In the 18th and 19th centuries the idea of "progress" guided the development of the West's images of its own future. As is well known, progress began to lose its capacity to operate as a metadescription of society in the middle of the 19th century. By the end of World War I the idea of progress was in a deep crisis from which it would never completely recover. This dissertation examines the historical period between the moment when the idea of progress began to decline and the period in which a new kind of image of the future began to take shape. This new type of image of the future takes place in what I call "the age of sustainability." "The age of sustainability" does not indicate a particular mode of imagining the future, but rather a set of cultural conditions that are favorable to the production of ideas like sustainability. Sustainability itself is only the dominant available mode of imagining the future under the conditions of the age of sustainability. The idea of progress began its decline because the descriptive mechanisms that supported it began to erode: revised assumptions about the social roles of technology, a perceived diminishment of the future time available to human societies, the increasing complexity of social relations, and the decreasing availability of metanarratives all contributed to the decline of the idea of progress. During this period of decline, however, new descriptive mechanisms arose that sought to compensate for what had become unavailable in the production of images of the future. These new descriptive mechanisms account for the difference between the "age of progress" and the "age of sustainability." The central question of this dissertation, then, is to ask what social conditions most contribute to the development of the kinds of images of the future that predominate in the age of sustainability. Among these are: 1) the increasing complexity of all social relations and an attendant scarcity of time which generates consciousness of risk; 2) an inertial resistance to change imposed on social systems by the frictional force of risk; 3) a requirement under conditions of increasing complexity that trust is increasingly placed in expert systems, which has the tendency to situate responsibility for crisis amelioration with nonhumans; and 4) the unavailability of unifying descriptions of society that is responsible for a diminished optimism regarding the possibility of normatively guiding social development.

Kittlers "Kulturgeschichte der Kulturwissenschaft" ist gar keine Kulturgeschichte, sondern eine Vorlesung, die so heißt. Diese Vorlesung wiederum ist absichtlich unredigiert und präsentiert sich als ein kulturhistorisches Dokument, aus dem gerade einmal die "ähs" und "öhs" der mündlichen Rede herausgestrichen sind, sonst aber alles stehen blieb.

Kittlers 'Kulturgeschichte der Kulturwissenschaft' ist gar keine Kulturgeschichte, sondern eine Vorlesung, die so heißt. Diese Vorlesung wiederum ist absichtlich unredigiert und präsentiert sich als ein kulturhistorisches Dokument, aus dem gerade einmal die 'ähs' und 'öhs' der mündlichen Rede herausgestrichen sind, sonst aber alles stehen blieb.

Esta tese se divide em duas partes. Na primeira parte serão expostas as escolas e teorias mais importantes para o conceito de sentido. Na segunda parte será exposto o conceito de sentido espectral. A primeira seção é monográfica e trata de investigar o conceito de sentido em quatro diferentes campos das ciências humanas: a lógica, a linguagem, a fenomenologia e a teoria dos sistemas. A segunda traz a proposição teórica do conceito de sentido espectral e o discute em função de diagramas de comunicação e sentido. Com isso, a discussão da primeira parte deste trabalho deverá introduzir as dimensões do conceito de sentido que, por sua vez, serão relacionados com certo padrão de difusão e consumo da informação. Essa relação entre os modos de produção das matrizes de media e um determinado conceito de sentido é explorada ao longo de todo o trabalho. Espectral, com isso, é uma metáfora para a particular produção de sentido do ambiente digital. Esse campo do sentido eletrônico será descrito e delineado em contraposição às metáforas não-espaciais de difusão do ciberespaço, que sugerem um campo aberto de aceleração e expansão não comensurável. Desse modo, o conceito de sentido espectral apresentará dois blocos de elementos complementares cuja finalidade é vincular as metáforas não-espaciais, exteriores e difusas do ciberespaço, com uma descrição dos mecanismos interiores desse sentido digital. Esses mecanismos serão descritos teórica e graficamente por meio de cinco componentes: serialização, aglutinação, seleção, nódulos e disrupção. Essas operações, por sua vez, percorrem uma superfície cujos movimentos são simultaneamente concêntricos e arborescentes. A descrição desse movimento será feita por meio de três circuitos: círculos interiores, círculos exteriores e círculos crescentes. A superfície, por sua vez, será descrita com o conceito de anéis de cebola. A vinculação entre as camadas concêntricas e a superfície do ciberespaço conforma o próprio conceito de sentido espectral. / This thesis is divided in two parts. The first part discusses the most influential schools and theories regarding the concept of meaning. The second part presents the concept of spectral meaning. This first section is monographic and consists in an investigation into the concept of meaning within four different fields of human sciences: logics, language, phenomenology and social systems theory. The second section presents the theoretical thesis concerning the concept of spectral meaning and discusses it in the light of communication and meaning diagrams. Therefore, the first part of this work introduces the varied understandings of the concept of meaning which, in a second phase, will be related to specific patterns of information and communication. This relationship between modes of production across different media matrices and a given concept of meaning is continually explored throughout the thesis. Spectral is, therefore, a metaphor for the specific production of sense in the digital environment. This field of electronic meaning will be described and portrayed in opposition to the non-spatial metaphors of diffusion that haunt the cyberspace, regularly depicting it as an open and incommensurable field of acceleration and expansion. Accordingly, the concept of spectral meaning will present two sets of paired elements in order to connect the non-spatial, diffusive and exterior metaphors of the cyberspace with a representation of the electronic meaning and its internal mechanisms. These mechanisms will be described theoretically and graphically along five main components: serialization, netclustering, gatekeeping, nodes and breakthrough. These operations, on the other hand, go through a surface whose activity is both concentric and arborescent. The description of this movement will be target along three cycles: inner circles, outer circles and growing circles. The surface itself, conversely, will be described with the concept of onion rings. The connection between the concentric layers and the cyberspace surface comprehends the concept of spectral meaning itself.

