This paper is an account of the inventory I've made of documents in the archive at Museum Gustavianum, Collections storage Husbyborg, relating to the excavations in Asine, Greece, in the 1920s. The aim of this inventory has been to establish which of the documents in the Husbyborg archives that belong to the department of Classical Studies at Uppsala University. Documents belonging to other archives have been found alongside the one mentioned above and those are the Original documentation (loan from Carolina) and the personal archive of Professor Axel W. Persson. The documents have been arranged according to the General Archive Scheme (Allmänna arkivschemat) seeing that the department of Classical Studies already had a series named Documents relating to the departments archeological collections, and the inventory I've made will be incorporated with that. The subject of this one year master's thesis in archival science has been, other than the inventory itself, to describe and examine the difficulties I've encountered during this inventory, which are separation of archives, principle of provenance and photographs.

The storm surge from Hurricane Ike inundated Bolivar Peninsula as well as pooled up (~4 meters above sea level) in the Galveston Bay System behind Bolivar. After the hurricane passed, this water flowed back over the peninsula for about 19 hours, causing a great deal of coastal destruction. Analysis of post-Hurricane Ike aerial photography and Lidar data revealed the development of dramatically different scour and backflow features in the beach and dune environments along Bolivar Peninsula, Texas. Using Ward's cluster analysis, the 454 identified features were grouped according to shape and size characteristics generated by an object-oriented shape analysis program. Five distinct groups of features emerged from the cluster analysis. Group 1 features were small and compact, distributed mostly in the west; Group 2 features were large and dendritic in nature, distributed where the peninsula was narrow. Group 3 features had a longshore orientation with many of them resembling piano keys, distributed in the east. Group 4 features were oriented longshore and ornate in shape. Many of them were similar in shape to Group 2 or 3 features though statistically different enough to be grouped alone; they were distributed mostly in the eastern half of the study area. Group 5 features tended to be elongated, oriented cross-shore, nonbranching, and distributed mostly in the east. At least four flow environments caused characteristic forms. The first flow environment is typified by seaward flowing water encountering a road parallel with the coastline. The water flowing over the road scours deeply on the leeward side (seaward side), denuding beach sediments down to the resistant mud layer (Groups 3 and 4). The second flow environment was caused by a geotube, which breached during the storm and channelized flow through the breaches (Groups 2 and 5). The third flow environment had a comparatively high elevation, high development, and shore-perpendicular roads (Group 2). The fourth flow environment was typified by wide beaches backed by dunes (lost in the storm) as well as flat vegetated areas. Water flowing seaward over the vegetation scoured deeply into troughs after it came off the vegetation (Groups 1, 3, and 4).

D. Tech. Graphic Design / This study offers an artistic engagement with the lived, working environment of the mental healthcare providers in a ward of a psychiatric hospital. First encounters with this environment strongly suggested that the environment was not optimally aligned with the purpose and function of such an environment. The main aim of this study was to investigate, develop and establish an enhanced sense/state of wellbeing amongst mental healthcare providers at a Psychiatric Hospital by creating and introducing colour landscape images in/into their working environment.

M. Tech. Education / It is well known that learners do not perform well in physical science. The purpose of this study was to investigate how learners interpret the role of photographs and other illustrative devices in physical science and whether learners are able to identify physical science concepts that they think are embedded in the photographs found in grade 12 physical science textbooks. The study focused on photographs found in physical science textbooks as it is clear that photographs are explicitly used in physical science textbooks as pedagogical resources. It is of great significance for learners to also understand the physical science concepts embedded in photographs.

This creative project started out as initially proposed. During the many long hours of work, the project changed. Many unexpected events made the project more difficult. The original idea was to organize, select, print, market and copywrite eleven years of auto racing negatives.The selection of a print shop was the first problem. The cost of the book was considerable. The result was an inferior printer. A problem in communication was next. Deadlines were given and agreed upon but never were met during the whole project. The failure to meet the deadlines over a extended period of time left no alternative. An agreement was reached with the print shop manager and I began to do the work with the notable exception of the running of the press. This was the major change in the original project.This change led to a more technical approach. The actual involvement with the book was now centered around learning about layouts, signatures, flats, halftones, line than raw talent to be successful. Things like training, copy, cutting and pasting photographs, dot patterns, and making plates for the press. This proved to be a positive learning experience.In closing, there are three main points. The first point is how much the project changed over the course of time. The result of little money, poor communication and the use of a poor quality printer led to the failure of the final product as a marketable book. Point two is that even though the final product is not as planned, the project will continue even beyond the creative project. A final marketable product is the goal and the creative project is just a step in reaching that goal. Lastly, I have developed a new appreciation for what a true artist is. It takes more education, experiences, environment, dedication, money are just a few of the qualities needed. All of these factors and more have been discovered in the making of this book. It has helped me establish new guidelines for what makes a true artist.

