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Secret Digital Image Sharing Using Natural Image Based VSS Scheme
International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2013): 6.14 | Impact Factor (2013): 4.438 Secret Digital Image Sharing Using Natural Image Based VSS Scheme Pinky .V M. Tech Student, Dept. of Computer Science & Engineering Mount Zion College of Engineering, Pathanamthitta, Kerala, India Abstract: Visual cryptography is a technique of sharing secret images. This technique encrypts a secret image into number of shares. Combining these shares generates the original image and it can be directly recognized by the human visual system. Visual Secret Sharing scheme is a method of distributing and sharing the secret image amongst a set of users. In conventional visual secret sharing scheme, the shares May holding the security parameters for protecting the secret image but it will leads to suffering the problem of transmission risk. This is the main problem in conventional VSS scheme. To solve this problem here introduce a new scheme of secret digital image sharing via natural image based VSS scheme. In this proposed scheme the shares are encrypted by using the strong AES encryption technique after that this encrypted share is embedded into the natural image. For recovering the original image, it is necessary to decrypt the encrypted share. This method not only reduces the transmission risk problem but also enhance the security of the secret image. Keywords: Visual Cryptography, Visual Secret Sharing Scheme, Transmission Risk Problem, Natural Image based VSS scheme, Encryption/Decryption technique. 1. Introduction photographs. In the proposed scheme diverse media is used for sharing digital images. Using a variety of media for In communication system security of secret image is very sharing the secret image increases the difficulty of altering important. -
Each Wild Idea: Writing, Photography, History
e “Unruly, energetic, unmastered. Also erudite, engaged and rigorous. Batchen’s essays have arrived at exactly the e a c h w i l d i d e a right moment, when we need their skepticism and imagination to clarify the blurry visual thinking of our con- a writing photography history temporary cultures.” geoffrey batchen c —Ross Gibson, Creative Director, Australian Centre for the Moving Image h In Each Wild Idea, Geoffrey Batchen explores widely ranging “In this remarkable book, Geoffrey Batchen picks up some of the threads of modernity entangled and ruptured aspects of photography, from the timing of photography’s by the impact of digitization and weaves a compelling new tapestry. Blending conceptual originality, critical invention to the various implications of cyberculture. Along w insight and historical rigor, these essays demand the attention of all those concerned with photography in par- the way, he reflects on contemporary art photography, the role ticular and visual culture in general.” i of the vernacular in photography’s history, and the —Nicholas Mirzoeff, Art History and Comparative Studies, SUNY Stony Brook l Australianness of Australian photography. “Geoffrey Batchen is one of the few photography critics equally adept at historical investigation and philosophi- d The essays all focus on a consideration of specific pho- cal analysis. His wide-ranging essays are always insightful and rewarding.” tographs—from a humble combination of baby photos and —Mary Warner Marien, Department of Fine Arts, Syracuse University i bronzed booties to a masterwork by Alfred Stieglitz. Although d Batchen views each photograph within the context of broader “This book includes the most important essays by Geoffrey Batchen and therefore is a must-have for every schol- social and political forces, he also engages its own distinctive ar in the fields of photographic history and theory. -
Destruction and Transformation Vernacular Photography and the Built Environment
Destruction and Transformation Vernacular Photography and the Built Environment February 8 – May 25, 2019 Unidentified photographer, [Building Implosion, Stowers Furniture Company, San Antonio, TX], 1981. Courtesy The Walther Collection. Opening Reception: Thursday, February 7, from 6 – 8pm The Walther Collection Project Space 526 West 26th Street, Suite 718 New York, NY 10001 +1 212 352 0683 | [email protected] The Walther Collection is pleased to present Destruction and Transformation: Vernacular Photography and the Built Environment, an exhibition that examines the decisive role of vernacular photography in capturing the convulsive cycles of change that define modernist topographies. Since the nineteenth century, engineers, city planners, architects, industrialists, and tourists have used photography to record and promote metropolitanism: a global affirmation of modern urban expansion, often at the expense