incorporate the chiptune sound into their work, will it ever hit the mainstream or will it remain firmly countercultural as part of the digital underground?

Musicians work with, and around, various forms of technological media and resources. In today's professional environment, musicians face multifaceted work that may include teaching, performing, marketing, promoting, recording, or composing. The musician as entrepreneurial learner becomes a key focus for authenticity within their learning. Music educators, music professionals, and musicians of all ages need to navigate key career choices along their career paths which can be supported by authentic approaches to learning. This chapter explores how enterprise pedagogy and entrepreneurial pedagogy (i.e., authentic learning experiences) provide opportunities for students to reflect on, and prepare for, the likelihood of multiple jobs and roles in their upcoming career paths. Podcasting as an authentic learning tool is explored through the development of MusicWorks, a podcast series giving voice to the multiple career paths of industry and educational leaders in music.

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