Artículos de revistas sobre el tema "Multi-Light Image Collections"

Digitization of natural history collections is a major challenge in archiving biodiversity. In recent years, several approaches have emerged, allowing either automated digitization, extended depth of field (EDOF) or multi-view imaging of insects. Here, we present DISC3D: a new digitization device for pinned insects and other small objects that combines all these aspects. A PC and a microcontroller board control the device. It features a sample holder on a motorized two-axis gimbal, allowing the specimens to be imaged from virtually any view. Ambient, mostly reflection-free illumination is ascertained by two LED-stripes circularly installed in two hemispherical white-coated domes (front-light and back-light). The device is equipped with an industrial camera and a compact macro lens, mounted on a motorized macro rail. EDOF images are calculated from an image stack using a novel calibrated scaling algorithm that meets the requirements of the pinhole camera model (a unique central perspective). The images can be used to generate a calibrated and real color texturized 3Dmodel by ‘structure from motion’ with a visibility consistent mesh generation. Such models are ideal for obtaining morphometric measurement data in 1D, 2D and 3D, thereby opening new opportunities for trait-based research in taxonomy, phylogeny, eco-physiology, and functional ecology.

Deep learning has recently received a lot of attention as a feasible solution to a variety of artificial intelligence difficulties. Convolutional neural networks (CNNs) outperform other deep learning architectures in the application of object identification and recognition when compared to other machine learning methods. Speech recognition, pattern analysis, and image identification, all benefit from deep neural networks. When performing image operations on noisy images, such as fog removal or low light enhancement, image processing methods such as filtering or image enhancement are required. The study shows the effect of using Multi-scale deep learning Context Aggregation Network CAN on Bilateral Filtering Approximation (BFA) for de-noising noisy CCTV images. Data-store is used tomanage our dataset, which is an object or collection of data that are huge to enter in memory, it allows to read, manage, and process data located in multiple files as a single entity. The CAN architecture provides integral deep learning layers such as input, convolution, back normalization, and Leaky ReLu layers to construct multi-scale. It is also possible to add custom layers like adaptor normalization (µ) and adaptive normalization (Lambda) to the network. The performance of the developed CAN approximation operator on the bilateral filtering noisy image is proven when improving both the noisy reference image and a CCTV foggy image. The three image evaluation metrics (SSIM, NIQE, and PSNR) evaluate the developed CAN approximation visually and quantitatively when comparing the created de-noised image over the reference image.Compared with the input noisy image, these evaluation metrics for the developed CAN de-noised image were (0.92673/0.76253, 6.18105/12.1865, and 26.786/20.3254) respectively

The localization of the iris is the most significant factor in biometrics of the iris, which traditionally assumes strictly controlled environments. The proposed method includes the pupillary and limbic iris boundaries localization. A primary advantage of image arithmetic operations is that the process is straightforward and therefore fast, these characteristics are employed and combined with the morphological operators in the designing of the proposed algorithm. The proposed algorithm takes into account the noise area which is found in various parts of the eye image such as light reflections, focus, and small visible iris. The experimental results are conducted on a collection of iris images consist of 756 images belong to Chinese Academy of Sciences Institute of Automation (CASIA V-1) and 450 images belong to Multi Media University (MMU V-1) databases. The results indicate a high level of accuracy using the proposed technique. Moreover, the comparison results with the state-of-the-art iris localization algorithms expose considerable improvement in segmentation accuracy while being computationally more efficient.

The collection of light field is a key part of 3D image rendering and multi-view display system construction. Data exchange of light field frequently used in light field camera array requires high real-time performance and high bandwidth. This paper presents a new method of light field data exchange by applying data distribution service (DDS). Experiment results show it is feasible to apply data distribution service to the light field camera array.

The Thomson scattering diagnostic of the HL-2A tokamak device was upgraded to improve its multi-point diagnostic capability, including new collection optics, fibers bundles, and data analysis code. The small old collection lens was replaced by a six-piece lens with a Cooke optical design. The aperture of its first standard sphere face is 310.125 mm, which successfully increases the amount of collected scattering light by about three times. The new collection optic module allows for up to twenty-six spatial points. A kind of Y-type fiber bundle has also been used to ensure that the fiber end-face matches the image of the laser beam exactly. Additionally, the new data analysis code can provide preview results in seconds. Finally, the multi-point Te diagnostic ability has been significantly improved.

Motion blur of fast-moving subjects is a longstanding problem in photography and very common on mobile phones due to limited light collection efficiency, particularly in low-light conditions. While we have witnessed great progress in image deblurring in recent years, most methods require significant computational power and have limitations in processing high-resolution photos with severe local motions. To this end, we develop a novel face deblurring system based on the dual camera fusion technique for mobile phones. The system detects subject motion to dynamically enable a reference camera, e.g., ultrawide angle camera commonly available on recent premium phones, and captures an auxiliary photo with faster shutter settings. While the main shot is low noise but blurry (Figure 1(a)), the reference shot is sharp but noisy (Figure 1(b)). We learn ML models to align and fuse these two shots and output a clear photo without motion blur (Figure 1(c)). Our algorithm runs efficiently on Google Pixel 6, which takes 463 ms overhead per shot. Our experiments demonstrate the advantage and robustness of our system against alternative single-image, multi-frame, face-specific, and video deblurring algorithms as well as commercial products. To the best of our knowledge, our work is the first mobile solution for face motion deblurring that works reliably and robustly over thousands of images in diverse motion and lighting conditions.

Persistent homology is a powerful tool in topological data analysis (TDA) to compute, study, and encode efficiently multi-scale topological features and is being increasingly used in digital image classification. The topological features represent a number of connected components, cycles, and voids that describe the shape of data. Persistent homology extracts the birth and death of these topological features through a filtration process. The lifespan of these features can be represented using persistent diagrams (topological signatures). Cubical homology is a more efficient method for extracting topological features from a 2D image and uses a collection of cubes to compute the homology, which fits the digital image structure of grids. In this research, we propose a cubical homology-based algorithm for extracting topological features from 2D images to generate their topological signatures. Additionally, we propose a novel score measure, which measures the significance of each of the sub-simplices in terms of persistence. In addition, gray-level co-occurrence matrix (GLCM) and contrast limited adapting histogram equalization (CLAHE) are used as supplementary methods for extracting features. Supervised machine learning models are trained on selected image datasets to study the efficacy of the extracted topological features. Among the eight tested models with six published image datasets of varying pixel sizes, classes, and distributions, our experiments demonstrate that cubical homology-based machine learning with the deep residual network (ResNet 1D) and Light Gradient Boosting Machine (lightGBM) shows promise with the extracted topological features.

Motility and structural change are extremely important aspects of nervous system development. We are working to refine digital video and laser confocal light microscopic methods for visualization of neuronal motility both in situ and in vitro. Our efforts are oriented especially toward the collection of digitally-enhanced time-lapse movies, for which purpose we especially favor the use of the optical memory disc video recorder. It is our feeling that such dynamic observations are yielding insights not obtainable from examination of fixed specimens. Work to be discussed includes video microscopic studies of the basic motility mechanisms of neuronal growth cones in vitro and laser confocal observations of mammalian CNS growth cone motility and cell proliferation and migration events in slices of embryonic rat cortex.As cell markers for the laser confocal studies, we have used a variety of fluorescent compunds including the lipid stain Dil(C18-3) and the Ca indicator Fluo-3. The latter compound is of special interest in revealing the cytosolic calcium transients associated with various forms of cell signalling as well as making cell structure and motility visible. We have found the use of slow-scan, single-sweep laser image acquisition especially valuable in the collection images from living, moving cells, as this mode circumvents the blurring of moving specimen details associated with the prolonged integration times of low-light-level video data acquisition and multi-sweep averaging in laser scanning systems.

Light in flight was captured by a single shot of a newly developed backside-illuminated multi-collection-gate image sensor at a frame interval of 10 ns without high-speed gating devices such as a streak camera or post data processes. This paper reports the achievement and further evolution of the image sensor toward the theoretical temporal resolution limit of 11.1 ps derived by the authors. The theoretical analysis revealed the conditions to minimize the temporal resolution. Simulations show that the image sensor designed following the specified conditions and fabricated by existing technology will achieve a frame interval of 50 ps. The sensor, 200 times faster than our latest sensor will innovate advanced analytical apparatuses using time-of-flight or lifetime measurements, such as imaging TOF-MS, FLIM, pulse neutron tomography, PET, LIDAR, and more, beyond these known applications.

UV Raman spectra were measured using a novel experimental configuration. This configuration allows many of the difficulties associated with UV excitation and high-power pulsed laser sources to be mitigated. Large sample areas are imaged into the detection system allowing high power excitation sources to be used while simultaneously avoiding sample degradation and multi-photon absorption effects. Such large detection areas allow large numbers of molecular scatters to be probed even with minimal penetration depth. Alignment issues between sample and collection optics are also simplified. Several common solvents were studied using 213 nm light and their spectra reported.

Mapping the spatial distribution of woody vegetation is important for monitoring, managing, and studying woody encroachment in grasslands. However, in semi-arid regions, remotely sensed discrimination of tree species is difficult primarily due to the tree similarities, small and sparse canopy cover, but may also be due to overlapping woody canopies as well as seasonal leaf retention (deciduous versus evergreen) characteristics. Similar studies in different biomes have achieved low accuracies using coarse spatial resolution image data. The objective of this study was to investigate the use of multi-temporal, airborne hyperspectral imagery and light detection and ranging (LiDAR) derived data for tree species classification in a semi-arid desert region. This study produces highly accurate classifications by combining multi-temporal fine spatial resolution hyperspectral and LiDAR data (~1 m) through a reproducible scripting and machine learning approach that can be applied to larger areas and similar datasets. Combining multi-temporal vegetation indices and canopy height models led to an overall accuracy of 95.28% and kappa of 94.17%. Five woody species were discriminated resulting in producer accuracies ranging from 86.12% to 98.38%. The influence of fusing spectral and structural information in a random forest classifier for tree identification is evident. Additionally, a multi-temporal dataset slightly increases classification accuracies over a single data collection. Our results show a promising methodology for tree species classification in a semi-arid region using multi-temporal hyperspectral and LiDAR remote sensing data.

Diamond Light Source [1] is the UK third generation synchrotron facility located south of Oxford and it started with the user programme in early 2007. Currently, there are five operational macromolecular crystallography (MX) beamlines that provide state of the art facilities to the user community and eventually there will be seven beamlines dedicated to MX [2]. All MX beamlines provide tools for standard data collection but given the increasing complexity and associated challenges with bigger macromolecular complexes, membrane proteins, smaller crystals, and radiation damage, different approaches are often required to get the best possible data out of these samples. Tools for sample location and characterization are a first step. Often, because of radiation damage and sample deterioration, multiple crystals are needed in order to obtain a complete data set and a number of tools and different experiment setups that help to address this problem will be described, including use of suitable software tools to get the best data set, fast data collection, crystal humidity control, in situ screening and use of a mini kappa goniometer. These tools enable new data collection strategies which can make the difference towards a successful structure determination. A special focus will be on the use and potential of multi-axis goniometers. Given the limited amount of beam time and ever faster data acquisition rates, quick decision making during the beam time becomes more important. Therefore, data collection strategies and crystal and diffraction image characterization are provided automatically. Very shortly after the data collection has finished the results from our automatic data processing routines are available and we also provide difference electron density map, molecular replacement and experimental phasing pipelines.

A multi-analytical study was carried out on an ancient Egyptian limestone stele with red figures and hieroglyphs (S. 6145) coming from the village of Deir el-Medina and belonging to the collection of the Museo Egizio (Turin, Italy). With the support of a multidisciplinary team, a project for the preservation and conservation of this stele provided an opportunity to carry out a very detailed study of the object. Petrographic and mineralogical analysis led to the characterization and dating of the limestone, and ultrasonic tests were of great help in shedding light on the state of preservation of the stele, as a preliminary to planning conservation treatment. The chemical nature of the red pigment was investigated by non-invasive spectroscopic analyses. Multispectral imaging and statistical image processing improved the readability of the hieroglyphs, whose preservation ranged from heavily compromised to almost completely invisible, revealing some signs that had previously not been visible.

This study aims to assess the classification accuracy of a novel mapping workflow for sugarcane crops identification that combines light detection and ranging (LiDAR) point clouds and remotely-sensed orthoimages. The combined input data of plant height LiDAR point clouds and multispectral orthoimages were processed using a technique called object-based image analysis (OBIA). The use of multi-source inputs makes the mapping workflow unique and is expected to yield higher accuracy compared to the existing techniques. The multi-source inputs are passed through five phases: data collection, data fusion, image segmentation, accuracy validation, and mapping. Data regarding sugarcane crops were randomly collected in ten sampling sites in the study area. Five out of the ten sampling sites were designated as training sites and the remaining five as validation sites. Normalized digital surface model (nDSM) was created using the LiDAR data. The nDSM was paired with Orthophoto and segmented for feature extraction in OBIA by developing a rule-set in eCognition software. A rule-set was created to classify and to segment sugarcane using nDSM and Orthophoto from the training and validation area sites. A machine learning algorithm called support vector machine (SVM) was used to classify entities in the image. The SVM was constructed using the nDSM. The height parameter nDSM was applied, and the overall accuracy assessment was 98.74% with Kappa index agreement (KIA) 97.47%, while the overall accuracy assessment of sugarcane in the five validation sites were 94.23%, 80.28%, 94.50%, 93.59%, and 93.22%. The results suggest that the mapping workflow of sugarcane crops employing OBIA, LiDAR data, and Orthoimages is attainable. The techniques and process used in this study are potentially useful for the classification and mapping of sugarcane crops.

This paper examines the religious proselytizing agenda of the order of Saint Jerome that ruled the Extremaduran sanctuary of the Virgin of Guadalupe since 1389. To this end, I analyze how the Hieronymite’s used literary motifs such as dreams and light in the codex of the Miracles of the Virgin of Guadalupe to create a multi-confessional audience for their collection of miracles. I contend that these motifs were chosen because they were key elements in the construction of a particular image of the Virgin that could appeal to pilgrims of different faiths. Through them, the Hieronymites evoked in the minds of Muslim pilgrims and Christian captives beyond the sea the imagery and rhetoric of Sufi devotional literature and Islamic hagiography, in order to create a vision of the Virgin that was able to compete with the more important Islamic devotional figures: the Prophet, Sufi masters and charismatic saints. Finally, I explore how the possible influence of North African devotional models, such as the Shadhiliyya order or the hagiography of the Tunisian saint, Aisha al-Manubiyya, suggests that the aims of the monastic authors of this Marian miracles collection went far beyond the conversion of Castilian Muslims, aiming at the transformation of the Extremaduran Marian sanctuary of Guadalupe into a Mediterranean devotional center.

High-quality reconstruction of polished surfaces is a promising yet challenging task in the industrial field. Due to its extreme reflective properties, state-of-the-art methods have not achieved a satisfying trade-off between retaining texture and removing the effects of specular outliers. In this paper, we propose a learning based pixel-level photometric stereo method to estimate the surface normal. A feature fusion convolutional neural network is used to extract the features from the normal map solved by the least square method and from the original images respectively, and combine them to regress the normal map. The proposed network outperforms the state-of-the-art methods on the DiLiGenT benchmark dataset. Meanwhile, we use the polished rail welding surface to verify the generalization of our method. To fit the complex geometry of the rails, we design a flexible photometric stereo information collection hardware with multi-angle lights and multi-view cameras, which can collect the light and shade information of the rail surface for photometric stereo. The experimental results indicate that the proposed method is able to reconstruct the normal of the polished surface at the pixel level with abundant texture information.

