Surveillance Art and the Politics of Digital Mapping Technologies Abstract
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Digital Mapping & Spatial Analysis
Digital Mapping & Spatial Analysis Zach Silvia Graduate Community of Learning Rachel Starry April 17, 2018 Andrew Tharler Workshop Agenda 1. Visualizing Spatial Data (Andrew) 2. Storytelling with Maps (Rachel) 3. Archaeological Application of GIS (Zach) CARTO ● Map, Interact, Analyze ● Example 1: Bryn Mawr dining options ● Example 2: Carpenter Carrel Project ● Example 3: Terracotta Altars from Morgantina Leaflet: A JavaScript Library http://leafletjs.com Storytelling with maps #1: OdysseyJS (CartoDB) Platform Germany’s way through the World Cup 2014 Tutorial Storytelling with maps #2: Story Maps (ArcGIS) Platform Indiana Limestone (example 1) Ancient Wonders (example 2) Mapping Spatial Data with ArcGIS - Mapping in GIS Basics - Archaeological Applications - Topographic Applications Mapping Spatial Data with ArcGIS What is GIS - Geographic Information System? A geographic information system (GIS) is a framework for gathering, managing, and analyzing data. Rooted in the science of geography, GIS integrates many types of data. It analyzes spatial location and organizes layers of information into visualizations using maps and 3D scenes. With this unique capability, GIS reveals deeper insights into spatial data, such as patterns, relationships, and situations - helping users make smarter decisions. - ESRI GIS dictionary. - ArcGIS by ESRI - industry standard, expensive, intuitive functionality, PC - Q-GIS - open source, industry standard, less than intuitive, Mac and PC - GRASS - developed by the US military, open source - AutoDESK - counterpart to AutoCAD for topography Types of Spatial Data in ArcGIS: Basics Every feature on the planet has its own unique latitude and longitude coordinates: Houses, trees, streets, archaeological finds, you! How do we collect this information? - Remote Sensing: Aerial photography, satellite imaging, LIDAR - On-site Observation: total station data, ground penetrating radar, GPS Types of Spatial Data in ArcGIS: Basics Raster vs. -
Direct-To-Digital Mapping Methodology: a Hands-On Guidebook for Applying Google Earth
Steven DeRoy / The Firelight Group / January 2016 Direct-To-Digital Mapping Methodology: A Hands-on Guidebook for Applying Google Earth Copyright © Steven DeRoy and the Firelight Group (www.thefirelightgroup.com) 1 | Page Table of Contents ACKNOWLEDGEMENTS 4 PURPOSE OF THIS GUIDE 4 PREPARE TO MAP 5 DOWNLOAD AND INSTALL GOOGLE EARTH 5 SET UP YOUR FILE FOLDERS ON YOUR COMPUTER 5 INTERVIEW ROOM SETTING 5 START THE INTERVIEW 5 INTERVIEW CHECK LIST 6 INTERVIEW KIT 6 SET UP GOOGLE EARTH 6 CHECK YOUR EQUIPMENT 6 INFORM THE PARTICIPANT AND MAKE THEM COMFORTABLE 6 BEFORE STARTING THE INTERVIEW 7 REMINDERS DURING THE INTERVIEW 7 INTERVIEW OVERVIEW 8 INTRODUCTIONS 8 MAPPING 8 INTERVIEW 8 STORAGE OF RESULTS 8 MAPPING NOTES 9 OVERVIEW OF GOOGLE EARTH 10 WHAT IS GOOGLE EARTH? 10 WHY USE GOOGLE EARTH? 10 HOW ARE GOOGLE EARTH AND MAPS DIFFERENT? 10 INTRODUCTION TO THE GOOGLE EARTH INTERFACE 11 NAVIGATING IN GOOGLE EARTH 11 SET UP YOUR ENVIRONMENT 12 THE “PLACES” PANEL 13 SET UP FOLDERS TO STORE YOUR DATA 13 ORGANIZE YOUR FOLDERS 14 UNDERSTANDING SCALE 14 Copyright © Steven DeRoy and the Firelight Group (www.thefirelightgroup.com) 2 | Page HOW TO MAP IN GOOGLE EARTH 16 WHAT TO RECORD FOR EACH SITE 16 ADDING POINTS (PLACEMARKS) 16 ADDING LINES (PATHS) 18 ADDING AREAS (POLYGONS) 19 EDITING MAPPED DATA 20 INTERVIEWS CONDUCTED WITH NO MAPPING DATA 20 OVERLAYING DATA FROM PAST STUDIES 21 CLOSING OFF THE INTERVIEW 22 SAVING KMZ FILES 22 COPY AND SAVE ALL DIGITAL AUDIO AND VIDEO FILES TO YOUR LAPTOP/COMPUTER 23 BACKUP YOUR FILES 23 USEFUL RESOURCES 24 Copyright © Steven DeRoy and the Firelight Group (www.thefirelightgroup.com) 3 | Page Acknowledgements Steven DeRoy, Director of the Firelight Group, produced this comprehensive guidebook. -
Selling and Collecting Art in the Network Society
