Aerial photo of SRS-4, Shark River Slough

This material is based upon work supported by the National Science Foundation through the Florida Coastal Everglades Long-Term Ecological Research program under Cooperative Agreements #DBI-0620409 and #DEB-9910514. This image is made available for non-commercial or educational use only.

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.

High Formalism: The aerial view and the colour field

Laura Kurgan’s Monochrome Landscapes (2004), first exhibited in the Whitney Museum of American Art in New York City, consists of four oblong Cibachrome prints derived from digital files sourced from the commercial Ikonos and QuickBird satellites. The prints are ostensibly flat, depthless fields of white, green, blue, and yellow, yet the captions provided explain that the sites represented are related to contested military, industrial, and cartographic practices. In Kurgan’s account of Monochrome Landscapes she explains that it is in dialogue with another work from the Whitney by abstract artist Ellsworth Kelly. This article pursues the relationship between formalist abstraction and satellite imaging in order to demonstrate how formalist strategies aimed at producing an immediate retinal response are bound up with contemporary uses of digital information and the truth claims such information can be made to substantiate.

‘Don’t look down!’: A short history of rooftopping photography

The article examines the practice known as ‘rooftopping photography’ and its significance for the representation of vertical cities. It begins by charting the historical development of architecture as a viewing platform in the age of the camera, and dwells on the imagery of cityscapes from above that emerged in the inter-war period. Against this background, the essay investigates how rooftopping arose out of the urban exploration movement and became a global trend in the early 2010s. This phenomenon is situated within its wider social and cultural context, and is discussed with reference to the online media discourse that contributed to its public visibility. A set of ideas from the philosophy of photography and visual culture inform the critical analysis of rooftopping photographs: this broad and diverse body of images is examined with a focus on two predominant modes of representation—panoramic and plunging views. The affective responses elicited by so-called ‘vertigo-inducing’ images are discussed through the concept of vicarious kinaesthesia, which offers insights into the nexus between visceral experience and visual representation that lies at the core of rooftopping. By unpacking this interplay, the essay explores a phenomenon that has hitherto been given little scholarly attention and reflects on its broader implications for the relationship between photography and architecture today.

Spanish Photography Yearbooks between the Autarchy and the Transition A Documentary Analysis (1958-1980)

The first yearbook on Spanish artistic photography was published in 1924 and following the Civil War of 1936-1939, Madrid’s Real Sociedad Fotográfica, through its Sombras magazine, published two others in 1946 and 1948. There would not be another publication until 1958, when the Agrupación Fotográfica Almeriense put out the third yearbook, during a period of economic recovery following the country’s admission to the U.N. at the end of 1955. However, it was not until 1972 when Spanish photography resumed the publication of annual summaries of the authors and their works. From then on until 1980, nine yearbooks were published by two institutions: The Consorcio del Libro Técnico (Cotec) and the Editorial Everest publishing company. The object of this study is to analyze the contents of these yearbooks in order to determine and furnish new data on the history of Spanish photography: authors, works, publications, national and international relations and the purpose of their publications as a means for supporting photography.

Photography, copyright, and the South Kensington experiment

Reviews the development of UK copyright law in the 19th century concerning photographs of works of art in public collections. Discusses the project at South Kensington Museum to sell photographs of works of art to the public at cost price, and the introduction of copyright protection for original photographs under the Fine Arts Copyright Act 1862. Considers the parliamentary debates on whether photography was worthy of copyright protection. Examines whether lessons should be learned now that digital technology offers the opportunity to improve public access to works of art.

Shared Photography: (Photo)journalism and political mobilisation in Rio de Janeiro's favelas

One of the most important civic phenomena emerging from favelas in Rio de Janeiro today is “community (photo)journalism”, which is practised by favela residents who are trained in journalistic and artistic techniques to raise critical awareness and promote political mobilisation in- and outside favelas. This paper looks at some of the work produced at one training place for community photographers, the agency-school Imagens do Povo (“Images of the People”) in Nova Holanda, a favela located in Rio’s North Zone. Using an ethnographic approach, this article first provides an account of the working practices of the School and its photographers. This is followed by a discussion of a small sample of their photographic work, for which we employ a social semiotic paradigm of image analysis. This methodological synergy provides insights into how these journalists document long-term structural as well as “spectacular” violence in favelas, while at the same time striving to capture some of the “beauty” of these communities. The paper concludes that this form of photographic work constitutes an important step towards a more analytical brand of journalism with different news values that encourage a more context-sensitive approach to covering urban violence and favela life.

