Relevant bibliographies by topics / Camera obscura

Academic literature on the topic 'Camera obscura'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Journal articles on the topic "Camera obscura":

1

Owen, Ursula. "Camera obscura." Index on Censorship 28, no. 6 (November 1999): 5–7. http://dx.doi.org/10.1177/030642209902800601.

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Fox, William. "Camera Obscura." Boom 3, no. 3 (2013): 38–49. http://dx.doi.org/10.1525/boom.2013.3.3.38.

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This article explores the work of several photographers, including Ansel Adams, Michael Light, Robert Dawson, Lauren Bon, and David Maisel, who have turned their lens to capture the landscape of the area through which the Los Angeles Aqueduct flows. By exploring ecological issues surrounding the surface mining of the Owens Valley, the original source of the aqueduct, the article emphasizes the material and metaphorical resonances between the aqueduct and the practice of photography.
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RYAN, KAY. "CAMERA OBSCURA." Yale Review 95, no. 1 (January 2007): 11. http://dx.doi.org/10.1111/j.1467-9736.2007.00257.x.

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Greitz, Torgny. "Camera Obscura." Rivista di Neuroradiologia 4, no. 3 (October 1991): 347. http://dx.doi.org/10.1177/197140099100400313.

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Gevaux, David. "Camera insecta obscura." Nature Physics 9, no. 6 (June 2013): 320. http://dx.doi.org/10.1038/nphys2659.

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Ellis, A. "Theatre: Camera Obscura." BMJ 324, no. 7348 (May 25, 2002): 1283. http://dx.doi.org/10.1136/bmj.324.7348.1283.

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Grabar, Alexander, Pierre Mathey, Roman Iegorov, and Gregory Gadret. "Photorefractive “camera obscura”." Optics Communications 284, no. 22 (October 2011): 5361–63. http://dx.doi.org/10.1016/j.optcom.2011.07.048.

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Sánchez, María Jesús, Julia Gil, and José Manuel Vaquero. "Design of a Compact Camera Obscura." Physics Teacher 60, no. 4 (April 2022): 282–83. http://dx.doi.org/10.1119/5.0029800.

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The camera obscura is a well-known optical device in the form of a closed box with a hole in one of its walls through which light rays pass, forming an inverted image of the external objects on the opposite wall, as can be seen in Fig. 1(a). Despite the simplicity of its basic design, they have been widely used by scientists and artists. In particular, dark cameras have been used throughout history to measure Earth-Sun distance. To do this, ancient scientists used cameras of enormous dimensions to accurately measure the variations in the apparent diameter of the Sun that depend on the Earth-Sun distance. This is because the farther the light travels inside the camera, the larger the projected image will be [Fig. 1(b)]. In this work, the construction of a compact dark camera for educational purposes is presented so that, having reduced dimensions, it allows the images to be very large.
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Roy, Lucinda. "Camera Obscura, and: Stealth." Prairie Schooner 85, no. 3 (2011): 138–41. http://dx.doi.org/10.1353/psg.2011.0103.

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Haralambidou, Penelope. "C for CAMERA OBSCURA (REVERSED)." Public 28, no. 56 (October 1, 2017): 22–31. http://dx.doi.org/10.1386/public.28.56.22_1.

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Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Camera obscura":

1

Bubb, Martine. "La camera obscura : philosophie d'un appareil." Paris 8, 2008. http://www.theses.fr/2008PA082968.

