Journal articles on the topic 'Photography – Special effects'

Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide the selection of what to photograph. The photographic process thereby becomes part of the process of analysis. Photography by the researcher is therefore limited by subjectivity but it also helps to highlight the role of subjective perspectives in scholarship. It can also balance a breadth or depth of perspective in ways different from institutional digitization. It could in theory foster increased textual scholarship but in practice has fostered attention to the materiality of the text.

This paper is dedicated to the photographic coverage of the alleged miraculous apparitions, which occurred in the small French village of Tilly-sur-Seulles between 1896 and 1897. These photos, circulated as postcards and appearing in popular magazines of the time such as L’Illustration and Le Monde illustré, were presented – by virtue of the authority of the photographic as an indexical trace – as “authentic” testimonials of the supernatural events, though in fact neither recognized nor approved by the Catholic Church. These photographs used the already-known double exposure process of spirit photography, bringing these exotic visual materials into the tradition of religious “authentic fakes”. But more importantly, such images manifested the “visionary fervour” of late nineteenth-century France, that is, the growing desire of the modern crowd to see the invisible in more and more spectacular and convincing ways. Such a new spectatorial desire – that can also be found in the very successful genre of the photographs of the real bodies of mystics, saints, and seers – would be perfected by a whole series of contemporary forms and attractions, and finally, by cinematographic special effects. Keywords: nineteenth century, Marian apparitions, visionaries, photography, superimposition

AbstractThis article examines images of Germany's “working world” in the 1930s and 1940s. Analyzing photos from three different genres—factory photography, special-occasion industrial photography, and the work of nonprofessional photographers—it addresses a series of questions: How was the “working world” depicted in photographs from this period? What were the different modes, functions, and effects of visual representations of work and workers in these three genres? In what ways did these photographs contribute to the (visual) production and “shaping” of memory—in terms of worker experiences, as well as with respect to attempts by the National Socialists to promote ideological notions of community-building (Vergemeinschaftung)? The main argument is that photography served as an important tool for the mobilization and self-mobilization of German workers under the Nazi regime.

For many years, the unit of the Nigerian Police Force, Special Anti-Robbery Squad (SARS) was accused of violent crimes and violation of human rights of citizens. One wondered if SARS had dual operational duties – to kill and dehumanise those it ought to protect. Between October and November 2020, multitude of Nigerian youths took to the street to demand for abolition of SARS, thus #EndSARS protest. Photography was at the heart of the social movement. Employing digital methods including compositional analysis and audience interpretation, this paper examines a selection of #EndSARS-related photographs and their accompanying comments retrieved from social media in relation to the impact on the street demonstration. I investigate the modes of creating the images and how they produce political effects. I argue that the use of images in the #EndSARS protest illuminates the rising conviction among Nigerians that photography can aid in the transformation of their precarious living conditions. These include the use of the camera in the conventional sense of framing the fleeting world. Others are digital editing of photographs, staged production and appropriation of images that may have no connection with the protest. Then, I analyse as political act the sense of obligation with which the images are produced and circulated. These lines of enquiry contribute to the emerging work on how photography and social media are converging to transform the political sphere.

Abstract This paper focuses on the nearly 200-year history of reproduction and imaging of the famous correspondence of Fronto, transmitted in a palimpsest from the Abbey of Bobbio the pages of which are now kept in the Biblioteca Ambrosiana (Milan) and in the Vatican Library. In addition to the general difficulty in accessing an undertext, these pages present different problems that compromise the reading of Fronto. The application of chemical reagents and gelatin has left organic and inorganic material on the parchment. Together with the effects of humidity and changes in temperature, these make photographic recovery a special challenge. The ways and means for creating and processing reproductions and images of this palimpsest text, from the time of Angelo Mai to modern photography and digital images, will be illustrated.

The article discusses Roland Barthes’s concepts associated with special forms of verisimilitude in photography and literature: the punctum and the "third meaning" in the photographic image: the "third meaning" can be considered as Barthes's early attempt to develop a theory of the punctum. In literary texts, the so-called "effect of reality" is examined. Punctum and the effect of reality are important elements of Barthes's intellectual project, as they both do not reduce the potential ambiguity of the work, while the conditions under which these effects occur are fundamentally different. The article compares them in Barthes's terminology and determines their place in the cultural context.

The interaction between humans and nature dramatically reveals the role of sudden and destructive events in the progressive and never-ending trend of depletion of the territorial dimension of the Belìce Valley (Valle del Belìce, Sicily, Italy). If on the one hand a tragic event, such as the earthquake of 1968, that destroyed towns and villages in the Belìce Valley, represented a moment of pain and suffering for local communities and their territories, on the other, more than 50 years after the event, we are able to shed light on the reaction to the earthquake effects through an in-depth analysis of the heritage of the physical and immaterial rubble. Our research is aimed at framing, through special geovisual tools, the paths of this rebuilding process and to verify whether the “new” interaction of humans and nature has reached an acceptable balance. After introducing the concept of landscape and investigating some local manifestations within the Belìce Valley, we tackle the technical question of re-photography as a powerful and quick method for observing the territorial changes that occurred after the earthquake. This approach is based on the collection of historical photographs and, subsequently, onsite activities for the creation of a contemporary archive of images. The method used for comparing the images was that of re-photographic overlapping, a useful technique to compare different moments of the history of a landscape and to analyze the effectiveness of the process of rebuilding. Finally, this analysis introduces us to a new perspective where in our opinion, it is possible to frame some features of the Belìce Valley and some more general aspects that are useful for other territories hit by destructive events and having to face choices related to the future of their communities.

ABSTRACTPhotography is one of the media used to introduce the character or self-image of politicians during regional head elections, or presidential elections. Among them are by displaying photos of faces or campaign activities for APK (Campaign Props) billboards, namely billboards or billboards installed on protocol roads that can be seen by the public, pamphlets, mass media, and etc. Visual media in the form of photos has a very big influence on public opinion. Photography has a visual power that is able to construct the authenticity of factual events. The purpose of this study is to find out how the process of making photography a political visual communication medium in Indonesia. The method used is descriptive qualitative with an approach through the literature study method. The results of this study can be concluded that the process of making photography a political medium of visual communication to the public is carried out in several ways, namely by recruiting special photographers themselves, designing them, and distributing them. The effect of the message generated from a photography with a good appearance is the effect of knowledge and effect of information.Keywords: Photography, Political Media, Visual Communication, Message Effects, Political Communication. ABSTRAKFotografi merupakan salah satu media yang digunakan untuk mengenalkan karakter atau citra diri politisi saat pemilihan kepala daerah, ataupun pemilihan presiden. Diantaranya dengan memajang foto-foto wajah atau kegiatan kampanye untuk baliho APK (Alat Peraga Kampanye) yakni papan reklame atau billboard yang dipasang di jalan-jalan protokol yang bisa dilihat oleh masyarakat luas, pamflet, media massa, dan sebagainya. Media visual berupa foto sangat besar pengaruhnya mempengaruhi opini publik. Fotografi memiliki kekuatan visual yang mampu mengkonstruksi keotentikan peristiwa faktual. Tujuan dari penelitian ini untuk mengetahui bagaimana proses menjadikan fotografi sebagai media komunikasi visual politik di Indonesia. Metode yang digunakan deskriptif kualitatif dengan pendekatan melalui metode studi literatur. Hasil dari penelitian ini dapat disimpulkan bahwa proses menjadikan fotografi sebagai media politik komunikasi visual kepada masyarakat dilakukan dengan beberapa cara, yakni dengan merekrut khusus fotografer sendiri, mendesainnya, dan menyebarkannya. Efek pesan yang ditimbulkan dari sebuah fotografi dengan tampilan yang baik adalah efek pengetahuan dan efek informasi.Kata Kunci: Fotografi, Media Politik, Komunikasi Visual, Efek Pesan, Komunikasi Politik.

This essay is presented that discusses the relationship between social media platforms and representations of the urban landscape. On the one hand, the various social media platforms provide unprecedented opportunities for landscape photographers. Firstly, they can share photos and videos about the urban public spaces and environment with each other timely and conveniently. Secondly, the built-in special effects of social media platforms make everyone can be the “civilian artists”. Their observations and discoveries enrich the context of urban landscape. Thirdly, photography has become a new social language with the help of social media platforms. Lastly, the mass audience and powerful infectivity of social media platforms affect the representations of the urban landscape positively. On the other hand, social media platforms also affect the representations of the urban landscape negatively. First and foremost, the lack of values in photos uploaded to social media platforms is a serious problem. Secondly, the photos and representation of urban landscape are spoiled because social media platforms stifle people’s creativity. Lastly, the attractive photos uploaded to social media platforms just represent the unreal world.

Differential expansion induced creep-fatigue resulting from temperature cycling is an important cause of solder joint failure. The deterioration of solder joint integrity typically involves a sequential development of local stressing, microcracks, crack initiation and crack propagation, ultimately resulting in electrical open-circuiting by total joint separation from the PWB footprint. To better understand the failure process, a series of combined analytical and experimental investigations have been performed on flat-pack parts with gull-wing leads ranging in height from 9 to 56 mils. JPL’s special purpose nonlinear finite element computer program has been modified to dynamically simulate the crack propagation process. Solder creep properties, including the effect of grain growth, are also incorporated into the model. Depending upon the system geometry and materials properties, the combination of crack development and grain growth may have either a positive or negative effect on the rate of cracking of the solder elements. Consequently, the crack propagation process may accelerate or decelerate as cycles progress. Sensitivity studies are used to highlight the individual effects of crack propagation and grain growth and compare the failure prediction results with those obtained using conventional finite element techniques. The analytical results are corroborated using visual observations obtained using SEM photography of test samples exposed to the thermal-cycle environment used in the analysis.

The interaction of cylindrical converging shock waves with a polygonal heavy gas cylinder is studied experimentally in a vertical annular diaphragmless shock tube. The reliability of the shock tube facility is verified in advance by capturing the cylindrical shock movements during the convergence and reflection processes using high-speed schlieren photography. Three types of air/SF6 polygonal interfaces with cross-sections of an octagon, a square and an equilateral triangle are formed by the soap film technique. A high-speed laser sheet imaging method is employed to monitor the evolution of the three polygonal interfaces subjected to the converging shock waves. In the experiments, the Mach number of the incident cylindrical shock at its first contact with each interface is maintained to be 1.35 for all three cases. The results show that the evolution of the polygonal interfaces is heavily dependent on the initial conditions, such as the interface shapes and the shock features. A theoretical model for circulation initially deposited along the air/SF6 polygonal interface is developed based on the theory of Samtaney & Zabusky (J. Fluid Mech., vol. 269, 1994, pp. 45–78). The circulation depositions along the initial interface result in the differences in flow features among the three polygonal interfaces, including the interface velocities and the perturbation growth rates. In comparison with planar shock cases, there are distinct phenomena caused by the convergence effects, including the variation of shock strength during imploding and exploding (geometric convergence), consecutive reshocks on the interface (compressibility), and special behaviours of the movement of the interface structures (phase inversion).

