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The purpose of this paper is to present the project “#Etiquetón: Help us tag and tell the History of the University with images,” developed by the Sistema de Bibliotecas de la Universidad Católica de Córdoba (UCCb). This project emerged from the need to disseminate the contents of the Photographic Archive and to encourage the university community of the Universidad Católica de Córdoba (UCC) to contribute data that would enrich the metadata of the photographs and provide new images for the growth of the collection. The aim is to promote open access through the dissemination and inclusion of new photographs in the archive, which are either protected under the Creative Commons license or are in the public domain. This paper also discusses the implementation of the project, the development of an engagement campaign on social media, the follow-up process and the results obtained. Additionally, the experience of participating in the first “ABUC Recognition for Best Practices in Libraries” contest, held in July 2023 in Córdoba, Argentina, where the project was awarded first place, is described. [ABSTRACT FROM AUTHOR]

The article discusses the essential role of photography as a research tool in the disciplines of history and ethnology, emphasizing its importance in documenting and preserving cultural memory. The article elucidates the historiography of the evolution of photography in Bessarabia, both as an art form and as a technology, which has made it an essential tool for documenting cultural diversity. The article mentions the contributions of earlier researchers who have elucidated the history of photography in Bessarabia and utilized the method of visual documentation in their research. These works opened new research directions, emphasizing the importance of photographic archives in the study of history and culture. It is affirmed that since the inter-war period, photography has been used as an important tool in ethnographic research, contributing to the documentation of traditional culture. Examples include the field expeditions conducted by the Romanian Social Institute, which captured various aspects of everyday life in Bessarabian villages, the research carried out in the Moldovan SSR in 1944-1991, as well as the experience of research from 1991 to the present. The conclusions contain the idea that photography is an essential tool in historical and ethnological research, having the ability to capture visual, emotional and social aspects of everyday life. The article proposes recommendations for increasing the value of visual documentation, including digitization of photographs, organization of exhibitions and collaboration between institutions to promote photography as a tool for research and education, etc. [ABSTRACT FROM AUTHOR]

The article discusses the recovery and incorporation of the photographic collection of Francisco Tenreiro, a geographer from the University of Lisbon. The evocative exhibition of Tenreiro's field work in São Tomé between 1956 and 1958 was inaugurated at the National Library Francisco José Tenreiro in São Tomé and Príncipe. The article highlights the documentary analysis of the photographs, the contemporary reuse of the images, and the importance of the photographic archive for understanding Portuguese colonial geography. [Extracted from the article]

Preserving historical architectural structures is crucial for safeguarding cultural heritage. This study explores the application of Heritage Building Information Modelling (HBIM) to enhance the documentation process of the Ghiqa Historical Market in Saudi Arabia, a monument known for its intricate architecture and cultural significance. Traditional documentation methods often fail to capture detailed features accurately and rely on labour-intensive manual processes. HBIM uses advanced digital technologies to improve precision, efficiency, and preservation efforts. In this study, point cloud data from 3D laser scanning is used to create a detailed digital model of the market, covering structural systems, material attributes, architectural features, and historical context. The research also integrates historical archives and photographs to enrich the model with additional contextual information. This comprehensive approach provides a holistic understanding of the Ghiqa Historical Market, aiding accurate preservation and restoration decisions. HBIM offers several advantages in architectural documentation. The digital model enhances visualization, allowing stakeholders to explore the site from multiple perspectives. It also serves as a tool for analysing structural integrity, identifying potential risks, and planning restoration interventions. Moreover, digital documentation ensures effective knowledge transfer across generations, preserving valuable architectural heritage for future reference and research. Additionally, it promotes interdisciplinary collaboration among architects, historians, conservators, and other stakeholders involved in preservation. Including the Ghiqa Historical Market in the UNESCO World Heritage List would highlight its global significance, attracting international attention and resources for its preservation. This designation would underscore the market's cultural and historical importance, fostering a sense of pride and responsibility in its maintenance. The implementation of Heritage BIM demonstrates its potential to revolutionize heritage conservation by combining diverse data sources into a single, detailed, and accessible digital resource. [ABSTRACT FROM AUTHOR]

