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Journal articles on the topic 'Lantern projection'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Jeng, Tzer-Ming, Sheng-Chung Tzeng, Chi-Huang Liu, Dong-Jhen Lin, and Bo-Jun Yang. "Design and Manufacture of an Energy-saving LED Lantern with Paper-cut Figure Projection Function." Smart Science 2, no. 1 (January 2014): 13–19. http://dx.doi.org/10.1080/23080477.2014.11665598.

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12

EDYVEAN, R. G. J. "Henry Clifton Sorby (1826–1908): studies in marine biology—the algal lantern slides." Archives of Natural History 15, no. 1 (February 1988): 35–44. http://dx.doi.org/10.3366/anh.1988.15.1.35.

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Henry Clifton Sorby formed his marine zoological and algal collection not only for private study but also as a means of displaying material to large audiences. It is unique in that Sorby devised and perfected a technique to mount and preserve the specimens as projection ("lantern") slides. The algal herbarium described in detail in this paper forms part of a much larger collection of marine animals preserved in the same way. The specimens are held between two pieces of glass 8.3 cm square and are preserved in such a way as to be translucent yet retaining remarkable colour. The technique involv

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13

Rossell, Deac. "Learning with Light and Shadows: Educational Lantern and Film Projection, 1860–1990 ed. by Nelleke Teughels and Kaat Wils (review)." Technology and Culture 65, no. 3 (July 2024): 1039–40. http://dx.doi.org/10.1353/tech.2024.a933126.

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14

Marsh, Joss. "Mervyn Heard. Phantasmagoria: The Secret Life of the Magic Lantern. Hastings: The Projection Box, 2006. ISBN: 978-1903000120. Price: US$75.00." Romanticism and Victorianism on the Net:, no. 49 (2008): 0. http://dx.doi.org/10.7202/017867ar.

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15

Williams, Keith. "The Cyclopean Eye: Charity Bazaars, Cinematicity, and Defamiliarized Vision in Ulysses." James Joyce Quarterly 60, no. 1 (September 2022): 75–95. http://dx.doi.org/10.1353/jjq.2022.a906678.

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Abstract: Dublin's themed charity bazaars of the 1890s were a significant influence on Joyce, most obviously as a source of "Araby"'s negative epiphany but more pervasively by showcasing visual science and technology and preparing the ground for cinema. This essay explores some key impacts on Ulysses . "Cyclopia" (1896) was the most scientific and technological. Joyce had a personal stake in its theme given his eyesight problems but also precocious fascination with optics and "cinematicity." "Cyclopia" punned on the objective of producing "one eye hospital" for Dublin through merging instituti

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16

Stephenson, David. "Optics and Cosmology: from Euclid to Freud." Culture and Cosmos 26, no. 01 (June 2022): 95–108. http://dx.doi.org/10.46472/cc.0126.0209.

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This paper explores how the scientific materialist worldview, where any inexplicable phenomenon is regarded as an artefact of incomplete understanding or error, arose from earlier models of the cosmos. In these earlier cosmologies, the mysterious remained an important component and the role of light was a key factor in expressing an ordered hierarchical ontology. Demonstrating the role of optics in the development and evolution of our understanding of the cosmos, the conception of light in the writings of Euclid, Plato and Ficino is surveyed. It is postulated that light starts off as an aspect

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17

Palmer, Sally B. "Projecting the Gaze: The Magic Lantern, Cultural Discipline, and Villette." Victorian Review 32, no. 1 (2006): 18–40. http://dx.doi.org/10.1353/vcr.2006.0004.

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18

De Weerdt, Anse. "Imperial projections: The Royal Geographical Society of Antwerp and the magic lantern." Journal of Historical Geography 86 (December 2024): 95–106. http://dx.doi.org/10.1016/j.jhg.2024.07.006.

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19

Gaudreault, André, and Philippe Marion. "Pour une nouvelle approche de la périodisation en histoire du cinéma 1." Hors dossier 17, no. 2-3 (November 16, 2007): 215–32. http://dx.doi.org/10.7202/016756ar.