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Ma thèse porte sur la "camera obscura" en tant qu'appareil, un appareil se différenciant d'un simple dispositif par son caractère technique et poïétique. Dans cette optique, il importe moins de se pencher sur la "camera obscura" en tant qu'outil pour savants ou artistes, que de réfléchir à la façon dont elle dépasse largement ce rôle, en structurant la pensée et la pratique. On pourra alors la considérer comme un appareil à part entière, au même titre que le musée, la photographie, le cinéma ou la perspective. Il faudra le démontrer en insistant plus particulièrement sur le rapport perspective / "camera obscura". Cette dernière, selon moi, est paradigmatique d'une nouvelle vision qui apparaît dans l'art hollandais du XVIIème siècle puis dans la peinture romantique allemande du XIXème. Si elle a été utilisée dès le Moyen-Age par les astronomes arabes, la "camera obscura" ne devient un appareil qu'au XVIIème, car elle génère alors de l'art, des significations, de la pensée. . . En particulier avec Kepler et Vermeer. Mais l'art hollandais a été longtemps ignoré ou étudié selon les critères de l'art italien, qui privilégie le dessin. C'est pourquoi il serait temps de faire sortir de l'ombre cette "oubliée de l'histoire" qu'est la "camera obscura" et avec elle, la couleur, la lumière, l'imaginaire. Quel est le "monde" de la "camera obscura", comment pose-t-elle le problème de l'articulation entre réel et représentation ? Quelle pensée et quel sujet génère-t-elle, quels concepts implique-t-elle ? Nous avons tenté de déterminer la spatialité et la temporalité de cette entité technique et poiétique, et plus généralement de comprendre sa philosophie
My thesis is about the "camera obscura" as an apparatus; an apparatus which differentiates between a simple device through its technical and symbolic characteristics. From this point of view, it is less likely to treat the "camera obscura" as a tool for scientists or artists, but to focus more, on the way it goes widely beyond this function through structuring thought and practice. It is possible therefore, to consider this apparatus as a full entity, in the same light as the museum, cinema, photography or perspective. It must be broken down, insisting particularly on the ratio between perspective and "camera obscura". In my opinion, the latter is paradigmatic of a new vision, such as that which appears in XVIIth century Dutch art and XIXth century German romantic paintings. If it had been used during the Middle Ages by the Arab astronomers, the "camera obscura" did not become an apparatus until the XVIIth century, because only then does it generate art, meaning and thought, notably with Kepler and Vermeer. However, Dutch art had long been ignored or studied within the Italian art criteria which concentrated more on drawings. That is why it would be time to take out this "neglected part of history" from the shadows, i. E. The "camera obscura"; and with it, colour, light and imagination. What is this world of the camera obscura ? How does it deal with the articulation between what is real and what is considered as a representation? What thoughts and which themes does it generate; what concepts does it imply? We have attempted to determine the spatiality and temporality time-frame of this technical and symbolic entity and moreover, its own philosophy
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Rekhari, Suneeti School of Sociology &amp Anthropology UNSW. "Camera obscura: representations of indigenous identity within Australian cinema." Awarded by:University of New South Wales. School of Sociology and Anthropology, 2006. http://handle.unsw.edu.au/1959.4/25765.

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Karen Jennings (1993) and Peter Krausz (2003) in their works, written ten years apart, note the changing ways in which the academic world and the media have dealt with representations of Indigenous identity. It was hoped that the latter work would have been discussing the way in which things have already changed. The fact that it does not, initiates the questions addressed in this thesis: whether Australian cinema explores Indigenous issues in sufficient depth and with cultural resonance. Can a study of cinematic representations lead to a better understanding of Aboriginal identity? In representing Aboriginality on screen does the cinema present a representational complex for Indigenous Australia, which is constructed on their behalf by the cinema itself? In this thesis these questions are theoretically framed within a semiotic methodology, which is applied to the examination of the complexities of representation. This is done through an analysis of the connotations and stereotyping of Indigenous identity in filmic narratives; and the operation of narrative closure and myth making systems through historical time periods; and dualisms in the filmic narratives such as primitive/civilised, us/them, self/other; and the presence of Aboriginality as an absent signifier. The four films chosen for comparative analysis are Jedda, Night Cries, Walkabout and Rabbit Proof Fence. These films span a period of fifty years, which allows for an explication of the changes that have occurred over the passing of time in their visual representations of Aboriginal identity. Hence social and cultural filmic identity representations are juxtaposed with the historical and political discourses prevalent at the time of their production. Through such a detailed analysis of the four film texts, the dominant social discourses of Australia are analysed in relation to their operation as representational frameworks for Indigenous Australians.
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Storey, Jacqueline Anne. "The camera obscura and the pursuit of the uncanny." Thesis, University of Gloucestershire, 2005. http://eprints.glos.ac.uk/3142/.

