With the rise of smartphones and the proliferation of applications ("apps"), the ways everyday me... more With the rise of smartphones and the proliferation of applications ("apps"), the ways everyday media users and creative professionals represent, experience, and share the everyday is changing. With the overlay of location-based services, these experiences and representations are providing new social, creative, and emotional cartographies. This collection discusses the prospects of the proliferation of mobile and digital filmmaking opportunities, from videographic citizen journalism to networked, transmedia collaborative filmmaking and photography, and the embedding of filmmaking and photography in social media practice. The contributors reflect on emergent creative practices as well as digital ethnographies of new visualities and socialities associated with smartphone cameras in everyday life.
In this paper we examine conceptions of framing and context as they apply to photographs and othe... more In this paper we examine conceptions of framing and context as they apply to photographs and other visual historical material. In particular we focus on the ways that context and framing are operationalised in the intimate, fragmented space of family history and how they play out through the construction of narrative coherency, what these sites are, what we bring to the sites, and how the interactions between beholder and object manifest as encounters. To investigate this we present a selection of photographic items ...
ABSTRACT This paper explores the role of identity in helping international students form social n... more ABSTRACT This paper explores the role of identity in helping international students form social networks at an Australian institution and how these networks contribute to creating a sense of home away. The findings suggest that international students form distinct social networks that are not necessarily solely made up of fellow students from their home countries. Rather, international students form a mixture of social networks that are based on the complex individual identities of each student centred on a variety of common factors, such as: course of study, place of work, neighbourhood, culture, religion and personal interests (hobbies). Hence many students are part of social groups that consist of international students from their specific region and beyond, as well as local (Anglo and non-Anglo) students. These locally based social networks complement existing home-based networks which are maintained virtually through social media to create a home away from home.
ABSTRACT Places and historical artefacts are being reimagined through social media on a daily and... more ABSTRACT Places and historical artefacts are being reimagined through social media on a daily and routine basis. Using an approach drawn from digital ethnography we analyse a 24-hour snapshot of the ‘Lost Melbourne’ Facebook community from an insider’s perspective. Lost Melbourne generates new perspectives on local history on a daily basis in its recombinant and messy assemblage of content, directed by its administrators and created by both administrators and members. Its content consists largely of digitised photographs and old films taken from personal collections as well as other online archives. In this essay, we explore the implications of these new archives and associated emergent amateur memory practices. Our research suggests that Lost Melbourne might best be seen as an example of ‘network sociality’ (Wittel, 2001), involving people motivated largely by a yearning for connection and continuity. We now present the idea of the ‘New Archive’ as a form of internet-facilitated network sociality, and some implications. The New Archive We start by following Tim Cresswell’s proposition that “things are at the heart of the process of constructing an archive of a place” (2012, p. 165). We also refer to Malraux’s (1953) prescient notion of a ‘museum without walls’: a free and open space for presentation of content. Amateur aficionados enact Malraux’s concept by sharing digital ‘things’ online: ephemeral fragments/glimpses of places and lives. Through the resulting interactions, places and lives are re-imagined and reconstituted in new, ever-evolving ways. These practices deploy, and often combine, the many available social media systems including Facebook, Twitter, Flickr, Pinterest, Instagram, Google Maps, blog systems (WordPress, Blogger, Tumblr, etc.) and video sharing sites (Youtube, Vimeo, etc.). Blog feeds can be linked to Twitter and Facebook. Online archives can be simultaneously created and disseminated to different audiences. These technologies are largely free and open to participation. As Ketelaar states, “social navigation and community-based adaptation technologies can transform archives into social spaces by empowering records to be open social entities”’ (Ketelaar, 2008; p. 7). Museums and galleries are increasingly incorporating such strategies into their preservation practices, including the harnessing of crowdsourcing. Lost Melbourne’s collation and recombination of archival content can be seen as a form of the McKemmish & Upward concept of ‘archival continuum’ (2001). The capture, organisation and ‘pluralisation’ of existing archival content allow for a non-linear “blurring of separateness of individual points” (Upward, 2005); discrete items within the online archive are continuously transformed by interactions through time and space, resulting in the development of collective memory. Thus it could be said that Lost Melbourne creates something new in its recombinant