Assessment of the CORONA series of satellite imagery for landscape archaeology: a case study from the Orontes valley, Syria

In 1995, a large database of satellite imagery with worldwide coverage taken from 1960 until 1972 was declassified. The main advantages of this imagery known as CORONA that made it attractive for archaeology were its moderate cost and its historical value. The main disadvantages were its unknown quality, format, geometry and the limited base of known applications. This thesis has sought to explore the properties and potential of CORONA imagery and thus enhance its value for applications in landscape archaeology. In order to ground these investigations in a real dataset, the properties and characteristics of CORONA imagery were explored through the case study of a landscape archaeology project working in the Orontes Valley, Syria. Present-day high-resolution IKONOS imagery was integrated within the study and assessed alongside CORONA imagery. The combination of these two image datasets was shown to provide a powerful set of tools for investigating past archaeological landscape in the Middle East. The imagery was assessed qualitatively through photointerpretation for its ability to detect archaeological remains, and quantitatively through the extraction of height information after the creation of stereomodels. The imagery was also assessed spectrally through fieldwork and spectroradiometric analysis, and for its Multiple View Angle (MVA) capability through visual and statistical analysis. Landscape archaeology requires a variety of data to be gathered from a large area, in an effective and inexpensive way. This study demonstrates an effective methodology for the deployment of CORONA and IKONOS imagery and raises a number of technical points of which the archaeological researcher community need to be aware of. Simultaneously, it identified certain limitations of the data and suggested solutions for the more effective exploitation of the strengths of CORONA imagery

Research and test facilities

A description is given of each of the following Langley research and test facilities: 0.3-Meter Transonic Cryogenic Tunnel, 7-by 10-Foot High Speed Tunnel, 8-Foot Transonic Pressure Tunnel, 13-Inch Magnetic Suspension & Balance System, 14-by 22-Foot Subsonic Tunnel, 16-Foot Transonic Tunnel, 16-by 24-Inch Water Tunnel, 20-Foot Vertical Spin Tunnel, 30-by 60-Foot Wind Tunnel, Advanced Civil Transport Simulator (ACTS), Advanced Technology Research Laboratory, Aerospace Controls Research Laboratory (ACRL), Aerothermal Loads Complex, Aircraft Landing Dynamics Facility (ALDF), Avionics Integration Research Laboratory, Basic Aerodynamics Research Tunnel (BART), Compact Range Test Facility, Differential Maneuvering Simulator (DMS), Enhanced/Synthetic Vision & Spatial Displays Laboratory, Experimental Test Range (ETR) Flight Research Facility, General Aviation Simulator (GAS), High Intensity Radiated Fields Facility, Human Engineering Methods Laboratory, Hypersonic Facilities Complex, Impact Dynamics Research Facility, Jet Noise Laboratory & Anechoic Jet Facility, Light Alloy Laboratory, Low Frequency Antenna Test Facility, Low Turbulence Pressure Tunnel, Mechanics of Metals Laboratory, National Transonic Facility (NTF), NDE Research Laboratory, Polymers & Composites Laboratory, Pyrotechnic Test Facility, Quiet Flow Facility, Robotics Facilities, Scientific Visualization System, Scramjet Test Complex, Space Materials Research Laboratory, Space Simulation & Environmental Test Complex, Structural Dynamics Research Laboratory, Structural Dynamics Test Beds, Structures & Materials Research Laboratory, Supersonic Low Disturbance Pilot Tunnel, Thermal Acoustic Fatigue Apparatus (TAFA), Transonic Dynamics Tunnel (TDT), Transport Systems Research Vehicle, Unitary Plan Wind Tunnel, and the Visual Motion Simulator (VMS)

