Yvonne Wanrow with 1-year-old daughter Chanti

General note: Title and date provided by Bettye Lane.

Practical 3D reconstruction based on photometric stereo

Photometric Stereo is a powerful image based 3D reconstruction technique that has recently been used to obtain very high quality reconstructions. However, in its classic form, Photometric Stereo suffers from two main limitations: Firstly, one needs to obtain images of the 3D scene under multiple different illuminations. As a result the 3D scene needs to remain static during illumination changes, which prohibits the reconstruction of deforming objects. Secondly, the images obtained must be from a single viewpoint. This leads to depth-map based 2.5 reconstructions, instead of full 3D surfaces. The aim of this Chapter is to show how these limitations can be alleviated, leading to the derivation of two practical 3D acquisition systems: The first one, based on the powerful Coloured Light Photometric Stereo method can be used to reconstruct moving objects such as cloth or human faces. The second, permits the complete 3D reconstruction of challenging objects such as porcelain vases. In addition to algorithmic details, the Chapter pays attention to practical issues such as setup calibration, detection and correction of self and cast shadows. We provide several evaluation experiments as well as reconstruction results. © 2010 Springer-Verlag Berlin Heidelberg.

Finance past, finance future: a brief exploration of the evolution of financial practices

As we work our way through the latest financial crisis, politicians seem both powerless to act convincingly and unable to craft from the welter of diverse and antagonistic narratives a coherent and convincing vision of the future. In this article, we argue that a temporal lens brings clarity to such confusion, and that thinking in terms of time and reflecting on privileged temporal structures helps to highlight underlying assumptions and distinguish different narratives from one another. We begin by articulating our understanding of temporality, and we proceed to apply this to the evolution of financial practice during different historical epochs as recently delineated by Gordon (2012). We argue that the principles of finance were effectively in place by the eighteenth century and that consequent developments are best conceptualized as phases in which one particular aspect is intensified. We find that in different historical periods, the temporal intensification associated with specific models of finance shifts, over history, from the past to the present to the future. We argue that a quite idiosyncratic understanding of the future has been intensified in the present phase, what we refer to as proximal future, and we explain how this has come to be. We then consider the ethical consequences of privileging an intensification of proximal future before mapping an alternative model centred on intensifying distal future, highlighting early signs of its potential emergence in the shadows of our present.

Migrant domestic workers, vulnerability and the law: immigration and employment laws in Cyprus and Spain

The intersection of gender, welfare and immigration regimes has been one of the main focus of a rich scholarship on paid domestic work in Europe. This article brings into the discussion the nexus of employment and immigration law regimes to reflect on the role of legal regulation in structuring and reducing the vulnerability of domestic workers. I analyse this nexus by looking at the cases of Cyprus and Spain, two states falling under the cluster of Southern Mediterranean welfare regimes, that share certain characteristics in terms of immigration regimes, but have substantially different employment law regulation models. The first part sketches the debate on the employment law regulation of domestic work. The second part starts by giving an overview of the immigration regimes of Cyprus and Spain in relation to migrant domestic workers and then proceeds to analyse the two countries’ models and substance of employment law regulation in domestic work. The comparison of these two divergent approaches informs the debate on how the legal regulation of domestic work should be best structured. In Spain there have been recent dynamic legislative changes in the employment law regulation of domestic work. The final part of the article traces these changes and reflects on why such processes have not taken place in Cyprus.

Gendered Responses to Global Crisis: Circular Migration and Return among Ecuadorian Families in Spain and Ecuador

This paper analyzes the impact of Spain’s economic crisis on social reproduction strategies of Ecuadorian migrant families in Madrid and Quito. The paper analyzes circular migration experiences and more permanent returns to Ecuador. I argue that these strategies and migrants' greater or lesser capabilities to move between different migration destinations show significant gender differences. On the one hand, men and women make a differential use of their migratory status to deploy transnational strategies and expand their mobility. On the other hand, migrants’ degree of mobility and flexibility with regard to the labor market and transnational social reproduction are derivative of a specific gendered order and sexual division of labor.

The effects of transients on photospheric and chromospheric power distributions

We have observed a quiet Sun region with the Swedish 1-meter Solar Telescope (SST) equipped with CRISP Imaging SpectroPolarimeter. High-resolution, high-cadence, H-alpha line scanning images were taken to observe different layers of the solar atmosphere from the photosphere to upper chromosphere. We study the distribution of power in different period-bands at different heights. Power maps of the upper photosphere and the lower chromosphere show suppressed power surrounding the magnetic-network elements, known as "magnetic shadows". These also show enhanced power close to the photosphere, traditionally referred to as"power halos". The interaction between acoustic waves and inclined magnetic fields is generally believed to be responsible for these two effects. In this study we explore if small-scale transients can influence the distribution of power at different heights. We show that the presence of transients, like mottles, Rapid Blueshifted Excursions (RBEs) and Rapid Redshifted Excursions (RREs), can strongly influence the power-maps. The short and finite lifetime of these events strongly affects all powermaps, potentially influencing the observed power distribution. We show that Doppler-shifted transients like RBEs and RREs that occur ubiquitously, can have a dominant effect on the formation ofthe power halos in the quiet Sun. For magnetic shadows, transients like mottles do not seem to have a significant effect in the power suppression around 3 minutes and wave interaction may play a key role here. Our high cadence observations reveal that flows, waves and shocks manifest in presence of magnetic fields to form a non-linear magnetohydrodynamic system.

