Conceit

Response to photograph in Land Before Line: A photographic Portrait Series of Contemporary Victorian Poets

Red-green-blue electrogenerated chemiluminescence utilizing a digital camera as detector

Exploiting the distinct excitation and emission properties of concomitant electrochemiluminophores in conjunction with the inherent color selectivity of a conventional digital camera, we create a new strategy for multiplexed electrogenerated chemiluminescence detection, suitable for the development of low-cost, portable clinical diagnostic devices. Red, green and blue emitters can be efficiently resolved over the three-dimensional space of ECL intensity versus applied potential and emission wavelength. As the relative contribution ratio of each emitter to the photographic RGB channels is constant, the RGB ECL intensity versus applied-potential curves could be effectively isolated to a single emitter at each potential.

Comparison between live and photographed slit lamp grading of corneal staining

To compare live and photographic (still) grades of corneal staining of the same eyes and the repeatability of grading between two investigators.

Evaluating coverage changes in national parks using a hybrid change detection algorithm and remote sensing

Remote sensing is a useful tool for detecting change over time.We introduce a hybrid change-detection method for forest and protected-area vegetation and demonstrate its use with two satellite images of Golestan National Park in northern Iran (1998 and 2010). We report on the advantages and disadvantages of the hybrid method relative to the standard change-detection method. In the proposed hybrid algorithm, the change vector analysis technique was used to determine changes in vegetation. Following this, we used postclassification comparison to determine the nature of the changes observed and their accuracy and to evaluate the effects of different parameters on the performance of the proposed method. We determined 85% accuracy for the proposed hybrid change-detection method, thus demonstrating a method for discovering and assessing environmental threats to natural treasures. © 2014 Society of Photo-Optical Instrumentation Engineers.

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.

No photography please

Rather than represent the world merely by photographic means, handmade moving-image artists seek to create new ways of seeing by staging a variety of interventions into the material makeup of celluloid. Handmade artists tattoo film’s skin not only with scratches and paint, but also with blood, dirt, paper, candy, sand, nail polish remover, and seawater. Seeking media not normally found in a filmmaker or artist’s studio, they mine their own bodies and backyards for things to make into moving images.

This program highlights rarely-seen works of artisanal film production from the Coop’s collection. Some of the works are wonderfully constructive, building up the visual surface of the film by combining found footage with painterly abstraction. Others are destructive, subjecting film to a variety of elemental and material stresses. Taken together, these films not only exhibit the diversity of handmade practices and concerns, they also provide a framework for rethinking how cinema can be made through its unmaking.

In other words, handmade cinema—in concept, material, and execution—is counter-cinema.

The future of the past: digital media in Holocaust museums

This essay critically examines the implications of digital media for the remembrance of the Holocaust in contemporary museum spaces, a development that has seen fundamental shifts in thinking around agency, education and entertainment. Expanding existing discussions of this issue into the Australian context, the essay takes as its central case study the design and integration of interactive StoryPod screen media in Melbourne’s Jewish Holocaust Centre. Addressing both the limitations and potentialities of interactive digital technologies for facilitating visitor-viewers’ engagement with survivor stories, the analysis highlights that digital media can be used to complement and enhance – rather than replace – traditional artefact and photographic displays, and will play an integral role in the Holocaust museums of the future.

Communicating history A-historically

A paper delivered in tandem with the short film Threshold (Dirk De Bruyn, 20 minutes, 2014), which documents the history and childhood remembrances of the Geelong Waterfront using photographic material gleaned from the Geelong Heritage Centre, the Victorian State Library, the National Film and Sound Archive and Auckland War Memorial Museum alongside Google Maps.