Regional film festivals are part of the film process and play a special role in the formation and preservation of national and cultural identity. The author of the article refers to the regional children's cinema festival. This topic is relevant because children's filmmaking is given very little attention in the space of contemporary culture (These are films made by the children themselves). We characterize this cinema as the artistic practice of “small cinema with great meaning”. The purpose of research – to identify the specific features of the cinema, as a product of children's creativity. In the course of the work, the following tasks were solved. Firstly, the features of the organization of children's film festivals and educational film studios (in Tomsk region) were studied. Secondly, an analysis of the artistic and imaginative specificity of children's cinema is given. The study was conducted on the material Children's Film Festival "Bronze Knight", the children's film studio "On a cloud" (Tomsk). Our research has shown that the experience of the regions demonstrates the success of the institutionalization of the practices of children's film-making in the format of film festivals, as well as in the form of organizing film schools. At the same time, an important organizational feature is the set guidelines for children's creativity. There are content priority setting; the need to determine value-semantic guidelines, attention to professional training; emphasis on the development of creativity, etc. Analysis of children's films, presented at the International Film Festival "Bronze Knight", enabled us to identify the characteristics of their artistic-figurative system. On the one hand, there is an orientation toward the Soviet film tradition with its distinct guidelines for the transmission of cultural value-semantic attitudes and special aesthetics. This is manifested, firstly, in themes, plots and heroes (humanistic values are glorified, respect for each other and love for their homeland, people and culture are instilled; a positive hero striving for good deeds; the presence of creative and instructive elements, a craving for intellectuality); secondly, in artistic aesthetics (close-ups, landscape photography; foreshortening; even rhythm, experiments with color: sepia, aged shots). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics of frames and rhythm, including youth discourse (slang, neologisms). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics and rhythm, including youth discourse (slang, neologisms). Thus, it should be noted that the ideological core of the artistic and imaginative system of children's films is based on the traditions of Russian cinema aesthetics, while maintaining a craving for intellectuality and spiritual and moral themes, while the visual embodiment combines the traditions of Soviet cinema and the means of modern cinema language.

Montage is one of the basic elements in cinematographic work, as it is a second production process for the work in terms of composition, habit of formulation, interconnection between shots and scenes, and also added the element of sound, special effects and color correction ... etc., due to the characteristic of this digital technique in manipulating all the elements of the image in a creative way in all Elements of work, such as decoration, accessories, adding fictional scenes ... etc., and converting them to the computer, and then acting on them through the montage completely, but this is in the field of image and sound, but there are fictional films that need to make characters who are compatible with nature, and possess capabilities Superhero and has the ability to transform into virtual bodies within the artistic work, and insert them into the cinematic space, in order to perform the functions with the rest of the elements of the cinematic medium as well as the elements of the dramatic construction, so all of the above of this the researcher raises the following question: (How is digital montage employed? In building a fictional character)? The research came as follows: Methodological framework: It includes the research problem, its importance and objectives, as well as the limits of research and the definition of terminology. The theoretical framework: It was divided into two topics as follows: The first topic: the concept of digital montage, the second topic: the fictional character: After that, the researcher reached the indicators of the theoretical framework. Research procedures: It included the research method, the research community, the research sample, the research tool, the analysis unit, and the sample analysis, which was the film (X MEN) according to the indicators that the researcher came out with from the theoretical framework. After analyzing the sample, the researcher came to a number of findings and conclusions, including: 1. The digital montage, through its advanced software, possesses the ability to create a fictional virtual character and activate its potential in the cinematic movie. 2. Digital montage can be employed after dispensing with many traditional techniques at the level of photography or montage, as well as building space and time.

Abstract.“THE RESULT OF QVO PROJECT: METAMORPHOSIS 5”If you look at each of the arts and try to see them as large containers of disciplines, we find that cinema is the most porous of all. The film has a tremendous ability to filter and take - bind - hundreds and thousands of disciplines not only inherent in the result, the film, but in all the stages involved in the creation process. To cite some examples that are found only in the most superficial layer of all film production : script writing, deco-architecture, costume design, storyboard drawing, acting work, capturing sound, camera operation, still photography, graphic design posters, video editing, audio mastering and sound, com ¬ position soundtrack etc. Over and above this surface layer film no limits, for example, a master armory, insect specialist, animal trainer, technician in augmented reality and motion capture, and 3D designer, special effects technician, historian, technical animator pyrotechnics, and even industrial engineer aerospace engineer. That is why in the QVO, Enrichment program for children gifted project we decided to work with cinema, from cinema and to make cinema.Key Words: Enrichment, High Capacity, Film, Screenplay, Building, Decorations, Performance.Resumen.Si nos fijamos en cada una de las artes y tratamos de verlas como grandes contenedores de disciplinas, comprobaremos que el cine es la más porosa de todas ellas. El cine posee una enorme capacidad para filtrar y asumir –aglutinar- cientos y miles de disciplinas no sólo inherentes al resultado, la película, sino en todas aquellas etapas que intervienen en el proceso de creación. Por citar algunos de los ejemplos que se encuentran solo en la capa más superficial de toda producción cinematográfica: Escritura de guión, arquitectura de deco rados, diseño de vestuario, dibujo de storyboard, trabajo actoral, captación de sonido directo, operación de cámara, fotografía fija, diseño gráfico de cartelería, edición de vídeo, masterización y sonorización de audio, com posición de banda sonora etc. Profundizando más allá de dicha capa superficial el cine no encuentra límites, por ejemplo, maestro en armería, especialista en insectos, adiestrador de animales, técnico en realidad aumentada y motion capture, diseñador y animador 3D, técnico de efectos especiales, historiador, técnico en pirotécnica, ingeniero industrial e incluso ingeniero espacial. Es por ello que en el proyecto QVO, programa de Enriquecimiento para niños y niñas de altas capacidades, nos hemos decidido a trabajar con el cine, desde el cine y para hacer cine.Palabras Clave: Enriquecimiento, Altas Capacidades, Cine, Guión, Arquitectura, Decorados, Actuación.

High-pressure submerged cavitation jet is widely used in the fields of material peening, petroleum drilling, and ocean engineering. The impact performance of the jet with intensive cavitation is related to the factors such as working condition and the nozzle geometry. To reveal the relationship between the nozzle divergent angle and the jet pressure on the unsteady characteristics of the jet, high-speed photography with frame rate of 20000 fps is used to record the image of the cavitation clouds. Grayscale analysis algorithm developed in MATLAB is used to study the effects of injecting condition on the special structure, unsteady characteristics, and shedding frequency of the cavitation bubbles. The impact load characteristics of the cavitation jet with different cavitation numbers and stand-off distances are recorded using a high-response pressure transducer. It is found that the cavitation number is the main factor affecting the cavitation morphology of the submerged jet. The lower the cavitation number is, the more intense the cavitation occurs. The outlet divergent angle of the convergent-divergent nozzle also has a significant influence on the development of the cavitation clouds. In the three nozzles with the outlet divergent angles of 40°, 80°, and 120°, the highest bubble concentration is formed usinga nozzle with a divergent angle of 40°, but the high-concentration cavitating bubbles are only distributed in a very small range of the nozzle outlet. The cavities generated by using the nozzle with a divergent angle of 80° can achieve good results in terms of concentration and distribution range, while the nozzle with divergent angle of 120° has lower cavitation performance due to the lack of the constraint at the outlet which intensifies the shear stress of the jet. According to the result of frame difference method (FDM) analysis, the jet cavitation is mainly formed in the vortex structure generated by the shearing layer at the nozzle exit, and the most severe region in the collapse stage is the rear end of the downstream segment after the bubble cloud sheds off. The impact load of the cavitation jet is mainly affected by the stand-off distance of the nozzle from the impinged target, while the nozzle outlet geometry also has an effect on the impact performance. Optimizing the stand-off distance and the outlet geometry of the nozzles is found to be a good way to improve the performance of the cavitation jet.

Technological changes of the late 20th and early 21st century dramatically influenced the development of the global communication space – all communication channels are rapidly changing to a digital format. The topicality of the article lies in the growing role of visual communications of various formats and computer technologies in modern society. There is an active movement toward digital presentations of the world’s cultural and artistic heritage, multimedia art museums, virtual exhibitions, and virtual tours are appearing, which also require advertising. Main objective of this study is to conduct a comparative analysis of the existing terminology and visual stylistics of the media. Methods. The research methodology is based on a multimodal approach. A number of scientific methods were used to achieve the set goal: system-structural, art historical, and comparative. The scientific novelty of this work consists in expanding and deepening ideas about the development of media as a component of design activity. The authors of the article emphasize that a fundamentally new type of communication – multi media – has acquired its own meanings, meanings and visual images. Modern visual advertising appeals should have a clear communicative structure, aesthetic level and stimulate the intellectual activity of the consumer. It is proposed to define colour graphics as a basic means of media design, and aesthetic dimensions (parameters) as cultural-aesthetic ones. Colour semantics and regional imagery are distinguished to provide the aesthetic evaluation of objects in ethnic style. Postmodernism has its own typological features: the use of any ready forms from art to utility, widespread of photography and computer special effects, deliberate violation of commensurable quantities of visual elements, borrowing the ideas from other types of art, remake, interpretation, combination, fragmentation, epatage, installation, collageness and replicability of the projects. Conclusions. The results of our comparative analysis of terminology and stylistic aspects of media resources are presented. It has been proven that visual media is not a constant, but rather a dynamic process aimed at enhancing the effectiveness of those ideas, products, services, companies, or individuals that are being promoted. Media design is defined as the design of a visual info space, an innovative stage of designing for the virtual world, and a qualitatively new stage of its development. In summary, we note that research materials allow its continuation and expansion in order to prepare a course of lectures for Masters in the specialties "Design", "Management of sociocultural activities", "Advertising and PR", "Tourism", etc.

Milch is taken from Nicolai's first solo exhibition in the UK (shown in 2001) and is a special commission for Milch's industrial space. The minimal installation is a repetition of the same groups of objects four times over. There is a CD and amplifier connected to four 9″ speaker cones by thick coils of black cable. A shallow 2 × 1 m tray containing water is placed on top of the speaker cones and sonic frequencies constantly stretch and bend the water's molecules. The surface shifts from absolute flatness through spirographic swirls to geometric grids, effects which are recorded in a series of photographs hung around the gallery.

Since early 2007, many ambitious DSC manufactures in Japan have paid special attention for built in digital effects, in order to create better quality of picture, such as: Face Detection, Smile Shutter Mode, Full frame CCD, Anti Shake system, Live View, CMOS sensor..., which were highly appreciated by many photo fans around the world, and created hot-selling record on favorite model. In fact, these fancy “Digital Technologies” could be standardized in selected new cameras right now. In late 2009, new artificial intelligence image chips such as: back-illuminated CMOS image sensor, 30x Optical Zoom (or more), Full HD Video, Sweep Panorama, Interchangeable Unit Camera System,Super High Speed ISO, Super Steady, Motion Remover.., have been promoted in new generation of camera. It could change not only the performance of new camera (DSC/DC) but to challenge the current DV market seriously, and may inspire new record-high selling again. In our experiment, we collect more than 300 cases from the telephone survey during Sep, 2010 and Dec, 2010. Total of 220 cases comply with the conditions. To probe mainly into the relationship between new generation DC Confidence level and 3 potential customers: Amateur Photographer (AP), Senior Photographer (SP), and college student (CS). That is the reason what we are probe into this highly competitively market with brilliant creative design, and hope to offer an objective suggestion for both industry and education administers.

Abstract The knowledge of snowpack distribution at a catchment scale is important to predict the snowmelt runoff. The objective of this study is to select and quantify the most important factors governing the snowpack distribution, with special interest in the role of different canopy structure. We applied a simple distributed sampling design with measurement of snow depth and snow water equivalent (SWE) at a catchment scale. We selected eleven predictors related to character of specific localities (such as elevation, slope orientation and leaf area index) and to winter meteorological conditions (such as irradiance, sum of positive air temperature and sum of new snow depth). The forest canopy structure was described using parameters calculated from hemispherical photographs. A degree-day approach was used to calculate melt factors. Principal component analysis, cluster analysis and Spearman rank correlation were applied to reduce the number of predictors and to analyze measured data. The SWE in forest sites was by 40% lower than in open areas, but this value depended on the canopy structure. The snow ablation in large openings was on average almost two times faster compared to forest sites. The snow ablation in the forest was by 18% faster after forest defoliation (due to the bark beetle). The results from multivariate analyses showed that the leaf area index was a better predictor to explain the SWE distribution during accumulation period, while irradiance was better predictor during snowmelt period. Despite some uncertainty, parameters derived from hemispherical photographs may replace measured incoming solar radiation if this meteorological variable is not available.

