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The article "The Walls" by Claudio Riga presents a collection of photographs of street art taken in various cities around the world. These images seek to invite readers to reflect on the particularities of each place, the stories behind the walls, and the voices that find expression through street art. Street art tells stories of resistance, identity, and transformation, providing clues to understand urban processes and the interactions of inhabitants with their environment. The walls of cities become bridges that unite cultures and bring seemingly distant worlds closer together. [Extracted from the article]

During the last decades, cultural heritage collections have been digitized, for example, for the use of academic scholars. However, earlier studies have mainly focused on the use of textual materials. Thus, little is known about how digitized photographs are used and searched in digital humanities. The aim of this paper is to investigate the applied search tactics and perceived barriers when looking for historical photographs from a digital image archive for research and writing tasks. The case archive of this study contains approximately 160,000 historical wartime photographs that are openly available. The study is based on a qualitative interview and demonstration data of 15 expert users of the image collection searching photographs for research and writing tasks. Critical incident questions yielded a total of 37 detailed real-life search examples and 158 expressed barriers to searching. Results show that expert users apply and combine different tactics (keywords, filtering and browsing) for image searching, and rarely using one tactic only is enough. During searching users face various barriers, most of them focusing on keyword searching due to the shortcomings of image metadata. Barriers were mostly in the context of the collection and tools. Although scholars have benefited from the efforts put into digitizing cultural heritage collections, providing digitized content openly online is not enough if there are no sufficient means for accessing the content. Automatic annotation methods are one option for creating metadata to improve the findability of the images. However, a better understanding of human information interaction with image data is needed to better support digitalization in the humanities in this respect. [ABSTRACT FROM AUTHOR]

Since the year 2000, there has been a noticeable increase in the wind energy industry. It may be difficult to notice anomalous fluctuations in wind fan speed using conventional motion blur monitoring image processing technologies, which makes maintaining wind power facilities tough. This may be brought on by the equipment having hidden flaws. To overcome this problem, this research offers a novel motion deblurring technique. To strengthen motion blur rejection and raise the accuracy of monitoring photos, a modified version of GoogleNet is used. This is accomplished by gathering and creating a collection of photographs of wind turbines while considering the local and global motion blur characteristics and orientations. The motion blur photos of wind power inspection are then trained using the modified GoogleNet approach once the dataset has been created. The resultant motion deblurring method (MDA-GN) is very effective and streamlines the necessary computations and parameters. According to experimental data, the suggested motion deblurring approach employing modified GoogleNet outperforms traditional algorithms in terms of signal-to-noise ratio, structural similarity, and speed. [ABSTRACT FROM AUTHOR]

The article discusses the online exhibition "Restoring the Apparently Dead" at the Geoffrey Kaye Museum of Anaesthetic History in Melbourne, Australia. The exhibition focuses on resuscitation technologies throughout history, showcasing images of various medical equipment and practices. It highlights the evolution of resuscitation techniques over five centuries, acknowledging innovators and inventors in the field. The online exhibitions at the museum serve as a valuable resource for those interested in medical history and can be used for educational purposes. [Extracted from the article]

The article discusses the Bremen Archive, which focuses on independent civic and cultural life in Eastern Europe during the late 20th century. The archive contains materials from Soviet citizens, including samizdat texts and documents related to dissident activities. The collections highlight the diversity of regions and perspectives found in Soviet independent life, challenging Cold War paradigms and providing a unique source for understanding East European history and culture. The archive's emphasis on citizen-produced materials raises questions about access to official government archives and the sustainability of digital data records. Researchers interested in unofficial culture in East European countries may find additional materials in repositories in independent EU states. The Bremen Archive remains a valuable resource for studying the complexities of localized Cold War politics and independent civic and cultural life in the region. [Extracted from the article]

Copyright of Iluminuras is the property of Revista Iluminuras 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.)

