893 resultados para Multispectral photography
Resumo:
In 1858, a volume entitled Midnight Scenes and Social Photographs – being sketches of life in the streets, wynds and dens of the city of Glasgow was published under the pseudonym of ‘Shadow’ by Alexander Brown, a Glaswegian flâneur and reformer. Its frontispiece is an etching which depicts a theatre-like proscenium arch whose curtains have been withdrawn to reveal to the audience all the poverty, destitution and disorder that one was likely to find after dark in the insalubrious quarters of the city. At the extreme left-hand side, partly obscured by the curtain a silhouetted figure stands behind an unwieldy camera perched on a tripod. Distinctly unaffected by the mêlée, an arm is calmly raised and a finger precisely arched in the moment before the shutter is clicked and the scene committed to record. The volume, however, relies exclusively on textual descriptions to evoke the underside of the city and contains no photographs at all. Instead, the use of the word photograph in the title can be understood as a metaphor for detached scientific objectivity, a quality much celebrated by nineteenth-century reformers and investigators of social ills. As it happened, a decade after Shadow disappeared into the labyrinthine back-lands of Old Town Glasgow, he was followed there by a real photographer. In 1868, Thomas Annan was commissioned by the City Improvements Trust to take photographs of the Old Town in its last moments of existence before it was pulled down under a series of legislative acts. But perhaps paradoxically, given Shadow’s faith in the analytical properties of photography, Annan’s work seems to refute much of the material contained in Midnight Scenes and other similar tracts. Instead of the dens, shebeens, labyrinths and rowdy crowds described by Shadow, Annan’s depictions of the Old Town convey a static, calm environment, one which is often sparsely inhabited by a curious but apparently orderly population.
Taking account of the sensational tendencies of many reformists’ texts, this paper investigates the discrepancies between the two representations, focussing in particular on the constraints which operated on Annan during his commission. It argues that Annan’s compositions – which became very influential on other 19th century photographers of everyday life such as John Thomson or Jacob Riis – far from being dispassionate analytical works, emerged as a result of a matrix of factors which included: photographic and artistic precedents; Annan’s own predilections as a photographer; technological limitations; the nature of the commission from the City Improvements Trust and political climate in which it was given; the medieval urban fabric in which he had to operate; and, perhaps, most importantly, the identity of the Old Towns inhabitants themselves.
Resumo:
OBJECTIVE: To assess the impact of laser peripheral iridotomy (LPI) on forward-scatter of light and subjective visual symptoms and to identify LPI parameters influencing these phenomena. DESIGN: Cohort study derived from a randomized trial, using an external control group. PARTICIPANTS: Chinese subjects initially aged 50 or older and 70 years or younger with bilateral narrow angles undergoing LPI in 1 eye selected at random, and age- and gender-matched controls. METHODS: Eighteen months after laser, LPI-treated subjects underwent digital iris photography and photogrammetry to characterize the size and location of the LPI, Lens Opacity Classification System III cataract grading, and measurement of retinal straylight (C-Quant; OCULUS, Wetzlar, Germany) in the treated and untreated eyes and completed a visual symptoms questionnaire. Controls answered the questionnaire and underwent straylight measurement and (in a random one-sixth sample) cataract grading. MAIN OUTCOME MEASURES: Retinal straylight levels and subjective visual symptoms. RESULTS: Among 230 LPI-treated subjects (121 [58.8%] with LPI totally covered by the lid, 43 [19.8%] with LPI partly covered by the lid, 53 [24.4%] with LPI uncovered by the lid), 217 (94.3%) completed all testing, as did 250 (93.3%) of 268 controls. Age, gender, and prevalence of visual symptoms did not differ between treated subjects and controls, although nuclear (P<0.01) and cortical (P = 0.03) cataract were less common among controls. Neither presenting visual acuity nor straylight score differed between the treated and untreated eyes among all treated persons, nor among those (n = 96) with LPI partially or totally uncovered. Prevalence of subjective glare did not differ significantly between participants with totally covered LPI (6.61%; 95% confidence interval [CI], 3.39%-12.5%), partially covered LPI (11.6%; 95% CI, 5.07%-24.5%), or totally uncovered LPI (9.43%; 95% CI, 4.10%-10.3%). In regression models, only worse cortical cataract grade (P = 0.01) was associated significantly with straylight score, and no predictors were associated with subjective glare. None of the LPI size or location parameters were associated with straylight or subjective symptoms. CONCLUSIONS: These results suggests that LPI is safe regarding measures of straylight and visual symptoms. This randomized design provides strong evidence that treatment programs for narrow angles would be unlikely to result in important medium-term visual disability.
