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Relevant bibliographies by topics / Lantern projection

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Academic literature on the topic 'Lantern projection'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Lantern projection"

1

Christensen, A. Kent. "Preparation of 2″ X 2″ Projection Slides From EM And Other Negatives." Microscopy Today 2, no. 2 (March 1994): 6–7. http://dx.doi.org/10.1017/s1551929500062982.

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In the early days of biological electron microscopy (the 1950s and 1960s), projection slides of electron micrographs for talks or teaching were generally prepared as 3-1/2″ X 4″ lantern slides, which were shown using large lantern-slide projectors. It was felt by professional electron microscopists that the detail, tones, and general image quality of electron micrographs could be adequately portrayed only in this larger format.However the large lantern slides were very cumbersome, and most professionals began switching to 2″ X 2″ slides in the early 1970s. Some of us during that period put in

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STAUBERMANN, KLAUS B. "Making stars: projection culture in nineteenth-century German astronomy." British Journal for the History of Science 34, no. 4 (December 2001): 439–51. http://dx.doi.org/10.1017/s0007087401004472.

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The introduction into the laboratory of the magic lantern and the arts of projection marked a change from putatively individual and mechanical to obviously collective and skillful perception in nineteenth-century German sciences. In 1860 Karl Friedrich Zöllner introduced an astro-photometer to astronomers who, by practising with it, became aware of their own tacit and ubiquitous skills. Zöllner was a showman who was aware of the personal skills involved in magic-lantern projection. Like showmen, nineteenth-century astronomers could also control and calibrate their vision with this instrument.

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Klein, Susanne, and Paul Elter. "The Tartan Ribbon or Further Experiments of Maxwell’s Disappointment/Sutton’s Accident." Heritage 6, no. 2 (January 24, 2023): 968–78. http://dx.doi.org/10.3390/heritage6020054.

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On 17 May 1861, James Clerk Maxwell delivered a lecture at the Royal Society where he demonstrated, using a lantern slide projection, his theory for colour perception in the human eye via the additive colour process known today as RGB. Three images from three separate lantern slide projectors were projected onto a surface. The same colour filters with which the object had been photographed where then placed in front of each projection lens, carefully realigned, and what has been called “the first colour photograph” was supposed to have been created. It was a series of happy accidents, during c

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Egelmeers, Wouter. "The Example of Joan of Arc. How a Belgian Teacher Created a Lesson Illustrated by Means of Lantern Slides." TMG Journal for Media History 26, no. 1 (June 5, 2023): 1–18. http://dx.doi.org/10.18146/tmg.863.

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Due to a lack of sources documenting everyday teaching practices, historians engaging with the use of the optical lantern in education have traditionally focused on the top-down implementation of the medium. This contribution presents a rare case study of how the medium was actually used by focusing on a lesson on the saint Joan of Arc that was taught by means of the optical lantern at a Catholic school for girls. This analysis is enabled by the preservation of an exceptionally rich collection of lantern slides and related materials, including a notebook with the text that was probably used du

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Malt, Johanna. "The Blob and the Magic Lantern: On Subjectivity, Faciality and Projection." Paragraph 36, no. 3 (November 2013): 305–23. http://dx.doi.org/10.3366/para.2013.0096.

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Through an examination of Proust's ‘magic lantern’ scene from the opening of A la recherche du temps perdu, alongside the work of the contemporary installation artist Tony Oursler, this article takes projection as a means of exploring the relationship between subjectivity and embodiment. Reading them in conjunction with Deleuze and Guattari's concept of ‘faciality’, I argue that Oursler's installations, combining performance, sculpture and video art, explore the fate of the body subjected to signification and can be described as ‘tragedies of faciality’. At the same time, anchored as they are

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VERMEIR, KOEN. "The magic of the magic lantern (1660–1700): on analogical demonstration and the visualization of the invisible." British Journal for the History of Science 38, no. 2 (May 25, 2005): 127–59. http://dx.doi.org/10.1017/s0007087405006709.