AbstractAccording to the Google I/O 2018 key notes, in future artificial intelligence, which also includes machine learning and deep learning, will mostly evolve in healthcare domain. As there are lots of subdomains which come under the category of healthcare domain, the proposed paper concentrates on one such domain, that is breast cancer and pneumonia. Today, just classifying the diseases is not enough. The system should also be able to classify a particular patient’s disease. Thus, this paper shines the light on the importance of multi spectral classification which means the collection of several monochrome images of the same scene. It can be proved to be an important process in the healthcare areas to know if a patient is suffering from a specific disease or not. The convolutional layer followed by the pooling layer is used for the feature extraction process and for the classification process; fully connected layers followed by the regression layer are used.

Multi-photon excitation has been used in microscopy for nearly a decade, providing a number of demonstrated advantages over other methods for fluorescence imaging. Because excitation is achieved using longer, less energetic light, photodamage and photobleaching of the sample are reduced. Furthermore, since excitation occurs only at the focal point, this approach allows the practical collection of three-dimensionally resolved fluorescence images of live cells. However, due to the small two-photon cross-section of most fluorophores, pulsed lasers are required to generate detectable signal levels. This is due to the quadratic dependence of twophoton absorption on the instantaneous power of the laser. Typically, these lasers are pulsed at very high repetition frequencies, on the order of 106 pulses per second with pulse durations of a few hundreds of femtoseconds. For example, a titanium:sapphire (Ti:S) laser mode-locked at 76 Mhz can provide up to 100,000 watts of instantaneous power and is ideal for exciting two-photon events.

Abstract. The development and testing of innovative technologies and automated data analysis methodologies offer tools for the monitoring of complex marine ecosystems and the direct and indirect effects of climate change on natural heritage. Photogrammetric methods allow precise mapping of the underwater landscape as well as detailed three-dimensional (3D) reconstruction of marine structures, improving the study of complex marine ecosystems. Moreover, fluorescence analyses can provide critical information about the health status of marine organisms. Analysing the variations in their self-fluorescence, allow for early detect changes in their physiological state. These applications provide very useful data to evaluate the health state of biodiversity-rich 3D biogenic structures and make measurements of fine-scale changes, with greater precision than existing methodologies. This contribution shows a multidisciplinary approach to the design, development, and implementation of a technological solution based on the above-mentioned optical measuring systems. Such a system is characterized by a reflex camera, LED-based light sources, and filters to allow the analysis of the self-fluorescence signal. The proposed solution aspires to improve the standardization of monitoring plans through non-destructive fine-scale accurate data collection for image analysis and multi-temporal comparisons, providing challenging stepping-stones for habitat-forming anthozoan management and restoration activities. Initial results of tests carried out in controlled conditions are shown. The photogrammetric approach resulted in 3D reconstructions that allow the monitoring of deformations at millimetre scale. The fluorimetry methodology allowed to obtain high-resolution images with great repeatability, which enabled the identification of stressful status even in absence of geometric deformations. The proposed approaches and obtained results are discussed, together with potential issues related to their implementation in a real-world context adopting remotely operative vehicles.

A Licea species new to science is described on the bark surface of living American elm (Ulmus americana L.) cultured in moist chambers. It is characterized by an iridescent peridium on the sides of the sporangium, a black apical circular patch of globular debris, and dark reddish black spores that are smooth over half the surface and ridged-reticulate over the other half with the paler thinner wall collapsing into a coffee-bean shape. This combination of morphological characters is distinct and separates this taxon from all other species of Licea. The history of moist chamber culture use and field collection of corticolous myxomycetes is reviewed. The discovery of crystals of unknown origin on the bark surface of American elms associated with Licea species are illustrated with light microscope photography and scanning electron microscopy. Light microscope images and habit photographs were made using multi-focus imaging and computer stacking to increase depth of field and provide illustrations in color of sporangial structures of the new Licea species. This tiny short-stalked Licea approximately 100 um in height, and with distinctive external and internal morphological characters, was photographed using scanning electron microscopy. Dark-spored versus light-spored species of Licea are reviewed and compared with the most recent molecular analysis as this relates to the genus Licea. This paper is the first in a series that will document the discovery of Licea fruiting bodies of four new species on American elms in nature parks near Fort Worth, Texas.

Abstract. A majority of snow radiative transfer models (RTMs) treat snow as a collection of idealized grains rather than an organized ice–air matrix. Here we present a generalized multi-layer photon-tracking RTM that simulates light reflectance and transmittance of snow based on X-ray microtomography images, treating snow as a coherent 3D structure rather than a collection of grains. The model uses a blended approach to expand ray-tracing techniques applied to sub-1 cm3 snow samples to snowpacks of arbitrary depths. While this framework has many potential applications, this study's effort is focused on simulating reflectance and transmittance in the visible and near infrared (NIR) through thin snowpacks as this is relevant for surface energy balance and remote sensing applications. We demonstrate that this framework fits well within the context of previous work and capably reproduces many known optical properties of a snow surface, including the dependence of spectral reflectance on the snow specific surface area and incident zenith angle as well as the surface bidirectional reflectance distribution function (BRDF). To evaluate the model, we compare it against reflectance data collected with a spectroradiometer at a field site in east-central Vermont. In this experiment, painted panels were inserted at various depths beneath the snow to emulate thin snow. The model compares remarkably well against the reflectance measured with a spectroradiometer, with an average RMSE of 0.03 in the 400–1600 nm range. Sensitivity simulations using this model indicate that snow transmittance is greatest in the visible wavelengths, limiting light penetration to the top 6 cm of the snowpack for fine-grain snow but increasing to 12 cm for coarse-grain snow. These results suggest that the 5 % transmission depth in snow can vary by over 6 cm according to the snow type.

Three-dimensional (3D) minerals and rocks in the form of interactive, engaging, and immersive experiences are of paramount importance to the geoscience community, researchers, students, and philomaths. Moreover, the SARS-CoV-2 (COVID-19) crisis affecting our society in the spring of 2020 highlighted the importance of 3D material in geoscience education — compared to 2D images, the three-dimensional models provide a better way to learn and to recognize different minerals and rocks, properties, textures, etc. This paper seeks to provide a comprehensive method to create an interactive scientific, learning, and cultural heritage environment in the field of Geosciences. In this paper, we overcome most of the Structure-from-Motion - Multi-View Stereo (SfM-MVS) photogrammetry limitations, where samples with a transparent, translucent, or glossy surface are a real challenge for the feature detection algorithms of the SfM workflow. Correct lighting setup, the usage of cross-polarized light photogrammetry workflow, anti-reflection coating spray and post-processing steps are the essential ingredients for an enhanced photogrammetric study. The main output of this research consists of a comprehensive virtual 3D collection of minerals and rocks which are available online via the Sketchfab repository of the Museum of Mineralogy and Petrography “Grigore Cobălcescu” (https://sketchfab.com/MineralogyPetrographyMuseum).

Collections of photographic documents constitute considerable information, document and art heritage. Photographs with non-existing today art and architectural objects are of particular importance. The task for their keepers is to save all visual information and to ensure accessibility to users. The paper’s purpose is to study the state of photographic documents kept in Vasyl Stefanyk National Scientific Library of Ukraine in Lviv. The article provides a profound analyze of damages’ types as well as factors that caused them and measures for their preservation. Authors highlighted the role of indoor climate’s stability for the safety of photographic documents. Photographs are multi-component objects and 208 consist of several layers, each carrying out certain functions. Photographic documents are of low light resistance, so their improper storage may cause irreversible fading. Damages may be caused by both physical, chemical and biological factors. Actually, their monitoring allows to record any injuries and to identify destructive processes that just begin. On the base of photographs dated back to 1860s – 1930s from museum collections of Shevchenko Scientific Society, Ossolinski National Institute and People’s House in Lviv, the state of paper base and clarity of images were assessed. The results of the study were registered in tables, where the state of their conservation was specified in details. Authors applied five-level system to assess injuries of photographic documents. The paper describes three kinds of damages, including mechanical injuries (loss, deformation, breakings), physical and chemical (fading, color changes, spots), biological (pigmentation, contamination by microorganism, insects etc.). The study and investigation made it possible to refine conservation measures, to develop means for minimizing the influence of harmful factors. Researchers’ growing interest to photographic documents increased their usage in the Library. Supporting safety conditions and accessibility to conducting researches allow to use photographic documents widely for history and art studies, cataloging and exhibitions. Keywords: photographical documents, photo collections, Shevchenko Scientific Society, People’s House, Petrushevych Museum, preservation, conservation.

To understand the use of remote sensors in forestry measurements, some of the most relevant definitions have been taken from a wide variety that currently exist, therefore, we will say that these generally play a predominant role in the Dasometry and that all The forest resource requires qualitative and quantitative information regarding the state of the forest and its evolution over time, with sampling that follows one of the existing methods. Historically, modern discipline arises with the invention of flight and the first photographs are obtained from a balloon in the years 1858 and 1859, in 1909 and on board the airplane the first photographic observation is acquired. The first aerial camera was developed in 1915 by J.T.C. Moore, starting the interesting way forward in the techniques of aerial photography using modified combat aircraft giving way to what was called systematic aerial photography in the late 50s. The development on a global scale of the first artificial satellites, allowed remote sensing in the middle of the 20th century on board the first satellite placed in orbit is that of the TYROS series in 1960 by NASA, becoming the pioneer in missions of meteorological observation, which also led to the appearance of satellite image processing, using mathematical procedures such as the Fourier transform. During the 70s missions were promoted with the objective of exploring the solar system and the moon; giving rise to the first spatial photographs taken by Alan B. Shepard rudimentary, Subsequently, Apollo-9 was used for the first multi-spectral experiment in which 4 Hasselblad cameras with different filters were installed. On July 23, 1972, the Landsat project appeared with the launch of the first satellite of the ERTS series (Earth Resources Technology Satellite). Google Earth in the 21st century, introduces online web services making remote sensing accessible to all audiences, with many techniques and processes that allow an image of the earth's surface to be obtained remotely captured by remote sensors located on satellites or airplanes that gather the spectral and spatial relations of objects. Interferometric radar synthetic aperture They are used to producing accurate digital models of large areas of land. LiDAR(An acronym for the English Light Detection and Ranging) is a monochrome active sensor, its mode of operation consists of measuring the distance between the sensor and the target. It is less expensive compared to manual inventory is multi-purpose, allows a complete survey of the study area, is more efficient than photogrammetry. The multi-spectral acquisition is based on the collection and analysis of areas or objects that emit or reflect radiation at a higher level than nearby objects. The quality of the information collected remotely, once the correction of errors through georeferencing with the help of specialized programs, will depend on their resolutions: spatial, spectral, radiometric and temporal.

Bio-optical characterization of water bodies requires spatio-temporal data about Inherent Optical Properties and Apparent Optical Properties which allow the comprehension of underwater light field aiming at the development of models for monitoring water quality. Measurements are taken to represent optical properties along a column of water, and then the spectral data must be related to depth. However, the spatial positions of measurement may differ since collecting instruments vary. In addition, the records should not refer to the same wavelengths. Additional difficulty is that distinct instruments store data in different formats. A data integration approach is needed to make these large and multi source data sets suitable for analysis. Thus, it becomes possible, even automatically, semi-empirical models evaluation, preceded by preliminary tasks of quality control. In this work it is presented a solution, in the stated scenario, based on spatial – geographic – database approach with the adoption of an object relational Database Management System – DBMS – due to the possibilities to represent all data collected in the field, in conjunction with data obtained by laboratory analysis and Remote Sensing images that have been taken at the time of field data collection. This data integration approach leads to a 4D representation since that its coordinate system includes 3D spatial coordinates – planimetric and depth – and the time when each data was taken. It was adopted PostgreSQL DBMS extended by PostGIS module to provide abilities to manage spatial/geospatial data. It was developed a prototype which has the mainly tools an analyst needs to prepare the data sets for analysis.

Facial recognition has attracted more and more attention since the rapid growth of artificial intelligence (AI) techniques in recent years. However, most of the related works about facial reconstruction and recognition are mainly based on big data collection and image deep learning related algorithms. The data driven based AI approaches inevitably increase the computational complexity of CPU and usually highly count on GPU capacity. One of the typical issues of RGB-based facial recognition is its applicability in low light or dark environments. To solve this problem, this paper presents an effective procedure for facial reconstruction as well as facial recognition via using a depth sensor. For each testing candidate, the depth camera acquires a multi-view of its 3D point clouds. The point cloud sets are stitched for 3D model reconstruction by using the iterative closest point (ICP). Then, a segmentation procedure is designed to separate the model set into a body part and head part. Based on the segmented 3D face point clouds, certain facial features are then extracted for recognition scoring. Taking a single shot from the depth sensor, the point cloud data is going to register with other 3D face models to determine which is the best candidate the data belongs to. By using the proposed feature-based 3D facial similarity score algorithm, which composes of normal, curvature, and registration similarities between different point clouds, the person can be labeled correctly even in a dark environment. The proposed method is suitable for smart devices such as smart phones and smart pads with tiny depth camera equipped. Experiments with real-world data show that the proposed method is able to reconstruct denser models and achieve point cloud-based 3D face recognition.

Abstract Multiple myeloma is the most common hematological malignancy. MM can affect many organ systems; therefore, it may mimic different clinical syndromes at presentation. We report an extremely rare presentation of MM. CASE REPORT: A 62-year-old man presented with progressive cervical pain for 2 months and double vision for 2 weeks. Physical exam demonstrated a cranial nerve 6 palsy, nuchal rigidity and no other abnormalities. A magnetic resonance image (MRI) of the brain revealed a 5 cm enhancing mass in the clivus which extended into the brain stem, left internal auditory and carotid canal, nasopharynx, sphenoid and cavernous sinuses, without midline shift or hydrocephalus. MRI of the spine showed 2 small enhancing lesions in thoracic vertebrae 4 and 11. Computer tomography of the chest abdomen and pelvis demonstrated a lesion in the sternum and no other abnormalities. Technetium-99 bone scan showed uptake in the skull base mass only. Complete blood count and metabolic profile were normal except for an albumin of 3.2 g/dL. Serum protein electrophoresis with immunofixation revealed hypogammaglobulinemia without a monoclonal protein. 24 hour urine collection demonstrated monoclonal free kappa light chains. Transsphenoidal stereotactic biopsy of the mass showed an atypical plasma cell proliferation with multi-nucleation and mitotic activity, positive for kappa light chain. Bone marrow aspirate revealed 17% of the nucleated cell to be abnormal plasma cells, some with plasmablastic morphology. He improved rapidly with dexamethasone and was referred for radiotherapy. DISCUSSION: The most common neurologic complications of MM are spinal cord compression due to epidural plasmacytomas or vertebral fractures, and peripheral polyneuropathy due to the presence of antibodies directed against myelin structures or due to amyloid deposits. Brain involvement in MM is uncommon. Furthermore, neurologic symptoms due to plasmacytomas located either in the clivus and brain stem are extremely rare. A MEDLINE search from 1950 until July 2005 revealed only 9 cases of MM or plasmacytoma involving the brain stem. Since there is no published autopsy series on MM patients describing the percentage of patients with brain involvement at death, the denominator is difficult to assess. Clinically, extramedullary involvement from MM bears a poor prognosis, and has been described in cases of plasma cell leukemia. We speculate that the aggressive behavior of the MM in our patient might be consistent with the atypical phenotype of the plasma cells. CONCLUSION: The unusual presentation of this patient adds to the medical knowledge about the clinical spectrum of multiple myeloma.

