Preparation for Deep Learning:

ABSTRACT

Norman H. Hardy is not a well-known historical character, so an element of salvage exists in bringing his art and book illustration to a wider audience. His short career as an artist with the Sydney Mail and the 68 paintings in The Savage South Seas in 1907 open up a wider discourse concerning the links between art and photography, between visitation and recording in the field, between art and journalism, and between popular imagination and the publishing practices for illustrated travelogues. Hardy's paintings of Papua, Solomon Islands and New Hebrides reached a wide audience and provide a close-up, intimate record of Indigenous life in the islands, as well as hinting at complex encounters between Islanders and traders. The visual evidence in The Savage South Seas also contributes to debates about the motivations of early 20th-century Euro-American travellers, authors and purchasers of books on the Pacific and provides yet another citation of notions of faraway lands and people in the Pacific as perceived by distant readers and audiences.     

Interpreting World War II Intelligence Data for Cultural Heritage Studies

Abstract

Archaeological and cultural resource management analyses of sites of conflict of the recent past regularly draw on archival intelligence sources, in particular on aerial imagery. Like any other data source, they have their limitations. Using a case study, the World War II battlefield of Kiska in the Aleutians, this paper outlines the processes that generated these intelligence resources, as well as the factors that influenced their survival to the present day. Understanding these processes is necessary when using such sources to understand the development of cultural landscapes as well as specific sites.     

Geophysics of Lager Wick forced labour camp,Grouville, Jersey,Channel Islands

Abstract

Three seasons of fieldwork at the forced labour camp of Lager Wick, Grouville, Jersey (2014–2016) employed resistivity, ground penetrating radar (GPR) and magnetic susceptibility to investigate areas of the camp. Resistivity and magnetic susceptibility produced the most useful results, whilst the GPR survey only revealed a modern pipe. The resistivity survey was undertaken in the south-west corner of the former camp close to the entrance gate posts, whilst the magnetic susceptibility survey was undertaken over the remains of one of the barrack huts along the Gorey Road frontage which had been burnt to the ground in 1943. The resistivity survey produced some high resistance anomalies that appear to resemble a demolition layer or a surface on which the huts were constructed. Magnetic susceptibility results showed zones of burning which appear to relate to the remains of one of the burnt huts; excavation revealed a stone/brick surface.     

Mundane Myths: Heritage and the Politics of the Photographic Cliché

This paper considers the impact of photographic clichés on the management, conceptualization, and experience of heritage. Working along the grain of pejorative readings of ‘snapshot’ photography, this account views the repetitiveness and redundancy of the cliché as a critical point of departure, rather than a cause for reproach. Taking the World Heritage Site of Angkor as a core case study, three intersecting axes of political concern are sketched out to elucidate the broad social, material, and affective implications of clichéd photography for heritage. First, processes of dehistoricization and depoliticization are interrogated in relation to the role certain images play in constructing a mythic sense of the past in the present. This leads directly in to the second strand of analysis, which examines the various ways in which individuals negotiate these myths through the production of their own highly personalized photographic clichés. Here I develop the concept of an embodied politics of heritage photography to grasp the multivalent resonances of tourist clichés in particular. Finally, the implicit and explicit forms of spatial control that permeate sites such as Angkor are examined in relation to the photographic clichés they respond to and help shape.     

Loosening/tightening spaces in the geographies of hanging out

The article is based on research conducted with young people who spend their free time hanging out in a shopping mall and its surroundings in the city centre of Helsinki, Finland. ‘Geographies of hanging out’ is understood here as an interaction between the location and young people: the space offers affordances to the young people and thus affects their ways of being. At the same time, they give new meanings to the space by hanging out and thus take part in the production of that space. Empirical material gathered in the project includes the researcher's observations, in-depth interviews conducted with young people, youth workers, the police and the management of the mall and the photographs taken by the young participants. In this article, hanging out is interpreted as a process where ‘looseness’ and ‘tightness’ of space are negotiated and re-defined. Shopping malls are seen as spaces where boundaries between public and private are often blurred. The presence of young people can make these commercial spaces tighter or looser and thus change the nature of urban space not only for the young people, but for other urban dwellers, too.     

