A Smartphone-Based Tool for Rapid, Portable, and Automated Wide-Field Retinal Imaging.

Purpose:High-quality, wide-field retinal imaging is a valuable method for screening preventable, vision-threatening diseases of the retina. Smartphone-based retinal cameras hold promise for increasing access to retinal imaging, but variable image quality and restricted field of view can limit their utility. We developed and clinically tested a smartphone-based system that addresses these challenges with automation-assisted imaging. Methods:The system was designed to improve smartphone retinal imaging by combining automated fixation guidance, photomontage, and multicolored illumination with optimized optics, user-tested ergonomics, and touch-screen interface. System performance was evaluated from images of ophthalmic patients taken by nonophthalmic personnel. Two masked ophthalmologists evaluated images for abnormalities and disease severity. Results:The system automatically generated 100° retinal photomontages from five overlapping images in under 1 minute at full resolution (52.3 pixels per retinal degree) fully on-phone, revealing numerous retinal abnormalities. Feasibility of the system for diabetic retinopathy (DR) screening using the retinal photomontages was performed in 71 diabetics by masked graders. DR grade matched perfectly with dilated clinical examination in 55.1% of eyes and within 1 severity level for 85.2% of eyes. For referral-warranted DR, average sensitivity was 93.3% and specificity 56.8%. Conclusions:Automation-assisted imaging produced high-quality, wide-field retinal images that demonstrate the potential of smartphone-based retinal cameras to be used for retinal disease screening. Translational Relevance:Enhancement of smartphone-based retinal imaging through automation and software intelligence holds great promise for increasing the accessibility of retinal screening

Spartan Daily March 22, 2011

Volume 136, Issue 29https://scholarworks.sjsu.edu/spartandaily/1136/thumbnail.jp

Photosharing on Flickr:intangible heritage and emergent politics

This paper argues that Flickr, a popular 'photosharing' website, is facilitating new public engagements with world heritage sites like the Sydney Opera House. Australian heritage institutions (namely libraries and museums) have recently begun to employ Flickr as a site through which to engage communities with their photographic archives and collections. Yet Flickr is more than an 'online photo album': it is a social and cultural network generated around personal photographic practices. Members can form 'groups': self-organised communities defined by shared interests in places, photographic genres, or the appraisal of photographs. These groups are public spaces for both visual and textual conversations - complex social negotiations involving personal expression and collective identity. For one group, the common interest is the Sydney Opera House, and their shared visual and textual expressions - representations of this building. This paper argues that such socio-visual practices themselves constitute an intangible heritage. By drawing on the work of scholars Jose Van Dijck and Nancy Van House, Dawson Munjeri and Michael Warner, the paper proposes that this enactment of intangible heritage is implicated in the broader cultural value of the Sydney Opera House

Mathias, Harry

San Francisco State University, Radio, Television, Film, BA, 1968 San Francisco State University, Creative Arts Interdisciplinary Studies with emphasis Film Production, Broadcast TV Production, Broadcast Engineering, Drama, and Computer Graphic Video Imaging Systems Design, MA,1974,https://scholarworks.sjsu.edu/erfa_bios/1359/thumbnail.jp

Photosharing on Flickr: intangible heritage and emergent publics

This paper argues that Flickr, a popular ‘photosharing’ website, is facilitating new public engagements with world heritage sites like the Sydney Opera House. Australian heritage institutions (namely libraries and museums) have recently begun to employ Flickr as a site through which to engage communities with their photographic archives and collections. Yet Flickr is more than an ‘online photo album’: it is a social and cultural network generated around personal photographic practices. Members can form ‘groups’: self‐organised communities defined by shared interests in places, photographic genres, or the appraisal of photographs. These groups are public spaces for both visual and textual conversations – complex social negotiations involving personal expression and collective identity. For one group, the common interest is the Sydney Opera House, and their shared visual and textual expressions – representations of this building. This paper argues that such socio‐visual practices themselves constitute an intangible heritage. By drawing on the work of scholars Jose Van Dijck and Nancy Van House, Dawson Munjeri and Michael Warner, the paper proposes that this enactment of intangible heritage is implicated in the broader cultural value of the Sydney Opera Hous

Spartan Daily, February 13, 2020

Volume 154, Issue 10https://scholarworks.sjsu.edu/spartan_daily_2020/1009/thumbnail.jp

Santa Clara Magazine, Volume 55 Number 3, Spring 2014

18 - RADIANT HOUSE by Steven Boyd Saum and Heidi Williams ’06. Building a house for the 2013 Solar Decathlon. That, and changing the world. 22 - AMÉRICAS CUISINE by Holly Beretto. Telling a delicious tale of food and family with chef David Cordúa ’04. 26 - Lessons from the field by Reinhard Cate ’07. Taut and tranquil moments in Afghanistan—an essay inwords and images. 30 - INSIDE UKRAINE’S REVOLUTION by Steven Boyd Saum. Along the road to crisis: hope, despair, and a Q&A with writer Andrey Kurkov. 34 - DECIDE WHO WE ARE by Steven Boyd Saum and John Deever. After half a century as a pariah state, Myanmar is opening to the world. People have stories to tell. And they want to shape for themselves what comes next.https://scholarcommons.scu.edu/sc_mag/1028/thumbnail.jp

Getting In On the Act: How Arts Groups are Creating Opportunities for Active Participation

Arts participation is being redefined as people increasingly choose to engage with art in new, more active and expressive ways. This movement carries profound implications, and fresh opportunities, for the nonprofit arts sector.We are in the midst of a seismic shift in cultural production, moving from a "sit-back-and-be-told culture" to a "making-and-doing-culture." Active or participatory arts practices are emerging from the fringes of the Western cultural tradition to capture the collective imagination. Many forces have conspired to lead us to this point. The sustained economic downturn that began in 2008, rising ticket prices, the pervasiveness of social media, the roliferation of digital content and rising expectations for self-guided, on-demand, customized experiences have all contributed to a cultural environment primed for active arts practice. This shift calls for a new equilibrium in the arts ecology and a new generation of arts leaders ready to accept, integrate and celebrate all forms of cultural practice. This is, perhaps, the defining challenge of our time for artists, arts organizations and their supporters -- to embrace a more holistic view of the cultural ecology and identify new possibilities for Americans to engage with the arts.How can arts institutions adapt to this new environment?Is participatory practice contradictory to, or complementary to, a business model that relies on professional production and consumption?How can arts organizations enter this new territory without compromising their values r artistic ideals?This report aims to illuminate a growing body of practice around participatory engagement (with various illustrative case studies profiled at the end) and dispel some of the anxiety surrounding this sphere of activity

A review of the genus Megalographa Lafontaine and Poole (Lepidoptera: Noctuidae: Plusiinae) with the description of a new species from Costa Rica

The classification of the genus Megalographa Lafontaine and Poole, 1991, is reviewed and the five known species diagnosed. The genus is essentially restricted to the New World, although one species M. biloba (Stephens) is migratory and has occasionally straggled to western Europe. A new species (Megalographa talamanca Lafontaine and Sullivan) endemic to the Talamanca Mountain Range in Costa Rica is described. Adults and genitalia are illustrated