IJSIM : International Journal on Stereo & Immersive Media

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    Mirrors, projections, screens : contemporary immersive art and current challenges to immersive spectatorship
    (Edições Universitárias Lusófonas, 2024) Meng, Agnes; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    The concept of immersion is addressed by a broad range of tools in contemporary art. Some techniques seen in large-scale installations, which have been used in museums and mass entertainment venues since the 19th century, such as physical visual effects and mirrors, continue to play a significant part. With newly developed digital technologies like projection mapping and large LED screens, immersion has reached enormous popularity in our time. As a result, there is a demand for a changing attitude in art spectatorship. Immersive participation does not only involve the viewers themselves but also their social media behavior. This challenges artists and curators to embrace the new model of spectatorship and find a balance between artistic design and market demands.
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    A fotografia estereoscópica em Angola, 1869-1911 : uma prática comercial imersiva
    (Edições Universitárias Lusófonas, 2024) Araújo, Nuno Borges de; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
    Este artigo explora a fotografia estereoscópica em Angola, entre os finais da década de 1860 e o início da década de 1920. Resumiremos a informação e as imagens que captam esta prática, o seu contexto e os temas retratados. As primeiras fotografias estereoscópicas de Angola foram tiradas por fotógrafos profissionais activos durante as décadas de 1860 e 1870. Um contribuinte significativo foi a família Cunha Moraes (embora possa não ter incluído o seu membro mais famoso, José Augusto da Cunha Moraes). Para além disso, havia José Nunes da Silveira, que também operava em Luanda. Para além destes dois estúdios, não encontrámos outras evidências de fotografia estereoscópica em Angola durante este período inicial. O trabalho de Silveira nesta antiga colónia portuguesa começou em 1869, podendo ter terminado em 1878 ou antes. A produção estereoscópica da família Moraes está registada a partir de 1869, embora seja incerto se continuaram a trabalhar durante a década de 1880. Apesar de uma renovação do interesse pela estereoscopia na Europa e em Portugal no final da década de 1890 e no início do século XX, apenas se conhecem algumas imagens estereoscópicas deste período posterior, principalmente ligadas à família Cunha Moraes, sendo provável que tenham sido produzidas por um dos seus membros. São também referidos os trabalhos estereoscópicos menos conhecidos de João Lucas Carreira e João António Calleia.
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    Francis Frith : nineteenth century immersive media pioneer
    (Edições Universitárias Lusófonas, 2024) Thompson, Seth; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Francis Frith (1822–1898) is considered one of the great topographical photographers of the nineteenth century and a pioneer of immersive media for his groundbreaking stereo photography work. In 1856 he began his first of three expeditions to Egypt and the Holy Land, the last of which concluded in 1860. An aspect of his photographic practice was to capture the region using stereo photography, which creates an illusion of a single three-dimensional image from two separate images. Using primary and secondary sources related to Frith’s photographic pursuits and travels in the region, this article focuses on Frith’s technological achievements using stereo photography in Egypt, from his production techniques to the dissemination of his stereo images in his 1862 book, Egypt, Nubia, and Ethiopia. Illustrated by One Hundred Stereoscopic Photographs, Taken by Francis Frith for Messrs. Negretti and Zambra; with Descriptions and Numerous Wood Engravings, by Joseph Bonomi ... and Notes by Samuel Sharpe.
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    Lost Among the Cannibals : Keystone's Misrepresentation of a Nguni Musician
    (Edições Universitárias Lusófonas, 2024) Davis, Melody; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    “Lost Among the Cannibals: Keystone’s Misrepresentation of a Nguni Musician” demonstrates that the Keystone View Company deliberately mislabeled and printed a misleading legend for a stereograph in their 1936 Tour of the World. This stereograph, The Finery of a Native Hunter in the Belgian Congo, is a portrait of a Nguni man, likely Swazi, from South Africa, photographed in 1931 by George K. Lewis for the company. This paper establishes a correct attribution for the portrait through the musical bow that the subject holds, his beadwork, dress, documents of Lewis’ presence in KwaZulu-Natal and Eswatini, and two sister views of the subject. Employing hybridity theory from Homi K. Bhabha, the paper demonstrates that the Keystone company in its deliberate mistitling and racialized characterizing performed a colonialist act of disavowal, which the portrait counters. The stereograph provides a hybrid subject for the viewer that challenges the imperialist program of the Keystone company in its Tour of the World series.
