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 listening key: unlocking the democratic potential of indigenous participatory media

This article explores how a listening approach might address the complex challenges of researching the relationship between Indigenous participation in media and mainstream policy-making processes. An overview of contemporary Indigenous media demonstrates how digital and social media have built on the vibrant and innovative Indigenous media tradition, and enabled a proliferation of new Indigenous voices. But do the powerful listen to Indigenous-produced media, and does this constitute meaningful participation in the political process? The article distinguishes between participation as involvement in the production and dissemination of media, and participation as political influence. It argues that both meanings are crucial for fully realising the potential of Indigenous participatory media, and contends that a listening approach might offer ways to research and unlock the democratic potential of Indigenous media participation.

Framing ICT policies to facilitate participatory e-government

This paper examines the role of information and communication technology (ICT) policies in shaping the participatory nature of local e-government. It suggests that civic involvement through e-government practices requires a combination of direct and indirect ICT policies (Cohen, van Geenhuizen and Nijkamp, 2005). Direct policies focus on ICT infrastructure development and enhance civic adoption and use of ICTs. ICTs also support policies indirectly through data organisation, information dissemination and the provision of spaces for discourse, deliberation and contributions to decision-making processes. Drawing from policy examples from Australia and the United Kingdom (UK), this paper suggests the need to combine federal guidance with local knowledge, while using policies to support ICTs and using ICTs to support policies. Such a cohesive and integrated policy relationship between federal and local government bodies is needed if local e-government is to advance to facilitate civic engagement.

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.

Chamber music in painting photography film

This exhibition expands upon the history, approaches of experimental film and image making. Through speculative and abstract approaches the artists appropriate images to deal with trauma, confusion and nostalgia. The artists in this exhibition use personal imagery to demonstrate abstract ideals and idiosyncratic perspectives. Work in the show will be made up of photographic prints, collage, 16mm film and video work. Through physical manipulations of the image surface, retrenching of forgotten archives and poetic layerings of time and place, this exhibition aims to examine the de-linear and personal ways artists can experiment with the image.Through incorporating work of long standing artists Dirk De Bruyn and Luigi Fusinato in contrast with the work of young artists Anna Higgins and Beth Caird, the exhibition will examine the relationship between experimental film from a pre-digital context and how it influences, echoes and evolves in a post-digital environment.

Harnessing the potential of community-based participatory research approaches in bipolar disorder

BACKGROUND: Despite the rapid growth in the sophistication of research on bipolar disorder (BD), the field faces challenges in improving quality of life (QoL) and symptom outcomes, adapting treatments for marginalized communities, and disseminating research insights into real-world practice. Community-based participatory research (CBPR)-research that is conducted as a partnership between researchers and community members-has helped address similar gaps in other health conditions. This paper aims to improve awareness of the potential benefits of CBPR in BD research. METHODS: This paper is a product of the International Society for Bipolar Disorders (ISBD) Taskforce on Community Engagement which includes academic researchers, healthcare providers, people with lived experience of BD, and stakeholders from BD community agencies. Illustrative examples of CBPR in action are provided from two established centres that specialize in community engagement in BD research: the Collaborative RESearch Team to study psychosocial issues in BD (CREST.BD) in Canada, and the Spectrum Centre for Mental Health Research in the United Kingdom. RESULTS AND DISCUSSION: We describe the philosophy of CBPR and then introduce four core research areas the BD community has prioritized for research: new treatment approaches, more comprehensive outcome assessments, tackling stigma, and enhanced understanding of positive outcomes. We then describe ways in which CBPR is ideal for advancing each of these research areas and provide specific examples of ways that CBPR has already been successfully applied in these areas. We end by noting potential challenges and mitigation strategies in the application of CBPR in BD research. CONCLUSIONS: We believe that CBPR approaches have significant potential value for the BD research community. The observations and concerns of people with BD, their family members, and supports clearly represent a rich source of information. CBPR approaches provide a collaborative, equitable, empowering orientation to research that builds on the diversity of strengths amongst community stakeholders. Despite the potential merits of this approach, CBPR is as yet not widely used in the BD research field, representing a missed opportunity.