A non-contact geomatics technique for monitoring membrane roof structures

This thesis presents research carried out to monitor the behaviour of membrane structures, using the non-contact geornatics techniques of terrestrial laser scanning and videogrammetry. Membrane structures are covers or enclosures in which fabric surface is pre-tensioned to provide a stable shape under environmental loads. It is most often adopted by structural engineers as the solution to the roof of a building. Membrane structures resist extemally-imposed loads by a combination of curvature and tension of the highly flexible fabric membrane. However, collapse may occur if the real deflections exceed the designed tolerances. In order to avoid such failures in the future, a generic monitoring system, incorporating in-house software for observing and analysing the behaviour of existing membrane structures, was developed. This system has been applied to observe three different types of as-built membrane structures, with two primary issues investigated and resolved. The first aspect of the research was devoted to determining differences which exist between the designed model and the finished structure. To address this issue, terrestrial laser scanning was applied to generate the as-built model of the membrane structure. Statistical comparisons were then performed between the resultant scanned model and the designed mathematical model. The disparities were determined, allowing the factors causing these differences to be further explored. The second research issue investigated the effects of loading on the displacement of the membrane roof. A videogrammetric monitoring system employing stereo CCD video cameras was used to observe the movements of the membrane roofs. In order to accommodate constraints at the test site, a non-contact control method and structured light targeting were adopted in the monitoring scheme. Once the processing was completed, displacements occurring over time were determined. Investigations on the three types of finished membrane structures have been successfully achieved, proving the system to be a viable metrology tool for structural engineers involved in monitoring real-world membrane structures. The system effectively fulfilled the requirements for understanding the interaction of membrane surface geometry, applied loads and structural response. The information acquired by the system offers great potential to collaborating engineers who are involved in the design and refinement of such structures.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

The Powell-Cotton Dioramas and the Re-interpretation of an Idyll

This research examines the natural habitat dioramas created by Major P.H.G. Powell-Cotton, in doing so it affects a remembering of a sense of place where a diorama reflects in Mieke Bal's view a three-dimensionality that draws on architectural space; it then considers the three dimensional representation of the landscape within the diorama itself; the two-dimensional illusion of a trompe l'oeil landscape painting; and the exterior space occupied by the viewer. The Powell-Cotton natural habitat dioramas exist behind large glass screens their purpose follows an aesthetic relationship with the emergence of the natural habitat diorama and the ability to transfix perception through the re-interpretation of an idyll. The potential for this practice-based research was to explore the possibility of developing an aesthetic for sculpture and architectural space. However in focussing on the Powell-Cotton dioramas the notion of aesthetic attitude would lose ground due to their idiosyncratic, artificial, and extraordinary nature, it then prepared the basis of interpretation in establishing 'theatres of landscape' as an open concept. With landscape, a sense of place anticipates various positions and numerous delays; it recollects the cognitive knowledge brought to the prospect that involves aspects in, of and about landscape. Regarding the studio-based project, the diorama was placed between the real and the unreal, challenging Bal's rationale of the cognitive relationship of a diorama to the concept of a discursive space. Where both artist and viewer 'activates' this space with their presence, they bring their own recollection of landscape and by assigning landscape with memory the potentiality is where cognition becomes accentuated. Whereas the unknown and uncharted can refute reality, memory is dependent on what is known both formally and informally, it places the natural habitat diorama in a visual system that is both constructive and destructive. Therefore the research methodology examines the historical context of the diorama through a doctoral thesis by Karen Wonders and an analysis of Louis Daguerre's diorama by Richard Altick. Following Bal's analysis of the diorama, this created a dilemma - in what ways are the perceptions of the observer determined, and how are they undermined? Jonathan Crary and Giuliana Bruno considered the diorama's position in relation to film and film archaeology, which ultimately the diorama and natural habitat diorama could not compete with. In asking what has Powell-Cotton's museum to offer in the 21st century, this thesis examines the concept of a diorama, its objectives and correspondingly its failings. As the dioramas in the Powell-Cotton Museum were undocumented, these dioramas and their written, visual and architectural relationship to Louis Daguerre offer a contribution to knowledge concurrent with the relationship of this practice based research project. Whereupon the research diary forms the basis of a contribution to new knowledge in the construction of small and large-scale dioramas, sculpture and installations. By challenging Bal's analysis this research practice would investigate natural and projected light and the visual language of transparency, translucency and opacity in the representation of landscape and landscape as motif, and progressing to the structural implications of 2D and 3D work

