Practices of photography on kibbutz: The case of Eliezer Sklarz

This article explores how socialist egalitarian ideology affected forms of documentation on the kibbutz in Israel, by examining its practices of photography. The study analyzes the work of one photographer, Eliezer Sklarz, and his role and function in the community, focusing on the visual content and style of his work. The article also describes the role of the kibbutz archive in promoting his work and in constructing kibbutz identity through its photographic archive, as a mechanism for creating Zionist kibbutz historiography. The study addresses the conflicted approach of kibbutz society towards photography: promoting documentation through the function of the archive on the one hand, while maintaining a dismissive role towards photography as a highbrow, middle-class practice, on the other.     

Quantitative analysis of two low-cost aerial photography platforms: A case study of the site of Zagora,Andros, Greece

Aerial photography provides a valuable recording method for archaeological sites and is often underutilized. In the past, aerial photographic platforms were expensive and often required highly specialized equipment. However, with new technology a variety of different platforms are now available. This paper will analyze two low cost aerial photographic platforms used at the Australian Archaeological Institute at Athens/University of Sydney's project at Zagora, on the island of Andros, Greece. Over two years, both kites and drones were used with relative success. Through a review of the application of both systems on the project, along with a quantitative analysis of the cost, transportability, operation and quality of photographs, the strengths and weaknesses of both platforms will be discussed.     

试论文物摄影的表现方法

文物摄影是摄影艺术的一个门类 ,除了要注重科学性和真实性外 ,还要强调其艺术性和欣赏性。本文从拍摄角度、背景处理、光线运用等几个方面论述了文物摄影的表现方法。     

Late third‐millennium elite burials in Bahrain

Studies of old aerial photographs of the Bahrain burial mound fields have revealed that a small number of both Early Type (c. 2200–2050 BC) and Late Type (c. 2050–1750 BC) mounds are encircled by an outer ring wall, apparently marking out the mound as belonging to an elite. Four of these mounds have been excavated, and the results are presented. The geological differences between the Early Type and the Late Type mound landscapes are discussed.     

Integrating pedological and geophysical methods to enhance the informative value of an archaeological prospection – The example of a Roman villa rustica near Regensburg,Germany

Geophysical prospection techniques are widely used to visualize the buried past. Various methods such as magnetometry, electric resistance mapping and electric resistivity tomography and ground penetrating radar yield different results. The use of all three techniques in combination with aerial photography interpretation and pedological mapping is highly effective, but it requires a multi-layer approach. This paper presents such a multi-layer approach carried out at a site with buried remnants of a Roman villa rustica in southern Germany. The integration of the various results into a geographical information system leads to a geocodation of all outcomes and a final archaeological interpretation. Several buildings in different states of preservation, different kinds of ground floors both with and without hypocausts, perimeter walls and kilns could all be detected. The soil mapping results helped in the geophysical interpretation by outsourcing soil erosion and accumulation areas. It is shown that none of the employed methods could have supplied all the compiled information on their own, and the strengths and weaknesses of each method is discussed in order to point out the implications for archaeologists.     

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。     

紫外荧光成像技术在馆藏壁画保护研究中的应用

应用光学成像技术对文物进行科学诊断与分析,是一种非接触的、非破坏性的、直观和快速的方法。本文介绍在馆藏壁画修复材料、修复痕迹及修复评估方面,通过利用紫外荧光成像技术的实验研究,实现了对馆藏壁画修复加固材料、修复痕迹的鉴别和诊断,对馆藏壁画加固、清洗效果的有效评估,此技术在对壁画进一步保护修复中发挥重要作用。     

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.     

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.