Sensing place : embodiment, sensoriality, kinesis, and children behind the camera

This article is a call to literacy teachers and researchers to embrace the possibility of attending more consciously to the senses in digital media production. Literacy practices do not occur only in the mind, but involve the sensoriality, embodiment, co-presence, and movement of bodies. This paper theorises the sensorial and embodied dimension of children’s filmmaking about place in two communities in Australia. The films were created by pre-teen Indigenous and non-Indigenous children in Logan, Queensland, and by Indigenous teenagers at the Warralong campus of the Strelley Community School in remote Western Australia. The films were created through engagement in cross-curricular units that sensitised the students’ experience of local places, gathering corporeal information through their sensing bodies as they interacted with the local ecology. The analysis highlights how the sensorial and bodily nature of literacy practice through documentary filmmaking was central to the children’s formation and representation of knowledge, because knowledge and literacy practices are not only acquired through the mind, but are also reliant on embodiment, sensoriality, co-presence, and kinesics of the body in place.

Children's emotions and multimodal appraisal of places : walking with the camera

This sensory ethnography explores the affordances and constraints of multimodal design to represent emotions and appraisal associated with experiencing local places. Digital video production, walking with the camera, and the use of a think-aloud protocol to reflect on the videos, provided an opportunity for the primary school children to represent their emotions and appraisal of places multimodally. Applying a typology from Martin and White's (2005) framework for the Language of Evaluation, children's multimodal emotional responses to places in this study tended toward happiness, security, and satisfaction. The findings demonstrate an explicit connection between children's emotions in response to local places through video, while highlighting the potential for teachers to use digital filmmaking to allow children to reflect actively on their placed experiences and represent their emotional reactions to places through multiple modes.

The cosmos and the camera

As the Findings exhibition was based on the artist's research, the image caption reflects Daniel's core thesis questions, i.e."in what ways can astronomical imaging invoke a phenomenological experience for the viewer?"
All of the wall works were digital prints/photographic images of various sizes.There was also a short looped video playing opposite them. The lettering on the wall was vinyl.

Explaining standing order reforms in the Camera dei Deputati during the liberal age

How might the continuous changes in the standing orders of the Camera dei Deputati between 1861 and 1922 be explained? To answer this question, the text investigates the political events associated with standing order reforms. Two results are emphasized. On the one hand, and contrary to common views, the study shows that the reforms were not casual or episodic, but resulted from different sets of political pressure, internal or external to the parliamentary ambit. This fact, on the other hand, draws attention to the need to go deeper into the question of the institutional evolution of the liberal parliament, chiefly with regard to relations among institutional actors.

The camera; or, Art of drawing in water colours : with instructions for sketching form nature : comprising the whole process of water-coloured drawing, familiarly exmplified in drawing, shadowing, and tinting a complete landscape ... and directions for compounding and using colours, sepia, Indian ink, bister, &c.

Mode of access: Internet.

The camera in the fields, a practical guide to nature photography.

Mode of access: Internet.