The Measure of All Things: Rethinking Humanism through Art (Group Show)

University of Buffalo New York Department of Art Gallery. The ancient philosopher Protagoras is most famous for his claim: “Of all things the measure is Man” and today, Western societies continue to promote anthropocentrism, an approach to the world that assumes humans are the principal species of the planet. We naturalize a scale of worth, in which beings that most resemble our own forms or benefit us are valued over those that do not. The philosophy of humanism has been trumpeted as the hallmark of a civilized society, founded on the unquestioned value of humankind defining not only our economic, political, religious, and social systems, but also our ethical code. However, artists recently have questioned whether humanism has actually lived up to its promises and made the world a better place for humankind. Are we better off privileging humans above all else or could there be other, preferable, ways to value life? With the continued prevalence of violent crimes, even genocide, in the twentieth and twenty-first centuries, we see the ways in which the discourse of humanism falters, as groups are targeted through rhetoric reducing them to the subhuman, and therefore disposable. But what if the subhuman, nonhuman, and even the non-animal and material, were reconsidered as objects of worth even if far removed from us?

A Brief Tour of HDR

This was a short presentation provided for the panel session on 'HDR' at CineFest16, which discusses/challenges some basic assumptions and questions about High Dynamic Range (HDR) movies.

Encountering the Spectre of Painting

When thinking what paintings are, I am continually brought back to my memory of a short sequence in Alfred Hitchcock’s Vertigo. In the scene, Kim Novak’s Madeleine is seated on a bench in an art gallery. She is apparently transfixed by a painting, Portrait of Carlotta. Alongside James Stewart, we watch her looking intently. Madeleine is pretending to be a ghost. At this stage she does not expect us to believe she is a ghost, but simply to immerse ourselves in the conceit, to delight in the shudder. Madeleine’s back is turned away from us, and as the camera draws near to show that the knot pattern in her hair mirrors the image in the portrait, I imagine Madeleine suppressing a smile. She resolutely shows us her back, though, so her feint is not betrayed. Madeleine’s stillness in this scene makes her appear as an object, a thing in the world, a rock or a pile of logs perhaps. We are not looking at that thing, however, but rather a residual image of something creaturely, a spectre. This after-image is held to the ground both by the gravity suggested by its manifestation and by the fine lie - the camouflage - of pretending to be a ghost. Encountering a painting is like meeting Madeleine. It sits in front of its own picture, gazing at it. Despite being motionless and having its back to us, there is a lurching sensation the painting brings about by pretending to be the ghost of its picture, and, at the same time, never really anticipating your credulity.

The Effect of Mark Enhancement Techniques on the Subsequent Detection of Saliva

There appears to be a limited but growing body of research on the sequential analysis/treatment of multiple types of evidence. The development of an integrated forensic approach is necessary to maximise evidence recovery and to ensure that a particular treatment is not detrimental to other types of evidence. This study aims to assess the effect of latent and blood mark enhancement techniques (e.g. fluorescence, ninhydrin, acid violet 17, black iron-oxide powder suspension) on the subsequent detection of saliva. Saliva detection was performed by means of a presumptive test (Phadebas®) in addition to analysis by a rapid stain identification (RSID) kit test and confirmatory DNA testing. Additional variables included a saliva depletion series and a number of different substrates with varying porosities as well as different ageing periods. Examination and photography under white light and fluorescence was carried out prior to and after chemical enhancement All enhancement techniques (except Bluestar® Forensic Magnum luminol) employed in this study resulted in an improved visualisation of the saliva stains, although the inherent fluorescence of saliva was sometimes blocked after chemical treatment. The use of protein stains was, in general, detrimental to the detection of saliva. Positive results were less pronounced after the use of black iron-oxide powder suspension, cyanoacrylate fuming followed by BY40 and ninhydrin when compared to the respective positive controls. The application of Bluestar® Forensic Magnum luminol and black magnetic powder proved to be the least detrimental, with no significant difference between the test results and the positive controls. The use of non-destructive fluorescence examination provided good visualisation; however, only the first few marks in the depletion were observed. Of the samples selected for DNA analysis only depletion 1 samples contained sufficient DNA quantity for further processing using standard methodology. The 28 day delay between sample deposition and collection resulted in a 5-fold reduction in the amount of useable DNA. When sufficient DNA quantities were recovered, enhancement techniques did not have a detrimental effect on the ability to generate DNA profiles. This study aims to contribute to a strategy for maximising evidence recovery and efficiency for the detection of latent marks and saliva. The results demonstrate that most of the enhancement techniques employed in this study were not detrimental to the subsequent detection of saliva by means of presumptive, confirmative and DNA tests.

