13th Dong Gang International Photo Festival 2014

Curated group exhibition entitled Episodes: Australian Photography Now, part of the Dong Gang International Photo Festival.
An exhibition book produced by the Dong Gang Museum of Photography for the Dong Gang International Photo Festival. Special Exhibition curated by Natalie King and Olivia Poloni entitled Episodes: Australian Photography Now featuring the following artists: Patrick Pound, Christian Thompson, Destiny Deacon and Virginia Fraser, Martin Smith, Michael Cook, Paul Knight, Polixeni Papapetrou, Polly Borland,Tracey Moffatt, Trent Parke, William Yang.

Lynsey Martin: A case study in 1970s Australian experimental animation

Lynsey Martin’s short experimental Animations remain largely unknown internationally. His graphic 16mm films Approximately Water (4 minutes 1972), Whitewash (1973, 4 minutes), Interview (25 minutes 1973) and Leading Ladies (1975 5 minutes) are analysed for their technique and cultural position, artifacts of a productive if marginalized period of artist made films. These graphic films stand as critical works at the heart experimental filmmaking in Australia and speak through their design and production method to current trends in digital media. Martin’s work includes the use of collage and its erasure, the grain of the photographic image and handpainting and drawing imagery directly on the film surface. Martin deals with the graphic and material elements of the filmstrip, the nature of filmic movement and the nature of photography in public space. For martin his films deal with films deal abstraction and illusionism, elements of chance, the deconstruction of film language, the diary film and process as content. These films stand as historic aesthetic traces of an immediate hands-on approach to image making that came into crisis in Australia through the disappearance of technical education in the 1980s when Martin taught graphic design in technical schools.

Spatial design 3.0

Spatial Design 3.0 forms a new dialogue between the artist and design artefacts, lens-based practice and the entanglements of contemporary critical theory. The artist was invited to exhibit at the Peninsula Art Gallery in Plymouth, UK at the Envelop Exhibition as part of the UK Festival of Design 2015. The artwork involves wire, photography, printing, mark making, typography and patterns negotiated and frozen within spatial arrangements. These elements are manipulated as a means to engage the traditional tools and instruments of art and design methodology in contemporary practice. The work was published and internationally distributed in the accompanying catalogue.

9 Incarnations

First exhibited as part of a curated exhibition by Laura Lantiera at Arc One Gallery in ‘Mind Shadows’ alongside international and nationally recognised artists Pat Brassington, Robert Owen, Justine Khamarra and Julie Wrap, this work has recently been exhibited in the exhibition ‘Inside the Matrix: a tango with light’ with an accompanying essay written by Sean Redmond in a catalogue with an ISBN # 978-1-944242-57-2. The light box work is another iteration of images exhibited and written about in the solo exhibition ‘Fly Rhythm’ 2013 at Arc One Gallery. The work has been referred to in the journal article ‘Technology as Collaborator in Somatic Photographic Practice.’ Intellect Books and at the conference ‘Photography in the 21st Century’ 2015

Cameras and body memory create new blends of performance with visual art practice

I propose that a learnt somatic experience of dance can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. I have developed two series of art works of prints and video made in response to the Australian landscape. By analyzing my method of movement and photography I will describe how an embodied dance language can result in a material outcome – a series of drawings of light and movement, a body signature made possible through old and new technology. I have activated a performative state while capturing images discovering new ways of using technology reliant upon my knowledge of dance, performance and photography. Making a human size camera to make analogue prints I gained an intuitive knowledge of light – a skill that has become foundational in performance and photography. In response to space and light in the Australian landscape I then built a custom made camera that allows for the longest possible time to capture an image. I move while taking the image and use the camera as if an eye at the end of my arm. In this way I activate dance skills and embodied knowledge of space, timing and light, opening up a radical space for new thinking, making and performing.Furthermore this process engages memory and sentiment embodied through age. Many artists have responded to the unique qualities of the Australian landscape and by using a performative/photographic approach I have engaged with my own body memory. Being brought up in the landscape and training in ballet my body has acquired memories at a cellular level. My method has given memory a voice. In doing these works I have become conscious of how unconscious memories of the space and light in the landscape is a movement vocabulary activated in a way that ‘feels’ like dancing. As an ageing person this experience is profound and the resultant materialisation of the photographs and videos leave a material record of the event. The sentiments evoked through my process bridge the past with the present, the body with the mind, memory with body and space connecting disciplines in a new way.The materialisation of artworks itself continues cross-disciplinary processes using a technique that is a continuum of the performative. Through using technology I release memory of the landscape and pixel by pixel build imagery that relies on and is a part of the performative process. It is a photographic performance dance manifesting as pigment on paper exhibited a gallery context. The exhibition allows a space for the viewer to respond - re-membering the universal the act of moving. The works titled ‘body signatures’ and ‘Fly Rhythm’ become a communicative device in the gallery context.My paper through an analysis of process and methods used in making the two series will talk to several of the subjects listed and reveal a new way of connecting performance and visual art and old and new technologies.

