Artist Micheál O’Connell (aka Mocksim) interviewed Motion Sickness for their exhibition Unrequited Like at DODO. Motion Sickness is an art collective based in Cambridge, UK, and Leipzig, Germany. Formed in 2018, the collective is made up of Denise Kehoe, Eleanor Breeze and Arabella Hilfiker. Their name is taken from motion sickness, a symptom of the brain receiving signals that differ from those which the eyes are seeing. This disparity of perception is a metaphor for the incongruity that millennials often experience when comparing where they believe they should be in their lives, with where they are in reality.

This conversation takes the work of artist Anthony Luvera as the basis for a broader analysis of participatory photography in the context of contemporary art. Where existing literature typically focuses on the ethics of participatory production – considering the amount of “agency” afforded to participants in any particular project – the discussion focuses instead on relationships between funders, facilitators, artists, audiences and participants in more material terms. It aims to open up an understanding of participatory photography, reflecting on the issues of financialization and labor typically overlooked in existing analyses and reflecting on some of the reasons for that omission.

What happens when early cameras are turned to 5th century BCE monuments and sculptures on the Acropolis of Athens? In what ways might the fragile surface of a daguerreotype, a salted paper print or an albumen print be said to have ‘captured’ a pentelic marble fragment? These questions were thrown into bold relief following the public announcement of the daguerreotype in 1839 when travellers to Greece in search of sites of archaeological interest began to take cameras with them. With rapid developments in photographic technology, photographs joined landmark texts and a body of drawings, paintings, engravings, plaster casts to alter established relationships with antiquities. Highly emotive material objects, photographs spoke a new language of loss and fragmentation; through the relative ease of their reproducibility photographs newly facilitated memory and forms of aesthetic resurrection.

My essay charts nineteenth-century photographs of fragments of relief sculptures of Nikai from the exterior face of the parapet of the Ionic Temple of Athena Nike. Excavation and rebuilding of the Temple during 1835 and 1836 drew the eye of many travellers to the Acropolis. Resurrection of the classical temple shortly preceded the new technology of photography and, in representing a monument described by Wheler and Spon among others, photographs rehabilitated ‘lost’ stones. Exploring, alongside travel narratives, newly fugitive representations of winged and apterous Nikai, I consider what Walter Benjamin termed the collector’s relationship to ‘the scene, the stage’ of the ‘fate’ of a material object.

This chapter examines some of the tensions between the ideals and the operationalization of responsible research and innovation (RRI). We are interested in those kinds of integrations that take place as social scientists, humanities and legal scholars seek closer collaborations with scientists, innovators, engineers, industrialists and policy-makers. Our aim is to address some aspects of what actually happens, as collaborations are worked out (or not) across boundaries, including some of the frictions and problems that arise in practice and theory. We propose a concept of epistemic networks to describe and articulate contemporary networked-based problem-solving to innovate and address societal issues. Situated within the broader horizon of an empirical investigation into integration of assessments in digital and smart technology domains, we recount three (practical and theoretical) lessons for RRI. Our lessons stem from three persistent problems: the framing of research questions, interdisciplinarity in practice and the role of law in interdisciplinary collaborations. We argue that such problems, being simultaneously epistemic and normative, should not be seen as mere obstacles to be done away with in order for innovation to run its course. Instead, they are pointers towards critical sites and sources for the deepening of RRI in theory and in practice.

The Digital Ghost Hunt is an immersive storytelling experience that transforms coding and digital technology from something foreign and mysterious into a tool of the imagination. In its first implementation, the Digital Ghost Hunt immersive experience will be realised in the historic Battersea Arts Centre (BAC), with a narrative that explore the building's rich historical memory using the creative spirit of an earlier era of open-ended technological experimentation. The key objective of The Digital Ghost Hunt is to present technology to students as an empowering tool, where coding emerges as - and fuses with - different forms of storytelling. It seeks to shift the context in which Key Stage 2 students see coding, engaging groups who may be uninterested in or feel excluded by digital technology, to open up an imaginative space through play for them to discover the creative potential of technology on their own terms.

