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"I had visual contact with Lyn Dawson" court hears

Chris Dawson’s judge-only murder trial has aired a recording of the accused's brother-in-law, who claimed that he spotted Lynette Dawson several months after she disappeared back in 1982. A police interview that was conducted between Dawson’s brother-in-law Ross Hutcheon back in 2019 was played in the Supreme Court on Tuesday. Mr Hutcheon claimed that he saw Lynette at a bus stop opposite Gladesville Hospital up to six months after she disappeared. "She looked just like the Lyn that I knew — same colour hair, same hairstyle, same glasses. No obvious attempt to disguise herself," he said in the recording. "The other thing that convinced me … was the fact that it was opposite the hospital and she was a nurse." Mr Hutcheon, who died six weeks ago and was married to Dawson’s sister also called Lynette, had claimed to have told her about seeing the missing mother that day. However, it was reported that Mr Hutcheon had instead reported the incident to police years later in 1999 stating he had "no contact with Lynette Dawson since her disappearance". "I had visual contact with Lyn Dawson, not verbal contact," Mr Hutcheon responded. Ms Hutcheon appeared in court on Tuesday and was questioned why she hadn’t discussed the possible sighting of her sister-in-law. She told the court that other people she knew had reported sightings of Lynette Dawson months after she disappeared and it didn’t cross her mind. "My husband had seen her and I had heard that other people had seen her. I thought she had been seen by people that knew her," she said. Chris Dawson has pleaded not guilty to murdering his wife Lynette, who went missing from the family home in Sydney's Northern Beaches in January 1982. The trial continues. Images: Nine News