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    Dolby Atmos : a breakthrough in cinema sound?
    (Edições Universitárias Lusófonas, 2024) Idrovo, Rene; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Today one could argue that cinema has reached a point of ‘technical perfection’, certainly the closest that we have been to what Bazin denominated “total cinema”. Film art has constantly evolved in parallel to technological developments, which have gradually moved forward towards the ‘achievement’ of such a total cinematic experience. In terms of audio, the cinema is today able to absorb us with sounds that emanate from around and above the audience, creating this way highly realistic—although imaginary—three-dimensional worlds. Under this premise, this article aims to explore the technical characteristics of Dolby Atmos, an object-based sound system that has consolidated its position as the leading solution for the production and delivery of immersive cinematic sound. The potential and challenges that this platform presents will be analysed here considering the opinions of several sound professionals, which shall give us clues regarding a better utilization of Dolby’s most advanced sonic platform.
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    On the technical aspects of 19th century and early 20th century astronomical stereoscopic photography
    (Edições Universitárias Lusófonas, 2024) Pérez Gonzalez, Carmen; Galadí-Enríquez, David; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
    This article aims to clarify early astronomer-photographers’ creative and intriguing techniques for capturing stereoscopic images of celestial bodies during the 19th and early 20th centuries. We will showcase these astronomical stereoscopic photos in chronological order, based on when the first images of each astronomical object were taken. Additionally, we will outline the fundamental processes involved in achieving the stereoscopic effect for each subject. The article introduces some very rare stereoscopic images of the Moon on glass positives kept at the FBS Foundation in Spain.
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    Non-stereoscopic stereoscopy
    (Edições Universitárias Lusófonas, 2024) Wade, Nicholas; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    The principal application of the stereoscope is to induce apparent depth from two slightly different stimuli – usually photographs. In his classical article describing the stereoscope, Wheatstone referred to this as stereoscopic depth perception. Wheatstone also presented radically different patterns in the stereoscope thereby inducing binocular rivalry. Whereas stereoscopic depth perception reflects cooperation between the two eyes, binocular rivalry is evidence of their competition. Rivalry is an example of non-stereoscopic stereoscopy: the stereoscope is used to display a phenomenon that does not yield the perception of solidity. Anaglyphic examples are shown which indicate the scope of binocular rivalry art.
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    Maintaining creativity and ensuring research : teaching creative research in film and media arts : a personal reflection
    (Edições Universitárias Lusófonas, 2025) Lotman, Elen; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Current article is a reflection of a personal journey of transitioning from an artistic research track PhD student to a supervisor and lecturer helping the others in navigating the confusing and promising seas of artistic research. In 2020, I was the first PhD student to defend my thesis on the artistic research track of the /Anonymised/ School and as soon as I had defended, I was asked to serve in the position of the head of artistic research the track. As such, I experienced the trials and tribulations of the beginnings first hand and am now in a unique position to reflect upon the challenges we faced. As I write this, the two separate tracks of research in /Anonymised/ School have been merged into one, but as the period I experienced it, they were still separate, my reflection builds upon the previous structure.
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    The penned parrot in the writers’ room : four stage story generation in collaborative screenwriting with AI
    (Edições Universitárias Lusófonas, 2025) Frühmorgen, Tobias; Hoyer, Dirk; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    This artistic research article explores the application of Artificial Intelligence (AI) in the process of screenwriting, focusing on the Four Stage Story Generation method in collaborative screenwriting scenarios. The primary objective of this study is to explore and analyze the dynamics between human creativity and AI capabilities in crafting screenplays. By integrating AI into the traditional screenwriting process-which involves stages of writing, feedback, and rewriting-we investigate the transformative impacts on both the process and the outcomes of screenplay development.Our research employs GPT-4 to co-create a screenplay for a short film. This collaborative approach highlights the potential of AI to act as a creative partner, contributing to the ideation and development phases of the script. The study is structured around a four-stage model: thematic conception, story world conception, character conception, and dramaturgical conception. Each stage is designed to leverage the strengths of AI in generating content that adheres to established screenwriting paradigms while also pushing the boundaries of traditional creative processes.The findings from this study reveal that while AI can significantly enhance the screenwriting process by generating innovative ideas and content, it also presents challenges such as maintaining narrative coherence and depth in character development. The interaction between human screenwriters and AI showcases a complex interplay of creativity where AI's contributions are curated and refined by human oversight. This research contributes to the understanding of AI's role in creative industries and sets the stage for further explorations into the capabilities and limitations of AI in artistic collaborations.
