PV178a / #270Poster Topic:AS19 - Patient-Reported Outcome MeasuresBackground/PurposeSystemic Lupus Erythematosus (SLE) is a complex autoimmune disease that can manifest in a variety of ways. This study aims to explore the personal journey of living with Systemic Lupus Erythematosus (SLE) from the perspective of an individual patient. By sharing personal experiences, the study seeks to increase awareness of the disease highlight the challenges faced by patients, and emphasize the importance of self-documentation in managing SLE. The project aims to bridge this gap by utilizing a unique approach: a visual diary. Over the past 4 years, the researcher, the journalist and film maker living with SLE, has meticulously documented their daily healthy journey through photographs and videos. The visual records capture the evolution of various SLE manifestations, including skin lesions, hair loss and other systemic symptoms. Significance: By sharing this visual narrative, the project seeks to: Increase public awareness of SLE: Visual story telling can effectively convey the complexities of the disease to broader audience, challenging misconceptions and fostering empathy. Enhance patient-physician communications: Visual documentation can aid in diagnosis, treatment planning, and disease monitoring and to emphasize the importance of patient perspectives in driving research and treatment development, particularly in relation to quality of life and patient-reported outcomes. Advance medical research: The dataset of visual records may contribute to a deeper understanding of disease progression and treatment response. Empower Patients: Sharing personal experiences can provide support and inspiration to others living with chronic illnesses. Ethical considerations: The project adheres to ethical guidelines for research involving human subjects.MethodsThe project involves a qualitative, autoethnographic approach. The researcher’s daily visual records serve as primary data sources. These visual data will be analyzed using thematic analysis to identify patterns and themes related to the disease’s impact on the individual’s physical and emotional well-being.ResultsThe patients initial symptoms included localized itching and marking on the right leg and arm, which rapidly progressed to more severe manifestations. As the condition worsened, the patient experienced significant physical and emotional challenges, such as scalp sores, facial skin peeling, pain, fatigue, and mood disturbances. These symptoms significantly impacted the patient’s quality of life and ability to perform daily activities.ConclusionsThis multimedia project chronicles a 4-year journey with Systemic Lupus Erythematosus (SLE). By visual documenting the disease’s progression, from initial skin manifestations to systemic impacts, this work aims to raise awareness and understanding of SLE. The project underscores the importance of early diagnosis, timely intervention, and patient advocacy. Through a combination of photography and videography, it offers a unique perspective on the lived experience of SLE, challenging societal perceptions and inspiring hope for individuals facing similar challenges.

The main objective of this study is to analyze the relevance and positive impact of the implementation of automatic creation techniques such as the exquisite corpse, deconstructive collage and ready-made, in artistic education. Starting from the hypothesis that its application in teachers contributes to overcoming the biased visions that are usually held about art and creativity, which affect the potential development of students and deprive them of the possibility of being the protagonist of their process. creative. This text presents the results of a proposal for the implementation of these techniques applied to (30) students of the degree in early childhood and primary education at the University of Huelva Spain, corresponding to the area of ​​didactics of plastic expression, developed in the school year. 2023. The educational research methodology used is action research, which allows us to examine through observation the visual processes and products of the students and their interpretation in relation to their creativity and the impact of the activities carried out. The instruments used for data collection and analysis of this experience are: the reflective visual diary, in which the students have recorded their impressions about the process, have described the visual results and have evidenced the viability and relevance of applying this type of activities in their future teaching activity and the semi-structured survey, which provides quantitative and qualitative information on the proposed aspects, thus facilitating their deepening.

Los Diarios de viaje were audiovisual pieces produced for Festival Franco chileno de videoarte (1981-1992) that were presented as a visual diary of the experience of Chilean video artists in France and French artists in residence in Chile. These pieces can be understood as a unique corpus that sharply observed, with political insight and formal audacity, the difficult social and artistic conditions of the 1980s in Chile. This article argues that studying these video works may create a parallel space to the testimonial documentary production of those years. They establish their narrative operations centered on the self, where such documentary quality is constructed from an autobiographical approach, specifically in the modalities of autoethnography and self-portrait.

This paper explores one element of a multi-faceted project that sought to investigate nature play in early childhood, namely the creation and co-creation of visual diaries by educators, children and academics. The methodology was participatory cartography, which involved the creation of visual and verbal mappings of nature play pedagogies by early childhood educators and academics, as well as visual mappings of nature play experiences by 4-5-year-old children. The visual diary supported, articulated, portrayed and documented the implementation of nature play pedagogies (by the educators), the experiences of nature play (by the children) and the analysis of data (by the academics). This paper explores this methodological slice of the project. It asserts that the visual diary is a useful, arousing and potentially aesthetic inquiry, documentary and resource apparatus for educators, enabling collaborative artmaking moments with children.

