IJSIM : International Journal on Stereo & Immersive Media

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http://hdl.handle.net/10437/10861

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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.
The quest for stereoscopic movement: was the first film ever in 3-D?
(Edições Universitárias Lusófonas, 2017) Pellerin, Denis; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
Histories of the cinema mention the Lumière brothers and sometimes Louis Le Prince as the precursors of the moving pictures but they usually forget the important part played by Antoine Claudet, Louis Jules Duboscq, Charles Wheatstone and Joseph Plateau. Barely a year after the introduction of the lenticular stereoscope, these polymaths managed to create what can not only be considered as the first "movie" ever but also happens to be in 3-D!
Resonance and wonder : Susan Philipsz's 'study for strings'
(Edições Universitárias Lusófonas, 2017) Camacho, Sandra; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
This article offers a reading of Susan Philipsz's sound work Study for Strings (2012) informed by two notions proposed by Stephen Greenblatt: resonance and wonder. In considering resonance, I present the strong historical influences identified in the location the artwork was first commissioned for — Kassel Hauptbahnhof, during dOCUMENTA 13. I also present the traumatic events that led to the composition of Pavel Haas's Study for Strings Orchestra in Theresienstadt, and its appropriation by Philipsz. The use of silence, or absence, in a sound piece features as a fundamental element in the understanding of the work as a certificate of disappearance. Nevertheless, viewed through the lens of John Cage's 4'33'' (1952), Study for Strings will also be examined as a musical composition in its own right. It is here, and in the spectator's first encounter with the work, that the presence of wonder will surface.
Two logics of remediation in Lo-Fi : the inversion of immediacy in the cases of soundscape and indie rock
(Edições Universitárias Lusófonas, 2017) Aragão, Thaís Amorim; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
Amid other uses, the term "lo-fi" (a corruption of "low fidelity") appears both in soundscape studies and in indie rock. Even though it is associated to negative qualities in the former and positive ones in the latter, these apparently antagonistic postures reclaim conditions of sonic production and contemplation that might have been lost in the past—if not in a pre-industrial era, at least in a moment prior to the culture industry. Nevertheless, both emerge from the same idea of "fidelity" that hatched from the stereophony phenomenon. Such a case seems to defy the pertinence of Bolter and Grusin's double logic of remediation, so as to deal with sonic processes. That happens due to conceptions of lo-fi which demonstrate that by making media perceptible does not always result in the absence of presence, nor does it block a sense of immersion.
Sound and the fragment in artistic practices
(Edições Universitárias Lusófonas, 2017) Ribeiro, Luís Cláudio; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
From the observatory to the classroom: space images in the keystone “600 SET” and “1200 SET”
(Edições Universitárias Lusófonas, 2017) Pérez Gonzalez, Carmen; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
This paper introduces the astronomical images of the Keystone 600 SET and 1200 SET, and the original photographic plates from which they were printed, analysing both the photographic plate and the published card. The astronomer's work will be discussed together with the method of achieving the stereoscopic effect for the different celestial bodies. Of particular interest was the method of taking advantage of the lunar libration for producing Moon stereographs used by British amateur astronomer Warren de la Rue (1815-1889). He was a pioneer who both established and used this method as early as the 1850s. In addition, this study will also explore the method used decades later on by Edward Emerson Barnard (1857-1923), and other astronomers working at the Yerkes Observatory, to produce stereographs of other celestial bodies. Analysis of how Keystone and other companies enabled a democratization of astronomical portraiture will also be performed and can be attributed to the inclusion of astronomical images in their educational set of stereographs, which were used as leading visual tools to help students learn about our earth and its neighbours.
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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.
Seeing with two eyes and hearing with two ears
(Edições Universitárias Lusófonas, 2017) Wade, Nicholas; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
Immersion in a three-dimensional world of sight and sound is the natural state of perception. It is dependent upon differential spatial patterns received by two eyes and upon time and intensity differences to two ears. However, these have not been the aspects of seeing and hearing that have received the attention of students of the senses in the past. The experiences of a single visual world and the singleness of sound perception have masked attention to differences in the stimuli available to two eyes and two ears and to the ways in which they are processed. Phenomena involving seeing with two eyes have been commented upon for millennia whereas those about hearing with two ears are much more recent. One of the principal phenomena that led to studies of binaural hearing was binocular colour mixing. Direction and distance in visual localization were analyzed before those for auditory localization, partly due to difficulties in controlling the stimuli. Experimental investigations began in the 19th century with the invention of instruments like the stereoscope and pseudoscope, soon to be followed by their binaural equivalents, the stethophone and pseudophone.