of natural ecology, historic structures, or existing populations. The sixteen photographic series in this exhibition, spanning from 1876 to 2000, depict the inescapable obsolescence of urban and industrial projects, often traversing, partitioning, and exploiting the natural environment. These pictures together provide a counternarrative to the presupposed stability of aesthetic and structural planning within modernist city spaces and architecture. Photographic documentation has often been crucial to establishing the progress of consumption and destruction of land and to justifying the outcomes of such efforts for a larger public—or to lamenting its effects retrospectively. This exhibition proposes two paradigmatic sites as case studies: the Appalachian coalfields, where the extraction of fossil fuels has required the reshaping of the natural landscape and the local social organization; and New York City, where an unceasing cycle of destruction and construction drives modern urban development. -
Photojournalism Photojournalism
Photojournalism For this section, we'll be looking at photojournalism's impact on shaping people's opinions of the news & world events. Photojournalism From Wikipedia, the free encyclopedia Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Timeliness The images have meaning in the context of a recently published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences. Like a writer, a photojournalist is a reporter, but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (e.g., physical danger, weather, crowds, physical access). -
Image-Based Abuse, Non-Consensual Pornography, Revenge Porn: a Study of Criminalization and Crime Prevention in Australia and England & Wales
Yar & Drew – Image-Based Abuse, Non-Consensual Pornography, Revenge Porn Copyright © 2019 International Journal of Cyber Criminology – ISSN: 0974–2891 July – December 2019. Vol. 13(2): 578–594. DOI: 10.5281/zenodo.3709306 Publisher & Editor-in-Chief – K. Jaishankar / Open Access (Authors / Readers No Pay Journal). This is a Diamond Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC-BY-NC-SA 4.0) License, which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited. Image-Based Abuse, Non-Consensual Pornography, Revenge Porn: A Study of Criminalization and Crime Prevention in Australia and England & Wales Majid Yar1 University of Hull, United Kingdom Jacqueline Drew2 Griffith Criminology Institute, Australia Abstract Distribution of nude, intimate and sexualized images of individuals without consent and against the wishes of those individuals whose image has been captured, is of growing concern across the world. Moving from the conceptualization of ‘revenge porn’ in the early 2000’s, through to our more sophisticated understanding of the issues of “image-based abuse” and “non-consensual pornography” this paper considers the broad context of these crimes. The paper draws on the concepts of online misogyny, gender-based victimization, and “toxic masculinity”. The progress towards criminalization of such online abuse, with reference to the recent introduction of new laws in England & Wales and Australia is examined. This shift from voluntary to statutory regulation, and from civil to criminal law remedies has been coupled with new crime prevention and control initiatives that seek to encourage reporting leading to prosecution and educate users and empower victims. -
James Welling
JAMES WELLING Born 1951 in Hartford, Connecticut Lives and works in New York City, New York SOLO EXHIBITIONS (selection, institutions only) 2018 Materials and Objects: James Welling and Zoe Leonard, Tate Modern, London, United Kingdom 2017 Metamorphosis, S.M.A.K., Ghent, Belgium; Kunstforum Wien, Vienna, Austria 2015 Things Beyond Resemblance: James Welling Photographs, Brandywine River Museum of Art, Chadds Ford, Pennsylvania 2014 Diary of Elizabeth and James Dixon, 1840-41/Connecticut Landscapes, 1977-86, Art Institute of Chicago, Chicago, Illinois 2013 Autograph, Fotomuseum Winterthur, Winterthur, Switzerland Monograph, Cincinnati Art Museum, Cincinnati, Ohio; Hammer Museum, Los Angeles, California Open Space, University Museum of Contemporary Art UMASS Amherst, Amherst, Massachusetts 2012 Wyeth, The Wardsworth Atheneum Museum of Art, Hartford, Connecticut; Brandywine River Museum, Chadds Ford, Pennsylvania James Welling: The Mind on Fire/Works 1970-1985, MK Gallery, Milton Keynes, Great Britain (travels to Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain (2013); Contemporary Art Gallery, Vancouver (2013) 2010 New Pictures 3: James Welling, Glass House, The Minneapolis Institute of Arts, Minneapolis, Minnesota 2008 The Suburban, Oak Park, Iillinois (with Walead Beshty) 2006 Agricultural Works, Hudson River Museum, Yonkers, New York 2002 James Welling, Abstract, Palais des Beaux-Arts, Brussels, Belgium; Art Gallery of York University Toronto, Canada, catalogue 2000 James Welling, Photographs 1974 – 1999, Wexner Center -