This article presents an art-based autoethnographic account of the hysterectomy experience, from the perspective of a perinatal therapist based in a large maternity hospital. The key questions explored include the ways in which a sense of bodily and psychic integrity can be reclaimed post-operatively, alongside the integration of losses associated with a hysterectomy. The article is structured as an autoethnographic exploration, derived from a visual diary incorporating image-making, hand-stitching and writing. Four key themes are discussed with reference to specific images: ‘Navigating disruption’, ‘Adjusting to a changed body’, ‘Accommodating losses: Emerging into Otherhood’ and ‘Renewal: Recovering an inner space’. This personal account is considered against wider cultural and sociopolitical discourses which inform our constructions of femininity. The article offers a counterpoint to medical narratives which may assume recovery from a hysterectomy to be synonymous only with physical recuperation.

Abstract Using the concept of translanguaging art that combines language(s) with other means of artistic expression, I discuss an artist’s book published in 2015 by Monika Szydłowska, who is a Polish-born visual artist living in the UK. Szydłowska’s book Do you miss your country? is a visual diary in which, using media traditionally associated with a travel journal (pencil and watercolours), the artist captures her experience of migration. The book depicts the everyday life of a young migrant woman from Poland, in the first years of her life in Scotland. The visual and textual narrative pinpoints the intricacies of the process of othering and identity building. I consider what the translanguaging art reveals about the process of identity creation in linguistically and culturally diverse communities and show how, through her choice of multi(trans)lingualism as a mode of writing and the form of a pocket-size sketchbook filled with watercolour drawings and speech bubbles, Szydłowska problematises the popular image of the migrant. I also discuss her engagement with the tradition of migrant writing and travel writing and her subtle subverting of these genres. I demonstrate how, by combining languages with visual means of expression choosing the form of a comic and the watercolour – a gendered and nationally loaded medium – she negotiates her identity and destabilises power relations historically operating within the migratory discourse. My conclusion suggests that her use of translanguaging enabled the artist to indicate the transformative and emancipatory potential of migration seen as the empowering rather than disempowering process for migrants and locals alike.

Abstract We compare epistemologies and aesthetics in the International Baccalaureate Diploma Programme and the Australian New South Wales Stage 6 Visual Arts Syllabus, focusing on curriculum content, pedagogical praxis, and assessment strategies. Both curricula feature making, reflexivity, and critique. International Baccalaureate components are Exhibition, the Process Portfolio, and the Comparative Study. In New South Wales Visual Arts they are the Body of Work and Visual Diary. Issues are the teacher as curriculum; uneven resources; shifting contexts and formulating standardized expectations. In both, qualitative assessment and examination are achieved via articulating criteria and levels of achievement, and examiner training. In International Baccalaureate, what counts as good work can vary in relation to Principal Examiner standards, particularities of context, pedagogy, and resources, with work ranging from sophisticated installations, to anime, to the school art style. In New South Wales Visual Art aesthetic conventions are reinforced because the system is less distributed than International Baccalaureate, where aesthetics become engrained, perpetuating conventions around what counts as good art. In spite of supervening assessment structures, teaching, learning, and assessment in visual arts education is always highly qualitative, unfolding, and rooted in the situated shifting conditions and ways of being in the world of each teacher, student, artwork, examiner, artist, and scholar.

Lifelogging was introduced as the process of passively capturing personal daily events via wearable devices. It ultimately creates a visual diary encoding every aspect of one’s life with the aim of future sharing or recollecting. In this paper, we present LifeSeeker, a lifelog image retrieval system participating in the Lifelog Search Challenge (LSC) for 3 years, since 2019. Our objective is to support users to seek specific life moments using a combination of textual descriptions, spatial relationships, location information, and image similarities. In addition to the LSC challenge results, a further experiment was conducted in order to evaluate the power retrieval of our system on both expert and novice users. This experiment informed us about the effectiveness of the user’s interaction with the system when involving non-experts.

