Sensing place : embodiment, sensoriality, kinesis, and children behind the camera

This article is a call to literacy teachers and researchers to embrace the possibility of attending more consciously to the senses in digital media production. Literacy practices do not occur only in the mind, but involve the sensoriality, embodiment, co-presence, and movement of bodies. This paper theorises the sensorial and embodied dimension of children’s filmmaking about place in two communities in Australia. The films were created by pre-teen Indigenous and non-Indigenous children in Logan, Queensland, and by Indigenous teenagers at the Warralong campus of the Strelley Community School in remote Western Australia. The films were created through engagement in cross-curricular units that sensitised the students’ experience of local places, gathering corporeal information through their sensing bodies as they interacted with the local ecology. The analysis highlights how the sensorial and bodily nature of literacy practice through documentary filmmaking was central to the children’s formation and representation of knowledge, because knowledge and literacy practices are not only acquired through the mind, but are also reliant on embodiment, sensoriality, co-presence, and kinesics of the body in place.

Children's emotions and multimodal appraisal of places : walking with the camera

This sensory ethnography explores the affordances and constraints of multimodal design to represent emotions and appraisal associated with experiencing local places. Digital video production, walking with the camera, and the use of a think-aloud protocol to reflect on the videos, provided an opportunity for the primary school children to represent their emotions and appraisal of places multimodally. Applying a typology from Martin and White's (2005) framework for the Language of Evaluation, children's multimodal emotional responses to places in this study tended toward happiness, security, and satisfaction. The findings demonstrate an explicit connection between children's emotions in response to local places through video, while highlighting the potential for teachers to use digital filmmaking to allow children to reflect actively on their placed experiences and represent their emotional reactions to places through multiple modes.

The light of Gairdner

The Light of Gairdner is a key work of the author's exhibition Lightsite, which toured Western Australian galleries from February 2006 to November 2007. It is a five-minute-long exposure photographic image captured inside a purpose-built, room-sized pinhole camera which is demountable and does not have a floor. The Light of Gairdner depicts two brothers Allan and Harvey Lynch during their barley harvest. Allan is standing outside the pinhole camera-room in the barley field. The light from this exterior landscape is 'projected' inside the camera-room and illuminates the interior scene which includes that part of the barley field upon which the floorless room is erected, along with Harvey who is standing inside. The image evokes the temporality of light. Here, light itself is portrayed as the primary medium through which we both perceive and describe landscape. It is through the agency of light that we construct our connectivity to landscape. The exhibition/catalogue statement. "Harvey and Allan Lynch lost their father Frank, in a crop dusting crash five years ago. They now manage their dad's 6000 acre farm and are photographed here at the time of their barley harvest."

The light of Gairdner 2

The Light of Gairdner 2 is a key work of the author's exhibition Lightsite, which toured Western Australian galleries from February 2006 to November 2007. It is a five-minute-long exposure photographic image captured inside a purpose-built, room-sized pinhole camera which is demountable and does not have a floor. The Light of Gairdner 2 depicts two brothers Allan and Harvey Lynch during their barley harvest. Allan is standing outside the pinhole camera-room in the barley field with their new 'CASE' harvester. The light from this exterior landscape is 'projected' inside the camera-room and illuminates the interior scene which includes that part of the barley field upon which the floorless room is erected, along with Harvey who is standing inside. The image evokes the temporality of light. Here, light itself is portrayed as the primary medium through which we both perceive and describe landscape. In this way it is through the agency of light that we construct our connectivity to landscape. The exhibition/catalogue statement. "Harvey and Allan Lynch lost their father Frank, in a crop dusting crash five years ago. They now manage their dad's 6000 acre farm and are photographed here at the time of their barley harvest. The Light of Gairdner 2 features their new 'CASE' harvester, and in the distance, the grain silos of Gairdner."

Jack's Bay (the architecturalisation of memory)

Jack's Bay (the architecturalisation of memory) is a key work of the author's exhibition Lightsite, which toured Western Australian galleries from February 2006 to November 2007. It is a five-minute-long exposure photographic image captured inside a purpose-built, room-sized pinhole camera which is demountable and does not have a floor. The work depicts octogenarian Jack Morris, who for forty years held the professional salmon fishing license in the hamlet of Bremer Bay, on the SE coast of Western Australia. The pinhole camera-room is sited within sand dunes new Jack's now demolished beachside camp. Three generations of Jack's descendents stand outside the room - from his daughter to his great grand children. The light from this exterior landscape is 'projected' inside the camera-room and illuminates the interior scene which includes that part of the sand dune upon which the floorless room is erected, along with Jack who is sitting inside. The image evokes the temporality of light. Here, light itself is portrayed as the primary medium through which we both perceive and describe landscape. In this way it is through the agency of light that we construct our connectivity to landscape.

