Thesis (Ph. D.)--University of Colorado at Boulder, 1980. / Film copy in University Microfilms, Ann Arbor. Includes bibliographical references (leaves [206]-209).

Thesis (M. Arch.)--University of Hong Kong, 2004. / Includes special report study entitled : The interaction of photography and architecture through 150 years. Also available in print.

Artists' book utilizing cross disciplinary media.

Artists' book utilizing cross disciplinary media.

AN ABSTRACT OF THE THESIS OF Tommy J Reyes, Master of Fine Arts degree in Mass Communication and Media Arts, presented on April 12, 2010, at Southern Illinois University at Carbondale. TITLE: MEMORIAS MEDIADAS Y EL ARCHIVO MAJOR PROFESSOR: Antonio Martinez Memorias Mediadas y el Archivo takes as its starting point journals that I have kept for about twenty-seven years. I started writing in therapy, at the age of seven, to help me cope with the death of my father. Even though therapy only lasted a few months, I continued to write, and even to this day I continue to keep an electronic journal. Memorias Mediadas y el Archivo in its simplest terms is a re-creation. This project explores my life through photographs that I am calling and describing as memorias mediadas (English translation, mediated memories). My goal is to move outside the deeply personal by creating a visual language system that consists of color, composition, and production. It is within this visual system that I am attempting to maneuver outside the personal, or confessional, and connect with the viewer in a way that does not center on me; instead, the connection is with the work and our shared experience of viewing the photographs, not my personal story. I believe in connecting with the viewer on a common visual ground, which allows them to interpret the work based on their own experiences and not my minority status. I believe that our identities are constructed by the way we choose our outward appearance and how the world sees us at first glance. With that in mind, I define mediated memories as a series of screens both physical and metaphorical that present my constructed identity for the purpose of creating a system of signifiers for an informed audience. It is with this system that I am able to direct the viewer's gaze through the world of the photographs. These screens are put into place to act as translating and distorting layers, like a series of screen doors, distorting the view looking out and the view looking in. By creating this visual language system I not only distort my remembered personal experience for the viewer, I create a simulation of truth based on my personal archive. This becomes the first screen of mediation. In this paper I will explore and reflect on my desire to create these mediated screens, which I have put into place for the purpose of distorting deeply personal events.

This critical commentary reviews and contextualises existing research on Photographic strategies for visualising the landscape and natural history of Northern England: the ordinary and the extraordinary. The commentary examines three major bodies of photographic work that have each been publicly disseminated as major exhibitions, Sharpe’s Wood (2007) nominated for the Prix Pictet (Earth) Photography Award (2009), Chasing the Gloaming (2011) nominated for the Deutsche Börse and Re: Collections (2013). Each case study has been subject to critical peer and public review and this is evaluated in the commentary and a comprehensive box of evidential research material is presented to support the practice-led research submission. The commentary positions the practice-led enquiry against the overall research aims and objectives. The research focus has made a significant contribution to landscape photographic discourse, through experimental and transformational analogue and digital photographic methodologies (camera and non-camera) in the visualisation of the hidden and unseen aspects of the landscape and natural history of the north of England. The commentary frames and highlights the wide-ranging historical collections based research across photographic, artistic and science disciplines, and it tracks their impact on the research trajectory and on my contemporary photographic practice. Photographic critical thinking (Walter Benjamin and Roland Barthes) supported the theoretical research aims; their ideas provided critical filters for practice-led experiments with camera and non-camera seeing and the aim of visualising the hidden through experimental photographic methodologies. Historical and contemporary nature writing also informed the photographic research trajectory, specifically with ideas around the locale within a wider cultural context and ideas around the (lost) meaning of landscape. The resulting research outputs have culminated in an examination of the wider cultural value of the ordinary and the local landscape visualised photographically.