PAU | PAU WAELDER SELLING AND COLLECTING ART IN THE NETWORK SOCIETY NETWORK THE IN ART COLLECTING AND SELLING PhD Dissertation SELLING AND COLLECTING ART IN THE NETWORK SOCIETY Information and Knowledge Society INTERACTIONS Doctoral Programme AMONG Internet Interdisciplinary Institute(IN3) Universitat Oberta de Catalunya (UOC) CONTEMPORARY ART NEW MEDIA AND THE ART MARKET Pau Waelder Thesis Directors Dr. Pau Alsina Dr. Natàlia Cantó Milà PhD Dissertation SELLING AND COLLECTING ART IN THE NETWORK SOCIETY INTERACTIONS AMONG CONTEMPORARY ART, NEW MEDIA, AND THE ART MARKET PhD candidate Pau Waelder Thesis Directors Dr. Pau Alsina Dr. Natàlia Cantó Milà Thesis Committee Dr. Francesc Nuñez Mosteo Dr. Raquel Rennó Information and Knowledge Society Doctoral Programme Internet Interdisciplinary Institute(IN3) Universitat Oberta de Catalunya (UOC) Barcelona, October 19, 2015 To my brother David, who taught me what computers can do. Cover image: Promotional image of the DAD screen displaying the artwork Schwarm (2014) by Andreas Nicolas Fischer. Photo: Emin Sassi. Courtesy of DAD, the Digital Art Device, 2015. Selling and collecting art in the network society. Interactions among contemporary art, new media and the art market by Pau Waelder is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. ACKNOWLEDGEMENTS The present dissertation stems from my professional experience as art critic and curator, Sassoon, Shu-Lea Cheang, Lynn Hershmann-Leeson, Philippe Riss, Magdalena Sawon as well as my research in the context of the Information and Knowledge Society Doctoral and Tamas Banovich, Kelani Nichole, Jereme Mongeon, Thierry Fournier, Nick D’Arcy- Programme at the Internet Interdisciplinary Institute (IN3) – Universitat Oberta de Fox, Clara Boj and Diego Díaz, Varvara Guljajeva and Mar Canet, along with all the artists Catalunya. -
Icp Announces 2017 Infinity Award Winners
MEDIA RELEASE ICP ANNOUNCES 2017 INFINITY AWARD WINNERS Noted Photographer Harry Benson to Receive Lifetime Achievement Award; All Honorees to Be Celebrated at Gala on April 24 in New York City NEW YORK, NY (JANUARY 11, 2017)—The International Center of Photography (ICP), the world’s leading institution dedicated to photography and visual culture, today announced the 2017 honorees of its annual Infinity Awards, widely considered the leading honor for excellence in the field. The 33rd annual ICP Infinity Awards will be held in New York City on the evening of Monday, April 24. “Throughout our history, the International Center of Photography has been dedicated to the idea that images are powerful tools for communication and understanding, and a force for social change. And, every year, we present the Infinity Awards to acknowledge the significant talents of those using photography and visual arts to shed light on and make an impact on an ever-changing world,” said ICP Executive Director Mark Lubell. “We look forward to this April’s event—always a very special night—when we will celebrate this outstanding group’s impressive collective achievements.” 2017 INFINITY AWARD CATEGORY AND RECIPIENTS: • Lifetime Achievement: Harry Benson • Art: Sophie Calle • Artist’s Book: Michael Christopher Brown, Libyan Sugar (Twin Palms, 2016) • Critical Writing and Research: “Vision & Justice,” Aperture (no. 223, summer 2016). Michael Famighetti, Editor; Sarah Lewis, Guest Editor • Documentary and Photojournalism: Edmund Clark and Crofton Black, Negative Publicity: Artefacts of Extraordinary Rendition • Emerging Photographer: Vasantha Yogananthan • Online Platform and New Media: For Freedoms Since 1985, the ICP Infinity Awards have recognized major contributions and emerging talent in the fields of photojournalism, art, fashion photography, and publishing. -
Digital Mapping Techniques ‘02— Workshop Proceedings
cov02 5/20/03 3:19 PM Page 1 So Digital Mapping Techniques ‘02— Workshop Proceedings May 19-22, 2002 Salt Lake City, Utah Convened by the Association of American State Geologists and the United States Geological Survey Hosted by the Utah Geological Survey U.S. GEOLOGICAL SURVEY OPEN-FILE REPORT 02-370 Printed on recycled paper CONTENTS I U.S. Department of the Interior U.S. Geological Survey Digital Mapping Techniques ʻ02— Workshop Proceedings Edited by David R. Soller May 19-22, 2002 Salt Lake City, Utah Convened by the Association of American State Geologists and the United States Geological Survey Hosted by the Utah Geological Survey U.S. GEOLOGICAL SURVEY OPEN-FILE REPORT 02-370 2002 II CONTENTS CONTENTS III This report is preliminary and has not been reviewed for conformity with the U.S. Geological Survey editorial standards. Any use of trade, product, or firm names in this publication is for descriptive purposes only and does not imply endorsement by the U.S. Government or State governments II CONTENTS CONTENTS III CONTENTS Introduction By David R. Soller (U.S. Geological Survey). 