‘Looking at the Others’: Oscar Wilde and the Reading Gaol Archive

In looking at Wilde and the prison, scholarship has understandably focussed on the lengthy and complex De Profundis, and how the prison experience confirmed or re-shaped Wilde as a writer and thinker. Wilde himself claimed to have been saved by the ‘others’ that he encountered in prison, and these ‘others’ have received scant attention. Who were they? How does a greater knowledge of them supplement our sense of the nineteenth-century prison and of Wilde? This essay looks closely at the Reading Gaol archive, tracing out the lives of some of those with whom Wilde was incarcerated and providing analyses of the prison population in Reading while Wilde was there. Aside from yielding the only known photographs of any of the young working-class men in whom Wilde took an interest, the essay seeks to build a more nuanced reading of Wilde's experience. Above all, the aim is to open out the meanings of the Wilde myth, and, in particular, to offer a more socially inclusive version.     

试谈深色器物的摄影用光方法

本主要探讨了物摄影中深色器物的摄影用光方法。     

基于游客自愿拍摄法（VSEP）的旅游审美研究方法探索

旅游活动是一项审美实践活动。旅游者旅游审美偏好的影响因素是什么？西方学界强调以照片为基础的景观偏好（landscape preference）研究,中国学界重视经验性思考,但至今未有共识性结论。数码相机的普及使通过考察大众游客的摄影动机与行为来研究其审美行为成为可能。本文以游客受雇拍摄法（VEP）为基础,提出了＂游客自愿拍摄法＂（VSEP）;通过探测九寨沟、张家界、嵩山3个知名旅游地大众旅游者摄影动机与影响因素,研究检验了以往以照片为基础的景观偏好影响因素部分结论,探索了＂游客自愿拍摄法＂（VSEP）在研究旅游审美方面的可行性,并在此基础上有新的研究发现。     

What ‘Difference’ Does a Camera Make? Crime,Youth, and Representation in Mid-Century Mexico City

This article examines the discourse on juvenile crime in mid-century Mexico City through an analysis of visual culture namely the nota roja genre of sensationalist press, and the role photography played in ‘capturing’ delinquency. Placing visual technologies like photography as more active players in nation-building, the article traces the social role of photography in shaping moral panics and public perceptions of crime. Not breaking entirely from its Porfirian past, I observe how elites and the new urban middle class conflated criminality with the clases humildes and saw the causes of delinquency in the ‘degenerative’ traits of the poor. In a time of rapid demographic change and the expansion of mass culture, tabloid representations of juvenile crime reflected anxieties around social reproduction and the fear of political instability. This photographic record of life in Mexico City reveals one way that capitalinos would come to ‘see’ social difference and youthful citizenship in the post-revolutionary period.     

WHY PHOTOGRAPHY MATTERS TO THE THEORY OF HISTORY

Georges Didi-Huberman's study is concerned with epistemological and ethical questions that arise from visual representations of the Shoah, while Michael Fried's is concerned with the ontological possibilities explored by contemporary art photography. The books have two things in common: an argument against postmodern skepticism, and an insistence that photography has become a field in which questions of history, truth, and authenticity are being explored with particular acuity. Rather than reject even the possibility that photographs have something to tell us about the Shoah, Didi-Huberman shows that they can offer important insights into the difficulties and the possibilities of apprehending some aspects of the past.
Fried shows that contemporary photographic work has taken on the ambitions of high modernism by accepting the challenge of "to-be-seenness." Photography as a "historical practice" does not escape from the difficulties of evidence and of the "constructed" nature of historical understanding; photography functions neither as a pure trace of the past, nor as a mere invitation to spectacle.