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The history of the magic lantern provides a privileged case study with which to explore the histories of projection, demonstration, illusion and the occult, and their different intersections. I focus on the role of the magic lantern in the work of the Jesuit Athanasius Kircher and the French Cartesian Abbé de Vallemont. After explaining the various meanings of the seventeenth-century concept of illusio, I propose a new solution for the long-standing problem that Kircher added the ‘wrong’ illustrations to his description of the lantern. The complex interaction between text, image and performanc

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Nawata, Yūji. "Phantasmagoric Literatures from 1827 : Johann Wolfgang von Goethe, Sin Chaha, and Kyokutei Bakin¹." Jahrbuch für Internationale Germanistik 54, no. 1 (January 1, 2022): 145–66. http://dx.doi.org/10.3726/jig541_145.

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The magic lantern as a projection technique, which has existed in Europe since the 17th century (at the latest), and phantasmagoria as a large-scale magic lantern occupy a prominent place in the world history of visual culture. As they spread across the world, these technologies encountered written cultures and produced fantastic literature—phantasmagorical literature, so to speak. This article analyzes phantasmagorical literature written or published circa 1827 by Johann Wolfgang von Goethe (1749–1832) of Germany, (SIN Chaha, also called [SIN Wi], 1769–18452 of Korea, and (KYOKUTEI Bakin, 176

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Washitani, Hana. "Gentō." Feminist Media Histories 2, no. 1 (January 1, 2016): 61–85. http://dx.doi.org/10.1525/fmh.2016.2.1.61.

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Japanese gentō (originally a translation of the English term “magic lantern”) is a still-image projection system that enlarges images on a transparent slide or film and projects them onto a large screen. Most studies argue that the magic lantern, stereopticon, or gentō thrived from the seventeenth to the nineteenth centuries and that their use declined in the early twentieth century with the arrival of the motion picture. This article examines the revival and redevelopment of gentō in mid-twentieth-century Japan, focusing on its use in 1950s social movements (including labor, social welfare, a

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Vogl-Bienek, Ludwig, and Yvonne Zimmermann. "Paul Hoffmann (1829-1888), « Screen Practitioner and Media-Entrepreneur ». Formation and Practices of a 19 th Century Travelling Lantern Lecturer." Le Temps des médias 41, no. 2 (October 20, 2023): 36–53. http://dx.doi.org/10.3917/tdm.041.0036.

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Cet article met en lumière les domaines professionnels très différenciés de l’art - et du commerce - de projection au milieu et à la fin du xix e siècle, en prenant pour exemple l’entrepreneur de médias Paul Hoffmann. Hoffmann utilisait la technique de projection la plus moderne pour illustrer des conférences populaires sur des sujets scientifiques. Ses “Grands Spectacles” contribuaient de manière fondamentale à l’établissement de l’écran dans les grands théâtres et les salles de spectacles.

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Da Rocha Gonçalves, Dulce. "The Nutslezing and the lantern: Public lectures with image projection organized by the Maatschappij tot Nut van 't Algemeen in the first decades of the 20th century." TMG Journal for Media History 26, no. 1 (June 5, 2023): 1–29. http://dx.doi.org/10.18146/tmg.828.

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Public lectures were a typical social event to nineteenth and twentieth century audiences in the Netherlands. Among these, the so-called Nutslezingen were particularly well-known, eliciting praise, criticism, and mockery. The wide use of term Nutslezing is confirmed by its inclusion in the Van Dale dictionary with defines it as “lecture for a department of ‘t Nut.” The Maatschappij tot Nut van ’t Algemeen, Society for the Common Benefit, was established in the Netherlands in 1784, and the Nutslezingen were one of their earliest and certainly the most recognizable of their activities. In 1900,

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Dissertations / Theses on the topic "Lantern projection"

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Hartrick, Elizabeth. "Consuming illusions : the magic lantern in Australia and Aotearoa/New Zealand 1850-1910 /." Connect to thesis, 2003. http://eprints.unimelb.edu.au/archive/00002203.

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Duarte, Fernanda Carolina Armando 1980. "A aplicação dos efeitos visuais em tempo real na construção narrativa de espetáculos com projeção /." São Paulo, 2017. http://hdl.handle.net/11449/153969.

