__IJSIM : International Journal on Stereo & Immersive Media

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http://hdl.handle.net/10437/15664

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3-D: Realist Illusion or Perception Confusion? : The Technological Image as a Space for Play
(Edições Universitárias Lusófonas, 2021) Gunning, Tom; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
This paper seeks to explore the ambiguities of the devices of stereoscopic imagery both moving and still. Since the invention of the stereoscope there has been the claim that stereoscopic images gave a more complete representation of their objects by adding an appearance of three-dimensionality. However, it has also been acknowledged that stereoscopy creates merely an optical illusion of three-dimensionality, one which presents its own perceptual ambiguities. Moving from the issues raised by Jonathan Crary in his discussion of stereoscopy in The Techniques of the Observer to the history 3-D films, this paper explores how the tension between an illusionist approach of fooling the senses into believing an image and an outright challenge to representation which fosters the contradictions of stereoscopic images has made 3-D a dynamic aesthetic form. I will discuss both commercial films, such as the late Transformers series, as well as avant-garde works by Ken Jacob and The OpenEnded Group (Marc Downie and Paul Kaiser).
Adventures of a photographer from Madeira in the imperial court of Brazil
(Edições Universitárias Lusófonas, 2019) Lissovsky, Maurício; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
A partir da descoberta de quatro retratos na coleção do Arquivo Nacional brasileiro, investigamos a trajetória de Diogo Luis Cipriano (1820-1870), nascido na Ilha da Madeira, um dos primeiros daguerreotipistas a se estabelecer no Rio de Janeiro. Procuramos descrever as tensões e os conflitos entre pintores, miniaturistas e fotógrafos por prestígio e sucesso comercial na capital do Império do Brasil, entre 1850 e 1870. Por outro lado, observamos como na arena pública das páginas dos jornais e das movimentadas esquinas da Corte confrontam-se técnicas, medem-se talentos e, principalmente, disputam-se os signos de modernidade e o monopólio da saudade.
The aesthetic illusion of “Dogville”
(Edições Universitárias Lusófonas, 2023) Yeoman, Ivar Erik; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Werner Wolf (2013) defines the concept of aesthetic illusion as describing a certain pleasurable state of mind that takes place when a user is engaged or immersed in media work(s). He points out that even though the user is in a state of engagement, it is nevertheless aware, in one way or another, of the medium it engages with. Wolf lists and describes certain principles necessary to media work for that state of mind to happen, one of them being the principle of celare artem which proposes that engaging work of media conceals its medium. Here, the principle is challenged by applying it to the film Dogville by Lars von Trier, whose author uses Brechtian distancing-effect methods to experiment with the relationship between audience engagement and distancing. Finally, the conclusions of the research are used to propose a further discussion on the criteria of a closely related concept from new media studies, presence, and how it concerns the immersive possibilities of new media, such as Virtual Reality.
The 'Animated Polystereoscope' of Francisco Dalmau : Introducing Stereo Photography in Barcelona Through Optical Shows (1853-1863)
(Edições Universitárias Lusófonas, 2018) Cuenca, Celia; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
This paper is intended to give an example of the impact of optical shows in relation to the dissemination of stereoscopy in Spain. Concretely, I will be focusing on a stereoscopic show run by the optician Francisco Dalmau, established in La Rambla in Barcelona, which remained open from 1853 to 1863. Evidence seems to point to the fact that it was the first time that stereo photography was presented as part of an optical show in the city. By analyzing this case, I will attempt to illustrate the visual novelty, the level of acceptance and then great popularity of the stereoscope compared to other entertainment in this period. Finally, I will present new data concerning a stereo photography studio that Dalmau opened in 1854.
Artificial horizon : blind flight in the history of virtual reality
(Edições Universitárias Lusófonas, 2022) Roberts, Ivy; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Histories of virtual reality (VR) usually place its origins in computing. But this can be pushed back even further by considering early experiments in flight, principally in the endeavour to fly by instrument, that took place in the late 1920s and throughout the 1930s. This essay positions blind flight in the history of virtual reality and other immersive media in order to understand what sen- sory deprivation has to do with proprioception. Deprived of visual and aural senses, pilots were taught to reorient their perception of space using the artificial horizon as their guide. This essay uses the metaphor of the artificial horizon to discuss the relation- ship between sensory deprivation and sensory overload, both of which disturb the internal process that makes proprioception possible. Applying the method of media archeology places this study among others that have sought to historicise contemporary immersive media in unique ways, often with unexpected outcomes.
