Children's perceptions of and attitudes towards,transport modes: why a vehicle for change is long overdue

Overreliance on car transportation impacts negatively on children's health, safety and well-being. This paper presents research that investigated children's perceptions of, and attitudes towards, transport modes. Primary children completed a pictorial questionnaire (n?=?486), 119 participated in focus groups (n?=?27). The findings suggest that children learn about transport modes from different interacting sources, both through experiential and vicarious mediums. The author concludes that the social emphasis on cars can have an intellectual impact that is detectable in the perceptions and attitudes of many children. It is argued that current policy for reducing car use in the UK has a narrow focus and does not address the role of social and cultural factors in car usage and dependency. Suggestions for new initiatives aimed at the family and the media are described.     

飞天图像流变考论

飞天形象的渊源,学术界有两种观点,一,从印度传播而来;二,由中国传统文化中的羽人与受希腊文化影响的印度有翼天使融合而成。作者根据考古材料,从佛教传播和图像学的角度,对羽人与飞天发展的动态过程及演变轨迹进行考查,认为飞天萌芽于印度,发展于中亚、西域,成熟于中国,并且这一演化过程不是一条直线,而是一个反复交替进行的过程。     

“玄奘画像”解读——特别关注其密教图像元素

西安兴教寺所存玄奘石刻像与日本现存无名氏画玄奘像,所携带的历史信息超出了图像本身。作者认为,这一源于早期行脚僧图像的出现,是由于玄奘西行求法的成功,刺激了社会民众对行脚僧的认同,加之西来传法僧的大量涌现,于是在唐末、尤其是在宋代,出现了一批行脚僧图像,并由初时的胡僧梵相,变为汉僧模样,进而附会到玄奘的图像创作上。而在日本所存著名的"玄奘画像",事实上可能是一个具密教性质的僧人图像。作者试图通过有关这一图像的文献解读,全面分析该图像所包含的历史信息。     

Colonial encounters,local knowledge and the making of the cartographic archive in the Venetian Peloponnese

Current research on the cartography of the Venetian Empire rests on a state-centred perspective which reduces maps to mere technical tools in the service of maritime expansion and colonial government. In contrast, this paper argues that such an approach cannot sufficiently account for the multiple ethnocartographic transactions between Venetian authorities and local communities which defined Venetian map-making projects. Taking the seventeenth-century conquest of the Peloponnese as its focus, the paper proposes to rethink the Venetian cartographic archive as constituted through a set of socio-cultural and political practices involving both colonial surveyors and native inhabitants. By analysing the assemblage of cartographic knowledge in the context of the encounter between colonisers and colonised, the paper examines topographical surveys as the product of cross-cultural communication shaped through negotiation, competition and unequal dialogue. Ultimately, the paper aims to show the heuristic value of a dialogic approach to cartography for a better understanding of both the colonial society of the Venetian Peloponnese and the making of knowledge in Venice's overseas empire.     

ALL WRITTEN UP

This edited collection of conference papers moves historiographical debate beyond the cultural, linguistic, subjective, and archival “turns,” and beyond historiographical questions asked from the “postcolony,” to consider the historian's role as writer and in relationship to his or her (dead) subjects. Wider cultural appropriations of the Holocaust frame several contributions and underpin the ethics of historical reconstruction discussed. This review of Unsettling History considers “raising the dead” as a paradigmatic activity of Western social historians, first articulated in the European nineteenth century. Using the perspective of its editors and contributors, it argues for a yet more detailed attention to historians' acts and performances of writing.     

