The application of aerial photography to surveys of potential disposal sites

DUE TO COPYRIGHT RESTRICTIONS ONLY AVAILABLE FOR CONSULTATION AT ASTON UNIVERSITY LIBRARY AND INFORMATION SERVICES WITH PRIOR ARRANGEMENT

Researching with, not on:using photography in researching street children in Accra, Ghana

What is discussed in this chapter is work-in-progress, an opportunity for reflection upon elements of an on-going research project examining the lives of street children in Accra, Ghana. Street children have received much research in recent years but our project is, we believe, distinctive in two respects. The first of these is that access to reliable data on the growing presence of children on the streets of African cities is often problematic. Available research is often diffuse and hard to access, it is more often than not driven by the short-term requirements of specific programmes and interventions and as a consequence can be lacking in depth, rigour and innovation. Without the means to provide a sufficiently self-conscious and critical engagement with accepted understandings of the lives of street children, consideration of the experience of street children in Africa continues to rely heavily on the more capacious and better disseminated research from the Americas (e.g., Mickelson, 2000). At the very least, Africa's specific experience of large population displacements, diversity of family forms, rapid urbanisation, vigorous structural adjustment and internal conflict raise important questions about the appropriateness of such ready generalisations. Judith Ennew (2003, p. 4) is clear that caution is needed in an uncritical endorsement of the “globalisation of the street child based on Latin American work”. She is equally mindful, however, that as far as Africa is concerned the absence of reliable evidence continues to hinder debate.

Comparison of subjective and objective methods to determine the retinal arterio-venous ratio using fundus photography

Purpose: To assess the inter and intra observer variability of subjective grading of the retinal arterio-venous ratio (AVR) using a visual grading and to compare the subjectively derived grades to an objective method using a semi-automated computer program. Methods: Following intraocular pressure and blood pressure measurements all subjects underwent dilated fundus photography. 86 monochromatic retinal images with the optic nerve head centred (52 healthy volunteers) were obtained using a Zeiss FF450+ fundus camera. Arterio-venous ratios (AVR), central retinal artery equivalent (CRAE) and central retinal vein equivalent (CRVE) were calculated on three separate occasions by one single observer semi-automatically using the software VesselMap (ImedosSystems, Jena, Germany). Following the automated grading, three examiners graded the AVR visually on three separate occasions in order to assess their agreement. Results: Reproducibility of the semi-automatic parameters was excellent (ICCs: 0.97 (CRAE); 0.985 (CRVE) and 0.952 (AVR)). However, visual grading of AVR showed inter grader differences as well as discrepancies between subjectively derived and objectively calculated AVR (all p < 0.000001). Conclusion: Grader education and experience leads to inter-grader differences but more importantly, subjective grading is not capable to pick up subtle differences across healthy individuals and does not represent true AVR when compared with an objective assessment method. Technology advancements mean we no longer rely on opthalmoscopic evaluation but can capture and store fundus images with retinal cameras, enabling us to measure vessel calibre more accurately compared to visual estimation; hence it should be integrated in optometric practise for improved accuracy and reliability of clinical assessments of retinal vessel calibres. © 2014 Spanish General Council of Optometry.

The 2008 Terrestrial Vegetation of Biscayne National Parko FL, USA Derived From Aerial Photography, NDVI, and LiDAR

Established as a National Park in 1980, Biscayne National Park (BISC) comprises an area of nearly 700 km2 , of which most is under water. The terrestrial portions of BISC include a coastal strip on the south Florida mainland and a set of Key Largo limestone barrier islands which parallel the mainland several kilometers offshore and define the eastern rim of Biscayne Bay. The upland vegetation component of BISC is embedded within an extensive coastal wetland network, including an archipelago of 42 mangrove-dominated islands with extensive areas of tropical hardwood forests or hammocks. Several databases and vegetation maps describe these terrestrial communities. However, these sources are, for the most part, outdated, incomplete, incompatible, or/and inaccurate. For example, the current, Welch et al. (1999), vegetation map of BISC is nearly 10 years old and represents the conditions of Biscayne National Park shortly after Hurricane Andrew (August 24, 1992). As a result, a new terrestrial vegetation map was commissioned by The National Park Service Inventory and Monitoring Program South Florida / Caribbean Network.

Evaluating High-Resolution Aerial Photography Acquired by Unmanned Aerial Systems for Use in Mapping Everglades Wetland Plant Associations

Mapping of vegetation patterns over large extents using remote sensing methods requires field sample collections for two different purposes: (1) the establishment of plant association classification systems from samples of relative abundance estimates; and (2) training for supervised image classification and accuracy assessment of satellite data derived maps. One challenge for both procedures is the establishment of confidence in results and the analysis across multiple spatial scales. Continuous data sets that enable cross-scale studies are very time consuming and expensive to acquire and such extensive field sampling can be invasive. The use of high resolution aerial photography (hrAP) offers an alternative to extensive, invasive, field sampling and can provide large volume, spatially continuous, reference information that can meet the challenges of confidence building and multi-scale analysis.