Spatial Displays and Spatial Instruments

The conference proceedings topics are divided into two main areas: (1) issues of spatial and picture perception raised by graphical electronic displays of spatial information; and (2) design questions raised by the practical experience of designers actually defining new spatial instruments for use in new aircraft and spacecraft. Each topic is considered from both a theoretical and an applied direction. Emphasis is placed on discussion of phenomena and determination of design principles

Dislocations in sound design for 3-d films: sound design and the 3-d cinematic experience

Since the success of James Cameron’s Avatar (2009),1 the feature film industry has embraced 3-D feature film technology. With 3-D films now setting a new benchmark for contemporary cinemagoers, the primary focus is directed towards these new stunning visuals. Sound is often neglected until the final filmmaking process as the visuals are taking up much of the film budget. 3-D has changed the relationship between the imagery and the accompanying soundtrack, losing aspects of the cohesive union compared with 2-D film. Having designed sound effects on Australia’s first digital animated 3-D film, Legend of the Guardians: The Owls of Ga’Hoole (2010),2 and several internationally released 3-D films since, it became apparent to me that the visuals are evolving technologically and artistically at a rate far greater than the soundtrack. This is creating a dislocation between the image and the soundtrack. Although cinema sound technology companies are trialing and releasing new ‘immersive’ technologies, they are not necessarily addressing the spatial relationship between the images and soundtracks of 3-D digital films. Through first hand experience, I question many of the working methodologies currently employed within the production and creation of the soundtrack for 3-D films. There is limited documentation on sound design within the 3-D feature film context, and as such, there are no rules or standards associated with this new practice. Sound designers and film sound mixers are continuing to use previous 2-D work practices in cinema sound, with limited and cautious experimentation of spatial sound design for 3-D. Although emerging technologies are capable of providing a superior and ‘more immersive’ soundtrack than previous formats, this does not necessarily mean that they provide an ideal solution for 3-D film. Indeed the film industry and cinema managers are showing some resistance in adopting these technologies, despite the push from technology vendors. Through practice-led research, I propose to research and question the following:Does the contemporary soundtrack suit 3-D films? ; Has sound technology used in 2-D film changed with the introduction of 3-D film? If it has, is this technology an ideal solution, or are further technical developments needed to allow greater creativity and cohesiveness of 3-D film sound design? ; How might industry practices need to develop in order to accommodate the increased dimension and image depth of 3-D visuals? ; Does a language exist to describe spatial sound design in 3-D cinema? ; What is the audience awareness of emerging film technologies? And what does this mean for filmmakers and the cinema? ; Looking beyond contemporary cinema practices, is there an alternative approach to creating a soundtrack that better represents the accompanying 3-D imagery

Interaction design for live performance

PhD Thesis Multimedia item accompanying this thesis to be consulted at Robinson LibraryThe role of interactive technology in live performance has increased substantially in recent years. Practices and experiences of existing forms of live performance have been transformed and new genres of technology-­‐mediated live performance have emerged in response to novel technological opportunities. Consequently, designing for live performance is set to become an increasingly important concern for interaction design researchers and practitioners. However, designing interactive technology for live performance is a challenging activity, as the experiences of both performers and their audiences are shaped and influenced by a number of delicate and interconnected issues, which relate to different forms and individual practices of live performance in varied and often conflicting ways. The research presented in this thesis explores how interaction designers might be better supported in engaging with this intricate and multifaceted design space. This is achieved using a practice-­‐led methodology, which involves the researcher’s participation in both the investigation of, and design response to, issues of live performance as they are embodied in the lived and felt experiences of individual live performers’ practices during three interaction design case studies. This research contributes to the field of interaction design for live performance in three core areas. Understandings of the relationships between key issues of live performance and individual performers’ lived and felt experiences are developed, approaches to support interaction designers in engaging individual live performers’ lived and felt experiences in design are proposed and innovative interfaces and interaction techniques for live performance are designed. It is anticipated that these research outcomes will prove directly applicable or inspiring to the practices of interaction designers wishing to address live performance and will contribute to the ongoing academic discourse around the experience of, and design for, live performance.Engineering and Physical Sciences Research Council