Legal

Still counting: why the visual arts must do better on gender equality

You have to get more than a bit mad to single-handedly launch a campaign against inequality. At a recent forum, visual artist Elvis Richardson wryly <a href="http://www.womensartregister.org/">described</a> how anger was the catalyst that sparked her to start <a href="http://countesses.blogspot.com.au/">CoUNTess</a>, a blog that assembles and reviews data on gender representation in Australia’s contemporary art scene. Since 2008, Richardson has analysed the gender breakdown of who gets exhibited, collected, reviewed and rewarded. Converting indignation into statistics and emotion into hard facts, her blog provides irrefutable evidence that gender bias is an ongoing problem besetting the visual arts. The most current snapshot illustrates that only 34% of the artists shown in <a href="http://thecountessreport.com.au/thecountessreport-museums2014.html">state museums</a> are women. In <a href="http://thecountessreport.com.au/thecountessreport-commercial-galleries2014.html">commercial galleries</a>, the proportion is 40%. In the <a href="http://thecountessreport.com.au/thecountessreport-art-media2014.html">art media</a>, 34% of feature articles and reviews are about women, but 80% of magazine covers are dedicated to male artists. Change needs to be embraced at every level, not least in developing art curriculum in secondary schools. Victorian students who sat their final Studio Art exam last week were given 14 images to write about, of which only one was produced by a woman. A cursory survey of exams in previous years and other states suggests such bias is entrenched. Over the past decade, the gatekeepers of the Australian art scene have started responding to the unconscious bias Richardson documents. When comparing the graphs and charts in her old posts with the 2016 <a href="http://thecountessreport.com.au/thecountessreport-art-media2014.html">CoUNTess Report</a>, it is possible to identify small improvements. Still, as Richardson says in her <a href="http://thecountessreport.com.au/">report introduction, "</a>The closer an artist gets to money, prestige and power the more likely they are to be male." A recent <a href="http://www.australiacouncil.gov.au/research/making-art-work/">study</a> by David Throsby and Katya Petetskaya also shows the gender pay gap is substantial in the Australian art scene. The 2016 CoUNTess Report was made possible with support from the <a href="http://cruthersartfoundation.com/about/">Cruthers Art Foundation</a>. This organisation is making a substantial contribution towards rebalancing the statistics via the <a href="http://cruthersartfoundation.com/collections/">Cruthers Collection of Women’s Art</a>, the only dedicated public collection of art by Australian women. Begun in 1974 as a private family collection acquiring women’s art, the collection consists primarily of portraiture, self portraiture and art that is focused on still life, abstraction, early postmodernism and second wave feminism. The collection was gifted to the University of Western Australia in 2007 and is housed at <a href="http://www.lwgallery.uwa.edu.au/">Lawrence Wilson Art Gallery</a>. Cruthers curator Gemma Weston believes the collection plays a role in valuing and making visible the work of women artists, which in turn can provide a pathway to its acceptance in the institutional domain. Individual works are often loaned to other art museums around Australia. Weston identifies visibility as a key factor in determining what gets collected and how an artist gets traction in her career. She says institutional recognition is a long and complicated process of gathering momentum, which often begins with the private collector rather than the art museum. There is no doubt that all-women collections and exhibitions can help to change the depressing statistics assembled by Richardson. There is concern, however, that this strategy can cause ghettoisation. Weston is conscious of this conundrum. Cruthers’ current show <a href="http://artguide.com.au/exhibition/country-and-colony">Country and Colony</a> moves beyond the concerns of previous exhibitions to document “women’s art” and “women’s issues” through biography, autobiography and portraiture. While gender and feminist politics are a subtext, Colony and Country profiles new acquisitions that deal with the fraught history of colonialism. The paintings, prints and objects by Indigenous and non-Indigenous artists tell stories about land, landscape, the body, industry and culture. <h2>Building momentum for change</h2> While the speed of change appears glacial, the momentum to overcome structural inequality for female artists appears to be building. In September, 11 top gallery directors, curators and arts organisation chiefs in the UK united in a <a href="https://www.standard.co.uk/goingout/arts/art-worlds-most-powerful-women-unite-to-call-for-better-representation-for-female-artists-a3646586.html">call</a> for greater representation of female artists. A month later, possibly encouraged by the fall of the American movie producer Harvey Weinstein, the call-out of sexist and abusive behaviour in cultural industries spread to the visual arts. Numerous <a href="https://news.artnet.com/art-world/allegations-against-former-artforum-publisher-knight-landesman-1128926">sexual harassment allegations</a> were made against powerful and prominent gatekeeper, Artforum co-publisher Knight Landesman. Landesman’s resignation from the international art publication has prompted many more women to come forward with stories about his alleged behaviour. An open letter written by women in the art world, “<a href="http://www.not-surprised.org/home/">We are not surprised</a>”, has morphed into a larger campaign linking abuse of power with structural inequality. By providing a graphic illustration of inequality, Richardson’s CoUNTess project has done much to bring the issue into view in Australia. Together with Weston’s thoughtful management and curation, the Cruthers Collection of Women’s Art is another important step in changing the status quo. Many arts organisations and individuals who have the capacity to bring about change have started counting and making an effort to <a href="http://visual.artshub.com.au/news-article/opinions-and-analysis/visual-arts/gina-fairley/are-we-finally-counting-right-254469">rectify</a> the imbalance. Yet when part of the cost of overlooking structural inequality is sexual harassment it is time for more decisive action. While extreme examples of sexual misconduct have not (yet) been exposed in Australia, demeaning behaviour is regularly meted out by the art scene gatekeepers. There are also anecdotal stories of grooming and sexual advances by powerful male gatekeepers. At present, few speak up because they fear damaging their career prospects. The CoUNTess Report <a href="http://www.thecountessreport.com.au/thecountessreport-recommendations.html">recommends</a> that “stakeholders in the Australian visual art sector routinely collect, analyse and publish gender representation data and use it to inform their policy decisions”. A rebalance of gender representation will only occur if all institutions that have a role in shaping the value of artists’ work start counting. As in the tertiary sector, many more girls than boys study art at school. In Victoria, for example, 73% of the cohort who completed <a href="http://www.vcaa.vic.edu.au/Documents/statistics/2016/section3/vce_studio_arts_ga16.pdf">Studio Art</a> in 2016 were girls. Unless there is significant improvement, why would future generations of women pursue a career in the visual arts? Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/still-counting-why-the-visual-arts-must-do-better-on-gender-equality-87079" target="_blank" rel="noopener">The Conversation</a>.

