Skin: the beginning

Artist’s Statement

Title:                Skin

Artist:              Christina Donoghue

Medium:          Digital video installation

Skin is a series of interviews that asked the participants to share the life experience of their skin. Skin was conceived from a desire to have a conversation about identity from a common baseline. By allowing people’s narratives and emotions around their skin to unfold organically on film both our sameness and our differences are discussed by association in a microcosmic fashion that relates to the larger discussions of personal, ethnic, generational, gender, sexual and minority identity. Travelling from the textural to the visceral Skin speaks to our awareness of self and explores the connections between our internal and external journeys.


Skin: Growing pains, a lesson learned

Hell! The last four days have been hell. But, I thought it was well worth the post to record my growing pains as it is part of practice. Here’s how it went…

Here was I triumphantly thinking that I was ahead of the game as I finished up my interviews and edits last Friday. I entered all the settings for export and pressed start. The result was underwhelming. For the next 36 hrs my computer worked itself to the bone, just when it had reached the end and I dare not hold my breath, it had 30% left and I went to sleep. I woke up in a nightmare THE COMPUTER HAD CRASHED!!!!! I was CRUSHED… Here I thought I would rock up my university in the morning with my little flash drive and here I was with nothing to show for the last four days and my assignment was meant to be installed that day.

So, I sat at the Uni all day and attempted to cut up my film and export it into small chunks… The long and the short is after a whole day trying to export one chunk it dies AGAIN. So the technician Glenn tells me if I have something by about 8am it will be no problems, so I headed home on a mission. I had read up and knew that the export out of Premier was taking a long time both because my computer is old and because it takes a long time to render the effects and my film was split screen with effects.

img_1078So, I got back home and started pre-rendering the effects in 2min increments. It took me half the night, I was setting the timer to wake up every time the render would finish. Then I attempted an export with one pass and a lower bitrate. It took hours but with fingers crossed it finished about 7:30am.

Major lesson learnt on this one, whenever possible I have an excuse to buy that $20K Apple, and when doing film, I need to allow around 2 weeks to render and export the project.

At least this time, it all came out in the wash.



_____ enough?

For those who are none the wiser, this post is a brief description and proposal for digital art project form yet unrealised. For now it is a busy soup of ideas and potentiality which I am now charged with translating into a cognisant whole.

Power & Identity

Last year I undertook a writing work that was occupied with post-colonial theory. In this time I came across theorists such as Gayatri Chakravorty Spivak, Franz Fanon and Eduard Said and was already painfully aware of Foucault who seems to have something to do with everything across the humanities. What stuck with me was this idea of erasure of history and culture and therefore people’s concept of identity. Franz Fanon said it most succintly for me in Black Skin, White Masks, “Without a Negro past, without a negro future, it was impossible for me to live my Negrohood.” Fanon (1952, p.153) I had a similar experience when reading Spivak’s response to Macauley regarding the codification of Hindu Law by the British in Can the subaltern speak? 1988. Foucault refers to these actions as ‘epistemic violence’. A theme inspired by all these texts is the idea that ones identity cannot be known as it has already been erased or stolen. And all that you think you know about yourself, if it is based of misinformation or the space of erasure, how do we form our identity and authenticity.

The interaction with power in this space, is the power enacted by the dominant discourse to create a reality based of a context designed to support the dominant power.

Realising large concepts in finite space

Going forward with the idea of keeping this project reflexive so that it is doable within a shorter period of time, I plan on using myself as the subject. Growing up black/white biracial a subject of societal binaries I would like to explore the space that is unsatisfied with who we are and seeks to define and classify.

My idea at present is a combination of photography and video. I would like to use time lapse photography and apply make-up to camera and ask the question “am I _______ enough?” This comes from the experience of growing up in both Australia and the USA and being told by both Australian and African-American communities “where are you from?”, “You can’t be from here?”, “You’re not very dark?” or to my mother, “Oh, whose girl is this?”. Dealing with questions of visual displays of cultural identity and how the power is enacting on us.

img_0522.jpgThe Process

  1. Research – Together with my team I will be researching identity theory. Looking at the three main classifications of identity formation; individual identity, social identity, cultural identity. As well how as power interacts and/or influences the construction of identity. Research into other artists that are working with similar themes and mediums will be part of this body of research.
  2. Project planning – Final plans will be made for how to begin shaping the material to express the ideas cohesively. This will occur with the openness to the process of making quite often changing the direction of the project.
  3. Creation – creation of the material project in consultation with the group.
  4. Exhibition

Feedback and collaboration with ideas is part of my project model. For this we will be using in class time as well as Facebook groups and Google Hangout as well as face to face closer to exhibition time.