ABSTRACT Dubbed ‘a forgotten trailblazer’ of Australian filmmaking, Lilias Fraser was also the mother of cinematographer, Jane Castle, who spent more than a decade piecing together When the Camera Stopped Rolling (2021), a multifaceted documentary that draws on a rich archive of photographs, home movies and film footage shot by three generations of the Fraser-Castle family. Describing her love-hate relationship with the film, Castle says, ‘The final form was found through the making, rather than having a plan and applying a plan. I didn't know what it was about until it was finished.’ In its final form, When the Camera Stopped Rolling disrupts audience expectations of a hagiographic or elegiac narrative celebrating the lifetime achievements of Lilias Fraser. Ultimately, When the Camera Stopped Rolling is Jane Castle's story: an exquisite work of autofiction and self-extraction from the Fraser-Castle family and its audio-visual archives.

Mary Wollstonecraft (1759–97) and Elizabeth Simcoe (1762–1850) composed narratives of their travels: accounts influenced by picturesque theory, especially as articulated by William Gilpin. Wollstonecraft’s Letters Written During a Short Residence in Sweden, Norway, and Denmark appeared in 1796; Simcoe, a gifted artist, kept a written and visual diary of her 1791–96 sojourn in Lower and Upper Canada, as spouse of the first Lieutenant-Governor of Upper Canada, John Graves Simcoe (1752–1806). Wollstonecraft and Simcoe took small children with them—Wollstonecraft, her daughter Frances (born May 14 1794); Simcoe, her daughter Sophia (born October 25 1789) and her son Francis (born June 6 1791). Gilpin’s aesthetic program favours the irregular, the varied, the marginal; Wollstonecraft and Simcoe, divergent in avowed political convictions, adapt Gilpin’s practice and improvise modes of a specifically maternal picturesque. Domestically, the presence of children is expected; to situate them in the wilds and on frontiers changes their role—and the role of their mothers. Wollstonecraft’s account of a visit to Sarp Falls in Norway and Simcoe’s visions of Niagara (as well as of the Don River) reveal, respectively, Wollstonecraft’s apocalyptic, and Simcoe’s gradualist, sensibility. Wollstonecraft projects the presence of her daughter into the Scandinavian landscape, drawing on Shakespeare’s fairyland to introduce preternatural dimensions into an empirical-minded narrative; Simcoe figures her son Francis as a mediator between the empire in which she believes, and Indigenous peoples whom she acknowledges as central to the defence, the consolidation, and the future of the province over which her husband presides.

The daily practice of photographing lichen on bark developed from my interest in the bark of trees during the project Performing with Plants (2017-2019) and continued during the project Meetings with Remarkable and Unremarkable Trees (2020-2021). In this essay I return to these visual fieldnotes, compare the visual diary on Flickr with my previous journals on social media, and consider the potential of such practices for developing awareness of and a respectful relationship to other beings that we share this planet with.

Persistent pain significantly impacts daily living. Visual arts interventions can have positive outcomes, but little is known about benefits for people with persistent pain. This study aimed to explore participant experiences of utilising visual art in expressing and managing their persistent pain experience through a visual diary. As part of a small exploratory study nested in a larger project, participants with a history of persistent pain were recruited from a local pain management clinic. Six participants with persistent pain attended five weekly intervention sessions involving art observation, creation and discussion, at the Art Gallery of NSW. Participants explored their ideas about their pain experience through artmaking using visual and written data from self-reported pain diaries. Thematic analysis was used. Analysis of five diaries was conducted. Visual and written expressions of the pain experience varied. Colour was used by participants to represent ideas and emotions. Capital letters were used to convey tone, or emphasis. Three main themes emerged from the written and visual data: 'The lived experience of pain', 'The powerful drive for growth beyond change itself' and 'Personal values and perceptions guiding daily living and decision-making'. This study provides insights into the potential benefits of using visual arts to help manage persistent pain experiences and improve health outcomes.

This study is to explore visual diary as a tool that allows students to express their multiple creative views and their abilities in generating ideas. This tool has been integrated as part of the selected students’ assignments and projects as a practice in the creative arts education. Many of them were taught to sketch, doodle and experiment in different drawing techniques. Nonetheless, many of them are facing the problem of lack of knowledge and understanding in the ideation process. A total of 35 visual diaries were selected, one each from a pool of 35 students in the graphic design program. The samples in this study were 35 (N=35) students who were enrolled to pursue the visual communication module in the first year of the graphic design program. The research was conducted at the researcher’s university, being a private institution located in Kuala Lumpur. The main tool for data collection was an assessment rubric, namely, the Ideo assessment. The quantitative data from the IDEO assessment was analyzed using descriptive statistics. From the findings, it can be concluded that through the visual diary, students have shown greater understanding in the design process and that continued efforts should be made to improve, develop, and explore ideas in using the visual diary as an instructional tool for the students’ assignments and projects.

