IJSIM : International Journal on Stereo & Immersive Media, Vol. 5, Nº. 1 (2021)

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http://hdl.handle.net/10437/12356

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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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    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).
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    Cultural Tourism through the Lens of the Stereoscope : Underwood & Underwood’s Egypt, a 1905 Stereoview Boxed Set, Considered
    (Edições Universitárias Lusófonas, 2021) Thompson, Seth; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    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.
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    Gabriel Lippmann (1845–1921) & Frederick Ives (1856–1937) : The French Physicist Versus The American Inventor in the Pursuit of Colour and 3-Dimensionality
    (Edições Universitárias Lusófonas, 2021) Gamble, Susan; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    I explore the reception to photographic invention at the end of the nineteenth century and how photographic practice was embraced by the Academy with Lippmann’s Nobel Prize-winning process. Whereas Lippmann published a theory in the public domain, a requirement for the Nobel Prize, Ives was dependent on commercial sales. However, Ives was a critic of Lippmann’s process which competed with his own efforts for display and publicity. Here, I review the division of theory with mechanical invention that existed between Lippmann’s and Ives’ 3-Dimensional concepts. And I discuss the assessment by Herbert Ives (1882–1953), the son of Frederick Ives, of both these inventions.
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    Immersive histories : Photography and The Absorption of the Past
    (Edições Universitárias Lusófonas, 2021) Edwards, Elizabeth; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    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.
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    The Kaiser-Panorama and Tourism in Belgium Around 1900
    (Edições Universitárias Lusófonas, 2021) Engelen, Leen; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    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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    Mallorca (Balearic Islands) in the Visual Culture and Stereoscopic Photography of the First Decades of the 20th Century : Psychiatrist and Amateur Photographer Jaume Escalas Real
    (Edições Universitárias Lusófonas, 2021) Oliver Torelló, Juan Carlos; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Stereoscopy occupied a prominent place in amateur photography in the first third of the 20th century. Amateur photographers used it to record their excursions and trips, often in the landscape and monumental tradition of nineteenth-century tourist photography. Other themes were also added: leisure, family scenes, cultural concerns, etc. One example is the work of the Mallorcan doctor Jaume Escalas Real (1893-1979), who used stereoscopic and other techniques (1915-1975) to record landscapes, events, everyday life and travel. He was also a leading promoter of Mallorca's tourist projection thanks to his graphic guides (begun in the 1930s). His photographic collection has been preserved with hundreds of positives and stereoscopic negatives, as well as his cameras and accessories.
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    Media Archaeology as Film Practice : The Werner Nekes Collection
    (Edições Universitárias Lusófonas, 2021) Monteiro, Helena Gouveia; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    The Nekes Collection of visual techniques and optical devices is an invaluable resource for scholars and filmmakers researching a wider history of film and animation comprised of early and pre cinematographic materials.Items relating to three-dimensional optical techniques such as stereoscopes, perspective theatres, peepshows, vues d’optique, and zograscopes (the bulk dating from the mid-18th century to the early 20th century) make for a significant part of the collection and reveal an interest in three-dimensional representation and binocular superimposition.The films of Dore O. (b.1946) and Werner Nekes (1944–2017) stand out in terms of the richness of experimental visual techniques in dialogue with this extensive historical archive used primarily as a source for creating new films and devising new ways of engaging with the medium.This paper presents an overview of the collection and investigates the connections between the objects found in the archive and Nekes and O.’s editing techniques, with a particular focus on three-dimensionality and spatial illusions created through transparency and dissolving effects.
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    Revert Henry Klumb, a Coleção do Imperador e a fotografia estereoscópica no Brasil do século XIX
    (Edições Universitárias Lusófonas, 2021) Santos, Maria Isabela Mendonça; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Este artigo apresenta uma análise das fotografias estereoscópicas de Revert Henry Klumb pertencentes à Coleção Thereza Christina Maria da Fundação Biblioteca Nacional (Coleção do Imperador). A partir de tais vistas estereoscópicas, procura-se compreender o papel que este meio visual desempenhou na configuração de um novo regime de visualidade no Brasil de oitocentos, bem como a participação da família real no processo de popularização deste medium na Corte imperial.