Video piece by multimedia artist Jessica Wimbley who deals with themes of erasure and identity within the American landscape. During the research phase I will be seeking more artists that have used these contemporary mediums within this space of inquiry. I also love her use of photography and film.


Bunch, A 2015, ‘Epistemic violence in the process of Othering: Real-world applications and moving forward’, Scholarly Undergraduate Research Journal at Clark, vol. 1, no.2, pp.11-18
Fanon, F 1986, Black skin white masks, trans. CL Markman, Pluto Press, London
Spivak, GC 1988, Can the subaltern speak?, Macmillan



The Facebook cuteness curse, online shopping goes exotic

It’s all seems very innocent, checking into Facebook to be greeted by the latest rash of cute animal videos doing the rounds, along with them are videos of animal cruelty. Ironically they look different, but the impact is opposite to their appeal.

I love animals, I have always had dogs, I grew up on a couple of farms, I have a hard time going to the zoo, but I understand their existence in this world we have built. I’ve been to Seaworld in Florida when I was little being splashed by Shamu, but now I am old enough to understand that actions have consequences.

Years ago pictures of a furry little wide eyed primate eating a banana graced my feed almost every time I looked at my feed. Some time later there was a campaign called “tickle is torture”, which brought to my attention that our tendency to anthropomorphise animals had once again been shown to be wrong. Behaviour that internet users had been identifying as enjoyment and play was in fact stress and fear. We made the assumption that because we like to be tickled or touched, so did the loris.

The Loris’ Facebook fame led to a rise in the demand of the slow loris as an exotic pet.

A study was conducted by the Nocturnal Primate Research Group at the Oxford Brooks University in the United Kingdom into public perceptions of cute videos of threatened species, specifically the slow loris.

“Focussing on a group of threatened and globally protected primates, slow lorises, we quantify public attitudes towards wildlife conservation by analysing 12,411 comments and associated data posted on a viral YouTube video ‘tickling slow loris’ over a 33-months period. In the initial months a quarter of commentators indicated wanting a loris as a pet, but as facts about their conservation and ecology became more prevalent this dropped significantly.” Nekaris, KAI, Campbell, Nicola, Coggins TG, Rhode, EJ & Nijman, V (2013)

The problem is with exposure. Many of these animals are relatively unknown, which is partially their saving grace. “Slow loris videos that have gone viral have introduced these primates to a large cross-section of society that would not normally come into contact with them.”Nekaris, KAI, Campbell, Nicola, Coggins TG, Rhode, EJ & Nijman, V (2013)

Puss-in-boots-shrek-4971261With eyes that look like Puss-in-Boots and movement such as eating that is so incredibly like a furry human, their appeal to the animal seasoned crowds is easy to see. But that some people go from ‘aw that’s cute’ to ‘aw I want one’ and then enacting that desire out is an unintended impact of most people who forward the viral animal video.

Like most one stop shopping websites Facebook has a range of groups who engage in the sale and import of exotic animals,

“Many threatened species or their body parts are explicitly advertised for sale on websites, including charismatic Asian flagship species such as elephants, tigers, and marine turtles[8]. Pet traders increasingly resort to the internet, e.g. in Thailand [9] and in China [8]. Improved packaging and infrastructure allow ornamental fish and corals to be ordered on the internet and shipped to one’s door in a matter of days. Internet trade is also used to offer legally protected species for sale as pets [8], [9]. For some species, like Iranian Kaiser’s spotted newt, rising demands in internet trade of live specimens has seen an increase in their harvesting from the wild, leading to near extinction of the species.”Nekaris, KAI, Campbell, Nicola, Coggins TG, Rhode, EJ & Nijman, V (2013) Other complications are the spread of disease and placing native animals in habitats outside their natural habitat.