Weather fine light distant

A photograph that is part of a series building upon 'Fly Rhythm' 2013, this work and the other's in the exhibition are referenced in two double blind refereed, peer reviewed articles for 'Brolga' and 'Journal of somatic dance' due for publication in 2016. The series has also been referenced in the conference 'Photography in the 21st Century' at Central Saint Martins, London UK 2015 organised by 'The Philsophy of Photography' Journal, Intellect publishers UK; and 'MEMORY ^ SENTIMENT ^ BODY ^ SPACE ^ OBJECT ' Coventry University symposium 2015

Debris

Debris captures a moment of collision between the natural and built environment. Digital simulations conjure a strange version of gravity within the frame. This technique creates a surreal unease, breaking our expectations of figure and ground in traditional landscape photography. This unease mirrors the new landscape of natural disaster zones; where sea has blended with land and the built environment has been forced back into chaos.

The afterlife of found photographs

The world is scattered with unhinged vernacular snaps. EBay is a giant and ever-changing album of examples for sale. Each of these photos is past its original use. Found photographs are at once replete with life and hearsed in death. Adding to this, the analogue vernacular snap is itself a type of photography that is essentially past its use-‐by date. If photography is the medium of record, what are we to make of these recently redundant records? Do they capture Benjamin’s idea of the dialectic at a standstill or just mum in her pyjamas? They concertina time and make trouble for it — and us. This paper will look at what might be made of found photographs: what meanings might be gleaned from them, and what we might find in the accumulation of details. We will closely look at examples that press the limits of photographic representation as if on a dare.

Technology as collaborator in somatic photographic practice

This article will address several areas of research. Firstly it will propose that a dance experience can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. By acknowledging the inter-relationship between the body and the camera my project seeks to challenge a perceived separation between the disciplines. Fly Rhythm, an exhibition of 13 photographs and one video projection was conceived through a performative somatic process. I have developed the term ‘somatic photography’ to articulate subjective experiences in the context of my process of imaging movement in stillness. My thinking has been informed by visual art practice exploring movement and meaning using video and an older history of performance as a dancer and choreographer. I am primarily interested in movement initiated by a bodily response to light through still rather than moving imagery although artists such as Maya Deren whose films explore themes of time and space have influenced me. In my practice the term ‘somatic photography’ helps articulate the act of taking photographs, which is how meaning is being created rather than purely in the finished art works. The term somatic photography puts emphasis on the action of taking the image. Through using a custom made camera I was able to negotiate time and space as a dancer and create a visual drawing that talked to both choreography and fine art practice. This article engages with the following ideas: somatic photography, photography as choreography, body memory, ageing body, technology as collaborator, gallery interface, screen interface and movement.

There will be no more night

Exploring how the body and light are connected in interdisciplinary practice, in this work I make sound design and moving image re inscribing physical yet out of body experiences of light in near death – recorded from youtube. The image of fading light is in real time and constitutes a symbolic interpretation of eternity mirroring the audio. This work has been curated into a group exhibition at ‘Strange Neighbour’ alongside internationally recognised artists such as Peter Booth and Sam Shmith. The work has also been curated in my solo exhibition by Conny Dietzschold and is the subject of the essay in the catalogue by Sean Redmond and was presented in my paper ‘Motion and stillness: a bodily approach to photography.’ and is mentioned in the journal article to be published titled ‘Technology as Collaborator in Somatic Photographic Practice.’ Intellect Books

Compliance with recommendations from a screening programme for diabetic retinopathy

METHODS: General practitioner compliance with recommendations for patient follow-up after participation in a screening programme for diabetic retinopathy was assessed. Six months after screening with non-mydriatic retinal photography in four areas of Victoria, the genera practitioner of each participant was surveyed if the participant reported no examination for diabetic retinopathy in the past 2 years and if the results of the screening indicated the need for further assessment. RESULTS: Overall, 208 of 253 (82%) completed questionnaires were analysed. A total of 123 (59%) patients were referred by their doctors for further assessment and 97 (79%) of those referred were reported to have complied with the referral. Of the 85 (41%) patients who were not referred for further assessment, 31 (36%) were reported by their doctors to be already under regular review by an ophthalmologist. CONCLUSIONS: Compliance with genera practitioner referrals suggests that this screening programme was effective and a useful means by which to remind general practitioners of the importance of regular eye examinations for people with diabetes.