Revival: Memories, Identities, Utopias

Revival: Memories, Identities, Utopias explores the phenomenon of revivalism in art, architecture and design from the nineteenth century to the present. Essays from leading scholars investigate the meanings and impacts of revivalism across a wide array of global contexts. The book?s three sections are prefaced by critical interventions, which consider the significance of ?nostalgia?, ?anachronism? and ?historicism? as philosophical, cultural, and artistic categories that are as productive as they are problematic. A thematic framework invites parallels between apparently disparate projects, such as resurgences of techniques or materials, medievialism, utopian futurism, empire and style, and the persistence of ?neo? in the midst of an ever-urgent quest for originality. Revivalism?s political, religious and economic dimensions are considered from a variety of perspectives, and the differing registers of revivalism are foregrounded in innovative and sophisticated ways. Revival: Memories, Identities, Utopias is the first book to consider these complex processes of historical layering and the stimulating dialogues struck up between materials, objects and ideas that take place across periods and places, often with surprising and controversial results. From Neo-Victorian typography and tattooing to idyllic urban planning and divine revelations, the cultural heft of revivalism is revealed as a constant and paradoxical companion of modernity

The Kodak Picture Spot sign: American photographic viewing and twentieth-century corporate visual culture

This dissertation is the first in-depth study focusing solely on Kodak Picture Spots — signs placed into the landscape that highlight particular views and promote specific subjects to photograph. Eastman Kodak Company placed these branded markers along the roadside beginning in the 1920s, in several World’s Fairs from mid-century through the 1980s, and at various Disney parks from the late 1950s until Kodak’s bankruptcy in 2012. These picture-taking signs encouraged and mediated sightseeing in order to spur photographic activity, sell product, and equate places with pictures. Using an interdisciplinary approach, the dissertation examines the roles these little-studied photographic objects and their vernacular corporate-controlled views, settings, and activities play in the acquisition and distribution of images, real and ideal. Recommended views have a long history, dating back to eighteenth-century British pre-selected vistas and lasting into twenty-first-century digital culture. Picture Spots promote what Nathan Jurgenson calls “conspicuous photography,” a unique set of expectations and actions tied to corporate culture and technology. Chapter One explores Picturesque-era precursors related to gardens, tourism, and accoutrements such as maps and optical devices, including the Claude Glass and stereoscope, in eighteenth- and nineteenth-century England and America. Chapter Two examines early American tourism and the initial Kodak campaign of an estimated 5,000 metal signs placed along new roads between 1920 and 1925. Chapter Three charts Kodak’s long-standing association with international expositions, concentrating on the 1964-65 New York World’s Fair where Kodak installed nearly 50 signs. Chapter Four considers the partnership of Kodak and Disney, starting with the debut of Picture Spot signs at Disneyland circa 1959 and subsequent incorporation into all U.S. Disney parks. The dissertation concludes with developments in smaller venues as well as contemporary corporate viewing via social media and camera phones. Selfie sticks and other accessories also aid in reifying conspicuous photography in new and interrelated ways. Due to the ubiquity of photographs today, further aggregated on the internet by enthusiasts using hashtags, picture-taking signs have developed into nostalgic objects and tourist destinations unto themselves