1 Oral Presentations The Value of Geologic Maps and the Need for Digitally Vectorized Data By James C. Cobb (Kentucky Geological Survey) . 3 Compilation of a 1:24,000-Scale Geologic Map Database, Phoenix Metropoli- tan Area By Stephen M. Richard and Tim R. Orr (Arizona Geological Survey). 7 Distributed Spatial Databases—The MIDCARB Carbon Sequestration Project By Gerald A. Weisenfluh (Kentucky Geological Survey), Nathan K. Eaton (Indiana Geological Survey), and Ken Nelson (Kansas Geological Survey) . -
Digital Geologic Mapping Methods
INTERNATIONAL JOURNAL OF GEOLOGY Issue 3, Volume 2, 2008 Digital geologic mapping methods: from field to 3D model M. De Donatis, S. Susini and G. Delmonaco Abstract—Classical geologic mapping is one of the main techniques software 2DMove and 3DMove by Midland Valley Exploration Ltd. used in geology where pencils, paper base map and field book are the This paper reports a case study of digital mapping carried out in traditional tools of field geologists. In this paper, we describe a new the Southern Apennines. This work is part of an ENEA project, method of digital mapping from field work to buiding three funded by the Italian Ministry of University and Research, devoted to dimensional geologic maps, including GIS maps and geologic cross- heritage sites prone to landslide risk where local-scale geologic and sections. The project consisted of detailed geologic mapping of the geomorphic mapping is fundamental in the preliminary stage of the are of Craco village (Matera - Italy). The work started in the lab by project. implementing themes for defining a cartographic base (aerial photos, topographic and geologic maps) and for field work (developing II. Study area symbols for outcrops, dip data, boundaries, faults, and landslide The study area (Fig. 1) is located in the Southern Apennines, types). Special prompts were created ad hoc for data collection. All around Craco, a small village in the Matera Province along a ridge data were located or mapped through GPS. It was possible to easily between the Bruscata and Salandrella stream. store any types of documents (digital pictures, notes, and sketches), linked to an object or a geo-referenced point. -
Maestros De La Fotografía Técnicas Creativas De 100 Grandes Fotógrafos
¿Qué hace que una fotografía pase a formar parte de nuestra memoria colectiva? A veces puede ser simplemente el con- tenido de la imagen, pero más a menudo es la destreza y el Maestros talento del fotógrafo, su profesionalidad, lo que la convierte en un referente visual. de la fotografía Este libro explora la obra de 100 grandes fotógrafos de Técnicas creativas de todos los tiempos para desvelarnos los secretos de cómo fueron creadas y regalarnos la magia de su oficio para que 100 grandes fotógrafos la traslademos a nuestras propias creaciones. Organizado en diez bloques temáticos, cada uno de ellos presenta una Paul Lowe selección transversal de fotografías emblemáticas que son analizadas técnicamente abordando cuestiones como la cámara y las lentes utilizadas para realizar la fotografía, la composición, la exposición y la luz o el tono y el color. Francis Frith / Timothy O’Sullivan & Mark Klett Ansel Adams / Robert Adams/ Joel Sternfeld /John Davies /Paul Graham Desde Eugène Atget y Nadar hasta Martin Parr, Rineke Joel Meyerowitz /Richard Misrach /Jem Southam /Simon Norfolk Frederick H. Evans / Eugène Atget / Berenice Abbott / Walker Evans Dijkstra o Jeff Wall, pasando por August Sanders, Weegee Hiroshi Sugimoto / Andreas Gursky / Robert Polidori / Gregory Crewdson o Paul Strand… el libro se convierte además en una singular Lisa Barnard / Man Ray / László Moholy-Nagy / Edward Weston historia del medio fotográfico que logra enseñarnos técnica William Eggleston / Martin Parr / Alec Soth / Peter Fraser y creatividad de forma accesible y sorprendente. Julia Margaret Cameron / Nadar / Lisette Model / Harry Callahan Paul Strand / Norman Parkinson / Eve Arnold / Brian Griffin Paul Lowe es fotoperiodista y director del máster en Foto- Mary Ellen Mark / Bruce Gilden / Harry Borden / August Sander Dorothea Lange / Horst P. -