'By the aid of our glass you see’ immersivity, illusion, and identity in "The Stereoscopic Photograph Magazine"
(Edições Universitárias Lusófonas, 2023) Judd, Sarah; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Despite being commonly referred to as ‘Victorian virtual reality’, the social impact of stereography is rarely given as much scholarly attention as more contemporary forms of immersive media. Utilizing recent scholarship from media studies- in particular criticisms of immersivity and witnessing as a mode of perception- this paper will analyze articles from The Stereoscopic Photograph, a publication by the stereographic publishing house Underwood & Underwood. From this, it becomes apparent that Underwood & Underwood used illusions to create an ideological framework for the audience to understand their stereographs in. Far from being neutral, this framework tried to shape the viewer into a certain identity: someone who would continue to consume their products and uphold culturally dominant paradigms on cultural difference.
A case of science and playfulness
(Edições Universitárias Lusófonas, 2022) Lucena, Isabel de; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Nineteenth-century Europe was the stage of extraordinary scientific and technological developments. The inquisitive spirit of the time led to the study of human perception. The understanding of the mechanisms of human vision was no exception, and it was of particular relevance since scientific knowledge was based on what was observable. The invention of the stereoscope in 1832 had profound consequences in education, entertainment and medical practices. Undoubtedly, the attentive eyes of the early 20th-century artists were not indifferent to such developments as a new paradigm for art and aesthetics was due. Indeed, around the turn of that century, we see the adoption of technical language and the introduction of the poetic function, self-reference, interactivity and the multiplicity of readings in art. This paper attempts to draw links between 19th-century philosophical toys, medical therapies with binocular images, and the aesthetics of the 20th-century vanguards. A 1912 set of orthoptic cards used in the medical treatment of strabismus, among other cards and philosophical toys, are used to illustrate and establish these relations.
Charles Thurston Thompson and his Portuguese Project : the real world understood as material for exhibition
(Edições Universitárias Lusófonas, 2022) Fontanella, Lee; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Charles Thurston Thompson’s work in Santiago de Compostela has occupied stage-front among all of his photographs. Probably for this reason, it is much less known that the Portuguese royal collections and a few Portuguese locations were the primary purpose for his travelling to Iberia. Santiago was an unforeseen interruption. John Charles Robinson, as principal voice behind acquisitions in the South Kensington Museum, was the background Eminence in these enterprises. Here, I piece together the sojourn in Portugal and interrelate – technically, methodologically, and stylistically – the Iberian photographic work with the broader corpus by Thurston Thompson.
Cultural Tourism through the Lens of the Stereoscope : Underwood & Underwood’s Egypt, a 1905 Stereoview Boxed Set, Considered
(Edições Universitárias Lusófonas, 2021) Thompson, Seth; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Using the framework of the tourist gaze to investigate Underwood & Underwood’s Egypt, a 1905 stereoview boxed set with an accompanying book by James Henry Breasted, which is part of a larger collection of stereoview boxed sets by the same company, this paper will define the tourist gaze, provide a brief overview of Underwood & Underwood’s stereoview boxed sets, and examine how Egypt and its cultural heritage are perceived through an outsider’s orientation and set of values as well as the ramifications of this perception. This will be accomplished by focusing on Breasted’s textual depictions of the contemporary Egyptian at the beginning of the twentieth century in the set’s accompanying book, Egypt through the Stereoscope, and included on some of the back sides of the stereoviews in the Egypt set.
The disruptive relations between sound and image in Poème Électronique
(Edições Universitárias Lusófonas, 2018) Centola, Nicolau; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
This academic paper focuses on the installation art Poème Électronique, which involved the collaboration of a painter and architect (Le Corbusier) and a composer (Edgard Varèse) during the 1958 Brussels World Fair. The idea is to analyse the visual and sound dimensions, created from a combined set of rules, but independently developed by each participant. Based on a detailed and well-structured script written by Le Corbusier, Varèse developed a sound work without respecting the original guidelines. This important disruptive characteristic is structured in the relation between sound and image, and consequently in the interaction with the audience.
The Expansive and Proximate Scales of Immersive Media
(Edições Universitárias Lusófonas, 2018) Jones, Nick; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
The term immersive is often used in relation to contemporary visual media, but the exact parameters of immersion can be ambiguous. In this article, I will explore what immersion means in terms of technological envelopment and, in particular, how this envelopment operates at a range of distances between observer and media surface. As I argue, immersive media can operate in two ways. The first is expansive, with immersion occurring through the creation of an extensive surrounding space into which the user is placed. The second is proximate, with intense closeness allowing for smaller media objects and apparatuses to overtake the visual field. An investigation into these seemingly alternate scales reveals their connections and overlap, and demonstrates the surprising importance of the proximate in immersive visual media.