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OBJECTIVE:
To design a system of gonioscopy that will allow greater interobserver reliability and more clearly defined screening cutoffs for angle closure than current systems while being simple to teach and technologically appropriate for use in rural Asia, where the prevalence of angle-closure glaucoma is highest.
DESIGN:
Clinic-based validation and interobserver reliability trial.
PARTICIPANTS:
Study 1: 21 patients 18 years of age and older recruited from a university-based specialty glaucoma clinic; study 2: 32 patients 18 years of age and older recruited from the same clinic.
INTERVENTION:
In study 1, all participants underwent conventional gonioscopy by an experienced observer (GLS) using the Spaeth system and in the same eye also underwent Scheimpflug photography, ultrasonographic measurement of anterior chamber depth and axial length, automatic refraction, and biometric gonioscopy with measurement of the distance from iris insertion to Schwalbe's line using a reticule based in the slit-lamp ocular. In study 2, all participants underwent both conventional gonioscopy and biometric gonioscopy by an experienced gonioscopist (NGC) and a medical student with no previous training in gonioscopy (JK).
MAIN OUTCOME MEASURES:
Study 1: The association between biometric gonioscopy and conventional gonioscopy, Scheimpflug photography, and other factors known to correlate with the configuration of the angle. Study 2: Interobserver agreement using biometric gonioscopy compared to that obtained with conventional gonioscopy.
RESULTS:
In study 1, there was an independent, monotonic, statistically significant relationship between biometric gonioscopy and both Spaeth angle (P = 0.001, t test) and Spaeth insertion (P = 0.008, t test) grades. Biometric gonioscopy correctly identified six of six patients with occludable angles according to Spaeth criteria. Biometric gonioscopic grade was also significantly associated with the anterior chamber angle as measured by Scheimpflug photography (P = 0.005, t test). In study 2, the intraclass correlation coefficient between graders for biometric gonioscopy (0.97) was higher than for Spaeth angle grade (0.72) or Spaeth insertion grade (0.84).
CONCLUSION:
Biometric gonioscopy correlates well with other measures of the anterior chamber angle, shows a higher degree of interobserver reliability than conventional gonioscopy, and can readily be learned by an inexperienced observer.
Resumo:
PURPOSE: To quantify the association between siblings in age-related nuclear cataract, after adjusting for known environmental and personal risk factors. METHODS: All participants (probands) in the Salisbury Eye Evaluation (SEE) project and their locally resident siblings underwent digital slit lamp photography and were administered a questionnaire to assess risk factors for cataract including: age, gender, lifetime sun exposure, smoking and diabetes history, and use of alcohol and medications such as estrogens and steroids. In addition, blood pressure, body mass index, and serum antioxidants were measured in all participants. Lens photographs were graded by trained observers masked to the subjects' identity, using the Wilmer Cataract Grading System. The odds ratio for siblings for affectedness with nuclear cataract and the sibling correlation of nuclear cataract grade, after adjusting for covariates, were estimated with generalized estimating equations. RESULTS: Among 307 probands (mean age, 77.6 +/- 4.5 years) and 434 full siblings (mean age, 72.4 +/- 7.4 years), the average sibship size was 2.7 per family. After adjustment for covariates, the probability of development of nuclear cataract was significantly increased (odds ratio [OR] = 2.07, 95% confidence interval [CI], 1.30-3.30) among individuals with a sibling with nuclear cataract (nuclear grade > or = 3.0). The final fitted model indicated a magnitude of heritability for nuclear cataract of 35.6% (95% CI: 21.0%-50.3%) after adjustment for the covariates. CONCLUSIONS: Findings in this study are consistent with a genetic effect for age-related nuclear cataract, a common and clinically significant form of lens opacity.
