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Articoli di riviste sul tema "Photography, Stereoscopic – History"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 31 gennaio 2023

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1

Wade, Nicholas J. "On Stereoscopic Art." i-Perception 12, no. 3 (May 2021): 204166952110071. http://dx.doi.org/10.1177/20416695211007146.

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Abstract (sommario):

Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made publ

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2

Sommer, Bjorn. "Hybrid Stereoscopic Photography - Analogue Stereo Photography meets the Digital Age with the StereoCompass app." Electronic Imaging 2021, no. 2 (January 18, 2021): 58–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.2.sda-058.

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Abstract (sommario):

Stereoscopic photography has a long history which started just a few years after the first known photo was taken: 1849 Sir David Brewster introduced the first binocular camera. Whereas mobile photography is omnipresent because of the wide distribution of smart phones, stereoscopic photography is only used by a very small set of enthusiasts or professional (stereo) photographers. One important aspect of professional stereoscopic photography is that the required technology is usually quite expensive. Here, we present an alternative approach, uniting easily affordable vintage analogue SLR cameras

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3

Nicholson, Paul T. "Three-dimensional imaging in archaeology: its history and future." Antiquity 75, no. 288 (June 2001): 402–9. http://dx.doi.org/10.1017/s0003598x00061056.

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Abstract (sommario):

Whilst digital cameras and computer graphics are starting to be used in archaeological recording, stereoscopic photography tends to be overlooked. This technique has been used successfully in three recent projects and could be beneficial as a means of 3D photographic recording.

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4

Moran, Leslie. "Carte de visite of ‘The Lord Chief Justice of England’ (Sir Alexander James Edmund Cockburn, 12th Baronet) by London Stereoscopic and Photographic Company, circa 1873." Northern Ireland Legal Quarterly 68, no. 3 (November 7, 2017): 245–57. http://dx.doi.org/10.53386/nilq.v68i3.38.

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Abstract (sommario):

The carte de visite of ‘The Lord Chief Justice of England’ (Sir Alexander James Edmund Cockburn, 12th Baronet) by London Stereoscopic and Photographic Company that dates from the early 1870s is an object that provokes and challenges ways of thinking about the judiciary and visual culture and research on the judiciary more generally. It demands that consideration be given to a history of the relationship between the judiciary, photography and mass media that has been hidden from history by the long shadows of cameras in courts research. It provides an opportunity to consider how the technologic

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5

Quintana, Àngel, Alan Salvadó-Romero, and Daniel Pérez-Pamies. "An Archeology of the Metaverse: Virtual Worlds and Optical Devices." Baltic Screen Media Review 10, no. 2 (December 1, 2022): 202–12. http://dx.doi.org/10.2478/bsmr-2022-0015.

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Abstract (sommario):

Abstract The following article comes as a result of a Spanish Ministry R&D funded project entitled “Virtual Worlds in Early Cinema: Devices, Aesthetics and Audiences”. Our starting hypothesis is that some of the central ideas that define the metaverse’s virtual imaginary can be found in some of the visual devices and apparatuses from the 17th to the early 20th centuries. The article contextualizes and details how the desire for immersion, three-dimensional images, observation of replicas of our worlds, and living a non-narrative experience are contained in early optical devices such as mag

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6

Pushkarev, A. A., O. V. Zaytceva, M. V. Vavulin, and A. Y. Skorobogatova. "3D RECORDING OF A 19-CENTURY OB RIVER SHIP." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 15, 2016): 377–81. http://dx.doi.org/10.5194/isprs-archives-xli-b5-377-2016.

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Abstract (sommario):

A 3D recording of a 19-century wooden ship discovered on the bank of the river Ob (Western Siberia) was performed in autumn 2015. The archaeologized ship was partly under water, partly lying ashore, buried under fluvial deposits. The 3D recording was performed in October, when the water level was at its lowest after clearing the area around the ship. A 3D recording at the place of discovery was required as part of the ship museumification and reconstruction project. The works performed were primarily aimed at preserving as much information about the object as possible. <br><br> Giv

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7

Pushkarev, A. A., O. V. Zaytceva, M. V. Vavulin, and A. Y. Skorobogatova. "3D RECORDING OF A 19-CENTURY OB RIVER SHIP." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 15, 2016): 377–81. http://dx.doi.org/10.5194/isprsarchives-xli-b5-377-2016.

Testo completo

Abstract (sommario):

A 3D recording of a 19-century wooden ship discovered on the bank of the river Ob (Western Siberia) was performed in autumn 2015. The archaeologized ship was partly under water, partly lying ashore, buried under fluvial deposits. The 3D recording was performed in October, when the water level was at its lowest after clearing the area around the ship. A 3D recording at the place of discovery was required as part of the ship museumification and reconstruction project. The works performed were primarily aimed at preserving as much information about the object as possible. &lt;br&gt;&l

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8

Wade, Nicholas J. "On the Art of Binocular Rivalry." i-Perception 12, no. 6 (November 2021): 204166952110538. http://dx.doi.org/10.1177/20416695211053877.