assemblage of content – a process directed by administrators but involving both administrators and member participants. There are tensions in this process. When content moves to social media, it becomes an artefact of a new kind, and if archival entropy’ (Archivepost, 2012) ensues due to lack of usage/access, the content fades from view and is effectively lost within the online system. Further, although the properties of social media software allow for rapid pluralisation of content through their interconnected ‘ambient frameworks’, such content is impermanent and fragile: systems are owned by third parties, technologies change, and those who maintain content may discontinue managing it or providing access to it. Online archival assemblages are also subject to different meanings and interpretations. Archives are a “dynamic process involving an infinite number of stakeholders over time and space” (Ketelaar, 2012), attracted by what Crinson (2005), citing historian Pierre Nora, calls “the ‘specificity of the trace’ for which we feel a superstitious veneration” (p. xiv). The Lost Melbourne assemblage presents both artefacts and varying representations of those artefacts, as well as future possibilities for understanding and reproducing them. The contents operate as ‘touchstones’ of memory (Millar, 2006) that are in a constant state of becoming within Facebook’s live, ambient framework. A 24-hour snapshot of Lost Melbourne As stated previously, there are two nodes of activity on Lost Melbourne. These nodes arise from the structure of Facebook. The first is members’ comments and replies, generated either in response to administrators’ posts, or with self-initiated uploads. Member-generated uploads appear on Lost Melbourne, but need to be actively discovered since they do not appear in its feed stream. The second is posts by owners and administrators. They appear on the Lost Melbourne ‘timeline’, and therefore within member’s feed streams. Below we present an arbitrarily-chosen 24-hour period snapshot of Lost Melbourne activity.…
Housing markets in the advanced economies tend to undersupply housing affordable by lower-income ... more Housing markets in the advanced economies tend to undersupply housing affordable by lower-income households. The provision of social housing has been one major way in which governments have intervened in order to redress this expression of market failure. Housing policy interventions may be broadly divided into demand-side policies that direct subsidies to lower-income and multiply disadvantaged households and supply-side subsidies that provide incentives for housing providers to supply housing to target groups at below-market rents. Governments in most countries intervene in a range of ways, notably through fiscal instruments, regulation, and land supply. Over the past 20–30 years many countries have moved to emphasise demand-side policies more and to rely on provision by regulated nonprofit housing associations rather than local or state governments. Private investors have increasingly been attracted to social housing provision.
Abstract In this chapter we attempt to come to terms with our simultaneous roles as researchers a... more Abstract In this chapter we attempt to come to terms with our simultaneous roles as researchers and research subjects who use creative practice (primarily video, text and installation) to shed light on our own postmemorial urges (Hirsch, 1997). Our raw materials are our personal encounters with the traumatic ghosts of an intimate, yet distant, past: those of family stories preceding our birth. Woven into this exploration are issues connected with the effects of modernity and our digital era in particular, especially the ever-expanding ...
ABSTRACT Smartphone camera practices are mediated by smartphones, smartphone apps, the physical e... more ABSTRACT Smartphone camera practices are mediated by smartphones, smartphone apps, the physical environment including weather, and the affordances and assemblages of social media. Visual culture and objects such as photographs and videos have become part of our routine social interactions online. The popularity of faux-vintage apps indicates that people are endeavoring to capture more than an accurate depiction of what their eyes can see. They are using faux-vintage aesthetics to go beyond visual sense to capture dynamic and embodied aspects of what the whole sensorium experiences. This paper makes use of Derrida’s notion of hauntology as a springboard to examine the popularity of faux-vintage photography.
ABSTRACT This paper explores the role of identity in helping international students form social n... more ABSTRACT This paper explores the role of identity in helping international students form social networks at an Australian institution and how these networks contribute to creating a sense of home away. The findings suggest that international students form distinct social networks that are not necessarily solely made up of fellow students from their home countries. Rather, international students form a mixture of social networks that are based on the complex individual identities of each student centred on a variety of common factors, such as: course of study, place of work, neighbourhood, culture, religion and personal interests (hobbies). Hence many students are part of social groups that consist of international students from their specific region and beyond, as well as local (Anglo and non-Anglo) students. These locally based social networks complement existing home-based networks which are maintained virtually through social media to create a home away from home.