The body in photography: an improvised performance with light

Considering the way light is integral to photography I draw on its paradoxical nature at sub atomic levels that describe how, when observed it changes. Taking a biocentric approach ; ‘A radical new view of reality: Life creates time, space, and the cosmos itself The farther we peer into space, the more we realize that the nature of the universe cannot be understood fully by inspecting spiral galaxies or watching distant supernovas. It lies deeper. It involves our very selves.’ (Lanza, 2009), I aim to clarify how embodied photographic practice can be explored through improvisational and performative discourse.

The ethos of the mover/witness dyad: an experimental frame for participatory performance

This article reflects on a dance improvisation project in which the foundational relationship of the Mover Witness Dyad (MWD), the private exchange between mover and witness (and more commonly known as Authentic Movement) became an ethical and physical paradigm for an improvised performance. The untitled performance (conceived by Shaun McLeod and danced by Olivia Millard, Peter Fraser, Jason Marchant, Sophia Cowen and Shaun McLeod) took place over three nights in Melbourne in November 2014. It was specifically informed by the experiences, observations and questions drawn from an extensive studio practice of the MWD by the dancers. The practice of the MWD is a therapeutic relationship between contemplative mover and attentive witness. Falling within the wider field of Dance Movement Therapy, the MWD has uses as a therapeutic aid, in personal development and also as a context for exploring dance improvisation. An important feature of the MWD is that attention, in whatever manifestation, is directed inwardly and is engaged bodily. The form parallels dance improvisation in its emphasis on open, exploratory movement, which is grounded in the particular sensibility each individual brings to embodiment. Never intended as a performance practice, the MWD has nonetheless been used by dancers as a method for investigating dancing and towards informing or generating performance content. This project threw up considerations of values; in this case values associated with audience participation and the ethics of ‘witnessing’ improvised dance.

Translating osteoporosis prevention guidelines: a case study of participatory action and the development of an oversized jigsaw

OBJECTIVE: In Australia, the social gradient of chronic disease has never been as prominent as in current times, and the uptake of preventive health messages appears to be lower in discrete population groups. In efforts to re-frame health promotion from addressing behavior change to empowerment, we engaged community groups in disadvantaged neighborhoods to translate published preventive guidelines into easy-to-understand messages for the general population. METHOD: Our research team established partnerships with older aged community groups located in disadvantaged neighborhoods, determined by cross-referencing addresses with the Australian Bureau of Statistics, to translate guidelines regarding osteoporosis prevention. RESULTS: We developed an oversized jigsaw puzzle that we used to translate recommended osteoporosis prevention guidelines. DISCUSSION: Successful participatory partnerships between researchers, health promotion professionals, and community groups in disadvantaged neighborhoods build capacity in researchers to undertake future participatory processes; they also make the best use of expert knowledge held by specific communities.

CmyView: Walking together apart

Networked learning practices are impacting the field of cultural heritage, both tangible and intangible, with implications for the way in which places of cultural significance are understood, managed, documented, engaged with and studied. Our research explores the intersection between walking, photography, technology and learning, investigating how mobile devices can be used to foster community participation and assess social value within a networked framework for digital heritage. The paper introduces CmyView, a mobile phone application and social media platform in development, with a design concept grounded on both digital heritage and networked learning perspectives. CmyView encourages people to collect and share their views by making images and audio recordings of personally meaningful sites they see, while walking outdoors. Each person’s walking trajectory (along with their associated images and audio files) then becomes a trace-able artefact, something potentially shareable with a community of fellow walkers. The aim of CmyView is to encourage networked heritage practices and community participation, as people learn to assess their own and experience others social values of the built environment. Drawing on a framework for the analysis and design of productive learning networks, we explore the educational design of CmyView arguing that the platform offers a space for democratic heritage education and interpretation, where participatory urban curatorship practices are nurtured. CmyView reframes social value as dynamic, fluid and located within communities, rather than fixed in a place. The paper presents preliminary findings of the activity of a group of four undergraduate students at an Australian university, who used CmyView to explore the immediate surroundings of their campus. Participants interacted with the platform, mapping, capturing, audio recording their impressions and sites of interest in their walks. In so doing, they created shareable trajectories, which were subsequently experienced by the same group of participants on a second walk. The paper concludes with a discussion about the impact of our research for the design of mobile technologies that embrace participation and sharing, through a networked learning perspective. The paper brings together concepts that sit at the intersection of previously separate fields, namely digital heritage and networked learning, to find their synergies.