Remote sensing data and methods are increasingly being embedded into assessments of volcanic processes and risk. This happens thanks to their capability to provide a spectrum of observation and measurement opportunities to accurately sense the dynamics, magnitude, frequency, and impacts of volcanic activity in the ultraviolet (UV), visible (VIS), infrared (IR), and microwave domains. Launched in mid-2018, the Special Issue “Remote Sensing of Volcanic Processes and Risk” of Remote Sensing gathers 19 research papers on the use of satellite, aerial, and ground-based remote sensing to detect thermal features and anomalies, investigate lava and pyroclastic flows, predict the flow path of lahars, measure gas emissions and plumes, and estimate ground deformation. The strong multi-disciplinary character of the approaches employed for volcano monitoring and the combination of a variety of sensor types, platforms, and methods that come out from the papers testify the current scientific and technology trends toward multi-data and multi-sensor monitoring solutions. The research advances presented in the published papers are achieved thanks to a wealth of data including but not limited to the following: thermal IR from satellite missions (e.g., MODIS, VIIRS, AVHRR, Landsat-8, Sentinel-2, ASTER, TET-1) and ground-based stations (e.g., FLIR cameras); digital elevation/surface models from airborne sensors (e.g., Light Detection And Ranging (LiDAR), or 3D laser scans) and satellite imagery (e.g., tri-stereo Pléiades, SPOT-6/7, PlanetScope); airborne hyperspectral surveys; geophysics (e.g., ground-penetrating radar, electromagnetic induction, magnetic survey); ground-based acoustic infrasound; ground-based scanning UV spectrometers; and ground-based and satellite Synthetic Aperture Radar (SAR) imaging (e.g., TerraSAR-X, Sentinel-1, Radarsat-2). Data processing approaches and methods include change detection, offset tracking, Interferometric SAR (InSAR), photogrammetry, hotspots and anomalies detection, neural networks, numerical modeling, inversion modeling, wavelet transforms, and image segmentation. Some authors also share codes for automated data analysis and demonstrate methods for post-processing standard products that are made available for end users, and which are expected to stimulate the research community to exploit them in other volcanological application contexts. The geographic breath is global, with case studies in Chile, Peru, Ecuador, Guatemala, Mexico, Hawai’i, Alaska, Kamchatka, Japan, Indonesia, Vanuatu, Réunion Island, Ethiopia, Canary Islands, Greece, Italy, and Iceland. The added value of the published research lies on the demonstration of the benefits that these remote sensing technologies have brought to knowledge of volcanoes that pose risk to local communities; back-analysis and critical revision of recent volcanic eruptions and unrest periods; and improvement of modeling and prediction methods. Therefore, this Special Issue provides not only a collection of forefront research in remote sensing applied to volcanology, but also a selection of case studies proving the societal impact that this scientific discipline can potentially generate on volcanic hazard and risk management.

The self-similar evolution to turbulence of a multi-mode miscible Rayleigh–Taylor (RT) mixing layer has been investigated for Atwood numbers 0.03–0.6, using an air–helium gas channel experiment. Two co-flowing gas streams, one containing air (on top) and the other a helium–air mixture (at the bottom), initially flowed parallel to each other at the same velocity separated by a thin splitter plate. The streams met at the end of the splitter plate, with the downstream formation of a buoyancy unstable interface, and thereafter buoyancy-driven mixing. This buoyancy-driven mixing layer experiment permitted long data collection times, short transients and was statistically steady. Several significant designs and operating characteristics of the gas channel experiment are described that enabled the facility to be successfully run for At ~ 0.6. We report, and discuss, statistically converged measurements using digital image analysis and hot-wire anemometry. In particular, two hot-wire techniques were developed for measuring the various turbulence and mixing statistics in this air–helium RT experiment. Data collected and discussed include: mean density profiles, growth rate parameters, various turbulence and mixing statistics, and spectra of velocity, density and mass flux over a wide range of Atwood numbers (0.03 ≤ At ≤ 0.6). In particular, the measured data at the small Atwood number (0.03–0.04) were used to evaluate several turbulence-model constants. Measurements of the root mean square (r.m.s.) velocity and density fluctuations at the mixing layer centreline for the large At case showed a strong similarity to lower At behaviours when properly normalized. A novel conditional averaging technique provided new statistics for RT mixing layers by separating the bubble (light fluid) and spike (heavy fluid) dynamics. The conditional sampling highlighted differences in the vertical turbulent mass flux, and vertical velocity fluctuations, for the bubbles and spikes, which were not otherwise observable. Larger values of the vertical turbulent mass flux and vertical velocity fluctuations were found in the downward-falling spikes, consistent with larger growth rates and momentum of spikes compared with the bubbles.

Small-angle X-ray scattering (SAXS) of proteins in solution has become a key tool for biochemists and structural biologists, thanks especially to the availability of beamlines with high-throughput capabilities at synchrotron sources. Despite the large spectrum of scientific disciplines tackled on the SWING beamline since its opening in 2008, there has always been a strong commitment to offering state-of-the-art biological SAXS (BioSAXS) instrumentation and data reduction methods to the scientific community. The extremely reliable in-vacuum EigerX-4M detector allows collection of an unlimited number of frames without noise. A small beamstop including a diamond diode-based monitor enables measurements of the transmitted intensity with 0.1% precision as well as a q max/q min ratio as large as 140 at a single distance. The parasitic scattering has been strongly reduced by the installation of new hybrid blades. A new thermally controlled in-vacuum capillary holder including fibre-optics-based spectroscopic functionalities allows the simultaneous use of three spectroscopic techniques in addition to SAXS measurements. The addition of a second high-performance liquid chromatography (HPLC) circuit has virtually eliminated the waiting time associated with column equilibration. The easy in-line connection of a multi-angle light scattering spectrometer and a refractometer allows for an independent determination of the molecular mass and of the concentration of low-UV-absorption samples such as detergents and sugars, respectively. These instrumental improvements are combined with important software developments. The HPLC injection Agilent software is controlled by the SAXS beamline acquisition software, allowing a virtually unlimited series of automated SAXS measurements to be synchronized with the sample injections. All data-containing files and reports are automatically stored in the same folders, with names related to both the user and sample. In addition, all raw SAXS images are processed automatically on the fly, and the analysed data are stored in the ISPyB database and made accessible via a web page.

Context. The nearby ultra-luminous infrared galaxy (ULIRG) Arp 220 is an excellent laboratory for studies of extreme astrophysical environments. For 20 years, Very Long Baseline Interferometry (VLBI) has been used to monitor a population of compact sources thought to be supernovae (SNe), supernova remnants (SNRs), and possibly active galactic nuclei (AGNs). SNe and SNRs are thought to be the sites of relativistic particle acceleration powering star formation induced radio emission in galaxies, and are hence important for studies of for example the origin of the FIR–radio correlation. Aims. In this work we aim for a self-consistent analysis of a large collection of Arp 220 continuum VLBI data sets. With more data and improved consistency in calibration and imaging, we aim to detect more sources and improve source classifications with respect to previous studies. Furthermore, we aim to increase the number of sources with robust size estimates, to analyse the compact source luminosity function (LF), and to search for a luminosity–diameter (LD) relation within Arp 220. Methods. Using new and archival VLBI data spanning 20 years, we obtained 23 high-resolution radio images of Arp 220 at wavelengths from 18 cm to 2 cm. From model-fitting to the images we obtained estimates of flux densities and sizes of detected sources. The sources were classified in groups according to their observed lightcurves, spectra and sizes. We fitted a multi-frequency supernova light-curve model to the object brightest at 6 cm to estimate explosion properties for this object. Results. We detect radio continuum emission from 97 compact sources and present flux densities and sizes for all analysed observation epochs. The positions of the sources trace the star forming disks of the two nuclei known from lower-resolution studies. We find evidence for a LD-relation within Arp 220, with larger sources being less luminous. We find a compact source LF n(L)∝Lβ with β = −2.19 ± 0.15, similar to SNRs in normal galaxies, and we argue that there are many relatively large and weak sources below our detection threshold. The brightest (at 6 cm) object 0.2195+0.492 is modelled as a radio SN with an unusually long 6 cm rise time of 17 years. Conclusions. The observations can be explained by a mixed population of SNe and SNRs, where the former expand in a dense circumstellar medium (CSM) and the latter interact with the surrounding interstellar medium (ISM). Nine sources are likely luminous SNe, for example type IIn, and correspond to few percent of the total number of SNe in Arp 220. Assuming all IIns reach these luminosities, and no confusion with other SNe types, our data are consistent with a total SN-rate of 4 yr−1 as inferred from the total radio emission given a normal stellar initial mass function (IMF). Based on the fitted luminosity function, we argue that emission from all compact sources, also below our detection threshold, make up at most 20% of the total radio emission at GHz frequencies. However, colliding SN shocks and the production of secondary electrons through cosmic ray (CR) protons colliding with the dense ISM may cause weak sources to radiate much longer than assumed in this work. This could potentially explain the remaining fraction of the smooth synchrotron component. Future, deeper observations of Arp 220 will probe the sources with lower luminosities and larger sizes. This will further constrain the evolution of SNe/SNRs in extreme environments and the presence of AGN activity.

Rapid urbanization rates impact significantly on the nature of Land Cover patterns of the environment, which has been evident in the depletion of vegetal reserves and in general modifying the human climatic systems (Henderson, et al., 2017; Kumar, Masago, Mishra, & Fukushi, 2018; Luo and Lau, 2017). This study explores remote sensing classification technique and other auxiliary data to determine LULCC for a period of 50 years (1967-2016). The LULCC types identified were quantitatively evaluated using the change detection approach from results of maximum likelihood classification algorithm in GIS. Accuracy assessment results were evaluated and found to be between 56 to 98 percent of the LULC classification. The change detection analysis revealed change in the LULC types in Minna from 1976 to 2016. Built-up area increases from 74.82ha in 1976 to 116.58ha in 2016. Farmlands increased from 2.23 ha to 46.45ha and bared surface increases from 120.00ha to 161.31ha between 1976 to 2016 resulting to decline in vegetation, water body, and wetlands. The Decade of rapid urbanization was found to coincide with the period of increased Public Private Partnership Agreement (PPPA). Increase in farmlands was due to the adoption of urban agriculture which has influence on food security and the environmental sustainability. The observed increase in built up areas, farmlands and bare surfaces has substantially led to reduction in vegetation and water bodies. The oscillatory nature of water bodies LULCC which was not particularly consistent with the rates of urbanization also suggests that beyond the urbanization process, other factors may influence the LULCC of water bodies in urban settlements. Keywords: Minna, Niger State, Remote Sensing, Land Surface Characteristics References Akinrinmade, A., Ibrahim, K., & Abdurrahman, A. (2012). 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Results of this exploratory study suggested engaging students in digital image tagging can have analytical and educational importance. The study was designed to gauge middle school students' capacities to describe digitalimages from two digital libraries that they used in an information literacy activity. When describing the image attributes, students (N=81) freely chose single words and multi-word phrases to describe the interpretations, feelings, and questions evoked by the images. These descriptors were used to derive conceptual categories for the seventeen digital images. Results demonstrated that students acknowledged the responsibility of indexers to choose index terms for objects in collections that enable identification, organization and retrieval. The study sheds light on the potential to improve age-appropriate access to images by means of offering a multi-tiered approach to image representation. It also introduces a transparent approach to teaching information literacy concepts through creative thinking about the meaning of resources and their relationship in a broader information cycle context.

Fluorescence imaging has shown great potential in non-invasive plant monitoring and analysis. However, current systems have several limitations, such as bulky size, high cost, contact measurement, and lack of multifunctionality, which may hinder its applications in a wide range of settings including indoor vertical farming. Herein, we developed a compact handheld fluorescence imager enabling multipurpose plant phenotyping, such as continuous photosynthetic activity monitoring and non-destructive anthocyanin quantification. The compact imager comprises of pulse-amplitude-modulated multi-color light emitting diodes (LEDs), optimized light illumination and collection, dedicated driver circuit board, miniaturized charge-coupled device camera, and associated image analytics. Experiments conducted in drought stressed lettuce proved that the novel imager could quantitatively evaluate the plant stress by the non-invasive measurement of photosynthetic activity efficiency. Moreover, a non-invasive and fast quantification of anthocyanins in green and red Batavia lettuce leaves had excellent correlation (>84%) with conventional destructive biochemical analysis. Preliminary experimental results emphasize the high throughput monitoring capability and multifunctionality of our novel handheld fluorescence imager, indicating its tremendous potential in modern agriculture.

<p>We present a device and method for performing lens-free spectral<br />light-field fusion microscopy at sub-pixel resolutions while taking<br />advantage of the large field-of-view capability. A collection of<br />lasers at different wavelengths is used in pulsed mode and enables<br />the capture of interferometric light-field encodings of a specimen<br />placed near the detector. Numerically fusing the spectral complex<br />light-fields obtained from the encodings produces an image of the<br />specimen at higher resolution and signal-to-noise-ratio while suppressing<br />various aberrations and artifacts.</p>

AbstractDepth–spectral imaging (DSI) is an emerging technology which can obtain and reconstruct the spatial, spectral and depth information of a scene simultaneously. Conventionally, DSI system usually relies on scanning process, multi-sensors or compressed sensing framework to modulate and acquire the entire information. This paper proposes a novel snapshot DSI architecture based on image mapping and light field framework by using a single format detector. Specifically, we acquire the depth – spectral information in two steps. Firstly, an image mapper is utilized to slice and reflect the first image to different directions which is a spatial modulation processing. The modulated light wave is then dispersed by a direct vision prism. After re-collection, the sliced dispersed light wave is recorded by a light field sensor. Complimentary, we also propose a reconstruction strategy to recover the spatial depth – spectral hypercube effectively. We establish a mathematical model to describe the light wave distribution on every optical facet. Through simulations, we generate the aliasing raw spectral light field data. Under the reconstruction strategy, we design an algorithm to recover the hypercube accurately. Also, we make an analysis about the spatial and spectral resolution of the reconstructed data, the evaluation results conform the expectation.

Abstract Nanosecond temporal resolution enables new methods for wide-field imaging like time-of-flight, gated detection, and fluorescence lifetime. The optical efficiency of existing approaches, however, presents challenges for low-light applications common to fluorescence microscopy and single-molecule imaging. We demonstrate the use of Pockels cells for wide-field image gating with nanosecond temporal resolution and high photon collection efficiency. Two temporal frames are obtained by combining a Pockels cell with a pair of polarizing beam-splitters. We show multi-label fluorescence lifetime imaging microscopy (FLIM), single-molecule lifetime spectroscopy, and fast single-frame FLIM at the camera frame rate with 103–105 times higher throughput than single photon counting. Finally, we demonstrate a space-to-time image multiplexer using a re-imaging optical cavity with a tilted mirror to extend the Pockels cell technique to multiple temporal frames. These methods enable nanosecond imaging with standard optical systems and sensors, opening a new temporal dimension for wide-field low-light microscopy.

Digital technology presents us with new and compelling opportunities for discovery when focused on the world's natural history collections. The outstanding barrier to applying existing and forthcoming computational methods for large-scale study of this important resource is that it is (largely) not yet in the digital realm. Without development of new and much faster methods for digitizing objects in these collections, it will be a long time before these data are available in digital form. For example, methods that are currently employed for capturing, cataloguing, and indexing pinned insect specimen data will require many tens of years or more to process collections with millions of dry specimens, and so we need to develop a much faster pipeline. In this paper we describe a capture system capable of collecting and archiving the imagery necessary to digitize a collection of circa 4.5 million specimens in one or two years of production operation. To minimize the time required to digitize each specimen, we have proposed (Hereld et al. 2017) developing multi-camera systems to capture the pinned insect and its accompanying labels from many angles in a single exposure. Using a sampling (21 randomly drawn drawers, totalling 5178 insects) of the 4.5 million specimens in the collection at the Field Museum of Natural History, we estimated that a large fraction of that collection (97.6% +/- 2.2%) consists of pinned insects with labels that are visible from one angle or another without requiring adjustment or removal of elements on the pin. In this situation a multi-camera system with enough angular coverage could provide imagery for reconstructing virtual labels from fragmentary views taken from different directions. Agarwal et al. (2018) demonstrated a method for combining these multiple views into a virtual label that could be transcribed by automated optical character recognition software. We have now designed, built and tested a prototype snapshot 3D digitization station to allow rapid capture of multi-view imagery for automated capture of pinned insect specimens and labels. It consists of twelve very small and light 8-megapixel cameras (Fig. 1), each controlled by a small dedicated computer. The cameras are arrayed around the target volume, six on each side of the sample feed path. Their positions and orientations are fixed by a 3D-printed scaffolding designed for the purpose. The twelve camera controllers and a master computer are connected to a dedicated high-speed data network over which all of the coordinating control signals and returning images and metadata are passed. The system is integrated with a high-performance object store that includes a database for metadata and the archived images comprising each snapshot. The system is designed so that it can be readily extended to include additional or different sensors. The station is meant to be fed with specimens by a conveyor belt whose motion is coordinated with the exposure of the multi-view snapshots. In order to test the performance of the system we added a recirculating specimen feeder designed expressly for this experiment. With it integrated into the system in place of a conventional conveyor belt we are able to provide a continuous stream of targets for the digitization system to facilitate long tests of its performance and robustness. We demonstrated the ability to capture data at a peak rate of 1400 specimens per hour and an average rate of 1000 specimens per hour over the course of a sustained 6 hour run. The dataset (Hereld and Ferrier 2018) collected in this experiment provides fodder for the further development of algorithms for the offline reconstruction and automatic transcription of the label contents.