Art

Visual arts help marginalized youth learn mindfulness and self-compassion

How do girls feel before and after learning mindfulness? The six girls in our program, aged 11 and 12, drew pictures showing that learning and practising mindfulness helped them feel more in control and compassionate, less judgmental, happy, focused, calm and logical, especially when they make good choices. These girls had just completed the 12-week <a href="https://www.dianacoholic.com/my-work/">holistic arts-based program (HAP)</a>that we offer at Laurentian University, which teaches mindfulness-based practices and concepts using arts like painting, drawing and collage, or materials like clay and sand. We also incorporate games and and tai chi. I developed HAP with the help of <a href="https://laurentian.ca/faculty/hcheu">Hoi Cheu</a>, a professor in the English department with training in film making, marital and family therapy, tai chi and mindfulness. Part of our early team were Sean Lougheed (with a graduate degree in child and youth care), Jennifer Posteraro (research co-ordinator with a graduate degree in psychology) and Julie LeBreton (social work student). Youth facing challenges We wanted to respond to the needs of marginalized children in our communities — such as those who <a href="https://link.springer.com/article/10.1007/s10566-010-9139-x">face diverse challenges</a>, including academic, mental health and social challenges, and those facing life circumstances such as abuse, bullying, social exclusion, poverty or family dysfunction. We wanted to help them build skills and capacities such as paying attention, and for improving peer relationships and mood. But we knew that these children may <a href="https://psycnet.apa.org/record/2006-12259-004">not have the attention skills</a> required for a more traditional mindfulness program. In developing the program, we drew on the extensive knowledge bases of <a href="https://books.google.ca/books?id=y6PY4hv47I0C&lpg=PR3&ots=-huao1DPlo&dq=malchiodi%20art%20therapy&lr&pg=PP1#v=onepage&q=malchiodi%20art%20therapy&f=false">art therapy</a> and <a href="https://doi.org/10.1177/1468017315581772">arts methods with youth</a>. We then refined the program through research with children involved with the child welfare and/or mental health systems. We receive referrals for the program from a variety of sources, including mental health practitioners, guidance counsellors, principals and teachers, child welfare workers and self-referrals (mostly from parents). Self-compassion, acceptance Discussions about mindfulness seem to be everywhere these days, including <a href="https://doi.org/10.1007/s12671-018-0998-9">some schools</a>. Mindfulness has come under <a href="https://theconversation.com/mcmindfulness-buddhism-as-sold-to-you-by-neoliberals-88338">criticism as it has gained in popularity throughout the West</a>. Some say institutions that use it may encourage or distract people from advocating for systemic change. We understand that systems need to be challenged and changed. In our program, <a href="https://www.jstor.org/stable/41669899?seq=1">we work to assist individuals and groups to cope better with, and challenge, the oppressive or unjust systems</a> in their lives. Since 2009, more than 300 other youth from our community have participated in our arts and mindfulness program. Over a two-hour period, two facilitators lead small groups of participants. Through the activities they aim to help participants work together, learn about themselves and express their feelings and thoughts and practise breathing, self-compassion and acceptance. The drawing by several girls in the program of a brain before and after mindfulness is a wonderful depiction of the benefits of learning mindfulness, <a href="https://link.springer.com/content/pdf/10.1007%2Fs12671-012-0123-4.pdf">often defined</a> as the ability to pay attention, purposefully, to the present moment without negative judgements. The power of mindfulness is the ability to make choices about one’s feelings, thoughts and behaviours rather than reacting and acting out. ‘Happy awareness program’ Creative activities such as <a href="https://doi.org/10.1007/s10560-015-0431-3">painting how music makes you feel or drawing yourself as a tree </a>aid in <a href="https://doi.org/10.1080/01609513.2013.763326">identifying and naming feelings, communicating