Letter from Annie K[ennedy] Bidwell to John Muir, 1878 Jan 21.

[3]attach your autograph. Did you know I accompanied my sister as far as Battle Mountain on her journey home. Well I did, and we stopped at Lake Tahoe, and sailed over these wonderful wa- ters from nine A.M. until four P.M. ever amazed at the varied beauties thereof. Beautiful gems seemed to sparkle in the sunlight as the spray was strown up by the boat. Even saphires of exquisite brilliancy, and emeralds, & innumerable gems. I sit now and closing my eyes see it all, and look down into the wondrous beauty of the water; silver, pearl, blue, green, [underlined: black], and [underlined: purple], and in all their varied shades. Is there else where such won- drous water? It passed any concept- tion of water I had ever had, and is to me a constant wonder & enjoyment. I had thought the water of the big Spring at Big Meadows must sur- pass all other waters, so wondrous clear & beautiful it is; but Lake Tahoe surpasses it immeasurably. I did768 [1] Rancho Chico Jan 27th 1878My Dear Mr Muir. I had set apart this evening for you, but as on similar oc- casions, have been interrupted by visit- ors, until now it is almost too late to move than commence a letter; but com- mence one I must, having really worried over my delay in responding to your very welcome received last month. General thought it so instruct- tive and interesting that he enclosed it to my sister to read; who reports that she also enjoyed it, and asks me to say to you that you will receive a pamphet, containing engraving of Sir Joseph Hooker, which will be rather out of date as she was not able to get it under six weeks from the time she[Page 2][2]ordered it, and it was a month old when she saw the copy. I am to have one also, she tells me. Recently I received a very kind letter from Sir Joseph, enclosing an excellent photograph of himself and wife. He said Dr Gray had communicated news of your sail down the Sacramento river, received from me, and that he was very anxious to learn how the expedi- tion terminated, and added “I want to hear from Muir, am writing him now.” So ere this you doubtless have re- ceived & answered his letter, but, lest you might not be able to write immediately, I ventured in my acknowledgemen of his favors to give him a few items regarding your expe- ditions. I hope you will tell him about our trip from Mt Shata, & what you saw at cinder cone, and of the [illegible] inch high tree of which I have the cone! I told Dr Gray, or rather asked Mrs Gray to, but I fear they will think me mis- taken. If you repeat it they will have assurance. I also told of the grand “Williamsonii” on Sassen. Do tell them all you can, for Mrs & Dr Gray say they are anxious to hear from you; & Dr Gray says he feels that he only had a taste where he wished a good meal & time to digest it. Mrs Gray recently sent me views of their camp on Abeyta Pass, taken by Prof. Hayden. Also a group taken while out here, of herself, Dr Gray and Sir Joseph. In the Abeyta Pass photographs the entire party is taken as it was in Colorado, including Prof. Hayden Dr Lamboon & others unknown to me, and is sufficiently large to frame and hang on the wall. Now I want [underlined: yours]. A real good one of you, too, and I want it [underlined: very] soon, for you see the collection is not complete until I have it. Also please[Page 3][6]that it was so in other countries, that in Africa certain white animals were dying out and the black surviving; that the white ate a poisonous weed the odor of which they seemed unable to discover while the black discovered it, avoided it, and lived. As the Professor was continually claiming our descent [ route?] & relationship to animals, I remarked here, [deleted: that] “Then it is different with man, for it is claimed the black is giving way before the white”. His answer was that “all circumstances being equal- ly favorable the black would survive the white. That the improved surround- ings of the white made them the stronger where as the black naturally were the stronger.” Did you ever hear such ar- guments.” How did the white get their superior surroundings? If Prof. Gunning is really a wise man I want you to tell me so I could not resist comparing the benefit derived from our intercourse with Dr Gray. Sir Joseph & yourself, to that derived from our several days with Prof. Gunning. He did not teach us one new00768 2 [4]not enjoy the surrounding scenery of Lake Tahoe as I do that of Big Meadows, and thought I could understand your compare- ison bet the two. Lake Tahoe’s scenery was sad and oppressive to me, while that of Big Meadows always is so cheerful, harmonious, and exalting. There is a gladness combined with its grandeur which impresses me with a sense of its perfection. I love to sit, and gaze, and drink it in; and each succeeding visit renders it more attractive to me. We also stopped at Virginia City and after studying to science of mining as ex- hitited above ground, descended into the Ophir mine nineteen hundred feet! I confess to being very [illegible] to