Resumo:
AIM:
To describe the distribution of cataract subtypes present before surgery among a defined population of older, bilaterally pseudophakic individuals.
METHODS:
This was a cohort study of bilaterally pseudophakic individuals participating in the Salisbury Eye Evaluation (SEE), and their locally resident siblings. Subjects underwent slit lamp and retroillumination photography and grading using the Wilmer Cataract Grading System. For all individuals determined to be bilaterally pseudophakic, an attempt was made to determine for each eye the type(s) of cataract present before surgery, based on previous SEE photographs (for SEE participants) and/or medical records obtained from the operating ophthalmologist (for both SEE participants and their siblings).
RESULTS:
The mean age of 223 participants providing data in this study was 78.7 (SD 5.2) years, 19.3% of subjects were black and 60.1% female. The most common surgically removed cataract subtype in this population was pure nuclear (43.5%), followed by nuclear combined with posterior subcapsular cataract (PSC) (20.6%), and nuclear combined with cortical (13.9%); less common types were pure cortical (4.9%), pure PSC (4.5%), and PSC combined with cortical (2.7%). Factors such as sex and source of lens data (study photograph versus clinical record) did not significantly affect the distribution of lens opacity types, while PSC was significantly (p = 0.01) more common among younger people and nuclear cataract was significantly (p = 0.001) more common among white compared to black people.
CONCLUSION:
Epidemiological studies have suggested that the different subtypes of cataract are associated with different risk factors. As studies begin to identify new prevention strategies for cataract, it would appear likely that different strategies will be efficacious against different types of cataract. In this setting, it will be helpful to know which cataract types are most frequently associated with surgery. Among this older, majority white population, nuclear cataract showed a clear predominance among individuals having undergone surgery in both eyes. This may be contrasted with both clinic and population based studies of younger people, which have generally found PSC cataract to predominate.
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A timely, and uniquely historical, look at how war turns soldiers, and all of us, into tourists. Holidays in the Danger Zone exposes the mundane and everyday entanglements between two seemingly opposed worlds—warfare and tourism. Debbie Lisle shows how a tourist sensibility shapes the behavior of soldiers in warespecially the experiences of Western military forces in “exotic” settings. This includes not only R&R but also how battlefields themselves become landscapes of leisure and tourism. It further explores how a military sensibility shapes the development of tourism in the postwar context, from “Dark Tourism” (engaging with displays of conflict and atrocity) to exhibitions of conflict in museums and at memorial sites, as well as in advertising, film, journals, guidebooks, blogs, and photography. Focused on how war and tourism reinforce prevailing modes of domination, Holidays in the Danger Zone critically examines the long historical arc of the war-tourism nexus from nineteenth-century imperialism to World War I and World War II, from the Cold War to globalization and the War on Terror.