In north-western Poland, cultural and historical structures were erected using erratic boulders of Scandinavian origin. These structures have yet to be subjected to detailed analysis with the aim of determining their origin, type of erratic boulders and rock abundance of a given petrographic type. This topic has not been addressed by art historians in previous studies of similar structures. The objective of this paper is to present five illustrative examples of stone structures that are closely related to cultural heritage in north-western Poland. A comprehensive inventory of the stone material is presented, categorised according to petrographic types. This is accompanied by a guide to the erratics. Furthermore, this article addresses the principles of geoethics and the concept of sense of place, with the objective of fostering a sense of pride in cultural heritage among residents and viewers. The objective was to identify the current and potential future geosystem services that erratic boulders can provide at the aforementioned locations. The survey methods were non-intrusive and included a comprehensive analysis of the stone material at eye level. Furthermore, in addition to graphic and photographic archiving, the petrographic type of rock and the type of indicative erratics were identified in carefully designed test fields. The results were subjected to basic statistical calculations. The results obtained represent a new corpus of knowledge that can be employed in the sustainable development of the five regions through the utilisation of a tool such as geotourism. It is anticipated that the implementation of innovative initiatives aimed at fostering geoenvironmental awareness and providing educational benefits, such as disseminating knowledge about the petrography and history of the sites (including the evolution of stone workshops and techniques), the role of historic buildings in strengthening attachment to roots, and their promotion in the media and on the internet, will result in the attraction of a more diverse group of tourists with interests beyond the current tourist and recreational offerings. [ABSTRACT FROM AUTHOR]

The stratigraphy of Peninsular Malaysia (formerly Malaya) was first described by Scrivenor (1931) in 'Geology of Malaya', which at that time recognized no strata older than Carboniferous age. In 1955, Clive Roderick Jones (1933–2022) discovered the first Malaysian graptolites on the small island of Pulau Tanjung Dendang, Langkawi, consequently demonstrating the presence of much older strata. The Early Paleozoic marine stratigraphy first discovered by C. R. Jones in the NW Malay Peninsula was subsequently recognized in other parts of SE Asia and became a characteristic element of the Gondwana-derived 'Sibumasu' terrane. This paper provides an account of the hidden history of the early discovery of graptolite fossils in Peninsular Malaysia after the re-examination of Jones' graptolite fossils collection. The background to the events that led to this important finding, as well as its consequences for later stratigraphical research in Malaysia, were documented by Jones himself, complemented with the collection of field records, archives of papers and photographs. A biographical outline is presented of Jones and his career as a geologist in the Geological Survey Department of Malaya and his role in the development of geological research in Southeast Asia during the second half of the twentieth century. [ABSTRACT FROM AUTHOR]

Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of VAD: Veredes, Arquitectura y Divulgación is the property of Alberto Alonso Oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the last decade, many aerial photographic archives have started to be digitized for multiple purposes, including digital preservation and geoprocessing. This paper analyzes the effects of professional photogrammetric versus consumer-grade scanners on the processing of analog historical aerial photographs. An image block over Warsaw is considered, featuring 38 photographs acquired in 1986 (Wild RC10, Normal Aviogon II lens, 23 × 23 cm format) with a ground sampling distance (GSD) of 4 cm. Aerial triangulation (AT) and dense image matching (DIM) procedures are considered, analyzing how scanning modalities are important in the massive digitization of analog images for georeferencing and 3D product generation. The achieved results show how consumer-grade scanners, unlike more expensive photogrammetric scanners, do not possess adequate recording quality to ensure high accuracy and geometric precision for geoprocessing purposes. However, consumer-grade scanners can be used for time and cost-efficient applications where a partial loss of data quality is not critical. [ABSTRACT FROM AUTHOR]

