Photography and christian mission: George Brown`s images of the New Britain mission 1875-80

In 1875, Methodist George Brown arrived in the Bismarck Archipelago to establish the New Britain Mission. Based in the Duke of York Islands, Brown's territory covered New Ireland and the Gazelle Peninsula of New Britain. The mission was one of the first to be photographed from its inception. The Australian Museum holds 96 plates from the first five years of the mission. Brown's photographs are a visual record of conditions and peoples of the time. Analysed in relation to Brown's writings they are indicative of the relationships and bonds established through photography both in the mission field and across wider scientific and church audiences. The methodology employed here also challenges the kinds of interpretations of photographs that can arise from visual analyses relying solely on the caption and the posing of the subject.

Retake Melbourne : mobile application for re-photography and comparative imaging research

A project of interpretive and comparative re-photography, making use of the collection of Mark Strizic's images and the documents related to his career, held by the State Library, as a basis. Strizic died in 2012. It is now 50 years since his work began to illustrate the period of the 1960s when architecture of the Gold Rush era coexisted side-by-side with, and was being replaced by, curtain-glass high-rise office buildings. It is the position of the researchers that not sufficient attention has been given to Mark Strizic’s reaction to what he saw as a plague of ugliness pervading Australian city-scapes, developing a distinctive aesthetic that in turn made his work useful to commentators like Robin Boyd and David Saunders. Strizic operated from a unique perspective as a migrant with an architectural heritage from his father Zdenko, prominent architecture professor in Croatia, and visiting professor of architecture at Melbourne University in the 1960s. Precise re-photography alongside creative work will enable a comparison of Melbourne now with fifty years ago. The public will be able to participate in and contribute to the project via a crowd-funded custom-made app. Half a century has passed since Strizic made his photographs of Melbourne. In so many cases buildings have disappeared or altered, streetscapes have changed and the appearance of Melburnians have changed as have their habits of using the city. A selection of Strizic’s photographs of Melbourne locations can be rephotographed by the public using the methods devised by Mark Klett, assisted by the app software. This will provide a core of documentary imagery of benefit in framing and completing the rest of this project and to future research through comparisons over the time span. The app enables the location on a map of the site and orientation of photographs taken by Strizic. Photographs are downloaded onto users’ devices from the online SLV Strizic picture catalogue. They appear in the app as transparent templates so that users can line up their own re-photograph with accuracy. They will be able to upload their resultant images to a server and they will be available to the Library as an archive enabling direct comparison with the Strizic holdings. It is anticipated that involvement and participation of the public will elevate the profile of the project and publicise the SLV collections and encourage their increased usage and popularity.

Memory, photography, and the politics of abuse : the ambiguous nature of photography

Critical commentary on Australian artist Bill Henson’s work including the series Untitled 1994-1995 which represented Australia at the Venice Biennale is frequently framed within the discourse of the ‘white cube’. Its contextualisation in predominantly art historical and formalist perspectives tends to operate as a mechanism that denies affective and embodied dimensions of meaning making. Much the same could be said of the work of Marian Drew who uses road kill in her photographic still life works. However, the ‘distancing’ in these works is also achieved through historical allusion, which at the same time reactivates the fl ow of emotional empathy and desire. In this paper, I ask the question: “What distinguishes the work of these two artists with media images of torture?”

My attempt to address this question will involve a narrative re-reading of selected works of Henson and Drew incorporating notions of affect, identification, memory and desire as processes which operate non-discursively, but which are inseparable from memory and lived experiences. This will permit a double exposure of the work of these artists. Within a psychoanalytical context, my re-reading will be used to extend an understanding of the now familiar press and Internet images of the torture of Iraqi prisoners.

As a metaphor for desire and ideology, photography operates within manifest and latent registers. I will argue that certain forms of photographic practice may be understood in terms of a politics of abuse — instantiating an uneven differentiation of power between actants, the winning (forcefully or otherwise) of consent or complicity, the silencing of refusal of resistance and/or the incriminating of the ‘victim’ — whilst at the same time upholding the claim of verisimilitude and aesthetic or ethical intent. Critical engagement with such practices is crucial to an understanding of the relationship between institutional discourses, trauma and abuse in contemporary society.