Esta tese se divide em duas partes. Na primeira parte serão expostas as escolas e teorias mais importantes para o conceito de sentido. Na segunda parte será exposto o conceito de sentido espectral. A primeira seção é monográfica e trata de investigar o conceito de sentido em quatro diferentes campos das ciências humanas: a lógica, a linguagem, a fenomenologia e a teoria dos sistemas. A segunda traz a proposição teórica do conceito de sentido espectral e o discute em função de diagramas de comunicação e sentido. Com isso, a discussão da primeira parte deste trabalho deverá introduzir as dimensões do conceito de sentido que, por sua vez, serão relacionados com certo padrão de difusão e consumo da informação. Essa relação entre os modos de produção das matrizes de media e um determinado conceito de sentido é explorada ao longo de todo o trabalho. Espectral, com isso, é uma metáfora para a particular produção de sentido do ambiente digital. Esse campo do sentido eletrônico será descrito e delineado em contraposição às metáforas não-espaciais de difusão do ciberespaço, que sugerem um campo aberto de aceleração e expansão não comensurável. Desse modo, o conceito de sentido espectral apresentará dois blocos de elementos complementares cuja finalidade é vincular as metáforas não-espaciais, exteriores e difusas do ciberespaço, com uma descrição dos mecanismos interiores desse sentido digital. Esses mecanismos serão descritos teórica e graficamente por meio de cinco componentes: serialização, aglutinação, seleção, nódulos e disrupção. Essas operações, por sua vez, percorrem uma superfície cujos movimentos são simultaneamente concêntricos e arborescentes. A descrição desse movimento será feita por meio de três circuitos: círculos interiores, círculos exteriores e círculos crescentes. A superfície, por sua vez, será descrita com o conceito de anéis de cebola. A vinculação entre as camadas concêntricas e a superfície do ciberespaço conforma o próprio conceito de sentido espectral. / This thesis is divided in two parts. The first part discusses the most influential schools and theories regarding the concept of meaning. The second part presents the concept of spectral meaning. This first section is monographic and consists in an investigation into the concept of meaning within four different fields of human sciences: logics, language, phenomenology and social systems theory. The second section presents the theoretical thesis concerning the concept of spectral meaning and discusses it in the light of communication and meaning diagrams. Therefore, the first part of this work introduces the varied understandings of the concept of meaning which, in a second phase, will be related to specific patterns of information and communication. This relationship between modes of production across different media matrices and a given concept of meaning is continually explored throughout the thesis. Spectral is, therefore, a metaphor for the specific production of sense in the digital environment. This field of electronic meaning will be described and portrayed in opposition to the non-spatial metaphors of diffusion that haunt the cyberspace, regularly depicting it as an open and incommensurable field of acceleration and expansion. Accordingly, the concept of spectral meaning will present two sets of paired elements in order to connect the non-spatial, diffusive and exterior metaphors of the cyberspace with a representation of the electronic meaning and its internal mechanisms. These mechanisms will be described theoretically and graphically along five main components: serialization, netclustering, gatekeeping, nodes and breakthrough. These operations, on the other hand, go through a surface whose activity is both concentric and arborescent. The description of this movement will be target along three cycles: inner circles, outer circles and growing circles. The surface itself, conversely, will be described with the concept of onion rings. The connection between the concentric layers and the cyberspace surface comprehends the concept of spectral meaning itself.