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Orientador(a): Rosangella da Silva Leote<br>Banca: Josette Maria Alves de Souza Monzani<br>Banca: Marcus Vinicius Fainer Bastos<br>Banca: Agnaldo Valente Germano da Silva<br>Banca: Rita Luciana Berti Bredariolli<br>Resumo: Esta pesquisa investigou a aplicação dos efeitos visuais em tempo real na construção narrativa de espetáculos com projeção. Partindo de estudos para a construção de um dispositivo direcionado para a aplicação de efeitos visuais em tempo real, pretendíamos localizar como é possível fazer tal aplicação dentro de três modalidades diferentes de espetáculos, que se enquadram no e

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Hayes, Emily Jane Eleanor Rhydderch. "Geographical projections : lantern-slides and the making of geographical knowledge at the Royal Geographical Society c.1885-1924." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/23096.

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This thesis is about the mobilities of geographical knowledge in the material form of lantern-slides and the forces exerted on these by technological and human factors. Owing to its concern with matter, human- and non-human, and its circulation, the thesis addresses the physics of geographical knowledge. The chapters below investigate the Royal Geographical Society’s (RGS) ongoing tradition of telling stories of science and exploration through words, objects and pictures in the final quarter of the nineteenth century and as geography professionalized and geographical science developed. These p

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Ravel, Cécile. "Pour une archéologie de l'audio-visuel à travers une production personnelle : pour une poétique de la projection." Paris 1, 1993. http://www.theses.fr/1993PA010513.

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La recherche porte sur l'histoire des projections lumineuses de la fin du XVIIe à la première décennie du XXe, et se concentre sur le passage de l'image fixe à l'image animée. De 1892 (avec les pantomimes lumineuses d'Émile Reynaud) à 1910 (début de la normalisation de la projection cinématographique) se développent des formes de spectacles lumineux mélangeant projection cinématographique et projection au moyen de lanterne magique. La pratique des projections de cette époque se caractérise par des traits marquants qui constituent la base d'un travail plastique personnel et permettant de défini

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Trusz, Alice Dubina. "Entre lanternas mágicas e cinematógrafos : as origens do espetáculo cinematográfico em Porto Alegre (1861-1908)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/15547.

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Este estudo histórico sobre as origens do espetáculo cinematográfico em Porto Alegre investiga as práticas que caracterizaram a exploração comercial do cinematógrafo para fins de entretenimento desde a sua introdução na cidade em novembro de 1896 até a abertura das primeiras salas permanentes especializadas na exibição cinematográfica, em 1908, e que deram início ao processo de sedentarização da atividade exibidora. O cinema não surgiu como um gênero espetacular acabado e tampouco foi uma prática inédita enquanto espetáculo de projeções, mas esteve estreitamente vinculado à tradição dos espetá

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WU, Pei-Shan, and 吳佩珊. "Text Analysis of the Visual Images for Projection-mapping Show of Taipei Lantern Festival." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/00693383414354224433.

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碩士<br>國立臺灣師範大學<br>圖文傳播學系<br>101<br>Since 2005, projection-mapping has been used in Taipei Lantern Festival and variously turned Taipei City Hall into a huge "virtual lantern". By displaying physical and virtual main lanterns simultaneously, it not only highlighted the characteristic of Taipei Lantern Festival, but made a difference to other ceremonies in the last couple of years. However, despite large crowds attracted by the show, no studies have ever tried to put its content and meaning into a discussion academically. Purposes of this study is therefore threefold: (a) to report on trends in

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Books on the topic "Lantern projection"

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Rossell, Deac. Laterna Magica =: Magic lantern. Stuttgart: Füsslin, 2008.

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Jean-Jacques, Tatin-Gourier, ed. La lanterne magique: Pratiques et mise en écriture : actes. [Tours]: Université de Tours, U.F.R de lettres, 1997.

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Campagnoni, Donata Pesenti, and Laurent Mannoni. Lanterna magica e film dipinto: 400 anni di cinema. Torino: La Venaria Reale, 2010.

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4

Shin'ichi, Tsuchiya, and Miyuki Endō. Gentō suraido no hakubutsushi: Purojekushon, media no kōkogaku. Tōkyō: Seikyūsha, 2015.

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5

Richard, Crangle, Herbert Stephen, Robinson David 1930-, and Magic Lantern Society of Great Britain., eds. Encyclopaedia of the magic lantern. London: Magic Lantern Society, 2001.

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6

Dennis, Crompton, Franklin Richard, Herbert Stephen, and Magic Lantern Society of Great Britain., eds. Servants of light: The book of the lantern. Kirkby Malzeard: Magic Lantern Society, 1997.

