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Repeat photography is an effective way to analyze the built and natural environments in terms of time and space. Not only does critical repeat photography allow for historical analysis, it also requires keeping meticulous records, which can be used in future replication of the photographs and future research. Employing critical repeat photography to examine CSU's architecture tells us about literal snapshots of CSU's history and how these spaces have changed over time. Critical repeat photography of Morgan Library, Lory Student Center, Clark, and Green Hall demonstrates CSU's shift away from its post-war architecture towards a more cohesive vernacular. ; With the prolific construction and destruction on Colorado State University (CSU)'s campus, CSU's built environment has drastically changed since World War II (WWII). Many post-war buildings are on the chopping block or have undergone drastic renovations greatly altering the building's façade. Which buildings has CSU razed? Which buildings has CSU kept, but transformed to meet CSU's shift towards one specific architectural vernacular? In order to explore these questions, I took a series of photos based on historic photographs from the 1960s I found in CSU's digital repository. The buildings I chose for my research included Clark, Morgan Library, Lory Student Center, and Green Hall. Clark, Morgan, and Lory are all in the same focal point of campus, serving the administrative and academic needs of CSU's student body. Green Hall served the students as a dorm. I chose these buildings because of their construction period and their varied use, representing important buildings to CSU's campus community. Repeat photography requires meticulous documentation. The process consists of finding the location the historic photograph was taken, determining the exact angle of the camera, taking into account the season of the historic photograph vs time of year current photo taken, and keeping detailed field records including GPS coordinates for future recorders to replicate the photo. Once I found the exact location and replicated the photographs, I analyzed the images as side-by-side comparisons of the historic photo and current photo. This critical repeat photography project helps keep records of these buildings as well as communicate echoes of CSU's history. From examining the images, I discovered CSU changed and added onto the exteriors of Morgan and Lory, demolished most of Green Hall, and painted Clark from white to beige and red. CSU does not have a seamless campus architecture like the University of Colorado at Boulder (CU). CU is known for its buildings' unifying flagstone construction. CSU does not have this iconic architecture. Instead, CSU directly reflects society and the campus needs at specific periods in its history. By not maintaining one specific type of architecture or using the same building materials, CSU is a university of the people, or as Jim Hansen coined, "Democracy's College." CSU's renovations of Lory and Morgan and its destruction of Green all demonstrate how CSU is attempting to create a cohesive architecture. The materials used to manipulate the elevations all mesh with the new construction and ongoing construction on campus. CSU has razed many buildings like Green Hall to make room for new buildings or parking lots or has significantly altered the buildings in the past 10 years. CSU is trying to use its architecture to assert its relevance in the state college conversation, but is ultimately ignoring and erasing its post-war boom and its architectural significance in a chapter of Colorado's history. Repeat photography can shed some light on the dialogue between CSU's architecture and its history.

James Balog created the Extreme Ice Survey in 2006. Since then, his team of photographers have taken over 2 million photographs of glaciers all around the world. This thesis explores the aesthetics of the Anthropocene through the photography of Balog and his research team as they conduct an ongoing repeat photography project. By examining the three distinct types of photography he employs—landscape, portraiture, and repeat photography—I examine each form in relation to political ecology, restoration ecology, geological sciences, ecocriticism, and environmental theory. Drawing on the theoretical frameworks of William Chaloupka, Jane Bennett, Timothy Morton, Anna Tsing, Douglas Weiner, and William Cronon, this thesis highlights the political potential and theoretical contradictions of landscape photography, speculative photography, and repeat photography, underscoring how each relates to, reaffirms, and contests the popular notion of 'wilderness' in the United States. Through a careful examination of the Extreme Ice Survey's photographs, this thesis makes the case that photography has significant implications for how the environment is structured in public consciousness. It concludes by suggesting that repeat photography provides a basis from which a less distanced, more critical ecological engagement predicated on continual self reflection and questioning can take place.

