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Combine flour, salt and yeast in a bowl. Make a hole in the center and add olive oil and water then mix. If the mix is starchy add water. Pour onto floured surface then need. Once the mixture is smooth, put it in an oiled bowl and cling film it. leave it to rise then place it in the fridge. Place on a lined bake tray then knead dough. After prove the dough again. Preheat the oven. Slice dough on top then dust with flour. Then bake till golden then leave to cool.

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This article draws on careful reflections on a range of ethical issues experienced in undertaking community-based participatory research (CBPR), demonstrating the challenges these pose to the standard ethical codes and institutional review processes for research. It considers ways of conceptualising these issues in terms of an approach we call ‘everyday ethics’, which stresses the situated nature of ethics, with a focus on qualities of character and responsibilities attaching to particular relationships (as opposed to the articulation and implementation of abstract principles and rules). This topic is particularly pertinent to the special issue theme of ‘knowledge mobilisation’ for several reasons. First, CBPR is an increasingly popular research methodology that aims to mobilise the local and indigenous knowledge of people based in communities of place, identity and interest. ‘CBPR’ is an increasingly popular term, particularly in North America in the field of health research. While some definitions of CBPR have a focus on health, we are using the term in a broader sense to encompass research in a variety of fields that is ‘community-based’ and ‘participatory’. ‘Community’ refers to a group of people with some (but not all) characteristics in common – for example, people who live in the same place (e.g. a housing estate, village or urban neighbourhood), or who share a common identity, interest or practice (e.g. a lesbian women’s group, black young people’s network and a football team). CBPR is research that entails some degree of active involvement of a range of community stakeholders and generally operates from a value base, derived from a commitment to sharing power and resources and working for beneficial outcomes for all participants. 

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This article draws on careful reflections on a range of ethical issues experienced in undertaking community-based participatory research (CBPR), demonstrating the challenges these pose to the standard ethical codes and institutional review processes for research. It considers ways of conceptualising these issues in terms of an approach we call ‘everyday ethics’, which stresses the situated nature of ethics, with a focus on qualities of character and responsibilities attaching to particular relationships (as opposed to the articulation and implementation of abstract principles and rules). This topic is particularly pertinent to the special issue theme of ‘knowledge mobilisation’ for several reasons. First, CBPR is an increasingly popular research methodology that aims to mobilise the local and indigenous knowledge of people based in communities of place, identity and interest. ‘CBPR’ is an increasingly popular term, particularly in North America in the field of health research. While some definitions of CBPR have a focus on health, we are using the term in a broader sense to encompass research in a variety of fields that is ‘community-based’ and ‘participatory’. ‘Community’ refers to a group of people with some (but not all) characteristics in common – for example, people who live in the same place (e.g. a housing estate, village or urban neighbourhood), or who share a common identity, interest or practice (e.g. a lesbian women’s group, black young people’s network and a football team). CBPR is research that entails some degree of active involvement of a range of community stakeholders and generally operates from a value base, derived from a commitment to sharing power and resources and working for beneficial outcomes for all participants. 

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The Dursleys had awoken to discover their nephew on their doorstep almost a decade ago and there has been no change to Privet Drive since. The brass number four on the front of their house lit up as the sun rose directly in front of their house. The sunlight starts to peer through their windows creating a warm glow in their living room, identical looking to the night the important news about the owl was reported to Mr Dursley.

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Nearly a decade has gone by since the Dursley’s had found their nephew on their front doorstep. The sun has risen to shine on the timely home, with the light creeping across the residence. Mr Dursley had seen reports about the owls. The photographs around the room were the only reminder of the passing of time.

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Nearly ten years had passed since the Dursleys had woken up to find their nephew on the front step, but Privet Drive had hardly changed at all. The sun rose on the same tidy front gardens and lit up the brass number four on the Dursleys' front door; it crept into their living room, which was almost exactly the same as it had been on the night when Mr. Dursley had seen that fateful news report about the owls. Only the photographs on the mantelpiece really showed how much time had passed.

Ten years ago, there had been lots of pictures of what looked like a large pink beach ball wearing different-colored bonnets - but Dudley Dursley was no longer a baby, and now the photographs showed a large blond boy riding his first bicycle, on a carousel at the fair, playing a computer game with his father, being hugged and kissed by his mother. The room held no sign at all that another boy lived in the house, too.

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Tracing the Social Contract of Photography by Elizabeth Wewiora

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Tracing the Social Contract of Photography by Elizabeth Wewiora

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Conclusion

This research project set out to explore and re-evaluate the role photography can have within socially engaged arts practice. Both collaborative photography projects and accompanying thesis acted as springboards for analysis and reflection.

It was also first necessary to consider the critical theory of photography itself, both in terms of its democratic potential versus its singular and subjective view. Susan Sontag  raises the issue of representation of others in photography, "by seeing them as they never see themselves", by having knowledge of them that they can never have; it turns people into objects.