Financed by the French banker Albert Kahn, the Archives of the Planet is one of the most important collections of early photography. Produced between 1909 and 1931, its 72,000 autochromes show a world we are accustomed to seeing in black and white, captured in colour. While Kahn focused on volume, scholars have mostly studied the collection by close reading a small number of pictures. In contrast, this article applies a distant viewing methodology – a combination of data analysis and multimodal AI – to examine, compare, and analyse all the thousands of pictures in the Archives of the Planet. Using spatial metadata, it reveals that the world represented by the collection is significantly smaller than previously assumed: only 22 countries appear more than 100 times in the archive. Applying multimodal AI reveals that a large proportion of the archive (∼25%) consists of the same or extremely similar images. Challenging previous claims about the collection's heterogeneity, algorithmic clustering of the images demonstrates that Kahn's photographers captured similar scenes, adhering closely to the scientific principles of the project. On a general level, the article demonstrates that a distant viewing methodology can help find patterns of presence as well as patterns of absence: the silent parts of the archive. [ABSTRACT FROM AUTHOR]

The article titled "Mists and Beautiful Clouds with Little Rain" presents a collection of photographs of mists and clouds in the Sant Bartomeu del Grau region, Barcelona. Although some rays and cumulonimbus clouds are observed, there hasn't been much rain. The mists bring moisture to the countryside, but the rivers and reservoirs are dry. The images capture the beauty of the mists and lenticular clouds, as well as phenomena such as the Brocken specter and rainbows. [Extracted from the article]

Objective: This study aimed to investigate the skeletal, dental, and soft-tissue cephalometric outcomes of Class II malocclusion correction utilizing the mandibular advancement feature of Invisalign in growing patients. Materials and Methods: A retrospective cohort study was conducted on 20 patients (9 females, 11 males) aged with a mean age of 13 years (ranging from 9.9 to 14.8 years), all of whom had completed the mandibular advancement phase of Invisalign treatment (Align Technology, Inc., San Jose, CA). Data collection included photographs, digital study models, and cephalometric radiographs taken at baseline (T1) and at the end of the mandibular advancement phase (T2). Key metrics recorded included the number of aligners used and the duration of treatment in months. Cephalometric measurements, including overjet and overbite, were assessed, with statistical analyses performed using SPSS software (version 25; SPSS, Chicago, IL). A significance level of P < 0.05 was set, and paired t-tests were employed to evaluate differences between T1 and T2 measurements. Results: All participants engaged in multiple staged advancements with the precision wings, indicating a progressive approach to mandibular advancement. The average duration of the mandibular advancement phase was 9.2 months (ranging from 7.5 to 13.8 months), during which an average of 37 aligners (30 to 55) was utilized. Statistically significant improvements favouring Class II correction were noted in the ANB angle, WITS appraisal, facial convexity, and mandibular length between T1 and T2. Additionally, significant changes in nasolabial angle, overjet, and overbite were observed, indicating effective correction. Conclusion: The application of Invisalign aligners with the mandibular advancement feature demonstrated an average correction of 1.5 mm in overjet over approximately 9 months. The angulation of lower incisors remained stable throughout the Class II correction process. Overall, the findings suggest that while skeletal changes were minimal, they were beneficial in promoting Class II correction in growing patients. [ABSTRACT FROM AUTHOR]

The article discusses the discovery of a notebook containing traditional German folk remedies in the Floyd Calvin Shoemaker Collection at the State Historical Society of Missouri. The notebook, found inside the Shoemaker family Bible, contains cures for various ailments and problems, as well as household hints and recipes. The remedies in the notebook are believed to be derived from a book called "The Long Lost Friend" by Johann Georg Hohman, which is part of the Pennsylvania Dutch tradition of Braucherei. The article explores the origins of the notebook and the Shoemaker family's German American heritage. The text discusses a notebook written by William B. Shoemaker, which contains remedies and rituals from the book "The Long Lost Friend." The notebook was likely created in Monmouth County, New Jersey, but could also have been in Monmouth, Illinois. There are discrepancies between Shoemaker's notebook and various editions of "The Long Lost Friend," suggesting that he may have been using a German-language edition. The notebook also includes unrelated recipes and remedies, possibly related to Shoemaker's dentistry practice. The notebook provides insight into traditional folk healing and connects Shoemaker to German traditions. [Extracted from the article]

Copyright of Architectus is the property of Oficyna Wydawnicza Politechniki Wroclawskiej 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.)