descend into the blackness & depth, but the per- suasions of the party conquered, and the result was that I saw more than I had ever expected to, of mining. It was a most interesting and in- structive experience, and while thank- ful for having enjoyed the [underlined: benefit], con-[Page 4][5]fess to a joy experienced in again breathing the free air of heaven, and beholding the light of the sun. We went through the Ophir & Consolidated Virginia, and I presume you know what we saw as well as I could tell you; There were seven of us, Prof. Gun- ning being of the party. And here I want to ask you your opin- ion of that gentleman. I promise not to betray confidence, for I am really anxious to know something about him. He had letters to General and myself, and expects to visit Chico ere returning east. Is merry and amusing, but I do not believe a word he says, scientifically, and I will tell you why. First, because he con- fessed to having deceived persons rather than confess his ignor- ance. Second – because he always evaded, or deliberately im- povised answers which I knew incorrect – when cornered. An instance – He insisted that “the whole scientific world with- out exception, admits that man is evolved out of a lower ani- mal”. I replied that Dr Gray does not, [underlined: for he had so told] me. (Prof Gunning at first declared Dr Gray does, but when I added “he told me he does not”, then Prof. Gunning replied “ Well Gray does not, but he is the only one”.) To prove his theory he would constantly twist everything [underlined: twistable] into harmony with his theory. A passing drove of hogs was turned to the same account, but seemingly un- intentionally. “I notice that in California and Nevada the white hogs are giving way to the black, the black are evolved from the white: (you can see it in these hogs, they have mostly become black”. I replied “yes, but in the cause you are mistaken: The Chester white is too delicate a hog for this country’s mode of treatment, requiring great care; while the Essex & Berkshire, both black hogs naturally, [deleted: would] thrive under the hearding system and grow fat on grass, & can bear exposure to the weather, hence are the only hogs which our people can afford to keep.” This annoyed Prof. Gunning and he replied[Page 5][9]But I must say good night, pray- ing that you may be kept in safe- ty and happiness, and remain Very Sincerely Your friend Anne K. BidwellMr John Muir. 00763[second part cut off when photographed][Page 6]3 [7]thing. He assured as that the Bible is a fraud, yet quoted it to prove Adam & Eve were “people all covered with hair like ani- mals”, which he assured us the origin- al of the term “naked” signified. At Lake Tahoe, when viewing the “fish culture” establishment he announced that in the trout we could see development illustrated. That often a trout is hatched with two heads. I assured him I could not see such in the water before us, and his answer was that the two headed die. I replied that to me the argument was against his theory in as much as the monsters fail to survive. He also said all botanists, Dr Gray included, teach that plants change from one to another “Your do not mean that lily becomes a rose or a similar change occurs” I replied. He answered “yes I do, & Dr Gray will tell you so too.” I have seen a statement by “Dr Carrathers the Keeper of the botanical department of the British museum” to the [Page 7][8]effect that he has carefully studied this question but fails to find any facts to prove it, but rather the contrary. And I have an extract from his address before the geological Association on this subject, delivered last year. Also a statement by Prof. Davidson regard- ing another point on which Prof Gunning said [underlined: all] scientists agree; evolution in animal life. In this article Prof. Davidson says that after 15 years of careful study, at Prof. Darwin’s request, of the Brachiopoda, he has been unable to “produce a single actual fact in support of the theory”. Please tell me who is nearest right & in what you think Prof. G. right or wrong. Will you please tell me the name of the plant on which we spread our blankets, under those grand Abies Williamisonii, on Lassen. “Also the plant which you pronounced one of your favorites, and for which you named our camp”. I have forgotten both, and wish to know them. We congratulate you on the grand success of your recent explorations, and are truly thankful you were preserved through every danger, and arrived safely among the haunts of man. Against this last clause you may rebel, but we are none the less glad that it is true. I trust your life may long be spared to gather these stores of knowledge whereby the world is made wiser and better, and from which you derive such pure joy. We shall always be so glad to hear from you when you feel like writing and shall hope ere long to have our promis- ed visit. Just now the rain is copiously visiting us, and soon the flowers will [ show?] their pretty faces and we do hope you will be here to enjoy their beauty with us