Copyright of Ataturk Arastirma Merkezi Dergisi is the property of Ataturk Arastirma Merkezi Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article describes the objects in the barniz de Pasto collection at the Museo de América, Madrid. The barniz de Pasto technique will be described, as well as the historical documentary sources that have previously discussed this varnish. The article will also mention the historical reasons why Spain is the European country in which the greatest number of objects decorated with varnish have been found, in both religious and private collections. The main body of the article discusses all the barniz de Pasto objects held in the Museum collection, focuses on the history of their arrival at the Museum, and investigates their possible origin, with the help of ample photographs. The final section examines the Museum's three most recent acquisitions, completed in the second half of 2022, in detail. [ABSTRACT FROM AUTHOR]

The text considers the Colombian armed conflict as a visual field made up of photographic images. The notion of “field” is assumed in a double sense: as the practice that gives rise to photographs and as the delimitation of a visible space and the construction of visibility. Therefore, we examine a photographic archive configured with material from three sources: Google images, reproductions of the press from various moments in the 1950s and 1980s, and material provided by victims of the armed conflict and by the Centro Nacional de Memoria Histórica. The reflection is oriented to think that the production and social circulation of photographs during the armed conflict can be seen as a “distribution of the sensible”. A partition in which an aesthetic is translated into an image policy that has determined which photographs (and which have not) deserved to be integrated into a hegemonic visual regime, and which image producers have been (and which have not been) part of that regime. [ABSTRACT FROM AUTHOR]

The photography in colonial context shows itself today as an important and complex source for the historiography of contemporary empires. Even the brief German imperialism has used the photographic apparatus to register the most diverse scenes and colonial peoples, as well as from such material many uses were made in different material supports. From the photographic archive of the German Colonial Society, we aim here to develop an analysis about the colonial photographs, seeking to place them in the broad context of the development of the imperialistic politics and the racial 'sciences'. For that purpose, we will analyse one geographical space at two distinct moments: firstly, we will discuss the role of visuality of the Other as an important element in the colonial enterprise; in a second moment, we will think about the permanence of the racial ideology in the former German colonial territory of South-West Africa, based on photographic records and activities of German settlers linked to the Nazi Party in this African space. [ABSTRACT FROM AUTHOR]

Copyright of Arteterapia is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Documentación de las Ciencias de la Información is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Documentación de las Ciencias de la Información is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Legado de Arquitectura y Diseño is the property of Universidad Autonoma del Estado de Mexico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study focuses on the development of the landscape during a period of significant social changes in Central Europe from the middle of the 20th century, and evaluates the impact of the selected natural factors on landscape dynamics in the Snohy dispersed settlement area (cadaster of Hriňová, Slovakia). During the periods of feudalism and the democratic Czechoslovak Republic after 1918, private ownership of land prevailed on the territory of Slovakia. After 1948, in the period of the socialist establishment, the municipality was one of the few localities without collectivisation. We focused on the state and changes to the landscape structure based on remote sensing data analysis (1949, 2003, and 2018), as well as field research and archive photographs inspection. The study area is a part of the proposed Special Area of Conservation SKUEV4026 Meadows of Poľana and is situated near the border between the transition and buffer zones of the Poľana Biosphere Reserve. The state of land cover and its changes have been evaluated using a CORINE Land Cover modification at the 5th level. Results showed that the influence of the slope on agricultural extensification, deforestation, and afforestation, was the most pronounced. Since 1949, more than half of the land cover has changed across the study area. The most extensive changes were recorded in the spatial structure and composition of forest communities. [ABSTRACT FROM AUTHOR]

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Copyright of Arts for Linguistic & Literary Studies is the property of Thamar University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Introduction: The involvement of palms and soles is variable among disease entities belonging to autoimmune bullous diseases (AIBD). We present our own clinical-laboratory experience concerning presentations of skin lesions on palms and soles in the pemphigus diseases group, pemphigoid diseases group, epidermolysis bullosa acquisita (EBA), and lichen planus pemphigoides (LPP) and discuss the pertinent literature. Methods: Lesions on palms and soles were assessed retrospectively on the basis of just photographic archives from the beginning of 2014 to March 2023. We comparatively evaluated 462 Slavic patients with AIBD. Results: Palmoplantar involvement was observed in only 21 patients with AIBD (12 females and 9 males). There was no statistically significant difference between palmoplantar involvement in the pemphigus diseases group compared to the pemphigoid diseases group and no statistically significant difference between the pemphigus diseases group compared to the subepithelial AIBD. Discussion: Nevertheless, particularly in LPP and EBA, and occasionally in pemphigus diseases and pemphigoid diseases groups of AIBD, localization on palms and soles may be diagnostically important at the clinical level. [ABSTRACT FROM AUTHOR]