Department of the Interior Ocean Energy Safety Advisory Committee New Orleans, Louisiana July 13-14, 2011
DEPARTMENT OF THE INTERIOR OCEAN ENERGY SAFETY ADVISORY COMMITTEE NEW ORLEANS, LOUISIANA JULY 13-14, 2011 MEETING MINUTES The Ocean Energy Safety Advisory Committee (OESC) held its second public meeting on July 13-14, 2011, at the Astor Crowne Plaza Hotel, 739 Canal Street, New Orleans, Louisiana 70130. The meeting agenda (Appendix I) focused on industry, state, academia and Federal initiatives and outreach relevant to the work of the Committee; new technology; and OESC subcommittees’ progress to date. Thirteen of the fifteen Committee members were in attendance (Appendix II). The two Committee members who were not present during the meeting represented the Massachusetts Institute of Technology (Academia) and the U.S. Environmental Protection Agency (EPA - Federal government). In accordance with the provisions of the Federal Advisory Committee Act, Public Law 92-463, the meeting was open to the public from 1:00 p.m. to 5:30 p.m. on July 13 and 8:00 a.m. to 5:00 p.m. on July 14. Approximately 50 members of the public and press were in attendance (Appendix III). The meeting was called to order by Designated Federal Officer (DFO) Brad J. Blythe after establishing quorum. He then introduced OESC Chairman Thomas O. Hunter to lead meeting proceedings. Wednesday, July 13, 2011 The first day of the meeting consisted of presentations on industry initiatives by the Marine Well Containment Company (MWCC) and DeepStar, as well as a presentation by Bureau of Ocean Energy Management, Regulation and Enforcement (BOEMRE) on the Well Containment Screening Tool. BOEMRE Director Michael R. Bromwich offered a few remarks (Appendix IV) of encouragement to the OESC and its subcommittees on their progress to date and future efforts. -
Failed It!: How to Turn Mistakes Into Ideas and Other Advice for Successfully Screwing up Ebook
FAILED IT!: HOW TO TURN MISTAKES INTO IDEAS AND OTHER ADVICE FOR SUCCESSFULLY SCREWING UP EBOOK Author: Erik Kessels Number of Pages: 168 pages Published Date: 16 May 2016 Publisher: Phaidon Press Ltd Publication Country: London, United Kingdom Language: English ISBN: 9780714871196 Download Link: CLICK HERE Failed It!: How To Turn Mistakes Into Ideas And Other Advice For Successfully Screwing Up Online Read Get A Copy. This book is a great example of curation turning into creation. This one is an upside down book and not mend to be perfect in any way. Dec 31, Rick Marcello rated it really liked it. DE Editions: Paperback English Paperback French. Feb 11, Lex rated it really liked it Shelves: nonfiction. This is part photobook and part guide to loosening up and making mistakes to take the fear out of failure and encourage experimentation. Brueschke Editor. Pizzorno Jr. It made me laugh, but also made me think differently about the creative process. Reviews Failed It!: How To Turn Mistakes Into Ideas And Other Advice For Successfully Screwing Up Self Help. Especially since recently I noticed that I wanted more stimulation for my brain. I promise to make more of them. I believe that. Apr 03, Carolina rated it liked it. In Kessels was awarded with the Amsterdam Prize of the Arts and in he was named the most influential creative of The Netherlands. Photo Album. Charming and an easy read, highly recommended. Adams BSc PhD. Lists with This Book. A fun and fabulous take on the art of making mistakes. Sign in Subscribe. -
Murray Guy 453 West 17 Street New York NY 10011 T: +1 212 463 7372 F: +1 212 463 7319 [email protected]
Murray Guy 453 West 17 Street New York NY 10011 T: +1 212 463 7372 F: +1 212 463 7319 [email protected] MOYRA DAVEY Born 1958 in Canada Lives and works in New York Education 1989 Whitney Independent Study Program, New York 1988 University of California, San Diego, CA 1982 Concordia University, Montreal, Quebec Solo Exhibitions 2016 Bergen Kunsthall, Norway Murray Guy, New York 2015 greengrassi, London The Revenants, Wilfried Lentz, Rotterdam 2014 Ornament and Reproach, Murray Guy, New York Burn the Diaries, MUMOK — Museum Moderner Kunst Stiftung Ludwig, Vienna; traveling to Institute of Contemporary Art, Philadelphia Moyra Davey - life without sheets of paper to be scribbled on is masterpiece, Camden Arts Centre, London 2013 Ornament and Reproach, Presentation House Gallery, Vancouver Hangmen of England, Tate Liverpool, Liverpool, UK 2012 Spleen. Indolence. Torpor. Ill-humour, Murray Guy, New York 2011 Les Goddesses, greengrassi, London 2010 Speaker Receiver, Kunsthalle Basel, Basel My Necropolis, Goodwater, Toronto My Necropolis, lllingworth Kerr Gallery, Alberta College of Art + Design, Calgary, AB, Canada 2009 My Necropolis, Murray Guy, New York My Necropolis, Arch II Gallery, University of Manitoba, Winnipeg 2008 Long Life Cool White, The Fogg Art Museum, Harvard University, Cambridge, MA 2007 Fifty Minutes, Goodwater, Toronto My Place, TART, San Francisco 2006 Monologues (with Julia Scher), Wexner Center for the Arts, Columbus, OH 2003 American Fine Arts, Co., New York 2002 Goodwater, Toronto 1999 American Fine Arts, Co., New York -