Nowadays airborne remote sensing data are increasingly used in precision agriculture. The fast space-time dependent localization of stresses in orchards, which allows for a more efficient application of horticultural technologies, could lead to improved sustainable precise management. The disadvantage of the near field multi and hyper spectroscopy is the spot sample taking, which can apply independently only for experimental survey in plantations. The traditional satellite images is optionally suitable for precision investigation because of the low spectral and ground resolution on field condition. The presented airborne hyperspectral image spectroscopy reduces above mentioned disadvantages and at the same time provides newer analyzing possibility to the user. In this paper we demonstrate the conditions of data base collection and some informative examination possibility. The estimating of the board band vegetation indices calculated from reflectance is well known in practice of the biomass stress examinations. In this method the N-dimension spectral data cube enables to calculate numerous special narrow band indexes and to evaluate maps. This paper aims at investigating the applied hyperspectral analysis for fruit tree stress detection. In our study, hyperspectral data were collected by an AISADUAL hyperspectral image spectroscopy system, with high (0,5-1,5 m) ground resolution. The research focused on determining of leaves condition in different fruit plantations in the peach orchard near Siófok. Moreover the spectral reflectance analyses could provide more information about plant condition due to changes in the absorption of incident light in the visible and near infrared range of the spectrum.

Ultrastructural analysis of discrete neurobiological structures by volume scanning electron microscopy (SEM) often constitutes a “needle-in-the-haystack” problem and therefore relies on sophisticated search strategies. The appropriate SEM approach for a given relocation task not only depends on the desired final image quality but also on the complexity and required accuracy of the screening process. Block-face SEM techniques like Focused Ion Beam or serial block-face SEM are “one-shot” imaging runs by nature and, thus, require precise relocation prior to acquisition. In contrast, “multi-shot” approaches conserve the sectioned tissue through the collection of serial sections onto solid support and allow reimaging. These tissue libraries generated by Array Tomography or Automated Tape Collecting Ultramicrotomy can be screened at low resolution to target high resolution SEM. This is particularly useful if a structure of interest is rare or has been predetermined by correlated light microscopy, which can assign molecular, dynamic and functional information to an ultrastructure. As such approaches require bridging mm to nm scales, they rely on tissue trimming at different stages of sample processing. Relocation is facilitated by endogenous or exogenous landmarks that are visible by several imaging modalities, combined with appropriate registration strategies that allow overlaying images of various sources. Here, we discuss the opportunities of using multi-shot serial sectioning SEM approaches, as well as suitable trimming and registration techniques, to slim down the high-resolution imaging volume to the actual structure of interest and hence facilitate ambitious targeted volume SEM projects.

Abstract A vertical edge Thomson scattering (ETS) diagnostic system on HL-2M tokamak has been designed. The ETS system collects the scattered light from Nd: YAG laser (1064 nm, 2 J, 30 Hz, 15 ns). The laser beam propagates vertically through the plasma region and the polarization is parallel to the toroidal magnetic field. A special designed Galileo-type telescope with long Rayleigh length is applied to focus the laser size and ensure collimation. A group of Double-Gaussian collection lenses images the 600 mm vertical scattered region onto rectangular fiber arrays with a spatial resolution of 10 mm. The 2.20 mm × 2.86 mm fiber optic bundle consists of 130 low-OH 200/220 um (core/cladding) diameter fibers with numerical aperture NA = 0.22, carrying the light to remotely located multi-channel polychromators. Effect of oblique incidence on narrow band filter has been analyzed. The designed electron temperatures range from 5 eV to 1000 eV and electron densities from 5 × 1018 m-3 to 1 × 1020 m-3.

