(Table 2) Temporal changes in phenological observations between 1978 and 2007, northern Sweden

A 30-year series (1978-2007) of photographic records were analysed to determine changes in lake ice cover, local (low elevation) and montane (high elevation) snow cover and phenological stages of mountain birch (Betula pubescens ssp. czerepanovii) at the Abisko Scientific Research Station, Sweden. In most cases, the photographic-derived data showed no significant difference in phenophase score from manually observed field records from the same period, demonstrating the accuracy and potential of using weekly repeat photography as a quicker, cheaper and more adaptable tool to remotely study phenology in both biological and physical systems. Overall, increases in ambient temperatures coupled with decreases in winter ice and snow cover, and earlier occurrence of birch foliage, signal a reduction in the length of winter, a shift towards earlier springs and an increase in the length of available growing season in the Swedish sub-arctic.

Reality bites: Documentary photography and architectural realism = Fragmentos de realidad: Fotografía documental y realismo en arquitectura

En el día de hoy nos enfrentamos a una serie de desafíos económicos, geopolíticos y ambientales que apuntan hacia una transformación profunda del mundo tal y como lo conocemos. La arquitectura esta – siempre lo ha estado – imbricada en todos estos problemas. En nuestra actual condición de recursos limitados e injusticia global surge la necesidad de superar la dicotomía entre progreso y tradición, entre innovación y preservación – la urgencia de redefinir incluso cada uno de estos términos. Los tipos de crisis que encaramos ahora no se resolverán con mas tecnología y más crecimiento – se necesita también una profunda reevaluación de nuestros sistemas de valores e incluso de nuestra sensibilidad. En este contexto, la humilde contribución de esta tesis consiste en proponer la idea de un realismo en arquitectura, entendido como una actitud progresista y atenta a lo que ya existe, dispuesta a abrir los ojos al presente, a las condiciones y los problemas reales que nos rodean. Pensando en esta idea, resulta evidente que si bien el realismo carece de una definición clara en el campo de la arquitectura hoy, cuenta sin embargo con numerosos precedentes parciales, entre ellos algunos de los más notorios episodios de la historia de la arquitectura reciente. Al intentar confeccionar una lista provisional de arquitectos realistas en el último siglo, otro hecho se nos presenta: muchos, por no decir todos estos arquitectos, comparten una fijación por la fotografía, bien apropiándose del trabajo de fotógrafos contemporáneos, bien tomando sus propias imágenes como una forma de mirar fuera de sus estudios e incorporar la realidad del medio construido a sus proyectos. Parece entonces lógico pensar que la arquitectura, como disciplina visual, ha acudido a otra disciplina visual en búsqueda de su propia respuesta al problema del realismo – dentro de este campo la fotografía reverbera con la arquitectura especialmente, ya que ambas son consideradas simultáneamente como practicas utilitarias y como parte de las bellas artes. Parece entonces lógico el organizar la investigación como una serie de casos, con la esperanza de que la acumulación de diversas instancias en las que la arquitectura ha acudido a la fotografía en su búsqueda de un realismo arrojara luz sobre las ideas más generales a debate. Por tanto, cada uno de los episodios en este texto se examina en sus propios términos, si bien una serie de interconexiones emergen a medida que el estudio procede con un suave orden cronológico. Hacia el final del texto cuestiones más grandes recobran protagonismo, a medida que las repercusiones políticas de nuestro estudio se hacen más patentes y comenzamos a interrogar las implicaciones contemporáneas y el potencial futuro de nuestra discusión sobre el realismo. ABSTRACT Today we are faced with a series of economic, geopolitical and environmental challenges that outline a deep transformation of the world as we know it. Architecture is – it has always been – ingrained in all of these problems. In our current condition of limited resources and global inequalities there is a necessity to overcome the dichotomy between progress and tradition, between innovation and preservation – an urgency to even redefine these terms altogether. The types of crises that we are facing will not be solved with more technology and more growth – a deep reevaluation of our systems of values and our sensibilities are also needed. In this context, the humble contribution of this text is to put forward the idea of an architectural realism, understood as an attitude that is both progressive and attentive to what is already in place, willing to open its eyes to the present and accept the real conditions and problems around us. In thinking about this prospect, it immediately becomes apparent that even if realism lacks a clear definition in the field of architecture today, there are numerous partial precedents for it, among them some of the most notorious episodes in the recent history of architecture. In crafting a tentative list of realist architects in the last century, another realization takes place: many, not to say all of these architects, have had a fixation with photography, either appropriating the work of contemporary photographers or taking photographs themselves as a way to look out their windows and bring the reality of the built environment into their practices. It seems then logical to think that architecture, as a visual discipline, has looked to other visual disciplines in search for its own take on the problem of realism – within this field, photography specially resonates with architecture, since both are regarded simultaneously as utilitarian practices and belonging to the fine arts. The idea then becomes to organize the research as a series of cases, with the hope that the accumulation of diverse instances in which architecture has approached photography in its realist drive will shed some light on the larger ideas at stake. Therefore, each of the episodes in this text is examined on its own terms, with a series of interconnections slowly emerging as our survey proceeds with a soft chronologic order. Towards the end of the study, larger issues regain relevance as the political repercussions of our inquiry become more pressing and we start to question the contemporary implications and future potentials of our discussion on realism.