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This practice based research seeks to explore and extend the potential of camera obscura projections to perceptually transform objects and spaces by using their unique visual qualities. These pertain to immediacy and directness. Although apparently tangible, the projected images appear to reside in a void where there is an absence of surrounding visual reference. This causes the images to appear disconnected from any context, thereby prompting associations with Freud's notions of the uncanny and Proust's narrative of the transitional. The research consists of a sequence of practice based studies. These commenced with an exploration into the perceptual ambiguities of reflection and shadow. Perceptual ambiguity was further explored through the distorting effects of curved pinhole cameras. The latter began to suggest using the camera itself as an object within which something could be viewed. With the incorporation of focusing lenses, this led to projections where the observer was situated within the camera obscura. Throughout the research, the objects projected were always ordinary and familiar, commencing with a light bulb. The addition of lighting sequences thus enabled further exploration of various phases of ambiguity, as well as enhanced definition and recognition of the projected image. This was followed by projections of other objects, which sought to place them in a particular visual context; for example a mug projected into' an actual microwave located within a kitchen. Although this produced surreal connotations, the surrounding visual material diluted the impact of the projected image. A decision was therefore made to concentrate entirely on the presentation of the projected images by refining projection techniques to enhance their quality and definition. The introduction of movement subsequently heightened perceptual ambiguity, as did the addition of the multiplication of images. This led to a rich variety of projected imagery which ranged from the perceptible to the imperceptible, involving synchronicity, transparency, juxtaposition, transposition from line to plane, and contrast between stasis and movement. The increasingly extraordinary images prompted a reevaluation of the observer's visual assumptions. These practical investigations, together with historical, literary, and philosophical issues, combine to extend the possibilities of the camera obscura in terms of contemporary artistic practice.
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Naude, Irene. "The Ontology of Photography Visually Analysed through the Camera Obscura." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/58764.

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This practice-led visual research is on the ontology of photography. Owing to the pervasive use of photography to inform, and conform to, contemporary visual culture, an alternative approach to (and understanding of) the medium seems viable. This study visually examines the following aspects of photography in contemporary society: Is it possible to create an alternative approach in the ontological understanding of photography? Will the use of visual works to identify these alternative approaches using the concepts of heterotopia, intersubjectivity, liminality and khôra be able to justify this alternative approach? How applicable are these concepts to the ontology of photography? The camera obscura is used as a primary medium to visually analyse the ontology of the medium. The research is conducted at three different locations: termite mounds, Robben Island prison cells, and a vulture feeding station. The concepts of heterotopia, intersubjectivity, liminality and khôra are used as lenses through which these works are interpreted. They present an alternative approach to the understanding of the darkened space inside the camera as well as the space of the photographic image.
Thesis (DPhil)--University of Pretoria, 2017.
Visual Arts
DPhil
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5

Hammond, Mary Sayer. "The camera obscura : a chapter in the pre-history of photography /." Ann Arbor : University microfilms international, 1987. http://catalogue.bnf.fr/ark:/12148/cb370317960.

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Hammond, Mary Sayer. "The camera obscura : a chapter in the pre-history of photography /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487322984314364.

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Norris, Davon N. "A Camera Obscura? Understanding How Credit Rating Agencies See City Government." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531830251553098.

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King, Taryn. "Through the Camera Obscura : exploring the voyeuristic gaze through Grahamstown's architecture." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018937.