Exploring the archaeology of immersive visual media in Spain (1822-1872)
(Edições Universitárias Lusófonas, 2023) López-San Segundo, Carmen; Calvo Cristina, López; Prieto Marina, Hernández; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
This paper presents an exploratory study aimed at advancing the identification, analysis, evaluation, and dissemination of documentary evidence related to immersive visual media in Spain between 1822 and 1872. The relevant references for this research were obtained from cultural testimonies found in online historical press advertisements and news housed in Spanish digital newspaper libraries. The main objective of this study is to highlight the obscured history of early immersive optical performances, thereby enhancing our understanding of the archaeology of audiovisual media. In pursuit of this, we have striven to address the following research enquiries: What were the most frequently represented immersive visual media in the Spanish territory between 1822 and 1872? In which Spanish cities were these immersive visual media exhibited between 1822 and 1872? Where were the immersive shows located within Spain between 1822 and 1872? To accomplish this, the research was structured around two fundamental tasks. The first task involved delimitation, identification, inventory, cataloguing, and registration of information found in the documentary sources. The second task involved mapping and visualising the records located in primary sources, such as local Spanish newspapers through network graphs and visualisations. This study has important implications for understanding the early use of immersive visual media technology in Spain and offers new perspectives for future research on the topic.
The FBS collection of stereoscopic photography : a treasure trove fostering research
(Edições Universitárias Lusófonas, 2023) Pérez González, Carmen; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
The article presents the FBS Collection‘s project, which focuses on establishing the FBS Foundation, devoted to fomenting the study of the history of photography from a scientific and interdisciplinary point of view. The first part is devoted to the evolution of the collection by periods between 1978 and 2023: The thrill of stereoscopy (1978 to 1985), The universe of suppliers and collectors (1985 to 1996), Immersion in the world of stereoscopy (1996 to 2008), The volume and variety of the collection have grown so, that they overflow its current space (2008 to 2015), Utility and preservation of the collection as a whole (2015 to 2020), Viability of the Foundation and formation of multidisciplinary research groups (2020 to 2023). The second part will reflect on the elements and subcategories within the collection. And the third part will focus on new activities and applications for the collection in different disciplines, the activities already undertaken and those we hope to develop in the field of neuroscience, among others.
Global warming : the historical photographic evidence
(Edições Universitárias Lusófonas, 2020) Blair, Peter; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
The photographic record of the Alps stretches from the 1840s to the present day and therefore provides visual evidence and significant insight into the devastating impact of global warming on alpine glaciers. In this study, we match photographs from around 1860, 1910 and today, from the same viewpoint, to provide a visual narrative of change in the glaciers of Chamonix Mont-Blanc. During a cooler period in the 16th-19th centuries, now known as the “Little Ice Age”, glaciers descended into alpine valleys and destroyed villages. The most recent maximum of alpine glaciers was attained in the 1820s. They remained fairly close to this maximum until the late 1860s, allowing early photographers to capture them in all their glory. Since then, glaciers have been in general retreat, with shrinkage accelerating on the back of global warming caused by human activity. The speed of change is alarming and is a concern not merely for skiers and alpinists.
The gravitational pull of Cuarón's gravity
(Edições Universitárias Lusófonas, 2022) Idrovo, Rene; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Film scholar Miguel Mera (2016) argued that Alfonso Cuarón’s Gravity (2013) was likely to generate a strong “gravitational pull” towards a broader exploitation of three-dimensional (3D) sound. In this article, the aesthetics of Cuarón’s work are compared to those in a number of other films. Alejandro González Iñárritu’s most recent films are presented as advocates of Cuarón’s film style, referred to here as immersive continuity. This approach makes constant use of long takes that are complemented by the immersive action of 3D sound. Moreover, it is observed that many other motion pictures in a variety of genres have made use of similar aesthetics, creating impressive three-dimensional sound designs. Through the examination of several Dolby Atmos titles, the author suggests that the screen-centrality of the cinematic voice is not as great a concern as previously thought. Ultimately, it is argued that conventional editing is now the biggest obstacle to achieving the mythical total cinema described by André Bazin.
