The Influence of Occupational Driver Stress on Work-related Road Safety: An Exploratory Review

Research has identified a number of stressors that could impact on the occupational driver by increasing stress levels and, for some individuals, causing adverse behaviour and effects, for example, aggressive behaviour, fatigue, inattention/distraction, and substance abuse. For safety professionals and employers, one way to reduce the effects of occupational driver stress is to change perceptions so that management and drivers recognise that work-related driving is as important as other work-related tasks. This article explores relevant literature in relation to driver stress and suggests additions to risk management processes and safety procedures/policies, including assigning sufficient basic resources to target occupational stress (particularly occupational driver stress)

Obtaining Remote-Sensing Reflectance from Multiple Instrument Systems

Obtaining accurate in situ measurements of Apparent Optical Properties (AOPs) is critical to maintaining satellite data quality. One approach to ensure accuracy is to deploy several independent instruments to measure the same phenomenon. During a cruise in June 2012, off the lee coast of the island of Hawaii, repeated profiles were made with two separate radiometric systems, one from Satlantic, Inc. (Hyperpro) and the other from Biospherical Instruments, Inc. (C-Ops). The C-Ops is multispectral, while the Hyperpro is hyperspectral. Both measure above-water solar irradiance (E(sub s)), downwelling in-water irradiance (E(sub d)), and upwelling in-water radiance (L(sub u)). From these measurements remotely-sensed reflectance (R(sub rs))can be calculated and compared with satellite data. All instruments were calibrated shortly before use, and while differences are to be expected due to temporal changes and spectral weighting differences, these should be consistent and minimal. We explore these differences, and compare to data retrieved from the NASA Moderate Resolution Imaging Spectroradiometer onboard Aqua (MODIS Aqua) when available. We also examine data collection and processing protocols for these systems

The polaroid image as photo-object

This article is part of a larger project on the cultural history of Polaroid photography and draws on research done at the Polaroid Corporate archive at Harvard and at the Polaroid company itself. It identifies two cultural practices engendered by Polaroid photography, which, at the point of its extinction, has briefly flared into visibility again. It argues that these practices are mistaken as novel but are in fact rediscoveries of practices that stretch back as many as five decades. The first section identifies Polaroid image-making as a photographic equivalent of what Tom Gunning calls the ‘cinema of attractions’. That is, the emphasis in its use is on the display of photographic technologies rather than the resultant image. Equally, the common practice, in both fine art and vernacular circles, of making composite pictures with Polaroid prints, draws attention from image content and redirects it to the photo as object

The Theory of the Copy: Henry Fox Talbot and The Pencil of Nature

This paper explores how Henry Fox Talbot's enigmatic mid-nineteenth-century "book" The Pencil of Nature staged a key moment in media history. By working through some of the key themes that framed Talbot's concep­tion of the copying process, it is possible to examine a vital moment in the historical drama of mechanical reproduction. In this paper I argue that, de­parting from Walter Benjamin's formulation of the copy, Talbot's emotional investment in the copying process effectively imbricates the modern image in an affective field of historical memory, securing the meaning of the copy for futurity. The Pencil of Nature demonstrates in its relation to images, and to the copying process, a particular mode of collecting, constructing, cultivating, and transferring meaning. Reading The Pencil of Nature as a manifestation of lyrical, etymological, and antiquarian modes of nine­teenth-century thought, this essay negotiates how Talbot nostalgically and sentimentally positions the reproducible modern image, prefiguring image production systems in modernity and postmodernity