Extending the dynamic range of robotic vision

Conventional cameras have limited dynamic range, and as a result vision-based robots cannot effectively view an environment made up of both sunny outdoor areas and darker indoor areas. This paper presents an approach to extend the effective dynamic range of a camera, achieved by changing the exposure level of the camera in real-time to form a sequence of images which collectively cover a wide range of radiance. Individual control algorithms for each image have been developed to maximize the viewable area across the sequence. Spatial discrepancies between images, caused by the moving robot, are improved by a real-time image registration process. The sequence is then combined by merging color and contour information. By integrating these techniques it becomes possible to operate a vision-based robot in wide radiance range scenes.

Camera calibration in wireless multimedia sensor networks

Wireless Multi-media Sensor Networks (WMSNs) have become increasingly popular in recent years, driven in part by the increasing commoditization of small, low-cost CMOS sensors. As such, the challenge of automatically calibrating these types of cameras nodes has become an important research problem, especially for the case when a large quantity of these type of devices are deployed. This paper presents a method for automatically calibrating a wireless camera node with the ability to rotate around one axis. The method involves capturing images as the camera is rotated and computing the homographies between the images. The camera parameters, including focal length, principal point and the angle and axis of rotation can then recovered from two or more homographies. The homography computation algorithm is designed to deal with the limited resources of the wireless sensor and to minimize energy con- sumption. In this paper, a modified RANdom SAmple Consensus (RANSAC) algorithm is proposed to effectively increase the efficiency and reliability of the calibration procedure.

Distributed object tracking with robot and disjoint camera networks

We describe a novel two stage approach to object localization and tracking using a network of wireless cameras and a mobile robot. In the first stage, a robot travels through the camera network while updating its position in a global coordinate frame which it broadcasts to the cameras. The cameras use this information, along with image plane location of the robot, to compute a mapping from their image planes to the global coordinate frame. This is combined with an occupancy map generated by the robot during the mapping process to track the objects. We present results with a nine node indoor camera network to demonstrate that this approach is feasible and offers acceptable level of accuracy in terms of object locations.

PTZ camera pose estimation by tracking a 3D target

We present a technique for estimating the 6DOF pose of a PTZ camera by tracking a single moving target in the image with known 3D position. This is useful in situations where it is not practical to measure the camera pose directly. Our application domain is estimating the pose of a PTZ camerso so that it can be used for automated GPS-based tracking and filming of UAV flight trials. We present results which show the technique is able to localize a PTZ after a short vision-tracked flight, and that the estimated pose is sufficiently accurate for the PTZ to then actively track a UAV based on GPS position data.

Awakening the spirit : telling the stories

Stephen Page talking with Cheryl Stock Stephen Page is one of the most significant dance artists working in Australia today, unique in his ability to forge and sustain a company of Indigenous artists through his seminal leadership of Bangarra Dance Theatre, which celebrated its 20 year anniversary in 2009. Together with the many artists who have contributed to the Bangarra vision, Stephen has created a distinctive contemporary Indigenous dance style and approach, celebrated for the stories it tells of the Aboriginal and Torres Strait Islander experience. Fusing the traditional with the contemporary through a connection to the spirit of the land and its people, Stephen has inspired and influenced a generation of Aboriginal and Torres Strait Islander dance and theatre artists as a choreographer, director and mentor. His down to earth humour, his passion and his sensitivity draw us as audience, Indigenous and non-Indigenous alike, to his theatrical stories of place and spirit – both ancient and modern – in ways that simultaneously transcend and reaffirm the particular cultural experience which informs them. This conversation covers the early years of growing up with his 'urban clan', discovering dance and politics and his spiritual awakening at Yirrkala. Stephen then describes moving in and out of different realities as a member of Sydney Dance Company whilst simultaneously exploring his Indigenous dance voice, the transition from dancer to choreographer, creating the Bangarra identity and the intercultural experiment of 'Rites' with the Australian Ballet. The last section looks at his various roles as an artistic director and nurturing the next generation of Indigenous artists.