Objectives: In this functional magnetic resonance (fMRI) study, we investigated the activation of cerebral pathways involved in the elaboration of self-retracting photos (SELF) and the same pictures of others (OTHER). Each of the photographs showed one of the participants during different stages of the rehabilitation: pre-treatment (PRE), virtual planning using “Smile-Lynx” smile design software (VIR), and post-rehabilitation (POST). Methods: We selected eighteen volunteers, both male and female, between 22 and 67 years of age, who previously underwent prosthetic rehabilitation. Each of them was subjected to an fMRI acquisition. Various stimuli were then shown to the subjects in the form of self-retracting photographs and photographs of other participants, all in pseudo-randomized order. We then carried out a two- stage mixed-effects group data analysis with statistical contrast targeting two main effects: one regarding the main effect of Identity (SELF vs. OTHER) and the other regarding the effect of the prosthetic rehabilitation phase (PRE vs. VIR vs. POS). All the effects mentioned above survived a peak-level of p < 0.05. Results: For the effect of identity, results reported the involvement of dorsolateral frontoparietal areas bilaterally. For the phase by identity effect, results reported activation in the supplementary motor area (SMA) in the right hemisphere. A stronger activation in observing self-retracting photos (SELF) post-treatment (POST) was reported compared to the other phases considered in the experiment. Conclusions: All the collected data showed differences regarding the main effect of Identity (SELF vs. OTHER). Most importantly, the present study provides some trend-wise evidence that the pictures portraying the subject in their actual physiognomy (POST) have a somewhat special status in eliciting selectively greater brain activation in the SMA. This effect was interpreted as a plausible correlate of an empathic response for beautiful and neutral faces. The present research suggests a possible way to measure self-perception of the subject after an appearance-altering procedure such an implant-prosthetic rehabilitation. However, future clinical studies are needed to investigate this matter further.

Prior to the advent of digital image processing technology, image composition primarily used human vision to identify colors and artificially convert them. However, manually synthesizing and transforming graphics images will not only consume a lot of manpower, time, and energy but also due to manual limitations in the process of synthesizing and coloring the pictures, the resulting pictures cannot meet people’s needs. In order to improve the speed and quality of image synthesis, and to synthesize the pictures people need more quickly and accurately, this article synthesizes the image based on the movement calculation across the selected area of the image and analyzes the photographic darkroom special effects of the synthesized image to simulate the artistic effect. Using case analysis method, literature analysis method, and other methods, the database was collected and a model of photographic darkroom stunt simulation artistic effect recognition was built. The results of the study found that the composite image based on the movement calculation across the selected area of the image is better than the composite image of other algorithms, and the quality of hue and saturation is more than 30% higher than other synthesis methods. It should be verified by experiments. The results are significantly different. This shows that the composite image based on moving calculation across the selected area of the image can achieve good results in the photographic darkroom stunt simulation artistic effect.

Film continuity supervision is a craft historically dominated by women. Yet, several years since Melanie Williams’s pathbreaking article on David Lean’s continuity supervisors, scholarship on this deeply gendered area of film production expertise remains lacking. In response, this dossier contribution will introduce Pamela Davies’ film continuity stills, catalogued by the author at the Bill Douglas Cinema Museum during an AHRC-funded placement (2018–2019). Davies secured the desired consistency of dialogue, cinematic staging and special effects in British cinema from 1948 to 1985, beginning with the post-war cycle of historical drama in widescreen and colour. Taking a multi-faceted archival approach, I discuss how photographs in the collection snapshot Davies at work and the stills photographers who collaborated with her during a transformative period in British cinema. Examining the stills in their material, craft and commercial contexts will raise new questions about continuity work and make the collection more accessible for researchers.

New technologies, such as 3D printers and autonomous cars for instance, originating from advances in Computer Vision and other fields, have been causing an increasingly high interest in robust pipelines for 3D reconstruction of real environments and objects. Through use of 3D reconstruction methods, it is possible to create an application that takes digital photographs of an observed scene as inputs and is capable of obtaining a 3D model that represents it. This model could then be used in a wide range of applications, such as game asset generation, video manipulation with special effects or object replication with the use of a 3D printer, for instance. In this paper, we address, present and discuss methods that concern the different stages of a traditional 3D reconstruction pipeline from digital images only in the implementation and use of computational tools that were capable of generating 3D models that represent a scene observed these images with high fidelity.

AbstractHistorical aerial photographs represent a special cultural asset for preserving information about land cover and land use change in the twentieth century with a high spatial and temporal resolution. A current topic is the digitisation of historical images to make them accessible to a wider range of users and to preserve them from age deterioration. For a photogrammetric evaluation, a high geometric stability and accuracy during the digitization process is required. In this work, the resolving power and geometric quality of a Phase One iXM-MV150F high-performance camera was investigated, which is used at the Landesamt für Geoinformation und Landentwicklung Baden-Württemberg in the project ‘Digitaler Luftbildatlas Baden-Württemberg’ for the digitisation of historical aerial photographs. The resolving power of the system was empirically measured and analysed. The required modulation transfer function was determined using Siemens stars. With this method, the significant influence of the focus setting and deviations of the plane-parallel alignment could be determined. Using a digitised aerial survey of the Vaihingen/Enz test field, the impact of the above-mentioned effects and the influence of the geometry of the scanning camera on the quality of the derived data products was shown in comparison to a photogrammetric scanner. The comparison showed that dedicated photogrammetric scanners still achieve a higher accuracy, even if a high-quality optical system is used for the digitising stand with the document camera. Further investigations are justified to improve the accuracy and stability of digitising the aerial image with a document camera.

(1) Background: This study investigated the changes in step frequency, walking ability, and standing posture of students with intellectual disabilities by integrating step training into the students’ physical education curriculum; (2) Methods: The centroid formula was used to estimate the geometric center of the students’ bodies in video footage of each participant. Each participant’s stepping frequency per minute was recorded. After training, the teachers involved were interviewed regarding the participants’ everyday activities in school. Each step training session was recorded by two video cameras. Each step training session was observed and photographed by a senior physical education teacher with special education qualifications; (3) Results: The step training increased the stability of the participants’ body axes. The participants’ average steps per minute of the participants significantly improved from 24.200 ± 7.554 to 28.700 ± 8.629. Additionally, despite the students exhibiting anxious behavior (e.g., squeezing their hands and grasping at their clothes) at baseline, the frequency of these behaviors decreased significantly from week 4. Overall, the students’ daily activities, motivation, interpersonal interaction, self-confidence, and anxiety behaviors improved; (4) Conclusions: After the 8-week step program, the participants with intellectual disabilities improved their step frequency, movement stability, ability to perform daily activities, walking speed, motivation, interpersonal interaction, and self-confidence, and they exhibited a lower level of anxiety-related behaviors.

With the continuous enhancement of computer technology, digital technology brings more convenience to people with its powerful functions. After the digital technology is applied to the design field, it greatly expands the creative space of art design. In the digital age, fabric printing and dyeing design needs to be combined with digital technology under the guidance of art theory. Traditional flat patterns can no longer satisfy people’s pursuit of visual illusion patterns with a sense of space and three-dimensionality. The use of computer representation can realize the innovative artistic design and can directly generate various highly creative visual images in the computer according to the theme and creative needs. We input the digital data related to the fabric, such as graphics, photographic photos, logos, fonts, and textures, into the computer and then use various application software to perform various special effects on them to produce creative, unique, and surprising picture effects. In the aspect of exploring the meaning of the theme, the application of spatial expression means is studied, and practical research is carried out to guide the design of works with spatial beauty and creativity. In view of the neglect of artistic design, on the basis of studying the space art expression of traditional printing and dyeing process patterns, the traditional space art expression is combined with computer image processing technology. And special techniques are used to create differences in various textile fabrics and garments. We use the software of digital art design to carry out the artistic creation practice of spatial expression. Through the application of computer software functions, combined with the guidance of spatial expression techniques, the design comparison of patterns is carried out, which provides design practice ideas for the integration and innovation of traditional printing and dyeing technology and modern design. The implementation of the visual material colouring programming system reduces the coupling between artists and programmers and reduces the coupling between art collections and producers. The colouring program in the process of art pattern development improves the efficiency of art design.

Abstract The scope of this project is the investigation of the possible occurrence of force-like effects of potentized preparations. Based on earlier work [1, 2] we have chosen two preclinical models: a droplet evaporation method applied on wheat seeds and a bioassay with cress stressed with colchicine. In both methods we investigate if potentized and not potentized substances exhibit force-like effects. We study two types of potentization procedures. First we study classical homeopathic potentization (Natrium muriaticum 30cH) and compare it with unpotentized NaCl 0.9%. Second, we study anthroposophic potentization (Iscador, mistletoe (Viscum album L.) extracts treated with a special mechanized pharmaceutical process) and compare it with unpotentized mistletoe extract (not mechanically treated). Droplet evaporation method is performed as described in detail elsewhere [1]. In short: wheat seeds were placed in the inner space of bilayer recipients, whereas, in the outer space (i) the unpotentized substance, (ii) the potentized substance, or (iii) a water control is placed. After one week wheat seeds are removed from the recipients and placed in water for 1h. Droplets of the obtained leakage were evaporated on glass-slides in controlled conditions. The droplet residues are photographed in magnification 100x and analyzed for fractal dimension. Cress growth test is performed as described in detail elsewhere [2]. For the study of force-like effects, ampoules of the above mentioned substances and ampoules of water for injection are placed for 2 days in recipients filled with purified water. Subsequently 20 µg/ml colchicine were added. The so prepared water is used to grow selected cress seeds in bags for 4 days. The plants grow in darkness under controlled conditions and show a morphological malformation due to the colchicine. The length of the root and shoot at each plant is measured and the root/shoot ratio is calculated, to determine if there is any difference between the treatments. 1. Kokornaczyk, M.O., S. Baumgartner, and L. Betti, Preliminary study on force-like effects between As45x, water, and wheat seeds performed by means of the droplet evaporation method. International Journal of High Dilution Research, 2015. 14(2): p. 17-19. 2. Baumgartner S, Flückiger H, Kunz M, Scherr C, Urech K. Evaluation of Preclinical Assays to Investigate an Anthroposophic Pharmaceutical Process Applied to Mistletoe (Viscum album L.) Extracts. Evid Based Complement Alternat Med. 2014: Article ID 620974.

Building its present identity from the reimagined recollections of a past age of industry, the steampunk movement’s array of antiquated yet spectacular machines have become hallmarks of our fascination with technology’s history. In this article, I will trace the movement’s retrofuturistic sensibilities through a wave of short films and web series that set themselves within worlds that are constructed from anachronistic devices that belong to neither the past nor the present. Instead, these are texts that, whether constructed by amateur filmmakers, professionals - and a range of practices in-between - use their science fictional identities to disrupt the seemingly linear trajectory of our media’s historical progress. Through them, the aesthetics of nineteenth-century photographic techniques and special effects are reimagined through the lens of current streaming platforms, modern computer-generated imagery and a new breed of maker cultures who desire to conflate cutting-edge innovation with the first wave of invention and experimentation that breathed life into our visual media. Most significantly, however, by exploring the proliferation and popularization of neo-Victorian machinery within the vast array of short films that have been both distributed and produced through highly digitized practices, the steampunk genre will be used to examine representations of craftsmanship and “making” that have become embedded within contemporary popular culture.