Though often under-represented in the official and national narratives and in Canadian military historiography more broadly, the intimate and personal lived experiences of Canadian prisoners of war (POW) during the Second World War can be found in archives, photography collections, and collections of war art. In an attempt to see past the mythologised versions of POWs that appear in Hollywood films, best-selling monographs, and other forms of popular culture, it is through bits of ephemera—including wartime log books and the drawings carefully kept and sent home to loved ones along with handwritten letters—that the stories of non-combatant men and women who spent their war as POWs, can be told. Together, Canadian POWs created and curated community and fostered unconventional family ties, sometimes called "emotional communities", through the collection and accumulation of drawings, illustrations, paintings, and other examples of war art on the pages of their wartime log books while living behind barbed wire. This article uncovers some of these stories, buried in the thousands of boxes in the George Metcalf Archival Collection—the textual archives—at the Canadian War Museum (CWM) in Ottawa, Ontario, Canada. [ABSTRACT FROM AUTHOR]

Archivo El Insulto is an independent archive in Mexico City that focuses on preserving and sharing erotic and pornographic materials from the twentieth and twenty-first centuries. The archive challenges traditional archival practices by actively collecting and exhibiting these materials, which are often overlooked by institutional archives. They face challenges in accurately tracing the origins of individual documents due to stigma and lack of resources. Archivo El Insulto emphasizes collaborative relationships to preserve and disseminate these materials, and aims to create spaces for embodied experiences and affective connections with the records. They are working on digitizing their collection and securing grants to further develop their cataloging methods. [Extracted from the article]

Historical photographs from the Pacific produced by non-Indigenous subjects often reflect the perspectives, biases and agendas of the photographers and the societies they represented. By critically analysing these images and the contexts in which they were produced, researchers can gain a deeper understanding of the nuanced dynamics of cultural exchange, negotiation and (potentially) resistance that characterized interactions between Indigenous peoples and non-Indigenous visitors in the Pacific. Nevertheless, much of the scholarship on photography in the Pacific has been produced by settler-colonial scholars, and too often remains focused on the photographers themselves. This volume seeks to make a contribution to extant knowledge of photography in the Pacific through four articles and one report that centre Indigenous history, foreground the work of emerging scholars and highlight newly discovered collections of photographs. [ABSTRACT FROM AUTHOR]

Beth Linker's book "Slouch" delves into the concept of "posture panic" in twentieth-century America, exploring its social, political, and material implications. Linker critiques the posture sciences, questioning their intentions and values, and highlighting the fixation on disability rather than acute disease or death. The book traces the origins of posture science to the late nineteenth century, linking it to Darwin's research on bipedalism and the impact of industrialization on human posture. Linker also examines the intersectional aspects of posture science, emphasizing its effects across gender, sexuality, race, social class, and ability. The text underscores the negative implications of posture policing, including stress, discomfort, and exclusion, and discusses the lasting legacy of posture therapy in the present day. [Extracted from the article]

The article "Preservation of Collections in Theological Libraries" provides guidance on preserving various record formats found in theological libraries, with contributions from authors in the United States, Australia, Romania, and France. The book offers practical advice on preservation actions, case studies, and additional resources for theological librarians, emphasizing collaboration, climate control, and regional partnerships. While the volume serves its purpose, some weaknesses include an overrepresentation of authors from well-resourced institutions and a need for clearer communication on the distinction between artifactual and intellectual value in digitization efforts. Overall, the book is recommended for those in theological libraries and other librarians and archivists seeking a concise guide to preservation practices. [Extracted from the article]

Elizabeth Moore, an esteemed professor in the Department of the History of Art and Archaeology at SOAS University of London, has sadly passed away. She was widely recognized for her expertise in Southeast Asian art and archaeology and had been a valued member of the editorial board of Indonesia and the Malay World for over three decades. Moore's research primarily focused on Southeast Asia, with a particular emphasis on Myanmar, Thailand, and Cambodia. Her extensive knowledge encompassed both mainland and maritime regions of the area. Through her publications and teaching, Moore made significant contributions to the field, and she generously donated around 150 objects to SOAS, which are now part of the Teaching and Handling Collection. The text serves as an obituary for Elizabeth Howard Moore, a highly respected scholar and educator in the field of Southeast Asian art and archaeology. The author shares their personal experience as a student in Moore's course and commends her dedication to active engagement and open dialogue. Moore's impact on the study and teaching of Southeast Asia is emphasized, as well as her comprehensive approach to understanding the region's heritage and culture. The author expresses their sorrow at her passing and acknowledges the support and contributions of Moore's family, friends, colleagues, and students in writing the obituary. [Extracted from the article]