BackgroundResearch and practice typically focus upon unimodal hallucinations, especially auditory verbal hallucinations. Contemporary research has however indicated that voice-hearing may co-occur within a broader milieu of feelings, and multimodal hallucinations may be more common than previously thought.MethodsAn observational design asked participants to prospectively document the feeling and modality of hallucinations for one week prior to an interview. Novel visual diary methods involving drawing, writing and body-mapping generated 42 MUSE maps (multimodal unusual sensory experience), analysed with a participatory qualitative method. Twelve people took part: all experiencing hallucinations daily, accessing early intervention in psychosis services, given psychotic-spectrum diagnoses, and living in the community. The study took place during a seven-month period in 2018 at Leicestershire and Rutland's Psychosis Intervention and Early Recovery service (UK).FindingsAll documented hallucinations co-occurred with bodily feelings. Feelings were localised to specific body areas, generalised across the body and extended beyond the body into peripersonal space. Co-occurring emotional feelings most commonly related to confusion, fear and frustration.InterpretationHallucinations were characterised by numerous feelings arising at once, often including multimodal, emotional, and embodied features. Within this study, the immediate feeling of hallucination experiences were readily communicated through prospective, visual, and ecological information gathering methods and particularly those which offer multiple modes of communication (e.g. body-map, visual, written, oral). Uptake of visual, ecological and prospective methods may enhance understandings of lived experiences of hallucinations.Funding: University of Leicester.

Personal and family albums created by Latvians in the period from 1939 until the 1950s are placed in a wider social and historical perspective by analyzing its content, as well as the individual intent to create it. This work explores photography album as a tool to organize memories and how historical, personal photography albums serve and interact as evidence of private as well as a public past. The research tries to prove the historical authenticity in two personal albums created by Latvians during the Second World War and the following years – a visual diary illustrating the imprisonment in the Soviet working camp in Siberia and a family album memorializing the way and life of the Latvian refugees in the Alt Garge camp, Germany. Two personal albums (currently stored at the archive of the Museum of Occupation of Latvia) have become objects of historical value and are an informative source for learning, analyzing and educating about historical events.

Background:Essential tremor (ET) is a progressive neurological disease whose natural history is one of progressive increase in tremor severity over time; surprisingly though, there are no published videotape diaries that visually and tangibly portray this progression over time.Phenomenology:Progressive, stepwise increase in limb tremor severity over a ten-to-fifteen-year period in three patients with ET.Educational value:We hope that this brief visual diary will serve as a useful teaching tool for students, primary care physicians, and neurologists to “see with their own eyes” the extent of change that can occur in the ETs.

Review Essay: Kent State at Fifty

New media such as Facebook, YouTube and Twitter introduced the world to a new era of instant communication. During this era where online interactions can even replace offline actions, Golden Dawn was the first openly neo-Nazi party after World War II to win seats in the parliament of a European country. Mainstream media banned its leaders indefinitely after Ilias Kasidiaris physically attacked Liana Kanelli, a member of the Greek Communist Party, on live TV in June 2012. Many scholars seem to believe that Golden Dawn mobilised its voters online. This approach played a significant role in spreading their messages while trying to appeal to wider audiences. This paper uses visual and text analyses to investigate Golden Dawn’s activity on YouTube from 2012 to 2019. Official channels and politicians’ personal profiles are analyzed to explore their key messaging and style. Results of my analysis show that Golden Dawn’s messaging is ultranationalist, populist and adopted negative and emotional language. Additionally, their content openly promoted xenophobia and violence, and aimed at causing insurrection by mobilizing supporters or in some cases calling for the executions of political opponents.

The United States Holocaust Memorial Museum’s largely unknown Josef Nassy Collection is situated at the intersection of multiple cultural histories of migration and oppression. Josef Nassy (1904–76) was an artist of African, Sephardi, and European descent from the Dutch Caribbean colony of Suriname. While interned in Belgium and Germany from 1942–45, he created a poignant visual diary that brings into view unfamiliar facets of the Nazi camp system as well as unexpected points of intersection between Jewish and African diaspora experience. This article traces the story of the Nassy Collection’s wartime creation and postwar reception to illustrate how entrenched categories of art and victimhood can obstruct our access to the past. In contrast to this reception history, Nassy’s artworks encourage a relational approach to Holocaust studies, one that is attuned to the entanglement of European and colonial wartime experience and the diversity of Jewish identities.

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