An integral and interdisciplinary experience of the APEX Program of the University of the Republic (Udelar), Uruguay, is presented, which puts the archive, the territory, photography and performance at stake, through a constructivist and socialcognitive pedagogical strategy that takes the archive as an object. alive and possible of performative resignification for the installation of a photo gallery. It is an interdisciplinary and collaborative permanent education space in which older adults, from the community, students, teachers and Udelar graduates participate. Focused on the construction of portraits through photographic archives and oral testimonies that are reflected in a narrative visual process, the experience was proposed to contribute to the recovery of the memory and identity of the Cerro de Montevideo neighborhood. This article shares a journey on the interdisciplinary characteristic of the archive, its relationship with the territory, the link with photography and its potential as a teaching object from a performative approach. Likewise, it describes the institutional context in which the proposal is developed, addresses the pedagogical approach and the five phases of the experience: the integration of multiple participants focused on empathy and identification of a common objective; the oral story that involved various activities and the design of the script for the portrait; personal photographic archives and testimonials; photographic techniques and performative Palabra Clave, (La Plata), octubre 2023-marzo 2024, vol. 13, núm. 1, e198. ISSN 1853-9912 Universidad Nacional de La Plata Facultad de Humanidades y Ciencias de la Educación Departamento de Bibliotecología DOSIER: Prácticas pedagógicas y estrategias didácticas en la enseñanza de las ciencias de la información: nuevos saberes y abordajes production; Installation of the photo gallery. As results, the processes undergone by the students are reported and the images of the photogallery are presented. [ABSTRACT FROM AUTHOR]

Copyright of DEPARCH Journal of Design Planning & Aesthetics Research is the property of DEPARCH Journal of Design Planning & Aesthetics Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The colonial visual archive has occupied in recent decades the work of scholars and artists from indigenous and racial minority communities, who revealed it as a major apparatus of historical meta-narratives. This article aims at pushing forward this preoccupation by revealing an additional scene: the art of Mizrahi women, descendants of Jewish communities of Arab and Muslim countries. Relying on a visual culture approach and focusing on an analysis of artworks by Mizrahi artist Vered Nissim, as well as on photographs of Mizrahi women, fund in Zionist archives, I demonstrate how Nissim's work challenges the racial category of Mizrahi women as "natural workers", constructed in the Zionist historical meta-narrative. Nissim does so by re-enacting the category's paradigmatic visual image—the Mizrahi women cleaning worker—in a different way, visually and discursively. Body, voice, and visual image, three instances of the subjectivity of Mizrahi women cleaning workers that were separated, shaped, and mediated through Zionist colonial visual archives unite in Nissim's work when embodied by a real Mizrahi woman cleaning worker: her mother, Esther Nissim. By casting her mother to play herself over the past twenty years, Nissim creates political conditions for the appearance of her mother as the author of her own history as she orally, bodily, and visually writes it in front of her daughter's camera. Thus, Nissim joins a transnational phenomenon of global south artists who create political conditions enabling the self-imaging of colonized peoples, empowering the reading of colonial imagery and the historical meta-narratives attached to it through their situated knowledge and lived experience and, thus, constructing a counter history communicated visually. [ABSTRACT FROM AUTHOR]