Yaringa and French Island Marine National Park habitat mapping

Deakin University and the Department of Primary Industries were commissioned by ParksVictoria (PV) to create two updated habitat maps for Yaringa and French Island MarineNational Parks. The team obtained a ground-truth data set using in situ video and still photographs. This dataset was used to develop and assess predictive models of benthic marine habitat distributions incorporating data from World-View-2 imagery atmospherically corrected by CSIRO and LiDAR (Light Detection and Ranging) bathymetry. In addition, the team applied an unsupervised classification approach to an aerial photograph to assess the differences between the two remote sensors. This report describes the results of the mapping as well as the methodology used to produce these habitat maps.This study has provided mapping of intertidal and subtidal habitats of Yaringa and FrenchIsland MNPs at a 2 m resolution with fair to good accuracies (Kappa 0.40-0.75). These were combined with mangrove and saltmarsh habitats recently mapped by Boon et al. (2011) to provide compete-coverage habitat maps of Yaringa and French Island MNPs.The mapping showed that Yaringa MNP was dominated by mangroves, wet saltmarsh and dense Zostereaceae, covering 33%, 29% and 19%, respectively. Similarly, intertidalvegetation and subtidal vegetation (dominated by Zosteraceae) covered 26% and 25% ofFrench Island MNP. However, as a result of turbidity and missing satellite imagery 27% ofFrench Island MNP remains unmapped.The coupling of WV-2 and LiDAR reduced potential artefacts (e.g. sun glint causing whiteand black pixels known as the “salt and pepper effect”). The satellite classification appeared to provide better results than the aerial photography classification. However, since there is a two-year difference between the capture of the aerial photography and the collection of the ground-truth data this comparison is potentially temporally confounded. It must also be noted that there are differences in costs of the data,the spatial resolution between the two datasets (i.e. WV-2 = 2 m and the Aerial = 0.5 m) and the amount spectral information contained in the data (i.e. WV-2 = 8 bands and the aerial = 4 bands), which may ultimately determine its utility for a particular project.The spatial assessment using FRAGSTATs of habitat patches within Yaringa MNP provides a viable and cost effect way to assess habitat condition (i.e. shape, size and arrangement).This spatial assessment determined that dense Zosteraceae and NVSG habitat classeswere generally larger in patch size and continuity than the medium/sparse Zosteraceaehabitat. The application spatial techniques to time-series mapping may provide a way toremotely monitor the change in the spatial characteristics of marine habitats.This work was successful in providing new baseline habitat maps using a repeatable method meaning that any future changes in intertidal and shallow water marine habitats may be assessed in a consistent way with quantitative error assessments. In wider use, these maps should also allow improved conservation planning, fisheries and catchment management, and contribute toward infrastructure planning to limit impacts on Western Port.

Ontology of building in war and reconstruction

Post-war cities epitomise both a disjuncture and resonance between the end of the nation-state, on the one hand, and a preoccupation with reinventing the city through building, on the other. Programs of 'reconstruction' and 'remaking a city' are preceded by destruction: a destructive force has altered the face of the city, buildings have been destroyed and damaged, their ordered and ordering materiality is eroded, and the city is no longer an image of an idealized symbol of unity and identity. Belying the mythical power of architecture as a material and symbolic force, is also its fragility. Architecture can be monumentally erected and can have a presence and persistence that inspires awe and wonder, but it can also, just as easily be de-erected, demolished, destroyed. It can be de-constructed in a way that the literal sense of the term signals its symbolic frailty. Perceiving the symbolic as intrinsically tied to the physical articulation and presence of the architectural edifice, both reveals and conceals that the symbolic is also tied to fantasy, memory and fiction. Drawings that precede construction are projections of an idealized image of something that does not yet exist, and photographs that remain after a building is demolished are representations of a past realist that is now fictional.

Children's perceptions of their home and neighborhood environments, and their association with objectively measured physical activity: A qualitative and quantitative study

Environmental factors may have an important influence on children’s physical activity, yet children’s perspectives of their home and neighborhood environments have not been widely assessed. The aim of this study was to investigate children’s perceptions of their environments, and to examine associations between these perceptions and objectively measured physical activity. The sample consisted of 147, 10-year-old Australian children, who drew maps of their home and neighborhood environments. A subsample of children photographed places and things in these environments that were important to them. The maps were analyzed for themes, and for the frequency with which particular objects and locations appeared. Physical activity was objectively measured using accelerometers. Six themes emerged from the qualitative analysis of the maps and photographs: the family home; opportunities for physical activity and sedentary pursuits; food items and locations; green space and outside areas; the school and opportunities for social interaction. Of the 11 variables established from these themes, one home and two neighborhood factors were associated with children’s physical activity. These findings contribute to a broader understanding of children’s perceptions of their environment, and highlight the potential importance of the home and neighborhood environments for promoting physical activity behavior.

Anticipating the uptake and possible implication of digital imaging within the construction industry

Photography within the construction industry is merging into a new form of image capture and output that is a mix of conventional photography and digital imagery. As this transition takes place it is anticipated that the credibility of the image may also change within in the communication chain that links the various disciplines within the building industry. The following paper presents the development and results of a pilot survey of building professionals, which addresses the quality, content and authenticity of both conventional photography and digitally produced images used within the construction industry.