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7

Minici, Carlo Alberto Zotti. Dispositivi ottici alle origini del cinema: Immaginario scientifico e spettacolo nel XVII e XVIII secolo. Bologna: CLUEB, 1998.

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8

Men, Ségolène Le. Lanternes magiques: Tableaux transparents : 18 septembre 1995 - 7 janvier 1996, Musée d'Orsay. Paris: Réunion des musées nationaux, 1995.

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9

Harald, Hansen. Optisches Spielzeug und Laterna magicas: Ausstellung im Städtischen Museum Schloss Rheydt, Mönchengladbach vom 25. November 1990 bis 3. April 1991. Mönchengladbach: Das Museum, 1990.

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10

Perriault, Jacques. Dialogues autour d'une lanterne: Une brève histoire de la projection animée. Paris: L'Harmattan, 2013.

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Book chapters on the topic "Lantern projection"

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Teughels, Nelleke. "Teachers’ Agency and the Introduction of New Materialities of Schooling: the Projection Lantern and Classroom Transformations in Antwerp Municipal Schools, c. 1900–1940." In Learning with Light and Shadows, 145–67. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.techne-mph-eb.5.131498.

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Edgcumbe, Philip, Philip Pratt, Guang-Zhong Yang, Chris Nguan, and Rob Rohling. "Pico Lantern: A Pick-up Projector for Augmented Reality in Laparoscopic Surgery." In Medical Image Computing and Computer-Assisted Intervention – MICCAI 2014, 432–39. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10404-1_54.

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Casid, Jill H. "Empire through the Magic Lantern." In Scenes of Projection, 89–124. University of Minnesota Press, 2015. http://dx.doi.org/10.5749/minnesota/9780816646692.003.0003.

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"Part I. Magic Lantern (Projection)." In Three Metaphors for Life, 28–73. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618115744-003.

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Crangle, Richard. "Six (or Seven) Ways of Looking at a Lantern Slide." In Practices of Projection, 87–103. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190934118.003.0006.

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This chapter offers a consideration of the magic lantern slide from a series of viewpoints giving overlapping ways of thinking about what it is as an artefact, how it works as a component of a narrative and performance medium, and its significances in historical and contemporary contexts of creative use. With illustrations from the Lucerna web resource, institutional and private collections, and the work of the Million Pictures research project, the chapter considers the physicality of slides as objects; their relative cultural (and financial) valuations; their various roles and motivations in the transference and concealment of knowledge; their relationships with other portions of the projection process; and some parallels between historic usage of slides and modern media practices, especially in the complex mixture of ‘authority’ and ‘freedom’ that determines their use and interpretation. Conventional approaches to what is sometimes called the ‘historical art of projection’ can be prone to dwell on one or two of these aspects, often with an emphasis on the visual content of the slide image or the physical nature of the artefact. However, to begin to understand the overall cultural impact of this largely lost medium we need to open out the discussion beyond its component parts and consider its possible uses, both historical and current. This chapter therefore aims to describe lantern slide projection as an interactive, ephemeral performance medium, elusive and difficult to categorize, but rich in its creative possibilities.

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Williams, Keith. "‘I Bar the Magic Lantern’: Dubliners and Pre-Filmic Cinematicity." In James Joyce and Cinematicity, 35–105. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474402484.003.0002.

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Demonstrates the importance of the magic lantern to Joyce’s ‘media-cultural imaginary’ and the cinematicity of his techniques and themes. The lantern provided a major cultural and technological context giving birth to film. Despite appearing to ‘bar’ its influence, Dubliners alludes widely to lantern motifs, genres and techniques, explaining how Joyce’s innovations appear modernistically cinematic before film developed equivalent techniques. Chapter 1 demonstrates the fundamental part lanternism played in Joyce’s ekphrastic method: in projection effects and multi-layered intrusions of images from one context into another, but also in ‘dissolving views’ transitioning in space, time and consciousness. Lanternism sheds light on Joyce’s use of ‘flashback’ form several years before film editing, because it represented ‘multi-spatiotemporality’ by superimposing or inserting images visualising thoughts or fantasies, presenting dynamic narrative transformations in photographic ‘life-model’ sets, the predecessors of film features but also a parallel influence on Joyce. The lantern also had a reputation as a ‘technology of the uncanny’, Joyce evoking its ‘phantasmagoria’ for the uncanny vision climaxing Dubliners, a verbal ‘dissolve’, in which a moving ghost world replaces mundane reality. Thus Dubliners’ cinematicity references film’s inheritance from lanternism and anticipates its narrative futures.

