Image usefulness of compressed surveillance footage with different scene contents

The police use both subjective (i.e. police staff) and automated (e.g. face recognition systems) methods for the completion of visual tasks (e.g person identification). Image quality for police tasks has been defined as the image usefulness, or image suitability of the visual material to satisfy a visual task. It is not necessarily affected by any artefact that may affect the visual image quality (i.e. decrease fidelity), as long as these artefacts do not affect the relevant useful information for the task. The capture of useful information will be affected by the unconstrained conditions commonly encountered by CCTV systems such as variations in illumination and high compression levels. The main aim of this thesis is to investigate aspects of image quality and video compression that may affect the completion of police visual tasks/applications with respect to CCTV imagery. This is accomplished by investigating 3 specific police areas/tasks utilising: 1) the human visual system (HVS) for a face recognition task, 2) automated face recognition systems, and 3) automated human detection systems. These systems (HVS and automated) were assessed with defined scene content properties, and video compression, i.e. H.264/MPEG-4 AVC. The performance of imaging systems/processes (e.g. subjective investigations, performance of compression algorithms) are affected by scene content properties. No other investigation has been identified that takes into consideration scene content properties to the same extend. Results have shown that the HVS is more sensitive to compression effects in comparison to the automated systems. In automated face recognition systems, `mixed lightness' scenes were the most affected and `low lightness' scenes were the least affected by compression. In contrast the HVS for the face recognition task, `low lightness' scenes were the most affected and `medium lightness' scenes the least affected. For the automated human detection systems, `close distance' and `run approach' are some of the most commonly affected scenes. Findings have the potential to broaden the methods used for testing imaging systems for security applications.

Nagaland: Borders, Boundaries, Belonging: Contested spaces and disputed narratives

In 2011 I travelled to three of the ‘Seven Sister’ states of old Assam, Nagaland, Meghalaya & Assam. My journey to this remote and politically sensitive region, bordering Chinese occupied Tibet, Bangladesh and Myanmar was prompted by my father’s experiences in the region during WW2 in the Burma Campaign and brought into sharp relief on-going themes in my work, the impact the past has on the present, the relationship of time and place, identity and memory and the transcultural experiences caused by war, colonisation and migration. The drawings I made on location, the objects I collected and the notes and photographs I took formed the basis of the bookwork: NAGALAND borders boundaries belonging. When making the finished work the material quality of the object and the processes by which it was made become very important. The historical resonance of the medium and the time consuming nature of the process reflect the embedding of form and idea, and paid homage to the material culture of the Naga hill tribes. The bookwork was hand-bound, handset and printed by letterpress. Some spreads were printed in 6 colours and the book took over a year to produce. I see my practice as echoing that of generations of Lady travellers; embracing the need to journey, be in a liminal space, to have a plan but not be afraid to divert from it. To be alone, take a sketchbook and make images is, for me, the definition of the itinerant illustrator; one who travels widely in geographic space, visual forms and ideas, in order to get lost and find the unlooked for.

Africa through Chinese eyes: new frames or the same old lens? African news in English from China Central Television, compared with the BBC

[No abstract as this is a book chapter: the following represents the first 2 paragraphs.] The screen fills with close-ups of smiling African faces against a black-and-orange background: the carefree child, the gap-toothed man with smoke curling from his pipe. The faces retreat into an outline of a map of Africa as the saccharine background music dissolves into birdsong. The silhouette of an acacia tree appears. This is not the much-derided Western romantic stereotype of the continent: it is an extract from a promotional trailer on CCTV Africa, the embodiment of China’s “soft power” drive and a spearhead of Chinese state television’s overseas expansion. Yet this image is at variance with the English-language channel’s professed ambitions. The Chinese premier, Li Keqiang, himself declared that “CCTV embraces the vision of seeing Africa from an African perspective and reporting Africa from the viewpoint of Africa”. These contradictory messages prompt fundamental questions about CCTV’s expansion into Africa. Are the channel’s English-language news bulletins aimed at African or Chinese viewers? What kind of Africa – and indeed China – do they represent, and could the framing of African events by CCTV News provide an alternative to the perspective of international rivals? Is CCTV’s main mission in Africa to provide news or to act as mouthpiece of the Chinese Communist Party and state? This chapter addresses these questions by applying a cross-cultural variant of framing theory to the news content of CCTV’s Africa Live and that of its closest direct competitor, Focus on Africa from BBC World News TV.

Big Money is Moving in, Docklands Community Poster Project and posters from the East London Health Project

The exhibition took as its departure the rediscovery of the experience of the working photographer from 1920-1930, and the new intellectual context that emerged subsequent to 1968, that was marked by a new form of urban resistance.

Re-modelling clay: ceramic practice and the museum in Britain (1970-2014)

This thesis analyses how the dialogue between ceramic practice and museum practice has contributed to the discourse on ceramics. Taking Mieke Bal’s theory of exposition as a starting point, it explores how ‘gestures of showing’ have been used to frame art‑oriented ceramic practice. Examining the gaps between the statements these gestures have made about and through ceramics, and the objects they seek to expose, it challenges the idea that ceramics as a category of artistic practice has ‘expanded.’ Instead, it forwards the idea that ceramics is an integrative practice, through which practitioners produce works that can be read within a range of artistic (and non-artistic) frameworks. Focusing on activity in British museums between 1970 and 2014, it takes a thematic and broadly chronological approach, interrogating the interrelationship of ceramic practice, museum practice and political and critical shifts at different points in time. Revealing an ambiguity at the core of the category ‘ceramics,’ it outlines numerous instances in which ‘gestures of showing’ have brought the logic of this categorisation into question, only to be returned to the discourse on ‘ceramics’ as a distinct category through acts of institutional recuperation. Suggesting that ceramics practitioners who wish to move beyond this category need to make their vitae as dialogic as their works, it indicates that many of those trying to raise the profile of ‘ceramics’ have also been complicit in separating it from broader artistic practice. Acknowledging that those working within institutions that sustain this distinction are likely to re-make, rather than reconsider ceramics, it leaves the ball in their court.