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My study explores the politics of viewing and the gaze. I argue that the gaze both arrests and objectifies the body, which in turn transforms subjects into objects therefore regulating social behaviour. The basic notion of the gaze will be explored throughout this thesis and thereby contextualizes my sculptures, which are casts of my naked body. My particular concern lies in how the ideas of surveillance have had an influence on architecture and buildings in Grahamstown. Throughout this mini thesis, I will explore a number of architectural spaces of Grahamstown such as the Provost prison, Fort Selwyn and the Camera Obscura which I argue were all designed based on the ideas of surveillance. The entanglement of Grahamstown architecture and the female form as a subject of voyeurism forms an important part of this thesis, as the context of Grahamstown architecture is centered on visibility, which in turn subjects people to a form of discipline. The Provost Prison, the Camera Obscura and the forts of Grahamstown are all good examples of this. Outside of this, the female body is also subjected to the gaze, which in turn suggests that the female body is also under surveillance and as a result also becomes disciplined. My installation is a response to Antony Gormley’s Event Horizon, in which he placed 33 steel and fibreglass casts of his own naked body at an elevated level on buildings around Manhattan and Brazil. In this discussion I have contextualized my work with reference to the ideas of different theorists. The three main theorists I have cited are Michel Foucault, Jonathan Crary and Laura Mulvey. Foucault is specifically cited due to his discussion on Panoptic power, surveillance and docile bodies. Crary makes a number of important points with regards to the ideological operations of the Camera Obscura as well as its history while Laura Mulvey’s writings form the basis of the voyeuristic gaze from the perspective of a feminist.
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Walker, Ulrike Hainle. "Performing the self in camera, Charlotte Brontë, the camera obscura and the protocols of female self-enactment." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq24765.pdf.

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Helfenstein, Denise Valéria. "A captura da paisagem : entre apreensões fotográficas por camera obscura e registros sonoros." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/26087.

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A presente pesquisa, intitulada A Captura da Paisagem: entre apreensões fotográficas por câmera obscura e registros sonoros, analisa os procedimentos de instauração do trabalho A Captura da Paisagem, abarcando as questões que emergem das práticas com câmeras obscuras fotográficas. Neste contexto, são investigadas as relações conceituais e teóricas envolvidas nas ações de apreensão e registro espaço-temporal que ocorrem nesta produção, que envolvem longas durações nas obtenções fotográficas, bem como a simultânea gravação de registros sonoros. Além disto, a pesquisa trata das questões imbricadas nas possibilidades de junção de tais elementos dentro das proposições de apresentação do trabalho.
The present research, entitled Capture of the landscape: between photographic apprehensions through camera obscura and sonorous records, analyzes the procedures for the instauration of the work Capture of the Landscape, including questions emerging from the practice with camera obscura photography. In this context, the conceptual and theoretical relationships involved in the actions of time-space apprehension and recording that occur in this production are investigated. They involve photographic attainments of long duration as well as the simultaneous recording of sonorous registries. In addition, this research deals with the questions involved in the possibilities of junction of such elements within the presentation propositions of this work.
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Books on the topic "Camera obscura":

1

Knuchel, Hans. Camera Obscura. Baden, Switzerland: Lars Muller Verlag, 1992.

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Knuchel, Hans. Camera obscura. Baden: Verlag Lars Müller, 1992.

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Hildebrand. Camera obscura. Amsterdam: Athenaeum-Polak & Van Gennep, 1998.

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Kahle, Birgit. Camera obscura. Köln: Salon Verlag, 1997.

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Milašinović, Goran. Camera obscura. 2nd ed. Beograd: Stubovi kulture, 2003.

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Morell, Abelardo. Camera obscura. New York: Bulfinch Press, 2004.

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Miller, Norbert. Camera obscura. Stuttgart: Mayer, 2000.

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Tidhar, Lavie. Camera obscura. Nottingham, UK: Angry Robot, 2011.

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Montenegro, Milton. Camera obscura. Rio de Janeiro, RJ, Brasil: F. Alves, 1999.

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Bednarz, Rebecca. Camera obscura. Las Cruces, N.M: Noemi Press, 2008.