Introduction The social roles of alcohol consumption are rich and varied, with different types of alcoholic beverages reflecting important symbolic and cultural meanings. Sparkling wine is especially notable for its association with secular and sacred celebrations. Indeed, sparkling wine is rarely drunk as a matter of routine; bottles of such wine signal special occasions, heightened by the formality and excitement associated with opening the bottle and controlling (or not!) the resultant fizz (Faith). Originating in England and France in the late 1600s, sparkling wine marked a dramatic shift in winemaking techniques, with winemakers deliberately adding “fizz” or bubbles to their product (Faith). The resulting effervescent wines were first enjoyed by the social elite of European society, signifying privilege, wealth, luxury and nobility; however, new techniques for producing, selling and distributing the wines created a mass consumer culture (Guy). Production of Australian sparkling wines began in the late nineteenth century and consumption remains popular. As a “new world” country – that is, one not located in the wine producing areas of Europe – Australian sparkling wines cannot directly draw on the same marketing traditions as those of the “old world”. One enterprising company, Treasury Wine Estates, markets a range of wines, including a sparkling variety, called 19 Crimes, that draws, not on European traditions tied to luxury, wealth and prestige, but Australia’s colonial history. Using Augmented Reality and interactive story-telling, 19 Crimes wine labels feature convicts who had committed one or more of 19 crimes punishable by transportation to Australia from Britain. The marketing of sparkling wine using convict images and convict stories of transportation have not diminished the celebratory role of consuming “bubbly”. Rather, in exploring the marketing techniques employed by the company, particularly when linked to the traditional drink of celebration, we argue that 19 Crimes, while fun and informative, nevertheless romanticises convict experiences and Australia’s convict past. Convict Heritage and Re-Appropriating the Convict Image Australia’s cultural heritage is undeniably linked to its convict past. Convicts were transported to Australia from England and Ireland over an 80-year period between 1788-1868. While the convict system in Australia was not predominantly characterised by incarceration and institutionalisation (Jones 18) the work they performed was often forced and physically taxing, and food and clothing shortages were common. Transportation meant exile, and “it was a fierce punishment that ejected men, women and children from their homelands into distant and unknown territories” (Bogle 23). Convict experiences of transportation often varied and were dependent not just on the offender themselves (for example their original crime, how willing they were to work and their behaviour), but also upon the location they were sent to. “Normal” punishment could include solitary confinement, physical reprimands (flogging) or hard labour in chain gangs. From the time that transportation ceased in the mid 1800s, efforts were made to distance Australia’s future from the “convict stain” of its past (Jones). Many convict establishments were dismantled or repurposed with the intent of forgetting the past, although some became sites of tourist visitation from the time of closure. Importantly, however, the wider political and social reluctance to engage in discourse regarding Australia’s “unsavoury historical incident” of its convict past continued up until the 1970s (Jones 26). During the 1970s Australia’s convict heritage began to be discussed more openly, and indeed, more favourably (Welch 597). Many today now view Australia’s convicts as “reluctant pioneers” (Barnard 7), and as such they are celebrated within our history. In short, the convict heritage is now something to be celebrated rather than shunned. This celebration has been capitalised upon by tourist industries and more recently by wine label 19 Crimes. “19 Crimes: Cheers to the Infamous” The Treasury Wine Estates brand launched 19 Crimes in 2011 to a target population of young men aged between 18 and 34 (Lyons). Two limited edition vintages sold out in 2011 with “virtually no promotion” (19 Crimes, “Canadians”). In 2017, 19 Crimes became the first wine to use an Augmented Reality (AR) app (the app was later renamed Living Wines Labels in 2018) that allowed customers to hover their [smart] phone in front of a bottle of the wine and [watch] mugshots of infamous 18th century British criminals come to life as 3D characters who recount their side of the story. Having committed at least one of the 19 crimes punishable by exile to Australia, these convicts now humor and delight wine drinkers across the globe. (Lirie) Given the target audience of the 19 Crimes wine was already 18-34 year old males, AR made sense as a marketing technique. Advertisers are well aware the millennial generation is “digitally empowered” and the AR experience was created to not only allow “consumers to engage with 19 Crimes wines but also explore some of the stories of Australia’s convict past … [as] told by the convicts-turned-colonists themselves!” (Lilley cited in Szentpeteri 1-2). The strategy encourages people to collect convicts by purchasing other 19 Crimes alcohol to experience a wider range of stories. The AR has been highly praised: they [the labels] animate, explaining just what went down and giving a richer experience to your beverage; engaging both the mind and the taste buds simultaneously … . ‘A fantastic app that brings a little piece of history to life’, writes one user on the Apple app store. ‘I jumped out of my skin when the mugshot spoke to me’. (Stone) From here, the success of 19 Crimes has been widespread. For example, in November 2020, media reports indicated that 19 Crimes red wine was the most popular supermarket wine in the UK (Lyons; Pearson-Jones). During the UK COVID lockdown in 2020, 19 Crimes sales increased by 148 per cent in volume (Pearson-Jones). This success is in no small part to its innovative marketing techniques, which of course includes the AR technology heralded as a way to enhance the customer experience (Lirie). The 19 Crimes wine label explicitly celebrates infamous convicts turned settlers. The website “19 Crimes: Cheers to the Infamous” incorporates ideas of celebration, champagne and bubbles by encouraging people to toast their mates: the convicts on our wines are not fiction. They were of flesh and blood, criminals and scholars. Their punishment of transportation should have shattered their spirits. Instead, it forged a bond stronger than steel. Raise a glass to our convict past and the principles these brave men and women lived by. (19 Crimes, “Cheers”) While using alcohol, and in particular sparkling wine, to participate in a toasting ritual is the “norm” for many social situations, what is distinctive about the 19 Crimes label is that they have chosen to merchandise and market known offenders for individuals to encounter and collect as part of their drinking entertainment. This is an innovative and highly popular concept. According to one marketing company: “19 Crimes Wines celebrate the rebellious spirit of the more than 160,000 exiled men and women, the rule breakers and law defying citizens that forged a new culture and national spirit in Australia” (Social Playground). The implication is that by drinking this brand of [sparkling] wine, consumers are also partaking in celebrating those convicts who “forged” Australian culture and national spirit. In many ways, this is not a “bad thing”. 19 Crimes are promoting Australian cultural history in unique ways and on a very public and international scale. The wine also recognises the hard work and success stories of the many convicts that did indeed build Australia. Further, 19 Crimes are not intentionally minimising the experiences of convicts. They implicitly acknowledge the distress felt by convicts noting that it “should have shattered their spirits”. However, at times, the narratives and marketing tools romanticise the convict experience and culturally reinterpret a difficult experience into one of novelty. They also tap into Australia’s embracement of larrikinism. In many ways, 19 Crimes are encouraging consumers to participate in larrikin behaviour, which Bellanta identifies as being irreverent, mocking authority, showing a disrespect for social subtleties and engaging in boisterous drunkenness with mates. Celebrating convict history with a glass of bubbly certainly mocks authority, as does participating in cultural practices that subvert original intentions. Several companies in the US and Europe are now reportedly offering the service of selling wine bottle labels with customisable mugshots. Journalist Legaspi suggests that the perfect gift for anyone who wants a sparkling wine or cider to toast with during the Yuletide season would be having a customisable mugshot as a wine bottle label. The label comes with the person’s mugshot along with a “goofy ‘crime’ that fits the person-appealing” (Sotelo cited in Legaspi). In 2019, Social Playground partnered with MAAKE and Dan Murphy's stores around Australia to offer customers their own personalised sticker mugshots that could be added to the wine bottles. The campaign was intended to drive awareness of 19 Crimes, and mugshot photo areas were set up in each store. Customers could then pose for a photo against the “mug shot style backdrop. Each photo was treated with custom filters to match the wine labels actual packaging” and then printed on a sticker (Social Playground). The result was a fun photo moment, delivered as a personalised experience. Shoppers were encouraged to purchase the product to personalise their bottle, with hundreds of consumers taking up the offer. With instant SMS delivery, consumers also received a branded print that could be shared so [sic] social media, driving increased brand awareness for 19 Crimes. (Social Playground) While these customised labels were not interactive, they lent a unique and memorable spin to the wine. In many circumstances, adding personalised photographs to wine bottles provides a perfect and unique gift; yet, could be interpreted as making light of the conditions experienced by convicts. However, within our current culture, which celebrates our convict heritage and embraces crime consumerism, the reframing of a mugshot from a tool used by the State to control into a novelty gift or memento becomes culturally acceptable and desirable. Indeed, taking a larrikin stance, the reframing of the mugshot is to be encouraged. It should be noted that while some prisons were photographing criminals as early as the 1840s, it was not common practice before the 1870s in England. The Habitual Criminals Act of 1869 has been attributed with accelerating the use of criminal photographs, and in 1871 the Crimes Prevention Act mandated the photographing of criminals (Clark). Further, in Australia, convicts only began to be photographed in the early 1870s (Barnard) and only in Western Australia and Port Arthur (Convict Records, “Resources”), restricting the availability of images which 19 Crimes can utilise. The marketing techniques behind 19 Crimes and the Augmented app offered by Living Wines Labels ensure that a very particular picture of the convicts is conveyed to its customers. As seen above, convicts are labelled in jovial terms such as “rule breakers”, having a “rebellious spirit” or “law defying citizens”, again linking to notions of larrikinism and its celebration. 19 Crimes have been careful to select convicts that have a story linked to “rule breaking, culture creating and overcoming adversity” (19 Crimes, “Snoop”) as well as convicts who have become settlers, or in other words, the “success stories”. This is an ingenious marketing strategy. Through selecting success stories, 19 Crimes are able to create an environment where consumers can enjoy their bubbly while learning about a dark period of Australia’s heritage. Yet, there is a distancing within the narratives that these convicts are actually “criminals”, or where their criminal behaviour is acknowledged, it is presented in a way that celebrates it. Words such as criminals, thieves, assault, manslaughter and repeat offenders are foregone to ensure that consumers are never really reminded that they may be celebrating “bad” people. The crimes that make up 19 Crimes include: Grand Larceny, theft above the value of one shilling. Petty Larceny, theft under one shilling. Buying or receiving stolen goods, jewels, and plate... Stealing lead, iron, or copper, or buying or receiving. Impersonating an Egyptian. Stealing from furnished lodgings. Setting fire to underwood. Stealing letters, advancing the postage, and secreting the money. Assault with an intent to rob. Stealing fish from a pond or river. Stealing roots, trees, or plants, or destroying them. Bigamy. Assaulting, cutting, or burning clothes. Counterfeiting the copper coin... Clandestine marriage. Stealing a shroud out of a grave. Watermen carrying too many passengers on the Thames, if any drowned. Incorrigible rogues who broke out of Prison and persons reprieved from capital punishment. Embeuling Naval Stores, in certain cases. (19 Crimes, “Crimes”) This list has been carefully chosen to fit the narrative that convicts were transported in the main for what now appear to be minimal offences, rather than for serious crimes which would otherwise have been punished by death, allowing the consumer to enjoy their bubbly without engaging too closely with the convict story they are experiencing. The AR experience offered by these labels provides consumers with a glimpse of the convicts’ stories. Generally, viewers are told what crime the convict committed, a little of the hardships they encountered and the success of their outcome. Take for example the transcript of the Blanc de Blancs label: as a soldier I fought for country. As a rebel I fought for cause. As a man I fought for freedom. My name is James Wilson and I fight to the end. I am not ashamed to speak the truth. I was tried for treason. Banished to Australia. Yet I challenged my fate and brought six of my brothers to freedom. Think that we have been nearly nine years in this living tomb since our first arrest and that it is impossible for mind or body to withstand the continual strain that is upon them. One or the other must give way. While the contrived voice of James Wilson speaks about continual strain on the body and mind, and having to live in a “living tomb” [Australia] the actual difficulties experienced by convicts is not really engaged with. Upon further investigation, it is also evident that James Wilson was not an ordinary convict, nor was he strictly tried for treason. Information on Wilson is limited, however from what is known it is clear that he enlisted in the British Army at age 17 to avoid arrest when he assaulted a policeman (Snoots). In 1864 he joined the Irish Republican Brotherhood and became a Fenian; which led him to desert the British Army in 1865. The following year he was arrested for desertion and was convicted by the Dublin General Court Martial for the crime of being an “Irish rebel” (Convict Records, “Wilson”), desertion and mutinous conduct (photo from the Wild Geese Memorial cited in The Silver Voice). Prior to transportation, Wilson was photographed at Dublin Mountjoy Prison in 1866 (Manuscripts and Archives Division), and this is the photo that appears on the Blanc de Blancs label. He arrived in Fremantle, Western Australia on 9 January 1868. On 3 June 1869 Wilson “was sentenced to fourteen days solitary, confinement including ten days on bread and water” (photo from the Wild Geese Memorial cited in The Silver Voice) for an unknown offence or breach of conduct. A few years into his sentence he sent a letter to a fellow Fenian New York journalist John Devoy. Wilson wrote that his was a voice from the tomb. For is not this a living tomb? In the tomb it is only a man’s body is good for the worms but in this living tomb the canker worm of care enters the very soul. Think that we have been nearly nine years in this living tomb since our first arrest and that it is impossible for mind or body to withstand the continual strain that is upon them. One or the other must give way. (Wilson, 1874, cited in FitzSimons; emphasis added) Note the last two lines of the extract of the letter have been used verbatim by 19 Crimes to create their interactive label. This letter sparked a rescue mission which saw James Wilson and five of his fellow prisoners being rescued and taken to America where Wilson lived out his life (Reid). This escape has been nicknamed “The Great Escape” and a memorial was been built in 2005 in Rockingham where the escape took place. While 19 Crimes have re-created many elements of Wilson’s story in the interactive label, they have romanticised some aspects while generalising the conditions endured by convicts. For example, citing treason as Wilson’s crime rather than desertion is perhaps meant to elicit more sympathy for his situation. Further, the selection of a Fenian convict (who were often viewed as political prisoners that were distinct from the “criminal convicts”; Amos) allows 19 Crimes to build upon narratives of rule breaking by focussing on a convict who was sent to Australia for fighting for what he believed in. In this way, Wilson may not be seen as a “real” criminal, but rather someone to be celebrated and admired. Conclusion As a “new world” producer of sparkling wine, it was important for 19 Crimes to differentiate itself from the traditionally more sophisticated market of sparkling-wine consumers. At a lower price range, 19 Crimes caters to a different, predominantly younger, less wealthy clientele, who nevertheless consume alcoholic drinks symbolic to the occasion. The introduction of an effervescent wine to their already extensive collection encourages consumers to buy their product to use in celebratory contexts where the consumption of bubbly defines the occasion. The marketing of Blanc de Blancs directly draws upon ideas of celebration whilst promoting an image and story of a convict whose situation is admired – not the usual narrative that one associates with celebration and bubbly. Blanc de Blancs, and other 19 Crimes wines, celebrate “the rules they [convicts] broke and the culture they built” (19 Crimes, “Crimes”). This is something that the company actively promotes through its website and elsewhere. Using AR, 19 Crimes are providing drinkers with selective vantage points that often sensationalise the reality of transportation and disengage the consumer from that reality (Wise and McLean 569). Yet, 19 Crimes are at least engaging with the convict narrative and stimulating interest in the convict past. Consumers are being informed, convicts are being named and their stories celebrated instead of shunned. Consumers are comfortable drinking bubbly from a bottle that features a convict because the crimes committed by the convict (and/or to the convict by the criminal justice system) occurred so long ago that they have now been romanticised as part of Australia’s colourful history. The mugshot has been re-appropriated within our culture to become a novelty or fun interactive experience in many social settings. For example, many dark tourist sites allow visitors to take home souvenir mugshots from decommissioned police and prison sites to act as a memento of their visit. The promotional campaign for people to have their own mugshot taken and added to a wine bottle, while now a cultural norm, may diminish the real intent behind a mugshot for some people. For example, while drinking your bubbly or posing for a fake mugshot, it may be hard to remember that at the time their photographs were taken, convicts and transportees were “ordered to sit for the camera” (Barnard 7), so as to facilitate State survelliance and control over these individuals (Wise and McLean 562). Sparkling wine, and the bubbles that it contains, are intended to increase fun and enjoyment. Yet, in the case of 19 Crimes, the application of a real-life convict to a sparkling wine label adds an element of levity, but so too novelty and romanticism to what are ultimately narratives of crime and criminal activity; thus potentially “making light” of the convict experience. 19 Crimes offers consumers a remarkable way to interact with our convict heritage. The labels and AR experience promote an excitement and interest in convict heritage with potential to spark discussion around transportation. The careful selection of convicts and recognition of the hardships surrounding transportation have enabled 19 Crimes to successfully re-appropriate the convict image for celebratory occasions. References 19 Crimes. “Cheers to the Infamous.” 19 Crimes, 2020. 14 Dec. 2020 <https://www.19crimes.com>. ———. “The 19 Crimes.” 19 Crimes, 2020. 14 Dec. 2020 <https://www.19crimes.com/en-au/the-19-crimes>. ———. “19 Crimes Announces Multi-Year Partnership with Entertainment Icon Snoop Dogg.” PR Newswire 16 Apr. 2020. 15 Dec. 2020 <https://www.prnewswire.com/news-releases/19-crimes-announces-multi-year-partnership-with-entertainment-icon-snoop-dogg-301041585.html>. ———. “19 Crimes Canadians Not Likely to Commit, But Clamouring For.” PR Newswire 10 Oct. 2013. 15 Dec. 2020 <https://www.prnewswire.com/news-releases/19-crimes-canadians-not-likely-to-commit-but-clamouring-for-513086721.html>. Amos, Keith William. The Fenians and Australia c 1865-1880. Doctoral thesis, UNE, 1987. <https://hdl.handle.net/1959.11/12781>. Barnard, Edwin. Exiled: The Port Arthur Convict Photographs. Canberra: National Library of Australia, 2010. Bellanta, Melissa. Larrikins: A History. University of Queensland Press. Bogle, Michael. Convicts: Transportation and Australia. Sydney: Historic Houses Trust of New South Wales, 2008. Clark, Julia. ‘Through a Glass, Darkly’: The Camera, the Convict and the Criminal Life. PhD Dissertation, University of Tasmania, 2015. Convict Records. “James Wilson.” Convict Records 2020. 15 Dec. 2020 <https://convictrecords.com.au/convicts/wilson/james/72523>. ———. “Convict Resources.” Convict Records 2021. 23 Feb. 2021 <https://convictrecords.com.au/resources>. Faith, Nicholas. The Story of Champagne. Oxford: Infinite Ideas, 2016. FitzSimons, Peter. “The Catalpa: How the Plan to Break Free Irish Prisoners in Fremantle Was Hatched, and Funded.” Sydney Morning Herald 21 Apr. 2019. 15 Dec. 2020 <https://www.smh.com.au/entertainment/books/the-catalpa-how-the-plan-to-break-free-irish-prisoners-in-fremantle-was-hatched-and-funded-20190416-p51eq2.html>. Guy, Kolleen. When Champagne Became French: Wine and the Making of a National identity. Baltimore, Maryland: Johns Hopkins UP, 2007. Jones, Jennifer Kathleen. Historical Archaeology of Tourism at Port Arthur, Tasmania, 1885-1960. PhD Dissertation, Simon Fraser University, 2016. Legaspi, John. “Need a Wicked Gift Idea? Try This Wine Brand’s Customizable Bottle Label with Your Own Mugshot.” Manila Bulletin 18 Nov. 2020. 14 Dec. 2020 <https://mb.com.ph/2020/11/18/need-a-wicked-gift-idea-try-this-wine-brands-customizable-bottle-label-with-your-own-mugshot/>. Lirie. “Augmented Reality Example: Marketing Wine with 19 Crimes.” Boot Camp Digital 13 Mar. 2018. 15 Dec. 2020 <https://bootcampdigital.com/blog/augmented-reality-example-marketing-wine-19-crimes/>. Lyons, Matthew. “19 Crimes Named UK’s Favourite Supermarket Wine.” Harpers 23 Nov. 2020. 14 Dec. 2020 <https://harpers.co.uk/news/fullstory.php/aid/28104/19_Crimes_named_UK_s_favourite_supermarket_wine.html>. Manuscripts and Archives Division, The New York Public Library. "John O'Reilly, 10th Hussars; Thomas Delany; James Wilson, See James Thomas, Page 16; Martin Hogan, See O'Brien, Same Page (16)." The New York Public Library Digital Collections. 1866. <https://digitalcollections.nypl.org/items/510d47dc-9768-a3d9-e040-e00a18064a99>. Pearson-Jones, Bridie. “Cheers to That! £9 Bottle of Australian Red Inspired by 19 Crimes That Deported Convicts in 18th Century Tops List as UK’s Favourite Supermarket Wine.” Daily Mail 22 Nov. 2020. 14 Dec. 2020 <https://www.dailymail.co.uk/femail/food/article-8933567/19-Crimes-Red-UKs-favourite-supermarket-wine.html>. Reid, Richard. “Object Biography: ‘A Noble Whale Ship and Commander’ – The Catalpa Rescue, April 1876.” National Museum of Australia n.d. 15 Dec. 2020 <https://www.nma.gov.au/__data/assets/pdf_file/0015/2553/NMA_Catalpa.pdf>. Snoots, Jen. “James Wilson.” Find A Grave 2007. 15 Dec. 2020 <https://www.findagrave.com/memorial/19912884/james-wilson>. Social Playground. “Printing Wine Labels with 19 Crimes.” Social Playground 2019. 14 Dec. 2020 <https://www.socialplayground.com.au/case-studies/maake-19-crimes>. Stone, Zara. “19 Crimes Wine Is an Amazing Example of Adult Targeted Augmented Reality.” Forbes 12 Dec. 2017. 15 Dec. 2020 <https://www.forbes.com/sites/zarastone/2017/12/12/19-crimes-wine-is-an-amazing-example-of-adult-targeted-augmented-reality/?sh=492a551d47de>. Szentpeteri, Chloe. “Sales and Marketing: Label Design and Printing: Augmented Reality Bringing Bottles to Life: How Treasury Wine Estates Forged a New Era of Wine Label Design.” Australian and New Zealand Grapegrower and Winemaker 654 (2018): 84-85. The Silver Voice. “The Greatest Propaganda Coup in Fenian History.” A Silver Voice From Ireland 2017. 15 Dec. 2020 <https://thesilvervoice.wordpress.com/tag/james-wilson/>. Welch, Michael. “Penal Tourism and the ‘Dream of Order’: Exhibiting Early Penology in Argentina and Australia.” Punishment & Society 14.5 (2012): 584-615. Wise, Jenny, and Lesley McLean. “Pack of Thieves: The Visual Representation of Prisoners and Convicts in Dark Tourist Sites.” The Palgrave Handbook of Incarceration in Popular Culture. Eds. Marcus K. Harmes, Meredith A. Harmes, and Barbara Harmes. Switzerland: Palgrave Macmillan, 2020. 555-73.