Photogrammetric acquisition with unmanned aerial vehicles (UAV) has grown extensively over the last couple of years. Such mobile platforms and their processing software have matured, resulting in a market which offers off-the-shelf mapping solutions to surveying companies and geospatial enterprises. Different approaches in platform type and optical instruments exist, though its resulting products have similar specifications. To demonstrate differences in acquisitioning practice, a case study over an open mine was flown with two different off-the-shelf UAVs (a fixed-wing and a multi-rotor). The resulting imagery is analyzed to clarify the differences in collection quality. We look at image settings, and stress the fact of photographic experience if manual setting are applied. For mapping production it might be safest to set the camera on automatic. Furthermore, we try to estimate if blur is present due to image motion. A subtle trend seems to be present, for the fast flying platform though its extent is of similar order to the slow moving one. It shows both systems operate at their limits. Finally, the lens distortion is assessed with special attention to chromatic aberration. Here we see that through calibration such aberrations could be present, however detecting this phenomena directly on imagery is not straightforward. For such effects a normal lens is sufficient, though a better lens and collimator does give significant improvement.

Abstract In 1998, the source materials of the Polish Ethnographic Atlas - collected over many decades with the participation of the Institute of History of Material Culture (a unit of the Polish Academy of Sciences) and several leading ethnological centres - were moved to the Cieszyn Branch of the University of Silesia (currently the Faculty of Ethnology and Education). It was then that Z. Kłodnicki, the editor of the PEA, came up with the idea to continue and finish the atlas studies. However, the work on fulfilling the PEA, the biggest project in the history of Polish ethnology, is still going on. Nowadays, the materials of the Polish Ethnographic Atlas constitute a precious, unique in the national scale, documentary base. For several years, a lively cooperation has taken place between the PEA staff (representing the Faculty of Ethnology and Education of the University of Silesia) and various cultural institutions, government and non-government organizations. The discussed projects are usually aimed at the preservation and protection of the cultural heritage of the Polish village as well as the broadly related promotion actions for activating local communities. The workers of the Polish Ethnographic Atlas since 2014 have been also implementing the Ministry grant entitled The Polish Ethnographic Atlas - scientific elaboration, electronic database, publication of the sources in the Internet, stage I (scientific supervision: Ph.D. Agnieszka Pieńczak). What is an integral assumption of the discussed project is the scientific elaboration of three electronic catalogues, presenting the PEA resources: 1) field photographs (1955-1971) 2) the questionnaires concerning folk collecting (1948-1952), 3. the published maps (1958-2013). These materials have been selected due to their documentary value. The undertaking has brought about some measurable effects, mostly the special digital platform www.archiwumpae.us.edu.pl. This material database of ethnographic data might become the basis for designing various non-material activities aimed at preserving the cultural heritage of the Polish village.

46 Background: To report early results obtained in a prospective group of patients (pts) treated with whole breast IMRT radiotherapy plus a brachytherapy boost to the tumor bed after conservative surgery, given either with hypofractionated or normofractionated radiotherapy. Methods: Between 12/2008 and 06/2014, 829 pts with <4cm, N0-2 breast cancers treated with conservative surgery were assigned to enter the study. Pts were offered to be treated either with IMRT hypofrationated whole breast and lymphnode areas (if needed) radiotherapy 42.6 Gy (266cGyx16 fractions) plus a 7 Gy boost to the tumor bed, (hypofractionated group) or IMRT normofractionated 50 Gy (200cGyx25) to the whole breast and lymphatic areas (when needed) plus 16 Gy brachytherapy boost (200cGyx8 fractions) (normofractionated group). Treatment assignation was done according to the patients preference or, if none, were randomly assigned to have both groups uniformly balanced. During treatment and follow-up special attention was taken to early and late side-effects, breast fibrosis, arm lymphedema, skin reaction, patient satisfaction and local, regional and distant disease control. Results: A total of 309 pts were included in the hypofractionated group and 520 in the normofractionated group. All patients completed treatment. Pts were evaluated weekly during treatment and every 3 months for the first 2 years of follow-up and in a yearly basis after. Photographs were taken at each visit. SOMA-LENT scales were used in every visit. For quality of life EORTC QLQ-C30 plus the BR-15 module were used. No pts had adverse side-effect that required treatment ending in any group. In the hypofractionated group, there were 1 LR, 1 M1 and 1 death due to the disease. In the normofractionated group there were 12 LR, 7 M1 and 4 patients died due to the disease. Conclusions: Hypofractionated IMRT to the whole breast followed by a 1 fraction HDR breast implant was a safe and effective method of treatment for early breast cancer treated with conservative surgery, even in those patients N+ in which the supraclavicular fossa was included in the treatment fields. Pts satisfaction was greater in the hypofractionated group.

AbstractPart of results of the multi-epoch intranight optical spectroscopic monitoring of the Markarian 6 nucleus carried out at the telescopes of 6-m of the Special Astrophysical Observatory (Russia), 2.6-m of the Byurakan Astrophysical Observatory (Armenia) and 2-m of the Tautenburg Observatory (Germany) is presented.Observations were made in 1979, 1986, 1988-1991 and 2007-2009 during a total of 33 nights with an average sampling rate of 4 spectra per night. TV-scanner and long-slit spectrographs equipped with Image Tube and CCD detector arrays were used. Altogether we analyzed 110 Hβ and 58 Hα region spectra to search for intranight variability in the broad hydrogen emission line profiles. The typical spectral resolutions were 4 Å for scanner spectra, 6 Å for photographic spectra, and 5 Å and 10 Å for CCD spectra. The S/N ratio at the continuum level near the Hβ and Hα lines was in the range 15–50.The purpose of the search was to look for the characteristic variability signatures of different kinematical models of the broad emission-line region. We considered the centering and guiding errors which can result in differences between spectra.We found variations in the broad Balmer line difference profiles on time scale of hour with the level of significance of 3.6 σ to 5.0 σ. Variations take the form of narrow, small bumps located at the blue and red sides or only at the blue side of the lines. In the intermediate level of broad line flux, the Hβ and Hα profiles show fine structure. Detected profile changes occurred at the same radial velocity shifts as the details in the fine structure.The variability is at least 2 orders of magnitude more rapid than any observed for broad Balmer line profiles in AGNs that we are aware of in the literature.Discovered extremely rapid line-profile variability may be associated with reverberation effects. Two-sided profile changes may indicate the response of circularly rotating hydrogen clouds in the BLR to a light pulse from a central source. One-sided profile variations may be attributed to a response of a non-disk component: the subarcsec scale region of the jet.

Objective: An appropriate source of adult stem cells for therapeutic use is stem cells deriving from the hair follicle bulge. Following injury, ischaemic tissues produce a variety of cytokines and growth factors that are essential for tissue repair. This study sought to investigate the temporal effects of hair follicle bulge stem cells (HFSCs) on cutaneous wound healing in rats using the SDF-1α/CXCR4 axis. Method: HFSCs obtained from rat vibrissa, labeled with DiI and then special markers, were detected using flow cytometry. The animals were divided into five groups: control (non-treated, n=18), sham (PBS, n=18), AMD (treated with AMD3100, n=18), HFSC + AMD (treated with HFSCs + AMD3100, n=18) and HFSC (treated with HFSCs, n=18). A full-thickness excisional wound model was created and DiI-labeled HFSCs were injected around the wound bed. Wound healing was recorded with digital photographs. The animals were sacrificed 3, 7 and 14 days after the surgery and were used for histological (H&E, Masson's trichrome staining) and molecular (ELISA and q-PCR) assays. Results: The flow cytometry results demonstrated that HFSCs were CD34-positive, nestin-positive, but Kr15-negative. The morphological analysis of the HFSC-treated wounds showed accelerated wound closure. The histological analysis of the photomicrographs exhibited more re-epithelialisation and dermal structural regeneration in the HFSC-treated wounds compared with the control group. In the HFSC + AMD group, the histological parameters improved on the same days, but showed a significant decrease compared with the HFSC group in all the days assayed. In the AMD group, there was a significant reduction in the noted parameters. qRT-PCR and ELISA showed a high expression level of SDF-1α, CXCR4 and VEGFR-2 in the HFSC-treated wounded skin tissue, but the expression of CXCR4 and VEGFR-2 showed a significant reduction in the HFSC + AMD group compared with the HFSC group. Conclusions: Based on the findings of this study, HFSC transplantation affects wound closure parameters and the expression of SDF-1α and CXCR4. As the SDF-1α expression level increases in the injured area, the HFSCs contribute to wound repair through the SDF-1α/CXCR4 axis. This result is extremely valuable because it raises the possibility of wounds healed by isolating autologous HFSCs from the patient.

AimsTo improve communication with patients and carers by sharing information in an easily comprehensible manner.BackgroundAccording to the department of health guidelines, there is legal requirement to provide copies all clinical correspondence to the patients. Therefore, after any clinic review, letters summarizing the consultation are sent out to GP and patients are copied in. However, these are not very meaningful for patients with special needs, as they struggle to comprehend information. Previous studies have shown that patients with learning disability would prefer letters in a simple language and would also like to participate in the decision making process. According to Accessible Information Standard, we have a legal obligation to deliver information to our service users in an easily understandable manner. We undertook a quality improvement pilot project of easy read templates to improve the understanding of patients and their carers/families.MethodA standard easy read template was co-produced after collecting feedback from different service users and clinicians. Pictures were incorporated into the questionnaire to facilitate understanding. We collected reviews over a period of 2 months from Nov 2019- Dec 2019. This proforma did not replace the routine clinic letter send out to the GP and the patients. This easy read template began with the introduction of the doctor (with photograph) and it encompassed mental health, physical health, current medication (and the benefits and side effects if any) and changes of medication. It also included epilepsy and the risks (risks to self and to others), vulnerability, behaviours of concern and the day-to-day activities that a service user engages in and finally about the plan formulated at the end of the consultation. At the same time, there was a separate form (with self-explanatory pictures), which collected feedback about the above mentioned appointment outcome review form.ResultTemplates were handed out to 65 patients and carers, and 60 completed the form. All patients found the template useful and helpful, mainly because it was easily comprehensible, with pictures, and also “provided instant updates”.ConclusionThis easy read template improves patients’ understanding and participation in the clinic review. This contributes to greater patient satisfaction. As Specialist Learning Disability services, we need to ensure that information is imparted to the patients and the carers in an easily understandable manner and this easy read template should be incorporated in the routine clinic practice.

AbstractThe relative positions of the thermal convection column and the smoke plume from a variety of smoldering cigarettes were measured using a combination of schlieren and visual optical systems. The schlieren technique is an optical method used to observe refractive index gradients in gases and other clear media. The refractive index gradients can be caused by variations in pressure, composition or temperature. The convection column of heated air and combustion gases rising from a cigarette coal was observed with a two mirror schlieren system. A video camera was used as the observing device rather than the usual photographic camera. A second video camera was arranged to view the smoke plume rising from the coal region. The two video images were combined with a video special effects generator and were viewed on a single monitor. The behaviour and relative positions of both columns were thus observed in real time with two non-invasive optical methods. The schlieren images of the convection column were compared to those of model systems such as a heated cylinder and a small flame. Results for experimental cigarettes with paper porosities of 12 cm/min to 48 cm/min (Coresta) during smolder showed that the thermal convection column was centered 2 mm to 3 mm in front of the paper char line directly over the hottest part of the coal as determined by infra-red imaging. The smoke plume was centered 2 mm behind the paper char line and the position did not change with paper porosity. Results for experimental cigarettes made with a commercially available low sidestream paper showed that the position of the convection column did not change. However, the position of the smoke plume changed considerably. In addition to being markedly decreased in visibility, the plume now appeared to be centered directly over the paper char line. This change in position provides a valuable insight into the mechanism of smoke reduction. The low sidestream papers seem to work by preventing the escape of smoke forming condensibles through the paper behind the paper char line. The condensibles are therefore forced to escape at the paper char line and undergo increased combustion and pyrolysis. As a result, some are converted to lower molecular weight materials and are unable to condense as readily to form the smoke. In addition, the remaining condensibles are released into a hotter and faster rising gas stream. This serves to reduce smoke formation by suppressing condensation and increasing dilution.

