Application of ERTS-1 data to integrated state planning in the state of Maryland

There are no author-identified significant results in this report

Image sharing privacy policy on social networks using A3P

User Image sharing social site maintaining privacy has become a major problem, as demonstrated by a recent wave of publicized incidents where users inadvertently shared personal information. In light of these incidents, the need of tools to help users control access to their shared content is apparent. Toward addressing this need an Adaptive Privacy Policy Prediction (A3P) system to help users compose privacy settings for their images. The solution relies on an image classification framework for image categories which may be associated with similar policies and on a policy prediction algorithm to automatically generate a policy for each newly uploaded image, also according to user’s social features. Image Sharing takes place both among previously established groups of known people or social circles and also increasingly with people outside the users social circles, for purposes of social discovery-to help them identify new peers and learn about peers interests and social surroundings, Sharing images within online content sharing sites, therefore, may quickly lead to unwanted disclosure. The aggregated information can result in unexpected exposure of one’s social environment and lead to abuse of one’s personal information

Fragmented and Varied: The Black Woman in Lorna Simpson's Early Work

“What I’ve tried to do with the photo work is create contradictions—an edge between the subject and the interpretation about how a ‘subject’ is viewed or contextualized… I prefer gaps and contradictions so that not all the viewer’s questions are answered.” - Lorna Simpson. As her words indicate, Lorna Simpson creates artwork that evades a singular interpreta-tion. In order to make artwork that refuses definitive interpretations, Simpson employs a formal element that is a visual reflection of the mindset with which she approaches the world. As she professed in the same interview the quote above originated from, Simpson views the world around her not through one ideological framework but with the understanding that through fragmentation, the act of disassembling and reconstructing, the fallacies and contradictions that many societal frameworks are built upon can be revealed. The artist’s ability to create contradictory and compelling works can be seen in her consistent use of fragmentation. I have taken Simpson’s notion of fragmentation, a simple descriptor of how she views the world and creates art, and morphed it from being a nebulous concept of her artistic practice into a two-part definition that describes its usage in her work. The fragmentation, in all its various forms, is a crucial formal element in accomplishing Simpsons’ mission of creating work that inspires questions more than they answer them and is also emblematic of her broader artistic practice.Bachelor of Art

Perceptions of landscape function within the field of landscape architecture

textLandscape functions are the processes that support life by rendering ecosystem services and goods. Thus, in a time of profound ecological destabilization, our future well-being depends on our ability to preserve, to enhance, and to avoid degrading landscape functions. Landscape architects have the opportunity to play a significant role in this project, but they cannot design for (or around) that which they do not perceive. Using an interpretive approach, and a sample of Texas landscape architects, this research explores which landscape functions this group of professionals readily perceives and various understandings of the concept of landscape function within the field. Participant authored photography, a written-answer questionnaire, and a photographic observation activity resulted in 539 functions that were coded and categorized using a modified grounded theory approach. Findings from this sample of landscape architects indicate a strong focus on functions related to the human user and to site use and reveal various understandings of landscape function.Architectur

On shifting ground

This research paper explores some of the transition/tension between the past and the present (old and the new) in the current socio/political transformation. Through the trajectory of my own Norwegian background, I will investigate the use of heritage and ‘soft’ nationalism within formation of national identity, and look at some artists’ response to the current political discourse, through both their art making or writing. By investigating two distinctive symbols of national heritage, the bunad and Borre National Park, I hope to shine light on the complicated balancing act of the dichotomy between inclusion and exclusion when embracing national identity through a common history. The bunad is an increasingly popular, semi-invented national costume, and Borre is the largest burial site from the Viking era in Scandinavia. Furthermore, I will also explore social anthropological thinking around Eric Hobsnawn’s concept of ‘the invention of tradition’. The paper will look at the significance of the landscape and geographical identity, as well as the symbioses between place and the concept of the nation state. Inserted into this, I will discuss some of the outcomes from the intense changeover from analogue technologies to the digital—generating new practices working across the mediums of photography, film/video and the digital. The hybrid medium specificity of the still-motion is of particular interest to my art practice. This video-formatted offspring of the slideshow allows for an expansion of the photographic medium, by viewing it through a cinematic frame, and in the process generating new narrative opportunities and registration of time. Finally, all the concerns articulated in this research will inform my final artwork exhibited in the SCA Postgraduate Degree show in December 2014; a two-piece video installation entitled On Shifting Ground