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    Artistic experiments in expanded animation : combining 3D printing with virtual reality to create anamorphic shadow animations
    (Edições Universitárias Lusófonas, 2025) Wastyn, Gert; Malliet, Steven; Devadder, Guido; Geerts, Bart; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    This paper explores the integration of Virtual Reality, 3D printing, and anamorphic shadow techniques in the field of Expanded Animation. Using a collaborative and experimental Artistic Research method, the study contributes to extending the boundaries of animation, and to attributing a stronger sense of agency to the spectator or ‘eccentric observer’. The paper discusses different iterations in the development of the ‘Anamorphotrope’, an original installation work that has been exhibited in two modalities: as a VR installation and as a 3D-printed zoetrope. Both on a technical and conceptual level the novel approach taken in this project has a number of implications for future practices in animation and related artistic fields.
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    Fiction, documentaries and voids
    (Edições Universitárias Lusófonas, 2025) Lesmes López , Carlos Eduardo; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    The following piece focuses on how the inclusion of fictional elements into documentaries allows for a different relationship with the film, allowing creators to explore different narrative avenues, characters to relate in a different way to the events and for the audience to actively engage with the film.I rely on two of my previous short documentary films and my current research as examples where I have used fiction inside the documentary form, and I examine how the insertion of fiction into the narrative, allows for a different perspective of the events depicted on each film.My research centers on the relationship between roots, identity and belonging, explored through documentary film. I use the notions of affect, embodied memory, and relationality together with Bergson's understanding of time and memory to explore my own family's story and its voids through a documentary film.
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    Designing for meaning : uniting creative and scholastic research through collective : practices in event design
    (Edições Universitárias Lusófonas, 2025) Chodkowski, Rowena; Srirachanikorn, Richy; Harrison, Annie; Pasborg, Derek; Ali, Muhammed Shahrom; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Practice-based creative research, also known as research-creation, exists in a tenuous position between art and academia. There has been significant, ongoing research into the role of curatorial processes, research, and public-facing events as forms of knowledge production which draw from both traditional informational methodologies and creative or artistic approaches. However, much extant work on this subject is centered on gallery and museum spaces. This paper describes a creative research project carried out by a team of graduate students at Concordia University, which aims to bring research-creation into direct, engaged conversation with more traditional forms of academic research through the research collective’s development of interdisciplinary symposia. We discuss the importance of taking a design approach, including documentation and iterative practices, in order to create an environment in which creative research and scholastic research are treated as equally important forms of knowledge production. Specifically, we detail how the idea of meaningful methods influenced our approach, and how designing for connection and embodied experience are essential to creating event spaces which facilitate interdisciplinary knowledge exchange.
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    Exploring empathy through the design of an embodied installation game
    (Edições Universitárias Lusófonas, 2025) Ji, Xiaoou; Malliet, Steven; Muravevskaia, Ekaterina; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    This article discusses the design of the embodied installation game Sisyphus: Endless Dilemma, designed to help examine and resolve the inequalities faced by patients with mood disorders. By employing a critical design framework and the form of an interactive art installation, Sisyphus: Endless Dilemma creates a dystopian physical interactive environment to immerse players in an inescapable predicament to evoke empathy for mood disorder groups. This embodied installation game takes artistic research as an overarching method. Through the iterative creation of, and reflection upon, an experimental game within a performative context we aim to generate new knowledge on spatial and experimental game design. The resulting gameplay is not only shaped by a set of interaction mechanisms but also composed of elements such as various sensory experiences, bodily movements, and the physical environment. The article illustrates the potential of the embodied installation game based on artistic research in contributing to the discourse on contemporary game design as well as serving as a catalyst for addressing social issues, moral dilemmas and cultural challenges.