Guilherme Santos collection in the Rio de Janeiro museum of image and sound : A three-dimensional city (1908-1957)
(Edições Universitárias Lusófonas, 2017) Mendonça, Maria Isabela; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
This paper aims to present Guilherme Santos’ historical stereoscopic collection, which belongs to the Rio de Janeiro Museum of Image and Sound. As an amateur photographer, Santos widely registered the city of Rio de Janeiro between 1909 and 1957 and his stereoscopic collection is considered one of the most important in Brazil. The historical period in which he developed his work is characterised by the restructuring of Rio de Janeiro as a bourgeois metropolis. The modernised daily life and the new signs of development in the country’s former capital were intensely recorded by Santos during his photography trajectory. As an enthusiast of social life, he was constantly cataloguing the most diverse events, different touristic places and the exuberant nature of the “wonderful city”. Playing the role of a cultural representation of his time, Santos’ photographs give important clues of the shaping of a typically bourgeois lifestyle in Rio de Janeiro.
Immersion and Beyond : a critical approach to understanding the aesthetic potential of 3D audio
(Edições Universitárias Lusófonas, 2018) Breitsameter, Sabine; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Since around one decade, the word “immersion” has become one of the major terms relating to current developments in digital media. Being able to (re-)create the experience of being surrounded by and immersed in sensory impressions is widely considered as a main characteristic of nowaday’s digital technologies, as for example in games, in 360° film or in 3D audio. As in 3D audio, immersion’s aesthetic strength is mainly assigned to cohesiveness as well as to its capability to create an “as if” experience. By this it is coming very close to the experience of reality, and is touching, if not transgressing the boundaries to Virtual Reality. Concerning sound and audiomedia, there is, however, an interesting history of critical approach, when it comes to illusionism and realism made possible and enhanced by new technologies. This paper will not only point out critical aspects of immersion as a goal for media experience in general, but show artistic methods and strategies, by which the critique can be made fruitful, expanding 3D-audio’s aesthetic potential beyond the limitations of the merely obvious.
Immersive histories : Photography and The Absorption of the Past
(Edições Universitárias Lusófonas, 2021) Edwards, Elizabeth; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Photographs create a saturating awareness of the past in public spaces, notably the street and the open-air as sensorially immersive spaces. I considered how photographs operate as an unintentional encounter with, and immersion in, the past, generating a low-level sense of the value of that past. Departing from technologies of immersion in the usual sense, and from self-conscious and intentional engagements with the visual, I draw on ideas of non-cognitive awareness and the fugitive practices that exist in the dynamics of susceptibility at the interstices of everyday life. I consider how, since the nineteenth century, and into the digital age, photographs have created historically-scripted spaces and an immersive sense of historical connection and continuity, creating an intensification of historical imagination and coherence of sentiment. In this, the immediacy of photographs is used to create banal, folded presences of the past, a historical ‘habitus’ which intensifies the space-time of the street.
Invention of the Myth of Total Photography
(Edições Universitárias Lusófonas, 2018) Timby, Kim; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
In the mid-twentieth-century, it was widely believed that innovations in photographing movement, colour, and depth would one day afford complete mastery of the simulation of visual perception. This collective representation of purpose and of progress in photography was eloquently expressed as the “myth of total cinema” by André Bazin (1946), who argued that the longing for “integral realism” had always marked mechanical reproduction, inspiring inventors since the nineteenth century. This assumption remains common today. The present article historicises the integral-image utopia, mapping the expression of its intellectual mechanisms in the first accounts of photography then in photography’s emerging historiography. This research reveals the absence of a shared project around “complete” perceptual realism for most of the nineteenth century. The idea of progress toward a total image reproducing vision emerged and came to prevail in the popular imagination at a very particular moment – in 1896, following the invention of cinema – transforming how people thought about the future of photography and told the story of its past.
The Kaiser-Panorama and Tourism in Belgium Around 1900
(Edições Universitárias Lusófonas, 2021) Engelen, Leen; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
The Kaiser-Panorama is a cylindrical stereo-viewer offering series of 50 topographic coloured stereo photographs to multiple viewers simultaneously. It was conceived, patented and commercialised in the 1880s by the German August Fuhrmann who subsequently developed it into a longstanding transnational media enterprise. Because of its focus on topographic imagery, the Kaiser-Panorama has often been marketed as a medium for virtual travel. So far, the Kaiser-Panorama has mainly been studied in the German context and little is known about its development in other countries. This article focuses on the presence and meaning of the Kaiser-Panorama in Belgium. It will consider this from two perspectives. First, it maps the introduction and development of the Kaiser-Panorama in Belgium where it emerged at a point in time when urban entertainment transitioned from mobile to fixed exhibition. Second, the heyday of the Kaiser-Panorama in Belgium coincides with the increasing democratisation of travel. The article will demonstrate how, in the Belgian franchise, an enterprise whose core business was the promotion of virtual travel, developed into a medium promoting real travel.

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