Sustaining culture through architecture : how can local, vernacular architectural principles be adapted to contemporary design in a village in Guyana

This thesis explores how architecture can adapt local vernacular design principles to contemporary building design in a rural setting. Vernacular buildings in Guyana present a unique and coherent set of design principles developed in response to climatic and cultural conditions. The concept of “habitus” proposed by philosopher Pierre Bourdieu describing the evolving nature of social culture was used to interpret Guyanese local buildings. These principles were then applied to the design of a Women’s Center in the village of Port Mourant on the east coast of Guyana. The design specifically interpreted the “bottom-house” of local Guyanese architecture, an inherently flexible transitional outdoor space beneath raised buildings. The design of the Women’s Center demonstrates how contemporary architectural design can respond to climatic requirements, local preferences and societal needs to support the local culture.

Vernacular perceptions of masculinity and fatherhood among Newfoundland offshore workers and their families

My thesis is an ethnographic study of how offshore workers of Newfoundland and Labrador, as well as their families, express and reflect upon traditional Newfoundland constructs of fatherhood and masculinity through narrative and ritual. With a schedule that often involves a constant shift between home and away, offshore workers in the province take part in high-risk professions in order to provide for their families back home. These professions, and their associated lifestyles, involve the incorporation of routine strategies that allows family culture to maintain itself. At the same time, these professions largely carry on a tradition of hegemonically masculine practices, albeit in a newer context. Drawing on a blend of literary and ethnographic research based on the Avalon Peninsula, I utilize examples of current Newfoundland culture to describe how nostalgic memoirs of outport Newfoundland create models of hegemonically masculine fatherhood in the province. I go on to explain how those models manifest themselves in the experiences of current offshore workers, and how they affect their spouses and children. Furthermore, through examining how young adults with offshore-working parents describe their experiences of their fathers, it is possible to see how the effects of local hegemonic masculinities are manifested through narratives about fathers who worked away from home.

Documentation of glaciers and mountain chains in the Nordvestfjord of Scorsby Sound (East Greenland, July 2016) by landscape photography during Maria S. Merian cruise MSM56

From the 12th until the 17th of July 2016, research vessel Maria S. Merian entered the Nordvestfjord of Scorsby Sound (East Greenland) as part of research cruise MSM56, "Ecological chemistry in Arctic fjords". A large variety of chemical and biological parameters of fjord and meltwater were measured during this cruise to characterize biogeochemical fluxes in arctic fjords. The photo documentation described here was a side project. It was started when we were close to the Daugaard-Jensen glacier at the end of the Nordvestfjord and realized that not many people have seen this area before and photos available for scientists are probably rare. These pictures shall help to document climate and landscape changes in a remote area of East Greenland. Pictures were taken with a Panasonic Lumix G6 equipped with either a 14-42 or 45-150 objective (zoom factor available in jpg metadata). Polarizer filters were used on both objectives. The time between taking the pictures and writing down the coordinates was maximally one minute but usually shorter. The uncertainty in position is therefore small as we were steaming slowly most of the time the pictures were taken (i.e. below 5 knots). I assume the uncertainty is in most cases below 200 m radius of the noted position. I did not check the direction I directed the camera to with a compass at the beginning. Hence, the direction that was noted is an approximation based on the navigation map and the positioning of the ship. The uncertainty was probably around +/- 40° but initially (pictures 1-17) perhaps even higher as this documentation was a spontaneous idea and it took some time to get the orientation right. It should be easy, however, to find the location of the mountains and glaciers when being on the respective positions because the mountains have a quite characteristic shape. In a later stage of this documentation, I took pictures from the bridge and used the gyros to approximate the direction the camera was pointed at. Here the uncertainty was much lower (i.e. +/- 20° or better). Directions approximated with the help of gyros have degree values in the overview table. The ship data provided in the MSM56 cruise report will contain all kinds of sensor data from Maria S. Merian sensor setup. This data can also be used to further constrain the position the pictures were taken because the exact time a photo was shot is noted in the metadata of the .jpg photo file. The shipboard clock was set on UTC. It was 57 minutes and 45 seconds behind the time in the camera. For example 12:57:45 on the camera was 12:00:00 UTC on the ship. All pictures provided here can be used for scientific purposes. In case of usage in presentations etc. please acknowledge RV Maria S. Merian (MSM56) and Lennart T. Bach as author. Please inform me and ask for reprint permission in case you want to use the pictures for scientific publications. I would like to thank all participants and the crew of Maria S. Merian Cruise 56 (MSM56, Ecological chemistry in Arctic fjords).