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Book chapters on the topic "Camera obscura":

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Bürger, Wolfgang. "Camera obscura." In Der paradoxe Eierkocher, 169–73. Basel: Birkhäuser Basel, 1995. http://dx.doi.org/10.1007/978-3-0348-6002-4_20.

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van Besouw, Jip. "Camera Obscura." In Encyclopedia of Early Modern Philosophy and the Sciences, 1–2. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-20791-9_51-1.

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Hudson, Martyn. "Camera obscura." In Visualising the Empire of Capital, 20–37. Title: Visualising the empire of capital / Martyn Hudson. Description: Abingdon, Oxon; New York, NY : Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429243233-2.

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Schäfer, Wilfried. "Hildebrand: Camera obscura." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4427-1.

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Sehnbruch, Lucia. "Neuzeit: optische Camera obscura." In Eine Mediengeschichte des Bildschirms, 165–239. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-19170-2_4.

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Bailey, Lee W. "Skull’s Darkroom: The Camera Obscura and Subjectivity." In Philosophy of Technology, 63–79. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-2303-4_4.

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Lahiji, Nadir. "Political truth, ideology, and the camera obscura." In Architecture in the Age of Pornography, 127–44. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003195092-20.

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Verstegen, Ian. "Perspective, Space, and Camera Obscura in the Renaissance." In The Palgrave Handbook of Image Studies, 75–91. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71830-5_5.

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Feix-Pielot, H. J. "„Camera obscura“ (Versuch einer Videodokumentation über das Bezirkskrankenhaus Regensburg)." In Video in Psychiatrie und Psychotherapie, 172–74. Berlin, Heidelberg: Springer Berlin Heidelberg, 1989. http://dx.doi.org/10.1007/978-3-642-88647-8_16.

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Rauer, Constantin. "Kant’s Philosophy of Projection: The Camera Obscura of the Inaugural Dissertation." In Rethinking German Idealism, 21–50. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53514-6_2.

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Conference papers on the topic "Camera obscura":

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Cornejo-Rodríguez, A., S. Vázquez-Montiel, F. Granados-Agustín, D. Gale, R. Diamant, R. Espinasa-Perena, J. L. Cruz, and M. Fernández-Guasti. "Xochicalco: Tlayohualchieliztli or camera obscura." In International Commission for Optics (ICO 22), edited by Ramón Rodríguez-Vera and Rufino Díaz-Uribe. SPIE, 2011. http://dx.doi.org/10.1117/12.903281.

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Quek, Albert, and John See. "Obscura: A mobile game with camera based mechanics." In 2015 Game Physics and Mechanics International Conference (GAMEPEC). IEEE, 2015. http://dx.doi.org/10.1109/gamepec.2015.7331850.

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Pierce, James, and Eric Paulos. "Making Multiple Uses of the Obscura 1C Digital Camera." In CHI '15: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2702123.2702405.

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Anderson, Ross James. "All of Paris, Darkly: Le Corbusier’s Beistegui Apartment, 1929-1931." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.928.

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Abstract: This paper, All of Paris, Darkly, presents a focused study of Le Corbusier’s enigmatic Beistegui Apartment (1929- 1931) on the Champs-Elysée in Paris, with particular reference to the curious camera obscura periscope that was housed in a small lozenge-shaped pavilion on its rooftop. There are manifold reasons for the charisma of the apartment; from the flamboyant eccentricities of the client and his exchanges with the architect, to the exceptional location of apartment in the centre of Paris, to the apparent repudiation of some of Le Corbusier’s more strident proclamations on architecture and the city, to the historical conditions that have for all time occluded a definitive scholarly reading of the architectural production and subsequent inhabitation of the apartment. Grounded in an understanding of the primal visual phenomenon of the camera obscura, the paper advances an interpretation of the meaning of the periscope apparatus amidst the battery of unusual contrivances that animated the surrealist penthouse apartment. It further seeks to contribute to a greater understanding of some aspects of Le Corbusier’s thinking on architecture and the city. Keywords: Le Corbusier; Charles de Beistegui; camera obscura; uncanny; Surrealism. DOI: http://dx.doi.org/10.4995/LC2015.2015.928
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Chiang, Ching-Lang, Neeraj Khurana, Daniel T. Hurley, and Ken Teasdale. "Backside Emission Microscopy for Integrated Circuits on Heavily Doped Substrate." In ISTFA 1998. ASM International, 1998. http://dx.doi.org/10.31399/asm.cp.istfa1998p0447.