IntroductionWithin social media visibility campaigns, selfie captions usually work to produce coherent identity categories, linking disparate selfies together through hashtags. Furthering visibility politics, such selfie captions claim that authentic identities can be made visible through selfies and can be described and defined by these captions. However, selfie captions by the trans artist Alok Vaid-Menon challenge the assumption that selfies and their captions can make authentic identity legible. Through hashtags, emojis, and punning text, Vaid-Menon’s selfie captions interrogate visibility politics from within one of visibility politics most popular contemporary tools, demonstrating how social media can be used to theorize representation. Coherence, Visibility, and Authenticity through HashtagsMobilising and organising identitarian counterpublics through hashtags—from #DisabledAndCute (Wade) to #GirlsLikeUs (Jackson, Bailey, and Welles 2)—these captions operate as hyperlinks that lead users to collections of all the images similarly tagged or captioned. This draws attention to certain aspects of the images, and produces coherence and similarity, despite the actual diversity of the individuals participating in these projects of visibility. These captions also question the over-determination of visibility with authenticity in dominant discourse, and the assumption that visibility can guarantee authenticity. For example, this is apparent in the Human Rights Campaign’s 2014 publication Transgender Visibility: A Guide to Being You, which offers visibility as a critical strategy for “living as authentically as possible” (quoted in David 28).Further, as images that seem to enable direct, unmediated, and hence “authentic,” self-expression (Lorbinger and Brantner 1848), selfies are described as ideally designed for visibility politics (Duguay 4). Visibility politics relies on aesthetic representation to expand the boundaries of commonsense to include those who were previously excluded—all without challenging the underlying logic that produces the inclusion of some through the exclusion of others (Rancière 141–3). In social media visibility campaigns, selfie captions are therefore a critical tool, for they not only use hashtags to create webs of interconnected selfies that produce a coherent, visible identity category, but through doing so, they reinforce the illusion that selfies—as photographs—exhibit an unmediated relationship between sign and signified, offering a visual authentication of identity. Thus, social media visibility campaigns presume that the authentic self can be made legible through selfies and their captions, reiterating, as C. Riley Snorton writes, the “popular, long-held myth—that both the truth of race and the truth of sex are obvious, transparent, and written on the body” (3).Because visible markers of gender and race are assumed to offer access to the “truth” of identity (Rightler-McDaniels and Hendrickson 178), visibility politics are usually heavily invested in this idea of visible authenticity—they also, ultimately, provide a critical avenue for commodification, branding, and consumerism (Banet-Weiser 35; David 30). However, in direct contrast to this, the trans artist Alok Vaid-Menon—a non-binary South Asian performance artist whose pronouns are they/them—uses selfie captions to expose and explode the insufficiency of visibility politics, albeit while promoting their personal brand.Vaid-Menon: Captions, Hashtags, and Intersectional IdentitiesIn Instagram posts that include both still and video selfies, their punning captions undermine any direct relationship between sign and signified, and use playful language to challenge the logic that selfies can transparently communicate authentic identity. Instead of producing coherence, Vaid-Menon uses hashtags to insert charged, political posts within supposedly apolitical series, disrupting any claims to similarity. For example, although Vaid-Menon’s selfie captions draw attention to particular elements within the image, they highlight those aspects of the visual field that make it impossible to identify a single, unified identity.It is also worth discussing here how this plays out in a specifically visual medium such as Instagram. Drawing on the resources of this platform, these selfie captions include emojis, thereby doubling the elements of the visual field within the space of the caption, and emphasising the symbolic function of cultural signifiers of identity. Thus, Vaid-Menon’s selfie captions demonstrate that social media platforms are not merely conduits for visibility politics, but instead offer rich resources for interrogating and contesting the politics of representation.Throughout Vaid-Menon’s Instagram selfies, punning captions appear—examples include “beach the change you want to see in the world” and “fifty shades of gay.” In these captions, puns not only draw attention to the texture and flexibility of language—a linguistic playfulness that is always already present in social media platforms through ludic hashtags (Rightler-McDaniels and Hendrickson 187)—but also highlight elements within the image that put pressure on the idea of coherent and unified identity. By doing this, these captions explicitly declare that identity work is self-consciously performative, producing identities that are not a question of authenticity—even within the framework of “branded authenticity” (Banet-Weiser 11)—but that might instead be read through the more ambivalent notion of “sincerity” (Jackson 15).An example of this can be seen accompanying a slow-motion video selfie of Vaid-Menon in a blonde wig (AlokVMenon, 9 January 2016a). The significance of body hair for South Asian women and femmes is a reoccurring theme throughout Vaid-Menon’s selfie captions. They are vocal about the political significance of body hair, and use hashtags and text captions to address how body hair complicates their ability to communicate the truth(s) of their identity. In the video, brightly painted lips parted, Vaid-Menon twirls the blonde curls around their fingers, while the slow-motion effect emphasises the movement of each lock of hair. Simultaneously, Vaid-Menon’s dark body hair is prominent and visible, including chest hair, the shadow of a beard, and thick eyebrows.The image is accompanied by a caption which asserts punningly “gender is racial construct: blondes have more funding”, thereby transforming the gender studies dogma that “gender is a social construct” and the popular culture slogan that “blondes have more fun.” The caption uses this wording to point out that the gendering of body hair as masculine delimits femininity as whiteness, and also privileges white (cis) femininity within capitalism. Like the caption, the image also reveals how “gender is a racial construct,” staging the tensions between Vaid-Menon’s “natural” dark body hair (gendered masculine) and the bright, blonde wig they wear (gendered feminine, but racialised as white). Further, within late capitalism, the caption “blondes have more funding” lays claim to a possibility that the image forecloses—because “gender is a racial construct,” this increased funding is likely to be out of reach for brown trans femmes who look like Vaid-Menon. Together, the caption and the image suggest that hair is both the solution and the problem for Vaid-Menon—although “blondes have more funding,” the blondes who get funded are white, and definitely not covered in thick, dark body hair.Posting selfies that show off their body hair, Vaid-Menon regularly captions these images with the hashtag #TGIF (AlokVMenon, 19 August 2016) thereby taking advantage of the cross-platform utility and democratising function of hashtags (Rightler-McDaniels and Hendrickson 176) to insert these images into a space that is not usually one of critical race and gender analysis. Popular on Fridays, the hashtag #TGIF usually stands for “thank God it’s Friday,” but Vaid-Menon uses the ubiquitous hashtag to mean “thank goddess I’m femme.” As a result, the “thank god it’s Friday” hashtag introduces unsuspecting users to Vaid-Menon’s #TGIF selfies and their interrogation of the racialised politics of hair. Through inserting critical analysis of race and gender within such a light-hearted, non-serious hashtag, that is, by capitalising on the popularity of #TGIF, Vaid-Menon appears to defy the norms of discursive consistency within social media discourse (Rightler-McDaniels and Hendrickson 187) while simultaneously enhancing their personal brand (Banet-Weiser 59). Beyond hashtags, Vaid-Menon’s captions elaborate on the distinct pressures they experience around body hair, discussing how their body hair simultaneously obscures their ability to be recognised as femme and makes their race hyper-visible. In the caption on one #TGIF post, Vaid-Menon writes that, when they began shaving at age 13, it was an attempt at “becoming white.” Now, they write, they face pressure to authenticate their transfemininity by shaving, noting that, in this case, authenticity requires “invisibilization” (AlokVMenon, 15 November 2016).Vaid-Menon continues this theme in another selfie post, again problematising the supposedly direct relationship between authenticity and visibility. This example—in which Vaid-Menon poses against a violet background wearing a curly, blonde wig (AlokVMenon, 9 January 2016 b) their thick, dark hair contrasting strongly with the wig’s light gold—aims to critique the signifying power of the blonde wig.From the hyper-saturated colours, to the bright gold nose rings, to Vaid-Menon’s body hair, the selfie combines—and emphasises—markers of artifice and authenticity, femininity and masculinity. Reinforcing these contradictions, the caption interrogates the relationship between authenticity and visibility, stating “authenticity is a fraught project in a world that ritualizes your invisibilization.” Bringing together weighty concepts that occur in time, the caption speaks of ritual, the project of authenticity, and the process of invisibilisation, yet the selfie itself is a frozen instant, with nothing in the post clarifying what point of these processes, if any, it captures. In the selfie, the hyper-saturated colours highlight the wealth of information that the visual field makes available, but the image itself cannot answer the question of what visible markers, if any, communicate the truth of Vaid-Menon’s authentic identity. As the caption states, also foreclosing any answers, “authenticity is a fraught project,” and, moreover, that authenticity is threatened by what is not visible. While authenticity discourse presumes that the visual field offers the firmest epistemological grounds for assessing and legitimating identity, the visible may not convey the full reality of identity nor experience (Jackson 159). Furthermore, within selfie conventions, visual imperfection usually signifies authenticity (Lobinger and Brantner 1849), but this selfie has characteristics of professional photography, including the studio background, further marking it as a hybrid of authenticity and artifice.Through the intersection of the caption and the selfie, Vaid-Menon therefore casts into question the ability of the visual to successfully signify authentic identity. Thus, the caption reinforces and extends the work that the selfie does to trouble the coherence of Vaid-Menon’s identity. It should be noted, however, that this caption simultaneously participates in the production of Vaid-Menon’s personal brand, investing in a distinct mode of authenticity that Sarah Banet-Weiser has dubbed “AuthenticityTM,” an authenticity that is available to artists precisely through their creative and performative rejection of social norms (119–20). Refusing such normative assumptions about the relationship between hair, race, and gender, the caption and the selfie therefore position the blonde wig as simultaneously artificial and authentic.The tension between artifice and authenticity is explored further by Vaid-Menon in a set of two videos exploring the symbolism of the blonde wig, both captioned with an emoji of a blonde, white woman (AlokVMenon, 11 January 2016; 12 January 2016). By doubling the image of blonde hair within the caption—through the emoji that operates, rebus-like, as a substitute for language—these two captions shift the function of the blonde wig from a tactile, experiential object to an abstracted symbol of white womanhood. In the videos, Vaid-Menon, in character as “Becky” (Kelly) plays with the wig while delivering a monologue full of stereotypes about white women, a monologue that is summed up by the static, cartoonish emoji. As the visual spreads from the photograph into the space of the caption, the caption emphasises the symbolic—as opposed to the tactile or realist—function of the photographed wig.Across the series with the blonde wig, this shift from experiential object to abstract symbol happens primarily through the captions, although it also extends to the images. For example, accompanying the slow-motion video, the first caption puns “blondes have more funding” as the slow-motion video shows Vaid-Menon enjoying the physical sensation of the blonde curls. The slow-motion video creates an endless, looping present as its 7-second runtime repeats over and over, drawing our attention to the materiality of time and touch through the slow-motion effect. In the close, frontal framing of the video, the viewer does not see the pleasure of Vaid-Menon’s hand touching the wig itself, but rather its effect, as the curls fall slowly against Vaid-Menon’s cheek. Meanwhile, the punning caption is also concerned with texture, experience, and effect, drawing the viewer in to the texture of language. While the video stages an intimate, haptic pleasure, the selfie, posted later that same day, displays the wig, stressing what it might represent, rather than how it moves or how it feels. In the selfie, Vaid-Menon poses with one hand raised, caught in the act of twirling a curl, and the caption moves away from the pleasures of wordplay to a more overt political stance—“authenticity is fraught.” Here, their hand seems to pull the hair away from Vaid-Menon’s face, interrupting the sensuous intimacy of curls against their face.These selfie captions assert not only that cultural constructs make authentic visibility fraught for minoritised subjects, but, through the “transparent and economical” emoji (Bloom 248), these selfie videos and their emoji captions also serve to mediate blonde, white womanhood. As the image of the blonde wig proliferates, moving into the space of the caption, the final video selfie also introduces a second character, a white woman, presumably cisgender, wearing a different blonde wig, who appears suddenly behind Vaid-Menon.This tall, skinny woman with corkscrew blonde curls approaches the viewer with curiosity, swaying her body as she walks forward, with her eyes fixed on the camera. Pursing her lips, she produces the facial expression commonly described as “duckface,” a feminised facial expression that is common in selfies and marks the performative—rather than unmediated—self-expression they make possible. As she approaches Vaid-Menon and the camera, she ends up half-in and half-out of frame, lingering at the edge of our vision. Her presence has a disquieting and jarring effect, as Vaid-Menon continues their monologue without acknowledging her, despite the fact that she must be visible to Vaid-Menon on their cell phone screen. Then, because the video is a loop, the monologue ends abruptly, and the video restarts. As Vaid-Menon performs the role of Becky, the white woman who hovers eerily behind Vaid-Menon in the final video is pushed to the edge of the frame and ultimately vanishes at the moment of the loop. The structure of the loop is a provocative approach to questions of visibility, given that visibility politics asserts that visibility is teleologically directed toward future change, while in fact visibility politics reproduces the status quo that it makes visible (Keeling 33). Here, since Vaid-Menon only manages to displace “Becky” by enacting her (over and over), the final result is not (yet) an uncomplicated or uncompromised brown trans femme visibility.By staging the incoherence of claims to visible authenticity, Vaid-Menon’s selfie captions foreclose the possibility of successfully “passing” into coherent identity categories. In the series of posts with the blonde wig, Vaid-Menon never succeeds in seamlessly embodying any single identity category, and these tensions appear within the images as well as in the relationship between image and caption. This failure to “pass” is political, and as J. Jack Halberstam writes, there is a queer art to failure, for “under certain circumstances failing, losing, forgetting, unmaking, undoing, unbecoming, not knowing may in fact offer more creative, more cooperative, more surprising ways of being in the world” (2–3).Failure is also a critical aesthetic element in social media humour, with the hashtag #fail curating posts that ironically celebrate mistakes and failures (Zappavigna 152). In selfies and selfie captions, Vaid-Menon revels in the queer art of social media failure. For example, in a selfie posted on 23 December 2016, Vaid-Menon stares solemnly past the camera, wearing vibrant, contrasting colours, including a bobbed purple wig, bright yellow lipstick, and a dress covered with bright, multi-coloured polka dots. The caption on this colourful, clearly queer, photograph proclaims that Vaid-Menon is “str8 acting looking for same #discrete” (AlokVMenon, 23 December 2016).Everything in the caption operates as a promise that will never be fulfilled, as even the hashtag—#discrete—fails to connect the selfie to other, similar images, as this hashtag is populated by a wildly heterogenous mix of images ranging from sexual images, to landscape photography, to images of fashionable, modern homes. Here, Vaid-Menon participates in a common social media practice, subverting the utility of hashtags and using them as paratextual commentary rather than as tools for networked cataloguing. In this post, Vaid-Menon’s failure to conform to the standards of homonormativity—which would require Vaid-Menon to appear “straight-acting” and to be able to promise discretion to a lover—is pushed to excess, producing a glorious rainbow of queer failure. Similarly, in the series of posts featuring the blonde wig, Vaid-Menon’s campy, parodic version of blonde, white womanhood does not simply demonstrate soberly that the standards imposed by white supremacy and heterocispatriarchy are unreachable. Instead, the series produces this attempt to pass into acceptable white femininity as a strange, delirious failure, accompanied by brilliant colours, strobing slow-motion, and punning, incisive captions.ConclusionIn Vaid-Menon’s Instagram posts, selfies and their captions interrogate and challenge the assumption that authentic identity can transparently be made legible through selfies. Through hashtags, Vaid-Menon’s captions draw upon the resources of the social media platform to connect their selfies to a network of other—not necessarily similar—images, inserting their “thank goddess I’m femme” selfies amid the wealth of “thank god it’s Friday” Instagram posts. And, by using emojis as captions, Vaid-Menon undermines the ability of the caption to anchor the visual to coherent meaning by substituting images for language.Through images and captions, Vaid-Menon’s Instagram selfies restage the act of direct, immediate self-expression as a complicated negotiation of the mediating pressures of language, social media platforms, digital photography, and, ultimately, culture. Furthermore, although selfies are celebrated in popular culture and online activism for the “visibility” they seem to make possible, Vaid-Menon’s selfie captions indicate that social media can do far more than simply promulgate visibility politics. This is necessary, for, despite its compelling lure, visibility politics not only neglects to imagine alternative futures, but actually limits future possibilities through its focus on the present, which is inevitably shaped by the past (Keeling 23). Instead, while building their personal brand on Instagram, Vaid-Menon simultaneously uses selfies and selfie captions to interrogate visibility politics from within one of its most popular contemporary tools, exposing the limitations and compromises of “visibility.” Rather than merely a tool for representation, Vaid-Menon’s work demonstrates how selfies and selfie captions can produce theories of, and about, representation.ReferencesAlokVMenon. Instagram post. 9 January 2016 a. <https://www.instagram.com/p/BAVG-Q3Olqs>.AlokVMenon. Instagram post. 9 January 2016 b. <https://www.instagram.com/p/BAVSkAoOlmF>.AlokVMenon. Instagram post. 11 January 2016. <https://www.instagram.com/p/BAa-CXnOlla>.AlokVMenon. 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Hendrickson. “Hoes and Hashtags: Constructions of Gender and Race in Trending Topics.” Social Semiotics 24.2 (2013): 175-190.Snorton, C. Riley. Nobody Is Supposed to Know: Black Sexuality on the Down Low. Minneapolis: U of Minnesota P, 2014.Wade, Carrie. “’I Want to Be Visible’: A Queer #DisabledAndCute Photo Gallery.” Autostraddle.com. 20 Feb. 2017 <https://www.autostraddle.com/i-want-to-be-visible-a-queer-disabledandcute-photo-gallery-369532>Zappavigna, Michele. Discourse of Twitter and Social Media: How We Use Language to Create Affiliation on the Web. London: Continuum, 2012.

Abstract The Wallops Precipitation Research Facility (WPRF) at NASA Goddard Space Flight Center, Wallops Island, VA has been established as a semi-permanent super-site for the Global Precipitation Measurement (GPM) Ground Validation (GV) program. WPRF is home to research quality precipitation instruments, including NASA’s S-band dual-polarimetric radar (NPOL), and a network of profiling radars, disdrometers, and rain gauges. This study investigates the statistical agreement of the GPM Core Observatory Dual Frequency Precipitation Radar (DPR), combined DPR-GPM Microwave Imager (GMI) and GMI Level II precipitation retrievals compared to WPRF ground observations from a six-year collection of satellite overpasses. Multi-sensor observations are integrated using the System for Integrating Multiplatform Data to Build the Atmospheric Column (SIMBA) software package. SIMBA ensures measurements recorded in a variety of formats are synthesized into a common reference frame for ease in comparison and analysis. Given that instantaneous satellite measurements are observed above ground level, this study investigates the possibility of a time lag between satellite and surface mass-weighted mean diameter (Dm), reflectivity (Z), and precipitation rate (R) observations. Results indicate that time lags vary up to 30 minutes after overpass time but are not consistent between cases. In addition, GPM Core Dm retrievals are within Level I mission science requirements as compared to WPRF ground observations. Results also indicate GPM algorithms overestimate light rain (< 1.0 mm hr−1). Two very different stratiform rain vertical profiles show differing results when compared to ground reference data. A key finding of this study indicates multi-sensor DPR/GMI combined algorithms outperform single sensor DPR algorithm.