Monitoring vegetation change is important because the nature, extent and rate of change in key measures, such as plant biomass, cover and species composition, provides critical insight into broader environmental and land use drivers and leads to the development of appropriate policy. We used Landsat data between 1984 and 2018 to produce a map of Enhanced Vegetation Index (EVI) change over South Africa at 30 m resolution and an interactive web application to make the analysis both globally applicable and locally meaningful. We found an increase in EVI of 0.37 ± 0.59% yr−1 (mean ± standard deviation), confirming global vegetation greening trends observed with lower-resolution satellites. Mesic, productive biomes including the Albany Thicket and Savanna, exhibited the largest greening trends while browning trends were dominant in more arid biomes, such as the Succulent Karoo and Desert. Although overall EVI trends correspond to vegetation index trends derived from the Advanced Very-High-Resolution Radiometer (8 km resolution), the relative scarcity of Landsat data availability during the 1980 s is a potential source of error. Using repeat very-high-resolution satellite (ca. 3 m resolution) imagery and ground-based photography as reference, we found good correspondence with EVI trends, revealing patterns of degradation (e.g. woody plant encroachment, desertification), and restoration (e.g. increased rangeland productivity, alien clearing) over selected landscapes. The utility of the EVI trend layer to government and industry for monitoring ecosystem changes will be enhanced by the ability to distinguish climatic from anthropogenic drivers of change. This may be partially achieved though interactive exploration of the EVI trends using the application found here: http://evitrend.zsv.co.za ; acceptedVersion

Norway has a political goal to minimize the loss of cultural heritage due to removal, destruction or decay. On behalf of the national Directorate for Cultural Heritage, we have developed methods to monitor Cultural Heritage Environments. The complementary set of methods includes (1) landscape mapping through interpretation of aerial photographs, including field control of the map data, (2) qualitative and quantitative initial and repeat landscape photography, (3) field recording of cultural heritage objects including preparatory analysis of public statistical data, and (4) recording of stakeholder attitudes, perceptions and opinions. We applied these methods for the first time to the historical clustered farm settlement of Havrå ; in Hordaland County, West Norway. The methods are documented in a handbook and can be applied as a toolbox, where different monitoring methods or frequency of repeat recording may be selected, dependent on local situations, e.g., on the landscape character of the area in focus.

Abstract This paper discusses Finnish war commemoration in social media where the public connects with their history through wartime photography. The focus is on one Finnish social media site that chooses images out of the official Finnish military photography collection for posting. Through social media, the public can participate in heritage work themselves and these sites are becoming increasingly important in creating views of the nation's past. The pages tend to repeat nationalistic narratives and recreate national myths. One important symbol in Finnish cultural imaginings is the colour white. In the imagery of World War Two, with Finnish soldiers dressed in white snow camouflage, it is used to emphasise the moral purity, innocence and victimhood of the nation. Such symbolism can distort understandings of the war, and the social media pages have become venues where ethnonationalism is maintained and even racist discourse accepted. I argue that more attention should be paid to photography in the construction of heritage narratives, and professionals should react to the kind of heritage invoked by the public in social media.

My 30% seminar is divided in 7 chapters. 1. Labour of access 2. Restricted by law 3. Genealogical imagination 4. We are cyborgs 5. Plur1verse of genres 6. Disclosure 7. Future plans I have been conducting a series of experiments that all relate to finding ways to re-enact and re-enable an experience of the past in the present and into the future; excavating methods to repeat fragments of history whose importance might not have been fully understood or acknowledged. The seminar goes along the politics of access to the archive(s), artistic research strategies used, and the proposed ongoing works. I will be discussing with Jyoti Mistry (Professor of Film, Photography and Literary Composition Unit at the HDK-Valand - Academy of Art and Design, Gothenburg).