This article proposes methodological reflections on a digitally mediated ethnographic work that explores the family memories of police and military personnel killed in armed action during the Peruvian internal armed conflict (1980-2000). This exploration was carried out through the consultation of their domestic photographic archives (analog and digital) and from the voices of their closest relatives (widows and older sister). Thus, it was proposed to make visible other stories in relation to the violence of those years. The research digital mediation was held mainly through WhatsApp video calls. This social network allowed the conduction of interviews and photo elicitation exercises with analog photographs, to reconstruct life stories. This experience encouraged a series of (re)adaptations and (re) learnings to understand these video calls as ethnographic meeting places and as windows into the everyday and intimacy of homes, inviting to rethink distances and places of enunciation in research contexts. [ABSTRACT FROM AUTHOR]

This research presents the strategy developed for the enhancement and dissemination of the photographic collections treasured by archives, libraries and museums of the city of Santa Clara, Cuba, with the purpose of contributing to reinforcing the values of local culture and identity, as well as how to motivate processes of appropriation of collective knowledge in the community, by sharing photographs, stories and experiences. The study begins by addressing theoretical elements related to photography as a support for local memory; subsequently, the photographic collection of the city of Santa Clara is characterized, and, finally, examples of practical application of the proposed strategy are shown. Emphasis is placed on the actions developed using the rephotography technique, and on the use of social networks as a communication channel, given their wide possibilities for dissemination and their social impact. In conclusion, the existing potential is shown for the different information institutions to work on the accessibility and visibility of their historical photographic collections, which would encourage the recovery of hidden photographic memory, and would promote co-creation as a way of rewriting history from of the experiences and memories of the population that the images offer. In this way the community manages to appropriate and protect its identity values. [ABSTRACT FROM AUTHOR]

This paper focuses on historic anthropological photographs, meant to depict Indigenous individuals as generic models of colonial stereotypes, and examines their later reclamation as portraits. Applying an intention-based account of portraiture, we discuss the historical context and contemporary examples of the utilisation of these images in order to address several questions. What happens when the depicted persons in colonial imagery are treated and presented as sitters, rather than model specimens? Does this change the nature of the image? If a photograph was not originally intended as a portrait, can it come to function as such at a later stage? Regardless of whether they fulfill all the requirements necessary for portraiture, these colonial photographs represent a vital resource for the reclamation of Indigenous cultural heritage. As such, this paper serves as an introductory discussion into the complex issues surrounding the recategorisation, repatriation, and restitution of colonial photographic archives. [ABSTRACT FROM AUTHOR]

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Architectural Sciences & Applications (JASA) is the property of Journal of Architectural Sciences & Applications and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background: The Sohkitehew (Strong Heart) Research Group, which included an Elders Advisory Committee of seven Nehiyawak (Cree) women, set out to bring Maskwacîs community members together to understand Nehiyawak women's experiences of "aging well". The goals of this research were to generate information honouring Indigenous ways of knowing, and gather strengths-based knowledge about aging well, to help Maskwacîs, women maintain wellness as they age. Methods: We facilitated qualitative Sharing Circles in three different settings in Maskwacîs. Discussions were prompted using the four aspects of the self, guided by Medicine Wheel teachings: Physical, Mental, Emotional, Spiritual. Detailed notes were recorded on flip charts during the discussions of each Sharing Circle. Data were analysed using descriptive content analysis to identify practical strategies for aging well. Results: Thirty-six community members attended one or more Sharing Circle. Strategies included: Physical—keeping active to remain well; Mental—learning new skills to nourish your mind; Emotional—laughing, crying, and being happy; Spiritual—practicing Nehiyawak traditional ways. Participants commented that balancing these four aspects of the self is necessary to achieve wellness. Following the analysis of the Sharing Circle comments, three community feedback sessions were held to discuss the results in the wider community. These strategies were formatted into a draft booklet which incorporated Cree language, and archive photographs of Maskwacîs women and families. Conclusions: The Nehiyawak Sharing Circles identified practical strategies that help women to remain well as they age. This positive approach to aging could be adopted in other Indigenous and non-Indigenous communities. [ABSTRACT FROM AUTHOR]