基于视觉的明清古家具数字文化档案高精度三维重建

文物是人类在社会活动中遗留的具有历史、艺术、科学价值的遗物和遗迹。优秀物质文化遗产的体系庞大、内容繁杂,数字化三维重建是保存、管理文物的一种切实可行的方案,对文化传承意义深远。相比于三维激光扫描、结构光技术等在成本和效率方面都有待改进的现有方法,数字近景摄影测量在确保低成本、高效率的同时,还能够满足数据的精度要求和详细程度。如何应用摄影测量技术对文物进行高效三维重建,实现纹理、部件、结构的精细化描述,并综合管理文物以便线上欣赏、未来修复与辅助断代,对优秀物质文化遗产的保护与传承至关重要。 本研究提出了基于视觉的三维建模方案,分为明清家具分层管理体系构建、高效率数据采集与精细化三维重建、高精度三维数字文化档案建设三步。首先针对明清家具的文化特点,从类别、纹饰、部件出发进行分层分类管理,构建独特编码体系;其次基于数字近景摄影测量技术,提出了对明清家具进行非接触数据采集的低成本高效率方法,进行高精度三维重建;再次从三维信息中提取家具纹饰、部件、结构特征,以编码为依据建立索引,为三维数字文化档案的建设提供信息基础;最后设计分层索引结构,建设高精度数字文化档案,搭建互联网共享平台进行展示。 以100套明清古家具袖珍模型为实例进行精细化数字建模,基于数字近景摄影测量技术,将模型精度控制在毫米级别,完成了文物要素提取、分类体系搭建、属性信息管理与索引结构设计,构建了历史文化和三维模型融合的数字文化档案。研究结果表明,基于视觉的非接触视觉处理算法能够实现高精度三维重建,提出的技术方案能够保留模型的细节程度,并且降低了成本、提升了效率,对文物类别、部件、纹饰的属性管理与索引架构能有效管理文化信息,数字文化档案兼具科技、人文与传统美学,满足文物保护需求。明清家具三维数字文化档案可用于古家具的研究,有利于中国古代家具工艺的传承,而其中对于家具的历史年代的介绍鉴别能够辅助断代。下一步将考虑运用人工智能对家具纹饰和部件进行元素组合,生成个性化定制家具。同时将完善技术方案,应用范围拓展至小型文物,支撑数字博物馆建设。     

What the drone saw: the cultural optics of the unmanned war

The dramatic growth of drone warfare in the last decade has meant the arrival of a new kind of war imagery in civilian life: the view through the drone camera. As such, the drone is not simply a weapon, but also an emerging medium for representing conflict. This article explores the ways this imagery has been selected, interpreted, framed and put to use in public and popular culture. In addition to exploring how these practices of looking fit within the larger history of war imagery, two prominent features of ‘drone vision’ are identified: the promotion of consumer interactivity in the drone war and the militarising of domestic space.     

Museums and the ‘Death of Experience’: singularity,interiority and the outside

This paper discusses a number of well-known critiques of the museum that seek to identify it as a problematic space for experience. The key argument put forward is that we can find within that analysis a critical geography around the museum that help us to understand the work that it does in relation to experience. Three spatial motifs are drawn from this analysis and discussed: the singular, the interior and the outside. The paper argues that museums since the nineteenth century have established a topos for experience based on a mimetic realism around the experience of both culture and history through the first two of these spatial expressions. Through them museums produces a fabulation of culture and history that supplements for the lack of topos for experience found within modern society as a whole. The latter spatiality – that of the outside – is found in the form of the absent–presence of the event in relation to the archiving principle of the museum, thereby continually unsettling the first two expressions and calling them into question. This dynamic reveals the museum as a space to critically think about what it does with experience and the importance of spatial analysis for that.     

Hair in the Disraeli Papers: A Victorian Harvest

The Hughenden Collection of Disraeli Papers at the Bodleian Library in Oxford comprises over 50,000 items relating to the life and work of Benjamin Disraeli and his family. This article tracks hair through the Hughenden Collection in order to explore the collecting habits of Mary Anne Disraeli. It argues that reading Mary Anne Disraeli's story through hair – both hair as object, held in an archive and hair as represented in archival text – reveals aspects of that story occluded by reading only those archival texts with self-evident documentary value. It thus makes the case for a holistic reading of the Disraeli archive, and Victorian collections of personal papers more generally, by taking Mary Anne Disraeli as its central case study. In so doing it also illuminates her story, and points to the necessity of reading the stories of forgotten women through archival silences and absences. Section I reviews recent scholarship on hair in nineteenth-century Britain in order to contextualize Mary Anne Disraeli's case. Section II anatomizes the Hughenden hair collection in order to illuminate Mary Anne's history, her impulses as a collector, and the extent to which her activities complicate scholarly narratives about the sentimental commodification of Victorian hair. Section III gestures towards recent work on the archive and material culture to tease out the consequences of her example for our reading of the archive and our understanding of the texture of Victorian ‘thing culture’ more generally.     

资源型城市旅游形象设计研究——以淮南市为例

资源型城市有其独特的发展规律。本文以淮南市为例,指出实施旅游形象设计对资源型城市的可持续发展具有重大意义,并通过对影响淮南市旅游形象主要因素的分析,运用旅游形象设计的理论和方法,构建了淮南市旅游形象识别系统。