Midcontinent sandhill cranes (Antigone canadensis) are managed as a single population, but hunting regulations are structured so harvest is targeted towards the more numerous lesser sandhill cranes (A. c. canadensis). However, research indicates that greater sandhill cranes (A. c. tabida) have been disproportionally exposed to harvest at a rate exceeding their proportion within the midcontinent population. In addition, harvest has increased 22% per year in the U.S. Central Flyway states. The midcontinent population appears to be growing in recent years, but variability in annual abundance estimates has increased substantially. With limited resources and harvest management uncertainty increasing, we developed methods for a citizen science, photography‐based harvest survey to estimate age and subspecies composition of harvested midcontinent sandhill cranes. To develop survey methods, we collected physical parts from 284 sandhill cranes in North Dakota in 2019 and 2020. We manually measured the culmen and tarsus using calipers, and digitally measured these parts using photographs and computer software. All digitally derived measurements were 2.5% to 5.9% larger than manual measurements; therefore, we developed linear models that adjusted digital measurements, facilitating subspecies prediction using an existing morphometric‐based technique. In 2021, we requested an equal number of hunters to participate using 2 data collection methods to test if hunters could reliably take photographs suitable for digital measurement. Collection method 1 involved photographing the head and leg simultaneously, and Collection method 2 involved photographing the head only. Hunters submitted a total of 239 photographs. Only 80 of these photographs were submitted using Collection method 1, and 72% were suitable for digital measurement. Conversely, hunters submitted twice as many photographs using Collection method 2, and 88% of these photographs were deemed suitable. Although obtaining the tarsus measurement slightly improved subspecies predictability, Collection method 2 increased participation and usable data. We believe our results could be used to develop an operational survey of age and subspecies composition of midcontinent sandhill cranes, wherein a sample of crane hunters throughout the midcontinent population range would be asked to electronically submit a photograph of the head of each bird they harvest. A time series of age and subspecies composition of this population would provide managers with valuable information and improve harvest management at minimal additional cost and burden, compared to a traditional parts collection survey administered by mail. [ABSTRACT FROM AUTHOR]

Ida Lachner's Baker City Photographs is a collection of fifteen photographs taken by Ida Lachner in Baker City, Oregon, between 1899 and 1900. The photographs depict various people and places in the city and provide a glimpse into the history of Baker City. Ida Lachner was a member of several clubs and organizations in Baker City, including the Shakespeare Club and St. Stephen's Episcopal Church. The collection also includes images of the Lachner home and other buildings in Baker City. The photographs have been digitized and are available online through the Oregon Historical Society's research library. [Extracted from the article]

IN FEBRUARY 1971, just months after the Valley Migrant League (VML) appointed Frank Martínez as its first Chicano director, the Oregon Historical Society (OHS) received two donations of materials that [...]

The Mascarich family photographer's studio is an indispensable part of the history of the development of photography in Dubrovnik from the 1860s to 1954. Due to the long period of uninterrupted activity of the studio, a large number of photographs had been preserved in museums, archives, libraries, and private collections. This paper is based on the arrangement of the Silvino Maškarić Photographs Collection in the State Archives in Dubrovnik, the research of archival records and journals as well as websites of cultural institutions in Croatia and Europe. Connecting archival sources and knowledge obtained after digitising glass negatives has enabled the reconstruction and a more complete picture of the studio's work, leading to new insights into the development of photography in Dubrovnik. Strengthening of the bourgeoisie and better economic circumstances during the second half of the 19th century led to the appearance of the first photographer's studios and an increased interest of citizens in photography. Antonio Jellasca and Tommaso Burato already had their studios in Dubrovnik during the 1860s, whereas individuals such as Angelo Luzzeno, Philipp Dengg, Carl Weber and Enrico Perich also took interest in photographs, but so far there is not much information regarding their work. After Burato decided to leave the city he sold his studio in July 1873 to Silvino's father Nicola, who bought it for his son. Silvino Mascarich officially began his photographer's work in September of that year, at the time when photography in Dubrovnik was in full swing. In this paper the authors give new insights and reconstruct the work and the appearance of the photographer's studio, providing an overview and analysis of photographs taken at the Mascarich studio. The most significant part of the work relates to the late 19th century, when Silvino Mascarich achieved his greatest successes, won awards, and gained a reputation for his studio. Consequently, the majority of the preserved photographs and glass negatives are from this period. He introduced his son Silvino Jr. to business in 1907 and from then on the studio bears the name Sivino Mascarich and Son. Silvino Jr. continued to run the studio after his father died in 1926, remaining there until the end of his working life in 1954. The paper unveils new archival sources that shed light on the development of photography in the 19th century Dubrovnik and presents the important source of information for all future researchers of that period. [ABSTRACT FROM AUTHOR]

Copyright of Lingüística y Literatura is the property of Universidad de Antioquia, Facultad de Comunicaciones 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.)

