Percorrer por autor "Parmeggiani, Paolo"

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    3D negative space beyond stereoscopy
    (Edições Universitárias Lusófonas, 2017) Parmeggiani, Paolo; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    This paper investigates the relationship between photography, stereoviews and visual icons in Venice, and proposes an experimental video that integrates stereoscopic representations with ambient sounds. The article opens with a historical analysis of the stereoviews made in Venice, highlighting the repertoire of subjects, technology and stylistic choices adopted by the most relevant photographers of the late nineteenth century. The second section proposes an experimental project that attempts to replace the Venetian iconic touristic photographs and stereoviews. The aim is to investigate how to help the viewer focus on depth and negative spaces in a virtual space by walking him/her through different parts of the urban layout. The author discusses which of the main features are adopted to create an immersive experience through a digital combination of stereoscopic photography and binaural ambient sounds. The result indicates that it is possible to capture the essence of the 3D experience of a typical touristic sightseeing tour by applying specific digital transformations to a stereoscopic kinematic flow.
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    Between the point of view and the point of being: the space of the stereoscopic tours
    (Lusofona University, 2016) Parmeggiani, Paolo; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    One of the most interesting features of the travel stereoview series is not their three-dimensional effect but rather the intertwined outcome of realism and “being-thereness” in the experience of early twentieth century armchair travellers. On the set of Italy through the Stereoscope, the viewer’s “path of the gaze” was a novelty compared to two dimensional photographs and stereoviews. The Underwood & Underwood publishing company created a stereoscopic multimodal tour to improve the impression of realism with a proprioceptive perception of the scene. The procedure of textual débrayage, the description of the experience as it is happening here and now, the direction of the viewer’s gaze with a narrative itinerary, the changing of the visual convergence with the variation in the points of attention: all of these elements fostered a synaesthesia for the spectator. The result was immersion in an explorable space between the “point of view” (2D images) and the “point of being” (virtual reality).