The goal of this research is to make photogrammetric surveys of the walls of Cortona from 2012 accessible using new methodologies for recovering photographic material. This will allow a team of archaeologists to carry out a virtual reconnaissance of the surveyed stretch of wall as well as provide the basis for future investigations into any potential changes that may have occurred in the wall since 2012. Photogrammetry is a widely used technique in archaeology that can help researchers accurately measure, reconstruct, and analyze different architectural components of the wall. By using state-of-the-art photogrammetric techniques, including advanced computer vision algorithms, our team aims to produce high-quality 3D models and accurate measurements of different parts of the wall. The results of this research project will enable archaeologists to gain a more comprehensive understanding of the layout of the fortifications and the role of the Cortonese walls in the historical context of the area. Additionally, the research project will provide a detailed documentation of the wall that will be useful for both archaeological researchers and cultural heritage organizations. Finally, the research project will also provide the basis for future investigations into potential changes that may have occurred in the wall since 2012, which will be important for monitoring conservation and restoration efforts and providing an up-to-date record of the wall's state of preservation. [ABSTRACT FROM AUTHOR]

The article discusses highlights of the conference, titled Through the Lens of Henry Viollet: An Undisclosed Photographic and Paper Archive on Islamic Movements (1904-1913), held in Paris, France from June 23-24, 2022. Topics included Viollet's archival documentation about Samarra, his official missions to Mesopotamia and Persia, contribution of the Viollet archives to the study of mausoleums and woodwork decorations from the mediaeval Mazandaran, Iran and Friday Mosque in Isfahan, Iran.

The bourgeois dress of the late nineteenth century is the materialization of a moment of high normativity in the codes of civility in the Americas. This materiality, recorded in photographic and textual archives such as family portraits, albums, magazines, advertisements, gives an account of it. The dress of bourgeois women can be examined as a technology of control for the construction and representation of the category "woman", hinge of the nation; and it shows at the same time the class hierarchization within gender in relation to indigenous and Afro-descendant women. Clothing is also an investiture insofar as it socially situates, morally regulates, and gives an account of belonging and of a set of privileges and restrictions. Thus, this work interrogates a collection of things: the dresses and, within this vast field, those that cover the bodies of the women of the Quito bourgeoisie between 1870 and 1900, in contrast with other representations of the sign "woman", in order to see how this sign functions in the organization of the nineteenth-century nation. [ABSTRACT FROM AUTHOR]

The first monograph on Mies van der Rohe was published in 1947 to coincide with the exhibition curated by Philip Johnson at MoMA in New York. Although this exhibition has been considered by critics as the first to present Mies's work exclusively, new documents reveal that in December 1938 the "Exhibition of Architecture by Miës van der Rohe" opened at the Art Institute of Chicago (AIC), which included drawings, photographs and models from his European period. This article aims to present this monographic exhibition by graphically analysing the material that has remained unpublished until now: seven photographs in the archives of the University of Michigan and a press release in the AIC Archives Research Center. The three-dimensional survey provided details the architecture on display, and compares it with the American exhibitions that preceded and followed it (1932 and 1947), both organised by MoMA. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Sociológicos is the property of El Colegio de Mexico AC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article analyzes the relationship between photography, display devices, and the imaginary field in contemporary Argentine art. Examples of the relationship between photography and the archive are highlighted, as well as the problems related to the exhibition and musealization of photography. The foundation of the Photography Department of the Museum of Modern Art in New York is mentioned as a milestone in the inclusion of photography in museums. The text presents reflections on the relationship between photography, the archive, and repertoire in art, and highlights the importance of the archive as a discursive and relational system in contemporary photography. Two particular exhibitions are also mentioned that question traditional models of photographic exhibition and explore the materiality and performativity of artworks. [Extracted from the article]