Letter from John Muir to Jeanne C. Carr, 1865 Sep 13

[1] possibly \u2766. Trouts Mills Near Meaford Sept \u2713th [1865] _______ Mrs Carr Your precious letter with its burden of cheer and good wishes has come to our hollow, and has done for me that work of sympathy and encouragement which I know you kindly wished it to do. It came at a time when much needed, for I am subject to lonesomeness at times. Accept then my heartfelt gratitude - would that I could make a better return. E# I am sorry over the loss of Prof Sterlings letter, for I waited and wearied for it a long time. I have been keeping up an ir- regular course of study since leaving Madison, but with no great success. I do not believe that study, especially of the natural sciences, is incompatable with ordinary attention to business, still I seem to be able to do but one thing at a time. Since undertaking a month or two ago to invent new machinery for our mill, my mind seems to so bury itself in the work that I am fit for but little else, and then a lifetime is so little a time that we die ere we get ready to live. I would like to go to college, but then I have to say to myself You will die ere you ccan do anything else . I should like to invent useful machinery, but it comes, You do not wish to spend your lifetime among machines and you will die ere you can do anything else , I should like to study medicine that I might do my part in lessening human misery, but again it comes, You will die ere you are ready or able to do so, how intensely I desire to be a Humboldt [2]but again the chilling answer is reiterated, but could we but live a million of years, then how delightful to spend in perfect content- ment so many thousand years in quiet study in college, so many amid the grateful dim of machines, so many among human pain, so many thousands in the sweet study of nature among the dingles and and dells of Scotland, and all the other less important parts of our world. Then perhaps might we, with at least a show of reason, shuffle off this mortal coil and look back upon our star with something of satisfaction; I should be ashamed if shame might be in the other world, if any of the powers, virtues, essences etc should ask one for common knowledge concerning our world which I could not bestow -, But away with this aged structure and we are back to our hand- ful of hasty years half gone, all of course for the best did we but know all of the Creators plan concerning us, In our higher state of existence we shall have time & intellect for study - Eternity - with perhaps the whole unlimited creation of God as our field should satisfy us, and make us patient & trustful, while we pray with the Psalmist Teach us to number our days that we may apply our hearts unto wisdom I was struck with your remarks about our real home as being a thing of stillness and peace - how little does the outer & noisy world in general know of that real home & real inner life, happy indeed they who have a friend to whom they can unmask the workings of their real life, sure of sympathy & forbearance. I sent for the book which you recom- mend. I have just been reading a short sketch of the00359 [3]life of the Mother of Lamartine. These are beautiful things you say about the humble life of our Saviour and about the trees gathering in the sunshine What you say respecting the littleness of the number who are called to the pure & deep communion of the beautiful all loving nature , is particularly true of the hard working, hard drinking, stolid Canadians in vain is the glorious chart of God in spread out for them - so many acres chopped is their motto, so they grub away amid the smoke of magnificent forest trees black as demons & material as the sod they move upon - I often think of the Doctors lecture upon the condition of the different races of men as controlled by physical agencies-, Canada though abounding in the elements of wealth is too difficult to subdue to permit the first few generations to arrive at any great intellect- ual development, In my long rambles last summer I did not find a single person who knew anything of botany and but a few who knew the meaning of the word; and wherein lay the charm that could conduct a man who might as well be gathering mammon, so many miles through these fastnesses to suffer hunger and exhaustion was with them never to be discovered. Do not these answer well to the person described by the poet in these lines. A primrose by the river\u27s brim, A yellow primrose was to him, And nothing more - I thank Dr. Carr for his kind remembrance of me, but still more for the good patience he had with so inapt a scholar. We remember in a peculiar way those who first give us the story of Redeeming Love from the good-book of revelation, and I shall not forget the Doctor who first laid before me the great book of Nature, and though I have taken so little from his hand he has at least shown me where those mines of priceless knowledge lie and how to reach them. [4]O how frequently, Mrs Carr, when lonely & wearied, have I wished that like some hungry worm I could creep into that delightful kernel of your house - your library, with its portraits of scientific men, and so bountiful a store of their sheaves amid the blossom and verdure of your little kingdom of plants, luxuriant & happy as though holding their leaves to the open sky of the most flower-lov- ing zone in the world. That sweet day did as you wished reach our hollow, and another is with us now, the sky has the haze of Autumn and excepting the aspen not a tree has motion upon our enclosing wall of verdure new tints appear, the gorgeous dyes of Autumn are too plainly seem, and the forest seems to have found out that again its leaf must fade, our stream too has a less cheerful sound and as it bears its foam-bells pensively away from the shallow rapids in the rocks seems to feel that summer is past. You propose Mrs Carr an exchange of thoughts for which I thank you very sincerely-, this will be a means of pleasure and improvement which I could not have hoped ever to have been possessed of but then her is difficulty-, I feel that I am altogether incapable of properly conducting a correspondence with one so much above me. We are indeed, so you say, students in the same life school, but in very different classes, I am but an alpha novice in those sciences which you have studies & loved so long. If however you are willing in this to adopt the plan that our Saviour endeavored to beat into the stingy Israelites, viz. to give hoping for nothing again all will be well, and as long as your letters resemble this one before me, which you have just written, in genus, order, cohort, class, province, or kingdom, be assured that by way of reply you shall at least receive an honest Thank you Tell Allie that Mr Muir thanks him for his pretty flowers and would like to see him, also that I have a story for him which I shall tell some other time - Please remember me to my friends, and now hoping to receive a letter from you at least semi-occasionally I remain yours with gratitude John Muir address Meaford, P.O. County Grey Canada West 0035

