Fly rhythm

This book contains 2 essays, a forward and 15 colour plates on hand made paper. The text supports research in the form of 13 images taken with a digital pinhole camera in an unconventional way ie with subject and author in motion.  The images are further removed from traditional photography by light distribution in Photoshop and printing methods displayed in the book. The essays and forward explore the phenomena of light, photography in a digital age, body memory and 'capture' of images contextualising the work in philosophical (Rosalind Krauss,Merleau Ponty) and art historical (James Turrel, Doug Wheeler) terms.

Neil Taylor’s experimental animation

This paper explores from a phenomenological perspective the work of Australian Experimental Animator Neil Taylor (1945-), works situated between animation, performance and sculpture. Taylor’s animated scribbling repetitively and automatically inscribe the surfaces of flipbooks or note pads (Short Lives (1980-90)) and cash register rolls (Roll Film 1990 and Copy Copy 1998) often enhanced by hand-made ‘machines’ designed to facilitate and shape this idiosyncratic activity. Taylor’s work is informed by his successful wire-based sculptural practice and his 20 years experience of teaching animation to tertiary students and 8 years previously in the Australian Technical School system (a system that has since been dismantled but for which these animations remain as an aesthetic trace). His work can be generally situated inside an avant-garde project ‘that continues to explore the physical properties of film and the nature of perceptual transactions which take place between viewer and film.’ (John Hanhardt, 1976: 44) This is performative research into the minutiae of the moving image and its ability to register body gesture. Hanhardt, John G. (1976) The Medium Viewed: The American Avant-Garde Film. A History of American Avant-Garde Cinema. New York, American federation of the Arts.

Partially digested

program Notes: Projecting the untrammelled intensities of human experience via an array of photo-chemical, optical and vocal means. To convey the force of feeling symptomatic of everyday life under post colonial capitalism in the space of the transplant, de Bruyn harnesses the energies of multiple 16mm projectors, hand-made filmstrips and his own, somewhat disturbing vocalised stream of consciousness. This is materialism stripped back, bleached, bitten, chewed, partially digested and possibly rejected; discarded.

Looking at the night sky

There are two series of images in this exhibition: Series # 1: Images 4 – 9 Astronomical observatories in different countries and telescopes which have made some important discoveries in science of astronomy. These images were taken with simple primitive camera including a homemade toy camera and a Holga pinhole camera. The toy camera use a simple plastic lens and film. It produces a very softly focused and blurred image. The Holga Pinhole camera has a panoramic format and also uses film. (The pinhole camera has no lens and only a very small pinhole to lets the light into the camera to produce a simple image) For me the limited resolution of these primitive cameras invoke a sense of wonder, mystery and imagination which the ancient observers must have experienced when looking at the night sky. Series # 2: Images 1 – 3 and 9 - 14 presents individual celestial objects including, the planet Saturn, the Moon, the Sun, a comet and a Star Cluster. All these images have been re-photographed through a number of large primitive lenses. Some are hand made glass lenses and others are hollow and filled with water. These primitive lenses distort and stretch the images and represent the way in which the lens and (the telescope) have changed our vision of the cosmos. They also represent the subjectivity of the lens, something that all photographers know about - just because we see something through a lens, does not mean that all has been revealed and that what finally perceive is both a combination of what we see and what we feel inside and our imagination. The toy and pinhole camera images were made during a 5 year period starting in 2010 and up to 2015. The second series have all been made during 2015.

Neil Taylor’s experimental animation: the technical habitus as aesthetic trace

This essay examines Neil Taylor’s (1945-) animations, situated between the moving image, performance and sculpture and in the shadows of his recognised wire-based sculptural practice. Taylor’s animations automatically inscribe the surfaces of flipbooks and note pads, (Short Lives 1980-90) cash register rolls (Roll Film 1990) and are enhanced by hand-made ‘machines’ (Copy Copy 1998) designed to shape this idiosyncratic activity. These short films are part of an avant-garde project ‘that continues to explore the physical properties of film and the nature of perceptual transactions which take place between viewer and film.’ (John Hanhardt, 1976: 44). Taylor’s practice is additionally placed, through Vilem Flusser’s ‘technical image’ in relation to the ascendancy of digital culture, and Pierre Bourdieu’s ‘habitus’ is used to frame both Taylor’s art and teaching practice, in order to examine the discounting of the technical classes that these fields of production consistently perform.

A cavalcade of erasures: an educational audio-visual presentation

Dirk de Bruyn has been creating film works for over 35 years; mostly in the hand-made, 'direct animation' mode. He also performs live with multiple projections of his films in a highly embodied mode of expanded cinema performance. His work is renowned for its intricate, suggestive layering of sound and image, and use of sumptuous, blooming fields of colour.An active participant in our PyR16, Dirk will be discussing his conceptual work, his meticulous creative process, and his particular relationship with the materials, light, space and time both on film and stage, illustrating with some examples.We'll conclude with a Q&A session with the attendants.

Evaluation of the Chinese version of the disability of the arm, shoulder and hand (DASH-HKPWH): cross-cultural adaptation process, internal consistency and reliability study

Abstract
The Disability of the Arm, Shoulder and Hand (DASH) was translated into Chinese by a physiotherapy team of the Prince of Wales Hospital, Hong Kong (DASH-HKPWH).

Objectives
This study evaluated the cross-cultural adaptation process, face validity, internal consistency and reliability of the DASH-HKPWH.

Method
Language officers and medical professionals from different fields were invited to translate and evaluate the face validity of the DASH-HKPWH. 88 patients were recruited to complete two DASH questionnaires on two occasions 1-2 weeks apart.

Results
Some adjustments were made to the translations based on the cultural and linguistic practice in Hong Kong. The face validity was satisfactory with a mean endorsement score of 3.2. The difference between the mean of DASH scores was not significant (t = −0.35, p = 0.73). The ICC (1,1) and Cronbach's alpha for the 30-item Disability/Symptom of the DASH-HKPWH was 0.77 and 0.94, respectively.

Conclusion
The translation was valid and reliable and acceptably equivalent to the original version. The questionnaire is suitable for measuring changes experienced by patients with any upper extremity disorders.

Functional range of movement of the hand : declination angles to reachable space

 The measurement of the range of hand joint movement is an essential part of clinical practice and rehabilitation. Current methods use three finger joint declination angles of the metacarpophalangeal, proximal interphalangeal and distal interphalangeal joints. In this paper we propose an alternate form of measurement for the finger movement. Using the notion of reachable space instead of declination angles has significant advantages. Firstly, it provides a visual and quantifiable method that therapists, insurance companies and patients can easily use to understand the functional capabilities of the hand. Secondly, it eliminates the redundant declination angle constraints. Finally, reachable space, defined by a set of reachable fingertip positions, can be measured and constructed by using a modern camera such as Creative Senz3D or built-in hand gesture sensors such as the Leap Motion Controller. Use of cameras or optical-type sensors for this purpose have considerable benefits such as eliminating and minimal involvement of therapist errors, non-contact measurement in addition to valuable time saving for the clinician. A comparison between using declination angles and reachable space were made based on Hume's experiment on functional range of movement to prove the efficiency of this new approach.