KEYWORDS: alternative media, Imagens do Povo, multimodality, news values, photojournalism.

Photography, desire and resistance in the lives of women, following the 1979 revolution in Iran

In my last four years of PhD by practice at the Royal College of Art, I have conducted extensive research on archival photography including materials held at the Museum der Weltkulturen, Frankfurt am Main; the Institute for Iranian Contemporary Historical Studies (IICHS) , Tehran; and the International Institute of Social History (IISH), Amsterdam. My project started with the fortuitous encounter with a photograph taken by Iranian photographer Hengameh Golestan on the morning of March 8, 1979. The photograph shows women marching in the streets of Teheran in protest against the introduction of the compulsory Islamic dress code. In 1936 Reza Shah had decreed a ban on the headscarf as part oh his westernising project. Over forty years later following the 1979 Revolution, Ruhollah Khomeini reversed this decision by ordering that women should now cover their hair. This ‘found image’ presented me with a glimpse into the occulted history of my own country and the opportunity to advance towards a deeper learning and understanding of the event of March 8, 1979 a significant date in the history of feminism in Iran. In what follows I revisit the history of Iran since the 1979 revolution with a particular inflexion on the role women played in that history. However, as my project develops , I gradually move away from the socio-historical facts to investigate the legacy of the revolution on the representations of women in photography, film and literature as well as the creation of an imaginary space of self representation. To this end my writing moves constantly between the documentary, the analytical and the personal. In parallel I have made photographs and video works which are explorations of the veil as object of fascination and desire as well as symbol of repression.

Osservatore e controllore sensorless ad elevate prestazioni per propulsione elettrica di Unmanned Aerial Vehicles

Negli ultimi anni, tra le varie tecnologie che hanno acquisito una sempre maggiore popolarità e diffusione, una di particolare rilevanza è quella degli Unmanned Aerial Vehicles. Di questi velivoli, quelli che stanno riscuotendo maggiore successo sono i multirotori, alimentati esclusivamente da azionamenti elettrici disposti in opportune posizioni della struttura. Particolari sforzi sono stati recentemente dedicati al miglioramento di questa tecnologia in termini di efficienza e precisione, tuttavia quasi sempre si trascura la vitale importanza dello sfruttamento efficiente dei motori elettrici. La tecnica di pilotaggio adottata nella quasi totalità dei casi per questi componenti è il BLDC sensorless, anche se la struttura si dimostra spesso essere PMSM, dunque inadatta all’uso di questa strategia. Il controllo ideale per i PMSM risulterebbe essere FOC, tuttavia per l'implementazione sensorless molti aspetti scontati nel BLDC devono essere affrontati, in particolare bisogna risolvere problemi di osservazione e identificazione. Durante la procedura di avviamento, efficienti strategie di self-commissioning vengono adottate per l’identificazione dei parametri elettrici. Per la fase di funzionamento nominale viene proposto un osservatore composto da diversi componenti interfacciati tra loro tramite un filtro complementare, il tutto al fine di ottenere una stima di posizione e velocità depurata dai disturbi. In merito al funzionamento in catena chiusa, vengono esposte valutazioni preliminari sulla stabilità e sulla qualità del controllo. Infine, per provare la validità degli algoritmi proposti, vengono mostrati i risultati delle prove sperimentali condotte su un tipico azionamento per UAV, pilotato da una scheda elettronica progettata appositamente per l’applicazione in questione. Vengono fornite inoltre indicazioni sull’implementazione degli algoritmi studiati, in particolare considerazioni sull’uso delle operazioni a virgola fissa per velocizzare l'esecuzione.