TITTA - en metod för att skapa konstruerade perspektiv

Detta arbete skrev jag under våren 2011. Anledningen till hela arbetet är min fascination för bilder. Redan under mitt kandidatarbete såg jag hur bilder kan vara till stor hjälp för att aktivera och engagera människor. Jag ville undersöka det vidare och se hur vi som landskapsarkitekter kan använda den konstruerade bilden, perspektivet, för att förmedla våra idéer. Under olika skeden och i olika sammanhang kan vi utnyttja perspektivet för att visa våra idéer över en plats som håller på att gestaltas. Landskapsarkitekter arbetar med objekt som inte finns, vi arbetar med en föreställning om hur det kan bli. Vi måste hela tiden redovisa och beskriva våra tankar för att visa kollegor, beställare och brukare hur en plats kan förändras. Bilder finns överallt omkring oss vilket gör att många är vana vid dem och ofta förstår och kan ta dem till sig. Det gör det till ett ypperligt medium att använda för att visa nya idéer och tankar kring en plats. Det finns mycket forskning kring hur människan upplever bilder och hur bilder påverkar oss. Genom litteraturstudier har jag fått mer kunskap om bilder och bildkomposition. Det mesta som är skrivet är dock riktat till fotografer och till reklambranschen. Därför har jag även haft samtal med yrkesverksamma arkitekter och landskapsarkitekter för att ta reda på hur de använder sig av perspektiv i sin yrkesroll. Genom den teoretiska litteraturstudien och samtalen kom jag fram till ett antal punkter som är viktiga att tänka på när man ska bygga upp och konstruera ett perspektiv. Dessa är; - målgrupp och scenario - mål och bildvinkel - manér - komposition - format - färg Genom att systematiskt gå igenom alla punkter kan man sätta upp en ram för perspektivet. Ramen hjälper dig sen att förhålla dig till bilden och på så sätt bygga upp den. Ramen begränsar på ett positivt sätt genom att inte tillåta alla val vad det gäller färg, form och komposition. På så sätt kan du bli effektivare och snabbare och veta när bilden är klar utifrån din ram. För att applicera den teoretiska kunskapen i praktiken gjorde jag tre undersökande exempel. Det för att själva test hur det blir när man utgår från de olika punkterna och eventuellt kunna justera dem. De undersökande exemplen utmynnade i tre perspektiv med tre olika utgångspunkter, scenario. - möte med en uppdragsgivare, - för de boende på platsen och - medverkande i en tävling. Genom att bestämma innehållet i punkterna skapade jag en ram för vart och ett av perspektiven. Därefter började jag arbeta både med skisser för hand och i datorn för att få fram ett slutgiltigt perspektiv. Genom arbetet med de undersökande exemplen kom jag fram till en modifierad metod som är mer anpassad till arkitektens och landskapsarkitektens arbete med perspektiv. Eftersom vi gör ett perspektiv för att visa upp ett gestaltat förslag är det ytterligare aspekter som vi måste tänka på. Det vi måste ta hänsyn och ställning till är följande punkter; - målgrupp och scenario - mål och bildvinkel - uttryck - bildens helhet - tredjedelsindelningar och horisont - hitta bildens rörelsemönster - färg - tidpunkt Arbetet med teorin och praktiken tycker jag har fungerat bra och jag har verkligen blivit hjälpt av den metod som jag har kommit fram till. Det har gjort att jag mycket snabbare och effektivare kunnat färdigställt ett perspektiv. Jag har haft en grund att stå på och ett angreppssätt som gjort att jag redan innan haft ett mål. Det finns en speciell målgrupp och ett speciellt syfte med bilden vilket begränsat mina val. Det går till exempel inte tid åt att fundera vilken färgton jag ska använda eftersom jag redan valt det innan med hänsyn till syftet med bilden. Jag har själv använt mig av kollageteknik i mina perspektiv men metoden som jag kommit fram till ska gå att applicera oavsett teknik. Det viktiga är att man har ett klart syfte och mål med bilden och att man tänker på helheten. I de samtal jag har haft har det kommit upp att det är viktigt att skissa för hand för att hitta sin personliga stil. Jag håller med om det men tror definitivt att man kan hitta sin personliga stil i datorn också. Datorn erbjuder ju också möjligheten att blanda olika stilar och verktyg. Det viktiga är inte med vilka verktyg man arbetar utan att det finns en person och en idé bakom förslaget och perspektivet.I created this master thesis in the spring of 2011. The purpose of the thesis is to further investigate my fascination with images. During my Bachelor’s essay I discovered how images can activate and engage people. I wanted to use my experiences to see how us landscape architects can use the constructed image, the perspective, to convey our ideas. During the different stages of our design process as well as in different contexts, were we can use the perspective to communicate our designs. Landscape architects often work with objects that does not exist; we are working with an idea of how it could be. We must always recognize and describe our thoughts to show both colleagues, clients and users how a place can change. Images are all around us, which means that many of us are familiar with them and how to read them. That makes the image an excellent medium to use when showing new ideas and thoughts regarding a place. The purpose of this master thesis is: - to create a perspective to suit different situations - to present a method to better and