This issue of the journal Les/Wood is special for several reasons. Most of the related activities were carried out during the Covid-19 lockdown, which was very challenging for our authors, reviewers and editorial board. However, despite all the inconveniences caused by the pandemic, four eminent scholars from abroad joined the journal and its editorial board. Among them are: Prof. Manuela Romagnoli, PhD, Department of Innovation of Biological Systems, Food and Forestry DIBAF, Tuscia University, Viterbo, Italy; Prof. Denis Jelačić, PhD, Faculty of Forestry, University of Zagreb, Croatia; Krishna K. Pandey, PhD., Institute of Wood Science & Technology, Indian Council of Forestry Research and Education, Bangalore, India; and Alan Crivellaro, PhD, Department of Geography, University of Cambridge, UK. We are glad that they accepted our invitation, and we hope for fruitful further cooperation, which is undoubtedly very important for the international recognition of the journal. In this issue we are publishing seven scientific articles, four of them in English. We are especially pleased that there are new names among the authors, and young authors in particular. Two of them have already acquired prestigious projects, while another two are at the beginning of their PhD studies and publishing articles in a scientific journal for the first time. Kavyashree Srinivasa, PhD from India has obtained a project (NewSiest-867451) under the EU research innovation programme H2020, MSC-IF (Marie Skłodowska-Curie – Individual Fellowship), which proves the excellence of her research. As part of the two-year project, she is currently employed at the Department of Wood Science and Technology, Biotechnical Faculty, University of Ljubljana, pursuing detailed post-doctoral research under the mentorship of Prof. Marko Petrič, PhD. She completed a master’s degree in chemistry and obtained her PhD from the Institute of Wood Science & Technology in Bangalore (FRI DU, Dehradun), India. She was a recipient of the Ron Cockcroft award from the International Research Group on Wood Conservation (IRG-WP) in 2013. Arnaud Maxime Cheumani, PhD from Cameroon has acquired the project “SilWoodCoat”, which bears the “Seal of Excellence” and is funded by the ARRS, a testament to the outstanding nature of both the researcher and the project. He currently works at the Department of Wood Science and Technology, Biotechnical Faculty, University of Ljubljana under the mentorship of Prof. Marko Petrič, PhD., developing silicate-based wood coatings. He is a chemist by basic education, but in his research focusses mainly on polymers and polymer composites connected to wood science. He obtained his PhD from the University of Bordeaux-France in 2009, and is an assistant professor at the University of Yaoundé 1 in Yaoundé in Cameroon. Prior to this he worked on several research projects dealing with wood-cement composites, liquefied wood, development of wood coatings, wood modification with poly (lactic acid) and composites made of natural polymer fibres. Nina Škrk has been working as a young researcher under the mentorship of Prof. Katarina Čufar, PhD at the Department of Wood Science and Technology, Biotechnical Faculty, University of Ljubljana since the autumn of 2019. She is enrolled in the PhD study of Biosciences, Wood and Biocomposites. In her research she focuses on the effects of climate change in the 21st century on trees and wood. This is her first publication of a scientific article in a scientific journal. Irena Sochová has been a PhD student at Mendel University in Brno, Czech Republic since November 2019. She works within the Wood Processing and Timber Technology programme with a focus on dendrochronology. The main topic of her dissertation is the oak tree-ring standard chronology as a tool for dendro-archaeological analyses in the Western Ukraine. Currently she is also employed at CAS, the Global Change Research Institute in the Czech Republic. This is her first publication of a scientific article in a scientific journal. The main feature of this issue is the introduction of the practice of the world’s leading scientific journals regarding open access of their research data, which is basis for (empirical) scientific articles. We joined the activities of the RDA (Research Data Alliance) of the Slovenian hub, which is coordinated by the Social Science Data Archive with the support of the RDA EU 4.0 project. Thus, one of the articles in this issue (Škrk et al., 2020) is accompanied by the publication of the scientific data (photographs), which are freely available through the Repository of the University of Ljubljana (RUL). In publishing the data we were guided by Mojca Kotar, PhD from University Library Services, University of Ljubljana, Janez Štrebe, PhD from the Faculty of Social Science, University of Ljubljana, by Sebastian Dahle, PhD from Department of Wood Science and Technology, University of Ljubljana, and by Darja Vranjek from INDOK, Department of Wood Science and Technology, Biotechnical Faculty, University of Ljubljana. Thank you all for your work, we truly appreciate your efforts. Special thanks go to all the reviewers of the Les/Wood journal, who did excellent job once again in a very short time. In addition, we would like to thank the technical support team, proof-readers Paul Steed and Darja Vranjek, librarian Maja Valič, technical editor Anton Zupančič and designers from DECOP d.o.o., Železniki.

This is a case series study on patients suffering from Vitiligo. The study was carried out on 30 outdoor patients taking regular ayurvedic medicinal treatment. Patients from both sexes, from age group 10 to 60 years complaining mainly as white patches were studied. Patients were treated with Ayurvedic bodypurification treatment i.e.( Panchakarma) Bastikarma. Duration of treatment was of 7 days with monthly follow-up for 3 months. The response to treatment was observed in terms of reduction in area of patches after treatment. Most important factor noted was trigger or sudden upsurge of repigmentation after the treatment. The treatment was effective in all types of vitiligo. The results of internal medications & local treatment were aggrevated specially after Bastikarma. So Bastikarma was very effective in vitiligo. Introduction Vitiligo, in which whitish patches of skin patches appears on skin is very complex disease. Many a times, it is manifestation of some underlying hormonal or immunological abnormality. It creats a very bad social stigma for the victims. In Ayurveda it is called as ‘shwitra’.1 As per Ayurveda, it has same causative factors as kushtha i.e. leprosy. It is without discharge, vitiated with three doshas i.e.Vata, Pitta, kapha. It is associated with rakta (blood), mansa (Muscle tissue) and meda ( lipid) dhatus.2 Unbalanced diet (Virrudhahara) is also an important cause. It is different from Leprosy (kushtha) in respect that it is non-contagious, non-bacterial, it doesn't destroys body tissues, doesn't have any discharge (vyadhiswabhava). Leprosy (Kushtha) deeply goes up to all Dhatus. Vitiligo (shwitra) occupies only skin, blood, muscle tissue (mansadhatu) and fat (medadhatu). Treatment needs a holistic approach. There is imbalance of regulating hormones for melanin synthesis. For homeostasis or balancing of hormones & body, Ayurvedic body purification treatment i.e. Panchakarma is very useful. In fact in Ayurveda it is described as powerful treatment & should be done before commencing any medical treatment for most of the diseases.1 Prognosis (Sadhyasadhyata) Madhavanidana describes that Vitiligo (shwitra) in which hairs are black, in small percentage, with diverse spots, new (< 1 year-charak) is curable. Others including developed due to burns , in genitals, hands and feet, lips, with history of inheritance are non – curable or difficult for cure.2 Treatment (chikitsa) In Ayurveda Body purification i.e. Panchakarma treatment – Therapeutic Emesis (vaman), Purgation (virechan), – purification method for vata, Blood - letting (raktamokshan), Local application (lepachikitsa), sun UV rays exposure (aatapsevan) , internal medications (abhyantara chikitsa) etc. advised in texts. Treatment is long term and should be continued from months to years.1 Modern (Allopathic Medicine) view According to modern pathophysiology, in generalized vitiligo melanocytes are not found in the affected skin. Melanocytes contain the pigment melanin which serves a protective action against the harmful effects of sunlight. phenylalanine→tyrosine→dihydroxyphenylalanine(DOPA)→melanin (adrenals) Melanin formation in skin is augmented by the hormone melanocyte stimulating hormone (MSH) of the pituitary gland (Ant pituitary). ACTH by ant pituitary has melanocyte stimulating activity similar to MSH although to a much lesser degree. 25% cases are autoimmune. Localized hypopigmentation is also found in chemical leucoderma, piebaldism (autosomal dominant disorder), post-inflammatory, tinea versicolor etc. Diagnosis of vitiligo can be ascertained by skin biopsy. Investigations: T3, T4, TSH, BSL, skin biopsy etc. Treatment In allopathic system no satisfactory & permanent cure is available. Treatment is steroid based. Systemic psoralens with exposure to long wave UV radiation. Ttopical potent corticosteroids.3-4 Aims and Objectives To study the efficacy of Bastikarma in To note side effects if any. Materials and Methods Literary review: ayurvedic texts and samhitas done, modern medicine books, journals etc. Clinical study. Study design: Case series study on 30 patients suffering with vitiligo. Selection of patients. Inclusion criteria Patients complaining of white patches (vitiligo) as a main complaint. Patients from age 10 to 60 years of age. Selection was irrespective of constitution (prakruti), sex, duration of the disease. Exclusion criteria Patients with history of major systemic illness e.g. heart disease, neurological disorder, metastatis etc. Patients taking steroids or other long term treatment. Patients unfit for bastikarma. Place of work Mulla Ayurvigyan Hospital, Islampur, Sangli, Maharashtra Informed conscent Informed conscent about nature and purpose of study from each patient was taken. Materials Bastidravya – For Niruhabasti Dashamoola + Erandamoola ( Decoction ) Kalka ( Paste ) ( Madanphala + Vekhand + Kutaj + Yashtimadhu ) ( 1/8 of kwath ) Chandanbalalakshadi oil - 50 ml Saindhav – Rock salt - about 10 gms Honey 10 ml 5-6 Anuvasan: with Siddha (Medicated) Til oil at prior evening of First Bastikarma Matrabasti - Chandanbalalakshadi oil Dose (matra) Prepared Bastidravya 700 to 960 ml as per bala, prakriti & doshaprokopa of the patient. Childrens- doses adjusted according to age & weight of child. Dose of Anuvasan Basti: 120 ml Dose of Matrabasti- 60 ml Mode of administration Patients were given external oleation (snehan) and medicated steam bath ( swedana ) as per texts. One Anuvasan Basti was given to each patient on evening before first Niruhabasti. Then Niruhabasti was given early in the morning on empty stomach. Patient was asked to take hot water bath after bastikarma. Bastikarma was followed by special rules of diet & living (sansarjanakrama) as per texts. In the evening snehabasti (Matrabasti) was given after food.7 such settings were given. Proper (Samyaga) Bastikarma signs Mala, pitta, kapha & vayu doshas were serially evacuated, feeling of laghuta ( lightedness) in body, Agni (Digestive power ), taste was increased, satisfied mind & indriyas (Sensory organs) and most important relief of symptoms. Duration of treatment 7 days. Follow up - fifteen days or monthly for 3 months The criteria for evaluation is decided as – Probability comes to < 0.001 (real variability) on referring to‘t’ table. So it is highly significant at 99.9 % confidence limits. So the difference in the means of two sets of observations is highly significant at 1% level. So we reject the null hypothesis (Ho) and accept the alternative hypothesis (H1). So the treatment with Bastikarma is responsible for this difference.7 Some Photographs of Patients under study : Discussion This is an observational case series study on 30 patients with vitiligo. Ayurvedic panchakarma treatment i.e. Bastikarma was carried out on patients taking regular ayurvedic medicinal treatment for vitiligo. The observations can be summarized as follows: Five patients noted with history of inheritance. Also the response to treatment is mild to moderate in this group. Causative factors like unbalanced diet (viruddhahara), excessive consumption of milk, rice, non- vegetarian food etc.noted. In most patients cause is unknown. In five (16.66%) patients thyroid hormone derrangements especially hypothyroidism were observed, 13.33 % patients were suffering from madhumeha (diabetes mellitus). History of taking allopathic medicines including steroids is noted in significant number of cases. Early cure is noted in patients with short duration of disease occurrence (few days to months). In most of the patient’s signs of proper bastikarma noted. No major side effects of the treatment given were observed. The treatment is effective in all types of vitiligo. Thyroid diseases & Diabetes Mellitus may be considered as causative factor in some cases. Conclusion Ayurvedic Panchakarma therapy Bastikarma has stastistically significant results in vitiligo. The results of internal medications & local treatment are specially aggrevated after the procedure. So Bastikarma has a significant role in cure of vitiligo. The results from the present study need to be verified by taking larger sample size. There is also need to do some laboratory research like estimation of hormones in blood before & after the Bastikarma. Immunological studies related to changes in antigen – antibody response can be undertaken. That will give sound proof for effectiveness of treatment. Effectiveness of Bastikarma through Enteric Nervous system (ENS) is again a matter of separate Ayurvedic Panchakarma methods are very effective tools for body homeostasis & hormonal balance. This should be proved by more scientific research at the Institute Level. References Agnivesh, Charak Charaksamhita, Chikitsathana 7/173, 174, 162, Varanasi, VN: Chaukhambha. 1996. Madhavkar, Madhavanidana 49/41, Varanasi, VN: 1994. Fauci, Braunwald, Isselbacher, Wilson, Martin, Kasper, Hauser, Longo. Harrison’s Principles of Internal medicine (14th ed. pp. 316 – 317) New York, NY: McGraw – Hill. 1998. Golwala A.F. Golwala’s Medicine for students. (25th ed.), New Delhi, ND:Jaypee. 1997. Laghuvagbhata, Ashtangahrudaya , sutrasthana 15/3 Varanasi , VN: Chaukhambha. 1982. Bhavamishra, Bhavaprakash (Varanasi , VN : Chaukhambha. 2002. K. Mahajan, Methods in Biostatistics ( 6th ed., 1997) , New Delhi, ND: Jaypee. 1997. Salim Mulla. 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Language skills are essential for early childhood, being able to speak clearly and process speech sounds, understand others, express ideas, and interact with others are the building blocks for a child's development. Therefore, this study will examine the effect of the Inside Outside Circle (IOC) instructional strategies with media images on children's language skills. This research is a quasi-experimental design with a posttest only and using a control group. The sample in this study were children in two kindergartens in the village of Banjar Tegal. Data analysis in this study was carried out by quantitative descriptive methods using t-test analysis techniques. The results of this study in kindergarten students in Banjar Tegal Village show that there is an influence of the IOC learning model with picture media on children's language skills (tcount = 6.28> ttable = 2.00). This shows that language skills achieved by groups of children participating in learning with the IOC model with drawing media are better than groups of children who attend learning without the IOC model. The implication is that further research is expected to develop other aspects of child devel- opment through the IOC model. Keywords: Children Language skills, Image media, Inside-Outside Circle Instructional Strategies Reference: Afrida, Ni., & Mahriza, R. (2019). Visual and Cognitive Media : The Language Acquisition of Children With Dyslexia in Aceh. IJLRES - International Journal on Language , Research and Education Studies, 3(1), 112–126. https://doi.org/10.30575/2017/IJLRES-2019010409 Al Otaiba, S., & Fuchs, D. (2006). Who are the young children for whom best practices in reading are ineffective? An experimental and longitudinal study. Journal of Learning Disabilities, 39(5), 414–431. https://doi.org/10.1177/00222194060390050401 Asrifan, A. (2015). 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Urban landscape photography is not a new thing in photography. It’s similar with temple or street photography, only that the objects in focus are in urban regions. By using lomography camera the urban landscapes are caputered in special manners that new, extraordinary images appear. They are like unnatural colour, fish eye effects, and others.Keywords: Urban landscape, Lomography