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O conceito film noir é manifestamente complexo de ser definido. Atendendo a que não existe um estudo verdadeiramente completo sobre a estilística do film noir, esta tese, inserida no âmbito dos Estudos Cinematográficos, pretende ser uma tentativa de exploração do conceito film noir e do género cinematográfico sob vários aspectos. Trata-se, no fundo, de uma forma de restabelecer este conceito descritivo americano, desde o início dos anos quarenta até finais dos cinquenta, através de um processo de análise iconográfica. Este projecto focaliza-se na seguinte questão de investigação: pode o film noir americano ser considerado um género cinematográfico enquanto tal? Numa primeira fase, analisam-se os contextos cinematográfico e social preexistentes no cinema noir de modo a compreender este fenómeno cinematográfico, enquanto uma extensão do movimento hard-boiled, uma cosmovisão subversiva que descaradamente se opõe aos mitos americanos da auto-promoção americana, que marcaram muitos filmes de Hollywood durante a época da Depressão. Depois, descrevem-se os movimentos culturais específicos, bem como os acontecimentos sociopolíticos da época, a psicanálise, o estruturalismo e a teoria de autor, que ajudaram a contextualizar os padrões do film noir e a forma como o conceito acabou por gradualmente penetrar na cultura americana. As películas a analisar concentrar-se-ão sobre símbolos visuais específicos e elementos cinematográficos (tais como os das técnicas de iluminação e fotografia), adoptando uma perspectiva semiótica. Através dos conceitos saussuriano de “signo” e de “ícone” perceiano, procuro demonstrar de que forma os símbolos em filmes noir constituem significados que são enfaticamente indexicais, isto é, de que maneira eles são transversais, passando de um símbolo para outro (ou evento), direccionando e coagindo a atenção do espectador. A tese conclui então que o filme noir não pode ser considerado e entendido como um género fílmico e que o seu estilo visual (o aspecto dominante do cinema noir) tem como propósito acentuar o desencanto sentido no rescaldo da guerra, representar os meandros da vida urbana americana e, principalmente, enfatizar a incerteza, a ansiedade e o lado obscuro da existência humana.
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This research aims, through performance, fashion photography, video making and the theatrical devices that accompany such practice, to explore the style of a contemporary, largely male, subcultural collective. The common term that joins these loosely bound groups is revival as they appear driven by an impulse to simulate and re-enact the dress, rites and rituals of British and American subcultures from a perceived golden era. The similarities with re-enactment societies are also explored and exploited to the end of developing new style- based aesthetics in male fashion image-making formed around an elaborate re- enactment of Spartacus and the Third Servile Wars. Examined through comparative visuals (revivalists / re-enactors) a common thread is found in the wearing of leather as a metaphor for resistance, style and a pupa-like second skin. Subsequent findings of this research suggest that the cuirass of popular culture emerges as the motorcycle jacket of both the sword and sandal epic and the historical re-enactor. Addressing extremes in narcissistic dress and behaviour amongst certain individuals within these older male communities, this study also questions parts of established theory on subcultural development within the field of cultural studies and postulates on a metaphorical dandy gene. Citing two leading practitioners in the field of fashion photography the work of both Richard Prince and Bruce Weber is viewed through the lens of the subcultural aesthete and conclusions drawn as to their role as agents provocateurs in the development of the fashion image with a revival based narrative. In addition the often used term retro is examined, categorised and granted its own genre within fashion image- making and defined as being separate from the practice element of this research. Reflecting a multi-disciplinary approach that engages the researcher as Bricoleur and participant observer this research operates in the reflexive realm and uses simulation as a key method of enquiry. The practice-led outcome of this investigation takes the form of a final research exhibition that takes the form of a substantial installation of photography, video, clothing and textile prints. Key terms: dandy gene, historical re-enactment groups, internal theatre, narcissism, narrative image-making, reflexive practice, revival as theatre, subcultures,
Resumo:
A 16mm moving image work and expanded cinema performance co-commissioned by Tate Modern and Arnolfini. Shot at the post-production facilities of Pinewood studios, London, the close-up sequences feature abstract patterns of optical sound encoded as light, printed onto the soundtrack area of the filmstrip. The film features the quivering light of a 16mm mono and a 35mm stereo optical sound camera, providing a seismic glimpse at a sound-wave in formation, on occasions flashing like a stroboscopic Rorschach inkblot. Performances: Tate Modern Oil Tanks (London 2012); Arnfolini (Bristol 2012); Kunstnernes Hus, (Oslo 2013). Exhibitions: Two-person exhibition at Castlefield Gallery, (Manchester 2013). Screenings: Mini-retrospective screening and in conversation with Lis Rhodes, Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016); Mini-retrospective screening, Gertrude Contemporary (Melbourne 2016).
