IJSIM : International Journal on Stereo & Immersive Media

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

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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).
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.
3x3D – a sobreposição de imagens volumétricas como investigação estética do potencial da montagem
(Edições Universitárias Lusófonas, 2019) Pereira, Fabiano; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
A sobreposição de imagens é um recurso de montagem utilizado desde os primórdios do cinema, quase sempre pouco reconhecido como efeito de verossimilhança. No filme 3x3D (França/Portugal, 2013), vários tipos de sobreposição que evidenciam esse estilo de montagem são empregues e, mais atipicamente ainda, somados ao efeito 3D. O intuito deste artigo é investigar a eventual originalidade deste procedimento, tanto a sua forma como o conceito, a partir de um levantamento da produção cinematográfica em 3D ficcional filmado – excluindo-se, portanto, as animações –, o pré-cinema e os cinemas experimental e expandido. A análise deve indicar como a montagem do filme acrescenta complexidade tanto à construção perceptível de imagens sobrepostas, quanto à imagem fílmica tridimensional. Assim, pode-se observar a relação do 3D nas imagens audiovisuais contemporâneas e estimar a sua possível evolução.
Adventures of a photographer from Madeira in the imperial court of Brazil
(Edições Universitárias Lusófonas, 2019) Lissovsky, Maurício; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; ECATI - School of Communication, Architecture, Arts and Information 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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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.
Aplicações da fotografia a cores (processo Lumière) e da fotografia estereoscópica na medicina
(Edições Universitárias Lusófonas, 2019) Peres, Marília; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
O que podem ter em comum as fotografias estereoscópicas e as fotografias a cores desenvolvidas pelos irmãos Lumière? Ambos os processos são ilusões, levando a perceção humana a reconstruir a impressão de profundidade ou da cor natural. Os dois tipos de fotografia necessitavam de aparelhos que permitissem a sua visualização, contribuindo para uma imersão do observador no objeto observado. A junção dos dois processos originou as imagens estereoscópicas a cores (autocromos estereoscópicos) que foram populares na época. Vistas com equipamento especial, elas produziam imagens em 3D que seduziam o observador do início do século XX. As fotografias estereoscópicas e os autocromos, longe de serem unicamente um instrumento de diversão ou artístico, desde cedo ocuparam um lugar primordial no desenvolvimento da medicina, bem como no seu ensino e divulgação. Através de uma abordagem histórica, pretende-se neste artigo analisar o papel destas duas técnicas fotográficas imersivas na medicina, de modo a sublinhar as semelhanças entre os dois processos, assim como conhecer as suas limitações.
Artificial horizon : blind flight in the history of virtual reality
(Edições Universitárias Lusófonas, 2022) Roberts, Ivy; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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.
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 (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
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.
'By the aid of our glass you see’ immersivity, illusion, and identity in "The Stereoscopic Photograph Magazine"
(Edições Universitárias Lusófonas, 2023) Judd, Sarah; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; ECATI - School of Communication, Architecture, Arts and Information 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; ECATI - School of Communication, Architecture, Arts and Information 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; ECATI - School of Communication, Architecture, Arts and Information 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.
Curating moving images : Laurent Mannoni on his Archaeology of the Cinema
(Edições Universitárias Lusófonas, 2025) Flores, Victor; Saraiva, Beatriz; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
In 2024, the 30th anniversary of Laurent Mannoni’s seminal work The Great Art of Light and Shadow: Archaeology of the Cinema was marked. Published in 1994 on the occasion of the centenary of cinema, the book is a cornerstone in the study of the origins of moving images, drawing on extensive archival research and an intimate understanding of cinematic technology. Mannoni’s approach resonates with the broader field of Media Archaeology as it explored the rich tapestry of innovation and experimentation that preceded the dominant narratives of cinema’s birth. Victor Flores and Beatriz Saraiva engage Mannoni in a retrospective that spans his decades-long career at the Cinémathèque française, where he has played a pivotal role in exploring, preserving, and celebrating the material history of cinema. From his serendipitous early encounters with luminaries like Lotte Eisner to his passion for resurrecting forgotten technologies, Mannoni shares insights into his methodology, the evolution of media archaeology, and the enduring importance of objects like the magic lantern in understanding cinema’s trajectory. As Mannoni reflects on the challenges of conserving film heritage and the role of new technologies, he offers a vision for the future: the dream of a comprehensive French cinema museum, a space that bridges the gap between past and present while honoring the universal art of moving images. This interview took place over a video call connecting Lisbon and Paris on 25 October. It provides a tribute to his life’s work and an invitation to reconsider the intricate interplay of light, motion, and machinery that defines the cinematic experience.
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 (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
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.
The disruptive relations between sound and image in Poème Électronique
(Edições Universitárias Lusófonas, 2018) Centola, Nicolau; ECATI - School of Communication, Architecture, Arts and Information 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.
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.
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.
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.
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
Este artículo presenta un estudio exploratorio destinado a avanzar en la identificación, análisis, evaluación y difusión de evidencia documental relacionada con los medios visuales inmersivos en España entre 1822 y 1872. Las referencias relevantes para esta investigación se obtuvieron de testimonios culturales encontrados en anuncios de prensa histórica en línea. y colecciones de noticias alojadas en hemerotecas digitales españolas. Para lograr esto, la investigación se estructuró en torno a dos tareas fundamentales. La primera tarea implicó la delimitación, identificación, inventario, catalogación y registro de la información encontrada en las fuentes documentales. La segunda tarea consistió en mapear y visualizar los registros ubicados en fuentes primarias, como periódicos locales en español a través de gráficos de red y visualizaciones.

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