Locating learning: making connections between virtual and physical spaces with mobile touch-screen devices

This paper is concerned with the potential of mobile touch-screen devices and emerging socio-technological practices to support pedagogies of place that provide a means for young people to reflect critically on the social construction of place and to take actions that speak of and to their own locatedness. Drawing on de Certeau’s (1984) concept of space as a practiced place and Massey’s (2005) perspective of spatiality and interrelatedness, we examine two school-based examples of learning activities that bring together the virtual and physical as in experiences and representations of place. The first example is an Australian local history unit, where lower secondary school students participated in a series of field trips, planned and conducted under the guidance of an indigenous elder. They used Smartphones and iPads to capture and create personalised audio-visual records of their knowledge of place that were then used to create geo-location games. In the second example, upper primary school students worked with local authorities and environmental educators to select sites for two environmental monitoring posts, which were then installed and provided a locus for the students’ school-based environmental science learning as well as a vehicle for community engagement. Drawing on interview, video and photographic data, this paper examines the way mobile technologies were deployed for student knowledge production, engagement with place, reconstruction of place and engagement with community.

Localization and degmentation of 3D intervertebral discs in MR Images by data driven estimation

This paper addresses the problem of fully-automatic localization and segmentation of 3D intervertebral discs (IVDs) from MR images. Our method contains two steps, where we first localize the center of each IVD, and then segment IVDs by classifying image pixels around each disc center as foreground (disc) or background. The disc localization is done by estimating the image displacements from a set of randomly sampled 3D image patches to the disc center. The image displacements are estimated by jointly optimizing the training and test displacement values in a data-driven way, where we take into consideration both the training data and the geometric constraint on the test image. After the disc centers are localized, we segment the discs by classifying image pixels around disc centers as background or foreground. The classification is done in a similar data-driven approach as we used for localization, but in this segmentation case we are aiming to estimate the foreground/background probability of each pixel instead of the image displacements. In addition, an extra neighborhood smooth constraint is introduced to enforce the local smoothness of the label field. Our method is validated on 3D T2-weighted turbo spin echo MR images of 35 patients from two different studies. Experiments show that compared to state of the art, our method achieves better or comparable results. Specifically, we achieve for localization a mean error of 1.6-2.0 mm, and for segmentation a mean Dice metric of 85%-88% and a mean surface distance of 1.3-1.4 mm.

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

Stillness and movement: a bodily approach to photography

My paper will address both Duration and temporality of the ‘still’ imageand Sensorial and bodily experience of photography through a discussion of a recent body of work ‘Fly Rhythm’, a series of photographs and video works exhibited in a gallery context.By acknowledging the inter-relationship between the body and the camera my project seeks to challenge a perceived separation between performance and photography. Fly Rhythm was conceived through a performative somatic process. Through using a custom made camera I was able to negotiate time and space to create a visual drawing of movement and stillness together in photography. The resultant images are discussed as a notation of body movement – a record of bodily history enabled through a self imposed discipline of learning to read light.I initially constructed a human size camera to understand how photography works. Spending time inside observing the way light moves and affects the formation of sight is also a way of embodying the act of photography. I responded by making a bespoke camera that enabled light to be captured during extended periods while moving. My project is dependent upon a self-imposed discipline of intuiting light’s strength and erratic changes, a skill developed by making analogue prints while inside a camera obscura. Once I had developed an ability to read light’s changes and gain an understanding of camera mechanics I made durational recordings moving through the landscape on Bruny Island Tasmania and industrial sites in Melbourne, photographs exhibited as part of Fly Rhythm. I will discuss these prints in context with the idea that light is a conduit through which past and present fuse together in a bodily act of photographing and processing images.I will explore durational aspects of photography by discussing light’s relative motion while taking photographs without using the viewfinder or composing images in the traditional way. Rather, the camera at the end of my arm is directed through how I read light therefore a choreography notated in the prints – a kind of body signatureMy practice enables a new the way of seeing, in a spontaneous hand held process creating a sense of embodiment. By analyzing process my paper will consider how the body together with analogue and 21st century digital technology coalesce cross-disciplinary practice combining visual art, performance and photographic disciplines.I also explored limitations of digital light in contrast with ‘natural’ light by a making a gamut of dissolving colour determined by the software based on two pixels. Projected into the ambient light ‘Glide’ is an 11minute durational work installed at the Substation Contemporary Art Space in Melbourne Australia.

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.

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.