With the rise of smartphones and the proliferation of applications ("apps"), the ways everyday me... more With the rise of smartphones and the proliferation of applications ("apps"), the ways everyday media users and creative professionals represent, experience, and share the everyday is changing. With the overlay of location-based services, these experiences and representations are providing new social, creative, and emotional cartographies. This collection discusses the prospects of the proliferation of mobile and digital filmmaking opportunities, from videographic citizen journalism to networked, transmedia collaborative filmmaking and photography, and the embedding of filmmaking and photography in social media practice. The contributors reflect on emergent creative practices as well as digital ethnographies of new visualities and socialities associated with smartphone cameras in everyday life.
In this paper we examine conceptions of framing and context as they apply to photographs and othe... more In this paper we examine conceptions of framing and context as they apply to photographs and other visual historical material. In particular we focus on the ways that context and framing are operationalised in the intimate, fragmented space of family history and how they play out through the construction of narrative coherency, what these sites are, what we bring to the sites, and how the interactions between beholder and object manifest as encounters. To investigate this we present a selection of photographic items ...
ABSTRACT This paper explores the role of identity in helping international students form social n... more ABSTRACT This paper explores the role of identity in helping international students form social networks at an Australian institution and how these networks contribute to creating a sense of home away. The findings suggest that international students form distinct social networks that are not necessarily solely made up of fellow students from their home countries. Rather, international students form a mixture of social networks that are based on the complex individual identities of each student centred on a variety of common factors, such as: course of study, place of work, neighbourhood, culture, religion and personal interests (hobbies). Hence many students are part of social groups that consist of international students from their specific region and beyond, as well as local (Anglo and non-Anglo) students. These locally based social networks complement existing home-based networks which are maintained virtually through social media to create a home away from home.
ABSTRACT Places and historical artefacts are being reimagined through social media on a daily and... more ABSTRACT Places and historical artefacts are being reimagined through social media on a daily and routine basis. Using an approach drawn from digital ethnography we analyse a 24-hour snapshot of the ‘Lost Melbourne’ Facebook community from an insider’s perspective. Lost Melbourne generates new perspectives on local history on a daily basis in its recombinant and messy assemblage of content, directed by its administrators and created by both administrators and members. Its content consists largely of digitised photographs and old films taken from personal collections as well as other online archives. In this essay, we explore the implications of these new archives and associated emergent amateur memory practices. Our research suggests that Lost Melbourne might best be seen as an example of ‘network sociality’ (Wittel, 2001), involving people motivated largely by a yearning for connection and continuity. We now present the idea of the ‘New Archive’ as a form of internet-facilitated network sociality, and some implications. The New Archive We start by following Tim Cresswell’s proposition that “things are at the heart of the process of constructing an archive of a place” (2012, p. 165). We also refer to Malraux’s (1953) prescient notion of a ‘museum without walls’: a free and open space for presentation of content. Amateur aficionados enact Malraux’s concept by sharing digital ‘things’ online: ephemeral fragments/glimpses of places and lives. Through the resulting interactions, places and lives are re-imagined and reconstituted in new, ever-evolving ways. These practices deploy, and often combine, the many available social media systems including Facebook, Twitter, Flickr, Pinterest, Instagram, Google Maps, blog systems (WordPress, Blogger, Tumblr, etc.) and video sharing sites (Youtube, Vimeo, etc.). Blog feeds can be linked to Twitter and Facebook. Online archives can be simultaneously created and disseminated to different audiences. These technologies are largely free and open to participation. As Ketelaar states, “social navigation and community-based adaptation technologies can transform archives into social spaces by empowering records to be open social entities”’ (Ketelaar, 2008; p. 7). Museums and galleries are increasingly incorporating such strategies into their preservation practices, including the harnessing of crowdsourcing. Lost Melbourne’s collation and recombination of archival content can be seen as a form of the McKemmish & Upward concept of ‘archival continuum’ (2001). The capture, organisation and ‘pluralisation’ of existing archival content allow for a non-linear “blurring of separateness of individual points” (Upward, 2005); discrete items within the online archive are continuously transformed by interactions through time and space, resulting in the development of collective memory. Thus it could be said that Lost Melbourne creates something new in its recombinant assemblage of content – a