ABSTRACT
Socializing, image-making, creative writing, wayfaring and place making can occur simultaneously in online and offline worlds. This chapter will address how we can better understand the dynamic processes and actions associated with creating films and videos with smartphone assemblages which themselves are constantly evolving technologically. Smartphones have become bound closely to our aesthetic sensibilities and shape how we perform our aesthetic impulses and provide us with filmmaking tools and outlets for our creative practices. Our social media and creative practices have become so entangled with our daily routines to the extent where Victoria, Australia is proposing legislation to fine people for looking at smartphone screens if they are crossing a road. The use of smartphones has physical material implications and consequences. The more than textual, more than representational, material and corporeal experiences are important to how we imagine and theorize creative art making practices with mobile media. I use non-representational theory as a theoretical perspective for the various actions that go into mobile art projects such as shooting video, and writing and performing poetry with smartphones. Non-representational theory in essence is concerned with the background, the often invisible and slippery aspects of the enacted—the embodied, animate and dynamic dimensions for how we do things in our lifeworlds. This chapter includes deliberations on a decade of video and filmmaking practices with mobile media to situate these art practices within genealogies of cultural practices that grow in dynamic mobile media ecologies, where the centre of gravity is mobile video and photography and the actions needed to create these with and for mobile media.
