The British War Film

An outline of the British War film from beginning of cinema.

A Hint of the Lavender - The Gay Gangster in British Crime Cinema

This chapter traces the image of the gay gangster in British cinema. It draws upon film history and Queer theory to attempt to understand the fascination of this marginal character.

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.

Upgrading Bridge Rails on Low-Volume Roads in Iowa, TR-679, 2016

Building on previous research, the goal of this project was to identify significant influencing factors for the Iowa Department of Transportation (DOT) to consider in future updates of its Instructional Memorandum (I.M.) 3.213, which provides guidelines for determining the need for traffic barriers (guardrail and bridge rail) at secondary roadway bridges—specifically, factors that might be significant for the bridge rail rating system component of I.M. 3.213. A literature review was conducted of policies and guidelines in other states and, specifically, of studies related to traffic barrier safety countermeasures at bridges in several states. In addition, a safety impact study was conducted to evaluate possible non-driver-related behavior characteristics of crashes on secondary road structures in Iowa using road data, structure data, and crash data from 2004 to 2013. Statistical models (negative binomial regression) were used to determine which factors were significant in terms of crash volume and crash severity. The study found that crashes are somewhat more frequent on or at bridges possessing certain characteristics—traffic volume greater than 400 vehicles per day (vpd) (paved) or greater than 50 vpd (unpaved), bridge length greater than 150 ft (paved) or greater than 35 ft (unpaved), bridge width narrower than its approach (paved) or narrower than 20 ft (unpaved), and bridges older than 25 years (both paved and unpaved). No specific roadway or bridge characteristic was found to contribute to more serious crashes. The study also confirmed previous research findings that crashes with bridges on secondary roads are rare, low-severity events. Although the findings of the study support the need for appropriate use of bridge rails, it concludes that prescriptive guidelines for bridge rail use on secondary roads may not be necessary, given the limited crash expectancy and lack of differences in crash expectancy among the various combinations of explanatory characteristics.

Validation of Gyratory Mix Design in Iowa, TR-667, 2016

The design number of gyrations (Ndesign) introduced by the Strategic Highway Research Program (SHRP) and used in the Superior Performing Asphalt Pavement (Superpave) mix design method has been commonly used in flexible pavement design throughout the US since 1996. Ndesign, also known as the compaction effort, is used to simulate field compaction during construction and has been reported to produce air voids that are unable to reach ultimate pavement density within the initial 2 to 3 years post-construction, potentially having an adverse impact on long-term performance. Other state transportation agencies have conducted studies validating the Ndesign for their specific regions, which resulted in modifications of the gyration effort for the various traffic levels. Validating this relationship for Iowa asphalt mix designs will lead to better correlations between mix design target voids, field voids, and performance. A comprehensive analysis of current Ndesign levels investigated the current levels with existing mixes and pavements and developed initial asphalt mix design recommendations that identify an optimum Ndesign through the use of performance data tests.

Impact of Curling and Warping on Concrete Pavement, TR-668, 2016

Portland cement concrete (PCC) pavement undergoes repeated environmental load-related deflection resulting from temperature and moisture variations across the pavement depth. This phenomenon, referred to as PCC pavement curling and warping, has been known and studied since the mid-1920s. Slab curvature can be further magnified under repeated traffic loads and may ultimately lead to fatigue failures, including top-down and bottom-up transverse, longitudinal, and corner cracking. It is therefore important to measure the “true” degree of curling and warping in PCC pavements, not only for quality control (QC) and quality assurance (QA) purposes, but also to achieve a better understanding of its relationship to long-term pavement performance. In order to better understand the curling and warping behavior of PCC pavements in Iowa and provide recommendations to mitigate curling and warping deflections, field investigations were performed at six existing sites during the late fall of 2015. These sites included PCC pavements with various ages, slab shapes, mix design aspects, and environmental conditions during construction. A stationary light detection and ranging (LiDAR) device was used to scan the slab surfaces. The degree of curling and warping along the longitudinal, transverse, and diagonal directions was calculated for the selected slabs based on the point clouds acquired using LiDAR. The results and findings are correlated to variations in pavement performance, mix design, pavement design, and construction details at each site. Recommendations regarding how to minimize curling and warping are provided based on a literature review and this field study. Some examples of using point cloud data to build three-dimensional (3D) models of the overall curvature of the slab shape are presented to show the feasibility of using this 3D analysis method for curling and warping analysis.