Shifting temporal planes: affective temporality in immersive audio-photographic installation art
(Edições Universitárias Lusófonas, 2017) Santamas, Hali; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
This paper explores the temporal implications of audio-photographic art which is defined as a creative practice that utilizes sound and photographic images in an effort to create immersive, affective installations. When presented in an immersive context, I contend that the temporal dissonance between still image and sound opens up a space between the materials. This conceptual space between the materials becomes a site of interaction between art and participant, sound and image, stasis and movement. Drawing on my own creative practice and the theoretical work of Roland Barthes, Jonathan Kramer and Eleni Ikoniadou I set out the differences in temporality between sound and photography. Using this as the basis of this work, I then go on to show how the space between is created through the clashing of multiple shifting temporal planes in the perception of the participant and how this complex temporality can create an immersive, transcendent temporal effect.
Perceptual information or informed perception? synesthesia and sound-art
(Edições Universitárias Lusófonas, 2017) Ghosh, Ronit; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
Immersive sonic environments raise important questions regarding the nature and limits of human cognition. The inundation of the human in multi-directional, immersive sonic flows activates a new register of acoustical cognition which simultaneously engenders a new aesthetic way of encountering and experiencing sound. This paper seeks to investigate the composite positionality of sound often exploited by contemporary sound-artists. It elaborates on at least three distinctive onto-epistemological states that are simultaneously assumed by the sonic medium in certain immersive works of sonic art - sound as a tropological-discursive construct, sound as an event enabling the visualization of time and sound as a physical wave-object existing in space. The paper tries to approach the synesthetic possibilities inaugurated by the aforementioned spatialization of time in sound within conflicting discursive paradigms while also probing further implications of the ontological multiplicity of sound. It seeks to explore the dynamics of sonic synesthesia using a neuro-anatomical approach to synesthetic cognition that posit synesthetic experience as a mirror to neural cross-linkages.
Lisbon and its region : stereoscopic photography, C. 1853-1890
(Edições Universitárias Lusófonas, 2017) Araújo, Nuno Borges de; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
This paper concerns the use of steroscopic photography in Lisbon and its region, especially in Sintra, from the 1850s to the end of the 1880s. We will synthetically address the documents and images generated by professional and amateur photographers, their context and their themes. The first material about stereoscopic photography, the first stereoscopic images and the first imported stereoscopes arrived in Lisbon in the 1850s through photographers, most of them foreigners, who brought them for their local use. A very small number of professionals took stereoscopic portraits in studios. As of the late 1850s, some professionals and trained amateurs used this technique and portrayed the city and its region. At the end of that decade and the beginning of the next, stereoscopic photos were sold in photographic studios and in a specialised warehouse. Already in the 1850s, but mainly after the late 1860s, Parisian photographers and editors of stereoscopic photos also occasionally produced and sold images of Portugal, including Lisbon, and had them listed in their catalogues. In the 1860s and 1870s, stereoscopic photos were exhibited in shows, according to contemporary descriptions, although their precise technical nature was not always very clear. The occasional production and commercialisation of stereoscopic images continued into the 1870s and declined sharply in the 1880s. It was only at the end of the next decade, and above all during the start of the 20th century, would stereoscopic photography regain the interest of professionals and amateurs.
The virtual concert hall : a research tool for the experimental investigation of audiovisual room perception
(Edições Universitárias Lusófonas, 2017) Maempel, Hans-Joachim; Horn, Michael; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
The Virtual Concert Hall is a virtual environment that has been specifically designed for the optoacoustic simulation of performance rooms. As a tool for experimental research, its design is derived from particular methodological demands including harvesting comparable acoustical and optical information, dissociating the space and content of multisensory events,varying optical and acoustical room properties in a mutually independent manner, while also providing a full set of stimulus cues. The system features 3D sound and vision by applying dynamic inaural synthesis and a 161°stereoscopic projection on a cylindrical screen. Room simulation data were acquired in situ in the form of orientational binaural room impulse responses and stereoscopic panoramic images. Music and speech performances were recorded acoustically in an anechoic room and optically in a greenbox studio and inserted into the virtual rooms. The Virtual Concert Hall provides nearly all perceptually relevant acoustical and optical cues, enabling experiments on the audiovisual perception of optoacoustically conflicting rooms under rich-cue conditions.
Placing Jules Itier’s Body of Work in Perspective
(Edições Universitárias Lusófonas, 2018) Massot, Gilles; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
The photographic work done by Jules Itier around the China Sea in 1844-45 while travelling with the Lagrené Mission was thought to be, up until recently, some of the earliest photographs of several Asian countries. A new round of research has established that they are indeed the earliest extant photographs of Asia, while proposing new readings of a few outstanding daguerreotypes such as the DaNang fort and the 360º panorama of Canton made-up of 14 plates. This paper looks at the longer term and theoretical implications of what we can now call a ground-breaking body of work.