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Résumé La périodisation est essentielle pour permettre à l’historien de structurer son appréhension du passé et possède une finalité relativement pédagogique. Tout exercice de périodisation est cependant un discours sur l’histoire et procède d’un croisement entre présent (celui du sujet historien) et passé (celui de l’objet historique). Un croisement qui relèverait d’ailleurs davantage du sujet percevant et de son contexte que de l’objet temporel supposément perçu. La périodisation serait ainsi fondamentalement un exercice proprement constructiviste. Premier exemple de périodisation, pour l’hi

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20

Alemany Sánchez Moscoso, Vicente. "De la linterna mágica a las videoinstalaciones. Relevancia de las pantallas de proyección en las obras de Bill Viola, David Hockney y Tim Walker = From the magic lantern to video installations. Relevance of projection screens in the Works of Bill Viola, David Hockney and Tim Walker." Ardin. Arte, Diseño e Ingeniería, no. 10 (March 26, 2021): 45. http://dx.doi.org/10.20868/ardin.2021.10.4532.

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21

Foutch, Ellery E. "Moving Pictures: Magic Lanterns, Portable Projection, and Urban Advertising in the Nineteenth Century." Modernism/modernity 23, no. 4 (2016): 733–69. http://dx.doi.org/10.1353/mod.2016.0072.

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22

Dunham, Laura. "Projecting Memory: Lantern Lectures and Performing New Zealand’s First World War Battlefield Memorials." Journal of Australian Studies 44, no. 4 (October 1, 2020): 492–514. http://dx.doi.org/10.1080/14443058.2020.1839533.

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23

Wiśniewski, Jarosław A. "On Topological Properties of Some Coverings. An Addendum to a Paper of Lanteri and Struppa." Canadian Journal of Mathematics 44, no. 1 (February 1, 1992): 206–14. http://dx.doi.org/10.4153/cjm-1992-013-8.

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AbstractLet π: X′ → X be a finite surjective morphism of complex projective manifolds which can be factored by an embedding of X′ into the total space of an ample line bundle 𝓛 over X. A theorem of Lazarsfeld asserts that Betti numbers of X and X′ are equal except, possibly, the middle ones. In the present paper it is proved that the middle numbers are actually non-equal if either 𝓛 is spanned and deg π ≥ dim X, or if X is either a hyperquadric or a projective space and π is not a double cover of an odd-dimensional projective space by a hyperquadric.

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24

Kessler, Frank, and Sabine Lenk. "Projecting Faith: French and Belgian Catholics and the Magic Lantern Before the First World War." Material Religion 16, no. 1 (January 1, 2020): 61–83. http://dx.doi.org/10.1080/17432200.2019.1696560.

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25

Edgcumbe, Philip, Philip Pratt, Guang-Zhong Yang, Christopher Nguan, and Robert Rohling. "Pico Lantern: Surface reconstruction and augmented reality in laparoscopic surgery using a pick-up laser projector." Medical Image Analysis 25, no. 1 (October 2015): 95–102. http://dx.doi.org/10.1016/j.media.2015.04.008.

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26

Bernatowicz, Tadeusz. "Jan Reisner w Akademii św. Łukasza. Artysta a polityka króla Jana III i papieża Innocentego XI." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 159–91. http://dx.doi.org/10.18290/rh20684-10s.

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Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this pr

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27

Santos, Ângela, Beatriz Rodrigues, Vanessa Otero, and Márcia Vilarigues. "Defining the first preventive conservation guidelines for hand-painted magic lantern glass slides." Conservar Património, January 25, 2021. http://dx.doi.org/10.14568/cp2020033.

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This article intends to define and make available guidelines for the preventive conservation of hand-painted glass slides for magic lanterns, the first optical instruments for the projection of images, invented in the 17th century. For this purpose, around 300 hand-painted glass slides from the Portuguese Cinematheque – Museum of Cinema (CP) and Nacional Museum of Natural History and Science of the University of Lisbon (MUHNAC), were studied in terms of representativity in these collections, discursive genre, type of construction or movement mechanism, state of preservation and degradation pro

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28

Mejía Moreno, Catalina. "The “Corporeality” of the Image in Walter Gropius’ Monumentale Kunst und Industriebau Lecture." Intermédialités, no. 24-25 (December 7, 2015). http://dx.doi.org/10.7202/1034165ar.

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The introduction of a series of traded photographs of North and South American Silos into the discourse of modern architecture has been generally attributed to the German architect Walter Gropius when he published the photographs in the 1913 Jahrbuch des Deutschen Werkbundes. What remains overlooked is the photographs’ original dissemination platform: Gropius’ Monumentale Kunst und Industriebau Lichtbildervortrag [lantern slide lecture] from 1911. Based on a close reading of archival material – first the original lecture manuscript, which indicates that images and text were merged in performan

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29

Persson, Erik Florin. "Learning with Light and Shadows: Educational Lantern and Film Projection, 1860–1990 Learning with Light and Shadows: Educational Lantern and Film Projection, 1860–1990 , NELLEKE TEUGHELS and KAAT WILS (eds), 2022 Turnhout, Brepols pp. 268, illus., €75,00 (cloth)." Historical Journal of Film, Radio and Television, February 6, 2024, 1–3. http://dx.doi.org/10.1080/01439685.2024.2310386.