Reporting in a multimedia world

The breathless pace of change in the news media renders many traditional "how to" journalism guides out of date. Here's an up-to-date essential starter kit for aspiring journalists. All the basics about the power of words and the potency of numbers. Useful tips about internet use, technology, video journalism and photography. The career path, a neglected topic, will be invaluable for those who want to know where and how to start. Reporting in a Multimedia World is highly recommended.Professor Judy McGregor, Head of Department of Communication and Journalism, Massey University, New Zealand.Every journalist must be able to conduct an interview and write snappy copy. But now journalists need broader skills as well. No matter what field they are working in many now need to be able to wield a digital recorder or take photographs, talk to camera convincingly, and create content for online delivery. Reporting in a Multimedia World offers a thorough overview of the core skills journalists need for the 21st century. The authors show how to generate story ideas, handle interviews, write for different audiences, and edit your own copy. They explain the basics of news photography and broadcast media, as well as the requirements of Internet journalism. They also look at professional issues and career strategies. Written in a lively style and with case studies and tips from experienced journalists Reporting in a Multimedia World is an ideal introduction to an exciting and demanding profession.

Living with amyotrophic lateral sclerosis/motor neurone disease (ALS/MND) : decision-making about 'ongoing change and adaptation

Aims and objectives. To present a model that explicates the dimensions of change and adaptation as revealed by people who are diagnosed and live with amyotrophic lateral sclerosis/motor neurone disease.

Background. Most research about amyotrophic lateral sclerosis/motor neurone disease is medically focused on cause and cure for the illness. Although psychological studies have sought to understand the illness experience through questionnaires, little is known about the experience of living with amyotrophic lateral sclerosis/motor neurone disease as described by people with the disease.

Design. A grounded theory method of simultaneous data collection and constant comparative analysis was chosen for the conduct of this study.

Methods. Data collection involved in-depth interviews, electronic correspondence, field notes, as well as stories, prose, songs and photographs important to participants. QSR NVivo 2® software was used to manage the data and modelling used to illustrate concepts.

Findings. Participants used a cyclic, decision-making pattern about 'ongoing change and adaptation' as they lived with the disease. This pattern formed the basis of the model that is presented in this paper.

Conclusion. The lives of people living with amyotrophic lateral sclerosis/motor neurone disease revolve around the need to make decisions about how to live with the disease progression and their deteriorating abilities. Life decisions were negotiated by participants to maintain a sense of self and well-being in the face of change.

Relevance to clinical practice. The 'ongoing change and adaptation' model is a framework that can guide practitioners to understand the decision-making processes of people living with amyotrophic lateral sclerosis/motor neurone disease. Such understanding will enhance caring and promote models of care that are person-centred. The model may also have relevance for people with other life limiting diseases and their care.

Changing preferences : conventional photography to digital imaging in communicating architecture

Architectural photography is merging into a new form of image capture and output which is a mix of conventional photography and digital imagery. As this transition takes place it is anticipated that the credibility of the image may also change. the aim of the project is to research the perception of the quality, content and authenticity of both conventional photography and digitally produced images used within the architectural profession.

Intimacy and making : thinking constellations of consciousness and the movements of invention

This paper takes up the three terms - creativity, consciousness and intimacy - and positions them as possible ‘ultimate terms’. Inquiring into the use of these terms to garner approval, status or power within cultural contexts, the paper attempts to unpack them, and simultaneously to seek out any structural similarities in the ways that they operate. The term ‘creativity’ is deconstructed via a Derridean framework, wherein ‘inventiveness’ is posited as a more rigorous alternative in most cases. Consciousness is read closely in relation to its association with notions of awareness and ‘enlightenment’. And ‘intimacy’ is playfully explored as an alternative term for enlightenment, a manoeuvre which brings to the fore some structural assumptions about that which intimacy might comprise. The assumption of intimacy as a spatially-dependent notion is also interrogated. The paper contends that intimacy may involve an unsettling of spatial assumptions proper, and therefore not be simply a function of closeness or distance. It draws on Serres’ notion of the angel as messenger and as analogy for the preposition, indicator of position, but occupant of none. Finally an example from art practice is offered, one that arguably performs the terms intimacy and creativity at once: an epistolary adventure in poetry and photographs, called The Post Project.

Picture words : toward an art-critical methodology

“Phiction: Lies, Illusion and the Phantasm in Australian Photography” is a curatorial experiment in assembling a survey exhibition from a significant collection. Its formulation, presentation and the outcomes of its tour of eleven regional and metropolitan Victorian galleries provide a case study for this paper. The exhibition Phiction (the title amalgamates photography and fiction) challenges audiences’ reading of photographs, and confronts some curatorial assumptions, by juxtaposing the images with extracts of Australian fiction instead of the usual gallery fact sheet, list of provenance or expert gloss. In this way the exhibition forces a confrontation between ‘dumb’ image and ‘blind’ text and while examples are examined, a review of the exhibition is not the purpose of this paper. A consideration its process and effect is discussed in the paper to propose a comparative tool in the study, investigation and evaluation of art. It is offered to visual art school researchers, lecturers and students contemplating the most appropriate and effective, or alternative, methodologies to employ. With reference to the dominant systems of critique which have come to us from other disciplines, the paper considers the art practitioner’s perspective by drawing on the example of Phiction to pose the open question; “How might we use one artform to explore another?”.