Photography student working in darkroom

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Photography student working in darkroom

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Other Than a Citizen: Vernacular Poetics in Postwar America

Few symbols of 1950s-1960s America remain as central to our contemporary conception of Cold War culture as the iconic ranch-style suburban home. While the house took center stage in the Nixon/Khrushchev kitchen debates as a symbol of modern efficiency and capitalist values, its popularity depended largely upon its obvious appropriation of vernacular architecture from the 19th century, those California haciendas and Texas dogtrots that dotted the American west. Contractors like William Levitt modernized the historical common houses, hermetically sealing their porous construction, all while using the ranch-style roots of the dwelling to galvanize a myth of an indigenous American culture. At a moment of intense occupational bureaucracy, political uncertainty and atomized social life, the rancher gave a self-identifying white consumer base reason to believe they could master their own plot in the expansive frontier. Only one example of America’s mid-century love affair with commodified vernacular forms, the ranch-style home represents a broad effort on the part of corporate and governmental interest groups to transform the vernacular into a style that expresses a distinctly homogenous vision of American culture. “Other than a Citizen” begins with an anatomy of that transformation, and then turns to the work of four poets who sought to reclaim the vernacular from that process of standardization and use it to countermand the containment-era strategies of Cold War America.

In four chapters, I trace references to common speech and verbal expressivity in the poetry and poetic theory of Charles Olson, Robert Duncan, LeRoi Jones/Amiri Baraka and Gwendolyn Brooks, against the historical backdrop of the Free-Speech Movement and the rise of mass-culture. When poets frame nonliterary speech within the literary page, they encounter the inability of writing to capture the vital ephemerality of verbal expression. Rather than treat this limitation as an impediment, the writers in my study use the poem to dramatize the fugitivity of speech, emphasizing it as a disruptive counterpoint to the technologies of capture. Where critics such as Houston Baker interpret the vernacular strictly in terms of resistance, I take a cue from the poets and argue that the vernacular, rooted etymologically at the intersection of domestic security and enslaved margin, represents a gestalt form, capable at once of establishing centralized power and sparking minor protest. My argument also expands upon Michael North’s exploration of the influence of minstrelsy and regionalism on the development of modernist literary technique in The Dialect of Modernism. As he focuses on writers from the early 20th century, I account for the next generation, whose America was not a culturally inferior collection of immigrants but an imperial power, replete with economic, political and artistic dominance. Instead of settling for an essentially American idiom, the poets in my study saw in the vernacular not phonetic misspellings, slang terminology and fragmented syntax, but the potential to provoke and thereby frame a more ethical mode of social life, straining against the regimentation of citizenship.

My attention to the vernacular argues for an alignment among writers who have been segregated by the assumption that race and aesthetics are mutually exclusive categories. In reading these writers alongside one another, “Other than a Citizen” shows how the avant-garde concepts of projective poetics and composition by field develop out of an interest in black expressivity. Conversely, I trace black radicalism and its emphasis on sociality back to the communalism practiced at the experimental arts college in Black Mountain, North Carolina, where Olson and Duncan taught. In pressing for this connection, my work reveals the racial politics embedded within the speech-based aesthetics of the postwar era, while foregrounding the aesthetic dimension of militant protest.

Not unlike today, the popular rhetoric of the Cold War insists that to be a citizen involves defending one’s status as a rightful member of an exclusionary nation. To be other than a citizen, as the poets in my study make clear, begins with eschewing the false certainty that accompanies categorical nominalization. In promoting a model of mutually dependent participation, these poets lay the groundwork for an alternative model of civic belonging, where volition and reciprocity replace compliance and self-sufficiency. In reading their lines, we become all the more aware of the cracks that run the length of our load-bearing walls.

Renouncing the Single Image: Photography and the Realism of Abstraction

This essay addresses the issue of the relationship between abstraction and realism that it argues is at stake in the rejection of any primacy accorded to the single image, in favour of a sequencing of photographs according to certain, often novelistic and epic ideas of narrative form. Setting out from the opening text of Allan Sekula’s Fish Story, the article explores the competing tendencies towards what Georg Lukács termed ‘narration’ and ‘description’ as these are traced throughout Sekula's project (in part through a comparison with the contrasting works of Andreas Gursky). The essay concludes by suggesting the ways in which it is the irreducible actuality of abstraction within the concrete everydayness of capitalism's social world that means that all photographic ‘realism’ is intrinsically ‘haunted’ by a certain spectre of that ‘self-moving substance in the ‘shape of money’, as Marx calls it, or of the abstract form of capital itself.