Facebook commerce policy prohibits the sale of animals on it’s site. But, it has been hard to police what happens in closed groups.

Although loss of habitat is by far the greater threat to all the species of loris, across much of Asia, the pet trade, in particular to Japan is drawing heavily on the already threatened species.

The solution to stopping the trade of exotic animals may also in part lie on the internet. After the release of the “Tickling is Torture” video (shown above) by sharing of Loris videos stopped and Facebook and YouTube users started exercising greater consciousness of the impact of sharing these type of videos.

The illegal animal trade has always been a thing, but with the internets ability to create higher visibility, with higher accessibility for potential clients, animals are being assaulted on yet another front. The internet as a tool of conservation education show potential for hampering the trade though. Government and corporate regulation are most definitely going to be the gatekeepers of the internet exotic animal trade, as well as the Facebook end-user, it can be as simple as not pressing share.


Nekaris, KAI, Campbell, Nicola, Coggins TG, Rhode, EJ & Nijman, V 2013, ‘Tickled to death: Analysing public perceptions of ‘cute’ videos of threatened species’, PLOS One, vol.8, no. 7, p.p. 931-935

Black, R 2007, ‘Too cute for comfort’, BBC News, June 8, view 31 March 2017, <;

Darnaud, G 2016, ‘When tickling is torture: illegal exotic animal trade’, Global Citizen, April 20, viewed 31 March 2017, <;

Cambridge University Press 2007, ‘Breifly’, Oryx, vol.41, no.4, pp.417-426

Seeing without context, looking at the powerless with impact

I was sitting a Macbeth Way Community Centre, we were in a medium sized room with a high ceiling and highly-polished white-tiled floors that continuously bounced sound from one hard surface to another, no matter how many people were in the room. It was a TAFE outreach class on governance being taught in the middle of a public housing estate in Rosemeadow, a suburb of South-Western Sydney.

A group of women from Macquarie Fields and Claymore were talking about a program that ABC’s Four Corners  produced about the social housing estate in Claymore. The women were talking about how it is hard enough to come from Government housing estates and how much harder media coverage like the Four Corners program ‘Growing Up Poor’, made it for residents of the estates covered to find employment due to existing stigmas being confirmed and sensationalised. They felt by robbing them of their humanity and context the program left them to be judged as object. The residents of Claymore in my class continued, speaking of the invasive journalists who would hang out on their streets or around the shops trying to get residents to speak with them. “I wouldn’t talk to ’em,” one lady said, “I know what they want.” She’s speaking about a the portrayal of marginality that seems to be the lens through which we view poverty, the framing that forms the dominant discourse by which we discuss poverty and powerlessness.

So as public communicators, the subjectivity, lack of context and possible impacts of using the visual medium need to be explored to be employed responsibly and without undue negative impact on the subjects of the image. The image itself does not exist in a vacuum, and despite the intention of the photographer, journalist or film maker there is a world that exists before during and after the image is taken and then publicised. By using the work of Gordon Parks, a photographer, writer, poet and composer, who gained fame by photographing what he saw around him, poverty and the struggle for civil rights, we can look at this case and its impact.

American Gothic photographed by Gordon Parks (c) 1941, Woman pictured is Ella Watson
Firstly let me just state that I do not wish to ignore that this discussion could easily be about the aestheticisation of poverty as Gordon Parks’ photographs are indeed beautiful. But here for this post I consciously chose to look at the experience of the individual, the intention and possible impacts on the practitioner, subjects and audience.

Gordon Parks was an African-American photographer who was born in 1912 and died in 2006. Parks was a black man in America. Born in Kansas and raised in Minnesota, he never finished school, worked as a waiter on the railway, in road gangs and many other forms of employment. Unable to afford education he did what he could. Inspired by photographs of the bombing of the “Panay” he saved up his money and bought a camera for seven dollars; it came with two rolls of film. He wanted to shoot fashion, which he did, but some of his most notable work came from the world directly around him, “the photographs that I made there [Chicago], aside from fashion, were the thing that I was trying to express in a social conscious way. I’d become sort of involved in things that were happening to people. No matter what color they be, whether they be Indians, or Negroes, the poor white person or anyone who was I thought more or less getting a bad shake. I, you know, thought I had the instinct toward championing the cause. I don’t know where it came from but… Possibly the cause was my own early poverty.” Parks (1964)

LIFE Magazine 1961 (c)  Photographed by Gordon Parks
In 1961 LIFE magazine sent Parks to Rio de Janeiro to create a story focused on poverty in Latin America. To accomplish this Parks focused the photo essay on the family of Jose and Nair da Silva and their eight children.