This study utilizes a cyclical socio-ecological systems approach to explore change in natural vegetation and land use within the Kannaland Municipality of the Klein Karoo. Repeat ground photography, historical climate and agricultural data, and in-depth, semi-structured interviews were used to assess environmental, political and socio-economic change in the study area since the early 1900s. Few studies have had the opportunity to augment the analysis of repeat ground photography with contextual information from in-depth interviews making this study unique in its approach. For most of the 20th century agricultural land use within the Klein Karoo has undergone fluctuations of increased and decreased productivity. However, during the later decades a noticeable decline in agricultural land use, especially sheep and goat production, has been recorded. Largely due to this, and contrary to degradation projections for this area, evidence of growth in cover of natural vegetation, especially over the last 20 years, was found. From the mid 1990s change from largely agricultural to recreational game and weekend farming as well as tourism-related land use has increased. Implications of recent land use change are perceived as both positive and negative. Increases in natural vegetation cover and potential associated biodiversity improvements are considered positive implications associated with the demise in extensive agricultural land use for the area. A decline in farm-based employment and agricultural productivity are considered negative implications of this land use change. Substantial increase in game farming within the study area is perceived to require stringent monitoring and research into the long term implications of this land use on natural vegetation. For optimal land use management and conservation of natural vegetation this study recommends building the capacity of the agricultural and conservation extension services within the Klein Karoo. The study further promotes the diversification of land use inclusive of agricultural production, conservation of biodiversity and development, particularly within the tourism sector, as optimal for the sustainability of land use in the Klein Karoo.

Front Cover -- Title Page -- Copyright Page -- Table of Contents -- Preface and Acknowledgements -- Engaged urbanism: situated and experimental methodologies for fairer cities -- I Frames -- 1 Cities methodologies matter: comparative urbanism and global urban theory -- 2 Methods, metaphors and the interdisciplinary terrain of urban research -- II Site-Specific Collaborations -- 3 Site-writing -- 4 Towards an architecture of engagement: researching contested urbanism and informalities -- 5 'Worlding' the studio: methodological experiments and the art of being social -- III Performance and Participation -- 6 From 'heroin' to heroines -- 7 Four palimpsests on the erasure of the Heygate Estate -- 8 Hacking London's demolition decisions: a new collaboration to scrutinise the technical justifications for retrofit, refurbishment and demolition -- 9 Authoring the neighbourhood in Wikipedia -- 10 The secret security guard: being a G4S employee during the London Olympic Games 2012 -- 11 Hide and seek: the dubious nature of plant life in high-security spaces -- IV Situating Images and Imaginaries -- 12 The ups and downs of visualising contemporary Mumbai -- 13 Creating systematic records through time: the destruction and reconstruction of heritage areas affected by earthquakes in Chile -- 14 Paint. Buff. Shoot. Repeat: re-photographing graffiti in London -- 15 Critical urban learning through participatory photography -- 16 Assisted self-portraits and GUESTures: excerpts from a discussion on photography and participation -- 17 Picturing place: the agency of images in urban change -- 18 'Seeing is believing': the social life of urban decay and rebirth -- 19 'We thought we were making the car but it was the other way around': historical pathways and the ecology of the street network in industrial and post-industrial Detroit -- V Embodied Cartographies.

Revitalisation of Heerlen's coal mining past through languagecultural practices
This paper examines how inhabitants of Heerlen relate to the coal mining past of this city through a variety of languagecultural practices that cut across diverse media forms and genres, both textual (poems, rap songs), visual (portrait photography, material commodities), and digital (posts on Facebook, YouTube videos). Through these practices people in Heerlen express, repeat, and renew their individual and collective memories of Heerlen as the centre of the former Eastern Mining District in the twentieth century. We argue that Heerlen is undergoing a process of revitalisation that creates social personae, embedded locally, which are labelled tuupisch (typical). From a normative perspective, performances of identity and memory attributed and/or imagined as linked to this tuup (type) are often parodic and hybrid in character. Through an analysis of various examples, the paper demonstrates the critical potential of such hybrid languagecultural practices to contest dominant perspectives on the city's mining heritage, to renegotiate place-based identities, and to establish new forms of cultural memory