Media Archaeology as Practice : The case of Bill Morrison's Dawson City: Frozen Time
(Edições Universitárias Lusófonas, 2018) Gonçalves, Dulce da Rocha; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
Bill Morrison’s film Dawson City: Frozen Time (2016) is about a famous story among archivists: in 1978, 533 nitrate film reels, mostly from the 1910s, were discovered in what used to be a swimming pool in a remote city in Canada. Many of these films were thought to be completely lost, and the Dawson City Film Find remain the only surviving prints to date. This paper will expose Morrison’s work as media archaeology practice, connected to media archaeology’s main thematic thread histories of the present. Morrison explores the Dawson City story as motive for a reflection on historical and material time. Erkki Huhtamo’s topos approach will be used as the framework for the analysis of Morrison’s treatment of history; and Vivian Sobchack’s conditions for experiencing the past as “presence” will inform the analysis regarding the importance of the film materiality. Finally, Eelco Runia’s thoughts on metonymic and metaphorical devices will inform the connection between history and presence.
Spectators' Experience of 2D Film Versus Virtual Reality Cinematic Film
(Edições Universitárias Lusófonas, 2018) Nicolae, Dana; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
Many agree that the best-known image related to virtual reality (VR) experiences is the head mounted display (HMD). While the history of headset-mediated virtual reality dates back to the sixties with Ivan Sutherland’s Sword of Damocles trials, the past two years have seen the release of impressive high definition image rendering HMDs that have also prompted the production of various VR experiences such as movies, games, therapeutic content, documentaries and even simple interactive movies just to name a few. The cinematic films had no prior precedent for this medium. Can we truly name VR films cinematic? What can we say about the difference between 360-degree fictional movies and VR computer-generated ones? What can we say about these new categories of technologically-mediated fiction and their spectators? How are they different from the two-dimensional spectator experience? These are legitimate questions that I will address in my paper.
Pioneer Iranian Stereo : Photographers at the Persian Court, 1858-1905
(Edições Universitárias Lusófonas, 2018) Tahmasbpour, Mohammad Reza; Pérez González, Carmen; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
The camera entered Iran as early as 1842, during the Qajar Dynasty (1785-1925). Naser al-Din Shah (reigned 1848-1896), was fascinated by the new medium and became both a patron of photography and an amateur photographer himself, establishing the Royal Photography Atelier in the Golestan Palace. Aqa Reza Iqbal al-Saltaneh (1843-1889) was appointed in 1863 as Naser al-Din Shah’s first court photographer. Henceforth known as Reza Akkasbashi, his fascinating legacy includes a rare collection of several hundred stereographs (1858-65). The rudimentary and very poor examples of stereo photographs analysed here can be revealing of a stereo desire that was not paired with proper technological skill. The paper shows how stereo craze reached Iran and how early local photographers experimented with double images and photographic cameras. Almost 40 years later, Naser al-Din Shah’s son Mozaffar al-Din Shah (reigned 1896-1907) produced stereographs himself during his second trip to Europe in 1903, and purchased a long list of photographic material from the London Stereoscopic and Photographic Society.
Spanish Stereoscopic Commercial Photography in the 20th Century: 'El Turismo Práctico' and 'Rellev'
(Edições Universitárias Lusófonas, 2018) Fernández Rivero, Juan Antonio; García Ballesteros, Maria Teresa; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
Throughout the twentieth century, the two major projects carried out in Spain to commercialize ste- reoscopic photography were those of the Barcelona publishing house Alberto Martín and the photo- grapher José Codina Torrás, both projects with an obvious tourist orientation. During the decade of 1910, the publishing house Alberto Martín launches a collection of stereosco- pic views of Spanish cities and monuments entitled "El Turismo Práctico”. The views were presented in standard size card mounts, grouped by cities, usually presented in envelopes with fifteen prints. On the other hand, José Codina Torrás starts to make stereoscopic series in 1929 on the occasion of the international fairs of Seville and Barcelona. He uses the Verascope format (45x110 mm): positive glass plates marketed in cardboard boxes and grouped by themes. Later he published his collection of Spanish views in card mounts (6x13 mm). Along with these, and under the brand “Rellev”, he launches between 1930 and 1936 a range of side products, including various types of stereoscopes and projectors.
The Expansive and Proximate Scales of Immersive Media
(Edições Universitárias Lusófonas, 2018) Jones, Nick; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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.
Invention of the Myth of Total Photography
(Edições Universitárias Lusófonas, 2018) Timby, Kim; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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 disruptive relations between sound and image in Poème Électronique
(Edições Universitárias Lusófonas, 2018) Centola, Nicolau; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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.

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