faster select and design perspectives for different situations. Method To figure out how to construct perspectives for different situations, I devoted myself to literature studies, discussions with architects and landscape architects and investigations with pen, paper and the computer. Literature Study To learn more about images and image composition, I have researched a large number of books in the field of image composition and visual communication. The literature I have found at the library, on the Internet and in the reference lists of the researched books. Discussions with architects and landscape architects. Many of the books within the field are directed at photographers, artists and the advertising industry. To get an insight into how architects think about perspective, I contacted three architects and landscape architects who are working with perspectives in their professional lives. It was important for me to have discussions with professional architects to see how they make use of perspective in their profession. Investigative example To apply all knowledge I have learned through my research in to actual examples, I have constructed three perspectives from three different scenarios. Different issues can arise during a design process in which a perspective may help to convey the proposal. I have chosen to focus on examples where the actual design of the site is done. The three examples are based in situations that are recurring in a landscape architect’s work, the meeting with a client; a display for users of the new location and in a contest among several other proposals. Background Studies Through the theoretical literature review and the discussions with architects, I came to a number of important conclusions that you need to remember when you construct your perspective An image is perceived by people in seconds. We have only a short time to catch the viewer and keep her interested. The purpose of image composition is to present the contents of the image and guide the viewer to see what is essential. It is necessary to find the right target group for the image and use that as the starting point for the message of the image. Depending on whom the recipient of the picture is you can apply a different style from completely realistic to very abstract. All the pieces of the image are working together to form a whole. It is important to treat the entire image with the foreground, between the plane and background as one. Different formats have different inherent energy. The greater the difference in height and width, the greater energy the image has. We read an image from the bottom and up, and for each horizontal level the eyes runs to the right and back. This is different from a document with both text and images, which we scan from top to bottom. In both cases, however, we read from left to right and you have to balance the picture accordingly. The objects to the left should be a bit bigger so that we do not read the images too fast. On the other hand it is important to control that the left side does not block the viewer to enter the image. It is difficult to use two equal-sized volumes in the image, since it can easily become static, and the eyes rove back and forth. It is better to use a dominant side that shows where the viewer should start looking at the picture. After that you can lead the eyes into the picture through contrasts as large-small or light-dark. Find the image thirds and work with the contrasts between them. Working with intersections that arise from the thirds will lead to a dynamic picture. Consider the placement of humans in the image and use colors from the atmosphere and the purpose of the image. These are general aspects that are important to take into consideration at all times when constructing the perspective. To move forward and to create a particular perspective for a certain situation, I started to ask myself questions about the perspective. I summarized the questions into one or a few keywords. What target group is the image intended for? Who is the viewer? Where will the image appear? In what situation will the viewer be when she sees the picture? The keywords were: target group and scenario. What is the purpose with the image? What should the picture show and what will it tell the viewer? What do I want the viewer to see in the picture? These questions I summarized into: aim and viewing angle. How much will the image show? Should it be a realistic or an abstract picture? Can I use the four mannerisms? Which of the four mannerisms will the image strive against? The word I summarized was mannerism. What composition should the image have? What is important to include in the different parts of the image? What should be present in the foreground, between the plane and in the background? The keyword to describe the answers to those questions was: composition. Which format is best, based on what I want the image to convey? Should it be a restful or more energy-rich format? What is the screen size? The keyword is: the format. What feeling do I want to create in the picture? Which colors helps to set that mood? Last keyword to consider: color. The six points you must consider before you begin with your image is thus; target group and scenario aim and viewing angle mannerism composition format color I refer to the six points as specific aspects, since they are based on the specific