透光摄影在古书画修复与研究中的应用

透光摄影由常规可见光摄影发展而来，是针对中国古书画等能被可见光穿透的文物开发的一项无损摄影检测技术。通过实践发现透光摄影在古书画的修复与研究领域具有多项作用：观察书画命纸、背纸拼接等装裱情况；发现前人加固、补缀等修复痕迹；获取画面底稿内容；强化伤况视觉效果以便于分析文物伤况病害。透光摄影能够提供直观可靠的深层视觉信息，辅助修复人员了解文物内部状态，在古书画的修复与研究中发挥重要作用。     

西周父盉的铸造技术特征及其保护处理

作者通过X光照相无损检测分析方法,搞清了西周癧父的现状;以及器物与体连接部位和盖内部的结构形貌,并主要介绍了该器物的铸造技术特征和保护处理方法。     

X光照相技术在文物及考古学研究中的应用

X光照相方法的无损特性,就决定了这一技术适合被用于研究物这一特殊对象。本通过具体实例介绍了X光照相技术在物及考古学研究中的应用：可以反映不同材质物的保存状况,揭示被锈蚀物覆盖的铭及纹饰,显示古代器物的工艺痕迹,有助于考古出土物线图的绘制等。     

Red Foxes in the Filing Cabinet: Günter Tembrock's Image Collection and Media Use in Mid-Century Ethology**

This paper considers the epistemic career of visual media in ethology in the mid-20th century. Above all, ethologists claimed close contact with research animals and drew scientific evidence from these human-animal communities, particularly in public relations. However, if we look into the toolboxes of comparative behavioral biologists, it becomes evident that scientifically valid research results were primarily obtained by experimenting with model images. These visual specimens tell a technical story of the methodological requirements in behavioral science necessary to bridge everyday observations between the laboratory and the field. By neutralizing individual traces of animal bodies as well as their observers, they prompted the abstraction of ethological hypotheses. The case study of East-German biologist Günter Tembrock (1918–2011), who maintained his own collection of newspaper clippings, drawings, photographs, and films, offers a new perspective on the methodological development of this field. Furthermore, this article contributes to a scholarly discussion geared toward expanding the spaces of ethological research. My analysis of the image collections of the Forschungsstätte für Tierpsychologie presents the archive as a relevant site of study in the history of ethology.     

La représentation de l’espace public par la photographie : Une étude de cas dans la région de Montréal (Québec,Canada)

Beyond the material forms that constitute public space, it is subject to representations or images that shape the types of use, forms of appropriation, and general perception that people have of it. Following a centre‐periphery gradient that allows us to compare three zones of the Montreal region (pericentral, periurban, and the northern ring), we analyzed photographs available within cyberspace (from different municipalities and boroughs, local newspapers, and social media) to draw out representations of public space. What can photographs available online tell us about how space is perceived? We have established a typology of images of public space (idyllic nature, urban scene, festive space, empty space, family portrait) that are representative of the overall corpus studied. We have compared these results with a correspondence analysis to clarify the structure of interaction between the variables. The analysis demonstrates that the representations are more differentiated between neighbourhoods than between regions, and that while newspapers and municipalities represent more themes of sociability and family life, social media shows more empty spaces, whether they be monumental spaces, or spaces of daily life.     

LiDAR-aided reconnaissance and reconstruction of lost landscapes: An example of freshwater shell mounds (ca. 7500–500 cal b.p.) in northeastern Florida

Abstract

LiDAR datasets, from which high-resolution topographic maps can be generated, are becoming commonplace in archaeological analyses. Like any remote sensing technique, LiDAR records only a limited range of phenomena and the data are a snapshot of ground conditions at the time of collection. The temporally specific nature of LiDAR is problematic at sites with postdepositional destruction. This paper presents a method for identifying and recovering lost landscapes by combining LiDAR, archival aerial photographs, historical observations, and fieldwork. This method was developed to reconstruct the topography of ancient shell mounds constructed by hunter-gatherers on the St. Johns River in northeastern Florida (ca. 7500–500 cal b.p.) and altered by modern land use. The reconstructions demonstrate the influence of ancient communities on modern landscapes and can be used as a basis for further analyses of hunter-gatherer land use, social interaction, and cosmology.     

Developing Geographers through Photography: Enlarging Concepts

This paper explores how photographs can be used to teach urban social geography to second- and third-year university students. In it the author describes her work acquainting students with the skill of ‘directed observation’. She argues that teaching geography through photography is not merely asking students to take pictures but rather, the process of looking with intention. Capturing what is seen on film encourages students to engage with geography by seeing how ideas ground themselves on the landscape. This work also challenges how geographers think about what they require of students and calls into question normative classroom practices. Most importantly, it adds to our understanding of concepts that are central to geographic analyses and heightens our awareness of how well students understand. Photographs provide an opportunity to hear multiple voices in multiple ways. The author suggests that the methodological and pedagogical contributions of photographs have been overlooked in geography.     

Exposing students to repeat photography: increasing cultural understanding on a short-term study abroad

Traditionally, repeat photography has been used to analyze land cover change. This paper describes how repeat photography may be used as a tool to enhance the short-term study abroad experience by facilitating cultural interaction and understanding. We present evidence from two cases and suggest a five-step repeat photography method for educators to use to increase participation and cultural interaction of students involved in fieldwork, long-haul fieldwork, and study abroad programs. We suggest that through the five steps developed in this paper that students' potential to understand and interact within the host culture is increased.     

张择端《清明上河图》卷新探

本文根据历史文献和相关文物考订,指出《清明上河图》卷中表现了党争事件的后果,画中所表现的女性盘福龙发式和短褙服饰等,时间指向皆为徽宗朝崇宁至大观年间(1102-1110)。作者用模拟航拍制图方式"俯瞰"画中的城市结构,发现无法对应宋代汴京地图,确定此图所绘并非北宋汴京实景。张择端概括提炼了汴京城内外一部分代表性景致,是汴京实情而非实景。作者结合当时的政治、军事和文化背景,解开画中诸多图像的历史密码,特别是画家在展现清明期间商贸繁华的汴京城时,出乎常情地表现了惊马闯市、船桥险情、官员争道、军力懈怠、城防涣散、消防缺失、商贸侵街、党祸渎文、酒患成灾等街头弊端,呈现出北宋末年沉重的社会危机,暗含着画家对社会的隐忧。     

Annie Moore and the archives of displacement: towards an immigrant history of the present

Annie Moore, the first immigrant to enter the USA through the Ellis Island immigrant processing station, stands as an originary figure of the so‐called golden age of European immigration to the USA in the late nineteenth century. The contemporary archivization of the Irish immigrant Annie Moore in the Ellis Island Museum, New York and the Cobh Harbour Heritage Centre in County Cork, Ireland repeats the democratic rhetoric of immigration which underpins the foundation of the USA, as well as the national imaginary of Ireland. Yet in so doing, this archivization effaces the hierarchies of race and class that have historically underpinned the democratic rhetoric of immigration. With reference to Jacques Derrida's work on the archive and hospitality, this article expands on a performance‐based critical art intervention into the archivization of Annie Moore entitled ‘Calling Up Annie Moore’. Focusing on the blindspots, ellipses and discontinuities which the archive represses, the article traces the different histories and experiences of immigration which the art intervention disclosed.