Google Photo Maps: Contemporary Art and Aerial Photography Visual Disturbances Mapas Fotográficos Do Google
Google photo maps: Contemporary art and aerial photography visual disturbances Mapas fotográficos do Google: Arte contemporânea e as perturbações visuais da mirada aérea Grécia Falcão Introduction to the proposal In this paper, I propose a look to aerial photographs, more specifically, to photographic images captured from aircrafts and satellites to compose Google's popular geographic mapping system: Google Maps. This proposal consists of a reflection on the advent of the aerial glance in the art sphere, based on hypotheses about a possible “contact zone” between mimesis, abstraction and representation in the face of the visual productions in contemporary art. In order to mobilize these issues, I believe it is necessary to establish a keen eye to today’s artistic practices, set in a social reality that suggests the multiplication of the production and circulation flows of images in the current communication technologies. Therefore, I take as reference the work of Mishka Henner: Belgian artist who uses, as a source of research for his works, the photographic records that are available online, so that this reflective path will be developed from the description of two photographic series of this artist. The visual content that circulates on the Web is the source of inspiration and the empirical material for Mishka Henner’s art works: taking as example the photos available on the Internet, in addition to YouTube videos, digital graphic maps of USA geological survey, emails texts and algorithms that are on the Internet public domain. However, a good part of his art works is based on the appropriation of photographic images available in the research and map visualization services ALCEU – v. -
2016 Biennial Catalogue
Roe Ethridge, !anksgiving 1984 (table), 2009. C-print, 34 x 45 inches. Courtesy of the artist, Andrew Kreps Gallery, New York, and Greengrassi, London FOTOFOCUS BIENNIAL 2016 OCTOBER 1–31, CINCINNATI, OHIO FotoFocus Biennial Program: October 6–9 FOTOFOCUS BIENNIAL 2016 FotoFocus Biennial 2016 1 About the Biennial 3 About the Theme 3 Director’s Statement 4 Curator’s Statement 6 FotoFocus Curated Exhibitions 9 Roe Ethridge: Nearest Neighbor 10 Zanele Muholi: Personae 12 Jackie Nickerson: August 14 A!er Industry 16 Robin Rhode: "ree Films 18 New Slideshow 20 Shi!ing Coordinates 22 Marlo Pascual: "ree Works 24 Participating Venues 27 Biennial Events 81 FotoFocus Biennial 2016 Program 82 Event Calendar 84 Venue Locations 93 About FotoFocus 100 Partners 102 Index 103 Copyright © 2016 by FotoFocus Cincinnati. All rights reserved. No part of this publication may be reproduced, and usage for any purpose other than personal reference is prohibited. All content within was created by FotoFocus Cincinnati or provided by its Participating Venues. All artworks within were reproduced by permission of the artist or representatives of the artist, with confirmation from the Participating Venues. Roe Ethridge, Durango in the Canal, Belle Glade, FL, 2011. C-print, 51 x 76 inches. Courtesy of the artist, Andrew Kreps Gallery, New York, and #FOTOFOCUS2016 #FOTOFOCUS #UNDOCUMENT FOTOFOCUSBIENNIAL.ORG Greengrassi, London FOTOFOCUS BIENNIAL 2016 Mickalene Thomas, Portrait of Qusuquzah, 2008. C-print, 70¼ x 56¼ inches. Courtesy of the artist, Lehmann Maupin, New York and Hong Kong, and Artists Rights Society (ARS), New York Roe Ethridge, Hallway Wallpaper, 2003. C-print, 40 x 50 inches. -
Book XVIII Prizes and Organizations Editor: Ramon F
8 88 8 88 Organizations 8888on.com 8888 Basic Photography in 180 Days Book XVIII Prizes and Organizations Editor: Ramon F. aeroramon.com Contents 1 Day 1 1 1.1 Group f/64 ............................................... 1 1.1.1 Background .......................................... 2 1.1.2 Formation and participants .................................. 2 1.1.3 Name and purpose ...................................... 4 1.1.4 Manifesto ........................................... 4 1.1.5 Aesthetics ........................................... 5 1.1.6 History ............................................ 5 1.1.7 Notes ............................................. 5 1.1.8 Sources ............................................ 