This project grew out of an interest in notions of ‘home’, what ‘home’ is and its relationship to the ‘house’ as a physical place of dwelling. Specifically, this project explores how the home is represented in vernacular image-making, such as the photographs in the family album and craft methods such as cross-stitch. This lead to an investigation into vernacular photography, collections and archives, and contemporary craft methods. An archive of photographs collected follows the text, as well as drawings and embroideries made during the project. The final work consists of a large-scale projection of a cross-stitch and the photograph it originated from.

Since its introduction in Australia, photography has had a profound impact on Australian culture. The modern era, it is often alleged, has been dominated by the sense of sight, and from its inception, photography was explicitly understood in relation to this prestigious notion of modern vision. The camera and its associated technologies offered a “new” and modern way of seeing that was central to the overall project of modernity. This thesis is a study of the role of photography in the increasing visualisation of Australian culture during the late nineteenth and early twentieth centuries. Drawing on debates around modernism, it explores the cultural and social expressions of photography. Each chapter of this thesis considers an aspect of photography or its use, and traces the emerging popularisation and commodification of the photographic image. The social impact of photography is explored in a selection of specific contexts that include early camera clubs and societies of the 1890s, and the growing amateur movement that followed the new “point and shoot” technology so ably depicted by the Kodak Girl. Other contexts include the professional applications of photography, official and private uses of photography during World War I, and finally the journalistic and cinematic uses of the photographic image in the 1920s. Together these contexts show how the romance and optimism of technology ignited enthusiasm for the visual medium across class and gender divides, moving from initial popularity amongst a local scientific elite, spreading to amateurs, professionals, and eventually being put to political and social uses, throughout the world. (For complete abstract open document)

Thesis (Ph. D.)--University of Toronto, 2005.

abstract: Geoscience educators commonly teach geology by projecting a photograph in front of the class. Geologic photographs often contain animals, people, and inanimate objects that help convey the scale of features in the photograph. Although scale items seem innocuous to instructors and other experts, the presence of such items is distracting and has a profound effect on student learning behavior. To evaluate how students visually interact with distracting scale items in photographs and to determine if cueing or signaling is an effective means to direct students to pertinent information, students were eye tracked while looking at geologically-rich photographs. Eye-tracking data revealed that learners primarily looked at the center of an image, focused on faces of both humans and animals if they were present, and repeatedly returned to looking at the scale item (distractor) for the duration an image was displayed. The presence of a distractor caused learners to look at less of an image than when a distractor was not present. Learners who received signaling tended to look at the distractor less, look at the geology more, and surveyed more of the photograph than learners who did not receive signaling. The San Antonio area in the southern part of the Baja California Peninsula is host to hydrothermal gold deposits. A field study, including drill-core analysis and detailed geologic mapping, was conducted to determine the types of mineralization present, the types of structures present, and the relationship between the two. This investigation revealed that two phases of mineralization have occurred in the area; the first is hydrothermal deposition of gold associated with sulfide deposits and the second is oxidation of sulfides to hematite, goethite, and jarosite. Mineralization varies as a function of depth, whereas sulfides occurring at depth, while minerals indicative of oxidation are limited to shallow depths. A structural analysis revealed that the oldest structures in the study area include low-grade to medium-grade metamorphic foliation and ductile mylonitic shear zones overprinted by brittle-ductile mylonitic fabrics, which were later overprinted by brittle deformation. Both primary and secondary mineralization in the area is restricted to the later brittle features. Alteration-bearing structures have an average NNW strike consistent with northeast-southwest-directed extension, whereas unaltered structures have an average NNE strike consistent with more recent northwest-southeast-directed extension. / Dissertation/Thesis / Ph.D. Geological Sciences 2011