Development of a real time Image analysis system for traffic monitoring applications.

Image processing offers unparalleled potential for traffic monitoring and control. For many years engineers have attempted to perfect the art of automatic data abstraction from sequences of video images. This paper outlines a research project undertaken at Napier University by the authors in the field of image processing for automatic traffic analysis. A software based system implementing TRIP algorithms to count cars and measure vehicle speed has been developed by members of the Transport Engineering Research Unit (TERU) at the University. The TRIP algorithm has been ported and evaluated on an IBM PC platform with a view to hardware implementation of the pre-processing routines required for vehicle detection. Results show that a software based traffic counting system is realisable for single window processing. Due to the high volume of data required to be processed for full frames or multiple lanes, system operations in real time are limited. Therefore specific hardware is required to be designed. The paper outlines a hardware design for implementation of inter-frame and background differencing, background updating and shadow removal techniques. Preliminary results showing the processing time and counting accuracy for the routines implemented in software are presented and a real time hardware pre-processing architecture is described.

Consumerism in urban Russia in the 1880s and 90s: Exploring conceptions of time, space, and modernity through bicycle and watch advertisements

This paper discusses the urban consumer culture in Moscow and Petersburg during the 1880s and 1890s and uses the consumption of bicycles and watches as a lens through which to explore changing perceptions of time and space within the experience of modernity at the end of the nineteenth century. Specifically, I argue that the way in which consumers and merchants constructed a dialogue of meaning around particular objects; the way in which objects are consumed by a culture gives insight into the values, morals, and tenure of that culture. The paper preferences newspaper ads and photographs as the mouthpieces of merchants and consumers respectively as they constructed a dialogue in the language of consumerism, and explores the ways in which both parties sought to assign meaning to objects during the experience of modernity. I am particularly interested in the way consumers perform elements of cultural modernity in photographs and how these instances of performance relate to their negotiation of modernity. The paper takes as its focus large section of the urban Russian population, much of whom can traditionally be called “middle class” but whose diversity has led me to the adoption of the term “consumer community,” and whose makeup is described in detail. The paper contributes to the continuing scholarly discourse on the makeup of the middle class in Russia and the social boundaries of late tsarist society. It speaks to the the developing sensibilities and values of a generation struggling to define itself in a rapidly changing world, to the ways in which conceptualizations of public and private space, as well as feminine and masculine space were redefined, and to the developing visual culture of the Russian consumer society, largely predicated on the display of objects to signify socially desirable traits. Whereas other explorations of consumer culture and advertisements have portrayed the relationship between merchants and consumers as a one-sided monologue in which merchants convince consumers that certain objects have cultural value, I emphasis the dialogue between merchants and consumers, and their mutual negotiation of cultural meaning through objects.