LIFE showed its readers a frightening, brutal world where the da Silva children — and, by implication, countless others like them — spent their day “penned in their shack [built of tin cans and broken orange crates] or roaming the foul pathways of the favela where the filth of the inhabitants is tossed out to rot.” TIME LIFE (2012)

There’s an unromantic version here that LIFE magazine doesn’t speak about. But, Parks says in his autobiography Voices in the Mirror, “The detailed Life assignment in my back pocket was to find an impoverished father with a family, to examine his earnings, political leanings, religion, friends, dramas and his frustrations.” Parks (1990) So that’s what he did. In the same autobiography he explains his own motivations for wanting the assignment,

“I’ve never lost my fierce grudge against poverty. It is the most savage of all human afflictions, claiming victims who can’t mobilize their efforts against it, who often lack strength to digest what little food they scrounge up to survive. It keeps growing, multiplying, spreading like a cancer. In my wanderings I attack it wherever I can—in barios, slums and favelas.” Parks (1990)

Parks, sees himself as self-determining through exposing the ugly face of poverty. There is a conversation to be had though that in order to be allowed to photograph these topics in a way that he would be published, the subjects had to be shown through the lens of disgust and powerlessness. That by imposing himself on the de Silva family (the subject of the LIFE article), that he too was exploiting this family’s powerlessness, “José, the father, viewed us with skepticism. Nair, his pregnant wife, seemed beyond tired beyond speaking. Hardly acknowledging our presence… Later, when we got down to the difficult business of obtaining permission from José da Silva to photograph his family, he hemmed and hawed, wallowing in the pleasant authority of the decision maker. He finally gave in, but his manner told us that he expected something in return.” Parks (1990)

Life Magazine 1961
Parks goes on to create a relationship with the then twelve-year-old Flavio who is the eldest boy and a parental figure in the de Silva family. Flavio makes a sympathetic figure in the western press and is consequently ‘helped’. Brought to America to be cured of tuberculosis with the assistance of President Kennedy and the Children’s Asthma Research Institute and Hospital in Denver. The Life cover and article demonstrates how poverty has a value that makes the audience feel good about themselves in a way that is public and self congratulatory, “The Compassion of the Americans Brings a New Life for Favio” the article was titled. Parks made a film about Favio, writes and sponsors the boy in a way that was sustained throughout Parks’ life.


Life Magazine 1961 (c)
In an excerpt from the HBO documentary Half Past Autum: The Life and Work of Gordon Parks Parks returns to visit Flavio, who is now in his fifties with a family of his own. Everyone there is visibly moved, “Gordon Parks is really something that happened in my life and my brothers and sisters’ life, and my mother’s ” says Flavio, “it’s something important, it’s an act of a father. We kept in contact by writing letters and thinking in our minds, in his there and me here, it’s the way you keep in contact, just not forget the person.” Towards the end of that section of the documentary, Parks reflects on the real impact that their interaction had on Flavio:

“Age had fallen hard on Flavio da Silva’s head, neither time nor goodwill had overcome the poverty that still stalked him. The house was in shambles. Life‘s cover had portrayed Flavio smiling his thanks to those who saved him, but now it was clear that in molding human lives money alone was not enough.” Parks (1999)

This quote realises for Parks that after a life spent photographing, filming and writing about the plight of the poor, he realises that poverty is a problem that is bigger than money, it is a social problem not to be solved by publicity portraying them as victims, marginalised citizens and/or the powerless other.

According to the Brazilian Institute of Geography and Statistics in 1960 the population of the favelas were 337 412, in the year 2000 it had risen to just over a million.