On shifting ground

This research paper explores some of the transition/tension between the past and the present (old and the new) in the current socio/political transformation. Through the trajectory of my own Norwegian background, I will investigate the use of heritage and ‘soft’ nationalism within formation of national identity, and look at some artists’ response to the current political discourse, through both their art making or writing. By investigating two distinctive symbols of national heritage, the bunad and Borre National Park, I hope to shine light on the complicated balancing act of the dichotomy between inclusion and exclusion when embracing national identity through a common history. The bunad is an increasingly popular, semi-invented national costume, and Borre is the largest burial site from the Viking era in Scandinavia. Furthermore, I will also explore social anthropological thinking around Eric Hobsnawn’s concept of ‘the invention of tradition’. The paper will look at the significance of the landscape and geographical identity, as well as the symbioses between place and the concept of the nation state. Inserted into this, I will discuss some of the outcomes from the intense changeover from analogue technologies to the digital—generating new practices working across the mediums of photography, film/video and the digital. The hybrid medium specificity of the still-motion is of particular interest to my art practice. This video-formatted offspring of the slideshow allows for an expansion of the photographic medium, by viewing it through a cinematic frame, and in the process generating new narrative opportunities and registration of time. Finally, all the concerns articulated in this research will inform my final artwork exhibited in the SCA Postgraduate Degree show in December 2014; a two-piece video installation entitled On Shifting Ground

Photography and Social Life: An Ethnography of Chinese Amateur Photography Online

This dissertation explores the ‘middle-brow’ (Bourdieu, 1990) photography practices of contemporary Chinese people in the digital era and how they produce, circulate, and consume photographic images on and off the Internet. Through participant observation and interviews with Chinese photo hobbyists and professionals working in the visual-Internet industry based in London, Beijing, or in the virtual world, it asks how the marriage between photography and the Internet in China has been similar to, or distinct from, its counterparts in the rest of the world, consolidating a vernacular photo-scape that has emerged alongside China’s booming Internet economy and socio-economic transformation over the past forty years. The research further addresses the agencies of both individuals and images, which determine what people want from photography in today’s China and what photography wants from this new networked, mediated society. The dissertation moves across persons, communities, organisations, and real and virtual sites, making it a multi-sited ethnography that traces social relations and ‘the circulation of cultural meanings, objects, and identities in diffuse time-space’ (Marcus, 1995: 96). The thesis presents a panoramic picture of the everyday practices carried out by Chinese amateur photographers, who are often imagined and categorised as the country’s middle class. The study focuses on two main aspects. The first is the activity of amateur photography, including the conspicuous consumption of photographic equipment and participation in relevant events, as well as social behaviours on and off of Internet photography platforms. The second involves the judgement and appreciation of photographic images on sites such as Tuchong, focusing on various kinds of aesthetic strategies around and within photographic images. The combination of the two has helped photo hobbyists in China to shape their values, career paths, and new identities in the context of digitalisation and the rise of social media

English cultural identity within the context of the insider andoutsider photographer

Photography is one of the creative mediums that can be used to communicate ideas between the photographer and the viewer. As much as it will sound as a cliché but most of the times a photograph can be more informative than words. As Pardo and Parr (2016: 10) suggest, “Photography has an unparalleled capacity to reflect and communicate ideas, visually and directly, about the world in which we live.” Thus, photography becomes an instrument which creates a connection between practitioner and the subject allowing to express artist’s thoughts in a creative visual way to share across the public viewer. Photography is one of the visual art mediums, which can be used to draw communities’ attention on the specific subject matter, which in the case of this thesis is English cultural identity. By using underlying understanding of identity and cultural identity, this paper will examine English cultural identity and representations of this within the photographic practice of Simon Roberts, Martin Parr and Sirkka-Liisa Konttinen. Attention will be drawn towards Simon Roberts’s ‘We English’, Martin Parr’s ‘Think of England’ and Sirkka-Liisa Konttinen’s ‘Byker’ and ‘Byker Revisited’ projects in order to explore plural visions of England from the perspective of insider and outsider photographers. Likewise, this paper will outline and critically analyze author’s practical side of this thesis where it will be essential to compare with Konttinens’ outsider position as well as to describe decision of using chosen photographic process compared to Simon Roberts