This article seeks to challenge the prevailing view that violence is legally actionable because human bodies are capable of experiencing pain, injury, and death. Drawing on literature in the area of new materialism, this article demonstrates how pain, injury, and death are not ontological properties of the flesh-and-bone body, but rather, they are the effects of how violence is made sense-able, knowable, as part of the criminal legal process. Here, I examine four of the materializing practices through which violence becomes sense-able to us: crime scene photography, forensic pathology, legal judgments, and bodily performance. If the effects of criminal violence can be traced to the discursive practices by which we observe, measure, think, and speak about bodies, it becomes much harder to sustain the view that human violence is exceptional because the human body is special.

The hardcore genre musician identical to muscular and tattooed body, violence, and they are familiar with alcohol or drugs. It blurs social messages are actually owned by many hardcore music. Through the concept of compositing editing techniques, in particular the incorporation of some elements of video, graphic design, and photography, editors emphasize the visual aspects of the slide motion graphics and special effects that direct imaging to reconstruct the audience to the perceptions of the creator or a singer. Two music videos of the band Spirit of Life, entitled Life Change for Me dan StopTalking Start Working, a musical genre that worked in the hardcore music video to be accepted by society. Music video works it is appropriate to visualize social development as informative and educative character. Through audio-visual artwork hardcore music can be seen as the music that gave social messages.Keywords : hardcore, video, music, compositing, genre, and reconstruction.

Large scale coherent structures play an important role in the behavior of the combustion regime inside any type ofcombustor stabilized by swirl, with special impact on factors such as flame stability, blow off, emissions and theoccurrence of thermo-acoustic oscillations. Lean premixed combustion is widely used and is known to impact many ofthese factors, causing complex interrelationships with any coherent structure formed. Despite the extensiveexperimentation in this matter, the above phenomena are poorly understood. Numerical simulations have been usedto try to explain the development of different regimes, but their extremely complex nature and lack of time dependentvalidation show varied and debatable results. The precessing vortex core (PVC) is a well-known coherent structurewhose development, intensity and occurrence has not been well documented. This paper thus adopts an experimentalapproach to characterize the PVC in a simple swirl burner under combustion conditions so as to reveal the effects ofswirl and other variables on the latter. Aided by a high speed photography (HSP) system, the recognition and extentof several different types of PVCs were observed and discussed.

La ciencia ha estado presente en el hecho cinematográfico desde sus orígenes, ya como impulsora de la invención misma del cinematógrafo en el ocaso del siglo XIX, ya como promotora del continuo desarrollo técnico que los soportes audiovisuales han ido experimentando y garante de la calidad de la imagen y el sonido, a la vez que elemento propiciador de la reciente apertura del cine hacia la digitalización. En este artículo nos proponemos hacer un breve recorrido por los insignos científicos que han sido protagonistas de la historia del medio en un contexto amplio, desde aquellos primeros inventores y pioneros de los efectos especiales y el trucaje hasta los crudos estereotipos sociológicos que el ámbito audiovisual nos ha ofrecido durante décadas, deteniéndonos a analizar el rol propagandístico o admonitorio que la imagen en movimiento ha desempeñado a la hora de reflejar las bienandanzas o adversidades que el progreso tecno-científico puede llegar a acarrear. Abstract:It is an undisputed fact that scientific discovery has been notably present in cinema since its early origins, either as a precursor of the Cinématographe's invention in the twilight of the nineteenth century or even as a tool intended for the technical improvement of the audiovisual aids and the progressive quality of image and sound, as well as a driving force in the opening-up to modern digitalization nowadays. Our aim in this article is to have a short tour around the most prominent scientists that have led the history of film in a wide sense, from the early inventors and the pioneers of special effects and trick photography to the on-screen sociologically stereotypes that audiovisual means have provided for decades. Finally, we also discuss the advertising or warning role that motion pictures have carried out to mainly reflect the prosperities and adversities that techno-scientific progress may entail.Palabras clave:Innovación tecnológica; cinematógrafo; documental científico; cine de animación; estereotipos; biopic.Keywords:Technological Innovation; Cinématographe; Scientific Documentary; Animated Films; Stereotypes; Biopic.

The objective of this research-creation exhibition is to demonstrate a theory/praxis research method developed for documentary filmmaker-scholars. The session will demonstrate a method developed while researching my dissertation “Counter/Public: The Politics of Committed Film in the Philippines.” The research focuses on the Philippine “new cinema” (the 1970s-1980s) and follows two articulations—academic writing surveying primary and secondary texts in the field and a parallel interactive documentary and “social history.” The latter consists of conversations with twenty-five cultural producers and political participants (archivists, journalists, actors, editors, filmmakers, and activists) active during Philippine “democratization.” Said conversations thoroughly explore the subject’s involvement, motivations, and ideas and were carefully lit and filmed with two cameras. I began experimenting with different ways of putting the video footage into tension with the past. In so doing drew upon several theories. One was Allan Sekula’s argument for combining a materialist cultural history with montage. Another was Steve Anderson’s notion of database histories—an alternative to digital historiographies that, instead of historicizing the past, use database and search engine to construct a more flexible, reflexive, and participatory digital archive. A third was borrowed from Sharon Daniel, who envisions interface design as “argument” and user interaction and navigation as “inquiry.” Through an almost iconoclastic approach (in lieu of performative alienation effects), Daniel’s practice attempts to challenge the viewer’s assumptions about narrative construction while foregrounding contradictions between politics and aesthetics. The result—an interactive database documentary—combines documentary and qualitative research methods. As with many documentaries, I was dependent upon collaboration and ideas proposed by the subject while questioning the subject’s truth claims, aesthetic construction, etc. In terms of the interface design, I chose images of archives, vinegar-syndrome afflicted film, and distressed video as metaphors to represent reification and memory loss. I broke down the interview material into roughly one-minute edits consisting of tightly intercut, differing, and even contradictory recollections of two interviewees. The “script” for these edits was “written” using qualitative analysis software (f4analyse)—revealing patterns and topics that might not otherwise have surfaced. The viewer can access said edits in the interactive documentary (made in Klynt) by clicking on either COUNTER/PUBLIC or COMMITTED/FILM. The long-form interviews are available from a drop-down menu linked to a YouTube channel. The idea is not only to preserve the excess footage but publish the informant interviews (here, as “social history” integrated into and standing alongside an interactive documentary) for viewers who either reconstruct the research process themselves or—if they prefer—perform their own research. Bibliography Anderson, Steve. Technologies of History: Visual Media and the Eccentricity of the Past. Hanover, New Hampshire: Dartmouth University Press, 2011. Daniel, Sharon. "On Politics and Aesthetics," in Studies in Documentary Film: iDocs special edition, Volume 6, issue 2, edited by Judith Aston, Jonathan Dovey and Sandra Gaudenzi (Bristol: Intellectual Journals, 2012) 215-227. ______. Public Secrets. Interactive web documentary. Vectors Journal, Issue 4, 2008. http://vectors.usc.edu/issues/4/publicsecrets/ ______. Blood Sugar. 2006, interactive web documentary. In Vectors Journal, Issue 6, 2010. http://vectorsjournal.org/issues/6/bloodsugar/ Sekula, Allan. "Reading an Archive: Photography Between Labour and Capital." In The Photography Reader, edited by Liz Wells, 443-452. New York: Routledge, 2003.