Experimental and analytical investigation of refrigerant and lubricant migration

The off-cycle refrigerant mass migration has a direct influence on the on-cycle performance since compressor energy is necessary to redistribute the refrigerant mass. No studies, as of today, are available in the open literature which experimentally measured the lubricant migration within a refrigeration system during cycling or stop/start transients. Therefore, experimental procedures measuring the refrigerant and lubricant migration through the major components of a refrigeration system during stop/start transients were developed and implemented. Results identifying the underlying physics are presented. The refrigerant and lubricant migration of an R134a automotive A/C system-utilizing a fixed orifice tube, minichannel condenser, plate and fin evaporator, U-tube type accumulator and fixed displacement compressor-was measured across five sections divided by ball valves. Using the Quick-Closing Valve Technique (QCVT) combined with the Remove and Weigh Technique (RWT) using liquid nitrogen as the condensing agent resulted in a measurement uncertainty of 0.4 percent regarding the total refrigerant mass in the system. The determination of the lubricant mass distribution was achieved by employing three different techniques-Remove and Weigh, Mix and Sample, and Flushing. To employ the Mix and Sample Technique a device-called the Mix and Sample Device-was built. A method to separate the refrigerant and lubricant was developed with an accuracy-after separation-of 0.04 grams of refrigerant left in the lubricant. When applying the three techniques, the total amount of lubricant mass in the system was determined to within two percent. The combination of measurement results-infrared photography and high speed and real time videography-provide unprecedented insight into the mechanisms of refrigerant and lubricant migration during stop-start operation. During the compressor stop period, the primary refrigerant mass migration is caused by, and follows, the diminishing pressure difference across the expansion device. The secondary refrigerant migration is caused by a pressure gradient as a result of thermal nonequilibrium within the system and causes only vapor phase refrigerant migration. Lubricant migration is proportional to the refrigerant mass during the primary refrigerant mass migration. During the secondary refrigerant mass migration lubricant is not migrating. The start-up refrigerant mass migration is caused by an imbalance of the refrigerant mass flow rates across the compressor and expansion device. The higher compressor refrigerant mass flow rate was a result of the entrainment of foam into the U-tube of the accumulator. The lubricant mass migration during the start-up was not proportional to the refrigerant mass migration. The presence of water condensate on the evaporator affected the refrigerant mass migration during the compressor stop period. Caused by an evaporative cooling effect the evaporator held 56 percent of the total refrigerant mass in the system after three minutes of compressor stop time-compared to 25 percent when no water condensate was present on the evaporator coil. Foam entrainment led to a faster lubricant and refrigerant mass migration out of the accumulator than liquid entrainment through the hole at the bottom of the U-tube. The latter was observed for when water condensate was present on the evaporator coil because-as a result of the higher amount of refrigerant mass in the evaporator before start-up-the entrainment of foam into the U-tube of the accumulator ceased before the steady state refrigerant mass distribution was reached.

No right to sext? A critical examination of media and legal debates about teenage girls' sexual agency in the digital age

Advances in digital photography and distribution technologies enable many people to produce and distribute images of their sex acts. When teenagers do this, the photos and videos they create can be legally classified as child pornography since the law makes no exception for youth who create sexually explicit images of themselves. The dominant discussions about teenage girls producing sexually explicit media (including sexting) are profoundly unproductive: (1) they blame teenage girls for creating private images that another person later maliciously distributed and (2) they fail to respect—or even discuss—teenagers’ rights to freedom of expression. Cell phones and the internet make producing and distributing images extremely easy, which provide widely accessible venues for both consensual sexual expression between partners and for sexual harassment. Dominant understandings view sexting as a troubling teenage trend created through the combination of camera phones and adolescent hormones and impulsivity, but this view often conflates consensual sexting between partners with the malicious distribution of a person’s private image as essentially equivalent behaviors. In this project, I ask: What is the role of assumptions about teen girls’ sexual agency in these problematic understandings of sexting that blame victims and deny teenagers’ rights? In contrast to the popular media panic about online predators and the familiar accusation that youth are wasting their leisure time by using digital media, some people champion the internet as a democratic space that offers young people the opportunity to explore identities and develop social and communication skills. Yet, when teen girls’ sexuality enters this conversation, all this debate and discussion narrows to a problematic consensus. The optimists about adolescents and technology fall silent, and the argument that media production is inherently empowering for girls does not seem to apply to a girl who produces a sexually explicit image of herself. Instead, feminist, popular, and legal commentaries assert that she is necessarily a victim: of a “sexualized” mass media, pressure from her male peers, digital technology, her brain structures or hormones, or her own low self-esteem and misplaced desire for attention. Why and how are teenage girls’ sexual choices produced as evidence of their failure or success in achieving Western liberal ideals of self-esteem, resistance, and agency? Since mass media and policy reactions to sexting have so far been overwhelmingly sexist and counter-productive, it is crucial to interrogate the concepts and assumptions that characterize mainstream understandings of sexting. I argue that the common sense that is co-produced by law and mass media underlies the problematic legal and policy responses to sexting. Analyzing a range of nonfiction texts including newspaper articles, talk shows, press releases, public service announcements, websites, legislative debates, and legal documents, I investigate gendered, racialized, age-based, and technologically determinist common sense assumptions about teenage girls’ sexual agency. I examine the consensus and continuities that exist between news, nonfiction mass media, policy, institutions, and law, and describe the limits of their debates. I find that this early 21st century post-feminist girl-power moment not only demands that girls live up to gendered sexual ideals but also insists that actively choosing to follow these norms is the only way to exercise sexual agency. This is the first study to date examining the relationship of conventional wisdom about digital media and teenage girls’ sexuality to both policy and mass media.

