The Politics of Nostalgia: Colorization, Spectatorship and the Archive

Colorization describes the digitization and retrospective addition of color to photographic and film materials (celluloid nitrate, glass negatives) initially made and circulated in a black-and-white format. Revisiting the controversial 1980s colorization of 24 classic Hollywood studio titles, which incited debate over questions of copyright, authorship and artistic expression, this essay examines the use of colorization to interpret museum collections for new audiences. The aesthetics of colorization have been criticized for prioritizing image content over the history of film technologies, practices and exhibition. An examination of They Shall Not Grow Old (Jackson, 2018) finds a use of digital editing and coloring techniques in the colorization of First World War film footage held in the Imperial War Museum archives that is familiar to the director’s fiction films. Jackson’s film is a commemorative project, yet the “holistic unity” of authorial technique operates across fragments of archive film and photographs to imbricate of fiction and nonfiction, signaling vital questions around the ethics and ideologies of “natural color”, historiography, and the authenticity of materials and spectator experience.

How do Batik Natural Dyes Crafter Spread Their Green Value (Case Studies on Batik Gemawang and Batik Warna Alam Si Putri)

Batik Indonesia was awarded as an intangible heritage by Unesco. Unfortunately, synthetic color batik has many advantages over natural dyes batik. The difficulty of selling natural color batik makes natural color batik crafters carry out educational activities to potential consumers to generate demand and purchases. The method for the research is observation for the long term, an in-depth interview to confirm the observation finding then do qualitative analysis. The research found that natural color batik crafters or ecopreneurs must have a solid green value to survive in their business. There are various ways, methods, and means to educate potential batik consumers and others. Natural color Batik artisans will choose the way he or she is most likely to do. The education is carried out continuously. This activity is aimed at prospective consumers knowing natural color batik and its advantages. This knowledge can defeat the attractiveness of low prices that synthetic color batik has. So that in the end, consumers will make a purchase. Especially for this research, its also found that the batik crafter also educates another party than potential customer therefore, the other party will support the education for the potential customer.

Eksplorasi Perintang Warna Alami pada Kualitas Batik

Exploration is important because it has the potential to increase creativity in the use of natural materials that are able to maintain the existence of written batik without reducing the essence of written batik itself. The method used is a literature study. This study aims to describe natural materials that can be used as color barriers, determine the results and quality of batik motifs produced from natural color barriers, and determine the process and results of batik coloring on natural color barriers. The natural ingredients explored are cassava peel and canna starch. The batik motifs produced by the two barriers depend on the drying time, the thickness of the paste application and the applicator used. In the use of natural cassava peel ingredients, the color barrier can block the color well when using a triangular plastic applicator because the quality obtained is good, namely the lines are firm and clear. Meanwhile, when using natural canna starch, the color barrier can block the color well when using the vinegar bottle applicator because the results of the imitation batik motifs produced are neat, even, and firm. The natural ingredients for cassava peel are dylon and wantex dyes, while the canna starch is used for napthol dyes.

Using Uncrewed Aerial Vehicles for Identifying the Extent of Invasive Phragmites australis in Treatment Areas Enrolled in an Adaptive Management Program

Higher spatial and temporal resolutions of remote sensing data are likely to be useful for ecological monitoring efforts. There are many different treatment approaches for the introduced European genotype of Phragmites australis, and adaptive management principles are being integrated in at least some long-term monitoring efforts. In this paper, we investigated how natural color and a smaller set of near-infrared (NIR) images collected with low-cost uncrewed aerial vehicles (UAVs) could help quantify the aboveground effects of management efforts at 20 sites enrolled in the Phragmites Adaptive Management Framework (PAMF) spanning the coastal Laurentian Great Lakes region. We used object-based image analysis and field ground truth data to classify the Phragmites and other cover types present at each of the sites and calculate the percent cover of Phragmites, including whether it was alive or dead, in the UAV images. The mean overall accuracy for our analysis with natural color data was 91.7% using four standardized classes (Live Phragmites, Dead Phragmites, Other Vegetation, Other Non-vegetation). The Live Phragmites class had a mean user’s accuracy of 90.3% and a mean producer’s accuracy of 90.1%, and the Dead Phragmites class had a mean user’s accuracy of 76.5% and a mean producer’s accuracy of 85.2% (not all classes existed at all sites). These results show that UAV-based imaging and object-based classification can be a useful tool to measure the extent of dead and live Phragmites at a series of sites undergoing management. Overall, these results indicate that UAV sensing appears to be a useful tool for identifying the extent of Phragmites at management sites.