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30

Sabatino, Michelangelo. "From Blueprint to Digital Model: The Information Age, Archives and the Future of Architectural History*." Enquiry A Journal for Architectural Research 5, no. 2 (October 5, 2008). http://dx.doi.org/10.17831/enq:arcc.v5i2.14.

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The digital revolution has not only transformed the process of thinking and making architecture,but has also led to shifts for researchers in the field and the institutions that safeguard and interpretevidence of the architect’s design process. As the rise of PowerPoint made it less cumbersometo view multiple images simultaneously, pioneering art historian Heinrich Wöfflin’s morelimited binary lantern slide presentation was effectively rendered obsolete. However, digital imagingand projection in the field brought risks as great as the new freedoms it afforded. The shiftfrom a work environment

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31

Klein, Susanne, Paul Elter, and Abigail Trujillo Vazquez. "Maxwell’s disappointment and Sutton’s accident." Journal of Physics A: Mathematical and Theoretical, December 5, 2022. http://dx.doi.org/10.1088/1751-8121/aca8db.

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Abstract It has become an urban legend or internet myth that James Clerk Maxwell created the first colour image and had demonstrated this at the Royal Institution in London in May 1861. He did present something, but what? In ‘The scientific papers of James Clerk Maxwell’ the experiment and resulting colour projection was regarded as a failure and barely mentioned. Thomas Sutton, a well-established and respected photographer, was tasked with carrying out Maxwell’s thought experiment using the latest photographic processes. Sutton, himself author of various books on photography, does not mention

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32

Fevry, Sébastien, and Philippe Marion. "Récit et projection lumineuse. Regard épistémologique sur la narrativité de la lanterne1." Cahiers de Narratologie, no. 41 (May 12, 2022). http://dx.doi.org/10.4000/narratologie.13397.

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33

Bate, Jason. "Projecting soldiers’ repair: the ‘Great War’ lantern and the Royal Society of Medicine." Science Museum Group Journal 13, no. 13 (May 27, 2020). http://dx.doi.org/10.15180/201307.

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34

Sergent, Marion. "Créations ciné-lyriques de l’entre-deux-guerres." Itinéraires, 2024. http://dx.doi.org/10.4000/121sk.

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Durant l’entre-deux-guerres, le public parisien pouvait découvrir des spectacles entremêlant cinéma et opéra. Si le Gaumont-Palace inaugure en 1921 un type de créations mélangeant les deux formes avec Les Valses de l’Amour et de la Mort de Jean Nouguès, l’Opéra de Paris n’est pas en reste qui déjà à la fin du xixe siècle utilisait les lanternes magiques. Après une collaboration avec la cinéaste Germaine Dulac en 1927, le décor par projection s’y développe dans les années 1930 sous l’impulsion de son directeur Jacques Rouché et de l’artiste Ernest Klausz. Le cinéma apparaît comme l’un des moyen

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35

Cauche, Robin. "Approche techno-pragmatique des projections domestiques à la lanterne magique : les « vues sur verre en bande » de la maison Lapierre." Cahiers de Narratologie, no. 41 (May 12, 2022). http://dx.doi.org/10.4000/narratologie.13434.

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36

Werry, Adeline. "La narration dans les plaques de verre pour les lanternes magiques jouets : de l’initiation d’un récit sur la plaque à sa projection1." Cahiers de Narratologie, no. 41 (May 12, 2022). http://dx.doi.org/10.4000/narratologie.13148.

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37

Fedorova, Ksenia. "Mechanisms of Augmentation in Proprioceptive Media Art." M/C Journal 16, no. 6 (November 7, 2013). http://dx.doi.org/10.5204/mcj.744.

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Introduction In this article, I explore the phenomenon of augmentation by questioning its representational nature and analyzing aesthetic modes of our interrelationship with the environment. How can senses be augmented and how do they serve as mechanisms of enhancing the feeling of presence? Media art practices offer particularly valuable scenarios of activating such mechanisms, as the employment of digital technology allows them to operate on a more subtle level of perception. Given that these practices are continuously evolving, this analysis cannot claim to be a comprehensive one, but rathe

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