message I want to convey through the image. By systematically going through these points you can form the framework and a foundation for your perspective. The framework will help you to conduct yourself to the image. The framework limits you in a positive way by not allowing all of the choices when it comes to color, shape and composition. This means that you will be more efficient and work faster, and you know when the image is finished according to your framework. Investigative example To apply the theoretical knowledge in practice, I made three investigative examples. I did this to be able to explore what happens when you use the specific aspects. The examples resulted in three perspectives with three different starting points, scenarios. The scenarios I assumed was a meeting with a client, an image intended for the residents on the site and an entry for a contest. By determining the contents of the specific aspects, I created the framework for each of the perspectives. After that I started working with both sketches and the computer to produce three final perspectives. Through the work of the investigative examples I concluded the method as useful to follow, but some of the aspects are less relevant. I also found some new points that are important to consider. The modified method is more suited to the architect and landscape architect’s work with the perspective. Modified method Using a method to get started and become more efficient in constructing a perspective worked very well. With a mixture of the specific aspects and my new discoveries the modified method is as follows: Target group and scenario - The target group will help you decide to whom you address the image. That way you can have one or a number of persons in mind when making your perspective. That way you can always go back and test whether your target group will understand the image. Aim and viewing angle - It is important to know the aim for the image so you know where you are going and when the image is complete. What will the image show? Expression - I found it difficult to relate to the word mannerism. What I think is important to keep in mind is what kind of expression you want your perspective to have. The longer the process has gone the more specified the proposal is and the perspective can be more and more detailed. Ask yourself how ready the proposal is. The picture as a whole - it is important to early think about what parts to include in the perspective. That way you can quickly build a foundation that is easy to dress. Find the background, between the plane and the foreground and move progressively through all three of them. Third divisions and horizon. The intersections between the third divisions are a great way to place objects and humans into the image. From there, you can easily adjust them to one side or the other. Find the horizon so that the humans are placed in the right position. Find the image motion. Make sure that the eyes always have something to cling to the edges and then are directed back into the picture. Double check that nothing is blocking your eyes or draw them away either to the right or the left. Color. Find a color palette to start with but dare to experiment. It saves a lot of time to have a set color palette to work with because you do not have to chose colors in in all the steps. Using this step, everything in the picture will also be a certain tone which makes it easier to change colors later. Time. Decide what time of day and part of the year the picture should show before you start. This helps you to many time-saving decisions. Conclusion and reflection The purpose of this master thesis was to find a method that will be applicable on all kind of perspectives. The three perspectives I have chosen to create are just examples to translate theory into practice. The reason why I chose to do practical examples and not just read in theory was to see if the specific aspects really worked in practice. The work with the examples has made me aware of important aspects to think about and relate to. This has meant that I can consciously move away from them and choose to do differently. By having an understanding of how people perceive and view the pictures I can use this awareness to construct my picture with the message I want it to convey. In landscape architecture, we use illustrations in various ways to try to demonstrate the ideas we have of the places we design. The question we should ask ourselves is whether we need a method for making images, can we just use our gut instinct and do what feels good? Would a method really help us? My response to these questions is that it is easier to be efficient if you have a foundation, a framework, to lean on. To get started with the image and to be forced to make decisions without testing first, you need guidelines. Today’s high pace, both at university and at work. By becoming aware of the choices and have a method to start with, I can streamline the process of creating a successful perspective. That way I can, in principle, always make a point of view of the context I need the image for. I have also learned that the more I read and knowledge, the more I realize that I do not know. Therefore, this thesis has stimulated me to learn even more about the images, about computer programs and to sketch more. Everything is in the hands of the person with the idea to convey