Sensory features of products and services affect emotions, memories, perception, choices and consumption. The creation of new emotions or emphasising of existing ones can increase the appeal of the product or service. Furthermore, it is important for the creative industries to create products and services that inspire, include and reflect consumer values. The creative industries-which include advertising, architecture, arts and crafts, design, fashion, film production, video, photography, music, the performing arts, publishing, research and development, software and computer game development, and electronic publishing, as well as TV and radio-are elements of the creative economy. Creativity is also one of the drivers of the experience economy. According to theorists of experience economics Joseph Pine and James Gilmore, the most prolific experiences are authentic, remain in the memory and change human notions by stimulating all five senses (vision, hearing, smell, taste and touch), provoking emotions and feelings, and allowing people to participate and be involved. The research question of this paper is as follows: how are senses and emotions linked with experiences, when they are used in the development of creative products and services? Therefore, this paper proposes a theoretical review of how to incorporate senses and sensory design into a more comprehensive understanding within the creative economy, as well as the experience economy. Introduction With the recent development of the creative industries, the aspects of added value and the experience provided to the consumer have become even more important than the product and service themselves; furthermore, the understanding of design has transformed from a problem-solving method into a way of creating meaningful experiences. According to Pine and Gilmore, businesses must orchestrate memorable events for their customers, and that memory itself becomes the product: the "experience" [Pine & Gilmore 1998]. The research question of the paper is: how are senses and emotions linked with experiences, when they are used in the development of creative products and services? Sensory experience, which combines all five senses-sight, smell, hearing, taste and touch-creates intense and special effects. Products and services of creative industries can also be developed using related creative industry products which are sensory-for example, storytelling, design, gastronomy, art or crafts-thus creating a special atmosphere and emotions. The process which includes these actions and strategies is called sensory marketing. Sensory marketing tends to focus on building a temporary or permanent environment specifically for conveying a message, establishing a brand, or arousing feelings and engaging the senses [Buford 2017]. Bernd Schmitt presents five types of sensory marketing approaches, referred to as "strategic experiential modules": "sense, " "feel, " "think, " "act" and "relate." [Schmitt 2010]. According to Schmitt, the first stage, "sense, " appeals to consumers' senses (sight, sound, touch, taste and smell); "feel" relates to inner feelings, moods and emotions; "think" appeals to the intellect and cognitive experiences; "act" targets physical behaviour, lifestyle and interactions; and "relate" creates experiences and involves desires. The first stage-sense-is often neglected with several messages, visual triggers and information overload. Sensory aspects also lack a systematic approach and place into the disciplines of experience economy and creative economy. The next stage-feel-is crucial for creating experiences. Emotions are subjective and affective; they are states of mind, and are created by certain events and stimuli. The manifestation of emotions is related to the fulfilment of individuals' expectations and needs. This means that emotions define levels of satisfaction and the process of decision making. The contents of the paper are structured as two sections. The first section is dedicated to the relation between emotions and experiences, thus providing a conceptual background. Then follows the second section, which addresses aspects of senses and emotions and their importance in the development of creative products and services.

The text is devoted to discussing the formation methods and the functions of screen space in shots by Mieczysław Jahoda in the films Zimowy zmierzch (directed by S. Lenartowicz) and Pętla (directed by W.J. Has). Mieczysław Jahoda is presented as one of the main initiators of stylistic changes in the films of Polish School in the mid 1950s. The analysis concerns the camera means applied by Jahoda in order to obtain screen effects: light, frame composition, photographic optics and perspective transformation. The film shots by Mieczysław Jahoda are characterized by an exceptional ability to evoke mental space, emotions, memory and imagination via the shapes of screen space. Their feature is a special esthetization aimed at creating the atmosphere of films, as well as symbolic and cultural references.

Accidental actions caused by vibrations of supporting structures in mechanical systems represent the dynamic tasks of specific scientific and professional research in the field of human and equipment safety. This paper determines the mathematical model of physical excitation force created by human power, based on the discrete-time Fourier transformation. For experimental verification of the model, we made a special platform for measuring bouncing force of people who create natural impulse oscillation. The paper shows the results of individual and group experimental testing of living force as the cause of accidents and dangerous effects on the structure. In the end, the excitation of the human operation of a malicious nature (heavy transport machine – crane) has been used to show the application of Fourier model to simulate one incident. For this purpose, the transient FEM analysis and the eigenvalues predetermined modal analysis are used. The paper is illustrated with photographs of experimental tests of dangerous human impulse in several working machines (objects).

As part of the investigation reviewing the South African National Parks policy on the management of elephants in the Kruger National Park in South Africa it was decided to assess the current density and structural diversity of the woody vegetation in the park as it is affected by elephants and fire. The management policy used till recently, limited the population to approximately 7000 elephants, based on a conclusion that 6000 elephants (1 per 1.94 km2) was the highest number of elephants that could be carried in the Kruger National Park. The inclusion of the effects and interaction of fire in the investigation arises from the general recognition that elephants and fire can have a highly significant impact on the species and structural diversity of tree and shrub vegetation in African savannas. In the absence of quantitative data describing the condition of the woody vegetation in the Kruger National Park, subjective comparisons of changes in the density of large trees were made for the periods 1940 vs 1960 and 1960 vs 1986/89 using aerial photographs based on four of the major vegetation landscape units in the park. The results indicate that in the vegetation landscapes in areas with granitic soils there were no significant changes in the density of large trees between 1940 vs 1960 whereas a moderate decline occurred in the vegetation in the areas with basaltic soils. Conversely during the period 1960 to 1986/89 there was a dramatic decline in the density of large trees in all four major vegetation landscape units. On-site inspections and botanical surveys suggest that the decline in the density of large trees is the result of the effects of the interaction of elephants and fire. This had arisen because during the period 1960 to 1986/89 systematic burning programs had been introduced at the same time as elephant numbers had risen sharply. The results presented suggest that the changes in the woody vegetation do not involve a decrease in species diversity but rather a change in structural diversity where the woody vegetation is being transformed into a short woodland community interspersed with a low density of large trees. It is concluded that if it is desirable to prevent further structural changes to the woody vegetation then the current density of elephants should not be allowed to increase, the frequency of burning should be significantly reduced and the ignition procedure altered to allow or simulate point ignitions of fires.