This paper analyzes Allt, Martina Lowden's novel from 2006, from a media discursive perspective. The theoretical framework consists of Michel Foucault's discourse analysis, Friedrich Kittler's research on hermeneutic reading, and N. Katherine Hayles's studies of pattern–randomness controlled meaning production. Various examples on how communication technology influences the narrator’s act of writing illustrate the medial discourse surrounding the body of Allt. Initially the underlying archive that constitutes the narrators raw material for writing (lists, lexical representations and institutional bibliographies) will be identified. The archival background is, further on, essential for the understanding of how a hermeneutic act of reading (to compare with the product of the late 1800-century educational reform, described by Kittler in his essay "Authorship and Love") takes place throughout the novel. Confronted through a hermeneutic interaction, the literature surrounding the act of writing in Allt, becomes meaningful when put back into a distribution system; when red about and written again – in short, when mutated to fit on to new text consumers. This constant and instant meaning production is, as a final step in this paper, compared with the pattern-randomness network described in Hayles's book How We Became Posthuman.

The extent of Arctic sea ice has decreased over the years and the importance of sea ice monitoring is expected to increase. Remote sensing change detection compares images acquired over the same geographic area at different times in order to identify changes that might have occurred in the area of interest. Change detection methods have been developed for cryospheric topics. The Kittler-Illingworth thresholding algorithm has proven to be an effective change detection tool, but has not been used for sea ice. Here it is applied to Arctic sea ice data. The objective is to investigate the unsupervised detection of changes in Arctic sea ice using multi-temporal SAR images. The well-known Kittler-Illingworth algorithm is tested using two density function models, i.e., the generalized Gaussian and the log-normal model. The difference image is obtained using the modified ratio operator. The histogram of the change image, which approximates its probability distribution, is considered to be a combination of two classes, i.e., the changed and unchanged classes. Histogram fitting techniques are used to estimate the unknown density functions and the prior probabilities. The optimum threshold is selected using a criterion function directly related to classification error. In this thesis three datasets were used covering parts of the Beaufort Sea from the years 1992, 2002, 2007 and 2009. The SAR and ASAR C-band data came from satellites ERS and ENVISAT respectively. All three were interpreted visually. For all three datasets, the generalized Gaussian detected a lot of change, whereas the log-normal detected less. Only one small subset of a dataset was validated against reference data. The log-normal distribution then obtained 0% false alarm rate through all trials. The generalized Gaussian obtained false alarm rates around 4% for most of the trials. The generalized Gaussian achieved detection accuracies around 95%, whereas the log-normal achieved detection accuracies around 70%. The overall accuracies for the generalized Gaussian were about 95% in most trials. The log-normal achieved overall accuracies at around 85%. The KHAT for the generalized Gaussian was in the range of 0.66-0.93. The KHAT for log-normal was in the range of 0.68-0.77. Using one additional speckle filter iteration increased the accuracy for the log-normal distribution. Generally, the detection of positive change has been accomplished with higher level of accuracy compared with negative change detection. A visual inspection shows that the generalized Gaussian distribution probably over-estimates the change. The log-normal distribution consistently detects less change than the generalized Gaussian. Lack of validation data made validation of the results difficult. The performed validation might not be reliable since the available validation data was only SAR imagery and differentiating change and no-change is difficult in the area. Further due to the lack of reference data it could not be decided, with certainty, which distribution performed the best. / Ytan av arktisk havsis har minskat genom åren och vikten av havsisövervakning förväntas öka. Förändrigsdetection jämför bilder från samma geografiska område från olika tidpunkter föra att identifiera förändringar som kan ha skett i intresseområdet. Förändringsdekteringsmetoder har utvecklats för kryosfäriska ämnen. Tröskelvärdesbestämning med Kittler-Illingworth algoritmen har visats sig vara ett effektivt verktyg för förändringsdetektion, men har inte änvänts på havsis. Här appliceras algoritmen på arktisk havsis. Målet är att undersökra oövervakad förändringsdetektion i arktisk havsis med multitemporella SAR bilder. Den välkända Kittler-Illingworth algoritmen testas med två täthetsfunktioner, nämligen generaliserad normaldistribution och log-normal distributionen. Differensbilden erhålls genom den modifierad ratio-operator. Histogrammet från förändringsbilden skattar dess täthetsfunktion, vilken anses vara en kombination av två klasser, förändring- och ickeförändringsklasser. Histogrampassningstekniker används för att uppskatta de okända täthetsfunktionerna och a priori sannolikheterna. Det optimala tröskelvärdet väljs genom en kriterionfunktion som är direkt relaterad till klassifikationsfel. I detta examensarbete användes tre dataset som täcker delar av Beaufort-havet från åren 1992, 2002, 2007 och 2009. SAR C-band data kom från satelliten ERS och ASAR C-band data kom från satelliten ENVISAT. Alla tre tolkades visuellt och för alla tre detekterade generaliserad normaldistribution mycket mer förändring än lognormal distributionen. Bara en mindre del av ett dataset validerades mot referensdata. Lognormal distributionen erhöll då 0% falska alarm i alla försök. Generalised normaldistributionen erhöll runt 4% falska alarm i de flesta försöken. Generaliserad normaldistributionen nådde detekteringsnoggrannhet runt 95% medan lognormal distributionen nådde runt 70%. Generell noggrannheten för generaliserad normaldistributionen var runt 95% i flesta försöken. För lognormal distributionen nåddes en generell noggrannhet runt 85%. KHAT koefficienten för generaliserad normaldistributionen var i intervallet 0.66-0.93. För lognormal distributionen var den i intervallet 0.68-0.77. Med en extra speckle-filtrering ökades nogranneheten för lognormal distributionen. Generellt sett, detekterades positiv förändring med högre nivå av noggrannhet än negativ förändring. Visuell inspektion visar att generaliserad normaldistribution troligen överskattar förändringen. Lognormal distributionen detekterar konsistent mindre förändring än generaliserad normaldistributionen. Bristen på referensdata gjorde valideringen av resultaten svårt. Den utförda valideringen är kanske inte så trovärdig, eftersom den tillgänliga referensdatan var bara SAR bilder och att särskilja förändring och ickeförändring är svårt i området. Vidare, på grund av bristen på referensdata, kunde det inte bestämmas med säkerhet vilken distribution som var bäst.