Hur grafiska formgivare runt om i världen uppfattar skandinavisk grafisk design

Syftet med föreliggande studie har varit att kartlägga hur grafiska formgivare runt om i världen uppfattar skandinavisk grafisk design. 53 deltagare från industriländer deltog i studien som använde en kombination av mail-intervjuer och enkäter. Resultaten från denna studie indikerar att, oavsett kontinent, upplevs skandinavisk grafisk design som enkel och funktionell. Layouten uppfattades som rutnätsbaserad med mycket ljusrum och få grafiska element. Monokroma färger som svart, vit och grå utan gradienter och skuggor uppfattades som typiska för skandinavisk grafisk design; följt av jord- och pastellfärger. Sanserifer var mest förknippade med skandinavisk grafisk design. Motiv ansågs i denna studie att användas sparsamt, men när de används avbildar de naturen eller geometriska former. Foton och illustrationer ansågs användas ungefär lika mycket, illustrationer hade en smärre större preferens. Den upplevda påverkan av skandinavisk grafisk design varierade mellan deltagarna. Deltagarna som tyckte att påverkan var stor, ansåg att detta berodde på förespråkandet av enkelhet och funktion, sammanflätning av designområden och/eller frammaning av hållbar grafisk design. Deltagarna som ansåg att påverkan var låg, tyckte att för lite publicitet var en bidragande faktor.De flesta deltagarna i denna undersökning ansåg att skandinavisk grafisk design var enklare i jämförelse med vad de kunde se i sina hemländer. Vidare tyckte afrikanska, asiatiska och sydamerikanska deltagare  att färgerna hade lägre kroma.

Through Class Darkly: Class in the British TV Noir

Class has always been at the heart of the television crime drama. Whether it is the post-war paternalism of Dixon of Dock Green (1955 – 1976), the harsh social realism of The Sweeney (1975-1978), or the almost mythical evocations of Britain in Heartbeat (1992 – 2010) and Midsomer Murders (1997- present), class and crime have always been seen as being inextricably linked. Since the 1990s, the British crime drama has been influenced by successive waves of cultural imports from, firstly, the US and then from Scandinavia. There is now a recognisable ‘genre’ for what we might think of as British TV Noir. Beginning with shows such as Cracker (1993 – 2006), Prime Suspect (1991 – 2006) and Messiah (2001) and continuing with dramas like Red Riding (2008), Southcliffe (2013) and Hinterland (2013 – present), the British TV Noir employs narratives and stylistic tropes that might usually be associated with the cinema of the 1940s. Although drawing influence from high profile shows such as Twin Peaks (1990 – 1991), Millennium (1996) and (latterly) The Wire (2002 – 2008), CSI (2000 – present) and The Killing (2007) these British Noir shows also articulate the nation’s shifting class system. As Susan Sydney-Smith has ably demonstrated, the crime drama is “historically contingent” (Sydney-Smith, 2002, p. 5) and shaped by the surrounding socio-political, as well aesthetic, context. To this end, this chapter traces the depiction of class in three key crime series – Prime Suspect, Red Riding and Southcliffe - and explores how social class, and more importantly, its changing face provides a constant background to the narratives and characterisations. These three texts were each produced at pivotal moments in Britain’s relationship to class – Prime Suspect was shown 6 months after Margaret Thatcher vacated office; Red Riding was produced in the midst of the global recession in 2008 and Southcliffe was made in the shadows of stringing welfare and immigration reforms. These texts span three successive political administrations and over two decades of social and political change. Understanding the relationship between criminal activity and class in these dramas however is far more complicated than simply reading the historical context through the text. Commensurate with its cinematic incarnation, TV Noir is both reflective and productive, employing visual and narrative tropes to manipulate, as well reflect, its audience’s moral and social positioning. The picture that emerges from an examination of class and the British TV Noir is one of suspicion and discontent. As Andrew Spicer suggests (with reference to British cinema) the Noir sensibility both depicts and critiques a society that it sees as being “class-ridden, racist and misogynist” (Spicer, 2002, p.202). This is certainly the case with the texts that are being examined here, as social positions and taxonomies are constantly being redefined and renegotiated.