Development of a Wireless MEMS Multifunction Sensor System and Field Demonstration of Embedded Sensors for Monitoring Concrete Pavements, TR-637, 2016

Pavements tend to deteriorate with time under repeated traffic and/or environmental loading. By detecting pavement distresses and damage early enough, it is possible for transportation agencies to develop more effective pavement maintenance and rehabilitation programs and thereby achieve significant cost and time savings. The structural health monitoring (SHM) concept can be considered as a systematic method for assessing the structural state of pavement infrastructure systems and documenting their condition. Over the past several years, this process has traditionally been accomplished through the use of wired sensors embedded in bridge and highway pavement. However, the use of wired sensors has limitations for long-term SHM and presents other associated cost and safety concerns. Recently, micro-electromechanical sensors and systems (MEMS) and nano-electromechanical systems (NEMS) have emerged as advanced/smart-sensing technologies with potential for cost-effective and long-term SHM. This two-pronged study evaluated the performance of commercial off-the-shelf (COTS) MEMS sensors embedded in concrete pavement (Final Report Volume I) and developed a wireless MEMS multifunctional sensor system for health monitoring of concrete pavement (Final Report Volume II).

The Visual Arts as a Canvas for Teaching Computer Programming

We explore the relationships between the construction of a work of art and the crafting of a computer program in Java and suggest that the structure of paintings and drawings may be used to teach the fundamental concepts of computer programming. This movement "from Art to Science", using art to drive computing, complements the common use of computing to inform art. We report on initial experiences using this approach with undergraduate and postgraduate students. An embryonic theory of the correspondence between art and computing is presented and a methodology proposed to develop this project further.

Relocating the Frame: Object-Oriented (1.) and Locative Art (2.) Environments

The locative project is in a condition of emergence, an embryonic state in which everything is still up for grabs, a zone of consistency yet to emerge. As an emergent practice locative art, like locative media generally, it is simultaneously opening up new ways of engaging in the world and mapping its own domain. (Drew Hemment, 2004) Artists and scientists have always used whatever emerging technologies existed at their particular time throughout history to push the boundaries of their fields of practice. The use of new technologies or the notion of ‘new’ media is neither particularly new nor novel. Humans are adaptive, evolving and will continue to invent and explore technological innovation. This paper asks the following questions: what role does adaptive and/or intelligent art play in the future of public spaces, and how does this intervention alter the relationship between theory and practice? Does locative or installation-based art reach more people, and does ‘intelligent’ or ‘smart’ art have a larger role to play in the beginning of this century? The speakers will discuss their current collaborative prototype and within the presentation demonstrate how software art has the potential to activate public spaces, and therefore contribute to a change in spatial or locative awareness. It is argued that the role and perhaps even the representation of the audience/viewer is left altered through this intervention. 1. A form of electronic imagery created by a collection of mathematically defined lines and/or curves. 2. An experiential form of art which engages the viewer both from within a specific location and in response to their intentional or unintentional input.

Visualising Spaces: The Illustrated Map as a Mode of Communicating Fact, Fiction and Feeling

Communicating thoughts, facts and narratives through visual devices such as allegory or symbolism was fundamental to early map making and this remains the case with contemporary illustration. Drawing was employed then as a way of describing historic narratives (fact and folklore) through the convenience of a drawn symbol or character. The map creators were visionaries, depicting known discoveries and anticipating what existed beyond the agreed boundaries. As we now have photographic and virtual reality maps at our disposal, how can illustration develop the language of what a map is and can be? How can we break the rules of map design and yet still communicate the idea of a sense of place with the aim to inform, excite and/or educate the ‘traveller’? As Illustrators we need to question the purpose of creating a ‘map’: what do we want to communicate and is representational image making the only way to present information of a location? Is creating a more personal interpretation a form of cartouche, reminiscent of elements within the Hereford Mappa Mundi and maps of Blaeu, and can this improve/hinder the communicative aspect of the map? Looking at a variety of historical and contemporary illustrated maps and artists (such as Grayson Perry), who track their journeys through drawing, both conventional journeys and emotional, I will aim to prove that the illustrated map is not mere decoration but is a visual language providing an allegorical response to tangible places and personal feelings.

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?

Teaching Rules or Teaching Creativity: a Paradigm Shift

Structure is everything in a screenplay we are told. If indeed there are any rules to screenwriting then this would be carved in tablets of stone. Within pedagogical frameworks we are diligent in our instruction of the three acts, advocating it as a paradigm. We pass on tools for the analysis of character that are gleaned from psychology. But I have seen students struggle with this toolbox. They feel constrained by concrete techniques. So often seeing principles as rules, structure as restriction. The stifling of free-form ideas is further compounded by the plethora of books that claim the path to glory lies only in structural devices. Some even purport to have a formula, a simple prescriptive model that will bestow almost certain success. Yet this is an industry that abhors formula, that hungers for the fresh and the new. Without bravado, imagination and experimentation with character and form, the best structured screenplay in the world is merely a typing exercise. As educators we have a duty to retain a balance between letting a student’s mind dance and keeping them to the tempo. This study will compare a variety of diverse structures, from Hegel to Alcoholics Anonymous, Kubler Ross to Jung. It will analyse recent journal articles, on both new techniques in teaching creativity and new approaches to the instruction of screenwriting, to suggest a model of how best to inform the application of structure to HE students and keep creativity uppermost. A structure of emotional truth. An equal appreciation of both the tools of our craft and an imaginative exploration of character and world that can unlock our originality and our artistry.