What can the study of Victorian literature gain from approaching primary texts explicitly as processing, storing, and transmitting data? I suggest that, by applying tools and methodologies from German media history that are usually reserved for technical and digital media, we can illuminate how individual texts operate and better understand Victorian texts as media, which remains an underdeveloped aspect of materialist literary study. In analysing how Victorian texts depict encounters with traditional plastic art-objects, I develop new applications of Friedrich Kittler’s ideas of recursion and transposition, Hans Ulrich Gumbrecht’s method of reading for Stimmung, and the theory of cultural techniques (Kulturtechniken). I also propose new concepts to further our understanding of how encounters with art-objects function, such as the observer effect: the simultaneous perception of past and future meanings of an art-object. Close readings of Michael Field’s Sight and Song and Dante Gabriel Rossetti’s Ballads and Sonnets suggest that both volumes acknowledge encounter as a cultural technique, rather than a spontaneous, independent action by the subject. Yet they propose different roles for themselves within that technique. Michael Field’s poems purport to halt the process of recursion, but Rossetti’s demand that readers experience their own observer effects. Meanwhile, Vernon Lee’s Hauntings: Fantastic Stories and Oscar Wilde’s The Picture of Dorian Gray demonstrate the agency of art-objects vis-à-vis the cultural technique of encounter. Lee’s stories reveal the threat to an individual subject’s production of future meanings that art-objects pose, in particular through their effects of presence. In Dorian Gray, the art-object’s own data processing circumscribes the subject’s observer effect. Each text thus evidences its operations as a medium and its complicated relationships with other media in the form of art-objects. Each processes data; recurs to art-objects, tropes, or themes and transmits future meanings thereof; and participates in the cultural technique of encounter. In so doing, these texts resisted the threats of marginalisation that faced ‘old media’ from the rise of photography and the incipient development of film at the fin de siècle.