Resumo:
A moving image work co-commissioned by the Science Museum (London), with extensive unprecedented access to the Oramics archive at Goldsmiths College and the Science Museum. Conceived of as an Artist's film in homage to Daphne Oram, the pioneer of British Electronic Music and co-founder of the BBC Radiophonic workshop in 1958, the film features a close-up encounter with her unique invention, the Oramics Machine, housed at the Science Museum in London. Oram used drawn sound principles to compose ‘handwrought' electronic music, and yet the visual nature of her work remains largely unseen and unsung. Exhibitions: ‘Oramics to Electronica’ Science Museum (London 2011-14); solo exhibition as part of the International Rotterdam Film Festival (2013); group exhibition ‘The Sight of Sound’, Deutsche Bank VIP Lounge, Frieze Art Fair, NY (2012); ‘Samsung Art+ Prize’ BFI Southbank, London (2012). Screenings: mini-retrospective at the Lincoln Centre, NY, as part of the New York Film Festival (2013); Jarman Award Tour screenings (2012, venues included Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects; Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton); Mini-retrospective screening and in conversation with Lis Rhodes, Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016).
Resumo:
A moving image work based on research with neurologists and audiologists, collectors and archivists. The film gives voice to the idea that every surface, in particular parts of our anatomy, is potentially inscribed with an unheard sound or echoes of voices from the past. The soundtrack’s musical composition is interlaced with a voice-over which draws on Rainer Maria Rilke’s text 'Primal Sound', where he reflects on the possibility of playing the coronal suture of a skull with a phonograph needle. The film uses microscopic photography, scanning electron microscopy, and sounds of otoacoustic emissions to uncover haunting aural bonescapes. The voiceovers too are recorded using old sound technology as a filter - writing and over-writing of wax cylinder to create unexpected scratches, glitches, loops and echoes. Exhibitions: shown as multi-channel sound/film installation AV festival (Newcastle 2010); solo exhibition at Wellcome Collection (London 2010-11); group exhibition ‘Samsung Art+ Prize’ BFI Southbank (London 2012); group exhibition ‘Transcendence’, Gertrude Contemporary, Melbourne (2014); solo exhibition as part of the International Rotterdam Film Festival (2013); group exhibition ‘The Sight of Sound’, Deutsche Bank VIP Lounge, Frieze Art Fair, NY (2012). Screenings: mini-retrospective at the Lincoln Centre, NY, as part of the New York Film Festival (2013); Jarman Award Tour screenings (2012, venues included Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects; Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton), Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects, Newcastle (special Q&A Aura Satz with Rebecca Shatwell, director of AV festival); Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton; Mini-retrospective at Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016). Publications: ‘Sound Seam’ booklet with contributions by Steven Connor and Tom McCarthy (2010).
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Chromatic Aberration is a film installation which explores the early technologies of colour filmmaking drawn from the archives of George Eastman House, Rochester, New York. Featuring vibrant close-ups of eyes from fledgling archival experiments in colour film, Chromatic Aberration turns the cinematic lens in on itself: from the prosthetic recording eye of the camera, to an evocation of the abstract inner screen of one's eyelids. Early 1920s colour film footage - mainly tests shots featuring members of George Eastman's family as well as Hollywood stars of the time - is shot in such a way so as to reveal the inherent chromatic fringing, distortion and misalignment. Using specialist equipment at the BFI National Archive, London, the footage is reworked through the use of extreme close-up and magnification, honing in on the eyes. The installation evokes an imagined abstract colour world, a flickering eyelid trapped in a mechanical peephole. Exhibitions: Solo exhibition as film installation at Tyneside Cinema (Newcastle, Oct-Nov 2014); Solo exhibition at George Eastman Museum (Rochester, New York, Jan-April 2015), including a second work on display. Film festivals nominations for competitions: Winner of Best Vanguard Film Competition in Lima Independiente International Film Festival (Peru). Nominations: Filmadrid festival (Spain); Curtas Vila do Conde film festival (Portugal); Festival du Nouveau Cinema (Canada); Jihlava International Documentary Film Festival (Czech Republic ); International Film Festival Bratislava (Slovenia). Additional screenings at International Rotterdam Film Festival (Netherlands); European Media Art Festival (Germany); BFI London Film Festival (UK); Mini-retrospective screening at DIM CINEMA, The Cinematheque (Vancouver May 2015). Reviews and interviews in Artforum, The Wire Magazine, After Image, Studio International. Public lectures: with Prof. Sarah Street at Tyneside Cinema (Nov 2014); Royal Academy visiting public lecture (Nov 2014); ‘The Laughter of Things’ symposium, International Film Festival Rotterdam and Piet Zwart Institute (Jan 2015); George Eastman Museum and Rochester University (April 2015). Acquired by the George Eastman Museum for their collection.