these feelings and thoughts and discovering things about yourself</a> in ways that are effective and developmentally relevant. Belonging to a <a href="https://books.google.ca/books?id=PS42CwAAQBAJ&printsec=frontcover&dq=andrew+malekoff&hl=en&sa=X&ved=0ahUKEwiV-sfVvOPlAhXqYd8KHe0YCF4Q6AEIKDAA#v=onepage&q=andrew%20malekoff&f=false">supportive group helps youth</a> develop a wide variety of capacities and strengths such as social skills, empathy and self-awareness. <a href="http://dx.doi.org/10.1080/01609513.2019.1571764">Common reported benefits</a> of mindfulness-based interventions with youth often include improved emotion regulation, mood and well-being and decreases in stress and feelings of anxiety. Almost all of the youth we have worked with described the holistic arts-based program as “fun.” One youth suggested we re-name our program the “Happy Awareness Program.” Benefits to mental health In our <a href="https://doi.org/10.1177/1468017319828864">research</a> with youth admitted to a small in-patient mental health program, we found that youth who participated in the program activities reported that the program was enjoyable and beneficial in that they learned to identify and express what they were feeling, and they could focus better and think in different ways. We interviewed the youth and they shared feedback about their experiences: “I learned that I like doing art and it relaxes me and makes me express myself better.” “Being mindful helps with the anxiety that I have and helps me just focus either on my work or something else that I am doing.” “There are a lot of fun activities that can help you find yourself and find peace within yourself, to relax and catch your thoughts instead of them jumping all over.” There are a multitude of mindfulness-based programs for youth, many of which have been adapted from two well-known programs originally developed for adults: <a href="https://books.google.ca/books?id=fIuNDtnb2ZkC&printsec=frontcover&dq=full+catastrophe+living&hl=en&sa=X&ved=0ahUKEwjajZC_x-DlAhWFhOAKHbMFBakQ6AEIKTAA#v=onepage&q=full%20catastrophe%20living&f=false">mindfulness-based stress reduction</a>, and <a href="https://books.google.ca/books?hl=en&lr=&id=QHRVDwAAQBAJ&oi=fnd&pg=PP1&dq=mindfulness+based+cognitive+therapy+for+depression&ots=EUEf7xSzr6&sig=ggv0OWhPhIkcN4b0TTInAlEmdEM&redir_esc=y#v=onepage&q=mindfulness%20based%20cognitive%20therapy%20for%20depression&f=false">mindfulness-based cognitive therapy</a>. Two examples of programs for youth developed by clinical psychologists are <a href="https://books.google.ca/books?id=qT6nSwnipiMC&printsec=frontcover&dq=mbct-c&hl=en&sa=X&ved=0ahUKEwiP1s3Y0uDlAhXPmuAKHSMFAX4Q6AEILzAB#v=onepage&q=mbct-c&f=false">Mindfulness-Based Cognitive Therapy for Children</a> and <a href="https://books.google.ca/books?id=fw0A5HETcIAC&printsec=frontcover&dq=learning+to+breath&hl=en&sa=X&ved=0ahUKEwjo1LD40uDlAhWPTd8KHbt7B4QQ6AEINDAB#v=onepage&q=learning%20to%20breath&f=false">Learning to Breathe</a>. Strengths-based change Arts-based activities do not have to be complicated. For example, having group members notice and write down each other’s strengths can begin to shift the negative beliefs youth have about themselves. Developing <a href="https://doi.org/10.1111/j.1751-9004.2010.00330.x">self-compassion</a> and self-acceptance is an important part of living more mindfully and experiencing well-being. Awareness and expression of feelings can be facilitated by drawing what we call feelings inventories. Such feelings inventories are always unique. Based on our research experiences, we have become strong advocates of teaching mindfulness-based practices and concepts <a href="https://doi.org/10.1080/01609513.2015.1091700">through the arts</a>. Through this approach, we can make the cumulative benefits of practising mindfulness more accessible to diverse groups of youth — and youth are enabled to express themselves in relevant, meaningful and developmentally appropriate ways. I have learned through <a href="https://www.northrose.ca/northrose-titles.html">my work</a> that change does not have to be daunting. Important learning can take place through experiences of fun and belonging. Written by Diana Coholic. Republished with permission of <a href="https://theconversation.com/visual-arts-help-marginalized-youth-learn-mindfulness-and-self-compassion-126149">The Conversation.</a>