If iconophobia is defined as the suspicion and anxiety towards the power exerted by images, its history is an ancient one in all of its Platonic, Christian, and Judaic forms. At its most radical, iconophobia results in an act of iconoclasm, or the total destruction of the image. At the other end of the spectrum, contemporary iconophobia may be more subtle. Images are simply withdrawn from circulation with the aim of eliminating their visibility. In his book Images in Spite of All, French art historian Georges Didi-Huberman questions the tradition of suspicion and denigration governing visual representations of the Holocaust, arguing we have abdicated our ethical obligation to try to imagine. This essay will argue that disruptions to traditional modes of spectatorship shift the terms of viewing from suspicion to ethical participation. By building on Didi-Huberman’s discussion of images and the spectatorial gaze, this essay will consider Laura Waddington’s 2002 documentary film Border. Waddington spent six months hiding with asylum seekers in the area surrounding the Red Cross refugee camp at Sangatte in northern France. I will argue that Waddington proposes a model of spectatorship that implicates the viewer into the ethical content of the film. By seeking to restore the dignity and humanity of the asylum seekers rather than viewing them with suspicion, Border is an acute reminder of our moral responsibility to bear witness to that which lies beyond the boundaries of conventional representations of asylum seekers.The economy managing the circulation of mainstream media images is a highly suspicious mechanism. After the initial process of image selection and distribution, what we are left with is an already homogenised collection of predictable and recyclable media images. The result is an increasingly iconophobic media gaze as the actual content of the image is depleted. In her essay “Precarious Life,” Judith Butler describes this economy in terms of the “normative processes” of control exercised by the mainstream media, arguing that the structurally unbalanced media representations of the ‘other’ result in creating a progressively dehumanised effect (Butler 146). This process of disidentification completes the iconophobic circle as the spectator, unable to develop empathy, views the dehumanised subject with increasing suspicion. Written in the aftermath of 9/11 and the ensuing War on Terror, Butler’s insights are important as they alert us to the possibility of a breach or rupture in the image economy. It is against Butler’s normative processes that Didi-Huberman’s critique of Holocaust iconoclasm and Waddington’s Border propose a slippage in representation and spectatorship capable of disrupting the homogeneity of the mass circulation of images.Most images that have come to represent the Holocaust in our collective memory were either recorded by the Nazis for propaganda or by the Allies on liberation in 1945. Virtually no photographs exist from inside the concentration camps. This is distinct from the endlessly recycled images of gaunt, emaciated survivors and bulldozers pushing aside corpses which have become critical in defining Holocaust iconography (Saxton 14). Familiar and recognisable, this visual record constitutes a “visual memory bank” that we readily draw upon when conjuring up images of the Holocaust. What occurs, however, when an image falls outside the familiar corpus of Holocaust representation? This was the question raised in a now infamous exhibition held in Paris in 2001 (Chéroux). The exhibition included four small photographs secretly taken by members of the Sonderkommando inside the Nazi extermination camp Auschwitz-Birkenau in August 1944. The Sonderkommando were the group of prisoners who were delegated the task of the day-to-day running of the crematoria. The photographs were smuggled out of the camps in a tube of toothpaste, and eventually reached the Polish Resistance.By evading the surveillance of the SS the photographs present a breach in the economy of Holocaust iconography. They exist as an exception to the rule, mere fragments stolen from beneath the all-seeing eye of the SS Guards and their watch towers. Despite operating in an impossible situation, the inmate maintained the belief that these images could provide visual proof of the existence of the gas chambers. The images are testimony produced inside the camp itself, a direct challenge to the discourse emphasising the prohibition of representation of the Holocaust and in particular the gas chambers. Figure 1 The Auschwitz crematorium in operation, photograph by Sonderkommando prisoners August 1944 © www.auschwitz.org.plDidi-Huberman’s essay marks a point of departure from the iconophobia which has stressed the unimaginable (Lanzmann), unknowable (Lyotard), and ultimately unrepresentable (Levinas) nature of the Holocaust since the 1980s. Denigrated and derided, images have been treated suspiciously by this philosophical line of thought, emphasising the irretrievable gap between representation and the Holocaust. In a direct assault on the tradition of framing the Holocaust as unrepresentable, Didi-Huberman’s essay becomes a plea to the moral and ethical responsibility to bear witness. He writes of the obligation to these images, arguing that “it is a response we must offer, as a debt to the words and images that certain prisoners snatched, for us, from the harrowing Real of their experience” (3). The photographs are not simply archival documents, but a testament to the humanity of the members of the Sonderkommando the Nazis sought to erase.Suspicion towards the potential power exerted by images has been neutralised by models of spectatorship privileging the viewer’s mastery and control. In traditional theories of film spectatorship, the spectator is rendered in terms of a general omnipotence described by Christian Metz as “an all-powerful position which is of God himself...” (49). It is a model of spectatorship that promotes mastery over the image by privileging the unilateral gaze of the spectator. Alternatively, Didi-Huberman evokes a long counter tradition within French literature and philosophy of the “seer seen,” where the object of the spectator’s gaze is endowed with the ability to return the gaze resulting in various degrees of anxiety and paranoia. The image of the “seer seen” recurs throughout the writing of Baudelaire, Sartre, Merleau-Ponty, Lacan, and Barthes, negating the unilateral gaze of an omnipotent spectator (Didi-Huberman, Ce que nous voyons).Didi-Huberman explicitly draws upon Jacques Lacan’s thinking about the gaze in light of this tradition of the image looking back. In his 1964 seminars on vision in the Four Fundamental Concepts of Psychoanalysis, Lacan dedicates several chapters to demonstrate how the visual field is structured by the symbolic order, the real, symbolic and the imaginary. Following Lacan, Didi-Huberman introduces two terms, the veil-image and the tear-image, which are analogous with Lacan’s imaginary and the real. The imaginary, with its connotations of illusion and fantasy, provides the sense of wholeness in both ourselves and what we perceive. For Didi-Huberman, the imaginary corresponds with the veil-image. Within the canon of Holocaust photography, the veil-image is the image “where nobody really looks,” the screen or veil maintaining the spectator’s illusion of mastery (81). We might say that in the circulation of Holocaust atrocity images, the veil serves to anaesthetise and normalise the content of the image.Lacan’s writing on the gaze, however, undermines the spectator’s mastery over the image by placing the spectator not at the all-seeing apex of the visual field, but located firmly within the visual field of the image. Lacan writes, “in the scopic field, the gaze is outside, I am looked at, that is to say, I am the picture...I am photo-graphed” (Lacan 106). The spectator is ensnared in the gaze of the image as the gaze is reciprocated. For Didi-Huberman, the veil-image seeks to disarm the threat to the spectator being caught in the image-gaze. Lacan describes this neutralisation in terms of “the pacifying, Apollonian effect of painting. Something is given not so much to the gaze as to the eye, something that involves the abandonment, the laying down, of the gaze” (101). Further on, Lacan expresses this in terms of the dompte-regarde, or a taming of the gaze (109). The veil-image maintains the fiction of the spectator’s ascendency by subduing the threat of the image-gaze. In opposition to the veil-image is the tear-image, in which for Didi-Huberman “a fragment of the real escapes” (81). This represents a rupture in the visual field. The real is presented here in terms of the tuché, or missed encounter, resulting in the spectator’s anxiety and trauma. As the real cannot be represented, it is the point where representation collapses, rupturing the illusion of coherency maintained by the veil-image. Operating as an exception or disruption to the rule, the tear-image disrupts the image economy. No longer neutralised, the image returns the gaze, shattering the illusion of the all-seeing mastery of the spectator. Didi-Huberman describes this tearing exception to the rule, “where everyone suddenly feels looked at” (81).To treat the Sonderkommando photographs as tear-images, not veil-images, we are offered a departure from classic models of spectatorship. We are forced to align ourselves and identify with the “inhuman” gaze of the Sonderkommando. The obvious response is to recoil. The gaze here is not the paranoid Sartrean gaze, evoking shame in the spectator-as-voyeur. Nor are these photographs reassuring narcissistic veil-images, but will always remain the inimical gaze of the Other—tearing, ripping images, which nonetheless demand that we do not turn away. It is an ethical response we must offer. If the power of the tear-image resides in its ability to disrupt traditional modes of representation and spectatorship, I would like to discuss this in relation to Laura Waddington’s 2004 film Border. Waddington is a Brussels based filmmaker with a particular interest in documenting the movement of displaced peoples. Just as the Sonderkommando photographs were taken clandestinely from beneath the gaze of the SS, Waddington evaded the surveillance of the French police and helicopter patrols as she bore witness to the plight of asylum seekers trying to reach England. Border presents her stolen testimony, operating outside the familiar iconography of mainstream media’s representation of asylum seekers. If we were to consider the portrayal of asylum seekers by the Australian media in terms of the veil-image, we are left with a predictable body of homogenised and neutralised stock media images. The myth of Australia being overrun by boat people is reinforced by the visual iconography of the news media. Much like the iconography of the Holocaust, these types of images have come to define the representations of asylum seekers. Traceable back to the 2001 Tampa affair images tend to be highly militarised, frequently with Australian Navy patrol boats in the background. The images reinforce the ‘stop the boats’ rhetoric exhibited on both sides of politics, paradoxically often working against the grain of the article’s editorial content. Figure 2 Thursday 16 Apr 2009 there was an explosion on board a suspected illegal entry vessel (SIEV) 36 in the vicinity of Ashmore Reef. © Commonwealth of Australia 2011Figure 3 The crew of HMAS Albany, Attack One, board suspected illegal entry vessel (SIEV) 38 © Commonwealth of Australia 2011 The media gaze is structurally unbalanced against the suffering of asylum seekers. In Australia asylum seekers are detained in mandatory detention, in remote sites such as Christmas Island and Woomera. Worryingly, the Department of Immigration maintains strict control over media representations of the conditions inside the camps, resulting in a further abstraction of representation. Geographical isolation coupled with a lack of transparent media access contributes to the ongoing process of dehumanisation of the asylum seekers. Judith Butler describes this as “The erasure of that suffering through the prohibition of images and representations” (146). In the endless recycling of images of leaky fishing boats and the perimeters of detention centres, our critical capacity to engage becomes progressively eroded. These images fulfil the function of the veil-image, where nobody really looks as there is nothing left to see. Figure 4 Asylum seekers arrive by boat on Christmas Island, Friday, July 8, 2011. AAP Image/JOSH JERGA Figure 5 Woomera Detention Centre. AAP Image/ROB HUTCHISON By reading Laura Waddington’s Border against an iconophobic media gaze, we are afforded the opportunity to reconsider this image economy and the suspicious gaze of the spectator it seeks to solicit. Border reminds us of the paradoxical function of the news image—it shows us everything, but nothing at all. In a subtle interrogation of our indifference to the existence of asylum seekers and their suffering, Border is a record of the six months Waddington spent hidden in the fields surrounding the French Red Cross camp at Sangatte in 2002. Sangatte is a small town in northern France, just south of Calais and only one and a half hours’ drive from Paris. The asylum seekers are predominantly Afghan and Iraqi. Border is a record of the last stop in their long desperate journey to reach England, which then had comparatively humane asylum seeking policies. The men are attempting to cross the channel tunnel, hidden in trucks and on freight trains. Many are killed or violently injured in their attempts to evade capture by the French police. Nevertheless they are sustained by the hope that England will offer them “a better life.” Figure 6 Still from Border showing asylum seekers in the fields of Sangatte ©Laura Waddington 2002Waddington dedicates the film, “for those I met.” It is an attempt to restore the humanity and dignity of the people who are denied individual identities. Waddington refuses to let “those who I met” remain nameless. She names them—Omar, Muhammad, Abdulla—and narrates their individual stories. Border is Waddington’s attempt to return a voice to those who have been systematically dehumanised, by-products of wars in Iraq and Afghanistan. In his classic account of documentary, Bill Nichols describes six modes of documentary representation (99–138). In Border, Waddington is working in the participatory mode, going into the field and participating in the lives of others (115). It is via this mode of representation that Waddington is able to heighten the ethical encounter with the asylum seekers. Waddington was afforded no special status as a filmmaker, but lived as a refugee among the asylum seekers during the six months of filming. At no point are we granted visible access to Waddington, yet we are acutely aware of her presence. She is physically participating in the drama unfolding before her. At times, we become alert to her immediate physical danger, as she too runs through the fields away from the police and their dogs.The suspicious gaze is predicated on maintaining a controlled distance between the spectator and the subject. Michele Aaron (82–123) has recently argued for a model of spectatorship as an intrinsically ethical encounter. Aaron demonstrates that spectatorship is not neutral but always complicit—it is a contract between the spectator and the film. Particularly relevant to the purposes of this essay is her argument concerning the “merging gaze,” where the gaze of the filmmaker and spectator are collapsed. This has the effect of folding the spectator into the film’s narrative (93). Waddington exploits the documentary medium to implicate the spectator into the structure of the film. It is in Waddington’s full participatory immersion into the documentary itself that undermines the conventional distance maintained by the spectator. The spectator can no longer remain neutral as the lines of demarcation between filmmaker and spectator collapse.Waddington was shooting alone with a small video camera at night in extremely low-light conditions. The opening scene is dark and grainy, refusing immediate entry into the film. As our eyes gradually adjust to the light, we realise we are looking at a young man, concealed in the bushes from the menacing glare of the lights of oncoming traffic. Waddington does not afford us the all-perceiving spectatorial mastery over the image. Rather, we are crouching with her as she records the furtive movements of the man. The background sound, a subtle and persistent hum, adds to a growing disquiet, a looming sense of apprehension concerning the fate of these asylum seekers. Figure 7 Grainy still showing the Red Cross camp in Border ©Laura Waddington 2002Waddington’s commentary has been deliberately pared back and her voice over is minimal with extended periods of silence. The camera alternates from meditative, lingering shots taken from the safety offered by the Red Cross camp, to the fields where the shots are truncated and chaotically framed. The actions of the asylum seekers jerk and shudder, producing an image akin to the flicker effect of early silent cinema because the film is not running at the full rate of 24 frames per second. Here the images become blurred to the point of unintelligibility. Like the Sonderkommando photographs, the asylum seekers exist as image-fragments, shards stolen by Waddington’s camera as she too works hard to evade capture. Tension gradually increases throughout the film, cumulating in a riot scene after a decision to close the camp down. The sweeping search lights of the police helicopter remind us of the increased surveillance undertaken by the border patrols. Without the safety of the Red Cross camp, the asylum seekers are offered no protection from the increasing police brutality. With nowhere else to go, the asylum seekers are forced into the town of Sangatte itself, to sleep in the streets. They are huddled together, and there is a faintly discernible chant repeating in the background, calling to the UN for help. At points during the riot scene, Waddington completely cuts the sound, enveloping the film in a haunting silence. We are left with a mute montage of distressing still images recording the clash between the asylum seekers and police. Again, we are reminded of Waddington’s lack of immunity to the violence, as the camera is deliberately knocked from her hand by a police officer. Figure 8 Clash between asylum seekers and police in Border ©Laura Waddington 2002It is via the merged gaze of the camera and the asylum seekers that Waddington exposes the fictional mastery of the spectator’s gaze. The fury of the tear-image is unleashed as the image-gaze absorbs the spectator into its visual field. No longer pacified by the veil, the spectator is unable to retreat to familiar modes of spectatorship to neutralise and disarm the image. With no possible recourse to desire and fantasy, the encounter becomes intrinsically ethical. Refusing to be neutralised by the Lacanian veil, the tear-image resists the anaesthetising effects of recycled and predictable images of asylum seekers.This essay has argued that a suspicious spectator is the product of an iconophobic media gaze. In the endless process of recycling, the critical capacity of the image to engage the viewer becomes progressively disarmed. Didi-Huberman’s reworking of the Lacanian gaze proposes a model of spectatorship designed to disrupt this iconophobic image economy. The veil-image asks little from us as spectators beyond our complicity. Protected by the gaze of the image, the fiction of the all—perceiving spectator is maintained. By abandoning this model of spectatorship as Didi-Huberman and Waddington are asking us to do, the unidirectional relationship between the viewer and the image is undermined. The terms of spectatorship may be relocated from suspicion to an ethical, participatory mode of engagement. We are laying down our weapons to receive the gaze of the Other. ReferencesAaron, Michele. Spectatorship: The Power of Looking On. London: Wallflower, 2007.Border. Waddington, Laura. Love Stream Productions, 2004.Butler, Judith. Precarious Life: The Powers of Mourning and Violence.London: Verso, 2004.Chéroux, Clément, ed. Mémoires des Camps. Photographies des Camps de Concentration et d'Extermination Nazis, 1933-1999. Paris: Marval, 2001.Didi-Huberman, Georges. Images in Spite of All: Four Photographs from Auschwitz. Trans. Lillis, Shane B. Chicago: U of Chicago P, 2008.Didi-Huberman, Georges. Ce Que Nous Voyons, Ce Qui Nous regarde.Critique. Paris: Editions de Minuit, 1992.Lacan, Jacques. The Four Fundamental Concepts of Psycho-Analysis.Trans. Sheridan, Alan. Harmondsworth: Penguin, 1986.Levinas, Emmanuel. "Reality and its Shadow." The Levinas Reader. Ed. Hand, Seán. Oxford: Blackwell, 1989. 130–43.Lyotard, Jean-François. The Differend: Phrases in Dispute. Minneapolis: University of Minnesota Press, 1988.Metz, Christian. The Imaginary Signifier: Psychoanalysis and the Cinema. Bloomington: Indiana U P, 1982.Nichols, Bill. Introduction to Documentary. Bloomington: Indiana U P, 2001.Saxton, Libby. Haunted Images: Film, Ethics, Testimony and the Holocaust. London: Wallflower, 2008.