Football's world cup and its fans - reflections on national styles : a photo essay on Germany 2006

The football World Cup is the greatest multicultural sporting extravaganza of modern times. The notion of post-fandom tries to capture the ways in which fans now participate in and engage in self-aware and reflexive strategies to obtain their desired outcomes from attendance at or viewing such major events. This illustrated photo-essay on the World Cup looks at the experiences and behaviour of fans in three countries, Scotland, Germany and Australia, during the tournament with a view to extending our understanding of the relationships between fans and others temporarily interested in the World Cup and the promoters of such mega-events. It argues that the participants brought a wide range of expectations to the tournament and engaged in highly flexible and innovative approaches to ensure that they gained the maximum benefit, individually and collectively, from the experience.

Photo-catalysis of red wine stains using titanium dioxide sol-gel coatings on wool fabrics

This paper investigated the use of titanium dioxide sol-gel coatings to photo-catalyse red wine stains on wool fabrics. Coatings were produced by the hydrolysis and condensation of titanium butoxide (Ti(OC4H9)4) on the surface of wool fabrics after pad application. Coatings were partially converted to the anatase form of titanium dioxide by prolonged immersion in boiling water. The coating presence was confirmed using scanning electron microscopy, UVspectrophotometry and atomic force microscopy. Coated samples were measured for photo-catalytic activity by degrading red wine stains from the surface of the coated fabric. The level of photocatalysis was determined for each of the coating systems after 168 hours. Red wine stains were photo-catalysed and level of staining was reduced from the UV exposed surface of the coated wool fabric.

The effect of dyes on photo-induced chemiluminescence emission from polymers

Weak photo-induced chemiluminescence (PICL) emission is observed when polymers are exposed to UVA or visible light. The presence of dyes can either increase PICL intensity via Type I photosensitisation which generates polymer free radicals, or reduce it via photo-protection. PICL studies on the eight Blue Wool Standards (BWSs) that are used commercially as lightfastness standards show higher PICL intensity from the least photostable BWSs that use triphenylmethane dyes and lower intensity from more photostable BWSs using UVA and visible wavelengths. The relative PICL intensities do not correlate in a stepwise manner with lightfastness ratings of the BWSs. However dye/polymer combinations that emit high levels of PICL relative to the undyed material are unlikely to have acceptable lightfastness. The xanthene dyes fluorescein and eosin Y are more strongly photosensitising than triphenylmethane dyes on wool and both produce higher PICL emission than undyed wool when irradiated with visible light.

Young children’s understanding of photo self-representations

This experiment examined delayed self-recognition in 24 2.5-year-old and 24 3-year-old children. Children were marked covertly with a sticker on their forehead while playing a game, after which their photograph was taken. When show this photograph, the 3- but not the 2.5-year-olds reached to remove this sticker reliably. However, the older children reached reliably only when first shown how a recently taken photograph can be used to guide their search for an object in the testing room that was not directly visible to the unaided eye. Implications of the findings in terms of the development of a temporally extended sense of self are discussed.

Photo

A print commissioned as part of the Australian Print Workshops annual project including 164 artists, to be part of the permanent collection at the National Gallery of Australia.

Exhibit review : Focus on strangers: photo albums of World War II, Stadtmuseum, Jena, Germany, 2011

Focus on Strangers: Photo Albums of World War II is based on a collaborative research project conducted by two German universities (Carl von Ossietzky Universität Oldenburg and Friedrich Schiller Universität Jena) and was conceptualized in cooperation with four German city museums in Oldenburg, Munich, Frankfurt, and Jena. While the exhibition continues a tradition of museological projects examining Germany’s war history, such as the Wehrmachtsaustellung, which provoked fi erce public debate, Focus on Strangers moves beyond most conventional approaches in a signifi cant way. Th e exhibition pays tribute to the recent development in which private traces of memory have become part of the public perception of history, in this case the history of World War II.

De/composing Gran's photo album

This is the story of my maternal grandmother's photo album as it is seen through the feminist psychoanalytic eyes of her granddaughter. The photos take on particular meanings as my mother and I ponder over them. The photo album, set against the backdrop of the early twentieth century, tells tales of frivolity and young romance, friendship and daughterhood, extended families and holidays. What is most significant, however, is the way in which the photos are framed within the patriarchal Catholic discourse, which enveloped my grandmother's life. Yet, it is argued that there were, and continue to be, momentary fissures and ruptures in this patriarchal discourse as feminist psychoanalytic frames come into view.

Semantic photo synthesis

Composite images are synthesized from existing photographs by artists who make concept art, e.g., storyboards for movies or architectural planning. Current techniques allow an artist to fabricate such an image by digitally splicing parts of stock photographs. While these images serve mainly to “quickly”convey how a scene should look, their production is laborious. We propose a technique that allows a person to design a new photograph with substantially less effort. This paper presents a method that generates a composite image when a user types in nouns, such as “boat”and “sand.”The artist can optionally design an intended image by specifying other constraints. Our algorithm formulates the constraints as queries to search an automatically annotated image database. The desired photograph, not a collage, is then synthesized using graph-cut optimization, optionally allowing for further user interaction to edit or choose among alternative generated photos. An implementation of our approach, shown in the associated video, demonstrates our contributions of (1) a method for creating specific images with minimal human effort, and (2) a combined algorithm for automatically building an image library with semantic annotations from any photo collection.