Maria Perlman is an anthropoligist who has spent her life studying the idea of the marginal community and the links between the social systems that support the existence of the myth of the other and the reasons for its existence. In The myth of marginality:urban poverty and politics in Rio de Janeiro, Perlman connects sustaining the the current ideology around ‘marginal’ communities as functionally convenient for the dominant political system. Her longitudinal research of the favela’s of Brasil points out many causal indicators for their existence that were never dealt with through looking at Life’s expose on poverty in Latin America.

The portrayal of the Savio’s and other residents of the favelas as ‘other’is problematic

Perlman writes, “My conclusion was that the favelados are not marginal, but inexorably integrated into society, albeit in a manner detrimental to their own interests. They are not separate from or on the margins of the system, but are tightly bound into it in a severely asymmetrical form.”

In Parks’ coverage of the Savio family the father was painted as a type of a villain, blaming him in a way for his family’s situation and standing in the way of Flavio being adopted in America and having a ‘better life’.

Perlman writes, “The ideology of marginality, with its moralistic “blaming the victim” narrative has persisted,” she goes on to explain how this ideology serves the dominant culture.

The coverage in the LIFE magazine article did not investigate the significant societal factors that led to the poor of Brazil in the 60’s and 70’s not being able to overcome their social and economic distress which were:

  1. the dramatic loss of manufacturing in the Rio de Janeiro Metropolitan area, which left thousands of blue collar workers unemployed;

  2. the consolidation of the physical space of the city and consequent reduction in construction jobs (which had been a mainstay for unskilled and semi-skilled workers in the boom of the 60s and 70s); Perlman (2005)

Perlman also lists: a downturn in domestic employment due to the financial insecurity of the middle-class; technological advances replacing jobs; higher education standards for job entry; increase in drug violence; and the stigma of living in a favela as a barrier to employment.

No person or society is an island, so it seems irresponsible to the subject to portray them as such. There is a direct correlation between portrayal and public opinion, “portrayals of poverty are important because they have an impact on public opinion.” says Rosalee Clawson and Rakuya Trice in a research study called Poverty as we know it:Media portrayals of the poor,

“In turn, public opinion has an impact on public policy (Page and Shapiro 1983). Thus, if attitudes on poverty-related issues are driven by inaccurate and stereotypical portrayals of the poor, then the policies favored by the public (and political elites) may not adequately address the true problems of poverty.” Clawson & Trice (2000, p. 61) “Graber’s research on television suggest that themes are more memorable than verbal information (Graber 1990, 1991) Although news magazines are a very different medium than television, it is certainly possible that magazine photos capture the audience’s attention in the same way as television visuals. Psychological research suggests that vivid images of particular cases are more memorable and influential than dry statistical data (Fischhoff and Bar-Hillel 1984) a finding that is confirmed in the quantitative study Watchdog, voyeur or censure? An eye-tracking research study of graphic photographs in the news media which investigates peoples beliefs about American intervention in foreign countries after exposing research subjects to selected graphic images. Dahmen (2015)

This discussion is in no way meant to be exhaustive and there is no blanket way to control where, how and which images are released. But, a concerted effort by employers, educators and individuals to be aware of the real impacts that any information, specifically regarding the powerless has to impact lives that have very little recourse to fight. As shown by relating the Perlman article to the Life Magazine story, it would have been more socially responsible to educate their readers on the context around the images, possibly by showing through the images why the poverty existed in that place, rather than adhering to existing stereotypes of the filthy dirty poor, who are just there.

The Life article did encourage giving aid to South-America for a time, but it did not cure the employment, education, housing, drug or social stigma problems as they still exist is Rio de Janeiro today.