Resumo:
The Trembling Line is a film and multi-channel sound installation exploring the visual and acoustic echoes between decipherable musical gestures and abstract patterning, orchestral swells and extreme high-speed slow-motion close-ups of strings and percussion. It features a score by Leo Grant and a newly devised multichannel audio system by the Institute of Sound and Vibration Research, University of Southampton. The multi-channel speaker array is devised as an intimate sound spatialisation system in which each element of sound can be pried apart and reconfigured, to create a dynamically disorienting sonic experience. It becomes the inside of a musical instrument, an acoustic envelope or cage of sorts, through which viewers are invited to experience the film and generate cross-sensory connections and counterpoints between the sound and the visuals. Funded by a Leverhulme Artist-in-Residence Award and John Hansard Gallery, with support from ISVR and the Music Department, University of Southampton. The project provided a rare opportunity to work creatively with new cutting edge developments in sound distribution devised by ISVR, devising a new speaker array, a multi- channel surround listening sphere which spatialises the auditory experience. The sphere is currently used by ISVR for outreach and teaching purposes, and has enables future collaborations between music staff and students at Southampton University and staff and ISVR. Exhibitions: Solo exhibition at John Hansard Gallery, Southampton (Dec 2015-Jan 2016), across 5 rooms, including a retrospective of five previous film-works and a new series of photographic stills. Public lectures: two within the gallery. Reviews and interviews: Art Monthly, Studio International, The Quietus, The Wire Magazine.
Resumo:
Between the Bullet and the Hole is a film centred on the elusive and complex effects of war on women's role in ballistic research and early computing. The film features new and archival high-speed bullet photography, schlieren and electric spark imagery, bullet sound wave imagery, forensic ballistic photography, slide rulers, punch cards, computer diagrams, and a soundtrack by Scanner. Like a frantic animation storyboard, it explores the flickering space between the frames, testing the perceptual mechanics of visual interpolation, the possibility of reading or deciphering the gap between before and after. Interpolation - the main task of the women studying ballistics in WW2 - is the construction or guessing of missing data using only two known data points. The film tries to unpack this gap, open it up to interrogation. It questions how we read, interpolate or construct the gaps between bullet and hole, perpetrator and victim, presence and absence. The project involves exchanges with specialists in this area such as the Cranfield University Forensics department, London-based Forensic Firearms consultancy, the Imperial War Museum, the ENIAC programmers project, the Smithsonian Institute, and Forensic Scientists at Palm Beach County Sheriff's Office (USA). Exhibitions: Solo exhibition at Dallas Contemporary (Texas, Jan-Mar 2016), including newly commissioned lenticular prints and a dual slide projector installation; Group exhibition the Sydney Biennale (Sydney, Mar-June 2016); UK premiere and solo retrospective screening at Whitechapel Gallery (London); forthcoming solo exhibition at Iliya Fridman Gallery (NY, Oct-Dec 2016); Film festivals and screenings: International Film Festival Rotterdam (Jan 2016); Whitechapel Gallery (London Feb 2016); Cornerhouse/Home (Manchester Nov 2016); Public lectures: Whitechapel Gallery with prof. David Alan Grier and Morgan Quaintance; Carriageworks (Sydney) Prof. Douglas Khan; Monash University (Melbourne); Gertrude Space (Melbourne). Reviews and interviews: Artforum, Studio International, Mousse Magazine.
Resumo:
Trabalho de projeto de mestrado, Ciências da Educação (Formação de Adultos), Universidade de Lisboa, Instituto de Educação, 2013