This thesis seeks to define useful conditions for children within primary education to develop greater awareness and understanding of cultural diversity. In order for children to have cultural exchanges, international school twinning practices was considered to be a sensible strategy to underpin this aim. For providing a communicative medium whereby children might have cultural interactions, photography was the other significant mediating resource. In this report, two interventions were described, involving two separate international school twinning projects between Turkey and the UK. The results of Intervention I indicated that despite gentle prompts from a co-participating researcher, and despite an eagerness from the children, there was limited visual sensitivity in reading and interpreting cultural implications in both their own and photographs and those shared between the participating schools. A modest advance towards the conclusion of the first intervention influenced the design of the next intervention. In Intervention II, a new international school project was established with fewer children and with more time allocated by the schools. Inviting the children to participate in preliminary cultural discussions appeared to create a more effective awareness of the cultural connotations in both their own and the shared photographs. Despite the children’s willingness around engaging with images, they remained limited in their reading and production of provocative visual communication. Suggestions are made for strengthening what is judged a worthwhile purpose, with particular emphasis on the need to scaffold the recruitment of semiotic cues in image towards the goal of cross-cultural discussion. This study found that the children’s semiotic reading of images are at a modest level. Considering this exposure of visual images in every aspect of their lives, this study indicates that the children should be provided with more communicative opportunities with images.

Thesis (MTech (Electrical Engineering))--Peninsula Technikon, 2003 / The scientific investigation of Kirlian photography has always been a contentious issue. Unreliable instrumentation and incomplete documentation characterized initial research efforts of most investigators. An instrument was designed and consttucted which addressed these concerns. Using modem engineering techniques a portable instrument which can take near instant quality photographs was produced. Important design features include : • Virtually Instant Pictures - The setup time can be very fast, a specimen can be ready in seconds • Complete Digital Camera Control via software • High voltage and frequency can also be controlled via the software • Galvanic isolated high voltages which protects the user • Automated. monitoring and recording environment Offiine/Internet Viewing - It is possible to review past experiments The product presented in this dissertation makes use ofstandard microcontroller hardware and software design theory and practises as well as conventional personal computer PC programming techniques. Standard electrical theory was also applied throughout to deliver safe and effective device.

Bibliography: p. 92-93. / My work questions social and cultural constructs of 'normality' and, by focusing on the practices of marginalised communities, questions dominant cultural conventions of female identity, beauty and sexuality. Within visual media, if the private or unsaid of female experience is said, it is seen as subversive. By focusing on four female initiations, my intention is to develop a specific yet complex comparison of different types of initiations. Embedded within the communities I have photographed are unique perceptions of beauty, each of which differs from mainstream notions. My intention is not to exoticise any particular community, but to explore some sub-cultures of female youth in South Africa, and to unfold how these women position themselves in post-Apartheid South Africa. An important component of the work is the relationship of the subject to the documentary process. I hope both to raise questions and also provide some answers concerning how the means of signification functions for the subjects. As the photographer of their transformation process, I am positioned as an outsider in their lives. As a means of acknowledging this, I include a series of photographs taken or directed by the women themselves, alongside my own. In doing so, my intention is to create a visual dialogue with the subjects, effectively offering them the opportunity to reply to my images with their own. This is not meant as a patronising gesture of political correctness, but as a means of attaining a more complete narrative while at the same time exploring complexities inherent in the play between 'inside' and 'outside' perspectives. My editing of their self-portraits positions me as a curator in this facet of the project.

For several years I have photographed primary hardwood forests along the imaginary line of the equator to communicate, persuade and warn of the continued ecological destruction that is occurring along this line. My plan was to capture arcadian visions of equatorial hardwood primary forests before they are destroyed and to show how this arcadian vision is disrupted by a more dystopian one. The images in this project were photographed in three areas that circle the equator: Southeast Asia, Africa and South America, where over half the world's rainforests are concentrated, and which I visited to follow the line. Line is an attempt to understand the current pressures on the equatorial environment and create a photographic exploration of ecology that highlights and foregrounds land, space, territories, boundaries and power. For this, myfield of study and research considers ecology through the theory and lens of photography.