Herbert Ponting; Picturing the Great White South
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2014 Herbert Ponting; Picturing the Great White South Maggie Downing CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/328 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The City College of New York Herbert Ponting: Picturing the Great White South Submitted in partial fulfillment of the requirements for the degree of Master of Arts of the City College of the City University of New York. by Maggie Downing New York, New York May 2014 Dedicated to my Mother Acknowledgments I wish to thank, first and foremost my advisor and mentor, Prof. Ellen Handy. This thesis would never have been possible without her continuing support and guidance throughout my career at City College, and her patience and dedication during the writing process. I would also like to thank the rest of my thesis committee, Prof. Lise Kjaer and Prof. Craig Houser for their ongoing support and advice. This thesis was made possible with the assistance of everyone who was a part of the Connor Study Abroad Fellowship committee, which allowed me to travel abroad to the Scott Polar Research Institute in Cambridge, UK. Special thanks goes to Moe Liu- D'Albero, Director of Budget and Operations for the Division of the Humanities and the Arts, who worked the bureaucratic college award system to get the funds to me in time. -
Cameras at Work: African American Studio Photographers and the Business of Everyday Life, 1900-1970
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2016 Cameras at Work: African American Studio Photographers and the Business of Everyday Life, 1900-1970 William Brian Piper College of William and Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons Recommended Citation Piper, William Brian, "Cameras at Work: African American Studio Photographers and the Business of Everyday Life, 1900-1970" (2016). Dissertations, Theses, and Masters Projects. Paper 1477068187. http://doi.org/10.21220/S2SG69 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Cameras at Work: African American Studio Photographers and the Business of Everyday Life, 1900-1970 W. Brian Piper Richmond, Virginia Master of Arts, College of William and Mary, 2006 Bachelor of Arts, University of Virginia, 1998 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program The College of William and Mary August, 2016 © Copyright by William Brian Piper 2016 All Rights Reserved ABSTRACT This dissertation examines the professional lives of African American studio photographers, recovering the history of an important industry in African American community life during segregation and the long Civil Rights Movement. It builds on previous scholarship of black photography by analyzing photographers’ business and personal records in concert with their images in order to more critically consider the circumstances under which African Americans produced and consumed photographs every day. -
Lost-And-Found Photos: Practices and Perceptions
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses March 2016 Lost-and-found Photos: Practices and Perceptions Todd J. Wemmer University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Digital Humanities Commons, and the Photography Commons Recommended Citation Wemmer, Todd J., "Lost-and-found Photos: Practices and Perceptions" (2016). Doctoral Dissertations. 605. https://doi.org/10.7275/7941035.0 https://scholarworks.umass.edu/dissertations_2/605 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Lost-and-found Photos: Practices and Perceptions A Dissertation Presented by TODD J WEMMER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2016 Department of Communication © Copyright by Todd J Wemmer 2016 All Rights Reserved Lost-and-Found Photos: Practices and Perceptions A Dissertation Presented By TODD J WEMMER Approved as to style and content by: _________________________________________________ Carolyn Anderson, Chair _________________________________________________ Emily West, Member _________________________________________________ Jackie Urla, Member __________________________________________ Erica Scharrer, Department Head Department of Communication DEDICATION For my father, Jerry J Wemmer, who taught me how to use a camera and to be a collector. ACKNOWLEDGMENTS First, I would like to thank my advisor, Carolyn Anderson, for endless support throughout the process of creating this dissertation.