Jung and Goddess: the significance of Jungian and post-Jungian theory to the development of the Western Goddess Movement

This study is concerned with the significance of Jungian and post-Jungian theory to the development of the contemporary Western Goddess Movement, which includes the various self-identified nature-based, Pagan, Goddess Feminism, Goddess Consciousness, Goddess Spirituality, Wicca, and Goddess-centred faith traditions that have seen a combined increase in Western adherents over the past five decades and share a common goal to claim Goddess as an active part of Western consciousness and faith traditions. The Western Goddess Movement has been strongly influenced by Jung’s thought, and by feminist revisions of Jungian Theory, sometimes interpreted idiosyncratically, but presented as a route to personal and spiritual transformation. The analysis examines ways in which women encounter Goddess through a process of Jungian Individuation and traces the development of Jungian and post-Jungian theories by identifying the key thinkers and central ideas that helped to shape the development of the Western Goddess Movement. It does so through a close reading and analysis of five biographical ‘rebirth’ memoirs published between 1981 and 1998: Christine Downing’s (1981) The Goddess: Mythological Images of the Feminine; Jean Shinoda Bolen’s (1994) Crossing to Avalon: A Woman’s Midlife Pilgrimage; Sue Monk Kidd’s (1996) The Dance of the Dissident Daughter: A Woman’s Journey from Christian Tradition to the Sacred Feminine; Margaret Starbird’s (1998) The Goddess in the Gospels: Reclaiming the Sacred Feminine; and Phyllis Curott’s (1998) Book of Shadows: A Modern Woman’s Journey into the Wisdom of Witchcraft and the Magic of the Goddess. These five memoirs reflect the diversity of the faith traditions in the Western Goddess Movement. The enquiry centres upon two parallel and complementary research threads: 1) critically examining the content of the memoirs in order to determine their contribution to the development of the Goddess Movement and 2) charting and sourcing the development of the major Jungian and post-Jungian theories championed in the memoirs in order to evaluate the significance of Jungian and post-Jungian thought in the Movement. The aim of this study was to gain a better understanding of the original research question: what is the significance of Jungian and post-Jungian theory for the development of the Western Goddess Movement? Each memoir is subjected to critical review of its intended audiences, its achievements, its functions and strengths, and its theoretical frameworks. Research results offered more than the experiences of five Western women, it also provided evidence to analyse the significance of Jungian and post-Jungian theory to the development of the Western Goddess Movement. The findings demonstrate the vital contributions of the analytical psychology of Carl Jung, and post-Jungians M Esther Harding, Erich Neumann, Christine Downing, E.C. Whitmont, and Jean Shinoda Bolen; the additional contributions of Sue Monk Kidd, Margaret Starbird, and Phyllis Curott, and exhibit Jungian and post-Jungian pathways to Goddess. Through a variety of approaches to Jungian categories, these memoirs constitute a literature of Individuation for the Western Goddess Movement.

An ethical philosophy of life presented in its main outlines,

Autobiographical introduction.--Philosophical theory.--Applications: the three shadows, sickness, sorrow and sin, and the right to life, property and reputation.--Applications: the ethics of the family, the state, the international relations, etc.

What's the Matter with Extended Techniques? Getting Beyond the Stigma in the Horn and Percussion Repertoire

For this project I prepared a series of recitals featuring music for horn and percussion, in which the horn part featured extended horn techniques. For this project, I considered anything beyond the open or muted horn an extended technique. These techniques range from the common hand-stopped note passages to complex new techniques involving half-valves, multi-phonics, and more, for new sounds desired by the composer. There are several pieces written for solo horn and percussion, with ensembles ranging from simple duets to solo horn with a full percussion ensemble. However, few include extended techniques for the horn. All of these select pieces are lesser known because of their difficulty, primarily because of the challenge of the extended techniques requested by the composer. In the introduction to this paper I give a brief background to the project, where the current repertoire stands, and my experiences with commissioning works for this genre. I then give a brief history and how-to on the more common extended techniques, which were found in almost every piece. I separated these techniques so that they could be referenced in the performance notes without being extremely repetitive in their description. Then follows the main performance notes of the repertoire chosen, which includes a brief description of the piece itself and a longer discussion for performers and composers who wish to learn more about these techniques. In this section my primary focus is the extended techniques used and I provide score samples with permission to further the education of the next musicians to tackle this genre. All works performed for this project were recorded and accompany this paper in the Digital Repository at the University of Maryland (DRUM). The following works were included in this project: o Howard J. Buss, Dreams from the Shadows (2015) o Howard J. Buss, Night Tide (1995) o George Crumb, An Idyll for the Misbegotten, trans. Robert Patterson (1986/1997) o Charles Fernandez, Metamorphosis: A Horn’s Life, “Prenatal and Toddler” (2016, unfinished) o Helen Gifford, Of Old Angkor (1995) o Douglas Hill, Thoughtful Wanderings… (1990) o Pierre-Yves Level, Duetto pour Cor en Fa et Percussion (1999) o David Macbride, Elegy for Horn and Timpani (2009) o Brian Prechtl, A Song of David (1995) o Verne Reynolds, HornVibes (1986) o Pablo Salazar, Cincontar (2016) o Mark Schultz, Dragons in the Sky (1989) o Faye-Ellen Silverman, Protected Sleep (2007) o Charles Taylor, Sonata for Horn and Marimba (1991) o Robert Wolk, Tessellations (2016) With this project, I intend to promote these pieces and the techniques used to encourage more works written in this style, and reveal to fellow horn players that the techniques should not prevent these great works from being performed. Due to the lack of repertoire, I successfully commissioned new pieces featuring extended techniques, which were featured in the final recital.