Multitemporal SAR images have been increasingly used for the detection of different types of environmental changes. The detection of urban changes using SAR images is complicated due to the complex mixture of the urban environment and the special characteristics of SAR images, for example, the existence of speckle. This thesis investigates urban change detection using multitemporal SAR images with the following specific objectives: (1) to investigate unsupervised change detection, (2) to investigate effective methods for reduction of the speckle effect in change detection, (3) to investigate spatio-contextual change detection, (4) to investigate object-based unsupervised change detection, and (5) to investigate a new technique for object-based change image generation. Beijing and Shanghai, the largest cities in China, were selected as study areas. Multitemporal SAR images acquired by ERS-2 SAR and ENVISAT ASAR sensors were used for pixel-based change detection. For the object-based approaches, TerraSAR-X images were used. In Paper I, the unsupervised detection of urban change was investigated using the Kittler-Illingworth algorithm. A modified ratio operator that combines positive and negative changes was used to construct the change image. Four density function models were tested and compared. Among them, the log-normal and Nakagami ratio models achieved the best results. Despite the good performance of the algorithm, the obtained results suffer from the loss of fine geometric detail in general. This was a consequence of the use of local adaptive filters for speckle suppression. Paper II addresses this problem using the nonlocal means (NLM) denoising algorithm for speckle suppression and detail preservation. In this algorithm, denoising was achieved through a moving weighted average. The weights are a function of the similarity of small image patches defined around each pixel in the image. To decrease the computational complexity, principle component analysis (PCA) was used to reduce the dimensionality of the neighbourhood feature vectors. Simple methods to estimate the number of significant PCA components to be retained for weights computation and the required noise variance were proposed. The experimental results showed that the NLM algorithm successfully suppressed speckle effects, while preserving fine geometric detail in the scene. The analysis also indicates that filtering the change image instead of the individual SAR images was effective in terms of the quality of the results and the time needed to carry out the computation. The Markov random field (MRF) change detection algorithm showed limited capacity to simultaneously maintain fine geometric detail in urban areas and combat the effect of speckle. To overcome this problem, Paper III utilizes the NLM theory to define a nonlocal constraint on pixels class-labels. The iterated conditional mode (ICM) scheme for the optimization of the MRF criterion function is extended to include a new step that maximizes the nonlocal probability model. Compared with the traditional MRF algorithm, the experimental results showed that the proposed algorithm was superior in preserving fine structural detail, effective in reducing the effect of speckle, less sensitive to the value of the contextual parameter, and less affected by the quality of the initial change map. Paper IV investigates object-based unsupervised change detection using very high resolution TerraSAR-X images over urban areas. Three algorithms, i.e., Kittler-Illingworth, Otsu, and outlier detection, were tested and compared. The multitemporal images were segmented using multidate segmentation strategy. The analysis reveals that the three algorithms achieved similar accuracies. The achieved accuracies were very close to the maximum possible, given the modified ratio image as an input. This maximum, however, was not very high. This was attributed, partially, to the low capacity of the modified ratio image to accentuate the difference between changed and unchanged areas. Consequently, Paper V proposes a new object-based change image generation technique. The strong intensity variations associated with high resolution and speckle effects render object mean intensity unreliable feature. The modified ratio image is, therefore, less efficient in emphasizing the contrast between the classes. An alternative representation of the change data was proposed. To measure the intensity of change at the object in isolation of disturbances caused by strong intensity variations and speckle effects, two techniques based on the Fourier transform and the Wavelet transform of the change signal were developed. Qualitative and quantitative analyses of the result show that improved change detection accuracies can be obtained by classifying the proposed change variables. / <p>QC 20150529</p>

As we speak, analogue film is being phased out of the international film industry. The medium that once reigned in capturing and projecting our world's light and the flow of time, has now been rendered obsolete and replaced by digital media technology. However, analogue film remains, and has come to be increasingly used and investigated in contemporary art. In my essay, I examine how our aesthetic perception of analogue film is changing with this shift to digital film technology. How do we experience analogue film – now that it is both on the verge of disappearing from society and is put in contrast to its digital successor? My investigation is based on the thesis that analogue film is now in a state of change. By analyzing three contemporary artists I attempt to discern how this change is aesthetically articulated, and trace alternative forms of continued existence for analogue film. The British artist Tacita Dean, the Italian artist Rosa Barba and the Swedish artist Alexander Gutke all work with film in their own way, and also in the context of the changed status of analogue film today. Furthermore, I examine the possibility that these artists form an active part of a continuous reshaping of analogue film, which is taking place in the fracture created in this shift to digital media technologies.