Embodying multiplicity : the independent dancer's moving identity

In this article, I argue for an acknowledgement of the significance of the dancer’s role in the creation of independent contemporary dance. I propose the term ‘moving identity’ to outline the independent contemporary dancer’s ‘way of moving’ which could be perceived as the accumulation of various factors including training approaches, choreographic movement traces and anatomical structures. The concept of the moving identity allows us to appreciate the dancer’s unique signature movement style as the collation of embodied experiences into a unique way of moving. However, the moving identity is also open to change when the dancer encounters new choreography and the choreographer. Professional dance training produces particular types of dancers, depending on the techniques with which they engage. I demonstrate how the independent contemporary dancer troubles this distinctiveness by engaging with a multitude of movement styles and approaches throughout a career. This leads me to a fresh description of the dancer’s activity through the lens of Deleuzean concepts of multiplicity and de-stratification. Finally, I propose a definition of the dancer as a fluid and mutable body-in-flux with the creative potential to significantly influence the outcome of the choreographic process.

Ad hoc radiometric calibration of a thermal-infrared camera

Many applications can benefit from the accurate surface temperature estimates that can be made using a passive thermal-infrared camera. However, the process of radiometric calibration which enables this can be both expensive and time consuming. An ad hoc approach for performing radiometric calibration is proposed which does not require specialized equipment and can be completed in a fraction of the time of the conventional method. The proposed approach utilizes the mechanical properties of the camera to estimate scene temperatures automatically, and uses these target temperatures to model the effect of sensor temperature on the digital output. A comparison with a conventional approach using a blackbody radiation source shows that the accuracy of the method is sufficient for many tasks requiring temperature estimation. Furthermore, a novel visualization method is proposed for displaying the radiometrically calibrated images to human operators. The representation employs an intuitive coloring scheme and allows the viewer to perceive a large variety of temperatures accurately.

Visual narratives and counter-narratives in aged care : Centring the participant as photographer in social science research

As detailed by a number of scholars (Emmison & Smith, 2000, 2012; Harrison, 1996, 2002, 2004), photographs and the process of photographing can provide fertile ground for sociological investigation. Examining the production of photography can tell us much about inclusion/omission and power/knowledge in a variety of social settings. Recently, some researchers have begun to utilise the participatory action research methodology, PhotoVoice, where people take and share photographs as a means of communicating and advocating on a specific topic. While medical sociologists have used PhotoVoice to communicate the impacts of disease in vulnerable populations (eg Burles, 2010), little social research has been done that combines PhotoVoice and older persons. This is interesting given the world’s population is ageing and the general lack of research that examines what daily life is like for older people living in aged care (Timonen & O’Dwyer, 2009). In response, a recent project tracked 10 participants who recently transitioned into living in residential aged care (RAC). The project combined the use of PhotoVoice methodology with repeated in-depth interviews. Residents were asked to orally and visually describe the positives and negative aspects of their daily lives. In the first instance, they shared the use of a RAC owned camera and later had the opportunity to access a camera for their sole use. Photographic analysis emphasised the value of centring the participant as an autonomous photographer in social research. In the photographs captured on a shared use camera, the photographs tended to depict predominately positive life stories (e.g. weekly morning tea outings, social activities). In comparison, the photographs captured on the sole use camera also described intimate but everyday activities, spaces, objects and people that frequented in their daily lives. Shifting the responsibility of the camera and photography solely to the participants resulted in the residents disrupting conventions of ‘suitable’ subject matter to photograph (Harrison, 2004) and in doing so, provided a much richer insight into what daily life is like in aged care.

Automatic camera exposure control

It is commonplace to use digital video cameras in robotic applications. These cameras have built-in exposure control but they do not have any knowledge of the environment, the lens being used, the important areas of the image and do not always produce optimal image exposure. Therefore, it is desirable and often necessary to control the exposure off the camera. In this paper we present a scheme for exposure control which enables the user application to determine the area of interest. The proposed scheme introduces an intermediate transparent layer between the camera and the user application which combines the information from these for optimal exposure production. We present results from indoor and outdoor scenarios using directional and fish-eye lenses showing the performance and advantages of this framework.

Is the sun too bright in Queensland? An approach to robust outdoor colour beacon detection

Using cameras onboard a robot for detecting a coloured stationary target outdoors is a difficult task. Apart from the complexity of separating the target from the background scenery over different ranges, there are also the inconsistencies with direct and reflected illumination from the sun,clouds, moving and stationary objects. They can vary both the illumination on the target and its colour as perceived by the camera. In this paper, we analyse the effect of environment conditions, range to target, camera settings and image processing on the reported colours of various targets. The analysis indicates the colour space and camera configuration that provide the most consistent colour values over varying environment conditions and ranges. This information is used to develop a detection system that provides range and bearing to detected targets. The system is evaluated over various lighting conditions from bright sunlight, shadows and overcast days and demonstrates robust performance. The accuracy of the system is compared against a laser beacon detector with preliminary results indicating it to be a valuable asset for long-range coloured target detection.