Edifícios e espaço público

Dissertação para obtenção do grau de Mestre em Arquitectura com Especialização em Urbanismo, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Adapting Victorian Gypsies for the Screen: Ethnicity, Otherness and (In)visibility in Neo-Victorian Popular Film

This paper aims at analysing the presence of gypsy characters in two neo-Victorian popular films, namely Joe Johnston’s The Wolfman (2010) and Guy Ritchie’s Sherlock Holmes: Game of Shadows (2011). The cultural construction of nineteenth-century gypsies, those “Others within Europe” (Boyarin 433) whose presence in Victorian fiction was peripheral, spectral and at times invisible (Nord 3-4), is simultaneously exploited and contested by these two neo-Victorian screen narratives to raise issues of otherness and invisibility on the screen. Setting off from the premise that screen texts, just like print texts, can also be participant in the neo-Victorian project of reimagining the underside of Victorian culture for contemporary audiences (Whelehan 273), this paper traces how the adaptation of Victorian gypsies for the screen, true to the palimpsestuous potential inherent to the process of adaptation (Hutcheon 6) and sharing the double drive between past and present which characterises the neo-Victorian genre (Arias and Pulham xiii; Shiller 539), hybridises our cultural memory of the Victorian Age on the screen while concurrently raises concerns over the persistent liminal status of gypsies in contemporary European culture. In particular, this paper illustrates how the tropes prototypically associated to gypsies (namely their nomadic lifestyle, mysticism, alienated existence or their perceived association to criminality) which can be traced back to Victorian culture are deployed on the neo-Victorian popular screen (with varyingly succesful outcomes) to comment on their (in)visibility in the European popular imagination.

Star drawings and intersections

Star Drawings and Intersections (an experimental installation) With the camera attached directly to my body extended exposures of stars were made. The images were therefore subject to the physicality of the body and it’s movements. They represent the act of photography as an extension of the body and the lens as a replacement or extension of the eye (by utilizing the camera the primary and initial a point of visualisation). The final images render the movements of the body (during the time of the extended exposures) and traces of starlight imparted during these enacted and involuntary movements. Presented as a large scale (horizontal life/figurative size) grid of images the audience is afforded the ability to view and compare the individual images and to consider them as an experimental form of phenomenological data. The work also aims to be considered as a representation of an embodied relationship to both the medium of photography and the sublime cosmos, which captured during these gestural performances. During the exhibition audience members are encouraged the engage with the grid of images by placing various objects, such as timber dowel rods, against the images as a way of invoking an extended connection - a physical line of sight and as an act of pointing to and delineating single moments within the continuum of the rendered exposure. These interactions are also a way of engaging both the physicality of the gallery and temporality of the exhibition as the timber rods cast shadows across the images which shift over time with the ever changing angle of the Sunlight as it enters though the circular arched windows of the gallery.

Neil Taylor’s experimental animation: the technical habitus as aesthetic trace

This essay examines Neil Taylor’s (1945-) animations, situated between the moving image, performance and sculpture and in the shadows of his recognised wire-based sculptural practice. Taylor’s animations automatically inscribe the surfaces of flipbooks and note pads, (Short Lives 1980-90) cash register rolls (Roll Film 1990) and are enhanced by hand-made ‘machines’ (Copy Copy 1998) designed to shape this idiosyncratic activity. These short films are part of an avant-garde project ‘that continues to explore the physical properties of film and the nature of perceptual transactions which take place between viewer and film.’ (John Hanhardt, 1976: 44). Taylor’s practice is additionally placed, through Vilem Flusser’s ‘technical image’ in relation to the ascendancy of digital culture, and Pierre Bourdieu’s ‘habitus’ is used to frame both Taylor’s art and teaching practice, in order to examine the discounting of the technical classes that these fields of production consistently perform.