Clawson, RA & Trice, T 2000, ‘Poverty as we know it: Media portrayals of the poor’, Public Opinion Quarterly, vol.64, no.1, pp.53-64

Cosgrove, B  2012, ‘A fierce and tender Eye: Gordon Parks on poverty’s dire toll’, Time Life, 29 November, viewed 28 March 2017, <>

Dahmen, NS 2015, ‘Watchdog, voyeur, or censure? An eye-tracking research study of graphic photographs in the news media’, Journalism Practice, vol.9, no.3, pp.418-432

Doud, R 2016, ‘Gordon Parks 1964: Oral History Interview’, Journal of Pan African Studies, vol.9, no.10, pp.317-333

Parks, G 1990, Voices in the Mirror: An autobiography, University of Michigan, Knopf Doubleday Publishing Group, 1990

Perlman, JE 2006, ‘The Metamorphosis of Marginality: Four generations in the Favelas of Rio de Janeiro’, The Annals of the American Academy of Political and Social Science, vol. 606, no.1, pp.154-177

Perlman, JE 1976, The myth of marginality: urban poverty and politics in Rio de Janeiro, Berkley, University of California Press, 1976

Rice, CL [dir] 2000, Half Past Autumn: The life and works of Gordon Parks, television documentary, HBO, 30 November

Witnessing the selfie

At around eighteen-months of age I uttered my first sentence , “Mum, look at me!” Now at that age when brain development is still coming to terms with the self as a concept, children will often try to get their parents attention just to be witnessed in whatever activity they are engaged in or just to ask “do you see me?” Now so many years later my own children are at ages seven and ten and can still be heard saying “Mum, look at this.” or “Mum look what I can do.” with such regularity they are like my personal push function for sixteen hours a day.  Our need to be witnessed in almost everything we do is seems to be so intrinsic to who we are as human beings that the selfie as a form of witnessing seems like a natural extension of a specific human need. A form of validation of the “I am here” or “look what I can do” drive.

Now let me be clear, this conversation around witnessing and the selfie is a tunnel visioned one only for the purpose of this discussion. The motivations behind the selfie movement are as diverse as the stars in the sky. This discussion of the motivation of witnessing and how it may relate to selfie taking and viewing is only exclusive for focus, not because it is unrelated or does not act in combination with any other behaviour.

The term ‘witness’ has many uses and meanings, but its use in this blog post will be in reference to its meaning as a discursive term, “of stating one’s experience for the benefit of an audience that was not present at the event and yet must make some kind of judgement about it. Witnesses serve as the surrogate sense-organs of the absent.” Peters 2001 (p.709)

I don’t believe for a second that the importance of being witnessed is purely a human concern. Many a David Attenborough special can be seen showing a male bird of paradise performing some spectacular choreography on the forest floor, or a baboon shaking their bare-ass at a mate, just waiting to be noticed. But, naturally humans took it a step or ten further, painting pictures of their daily activities on cave walls, making frescoes depicting their wealth and exploits or developing photography so that their likeness will continue long after the organic being is gone. Long before the term ‘selfie’ came about, people have been asking other people to take pictures of them as part of the environment.There is an importance around witnessing and being witnessed that the selfie can now fulfill with ease due to technological accessibility. It may be important to note here that the behavior appears to have remained constant with the medium changing or expanding due to technological advance.

In ‘Selfies: Witnessing and Participatory Journalism with a Point of View’ Michael Koliska and Jessica Roberts describe witnessing as “crucial to communication”, they say that “Before information can be shared or passed on to news audiences it has to be first acquired or witnessed.” They are referring in part to the essential nature of witnessing within the profession of journalism, but the principle could be applied to people’s need to be witnessed in their relationships, cultural activities and life events. The idea of “truth and experience, presence and absence” as well as “the trustworthiness of perception”(Peters, 2001, p.707) (2015 p.)

At the age of fourteen I spent two months in traction in Wollongong hospital. A girlfriend had decided to have a bit of fun and scare me by jumping beside me as we jumped from the rocks at the ‘grotto’ in North-Nowra and into the Shoalhaven river. As often happens when kids decide to do something stupid, something went wrong and a broken left femur was the consequence. After two months in hospital I had lost all concept of my face. It sounds strange, but how I looked was not part of my sense of self at that time due to spending two months without a mirror.

I remember seeing my face for the first time in two months, the pallor of my skin , the shape of my face, my blue eyes looking back at me deep and alive. Maybe it was shaped by the idea of Narcissus staring into the water entranced by his own reflection, but our mirror image has always fascinated us. As if we can find clue to our true identity there, hidden away in the upturn of our mouths.  My eyes tracing the newly unfamiliar features of my face, my visual identity slowly returning and with it the awareness of how I witnessed myself and how my external presence was witnessed. It gave me insight into how image is present in the construction of the self.