Screening for diabetic retinopathy using a non-mydriatic retinal camera in rural Victoria

PURPOSE: To develop a screening programme for the early detection of diabetic retinopathy using non-mydriatic retinal photography. METHODS: A community based screening service was offered to all people with known diabetes mellitus in selected townships in the LaTrobe and Goulburn Valleys in Victoria. At the local examination centre, basic sociodemographic information was collected as well as details of previous use of eye care services for the early detection of diabetic retinopathy. The examination included visual acuity (VA), glycosylated haemoglobin level and Polaroid photographs of each fundus using a Canon CR5-45NM non-mydriatic retinal camera (Canon, Tochigiken, Japan). Dilating drops were not used. Photographs were subsequently reviewed and letters were sent to all participants (with copies to their general practitioners) with recommendations for appropriate follow up. RESULTS: A total of 1177 people with diabetes attended the screening service, which is estimated to be 40% of the total population with known diabetes in the study area. The mean age was 65 years (range 20-94 years); 559 (48%) people reported not having a dilated fundus examination within the past 2 years; 345 (29%) people had never had a dilated fundus examination. Of the 2354 eyes, 2126 (90%) of the photographs were gradable. A total of 704 people (60%) had normal VA and no evidence of diabetic retinopathy, 209 people (18%) had diabetic retinopathy, 101 people (9%) had evidence of other fundus pathology, 42 people (3%) had reduced acuity (< 6/18) in one or both eyes (with no fundus pathology evident) and 121 people (10%) had ungradable photographs in one or both eyes. CONCLUSIONS: The present study demonstrates the usefulness of a screening programme with non-mydriatic retinal photography as an adjunct to current eye care services for the early detection of diabetic retinopathy.

Examination compliance and screening for diabetic retinopathy: a 2-year follow-up study

Early detection and timely treatment of diabetic retinopathy can preserve vision, yet many people with diabetes do not have their eyes examined regularly. The purpose of this study was to examine eye care practices of people with diabetes who had not previously accessed eye care services on a regular basis. Screening with non-mydriatic retinal photography for diabetic retinopathy was initiated in 1996, and targeted people with diabetes who did not access eye care services on a regular basis. Each test area was revisited 2 years after the initial screening. Patients that did not attend the biennial screening were followed up by mail survey. Although none of the participants in this study had been previously accessing eye care services on a regular basis, 87% did so after attending the screening. These results indicate that mobile screening with non-mydriatic photography, as an adjunct to current eye care services, has the potential to increase examination compliance for diabetic retinopathy and to achieve sustained behaviour change.

Recruitment methods for community-based screening for diabetic retinopathy

Regular screening of all people with diabetes is the most efficient and cost-effective way to detect early stages of diabetic retinopathy so that laser treatment can be performed at the optimal time. A major aim of the Program for the Early Detection of Diabetic Retinopathy was to increase compliance with guidelines for screening for diabetic retinopathy. This community-based screening program used non-mydriatic retinal photography and was initiated in four areas of Victoria, Australia from 1996-1998. Recruitment strategies included targeted mail-outs, provision of the program brochure in English and the main languages spoken in the areas and media promotion in ethnic newspapers and on ethnic radio stations. In Victoria, only 55% of the population with diabetes currently access eye care services at the recommended intervals. This program was able to increase compliance with guidelines to 70% among people with diabetes that had not had a recent eye examination. A total of 1,197 people with diabetes were screened for diabetic retinopathy. Of the 1,197 people who were screened, 620 (15% of the estimated number of people with diabetes) had not had their eyes examined in the past two years. This pilot study identified strategies to encourage people with diabetes to have their eyes examined at the recommended intervals.

Qualitative assessment of bubble behaviour for central and asymmetric injection in 2D gas-solid fluidized bed using image analysis technique and CFD modelling

Bubble characteristics such as shape, size, and trajectory control the hydrodynamics and therefore heat transfer in fluidized bed reactors. Thus understanding these characteristics is very important for the design and scaleup of fluidized beds. An earlier developed Eulerian-Eulerian two-fluid model for simulating dense gas–solid two-phase flow has been used to compare the experimental data in a pseudo-two-dimensional (2-D) bed. Bubbles are injected asymmetrically by locating the nozzle at proximity to the wall, thus presenting the effect wall has on asymmetrical injection as compared to symmetrical injection. In this work, a digital image analysis technique was developed to study the bubble behaviour in a two-dimensional bubbling bed. The high-speed photography reveals an asymmetric wake formation during detachment indicating an early onset of mixing process. The wall forces acts tangentially on thebubble and has a significant impact on the bubble shape, neck formation during detachment and its trajectory through the bed. Larger bubbles drifting away from the centre with longer paths are observed. This qualitative behaviour is well predicted by CFD modelling. Asymmetric injection can significantly influence the heat and mass transfer characteristics.