Photo-excess : two paradigms of archaeological photography

Discovering ‘photo-excess’: what difference does digital photography bring to the archaeological process, and does this difference constitute a paradigm shift from the traditional film model? Using reflexive practice, the contribution that digital photography has made to the archaeological process is explored. The themes presented in the photographs and exegesis combine visual exploration and original research to examine the role and place of archaeological photography in both a contemporary and an historical context. In contrasting the development of film-based photography of archaeology undertaken in the Eastern Mediterranean during the early 1900s with contemporary digital photography, this exegesis and creative work explores both the synergies and differences of the two photographic methods in archaeology. I introduce the term ‘photo-excess’ to describe the new role that digital photography plays in archaeological practice as compared to film, and demonstrate this difference through my creative work. At the turn of the 20th century, photography was affirmed as the major instrument for visual recording of an archaeological excavation. The combination of archaeological methods and photographic techniques from that era formed an approach to archaeological documentation and recording that was formalised by William Matthews Flinders Petrie in 1904. In this thesis I propose that Petrie became the father of modern archaeological photography through his work, and in recognition of his contribution I refer to his method as the ‘Petrie Paradigm’. Digital photography has made possible a quantum leap in the volume, quality and immediacy of visual data available to the user. Further, through the creative process, digital archaeological photography may provide visual information that exceeds the archaeologist’s original research questions, so that the digital image may sometimes exceed its primary role as a recording device. In such cases it may become the starting point for new research due to its potential photo-excess. I propose this as an emerging paradigm for archaeological photography.

DESIGN, FABRICATION, AND PERFORMANCE CHARACTERIZATION OF MULTIFUNCTIONAL STRUCTURES TO HARVEST SOLAR ENERGY FOR FLAPPING WING AERIAL VEHICLES

Flapping Wing Aerial Vehicles (FWAVs) have the capability to combine the benefits of both fixed wing vehicles and rotary vehicles. However, flight time is limited due to limited on-board energy storage capacity. For most Unmanned Aerial Vehicle (UAV) operators, frequent recharging of the batteries is not ideal due to lack of nearby electrical outlets. This imposes serious limitations on FWAV flights. The approach taken to extend the flight time of UAVs was to integrate photovoltaic solar cells onto different structures of the vehicle to harvest and use energy from the sun. Integration of the solar cells can greatly improve the energy capacity of an UAV; however, this integration does effect the performance of the UAV and especially FWAVs. The integration of solar cells affects the ability of the vehicle to produce the aerodynamic forces necessary to maintain flight. This PhD dissertation characterizes the effects of solar cell integration on the performance of a FWAV. Robo Raven, a recently developed FWAV, is used as the platform for this work. An additive manufacturing technique was developed to integrate photovoltaic solar cells into the wing and tail structures of the vehicle. An approach to characterizing the effects of solar cell integration to the wings, tail, and body of the UAV is also described. This approach includes measurement of aerodynamic forces generated by the vehicle and measurements of the wing shape during the flapping cycle using Digital Image Correlation. Various changes to wing, body, and tail design are investigated and changes in performance for each design are measured. The electrical performance from the solar cells is also characterized. A new multifunctional performance model was formulated that describes how integration of solar cells influences the flight performance. Aerodynamic models were developed to describe effects of solar cell integration force production and performance of the FWAV. Thus, performance changes can be predicted depending on changes in design. Sensing capabilities of the solar cells were also discovered and correlated to the deformation of the wing. This demonstrated that the solar cells were capable of: (1) Lightweight and flexible structure to generate aerodynamic forces, (2) Energy harvesting to extend operational time and autonomy, (3) Sensing of an aerodynamic force associated with wing deformation. Finally, different flexible photovoltaic materials with higher efficiencies are investigated, which enable the multifunctional wings to provide enough solar power to keep the FWAV aloft without batteries as long as there is enough sunlight to power the vehicle.

Aerial surveys to monitor bluefin tuna abundance and track efficiency of management measures

Conservation and management measures for exploited fish species rely on our ability to monitor variations in population abundance. In the case of the eastern stock of Atlantic bluefin tuna (ABFT), recent changes in management policies have strongly affected the reliability of fishery-dependent indicators due to drastic changes in fishing season/area, fisheries selectivity and strategy. However, fishery-independent indices of abundance are rare for large pelagic fish, and obtaining them is often costly and labor intensive. Here, we show that scientific aerial surveys are an appropriate tool for monitoring juvenile bluefin tuna abundance in the Mediterranean. We present an abundance index based on 62 aerial surveys conducted since 2000, using 2 statistical approaches to deal with the sampling strategy: line and strip transects. Both approaches showed a significant increase in juvenile ABFT abundance in recent years, resulting from the recovery plan established in 2007. Nonetheless, the estimates from the line transect method appear to be more robust and stable. This study provides essential information for fisheries management. Expanding the spatial coverage to other nursery grounds would further increase the reliability and representativeness of this index.