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Gunning, Tom. "The Invention of Cinema." In The Oxford Handbook of Silent Cinema, 17–37. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190496692.013.20.

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Abstract The cinema apparatus includes the system of presentation (projector, screen, auditorium, as well as spectator) and the various devices for producing films (camera, printer). This apparatus depends on the moving image, achieved by a succession of rapidly appearing single images and a shutter mechanism, interacting with the viewer’s perceptual capabilities. The presentation derives especially from the magic lantern. Cinema has been linked with the process of photography, especially chronophotography, which fixed a series of images of movement in a succession of rapid exposures. However, moving images were also produced through drawings. The creation of a modern cinema depended as well on a flexible band for a series of images; celluloid fulfilled this need although other bases were sometimes employed. Initial devices tended to be single-viewer peepshows, while larger cinema audiences depended on projection. The claims for inventors are multiple, including Muybridge, Marey, Reynaud, Edison, Dickson, Lumière, and others.

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"Rilke’s Magic Lantern: Figural Language and the Projection of “Interior Action” in the Rodin Lecture." In Interiors and Interiority, 313–46. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110340457-019.

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Astafieva, Elena, and Eileen Kane. "Manufacturing Russian Attachments to Palestine (1894–1903)." In Russian-Arab Worlds, 82—C8P57. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197605769.003.0009.

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Abstract This chapter, like the ones before and after it, explores how Russia established the trans-imperial Imperial Orthodox Palestine Society, with institutions connecting villages and towns across the tsarist empire to the Ottoman Holy Land. The chapter shows that Russian Orthodox Christians’ spiritual bond with Jerusalem, and their mass pilgrimages to the Holy Land by the late nineteenth century, did not result from spontaneous religious feelings; rather, trained Church and lay leaders systematically cultivated these ties through a massive outreach program under the auspices of the IPPO. To raise funds and inspire pilgrimages to the Holy Land, the IPPO convened “reading sessions” intended for illiterate peasants in remote Russian villages, using the popular late nineteenth-century technology of magic lantern projection shows. This chapter includes the “Rules” for conducting such readings, a list of printed pictures, vistas and other propaganda material, and one sample of a pilgrim narrative written for these readings.

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Roberts, Phillip. "Light and Darkness: The Magic Lantern at the Dawn of Media." In Remediating the 1820s, 88–108. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474493277.003.0007.

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The magic lantern had been a tool for poor travelling entertainers. This little projector raised ghosts and grotesques, told stories of hardships and imagined new worlds. A lanternist could make the powerful ridiculous and demand that divine punishment intercede to restore natural justice. The lantern once spoke back to power, but all of this changed in 1821, when a Birmingham instrument maker called Philip Carpenter floated the little machine onto the emerging currents of consumer capital. His Improved Phantasmagoria Lantern utterly transformed the medium. The lantern became a safe educational tool, a must-have consumer novelty in middle-class households. The old lanternists found themselves going out of business as their audience refused to pay for a toy they now had at home. Along with a host of other new media technologies, including the Kaleidoscope, Myriorama, Thaumatrope, Praxinoscope, Stereoscope, Heliograph, Daguerreotype and Calotype, the Improved Phantasmagoria Lantern laid the foundations for the media networks of the later nineteenth century. Carpenter’s flash of business insight made a new world; but it also killed the older media practices that preceded it.

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Conference papers on the topic "Lantern projection"

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Dunham, Laura. "“The Moral of these Pictures:” New Zealand’s Early Urban Reform Movements in Lantern Lectures." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5018pv8ke.

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One of the threads linking together the early twentieth-century urban reform movements of city beautifying, garden city/suburb and town planning is the use of lantern slides and their ubiquitous projection device, the magic lantern. Along with newspapers, pamphlets and posters, lantern slides were an essential tool across each of these movements, presenting and framing the objectives promoted by their enthusiastic leaders and enabling the broad dissemination of their ideas via images projected to audiences in public lectures. Yet our understanding of how lantern media operated in these context

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Hursty, Mark, and Victoria Bradbury. "A Magic Lantern Data Projector." In Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.72.

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