Digital Image Access & Retrieval

The 33th Annual Clinic on Library Applications of Data Processing, held at the University of Illinois at Urbana-Champaign in March of 1996, addressed the theme of "Digital Image Access & Retrieval." The papers from this conference cover a wide range of topics concerning digital imaging technology for visual resource collections. Papers covered three general areas: (1) systems, planning, and implementation; (2) automatic and semi-automatic indexing; and (3) preservation with the bulk of the conference focusing on indexing and retrieval.published or submitted for publicatio

Prospectus, February 19, 1997

https://spark.parkland.edu/prospectus_1997/1005/thumbnail.jp

Prospectus, October 11, 1995

https://spark.parkland.edu/prospectus_1995/1024/thumbnail.jp

Recent Developments in Cultural Heritage Image Databases: Directions for User-Centered Design

published or submitted for publicatio

Prospectus, March 20, 1996

https://spark.parkland.edu/prospectus_1996/1008/thumbnail.jp

Prospectus, February 9, 2000

https://spark.parkland.edu/prospectus_2000/1004/thumbnail.jp

Building Community Support: a Multi-scalar Archaeological Analysis of Sewage Infrastructure in Central Illinois

In the 1920s and 1930s in Central Illinois, urban areas implemented sewage infrastructure consisting of underground sewers and sanitation plants. These sanitary districts soon became an essential service provided within the community and the established infrastructure has undergone expansion and technological updates in the decades since. I use methods and concepts of landscape archaeology in combination with 1940 Census socio-economic demographics, GIS viewshed and smellshed (buffer) analysis, and visual spatial analysis to examine the case studies of three sanitary districts in Central Illinois: Bloomington-Normal, Urbana-Champaign, and Sangamon County to evaluate how these infrastructures shaped their landscapes, or sewagescapes. Sewagescapes have two important scales of analysis: the constituent scale, which refers to the sanitary districts’ relationship with the populations they serve, and the facility scale, including the sewage treatment plants and land owned by the district. Drawing upon theoretical frameworks of phenomenology, sensory engagement, and affordances, I argue that the sanitary district officials used landscapes at both constituent and facility scales as pedagogical and rhetorical tools. The sewagescapes educated visitors about the sewage treatment process, the environmental benefits of sewage treatment, the cleanliness and respectability of the facilities, and the separation between the city and sanitary district governments through features such as the entrance path, formal gardens, architecture, and overall landscape design. These pedagogical elements were simultaneously crafted to present the public with a positive image of the sanitary districts with the overall goal to justify the need for sewage treatment and encourage community support

Prospectus, February 16, 1994

https://spark.parkland.edu/prospectus_1994/1002/thumbnail.jp

MARCH PERFORMANCE PRACTICES OF HENRY FILLMORE WITH STYLE GUIDES AND HISTORICAL EDITIONS OF SELECTED WORKS

With a career spanning over four decades, Henry Fillmore earned wide recognition as an important and prolific composer of marches and trombone smears in the wind band medium. While he contributed significantly to chamber music, solo literature, vocal settings, and arrangements for band, his compositions for wind band have arguably provided his most universal acclaim. Fillmore’s published marches are unique in that scores rarely had performance markings and contained little more than notes and repeat signs. Fillmore conducted most of his marches and altered march strains, changed orchestration, and added stylistic markings that were not indicated in the original printed score. This research is focused on preparing and presenting historically accurate performances of the marches and smears of Henry Fillmore with appropriate march style. More specifically, the author wishes to provide an approach to the interpretation of Fillmore’s music that directly portrays the historical performance practices of Fillmore’s performances of his own works and interpretative methodology. Those who wish to consider this historically accurate approach may apply this document’s analysis of primary source recordings of Fillmore conducting his music in addition to new included performance editions of specified marches and smears