For this pilot project, we will publish code libraries and instructions for affordable hardware kits, and write an initial narrative formed around the fictive Ministry of Paranormal Hygiene. Learning facilitators will appear in class as a team of Ministry scientists, led by the Deputy Undersecretary of Paranormal Hygiene, to initiate their training. Using Raspberry Pi microprocessor kits, their first task will be to program their detection devices. During this phase students will be introduced to the basic logic of programming: variables, looping and decision structures. They will be taught how to use the high-level API (Application Interface) to query their sensors for information, store it and display it. The emphasis will be on students taking ownership of their devices, deciding which of the ghost detectors they want to build and how it works.

When they are ready, students will begin their first hunt at a haunted historical building. Students will use the devices they've built to discover clues and research the history of the building to discover the ghost's identity. The ghost will in turn communication with them, given life by actors, practical effects and the poltergeist potential of the Internet of Things. Together students will unravel the mystery of the ghost's haunting, and help set it free.

Digital videos depicting the unboxing of new objects have become a lucrative revenue stream in the YouTube economy and are beginning to attract critical interest from media scholars. Much of this work focuses on the economic and regulatory dimensions of this new digital form, but little has been written regarding the texts themselves or the pleasures they offer viewers. In this article, I contribute to recent scholarship on YouTube genres, by performing a critical ‘unboxing’ of this digital form. Following a brief introduction to this phenomenon, in which I outline the key narrative tropes found in these videos, I unpack the affective intensities and tactile pleasures that structure these texts, in order to consider how and why unboxing has become so popular.

Despite creating an extensive and innovative body of work over the last 30 years, Aki Kaurismäki remains relatively neglected in Anglophone scholarship. This international collection of original essays aims to redress such neglect by assembling diverse critical inquiries into Kaurismäki's oeuvre. The first anthology on Kaurismäki to be published in English, it offers a range of voices responding to his politically and aesthetically compelling cinema. Deploying various methodologies to explore multiple facets of his work, The Films of Aki Kaurismäki will come to be seen as the definitive book on Kaurismäki.

This chapter considers the relations between three phenomena: the image of the child in nineteenth-century photography; Oscar Wilde’s interest in the photographic medium; and the presence of photographic metaphors in several of his fairy stories. The main argument is that Wilde’s fairy tales invite their readers to contemplate the child as an image formed by a relatively new technology of vision. Wilde, however, maintained a critical perspective on the narcissistic lure of the photographic image. Part of the discussion explores his important exchanges with the teenager Louis Umfreville Wilkinson, who began a correspondence with Wilde after the writer’s release from jail. Moreover, the schoolboy Wilkinson sent photographs of himself to Wilde. Wilde’s letters to the young Wilkinson reveal a pressing concern with the temptation to “play Narcissus to a photograph,” since the image onto which one projects one’s desires is also an image of oneself.

This chapter explores how certain elisions occurred in the experimental biographical film which aimed precisely to highlight the processes of projection with which representing one’s own family – and especially one’s own mother – must inevitably be imbued. It focuses on Marianne Hirsch’s analysis of feminist authors’ difficulties in representing mother as a subject rather than an object, not least because of their own struggles for control over their own lives, bodies and ‘plots’. In both Un’Ora Sola Ti Vorrei and Histoire d’un secret, film-maker daughters investigate lives of their respective mothers, who both died young, Marazzi’s from suicide following mental illness and Otero’s from complications after a self-induced abortion. The chapter argues the original statement that accompanied the film that the multi-vocal narration is intended to suggest aspects of projection and encryption – that is, blurring of boundaries between the lives of mother, grandmother and daughter and the nostalgic desire for reunion and recognition of each by the other.

What is Photography is magic [PIM]? What does it do? And how does it do it? This short essay addresses these questions in relation to two reviews of the book written by Loring Knoblauch (2015) and Daniel C. Blight (2015).

For 15 years Anthony Luvera has created long-term research-led projects with homeless people in cities and towns across the UK, including London, Colchester, Belfast, and Brighton. Undertaking this work has led to a collection of tens of thousands of photographs, sound recordings, and ephemera related to the participants experiences and the process of the artist’s practice.