Art

The new innovation that allows visually impaired people to "see"

For a local Sydney woman, she loves reading anything she can get her hands on. At first, she might sound like a bookworm. However, she loves reading simply because she was born completely blind and had no idea what it was like to read junk mail and trawl through the adverts looking for a decent bargain. This changed last September, when she received a small device that clips onto a pair of glasses. The device uses artificial intelligence to recognise faces and read text for her. The device, OrCam MyEye 2.0, has completely changed her life. Lisa Hayes explained to <a href="https://www.news.com.au/technology/gadgets/wearables/the-breakthrough-of-the-21st-century-how-this-product-changed-a-blind-womans-life/news-story/74f9881ed0f6f87a8797842bd982d1da">news.com.au</a>: “It has got be the breakthrough of the 21st century as far as I’m concerned.” “It’s one of the best things I’ve ever had.” The tech is designed by an Israeli company called OrCam and the device is designed for the blind and visually impaired. <img style="width: 0px; height: 0px; display: block; margin-left: auto; margin-right: auto;" src="https://oversixtydev.blob.core.windows.net/media/7824337/picture1.png" alt="" data-udi="umb://media/ca47348ee3fc4a22aecf5e25c10ac6fb" /> What the device looks like. Photo credit: OrCam On the front of the device, there’s a small camera with real time visual recognition technology. On the back of the device is a small speaker that relays the information into the ear of the user. It’s available in 23 languages. Miss Hayes is overjoyed with the device. “Being totally blind since birth, I’ve never been able to read a print book,” she said. “I can now actually read. I can read medication boxes, I can pick up junk mail. “I feel like I’m part of the real world.” The device has gotten attention around the globe, with Prince William being shown the technology on a historic visit to Israel. <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/BkkFGF3n-9v/?utm_source=ig_embed&utm_medium=loading" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <a style="color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" rel="noopener" href="https://www.instagram.com/p/BkkFGF3n-9v/?utm_source=ig_embed&utm_medium=loading" target="_blank">#princewilliam made a historic visit to Israel, meeting with 4 top technology companies. He met with OrCam Technologies and used OrCam MyEye 2, the most advanced assistive wearable technology, that reads text, recognizes faces, and identifies products for the blind, visually impaired, and people with reading difficulties. #assistivetechnology #blindness #lowvision #OrCam #assistivetech #visuallyimpaired #partiallysighted #blind #lifechanging #visualimpairment #wearabletech</a> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">A post shared by <a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" rel="noopener" href="https://www.instagram.com/orcam_technologies/?utm_source=ig_embed&utm_medium=loading" target="_blank"> OrCam</a> (@orcam_technologies) on Jun 28, 2018 at 2:43am PDT </div> </blockquote> The royal was thrilled with the technology, <a href="https://www.orcam.com/gb/article/prince-william-experiences-life-changing-device-for-blind-people/">saying</a>: “Wow. That is absolutely incredible. “That will help many people I am sure. What brilliant tech.” Would you use this device? Let us know in the comments.

Technology

The invisible step trick that's left everyone dumbfounded

The internet is trying to make sense of the invisible step trick uploaded by a football player at an American university that’s left everyone online dumbfounded. In the video, Twitter user @thecvmevp appears to place his foot in the air and step over an invisible object, which at a glance seems impossible with the laws of physics. Have a look, and tell us what you think: <blockquote class="twitter-tweet"> Stepping over you haters like🤚🏽 <a href="https://t.co/RDbyl8ywlf">pic.twitter.com/RDbyl8ywlf</a> — teedoe (@thecvmevp) <a href="https://twitter.com/thecvmevp/status/898554150480470016?ref_src=twsrc%5Etfw">August 18, 2017</a></blockquote> As you can see by people trying to recreate this video, this trick is easier said than done. <blockquote class="twitter-tweet"> YO <a href="https://t.co/c4c34El6Rh">pic.twitter.com/c4c34El6Rh</a> — complicated (@jennnnatkins) <a href="https://twitter.com/jennnnatkins/status/899657284665712645?ref_src=twsrc%5Etfw">August 21, 2017</a></blockquote> What are your thoughts?