Objective/context: In France's second half of the 19th century, magazines such as Le Tour du Monde and illustrated novels were used to promote geographical sciences and educational and political propaganda of the Third Republic and its economic interests based on the diaries of French travelers. This article analyzes the geographical imaginaries of the Orinoco from a case study of the publications of the travels of Jules Crevaux and Jean Chaffanjon. These travelers' characterization of the territory and its people in their texts and images framed this region within the depressed tropical areas, thus justifying the foreign exploitation of its resources. Methodology: This analysis is based on the publications of both travelers--in Le Tour du Monde articles and illustrated novels-- and a corpus of images--published engravings, and photographs and sketches in the archive made in situ during the explorations--. Their analytical approach as historical sources and the visual and iconographic analysis is critical to understanding the production and dissemination of geographical imaginaries about the Orinoco. Originality: Studies on these authors have been widely circulated in France but have been less discussed in South America. This study's relevance lies in applying the tropicality approach and the geographical imaginaries in informal French imperialism. The images of the Orinoco have been studied in the 18th and early 19th centuries from the illustrations and maps of authors such as Gumilla, Gilij and Humboldt; in this case, we tackle the most extensive corpus of published and unpublished images of this region and its massive circulation at the end of the 19th century, broadening the field of study of the territories in the nations' periphery. Conclusions: The geographical imaginaries produced from the illustrated press and later in the format of geographical novels circulated widely among the enlightened and general public, disseminating characterizations of this territory and its inhabitants as savage but rich in resources and potentially domesticable. The analysis of the texts and illustrations of the Orinoco, according to French interests in American territories, allowed us to understand its representation as an adventurous and marginal space that still had to be conquered. [ABSTRACT FROM AUTHOR]

The ongoing digitization of historical photographs in archives allows investigating the quality, quantity, and distribution of these images. However, the exact interior and exterior camera orientations of these photographs are usually lost during the digitization process. The proposed method uses content-based image retrieval (CBIR) to filter exterior images of single buildings in combination with metadata information. The retrieved photographs are automatically processed in an adapted structure-from-motion (SfM) pipeline to determine the camera parameters. In an interactive georeferencing process, the calculated camera positions are transferred into a global coordinate system. As all image and camera data are efficiently stored in the proposed 4D database, they can be conveniently accessed afterward to georeference newly digitized images by using photogrammetric triangulation and spatial resection. The results show that the CBIR and the subsequent SfM are robust methods for various kinds of buildings and different quantity of data. The absolute accuracy of the camera positions after georeferencing lies in the range of a few meters likely introduced by the inaccurate LOD2 models used for transformation. The proposed photogrammetric method, the database structure, and the 4D visualization interface enable adding historical urban photographs and 3D models from other locations. [ABSTRACT FROM AUTHOR]

This work illustrates a novel prototype of a transmittance hyperspectral imaging (HSI) scanner, operating in the 400–900 nm range, and designed on purpose for non-invasive analysis of photographic materials, such as negatives, films and slides. The instrument provides high-quality spectral data and high-definition spectral images on targets of small size (e.g., 35 mm film strips) and is the first example of HSI instrumentation specifically designed for applications in the photographic conservation field. The instrument was tested in laboratory and on a set of specimens selected from a damaged photographic archive. This experimentation, though preliminary, demonstrated the soundness of a technical approach based on HSI for large-scale spectroscopic characterization of photographic archival materials. The obtained results encourage the continuation of experimentation of HSI as an advanced tool for photography conservation. [ABSTRACT FROM AUTHOR]

The Royal Vehicles Museum contains five albums of Albumin photographs dating from the 19th century. These photographs are poorly preserved in the basement of the Royal Vehicle Museum which is located on one of the most crowded streets, July 26 St., near the Nile River in Cairo. Due to the poor storage conditions of wooden boxes without treatment, it is unsafe against insects and microbiological damage, so they are vulnerable to rapid because the albumin photographs are composed of organic and inorganic materials, which makes them vulnerable to rapid damage. This paper presents documentation, preservation, and conservation of albumen photographic print-outs. Temperature, humidity, and UV were measured in the storage area by Data Luger. The deterioration aspect of the Royal Album and the albumen photographs has been identified. A condition report has been planned to record all the archaeological and historical information belonging to the album. SEM_EDX was used to identify the surface morphology and determine the type of silver salts used. The microbiological test was performed to identify fungi and bacteria. Growth requirements are determine. A portable scanner has digitized albumen photographs. USB Digital Microscope strongly enlarge 300× has been used to identify cracks, crevices, dirt, and other damages on the album and photographs. A stereo microscope 500× shows the structure of albumin photo prints. [ABSTRACT FROM AUTHOR]