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Abstract Backside emission microscopy on heavily doped substrate materials was analyzed from the viewpoint of optical absorption by the substrate and sample preparation technique. Although it was widely believed that silicon is transparent to infrared (IR) radiation, we demonstrated by using published absorption data that silicon with doping levels above 5 x 1018cm-3 is virtually opaque, leaving only a narrow transmission window around the energy bandgap. Because the transmission depends exponentially on the thickness of die, thinning to below 100µm is shown to be required. Even an advanced IR sensor such as HgCdTe would find little light to detect without thinning the die. For imaging the circuit, an IR laser-based system produced poor images in which the diffraction patterns often ruined the contrast and obscured the image. Hence, a precise, controlled die thinning technique is required both for emission detection and backside imaging. A thinning and polishing technique was briefly described that was believed to be applicable to most ceramic packages. A software technique was employed to solve the image quality problem commonly encountered in backside imaging applications using traditional microscope light source and a scientific grade CCD camera. Finally, we showed the impact of die thickness on imaging circuits on a heavily doped n type substrate.
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Barilli, M., A. Bartoli, M. Dami, E. Flamini, R. Formaro, F. Grifoni, F. Longo, and C. Pompei. "An un-obscured four spherical mirrors based" collimator as a tradeoff solution for the Optical Ground Support Equipment (OGSE) of the High Resolution Camera (HRIC) of Simbio-Sys." In SPIE Astronomical Telescopes + Instrumentation, edited by Ian S. McLean, Suzanne K. Ramsay, and Hideki Takami. SPIE, 2012. http://dx.doi.org/10.1117/12.925954.

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Sahai, Vivek, and Dah-Yu Cheng. "New Airfoil Design to Extend Gas Turbine Compressor Surge Margin." In ASME Turbo Expo 2003, collocated with the 2003 International Joint Power Generation Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/gt2003-38209.

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In many industrial gas turbine compressor designs, the compressors later stage blade angles are reduced in a constant flow area section as a means to even out the per stage workload. Most compressors use NACA 65 series type airfoils, which are good for high subsonic and supersonic flow, but are poor for middle or low subsonic flows. The temperature increases as the compression ratio increases; which cause the Mach number to drop. With reduced blade cascade overlaps, a reduction in axial blade solidity results. The compounding effect of low solidity and a low Mach number can cut the stalling angle by several degrees. This recent study found that compressor stall more or less is linked to the change of moment coefficient Cm, rather than lift coefficient Cl. Designing the airfoil, by extending the constant moment coefficient to a higher angle of attack region can delay the trailing edge upper surface separation to a higher angle of attack, the main source of rotating stall. This separated flow exhibits itself more clearly on the moment coefficient, but is obscured by an increase in lift coefficient before “aerodynamic” stall. This new design is based on the second order derivative of the camber line, with a low drag symmetrical airfoil thickness. Numerical simulation of a single airfoil and cascade of the new airfoil is compared with other shapes. The results show that the trailing edge flow separation begins at a 9.5-degree angle of attack for the NACA 65 series airfoils. The NACA 0012 separation (i.e. change in Cm) starts at 5 degrees (total stall occurs at 11 degrees). The new airfoil CFS18-0010 exhibits no separation for a single airfoil of up to 12 degrees. The cascade results showed no flow separation up to an angle of 15 degrees, which is enough to eliminate most of the rotating stall.

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