Technology

Bringing Sydney’s Vivid Festival to the visually-impaired

Vivid might be Sydney’s time to shine, but it’s not only those of us lucky enough to have decent vision who get to enjoy the sights and sounds of this incredible festival of light – the visually-impaired can experience it, too. The festival has enlisted the help of commentator Emma Bedford, who two nights ago took a group of 50 visually-impaired visitors around the city, describing the exhibits to them in great detail. “Behind these pink, bent over tentacles that could reach all the way to the top but they flop forward, the sails are a greenish-blue,” she narrated. It might not sound like much, but for the attendees, it’s the difference between immersing themselves in the city’s most colourful festival and missing out. “I’m very short sighted and have no night sight,” festivalgoer Jaci Armstrong told <a href="http://mobile.abc.net.au/news/2017-06-13/vivid-sydney-brings-light-festival-to-blind-people/8613170" target="_blank">the ABC</a>. “But I can occasionally see a little bit of colour." “Without the audio description and the detail that’s provided I wouldn’t be able to tell what’s happening on the sails, and I wouldn’t be able to enjoy the experience of Vivid as others can.” But Vivid isn’t all about the lights. Most exhibits feature strong audio components, and some have even included tactile elements. In fact, the visually-impaired attendees were even given models and tiles from the iconic Sydney Opera House to pass around and get a feel (literally) for the structure. “When we started doing this and passing around the models of the Opera House, people were for the first time saying, ‘Now I know what the Opera House feels like,’” explained the venue’s Accessibility Manager, Jenny Spinak. “It’s really about everyone coming together, feeling part of the community and accessing the arts which otherwise they wouldn't be able to do.” Have you been to this year’s Vivid yet? It runs until June 17, so get in quick if you can!

Art

Spanish street artist turns walls into visual illusions

Some artists will splash colours on a canvas. Others mould shapes out of clay. And there are those who choose an entirely different medium to bring their art into the world. Pejac, a street artist from Spain, is one such artist who has developed quite a reputation for creating eye-catching works using unconventional methods. His latest works are a great example of this. Taken from the streets of Paris, Pejac has transformed a series of innocuous looking walls into visual illusions that capture the attention of anyone who passes by. To see all the images, scroll through the gallery above. We’ve featured three of Pejac’s best pieces, and you can see more of his work <a href="http://www.pejac.es/outdoor/" target="_blank">here</a>. Which image is your favourite? Let us know in the comments below. Image credit: Facebook / Pejac Related links: <a href="/travel/international/2016/05/10-gorgeous-photos-from-seaside-towns-in-italy/">10 gorgeous photos from seaside towns in Italy</a> <a href="/travel/domestic-travel/2016/05/10-breathtaking-photos-new-zealand-beautiful-roads/">10 breathtaking photos of New Zealand’s beautiful roads</a> <a href="/travel/international/2016/05/aerial-tour-of-beautiful-flower-field-in-the-netherlands/">Aerial tour of beautiful flower field in the Netherlands</a>

International Travel

13-year-old blind boy gets Australia to finally introduce “tactile banknotes” to help visually impaired

Thirteen-year-old Connor McLeod campaign to get the Reserve Bank of Australia (RBA) to print tactile banknotes has finally paid off.The legally blind boy began his campaign last year after he received money for Christmas but felt embarrassed because he could not tell how much it was.“I received some notes at Christmas time and I kept having to ask Mum what they had given me,” said Connor, continuing, “I didn't touch notes because it was really annoying and embarrassing that I couldn't differentiate between them, but I could differentiate coins so I used to go around with only coins in my wallet getting stuff from the canteen with them.“And then it just sort of hit me that my life isn’t going to be all coins, so I thought I’d better make things a little easier, and easier for others as well.”The teenager started a petition, and backed by the Human Rights Commission and Vision Australia, Connor’s campaign received 57,000 signatures. Last November, Connor himself had a meeting with the RBA where he argued passionately and articulately that tactile banknotes were needed for the 300,000 visually impaired people in Australia.This week the RBA announced they will add a tactile feature to their bank notes to help visually impaired people tell the difference between the notes.Vision Australia advocacy general manager Maryanne Diamond said Connor should be proud of himself for making such a big difference in many people’s lives.“What we found in Vision Australia in a recent survey is that 50 per cent of people who are totally blind are telling us that they feel that at times they have been short-changed, or given the wrong change when they’ve purchased something, simply because they can't quickly and easily and effectively distinguish notes,” Ms Diamond said.Image credit: ABC TVRelated link: <a href="http://oversixty.com.au/news/news/2015/02/adelaide-fringe-for-vision-impaired/" target="_blank">Adelaide Fringe festival caters to the vision-impaired</a><a href="http://oversixty.com.au/health/eye-care/2014/11/what-your-family-history-says-about-your-eyesight/" target="_blank">What your family history says about your eyesight</a> <a href="http://oversixty.com.au/health/eye-care/2014/09/six-ways-to-keep-your-eyes-healthy/" target="_blank">Six ways to keep your eyes healthy</a>

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