Papyri in the Princeton University collections.

Vol. II, edited with notes by Edmund Harris Kase.

Accident investigation : group discussion exercise, photography.

Shipping list no.: 87-661-P.

Evaluation of soils and permafrost conditions in the territory of Alaska by means of aerial photographs /

"September 1950."

Aerial surveys of endangered whales in the Beaufort Sea.

Mode of access: Internet.

Essays in librarianship and bibliography,

Occasional addresses and papers, for the most part previously published in various reviews, 1877-1898.

Panoramic aerial photography for mapping gypsy moth defoliation.

"October 1982"--P. [1].

Through the Lenses of Q’eqchi Maya: (Re)Framing the Story of Development in a Guatemalan Indigenous Community Through Participant-Created Photographs

The question of evaluations of development projects has been widely debated within the field of international development, with scholars and development practitioners calling for increased community-driven evaluations. However, there has been a paucity of research in community-led project evaluations, and a largely absent investigation utilizing visual anthropology/sociology methodologies. This paper seeks to shift this power by giving voice to the intended beneficiaries of an eco-tourism project in a rural indigenous Guatemala village. Through photographs taken by community members and corresponding interviews, this paper shows the way in which community members have and continue to reframe the idea of development in their village. Specifically, my analysis reveals how residents see changing forms of access, how they reframe ideas of beauty and modernization, and how they reframe their relationship to the land through Western conservation and private property ideals. This research thus provides an alternative narrative to the Western NGO’s evaluations and knowledge production, especially in respect to development and indigenous knowledge. By showing how community members are reframing the story of development, this paper demonstrates the usefulness of using participatory documentary photography in community-led evaluations, and helps balance the playing field by providing a much-needed alternative narrative of project evaluation.

Pedem referens: art historical memory and the analogue in the work of Tacita Dean, Jeremy Millar and Lucy Skaer

This thesis explores the new art historical turn in contemporary art through close engagement with three British artworks. These are Tacita Dean’s, Section Cinema (Homage to Marcel Broodthaers), 2002, Jeremy Millar’s, The Man Who Looked Back, 2010, and Lucy Skaer’s, Leonora, 2006. Each of these artworks combines an art historical agenda with a celebration of the specificities of analogue film and photography in the context of our digital age. This thesis combines twentieth century photographic theory from Roland Barthes, André Bazin and Walter Benjamin, among others, with the psychoanalytic theory of Jacques Lacan in order to argue that the indexical qualities of analogue film and photography place the medium in close proximity to the Lacanian Real. In its obsolescence the analogue’s language of both touch and loss is heightened. Each chapter of this thesis explores a different aspect of the Real in relation to specific attributes of the analogue, such as its propensity for archiving cultural traumas, its receptiveness to chance, and its proximity to death.

Kalaureia 1894 : A Cultural History of the First Swedish Excavation in Greece

The excavation of the Sanctuary of Poseidon at Kalaureia in 1894 marks the beginning of Swedish archaeological fieldwork in Greece. During a couple of hot summer months, two philologists from Uppsala University, Sam Wide (1861-1918) and Lennart Kjellberg (1857-1936), worked in the sanctuary together with the architect Sven Kristenson (1858-1937), the Greek foreman Pankalos and around twenty local workmen. In 1997, the Swedish Institute at Athens began new excavations at the sanctuary. This thesis examines the beginnings of Swedish fieldwork in Greece. Within the framework of a cultural history of archaeology, inspired by archaeological ethnography and the New Cultural History, it explores how archaeology functioned as a cultural practice in the late nineteenth century. A micro-historical methodology makes use of a wide array of different source material connected to the excavation of 1894, its prelude and aftermath. The thesis takes the theoretical position that the premises for archaeological knowledge production are outcomes of contemporary power structures and cultural politics. Through an analysis of how the archaeologists constructed their self-images through a set of idealized stereotypes of bourgeois masculinity, academic politics of belonging is highlighted. The politics of belonging existed also on a national level, where the Swedish archaeologists entered into a competition with other foreign actors to claim heritage sites in Greece. The idealization of classical Greece as a birthplace of Western values, in combination with contemporary colonial and racist cultural frameworks in Europe, created particular gazes through which the modern country was appropriated and judged. These factors all shaped the practices through which archaeological knowledge was created at Kalaureia. Some excavations tend to have extensive afterlives through the production of histories of archaeology. Therefore, this thesis also explores the representations of the 1894 excavation in the historiography of Swedish classical archaeology. It highlights the strategies by which the excavation at Kalaureia has served to legitimize further Swedish engagements in Greek archaeology, and explores the way in which historiography shapes our professional identities.