AbstractContinuous monitoring of large specimens for long durations requires fast volume imaging. This is essential for understanding the processes occurring during the developmental stages of multicellular organisms. One of the key obstacles of fluorescence based prolonged monitoring and data collection is photobleaching. To capture the biological processes and simultaneously overcome the effect of bleaching, we developed single- and multi-color lightsheet based OVSS imaging technique that enables rapid screening of multiple tissues in an organism. Our approach based on OVSS imaging employs quantized step rotation of the specimen to record 2D angular data that reduces data acquisition time when compared to the existing light sheet imaging system (SPIM). A co-planar multicolor light sheet PSF is introduced to illuminate the tissues labelled with spectrally-separated fluorescent probes. The detection is carried out using a dual-channel sub-system that can simultaneously record spectrally separate volume stacks of the target organ. Arduino-based control systems were employed to automatize and control the volume data acquisition process. To illustrate the advantages of our approach, we have noninvasively imaged theDrosophilalarvae and Zebrafish embryo. Dynamic studies of multiple organs (muscle and yolk-sac) in Zebrafish for a prolonged duration (5 days) were carried out to understand muscle structuring (Dystrophin, microfibers), primitive Macrophages (in yolk-sac) and inter-dependent lipid and protein-based metabolism. The volume-based study, intensity line-plots and inter-dependence ratio analysis allowed us to understand the transition from lipid-based metabolism to protein-based metabolism during early development (Pharyngula period with a critical transition time,$$\tau _c = 50$$τc=50h post-fertilization) in Zebrafish. The advantage of multicolor lightsheet illumination, fast volume scanning, simultaneous visualization of multiple organs and an order-less photobleaching makes OVSS imaging the system of choice for rapid monitoring and real-time assessment of macroscopic biological organisms with microscopic resolution.

In February 2021, during the third COVID-19 lockdown in the state of Victoria, Australia, artist Shaun Wilson used the teleconferencing platforms Teams and Skype to create a slow cinema feature length artwork titled Fading Light to demonstrate how innovative creative practice can overcome barriers of distance experienced by creative practitioners from the limitations sustained during the COVID-19 pandemic. While these production techniques offer free access to develop new methodologies through practice, the wider scope of pandemic lockdowns mediated artists with teleconferencing as a tool to interrogate the nature of life during our various global lockdowns. It thus afforded a pioneering ability for artists to manufacture artwork about lockdowns whilst in lockdown, made from the tools commonly used for virtual communication. The significance of such opportunities, as this article will argue, demonstrates a novel approach to making artwork about COVID-19 in ways that were limited prior to the start of 2020 in terms of commonality, that now are “turning us all into broadcasters, streamers and filmmakers” (Sullivan). However, as we are only just becoming familiar with the cultural innovation pioneered from the limitations brought about by the pandemic, new aesthetics are emerging that challenge normative traditions of manufacturing and thinking about creative artefacts. Teleconferencing platforms were used differently prior to 2020 when compared to the current pandemic era. Throughout the 2000s and 2010s, there were no global gigascale movement restrictions or medical dangers to warrant a global shutdown that would ultimately determine how a person interacts with public places. In a pre-pandemic context, the daily use of teleconferencing was a luxury. Its subsequent use in the COVID-19 era became a necessity in many parts of day-to-day life. As artists have historically been able to comment through their work on global health crises, how has contemporary art responded since 2020 in using teleconferencing within critical studio practice? To explore such an idea, this article will probe examples of practice from artists making artworks with teleconferencing about pandemics during the COVID-19 pandemic. Discussion will purposely not consider a wider historical scope of teleconferencing in art and scholarship as the context in this article explicitly addresses art made in and commenting on the COVID-19 pandemic using the tools of lockdown readily available through teleconferencing platforms. It will instead concentrate on three artists addressing the pandemic during 2020 and 2021. The first example will be There Is No Such Thing as Internet from Polish artists Maria Magdalena Kozlowska and Maria Tobola, “performers who identify as one artist, Maria Małpecki” (“Pogo”). The second example is New York artist Michael Mandiberg’s Uncle Bob 85th Birthday via Zoom 3:00-4:00PM, August 16, 2020 (#24), from the series Zoom Paintings. The third example is Australian artist Shaun Wilson’s Fading Light. These works will be discussed as a means of considering teleconferencing as a contemporary art medium used in response to COVID-19 and art made as pandemic commentary through the technology that has defined its global social integration. Figure 1: Maria Małpecki, There Is No Such Thing as Internet, used with permission. There Is No Such Thing as Internet was presented as a live stream on 7 May 2020 and as an online video between 7-31 May 2020 in the “Online Cocktail Party with Maria Małpecki” at Pogo Bar, KW Institute for Contemporary Art, Berlin by Maria Małpecki and curator Tomek Pawlowski Jarmolajew (“Pogo”). The work represents a twenty-minute livestream essay created in part by a teleconferencing video call performance and appropriated video streams. This includes video chat examples from Chomsky and Žižek, compiled together through intertextual video collages which The Calvert Journal described as a work “that explore[s] identity and different modes of communication in times of isolation” (De La Torre). One of the key strengths of this work in terms of teleconferencing is how it embraces the medium as an integral part of the performative methodology. To such an extent, one might argue that if it was removed and replaced by traditional video camera shots, which do feature in the video but are not the main aesthetic driver, the Metamodernist troupe of Małpecki’s videos would not perform the same critique of the pandemic. So, for Małpecki to comment on isolation through the Internet requires video calls to be central in the artwork in order for it to hold the cultural value it embeds through the subject. The conceptual framework relies on short segments to create episodic moments reliant on philosophical laments relating to each part of the work. For example, the first act unfolds with a montage of short video clip collages reminiscent of the quick-clip YouTube browsing habit culture from the pandemic to expedite an argument that indeed, there really is no singular internet. Rather, from this, what we are experiencing is arguably something else entirely. From here we move to the second act titled “We wake up in a different room every morning. We wander in a labyrinth where most doors are already open” (Małpecki); but as Małpecki comments, “sometimes our job is to shut them”. The sequence evolves into a disorientating dual screen sequence of the artists panicking to what they are viewing on screen. What this is exactly remains unclear. It may be us as the audience or something else as Malpecki holds their webcam devices upside down to provide an unnerving menage amidst the screams and exacerbations that invites spatial disorientation as a point of engagement for the viewer. As we recognise that video call protocols during the pandemic are visually static and that normative ‘rules’ of video calls require stabilised video and clean sound, Małpecki subverts these protocols to that of an uncomfortable, anarchic performance. It's at odds with the gentility of video call aesthetics which, in the case of this artwork, is more like watching a continuous point of view shot from a participant on a roller coaster or an extreme fairground ride. As the audience moves through each of the eclectic acts, this randomness laments a continuity that, sometimes satirical and at other times sublime, infuses the silliness and obliqueness of habitual lockdown video viewing. Even the most mundane of videos we watch to pass the time have become anthems of the COVID-19 era as a mixture of boredom, stupidity, and collective grief. Małpecki’s work in this regard becomes a complex observation for a society in crisis. It eloquently uses video calls as a way to comment on what this article argues to be an important cultural artefact in contemporary art’s response to COVID-19. Just as Goya subverted the Venetian pandemic in the grim Plague Hospital, Małpecki reflects our era in the same disruptive way by using frailty as a mirror to reveal an uneasy reflection masked in satirical obscurity, layered with fragments of the Internet and its subjective “other”. Figure 2: Michael Mandiberg, Uncle Bob 85th Birthday via Zoom 3:00-4:00PM, August 16, 2020 (#24), used with permission. Conversely, the work of New York artist Michael Mandiberg uses teleconferencing in a different way by painting the background of video calls onto stretched canvases mostly over the duration of the actual call time. Yet in doing so, the removal of people from inside the frame highlights aspects of isolation and absence in lockdown. At the Denny Dinin Gallery exhibition in New York, The Zoom Paintings “presented in the digital sphere where they were born” (Defoe). Zoom provided both the frame and the exhibition space for these works, with “one painting … on view each day [on Zoom], for a total of ten paintings” (“Zoom”). Describing the works, Mandiberg states that they are “about the interchangeability of people and places. It’s not memorializing a particular event; it’s memorializing how unmemorable it is” (Mandiberg; Defoe). This defines an innovative approach to teleconferencing that engages with place in times when the same kinds of absence experienced in the images of peopleless Zoom video calls mirror the external absence of people in public places during lockdown. Uncle Bob 85th Birthday via Zoom 3:00-4:00PM, August 16, 2020 (#24) is time stamped with the diaristic nature of the Zoom Paintings series. These works are not just a set of painting subjects interlinked through a common theme of paintings ‘about Zoom backgrounds’. They, rather, operate as a complex depiction of absence located in the pandemic, evidently capturing a powerful social commentary about what the artist experienced during these times. In doing so, it immediately prompts the viewer into tensions that conceptually frame COVID-19, whether that be the isolation of waiting out the pandemic in lockdown, the removal of characters through illness from the virus, or even a sudden death from the virus itself. The camera’s point of view illustrates an empty space where we know something is missing. At the very least the artist suggests that someone nearby once inhabited these empty spaces but they are, at present, removed from the scene or have vanished altogether. On 16 August 2020, the day that the painting was made, the New York Times estimated that 514 people in the United States died from COVID-19 (“Coronavirus”). When measured against a further death rate peaking at 5,463 people in the United States who died on 11 February 2021, the catastrophic mortality data in the United States alone statistically supports Mandiberg’s lament as to the severity of the pandemic, which serves as the context of his work. Based on this data alone, the absence in Mandiberg’s paintings intensifies a sense of isolation and loss insofar as the subjectivity embedded within the video call frame speaks to a powerful way that contemporary art is providing commentary during the pandemic (“Coronavirus”). Art in this context becomes a silent observer using teleconferencing to address both what is taken away from us and what visually remains behind. This article acknowledges the absence in Mandiberg’s paintings as a timely reminder of the socio-devastation experienced in the pandemic’s wake. Therein lies a three-folded image within an image within an image, not unlike what we see in Blade Runner when Deckard’s Esper Machine investigates the reflection in a mirror of someone else, and no more vivid than in Van Eyck’s Arnolfini Portrait. From a structural point of view, we witness Mandiberg’s images during its exhibition on Zoom in much the same conceptual way. In this case though, it is a mirrored online image of an image painted from a video call interpreted online from a recorded image transmitted online through teleconferencing. Through similar transactions, Shaun Wilson’s utilisation of video calls is represented in Fading Light as a way to comment on COVID-19 through the lens of Teams and Skype. The similarities of Fading Light to There Is No Such Thing as Internet stem obviously from the study of figuration used as the driver of the works but at the same time, it also draws comparison with Mandiberg’s stillness as represented in the frozen poses of each figure. At a more complex level, there is, though, a polar opposite in the mechanics that, for Mandiberg, uses video to translate into painted subjects. Fading Light does the opposite, with paintings recontextualised into video subjects. Such an analysis of both works brings about a sense of trepidation. For Mandiberg, it is the unsettling stillness through absence. In Fading Light it is the oppressive state of the motionlessness in frame that offers the same sense of awkwardness found in Mandiberg’s distorted painted laptop angles, and that makes the same kind of uncomfortableness bearable. It is only as much as an audience affords the time to allow before the loneliness of the subject renders the Zoom paintings a memorial to what is lost. Of note in Fading Light are the characteristically uncomfortable traits of what we detect should be in the frame of the subject but isn’t, which lends a tension to the viewer who has involuntarily been deprived of what is to be expected. For a modern Internet audience, a video without movement invites a combination of tension, boredom, and annoyance, drawing parallels to Hitchcock’s premise that something has just happened but we’re not entirely sure exactly what it was or is. Likewise, Małpecki’s same juxtaposition of tension with glimpses of Chomsky and Žižek videos talking over each other is joined by the artists’ breaking the fourth wall of cinema theory. Observing the artists lose concentration while watching the other videos in the video call scenario enact the mundane activities we encounter in the same kinds of situations of watching someone else on Zoom. However, in this context, we are watching them watching someone else whom we are also watching, while watching ourselves at the same time. Figure 3: Shaun Wilson, Fading Light, used with permission. The poses in Fading Light are reconfigured from characters in German medieval paintings and low relief religious iconography created during the Black Death era. Such works hang in the Gothic St. Michael’s Church in Schwäbisch Hall in Germany originally used by Martin Luther as his Southern Germany outpost during the Reformation. Wilson documented these paintings in October 2006, which then became the ongoing source images used in the 51 Paintings Suite films. The church itself has a strong connection to pandemics where a large glass floor plate behind the altar reveals an open ossuary of people who died of plague during the Black Death. This association brings an empirical linkage to the agency in Fading Light that mediates the second handed nature of the image, initially painted during a medieval pandemic, and now juxtaposed into the video frame captured in a current pandemic. From a conceptual standpoint, the critical analysis reflected in such a framework allows the artwork to reveal itself at a multi-level perspective, operating within a Metamodernist methodology. Two separate elements oscillate in tandem with one another, yet completely independent, or in this case, impervious to each other’s affect. Fading Light’s key affordance from this oscillation consolidate Wilson’s methodology in the artwork in as much detail as what Małpecki and Mandiberg construct in their respective works, yet obviously for very different motivations. If the basis of making video art in the pandemic using teleconferencing changes the way we might think about using these platforms, which otherwise may not have previously been taken serious by the academy as a valid medium in art, then the quiet meaningfulness throughout the film transcends a structured method to ascertain a pictorial presence of the image in its facsimile state. This pays respect to the source images but also embraces and overlays the narrative of the current pandemic intertwined within the subject. Given that Fading Light allows a ubiquitous dialogue to grow from the framed image, a subjective commonality in these mentioned works provide insight into how artists have engaged innovation strategies with teleconferencing to develop artwork made and commenting about the current pandemic. Whether it be Małpecki’s subversive pandemic variety show, the loneliness of Mandiberg’s Zoom call paintings or Wilson’s refilming of Black Death era paintings, all three artists use video call platforms as a contemporary art medium capable of social commentary during histo-trauma. These works also raise the possibility of interdisciplinary Metamodernist approaches to consider the implications of non-traditional mediums in offering socio-commentary during profoundly impactful times. It remains to be seen if contemporary video call platforms will become a frequented tool in contemporary art long after the COVID-19 pandemic is over. However, by these works and indeed, from the others to follow and not yet revealed, the current ossuary provides an opportunity for artists to respond to their own immediate surroundings to redefine existing boundaries in art and look to innovation in the methods they use. We are in a new era of art making, only now beginning to reveal itself. It may take years or even decades to better understand the magnitude of the significance that artists have contributed towards their own practices since the beginnings of the pandemic. This time of profound change only strengthens the need for contemporary art to preserve and enlighten humanity through the journey from crisis to hope. References Blade Runner. Dir. by Ridley Scott, Warner Brothers, 1982. “Coronavirus US Cases.” New York Times, 27 Mar. 2021. 28 Mar. 2021 <http://www.nytimes.com/interactive/2020/us/coronavirus-us-cases.html>. Defoe, Taylor. “‘It's Memorializing How Unmemorable It Is’: Artist Michael Mandiberg on Painting Melancholy Portraits on Zoom.” Artnet News 10 Nov. 2020. 19 Mar. 2021 <http://news.artnet.com/exhibitions/mandiberg-zoom-paintings-1922159>. De La Torre, Lucia. “Art in the Age of Zoom: Explore the Video Art Collage Unraveling the Complexities of the Digital Age.” The Culvert Journal, 5 May 2020. 19 Mar. 2021 <https://www.calvertjournal.com/articles/show/11788/online-performance-art-polish-artist-maria-malpecki-digital-age>. Goya, Francisco. Plaga Hospital. Private Collection. 1800. Małpecki, Maria. There Is No Such Thing as Internet. Vimeo, 2020. <http://vimeo.com/415998383>. Mandiberg, Michael. Uncle Bob 85th Birthday via Zoom 3:00-4:00PM, August 16, 2020 (#24). New York: Denny Dinin Gallery, 2020. “Pogo Bar: Maria Małpecki & Tomek Pawłowski Jarmołajew.” KW Institute for Contemporary Art, 7 May 2020. 19 Mar. 2021 <http://www.kw-berlin.de/en/maria-malpecki-tomek-pawlowski-jarmolajew/>. Sullivan, Eve. “Video Art during and after the Pandemic: 2020 Limestone Coast Video Art Festival.” Artlink, 2020. 19 Mar. 2021 <http://www.artlink.com.au/articles/4885/video-art-during-and-after-the-pandemic-2020-limes/>. Van Eyck, Jan. Arnolfini Portrait. Canberra: National Gallery, 1434. Wilson, Shaun. Fading Light. Bakers Road Entertainment, 2021. “The Zoom Paintings.” Denny Dimin Gallery, 12 Nov. 2020. <http://dennydimingallery.com/news/virtual_exhibition/zoom-paintings/>.