Trata-se de uma pesquisa-experimentação. Experimentação como pensamento, como criação, como potência de subjetivação. Um pensamento com e pelas imagens na educação geográfica. Uma pesquisa que Intenciona problematizar fotografias didáticas do continente africano presentes em livros didáticos de Geografia, procurando pelos enunciados e formações discursivas que nos fazem ver a África a partir do estereótipo e da alteridade. Trata-se de exercícios de pensamento que objetivam deslocar o já dado do continente pela via das imagens. Intenta-se compreender, num primeiro momento, qual ideia de África está presente em livros didáticos de Geografia, e suas implicações para a construção de saberes sobre o continente numa abordagem geográfica da questão racial. A pesquisa toma como referência o diálogo entre a educação geográfica e os campos dos Estudos Africanos e Pós-Coloniais explorando os elementos que constituem o discurso colonial. Considera a colonialidade do poder, a diferença colonial, e o inconsciente colonial-capitalístico como noções centrais, pois são intrínsecas à formação do sistema mundo moderno/colonial e, portanto, do capitalismo. Nessa perspectiva, a invenção da raça torna possível, dois grandes eventos modernos: o tráfico de africanos e a colonização. Já num segundo momento, a escrita se volta para o exercício de criar modos de deslocar a fotografia de seu lugar de representação, evidência, documento, arrastando-a para exercícios de pensamento capazes de possibilitar práticas de subjetivação com e pelas imagens na educação geográfica, a fim de enfrentar as questões étnico-raciais e a educação pelas imagens na Educação Básica. Problematiza, portanto, a espacialidade da questão racial, encaminhando a análise para a compreensão das invenções, efabulações a respeito da África e sua gente. Os exercícios de pensamento com e pelas imagens procuraram desestabilizar, desarranjar, desorganizar, escapar a uma sequência estabelecida para o estudo do continente africano nos livros didáticos. A técnica da colagem foi utilizada para criar composições de fotoáfricas, algo da ordem da criação do pensamento, algo capaz de fazer a África escapar do lugar que ocupa nas páginas do livro didático. Trata-se de arrastar o pensamento a outras paragens para permitir-se afetar por outras Áfricas, uma África de afetos, uma Geografia de afetos. Percebeu-se que o exercício de desmanchar a África em nós é da ordem da sensibilidade, sendo preciso atuar nessa dimensão para que outros modos de ver, sentir e ouvir Áfricas possa aparecer em nossas práticas com as imagens na educação geográfica e na vida. Experimentar é, portanto, da ordem da criação pela sensibilidade. Os exercícios oportunizaram espaços de discussão sobre a África que nos fazem ver na educação geográfica, mostraram a tensão entre a força das fotografias didáticas, que operam na ordem do clichê, que validam e reproduzem discursos hegemônicos eurocêntricos, e o descompasso em relação às diretrizes para a Educação das Relações Étnico-raciais. Ao mesmo tempo, proporcionaram encontros com e pelas fotografias, colocando-nos em movimento, mobilizando o pensamento para a presença das imagens como potência, como possibilidade de fazer ver e sentir outras Áfricas, Áfricas que surgem de encontros com a literatura, por exemplo, mas que surgem muito mais pela vida que pulsa, pelo desejo de mudar a ordem das coisas. / This is an experimentation-research. A research that is understood as an experimentation happening as thought, as creation, as a subjectivation power. A thought-experimentation with and through images that takes place in Geographic Education. This research intends to problematize didactic photographs of the African continent in didactic geography books and tries to find statements and discursive formations which show Africa as a stereotype and as a land of otherness. It is a set of practices of the thought which aim to displace the imaginary created around the continent using images to that end. It first tries to comprehend what is the idea of Africa in Geography didactic books and which are their implications to the construction of the continent imaginary, adopting for this purpose a geographic approach of the racial question. In this regard, it takes as reference the dialogue between the geographic education and the field of African and Postcolonial/Culture Studies, hence exploring the elements of the colonial discourse. It also considers the coloniality of the power, the colonial difference and the colonial-capitalistic unconscious as central notions, inasmuch as they are intrinsic to the formation of the modern/colonial world-system and so to the capitalism. In that perspective it finally ponders the invention of race as the responsible for the enabling of two big modern events: the African trade and the colonization. After this first movement of thought, the research secondly turns to the practice of creating modes to displace the African continent photographs of their places of representation, documentation and still evidence, moving them to practices of the thought which are able to allow subjectivations with and through these images in the Geographic Education, thus intending to face the ethnical-racial questions and the education through images in Basic Education. Hence, it problematizes the spatiality of the racial question, turning the analysis to the comprehension of the inversions and fabrications surrounding Africa and its peoples. These