In this article the author compares the manipulative technologies that are very active in the media. The topic is relevant during the Russian aggression on the territory of Ukraine. The concept of manipulation is described, examples of photography in the media are used, where manipulative propaganda is carried out. «Bomb of Muravski» is an important example in Ukrainian photojournalism. This phenomen is associated with the creation of staging photos and the distribution of them as a documentary image. Explored fake news that distributing by Russian media. Propaganda is the basis of their work, and photography is an instrument. The truth is the most important weapon against manipulative propaganda.Ukrainian journalists should work with press services, publish only true texts, photos, videos. A special role is played by the state in controlling manipulation and creating counterpropaganda. Russia's undeclared war against Ukraine urges an in-depth analysis, to understand functions, methods and forms of propaganda in current conditions. Extremely important to inform citizens of Russia and Europe about what is going on in Ukraine. To sum it up we may say that presence of Russian propaganda in Ukrainian media environment is possible due to certain habits, attitudes and stereotypes about Russia shared by certain part of Ukrainian society. Consequently, politicians and politically managed media are tempted to repeat foreign hostile propaganda and use it for their goals.Key words: Manipulation in photojournalism, fakes, information warfare, «Bomb of Muravski», manipulative propaganda. ; Описано поняття маніпуляції та її місце у сучасній фотожурналістиці. Охарактеризовано приклади маніпулятивної пропаганди під час інформаційної війни. З'ясовано принципи ілюстрування фейкових матеріалів, які створюють пропагандивні редакції. Визначено умови та способи протидії маніпулятивним технологіям у фотожурналістиці.Ключові слова: маніпуляція у фотожурналістиці, фейки, інформаційна війна, «Міна Муравського», маніпулятивна пропаганда.

This essay situates Erica Baum's Dog Ear (Ugly Duckling Presse 2011) within the history of the artist's book. It does so by introducing her ongoing series, begun over a decade ago, in which Baum makes the quotidian act of folding the corner of a book's page into a sculptural intervention, reorienting and "reauthoring" source texts into works of concrete poetry. While photographs from this series have found a wide reception within the art world, their movement away from the gallery wall and (back) into the codex has permitted them to take on new dimensions of meaning. For critics more intent on approaching these images as poems, the challenge of rendering Dog Ear's lineation has been met with consistently unsatisfying results. In taking up a different framework – that of the artist's book – this essay does not argue against Dog Ear as a work of poetry or, for that matter, photography. Instead, it attends to the relationships between word and image as they are reconfigured by the gesture of folding, which both repeats and crystalizes moments of exposure and concealment. Materiality and seriality intertwine to sustain the unsettled, self-renewing pages against the backdrop of the book as object.

Rising atmospheric [CO2] and associated climate change are expected to modify primary productivity across a range of ecosystems globally. Increasing aridity is predicted to reduce grassland productivity, although rising [CO2] and associated increases in plant water use efficiency may partially offset the effect of drying on growth. Difficulties arise in predicting the direction and magnitude of future changes in ecosystem productivity, due to limited field experimentation investigating climate and CO2 interactions. We use repeat near‐surface digital photography to quantify the effects of water availability and experimentally manipulated elevated [CO2] (eCO2) on understorey live foliage cover and biomass over three growing seasons in a temperate grassy woodland in south‐eastern Australia. We hypothesised that (i) understorey herbaceous productivity is dependent upon soil water availability, and (ii) that eCO2 will increase productivity, with greatest stimulation occurring under conditions of low water availability. Soil volumetric water content (VWC) determined foliage cover and growth rates over the length of the growing season (August to March), with low VWC (<0.1 m3 m−3) reducing productivity. However, eCO2 did not increase herbaceous cover and biomass over the duration of the experiment, or mitigate the effects of low water availability on understorey growth rates and cover. Our findings suggest that projected increases in aridity in temperate woodlands are likely to lead to reduced understorey productivity, with little scope for eCO2 to offset these changes. ; The EucFACE experiment is funded by the Australian Government, through the Education Investment Fund, the Department of Industry and Science and the Australian Research Council, and Western Sydney University. Funding for the cameras and data analysis was provided by Australian Research Council Discovery Grant number 130102576. The stereo camera and application development was funded by the Western Sydney University Internal Research Scheme. VRD acknowledges funding from a Ramón y Cajal fellowship (RYC‐2012‐10970).