In her paper “Bringing sexy back: reclaiming the body aesthetic via self-shooting”, Katrin Tiidenberg discusses how our stories of bodies and sexuality have often relied of images to discover or create their truth. In reference to the role of selfies in constructing the self Tiidenberg says, “Traditionally photographs were seen as showing us the reality (cf.Bogdan & Biklen, 2003); according to Rose (2001), some historians of photography have argued, that the use of photographs in a specific regime of truth (Foucault, 1977), resulted in photos being seen as evidence of “what was really there”” Tiidenberg (2014 p.2) She goes on to discuss how this is no longer a prevalent view among visual scholars, that photographs are now seen as a ‘negotiated reality’. Tiidenberg however contests the idea of ‘negotiated reality’ particularly in the case of sexuality and candid shots, saying that in the case of candid photography it can be a case of the individual taking back the right to tell their own story of self, “According to Lasen and Gomez-Cruz: “self-portraits seem to be taking part in embodiment processes and in the shaping and knowing of the self” (2009, p. 206). Taking an active role in one’s sexual storytelling through both, images and text, can serve as empowering exhibitionism that allows us to “reclaim a copyright to our lives” by rejecting the “regime of order and the regime of shame” (Koskela, 2004, p. 206-207) or an act of “self-storying as activism” (Crawley & Broad, 2004, p. 68 as cited in Sheff, 2005). Tiidenberg (2014, p.2)

Selfies as a form of witnessing is a fairly new area of exploration particularly in relation to citizen and professional journalism. In the era of fake news journalists have been using selfies as tools of credibility of their witnessing of events and by extension validating their experience. This is another form of self-storying and places the journalist in a position of power by exhibiting their role as witness to their audience, but also as validation for the self.

“selfie with corpses behind me” pro Assad journalist Kinana Alloush for Adounia TV, images posted on social media
Kyodo handout photo of Japanese journalist Jumpei Yasuda
Japanese freelance journalist Jumpei Yasuda who was kidnapped in 2015 by Nusra in Syria

So, despite the relatively new term of ‘selfie’ and the popular obsession of discussing it in a predominantly negative light. As the discussion progresses and accusations of narcissism are cast aside by psychologists who have a solid understanding on the psychological drives of the disorder, the behaviour of reflecting the self back to the self and exhibiting it to others will gain perspective. The behavior is not really new as evidenced by Foucault and other scholars (some discussed here), even though the medium is. Perhaps the focus could be brought to how the conversation or manifestation of self images changes in content, use and impact according to accessibility. Perhaps the objections and uproar of how the self is being portrayed through selfie is due to the possibility of wider distribution and its different temporal relationship to us than that of its predecessors thanks to the immediacy of the technology.



Durham Peters, J, 2001, ‘Witnessing’, Media, Culture and Society, vol.23, p.p.707-723, University of Iowa, Iowa City, SAGE Publications, London

Hall, K, (2016), ‘Selfies and self-writing: Cue card confessions as social media technologies of the self’, Television and New Media, Vol.17, No.3, p.p.228-242

Koliska, M & Roberts, J, (2015), ‘Selfies: Witnessing and participatory Journalism with a point of view, International Journal of Communication, Vol. 9, p.p.1672-1685, University of Maryland USA, Xi’an Jiaotong-Liverpool University, China

Tiidenberg, K, (2014), ‘Bringing sexy back: Reclaiming the body aesthetic via self shooting’, Journal of Psychosocial Research on Cyberspace, Vol.8, No.1, Article.3



Dancing with Ernie dingo: Identity, minority,media

I sat there in the movie theatre with tears falling down my face and onto my neck and chest.  We were watching Annie (2014) and the gratitude I felt that my daughter sitting next to me could experience an Annie who looked like her was overwhelming.

When exploring the media space in Australia it was only natural that representation of minorities (or lack thereof) came to mind.

So I sent out a survey about people’s experience of media representation of minorities in Australia.  The short movie below gives a snapshot of the survey responses and video responses.

More detailed survey results can be seen here.