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Abstract (sommario):

Binocular rivalry has a longer descriptive history than stereoscopic depth perception both of which were transformed by Wheatstone's invention of the stereoscope. Thereafter, artistic interest in binocular vision has been largely confined to stereopsis. A brief survey of research on binocular contour rivalry is followed by anaglyphic examples of its expression as art. Rivalling patterns can be photographs, graphics, and combinations of them. In addition, illustrations of binocular lustre and interactions between rivalry and stereopsis are presented, as are rivalling portraits of some pioneers

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9

Mach, Ernst. "Remarks on Scientific Applications of Photography." Science in Context 29, no. 4 (December 2016): 441–42. http://dx.doi.org/10.1017/s0269889716000168.

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Abstract (sommario):

It is undisputed that all scientific knowledge proceeds from sense perception. And the way in which sense perception is fostered by the graphic arts generally, and in particular by photography (stereoscopy included), likewise needs no further explanation here.

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10

Muriuki, Godfrey, and Neal Sobania. "The Truth Be Told: Stereoscopic Photographs, Interviews and Oral Tradition from Mount Kenya." Journal of Eastern African Studies 1, no. 1 (March 2007): 1–15. http://dx.doi.org/10.1080/17531050701218783.

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11

Ferrari, Graziano, and Anita Mcconnell. "Robert Mallet and the ‘Great Neapolitan earthquake’ of 1857." Notes and Records of the Royal Society 59, no. 1 (January 22, 2005): 45–64. http://dx.doi.org/10.1098/rsnr.2004.0076.

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Abstract (sommario):

Robert Mallet (1810–81), an Irish civil engineer who had been investigating the passage of artificial seismic waves, sought Royal Society support to test his theories in the field, after a devastating earthquake in Basilicata, a province in the Kingdom of Naples. The earthquake struck on 16 December 1857; in January 1858 Mallet began a month–long trek across this mountainous region, gathering a wealth of data and description. His report, illustrated by maps and diagrams, included several hundred monoscopic and stereoscopic photographs, a remarkably early scientific use of this technique. It wa

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12

Kidder, Tristram R. "Mapping Poverty Point." American Antiquity 67, no. 1 (January 2002): 89–101. http://dx.doi.org/10.2307/2694878.

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Abstract (sommario):

Even though the general configuration of the Poverty Point site has been known for over forty years, the entire site was mapped for the first time in 1999–2000. In this paper we examine how Poverty Point has been portrayed in the archaeological literature. Tracings of stereoscopic aerial photographs were used to construct previous maps of the site. Features that could not be traced because of tree cover were interpolated. Succeeding representations of the site show different features and emphasize the symmetrical form of the site, including the presence of ridges separated by aisles. The 1999–

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13

Hamessley, Lydia. "Within Sight: Three-Dimensional Perspectives on Women and Banjos in the Late Nineteenth Century." 19th-Century Music 31, no. 2 (November 1, 2007): 131–63. http://dx.doi.org/10.1525/ncm.2007.31.2.131.

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Abstract (sommario):

During the last decades of the nineteenth century, women figured prominently in a marketing campaign by banjo manufacturers who sought to make the banjo a respectable instrument for ladies. Their overarching aim was to "elevate" the banjo's status from its African-American and minstrel-show associations, thereby making the instrument acceptable in white bourgeois society. At the same time, stereoview cards, three-dimensional photographs produced by the millions, were a popular parlor entertainment featuring a variety of contemporary images, including women playing the banjo. Yet, instead of de

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14

Avram, Horea. "The Convergence Effect: Real and Virtual Encounters in Augmented Reality Art." M/C Journal 16, no. 6 (November 7, 2013). http://dx.doi.org/10.5204/mcj.735.

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Abstract (sommario):

Augmented Reality—The Liminal Zone Within the larger context of the post-desktop technological philosophy and practice, an increasing number of efforts are directed towards finding solutions for integrating as close as possible virtual information into specific real environments; a short list of such endeavors include Wi-Fi connectivity, GPS-driven navigation, mobile phones, GIS (Geographic Information System), and various technological systems associated with what is loosely called locative, ubiquitous and pervasive computing. Augmented Reality (AR) is directly related to these technologies,

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15

Mules, Warwick. "Virtual Culture, Time and Images." M/C Journal 3, no. 2 (May 1, 2000). http://dx.doi.org/10.5204/mcj.1839.

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Abstract (sommario):

Introduction The proliferation of electronic images and audiovisual forms, together with the recent expansion of Internet communication makes me wonder about the adequacy of present theoretical apparatus within the humanities and communication disciplines to explain these new phenomena and their effects on human life. As someone working roughly within a cultural and media studies framework, I have long harboured suspicions about the ability of concepts such as text, discourse and representation to give an account of the new media which does not simply reduce them to another version of earlier

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