process directed by administrators but involving both administrators and member participants. There are tensions in this process. When content moves to social media, it becomes an artefact of a new kind, and if archival entropy’ (Archivepost, 2012) ensues due to lack of usage/access, the content fades from view and is effectively lost within the online system. Further, although the properties of social media software allow for rapid pluralisation of content through their interconnected ‘ambient frameworks’, such content is impermanent and fragile: systems are owned by third parties, technologies change, and those who maintain content may discontinue managing it or providing access to it. Online archival assemblages are also subject to different meanings and interpretations. Archives are a “dynamic process involving an infinite number of stakeholders over time and space” (Ketelaar, 2012), attracted by what Crinson (2005), citing historian Pierre Nora, calls “the ‘specificity of the trace’ for which we feel a superstitious veneration” (p. xiv). The Lost Melbourne assemblage presents both artefacts and varying representations of those artefacts, as well as future possibilities for understanding and reproducing them. The contents operate as ‘touchstones’ of memory (Millar, 2006) that are in a constant state of becoming within Facebook’s live, ambient framework. A 24-hour snapshot of Lost Melbourne As stated previously, there are two nodes of activity on Lost Melbourne. These nodes arise from the structure of Facebook. The first is members’ comments and replies, generated either in response to administrators’ posts, or with self-initiated uploads. Member-generated uploads appear on Lost Melbourne, but need to be actively discovered since they do not appear in its feed stream. The second is posts by owners and administrators. They appear on the Lost Melbourne ‘timeline’, and therefore within member’s feed streams. Below we present an arbitrarily-chosen 24-hour period snapshot of Lost Melbourne activity.…
Housing markets in the advanced economies tend to undersupply housing affordable by lower-income ... more Housing markets in the advanced economies tend to undersupply housing affordable by lower-income households. The provision of social housing has been one major way in which governments have intervened in order to redress this expression of market failure. Housing policy interventions may be broadly divided into demand-side policies that direct subsidies to lower-income and multiply disadvantaged households and supply-side subsidies that provide incentives for housing providers to supply housing to target groups at below-market rents. Governments in most countries intervene in a range of ways, notably through fiscal instruments, regulation, and land supply. Over the past 20–30 years many countries have moved to emphasise demand-side policies more and to rely on provision by regulated nonprofit housing associations rather than local or state governments. Private investors have increasingly been attracted to social housing provision.
Abstract In this chapter we attempt to come to terms with our simultaneous roles as researchers a... more Abstract In this chapter we attempt to come to terms with our simultaneous roles as researchers and research subjects who use creative practice (primarily video, text and installation) to shed light on our own postmemorial urges (Hirsch, 1997). Our raw materials are our personal encounters with the traumatic ghosts of an intimate, yet distant, past: those of family stories preceding our birth. Woven into this exploration are issues connected with the effects of modernity and our digital era in particular, especially the ever-expanding ...
ABSTRACT Smartphone camera practices are mediated by smartphones, smartphone apps, the physical e... more ABSTRACT Smartphone camera practices are mediated by smartphones, smartphone apps, the physical environment including weather, and the affordances and assemblages of social media. Visual culture and objects such as photographs and videos have become part of our routine social interactions online. The popularity of faux-vintage apps indicates that people are endeavoring to capture more than an accurate depiction of what their eyes can see. They are using faux-vintage aesthetics to go beyond visual sense to capture dynamic and embodied aspects of what the whole sensorium experiences. This paper makes use of Derrida’s notion of hauntology as a springboard to examine the popularity of faux-vintage photography.
ABSTRACT This paper explores the role of identity in helping international students form social n... more ABSTRACT This paper explores the role of identity in helping international students form social networks at an Australian institution and how these networks contribute to creating a sense of home away. The findings suggest that international students form distinct social networks that are not necessarily solely made up of fellow students from their home countries. Rather, international students form a mixture of social networks that are based on the complex individual identities of each student centred on a variety of common factors, such as: course of study, place of work, neighbourhood, culture, religion and personal interests (hobbies). Hence many students are part of social groups that consist of international students from their specific region and beyond, as well as local (Anglo and non-Anglo) students. These locally based social networks complement existing home-based networks which are maintained virtually through social media to create a home away from home.
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