This paper describes a 9-month project commissioned by Halton Clinical Commissioning Group (CCG) and Liverpool photography organisation, Open Eye Gallery. Socially engaged photographers worked with local residents from the Windmill Hill estate in Runcorn to describe healthy and unhealthy aspects of the area. Six women were trained to use cameras to document everyday things that mattered to them. Through focus groups they discussed what these photographs revealed about the health and ill-health of the area. The resulting exhibition, As and When, told their story. Despite being a deprived area with more than average incidence of illness, they identified many positive things that enhanced their sense of wellbeing and resilience. The benefits of the project included increased social engagement and participation, an improved sense of vitality and rejuvenation, emotional benefits, a feeling of greater political agency and increased visual literacy. This paper outlines the model of practice developed with the support of CCG and in collaboration with local stakeholders. It makes a case for the value and the ways in which clusters of general practices could develop links and work with health assets in their local communities.

In this article we will discuss the use of drones, as well as the visual simulation of drone afforded aesthetics, by activists, artists and protesters. We use the existing literature of surveillance studies and visual studies to examine how exactly a drone-afforded visibility emerges and how it mediates the visibility of a particular community or space of contention. We draw on the concepts of "surveillance capacities" and (counter) visibility practices to analyze the process and production of drone (and drone-simulated) counter surveillant artist/activist visibility. The article makes several key points. The first one concerns the construction of protest space and the protest site volumetrically from the airborne perspective of the citizen drone via an assemblage of artist/activist practices. These practices include the use of drones, as well as dronesimulated imagery. The latter includes, DIY aerial camera rigs attached to kites and the use visual social media platforms such as Instagram to curate otherwise less visible military drone geographies more 'real' and proximate. The second concerns the visibility of subjects engaged in the protest space. And finally, we elaborate how events are presented dynamically (rhythmically) through drone videos and a drone-afforded visual grammar. Our assumption is that drones, as well as drone-simulated imagery allow the user to generate a hybrid participative (inclusive) visibility that makes protest more spectacular through its volumetric vision, subverting the visibility of control while striving for visibility of recognition. Overall, this article seeks to further elaborate on the visual turn within sociology, specifically in relation to what are now commonplace volumetric practices of power, representation and participation.

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