The digital revolution has been characterized by the overlapping of different media technologies and platforms which reshaped both traditional forms of audiovisual consumption and older conceptions of place and space. John Agnew claims that, traditionally, the notion of place has been associated with two different meanings: ‘the first is a geometric conception of place as a mere part of space and the second is a phenomenological understanding of a place as a distinctive coming together in space’ (317). Both of the dominant meanings have been challenged by the idea that the world itself is increasingly “placeless” as space-spanning connections and flows of information, things, and people undermine the rootedness of a wide range of processes anywhere in particular (Friedman). On the one hand, by obliterating physical distance, new technologies such as the Internet and the cell phone are making places obsolete, on the other hand, the proliferation of media representations favoured by these technologies are making places more relevant than ever. These increasing mediatisation processes, in fact, generate what Urry and Larsen call ‘imaginative geographies’, namely the conflation of representational spaces and physical spaces that substitute and enhance each other in contingent ways (116). The smartphone as a new hybrid media platform that combines different technological features such as digital screens, complex software applications, cameras, tools for online communication and GPS devices, has played a crucial role in the construction of new notions of place. This article examines a specific type of phone applications: mobile, digital mapping tools that allow users to identify film-locations. In doing so it will assess how new media platforms can potentially reconfigure notions of both media consumption, and (physical and imagined) mobility. Furthermore, the analysis of digital movie maps and their mediation of film locations will shed light on the way in which contemporary leisure activities reshape the cultural, social and geographic meaning of place. Digital, Mobile Movie MapsDigital movie maps can be defined as software applications, conceived for smart phones or other mobile devices, which enable users to identify the geographical position of film locations. These applications rely on geotagging which is the process of adding geospatial metadata (usually latitudinal and longitudinal coordinates) to texts or images. From this point of view these phone apps belong to a broader category of media that Tristan Thielmann calls geomedia: converging applications of interactive, digital, mapping tools and mobile and networked media technologies. According to Hjorth, recent studies on mobile media practices show a trend toward “re-enacting the importance of place and home as both a geo-imaginary and socio-cultural precept” (Hjorth 371). In 2008 Google announced that Google Maps and Google Earth will become the basic platform for any information search. Similarly, in 2010 Flickr started georeferencing their complete image stock (Thielmann 8). Based on these current developments media scholars such as Thielmann claim that geomedia will emerge in the future as one of the most pervasive forms of digital technology (8).In my research I identified 44 phone geomedia apps that offered content variously related to film locations. In every case the main functionality of the apps consisted in matching geographic data concerning the locations with visual and written information about the corresponding film production. ‘Scene Seekers’, the first app able to match the title of a film with the GPS map of its locations, was released in 2009. Gradually, subsequent film-location apps incorporated a number of other functions including:Trivia and background information about films and locationsSubmission forms which allow users to share information about their favourite film locatiosLocation photosLinks to film downloadFilm-themed itinerariesAudio guidesOnline discussion groupsCamera/video function which allow users to take photos of the locations and share them on social mediaFilm stills and film clipsAfter identifying the movie map apps, I focused on the examination of the secondary functions they offered and categorized the applications based on both their main purpose and their main target users (as explicitly described in the app store). Four different categories of smart phone applications emerged. Apps conceived for:Business (for location scouts and producers)Entertainment (for trivia and quiz buffs)Education (for students and film history lovers)Travel (for tourists)‘Screen New South Wales Film Location Scout’, an app designed for location scouts requiring location contact information across the state of New South Wales, is an example of the first category. The app provides lists, maps and images of locations used in films shot in the region as well as contact details for local government offices. Most of these types of apps are available for free download and are commissioned by local authorities in the hope of attracting major film productions, which in turn might bring social and economic benefits to the region.A small number of the apps examined target movie fans and quiz buffs. ‘James Bond and Friends’, for example, focuses on real life locations where spy/thriller movies have been shot in London. Interactive maps and photos of the locations show their geographical position. The app also offers a wealth of trivia on spy/thriller movies and tests users’ knowledge of James Bond films with quizzes about the locations. While some of these apps provide information on how to reach particular film locations, the emphasis is on trivia and quizzes rather than travel itself.Some of the apps are explicitly conceived for educational purposes and target film students, film scholars and users interested in the history of film more broadly. The Italian Ministry for Cultural Affairs, for example, developed a number of smartphone apps designed to promote knowledge about Italian Cinema. Each application focuses on one Italian city, and was designed for users wishing to acquire more information about the movie industry in that urban area. The ‘Cinema Roma’ app, for example, contains a selection of geo-referenced film sets from a number of famous films shot in Rome. The film spots are presented via a rich collection of historical images and texts from the Italian National Photographic Archive.Finally, the majority of the apps analysed (around 60%) explicitly targets tourists. One of the most popular film-tourist applications is the ‘British Film Locations’ app with over 100,000 downloads since its launch in 2011. ‘British Film Locations’ was commissioned by VisitBritain, the British tourism agency. Visit Britain has attempted to capitalize on tourists’ enthusiasm around film blockbusters since the early 2000s as their research indicated that 40% of potential visitors would be very likely to visit the place they had seen in films or on TV (VisitBritain). British Film Locations enables users to discover and photograph the most iconic British film locations in cinematic history. Film tourists can search by film title, each film is accompanied by a detailed synopsis and list of locations so users can plan an entire British film tour. The app also allows users to take photos of the location and automatically share them on social networks such as Facebook or Twitter.Movie Maps and Film-TourismAs already mentioned, the majority of the film-location phone apps are designed for travel purposes and include functionalities that cater for the needs of the so called ‘post-tourists’. Maxine Feifer employed this term to describe the new type of tourist arising out of the shift from mass to post-Fordist consumption. The post-tourist crosses physical and virtual boundaries and shifts between experiences of everyday life, either through the actual or the simulated mobility allowed by the omnipresence of signs and electronic images in the contemporary age (Leotta). According to Campbell the post-tourist constructs his or her own tourist experience and destination, combining these into a package of overlapping and disjunctive elements: the imagined (dreams and screen cultures), the real (actual travels and guides) and the virtual (myths and internet) (203). More recently a number of scholars (Guttentag, Huang et al., Neuhofer et al.) have engaged with the application and implications of virtual reality on the planning, management and marketing of post-tourist experiences. Film-induced tourism is an expression of post-tourism. Since the mid-1990s a growing number of scholars (Riley and Van Doren, Tooke and Baker, Hudson and Ritchie, Leotta) have engaged with the study of this phenomenon, which Sue Beeton defined as “visitation to sites where movies and TV programmes have been filmed as well as to tours to production studios, including film-related theme parks” (11). Tourists’ fascination with film sets and locations is a perfect example of Baudrillard’s theory of hyperreality. Such places are simulacra which embody the blurred boundaries between reality and representation in a world in which unmediated access to reality is impossible (Baudrillard).Some scholars have focused on the role of mediated discourse in preparing both the site and the traveller for the process of tourist consumption (Friedberg, Crouch et al.). In particular, John Urry highlights the interdependence between tourism and the media with the concept of the ‘tourist gaze’. Urry argues that the gaze dominates tourism, which is primarily concerned with the commodification of images and visual consumption. According to Urry, movies and television play a crucial role in shaping the tourist gaze as the tourist compares what is gazed at with the familiar image of the object of the gaze. The tourist tries to reproduce his or her own expectations, which have been “constructed and sustained through a variety of non-tourist practices, such as film, TV, literature, records, and videos” (Urry 3). The inclusion of the camera functionality in digital movie maps such as ‘British Film Locations’ fulfils the need to actually reproduce the film images that the tourist has seen at home.Film and MapsThe convergence between film and (virtual) travel is also apparent in the prominent role that cartography plays in movies. Films often allude to maps in their opening sequences to situate their stories in time and space. In turn, the presence of detailed geographical descriptions of space at the narrative level often contributes to establish a stronger connection between film and viewers (Conley). Tom Conley notes that a number of British novels and their cinematic adaptations including Tolkien’s The Lord of the Rings (LOTR) and Stevenson’s Treasure Island belong to the so called ‘cartographic fiction’ genre. In these stories, maps are deployed to undo the narrative thread and inspire alternative itineraries to the extent of legitimising an interactive relation between text and reader or viewer (Conley 225).The popularity of LOTR locations as film-tourist destinations within New Zealand may be, in part, explained by the prominence of maps as both aesthetic and narrative devices (Leotta). The authenticity of the LOTR geography (both the novel and the film trilogy) is reinforced, in fact, by the reoccurring presence of the map. Tolkien designed very detailed maps of Middle Earth that were usually published in the first pages of the books. These maps play a crucial role in the immersion into the imaginary geography of Middle Earth, which represents one of the most important pleasures of reading LOTR (Simmons). The map also features extensively in the cinematic versions of both LOTR and The Hobbit. The Fellowship of the Ring opens with several shots of a map of Middle Earth, anticipating the narrative of displacement that characterizes LOTR. Throughout the trilogy the physical dimensions of the protagonists’ journey are emphasized by the foregrounding of the landscape as a map.The prominence of maps and geographical exploration as a narrative trope in ‘cartographic fiction’ such as LOTR may be responsible for activating the ‘tourist imagination’ of film viewers (Crouch et al.). The ‘tourist imagination’ is a construct that explains the sense of global mobility engendered by the daily consumption of the media, as well as actual travel. As Crouch, Jackson and Thompson put it, “the activity of tourism itself makes sense only as an imaginative process which involves a certain comprehension of the world and enthuses a distinctive emotional engagement with it” (Crouch et al. 1).The use of movie maps, the quest for film locations in real life may reproduce some of the cognitive and emotional pleasures that were activated while watching the movie, particularly if maps, travel and geographic exploration are prominent narrative elements. Several scholars (Couldry, Hills, Beeton) consider film-induced tourism as a contemporary form of pilgrimage and movie maps are becoming an inextricable part of this media ritual. Hudson and Ritchie note that maps produced by local stakeholders to promote the locations of films such as Sideways and LOTR proved to be extremely popular among tourists (391-392). In their study about the impact of paper movie maps on tourist behaviour in the UK, O’Connor and Pratt found that movie maps are an essential component in the marketing mix of a film location. For example, the map of Pride and Prejudice Country developed by the Derbyshire and Lincolnshire tourist boards significantly helped converting potential visitors into tourists as almost two in five visitors stated it ‘definitely’ turned a possible visit into a certainty (O’Connor and Pratt).Media Consumption and PlaceDigital movie maps have the potential to further reconfigure traditional understandings of media consumption and place. According to Nana Verhoeff digital mapping tools encourage a performative cartographic practice in the sense that the dynamic map emerges and changes during the users’ journey. The various functionalities of digital movie maps favour the hybridization between film reception and space navigation as by clicking on the movie map the user could potentially watch a clip of the film, read about both the film and the location, produce his/her own images and comments of the location and share it with other fans online.Furthermore, digital movie maps facilitate and enhance what Nick Couldry, drawing upon Claude Levi Strauss, calls “parcelling out”: the marking out as significant of differences in ritual space (83). According to Couldry, media pilgrimages, the visitation of TV or film locations are rituals that are based from the outset on an act of comparison between the cinematic depiction of place and its physical counterpart. Digital movie maps have the potential to facilitate this comparison by immediately retrieving images of the location as portrayed in the film. Media locations are rife with the marking of differences between the media world and the real locations as according to Couldry some film tourists seek precisely these differences (83).The development of smart phone movie maps, may also contribute to redefine the notion of audiovisual consumption. According to Nanna Verhoeff, mobile screens of navigation fundamentally revise the spatial coordinates of previously dominant, fixed and distancing cinematic screens. One of the main differences between mobile digital screens and larger, cinematic screens is that rather than being surfaces of projection or transmission, they are interfaces of software applications that combine different technological properties of the hybrid screen device: a camera, an interface for online communication, a GPS device (Verhoeff). Because of these characteristics of hybridity and intimate closeness, mobile screens involve practices of mobile and haptic engagement that turn the classical screen as distanced window on the world, into an interactive, hybrid navigation device that repositions the viewer as central within the media world (Verhoeff).In their discussion of the relocation of cinema into the iPhone, Francesco Casetti and Sara Sampietro reached similar conclusions as they define the iPhone as both a visual device and an interactive interface that mobilizes the eye as well as the hand (Casetti and Sampietro 23). The iPhone constructs an ‘existential bubble’ in which the spectator can find refuge while remaining exposed to the surrounding environment. When the surrounding environment is the real life film location, the consumption or re-consumption of the film text allowed by the digital movie map is informed by multi-sensorial and cognitive stimuli that are drastically different from traditional viewing experiences.The increasing popularity of digital movie maps is a phenomenon that could be read in conjunction with the emergence of innovative locative media such as the Google glasses and other applications of Augmented Reality (A.R.). Current smart phones available in the market are already capable to support A.R. applications and it appears likely that this will become a standard feature of movie apps within the next few years (Sakr). Augmented reality refers to the use of data overlays on real-time camera view of a location which make possible to show virtual objects within their spatial context. The camera eye on the device registers physical objects on location, and transmits these images in real time on the screen. On-screen this image is combined with different layers of data: still image, text and moving image.In a film-tourism application of augmented reality tourists would be able to point their phone camera at the location. As the camera identifies the location images from the film will overlay the image of the ‘real location’. The user, therefore, will be able to simultaneously see and walk in both the real location and the virtual film set. The notion of A.R. is related to the haptic aspect of engagement which in turn brings together the doing, the seeing and the feeling (Verhoeff). In film theory the idea of the haptic has come to stand for an engaged look that involves, and is aware of, the body – primarily that of the viewer (Marx, Sobchack). The future convergence between cinematic and mobile technologies is likely to redefine both perspectives on haptic perception of cinema and theories of film spectatorship.The application of A.R. to digital, mobile maps of film-locations will, in part, fulfill the prophecies of René Barjavel. In 1944, before Bazin’s seminal essay on the myth of total cinema, French critic Barjavel, asserted in his book Le Cinema Total that the technological evolution of the cinematic apparatus will eventually result in the total enveloppement (envelopment or immersion) of the film-viewer. This enveloppement will be characterised by the multi-sensorial experience and the full interactivity of the spectator within the movie itself. More recently, Thielmann has claimed that geomedia such as movie maps constitute a first step toward the vision that one day it might be possible to establish 3-D spaces as a medial interface (Thielmann).Film-Tourism, Augmented Reality and digital movie maps will produce a complex immersive and inter-textual media system which is at odds with Walter Benjamin’s famous thesis on the loss of ‘aura’ in the age of mechanical reproduction (Benjamin), as one of the pleasures of film-tourism is precisely the interaction with the auratic place, the actual film location or movie set. According to Nick Couldry, film tourists are interested in the aura of the place and filming itself. The notion of aura is associated here with both the material history of the location and the authentic experience of it (104).Film locations, as mediated by digital movie maps, are places in which people have a complex sensorial, emotional, cognitive and imaginative involvement. The intricate process of remediation of the film-locations can be understood as a symptom of what Lash and Urry have called the ‘re-subjectification of space’ in which ‘locality’ is re-weighted with a more subjective and affective charge of place (56). According to Lash and Urry the aesthetic-expressive dimensions of the experience of place have become as important as the cognitive ones. By providing new layers of cultural meaning and alternative modes of affective engagement, digital movie maps will contribute to redefine both the notion of tourist destination and the construction of place identity. These processes can potentially be highly problematic as within this context the identity and meanings of place are shaped and controlled by the capital forces that finance and distribute the digital movie maps. Future critical investigations of digital cartography will need to address the way in which issues of power and control are deeply enmeshed within new tourist practices. 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