Few fires are known to have burned the tundra of the Arctic Slope north of the Brooks Range in Alaska, USA. A total of 90 fires between 1969 and 2022 are known. Because fire has been rare, old burns can be detected by the traces of thermokarst and distinct vegetation they leave in otherwise uniform tundra, which are visible in aerial photograph archives. Several prehistoric tundra burns have been found in this way. Detection of tundra fires in this sparsely populated and remote area has been historically inconsistent and opportunistic, relying on reports by aircraft pilots. Fire reports have been logged into an administrative database which, out of necessity, has been used to scientifically evaluate changes in the fire regime. To improve the consistency of the record, we completed a systematic search of Landsat Collection 2 for the Brooks Range Foothills ecoregion over the period 1972–2022. We found 57 unrecorded tundra burns, about 41% of the total, which now numbers 138. Only 15% and 33% of all fires appear in MODIS and VIIRS satellite-borne thermal anomaly products, respectively. The fire frequency in the first 37 years of the record is 0.89 y−1 for natural ignitions that spread ≥10 ha. Frequency in the last 13 years is 2.5 y−1, indicating a nearly three-fold increase in fire frequency. [ABSTRACT FROM AUTHOR]

This article is focused on the use of photography to characterize land-cover and land-use changes in a 7.59 km2 study area centered on Hotel do Garbe, in the village of Armação de Pêra, Algarve, Portugal. Orthorectified vertical aerial, oblique aerial and ground-level photographs were the main data sources required to carry out the analysis. In a preliminary approach, a conventional research design was adopted. Based on the available orthorectified vertical aerial photographs, a sixty-year time series, with four homogeneously distributed steps (1958, 1978, 1997 and 2018), was constructed, and maps were produced to support the description of the changes that have taken place. To deepen the analysis, photographs from fourteen picture postcards were recognized as a useful source of information, and the authors of these photographs were considered "involuntary or accidental photo-geographers" whose work was relevant to feed a case study in which human geography and landscape biography sciences are the main narrative axes. The final result proved to be richer than the interpretation only based on the orthorectified vertical aerial photographs, and the importance of combining photographs taken from different points of view, with different aims and for different recipients is highlighted. [ABSTRACT FROM AUTHOR]

DURING THE CRISIS CAUSED BY THE COVID-19 PANDEMIC, PEOPLE FROM ALL OVER THE WORLD HAVE STRUGGLED TO ADAPT, TO RE-CREATE NORMALCY IN ISOLATION, AND EVEN TO SURVIVE. CHANGES IN PUBLIC SPACES HAVE BEEN ILLUSTRATED IN VARIOUS VISUAL ESSAYS. WE HAVE BUILT A VISUAL ESSAY THAT HIGHLIGHTS THE ADAPTIVE CHANGES OCCURRED IN THE PRIVATE ENVIRONMENT AND THE WAYS IN WHICH THE PARTICIPANTS IN OUR RESEARCH TRIED TO CREATE A NEW NORMALCY DURING THE STATE OF EMERGENCY IN ROMANIA. WE COLLECTED DATA IN THE FORM OF VISUAL DIARIES THAT MATERIALIZED IN AN ARCHIVE OF 380 PHOTOGRAPHS, ILLUSTRATIVE FOR THE ISOLATION DURING THE PANDEMIC. WE HAVE SELECTED 10 PHOTOS THAT TELL, IN THE FORM OF A VISUAL ESSAY, THE STORY OF ADAPTING AND RE-CREATING A NORMALCY IN THE PRIVATE ENVIRONMENT, AT A TIME WHEN SOCIAL LIFE HAS BECOME DANGEROUS AND PEOPLE HAVE SPENT MOST OF THEIR TIME AT HOME. [ABSTRACT FROM AUTHOR]

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