practices of the thought with and through images tried to disturb, destabilize, disrupt and disarrange the established sequence of study that the African continent has in didactic books, thus using a collage technique to create “photo-africas” compositions which could, by the ability of creation of the thought, give Africa a chance to escape from the usual place the continent has on the their pages. These experimentations intend thereby to drag the thought to other places, giving it a chance to be affected by “other Africas”, Africas of affections, Geography of affectations. As a result of this research, it was seen that the practice of dismantling Africa in us it’s from the order of the sensible, therefore being urgent to act on this dimension in order to create in our practices with images, both in Geographic Education as in life in general, another modes of seeing, feeling and hearing Africas. Experimenting is thus from the order of the creation through sensibility, and so the practices with the images made possible the emergence of an environment of discussions about Africa which have shown, in the Geographic Education, the tension between the strength of the didactic photographs, which act as clichés, authenticating, validating and reproducing hegemonic eurocentrical discourses, and their mismatch in relation to the guidelines to the Education to Ethnical-Racial Relations. At the same time, these practices provided encounters with and through photographs, opening new possibilities and mobilizing the thought to the known of images as more than representations, to their presence as powers and possibilities of seeing and feeling another Africas, Africas that can emerge from encounters with literature, for instance, but which substantially and certainly emerge strongest through the life that pulses and though the desire of changing the order of the established things. / Se trata de una investigación experimental. Experimento como pensamiento, como creación, como potencia de subjetivación. Un pensamiento con y por las imágenes en la educación geográfica. Tiene la intención de problematizar fotografías didácticas del continente africano presentes en libros didácticos de Geografía, buscando por enunciados e informaciones discursivas que nos hacen ver África desde el estereotipo y la austeridad. Se trata de ejercicios de pensamiento con el objetivo de desplazar lo ya dado del continente por la vía de las imágenes. Se intenta en un primer momento comprender cual idea de África está presente en los libros didácticos de Geografía y sus implicaciones para la construcción de saberes sobre el continente en un abordaje geográfica de la cuestión racial. La investigación tiene como referencia el diálogo entre la educación geográfica y los campos de los Estudios Africanos y poscoloniales explorando los elementos que constituyen el discurso colonial. Considera la colonialidad del poder, la diferencia colonial, y el inconsciente colonial capitalista como nociones centrales, ya que son intrínsecas a la formación del sistema mundo moderno/colonial y, por lo tanto, del capitalismo. En esa perspectiva, la invención de raza posibilita dos grandes eventos modernos: el tráfico de africanos y la colonización. En un segundo momento, la escritura se vuelve al ejercicio de criar modos de desplazar la fotografía de su lugar de representación, evidencia, documento, llevándola para ejercicios de pensamientos capaces de posibilitar prácticas de subjetivación con y por las imágenes en la educación geográfica, a fin de enfrentar las cuestiones étnico-raciales y la educación por las imágenes en la Educación Básica. Problematiza, por lo tanto, la espacialidad de la cuestión racial, encaminando el análisis para la comprensión de las invenciones, ficciones a cerca de África y su gente. Los ejercicios de pensamiento con y por las imágenes buscan desestabilizar, desordenar, desarreglar, huir de una secuencia establecida para el estudio del continente africano en los libros didácticos. La técnica de collage fue utilizada para crear composiciones de foto-áfricas, algo del orden de la creación del pensamiento, algo capaz de hacer con que África huya del lugar que ocupa en las páginas del libro didáctico. Se trata de arrastrar el pensamiento a otros parajes para permitir sensibilizarse por otras Áfricas, un África de afectos, una geografía de afectos. Se percibió que el ejercicio de deshacer el África en nosotros es del orden de la sensibilidad, es necesario actuar en esa dimensión para que otras maneras de ver, sentir y oír Áfricas pueda aparecer en nuestras prácticas con las imágenes en la educación geográfica y en la vida. Experimentar es, por lo tanto, del orden de la creación por la sensibilidad. Los ejercicios posibilitaran espacios de discusión sobre África que nos permiten ver en la educación geográfica, mostraron la tensión entre la fuerza de las fotografías didácticas, que operan en el orden del cliché, que validan y reproducen discursos hegemónicos eurocéntricos, y un descompaso en relación a las directrices para la Educación de las Relaciones Étnico-raciales. Simultáneamente, proporcionaron encuentros con y por las fotografías, nos poniendo en movimiento, movilizando el pensamiento para la presencia de las imágenes como potencia, como posibilidad de ver y sentir otras Áfricas, que surgen de encuentros con la literatura, por ejemplo, pero que surgen mucho más por la vida que pulsa, por el deseo de cambiar el orden de las cosas.