Exploring the relationship between women’s empowerment and the internet in China: potentials and constraints

This thesis reports on an exploratory study of the relationship between the Internet and women’s empowerment in China. The theoretical framework of the study combines feminist theorisations of power – the core concept of empowerment – with insights from sociological perspectives on power and gender, as well as collective action theory. This allows for the conceptualisation of women’s empowerment as a dynamic process that is shaped by a set of communicative practices. Focusing on female Chinese bloggers and women’s groups of different organisational types, this study aims to explore the respective ways in which these two types of women actors use the Internet with a view to examining whether, and the extent to which it enables them to generate a sense of empowerment. The empirical data mainly derives from interviews with female bloggers and with staff members from different women’s groups, as well as from a features analysis and social network analysis of the sampled blogs and official websites of studied groups. Overall, the findings suggest that the opportunities offered by the Internet for women’s empowerment through awareness-raising, social interactions, and the organising of collective action, are limited. For female bloggers, their activities do not translate the new communicative practices afforded by the Internet into concrete action to bring about changes in their everyday life. On the contrary, blogs become an alternative platform to discipline their behaviours and to reinforce patriarchal gendered norms. Moreover, the research finds that the promise of empowerment is further undermined by the pervasive commercialisation of the Internet and state control. For women’s groups, contextual factors prevent them from fully realising the potential of the Internet for increasing their organisational visibility, promoting public awareness about gender issues, building a sense of the collective, campaigning, or networking. The major barriers in these processes are state control, a lack of resources, online censorship, and at times, competition from commercial sites. In this respect, the Internet does not play a significant role in forming a collective to challenge existing unjust power relations.

Kahvehane Kongresspark

“Kahvehane (Coffeehouse) Kongresspark”explores the question of transcultural relations and belonging through an artistic exploration of coffee and its cultural history. The project was commissioned as an urban art intervention by the 'Soho in Ottakring' Biennial in Vienna. Organic and fair-trade coffee, sponsored by Kaffee Alt Wien , was served free of charge to the public in specially designed cups and saucers, which were created at the Ceramics Research Centre at the University of Westminster. The designs reflect coffee’s shared multi-ethnic history and the globalization of coffee.The project includes an interactive lecture-performance exploring the many legends about the origins of coffee tracing its journey from Ethiopia, the Arabian peninsula through the Ottoman Empire (Turkey) to Vienna and across the entire globe. While adopting a humorous take on the globalization of coffee, the performance sheds light on the history of colonialism and question the conditions of contemporary trade. The performance was written and performed in collaboration with Bharatanatyam artist and actor Shane Shambhu.

Not Belonging to one’s Self: Affect on Facebook’s Site Governance page

This article makes a contribution to a growing number of works that discuss affect and social media. I use Freudian affect theory to analyse user posts on the public Site Governance Facebook page. Freud’s work may help us to explore the affectivity within the user narratives and I suggest that they are expressions of alienation, dispossession and powerlessness that relate to the users’ relations with Facebook as well as to their internal and wider social relations. The article thus introduces a new angle on studies of negative user experiences that draws on psychoanalysis and critical theory.

Information ethics in the age of digital labour and the surveillance-industrial complex

Thee rise of computing and the internet have brought about an ethical eld of studies that some term information ethics, computer ethics, digital media ethics, or internet ethics e aim of this contribution is to discuss information ethics’ foundations in the context of the internet’s political economy e chapter rst looks to ground the analysis in a comparison of two information ethics approaches, namely those outlined by Rafael Capurro and Luciano Floridi It then develops, based on these foundations, analyses of the information ethical dimensions of two important areas of social media: one concerns the framing of social media by a surveillance-industrial complex in the context of Edward Snowden’s revelations and the other deals with issues of digital labour processes and issues of class that arises in this context e contribution asks ethical questions about these two phenomena that bring up issues of power, exploitation, and control in the information age It asks if, and if so, how, the approaches of Capurro and Floridi can help us to understand ethico-political aspects of the surveillance-industrial complex and digital labour

Screening the RSC stage: the 2014 Live from Stratford-upon-Avon cinema broadcasts

During the Royal Shakespeare Company's 2014 summer season, both parts of Henry IV and The Two Gentlemen of Verona were presented as Live from Stratford-upon-Avon broadcasts in cinemas around the world. This article presents a case study of these broadcasts, drawing on the author's observations and insights as their producer as well as interview contributions from those involved in both the stage and screen presentations. Recognising that the hybrid form of “live cinema” performance has developed rapidly over the past five years but is as-yet little-documented, the study develops an analytical approach to its creative processes and to its aesthetics. This discussion is combined with a consideration of the history of earlier screen adaptations of RSC productions at Stratford-upon-Avon. The article details the stages of the production process for the Live from Stratford-upon-Avon broadcasts in 2014 and considers the ways in which the broadcast teams collaborate with the casts and creative teams of the theatre productions. In addition, the article explores processes of adaptation in the journey from stage to screen, the poetics of multi-camera presentation and questions of “live-ness”, the social experience of viewing performance in the cinema, and possible developments for live theatre on screen.