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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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.
'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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; 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.
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.
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.
Experience design for virtual reality : from illusion to agency
(Edições Universitárias Lusófonas, 2020) Kuchelmeister, Volker; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
Virtual Reality (VR) allow viewers to inhabit and interact with virtual spaces in a way that has the potential to be much more compelling than any other medium, breaking through the barrier between merely watching to experiencing a situation or environment. It has an experiential quality by integrating the domains of interactive video games, filmmaking, storytelling and immersion. A balancing act between narrative design, digital placemaking and user agency. In this article, written from a practitioner’s perspective, I propose and demonstrate strategies in how immersive experiences can utilise multiple modes of representations, such as omnidirectional stereoscopic video and real-time 3D rendered geometry, to form a coherent spatial narrative environment for a viewer in VR. Particular emphasis will be placed on factors in visual perception; experience design including narration, scenography and user agency; and the technical conditions of the medium. This insight emerged from a series of recent VR projects, which are fundamentally different in terms of content, design and production techniques, but this diversity is an opportunity to lay the foundations for a classification system for VR experiences and establish a common language for this exciting new medium.
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.
The FBS collection of stereoscopic photography : a treasure trove fostering research
(Edições Universitárias Lusófonas, 2023) Pérez González, Carmen; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
The article presents the FBS Collection‘s project, which focuses on establishing the FBS Foundation, devoted to fomenting the study of the history of photography from a scientific and interdisciplinary point of view. The first part is devoted to the evolution of the collection by periods between 1978 and 2023: The thrill of stereoscopy (1978 to 1985), The universe of suppliers and collectors (1985 to 1996), Immersion in the world of stereoscopy (1996 to 2008), The volume and variety of the collection have grown so, that they overflow its current space (2008 to 2015), Utility and preservation of the collection as a whole (2015 to 2020), Viability of the Foundation and formation of multidisciplinary research groups (2020 to 2023). The second part will reflect on the elements and subcategories within the collection. And the third part will focus on new activities and applications for the collection in different disciplines, the activities already undertaken and those we hope to develop in the field of neuroscience, among others.
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.
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.
Global warming : the historical photographic evidence
(Edições Universitárias Lusófonas, 2020) Blair, Peter; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
The photographic record of the Alps stretches from the 1840s to the present day and therefore provides visual evidence and significant insight into the devastating impact of global warming on alpine glaciers. In this study, we match photographs from around 1860, 1910 and today, from the same viewpoint, to provide a visual narrative of change in the glaciers of Chamonix Mont-Blanc. During a cooler period in the 16th-19th centuries, now known as the “Little Ice Age”, glaciers descended into alpine valleys and destroyed villages. The most recent maximum of alpine glaciers was attained in the 1820s. They remained fairly close to this maximum until the late 1860s, allowing early photographers to capture them in all their glory. Since then, glaciers have been in general retreat, with shrinkage accelerating on the back of global warming caused by human activity. The speed of change is alarming and is a concern not merely for skiers and alpinists.

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