Woven straw work produced in the Caribbean in the early twentieth century represented a small but sustainable percentage of the region's exports. Following the US occupation in Haiti (1915–1934), handicrafts were promoted as economic 'development': commodified folklore fashioned for the delight of visiting tourists. Up until 1946 in Curaçao, as a strategy of the Catholic church's civilising mission, young women trained to plait the so-called 'Panama hat' at technical schools (Römer, 1977); the products of their labour were often exhibited at international expositions and exported for sale in Europe and the United States. This article argues that missionary education that claimed to modernise, industrialise and revalue local handicraft skills to the benefit of local populations in Haiti and the Dutch Caribbean has instead perpetuated colonial gendered and racialised divisions of labour that prepare and discipline students for factory work in the global textile industries. I use straw artefacts and photographs from the collection of the Dutch National Museum of World Cultures as a starting point to trace the entanglements between imperial education and ethnographic exhibitions as sites of gender production. Drawing on Jean Casimir's concept of contre-plantation (2001), I explore how histories of indigenous craft knowledge during specific periods of resistance in Haiti have nurtured disidentification with a gendered logic of labour exploitation and racial capitalism. [ABSTRACT FROM AUTHOR]

This article examines critical ethnographic and archival elements of Paradise Camp, Yuki Kihara's highly celebrated Aotearoa New Zealand national pavilion at the Venice Biennial in 2022. Through its scenography that in Kihara's words is "fa'afabulous," consisting of archival collages drawn from museum collections and staged photography made after Gauguin's paintings in collaboration with queer Sāmoan communities, we argue that Kihara's heavily annotated version of a so-called paradise assembled within Paradise Camp offers a 'potential museum' that reconnects the missing links between colonial registrations of the past with today's queer Sāmoan lives. This queer Indigenous reconfiguration of a fabulous paradise, which refuses imperial understandings of Pacific people and geographies, seems central to Paradise Camp 's queer 'camp' effects, much like an eye roll that dethrones authority. Therefore, we propose that such an artist-fabulated museum lays claims to an Oceanic sovereignty, and broadly fosters a shared world for Fa'afafine and queer Pasifika peoples. [ABSTRACT FROM AUTHOR]

Forensic DNA phenotyping (FDP) encompasses a set of technologies aimed at predicting phenotypic characteristics from genotypes. Advocates of FDP present it as the future of forensics, with an ultimate goal of producing complete, individualised facial composites based on DNA. With a focus on individuals and promised advances in technology comes the assumption that modern methods are steadily moving away from racial science. Yet in the quantification of physical differences, FDP builds upon some nineteenth- and twentieth-century scientific practices that measured and categorised human variation in terms of race. In this article I complicate the linear temporal approach to scientific progress by building on the notion of the folded object. Drawing on ethnographic fieldwork conducted in various genetic laboratories, I show how nineteenth- and early twentieth-century anthropological measuring and data-collection practices and statistical averaging techniques are folded into the ordering of measurements of skin color data taken with a spectrophotometer, the analysis of facial shape based on computational landmarks and the collection of iris photographs. Attending to the historicity of FDP facial renderings, I bring into focus how race comes about as a consequence of temporal folds. [ABSTRACT FROM AUTHOR]

This article examines tourism nature photography as a creative and sensual activity. Based on a collection of photographs gathered from tourists in the Strandir region in northwest Iceland, I demonstrate how photographing nature is a more-than-human practice in which nature has full agency. Much has been written about tourist photography since John Urry theorised about the tourist gaze in the early 1990s; this view has been criticised, especially in the light of the performance turn in tourism studies.It has, for example, been noted that tourist photography is not just about the gazing tourist, but also about social relations that the surrounding landscape partly directs and stages. It has also been argued that, as photographing tourists, we become 'concerned with the artistic production of ourselves'. Photography is thus a practise that is relational and sensual and that cannot be reduced to the seeing eye. However, whilst emphasising the tourist as a creative being, the surrounding landscape has been left out as a stage and its active agency ignored. I address the complex, more-than-human relations that emerge in the photographs collected in Strandir. I argue that the act of photographing, as a performative practice, is improvisational and co-creative, and the material surroundings have a direct and active agency. As has been demonstrated, photography communicates 'not through the realist paradigm but through lyrical expressiveness' and, thus, it may be argued that tourist photography is a poetic practice of making, as it weaves together the sensing self and the vital surroundings in the moving moment that the photograph captures. [ABSTRACT FROM AUTHOR]