Close encounters: international exhibitions and the material culture of the British Empire, c.1880-1940

Apparitions of empire and imperial ideologies were deeply embedded in the International Exhibition, a distinct exhibitionary paradigm that came to prominence in the mid-nineteenth century. Exhibitions were platforms for the display of objects, the movement of people, and the dissemination of ideas across and between regions of the British Empire, thereby facilitating contact between its different cultures and societies. This thesis aims to disrupt a dominant understanding of International Exhibitions, which forwards the notion that all exhibitions, irrespective of when or where they were staged, upheld a singular imperial discourse (i.e. Greenhalgh 1988, Rydell 1984). Rather, this thesis suggests International Exhibitions responded to and reflected the unique social, political and economic circumstances in which they took place, functioning as cultural environments in which pressing concerns of the day were worked through. Understood thus, the International Exhibition becomes a space for self-presentation, serving as a stage from which a multitude of interests and identities were constructed, performed and projected. This thesis looks to the visual and material culture of the International Exhibition in order to uncover this more nuanced history, and foregrounds an analysis of the intersections between practices of exhibition-making and identity-making. The primary focus is a set of exhibitions held in Glasgow in the late-1880s and early-1900s, which extends the geographic and temporal boundaries of the existing scholarship. What is more, it looks at representations of Canada at these events, another party whose involvement in the International Exhibition tradition has gone largely unnoticed. Consequently, this thesis is a thematic investigation of the links between a municipality routinely deemed the ‘Second City of the Empire’ and a Dominion settler colony, two types of geographic setting rarely brought into dialogue. It analyses three key elements of the exhibition-making process, exploring how iconographies of ‘quasi-nationhood’ were expressed through an exhibition’s planning and negotiation, its architecture and its displays. This original research framework deliberately cuts across strata that continue to define conceptions of the British Empire, and pushes beyond a conceptual model defined by metropole and colony. Through examining International Exhibitions held in Glasgow in the late-Victorian and Edwardian periods, and visions of Canada in evidence at these events, the goal is to offer a novel intervention into the existing literature concerning the cultural history of empire, one that emphasises fluidity rather than fixity and which muddles the boundaries between centre and periphery.

Photography and sociology: an exercise in serendipity

This thesis examines the relationship between photography and sociology as offering complementary ways of understanding ourselves and the world we live in. Drawing from the work of Pierre Bourdieu and Raymond Williams, I examine the idea of a ‘field’ of photography within the field of cultural production more generally. The practises of documentary photography, photojournalism and fine art photography are explored with specific reference to images of war. In this arena, the politics, aesthetics and ethics of representing the body in pain are addressed.