Show me how you move and I will tell you who you are

International audienceDue to the emergence of geolocated applications, more and more mobility traces are generated on a daily basis and collected in the form of geolocated datasets. If an unauthorized entity can access this data, it can used it to infer personal information about the individuals whose movements are contained within these datasets, such as learning their home and place of work or even their social network, thus causing a privacy breach. In order to protect the privacy of individuals, a sanitization process, which adds uncertainty to the data and removes some sensible information, has to be performed. The global objective of GEPETO (for GEoPrivacy Enhancing TOolkit) is to provide researchers concerned with geo-privacy with means to evaluate various sanitization techniques and inference attacks on geolocated data. In this paper, we report on our preliminary experiments with GEPETO for comparing different clustering algorithms and heuristics that can be used as inference attacks, and evaluate their efficiency for the identification of point of interests, as well as their resilience to sanitization mechanisms such as sampling and perturbation

Oxford lecture

Oxford lectur

Exeter College, Oxford lecture

Exeter College, Oxford lectur

Global Health in Lights: Hollywood's Master Storytellers & Stars Highlight Global Health in Entertainment

Sandra de Castro Buffington, director of the Norman Lear Center's Hollywood, Health & Society program, moderated this discussion which brought top TV producers, writers and performers together with key Washington policymakers to focus on how global health is portrayed in entertainment media

A workbook of exercises to stimulate interest in reading, to enrich the concepts, and to provide practice in the reading skills--grade five interest level--grade two vocabulary level

Thesis (Ed.M.)--Boston University, 1950. N.B.:Pages missing : 171, 178, 179. Only one copy was available

Most Mexicans See Better Life in U.S. -- One-in-Three Would Migrate

Presents survey results from the Global Attitudes Project on Mexicans' views on immigration, the United States, Barack Obama, Mexico's war against drug traffickers, the economy, leaders and institutions, trade and globalization, and their personal lives