6 1.2 Magnum Photos ............................................ 6 1.2.1 Founding of agency ...................................... 6 1.2.2 Elections of new members .................................. 6 1.2.3 Photographic collection .................................... 8 1.2.4 Graduate Photographers Award ................................ 8 1.2.5 Member list .......................................... 8 1.2.6 Books ............................................. 8 1.2.7 See also ............................................ 9 1.2.8 References .......................................... 9 1.2.9 External links ......................................... 12 1.3 International Center of Photography ................................. 12 1.3.1 History ............................................ 12 1.3.2 School at ICP ........................................ -
Digital Earth Based on Metadata Electronic Maps Standard
DIGITAL EARTH BASED ON METADATA ELECTRONIC MAPS STANDARD Alexander Martynenko 2 build., 44, Vavilova st., Moscow, 117333, Russia, Institute of Informatics Problems, Russian Academy of Sciences, [email protected] Digital Earth was at the center of attention at 19th International Cartographic Conference (Ottawa) and 1st International Symposium on Digital Earth (Beijing) in 1999 [1, 2]. The discussion raised in the papers on the theory of Metadata Standard Systems that could be used in International and National Spatial Information Infrastructures to establish Digital Earth still continues. We highly appreciate the essential contribution made by Chinese scientists: Zhao Yongping, Huang Fang, Guo Jingjun, Feng Quan, Cui Weihong. Since 1990s the Information Society is being created in Russia. Each member of this Society will be able to obtain complete and actual information, including geoinformation, in any point of geographical space, by means of Internet. Today it is obvious that this problem could be solved in most effective way by using electronic libraries of various intent, including electronic map libraries. Completeness, methods and form of geoinformation, temporal factors of the information supply can be considered as the main criteria for evaluating quality of the electronic geoinformation resources. In the process of creating the electronic geoinformation resources, standardization in the area of geoinformation technologies plays the main role. Today, at the boundary of millennia, the Global Geoinformatic Mapping (GGM) appears as the prior direction of scientific and technical progress. Its goal is the cartographic representation of the real world and creation of the global computer model of the Earth, comprised of millions of space images and electronic maps of various subjects and scales, themes and also reference information [3, 4]. -
Ogdc)—Release 6
State of Oregon Oregon Department of Geology and Mineral Industries Ian P. Madin, Interim State Geologist README FILE FOR OREGON GEOLOGIC DATA COMPILATION (OGDC)—RELEASE 6 by Rachel L. Smith1 and Warren P. Roe1 2015 1 Formerly with Oregon Department of Geology and Mineral Industries, 800 NE Oregon St., Ste. 965, Portland, OR 97015 Oregon Geologic Data Compilation Release 6 DISCLAIMER This product is for informational purposes and may not have been prepared for or be suitable for legal, engineering, or surveying purposes. Users of this information should review or consult the primary data and information sources to ascertain the usability of the information. This publication cannot substitute for site-specific investigations by qualified practitioners. Site-specific data may give results that differ from the results shown in the publication. Spatial inaccuracies exist in this data set, and some functionalities of Oregon Geologic Data Compilation have changed from previous versions due to the transition to an Esri®-formatted geodatabase. Known issues include topology errors, small spatial data gaps, typographical errors, incomplete metadata, and other minor errors. Oregon Department of Geology and Mineral Industries | Oregon Geologic Data Compilation, release 6 Published in conformance with ORS 516.030 For additional information: Administrative Offices 800 NE Oregon Street #28, Suite 965 Portland, OR 97232 Telephone (971) 673-1555 Fax (971) 673-1562 http://www.oregongeology.org http://egov.oregon.gov/DOGAMI/ Oregon Department of Geology