__IJSIM : International Journal on Stereo & Immersive Media

Permanent URI for this collectionhttps://hdl.handle.net/10437/15664

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  • Item type: Item ,
    Placing Jules Itier’s Body of Work in Perspective
    (Edições Universitárias Lusófonas, 2018) Massot, Gilles; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    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. 
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    Artificial horizon : blind flight in the history of virtual reality
    (Edições Universitárias Lusófonas, 2022) Roberts, Ivy; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    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.
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    ‘Startling’, ‘extraordinarily beautiful’, and ‘obtrusive’ : reactions and responses to the stereo-autochrome
    (Edições Universitárias Lusófonas, 2022) Langford, Catlin; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    The commercial release of the Lumière Autochrome in 1907 made three-dimensional colour images appear in reach. The issues surrounding the viewing of autochromes seemed to be mitigated in the stereoscopic format, with stereo-autochromes branded a sensation in the photographic and popular press, compared to witchcraft in their combination of the stereoscopes’ sense of depth and relief with the autochrome’s full spectrum of colours. But over time, issues with the stereo-autochrome, ranging from ‘clumping’ to exposure times, fed into a rejection of the invention. This paper will draw on new research into the Victoria and Albert Museum’s collection of autochromes and related objects and ephemera.
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    3D negative space beyond stereoscopy
    (Edições Universitárias Lusófonas, 2017) Parmeggiani, Paolo; ECATI - School of Communication, Architecture, Arts and Information Technologies
    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.
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    Aplicações da fotografia a cores (processo Lumière) e da fotografia estereoscópica na medicina
    (Edições Universitárias Lusófonas, 2019) Peres, Marília; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
    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.
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    Media Archaeology as Practice : The case of Bill Morrison's Dawson City: Frozen Time
    (Edições Universitárias Lusófonas, 2018) Gonçalves, Dulce da Rocha; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    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.
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    Slave to the Rhythm : examining immersive experiences through the interplay of music and gameplay In “Crypt Of The Necrodancer”
    (Edições Universitárias Lusófonas, 2020) Kagan, Bradley; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    The recent surge in popularity of video games has allowed for a deeper understanding and analysis of how video games can create powerfully immersive experiences. The blending of music and sound with the interactive and reactive nature of gameplay provide an experience that draws players into these gameworlds. A striking example of this effect can be seen in the game ‘Crypt of the Necrodancer’. Music is used as a controlling element that reinforces the transportational sense of player immersion. The player is restricted to only move to the beat of the soundtrack. All gameplay and musical elements respond and move in time to the music, resulting in the player ‘dancing’ around the levels. Isabella Van Elferen’s (2016) ALI methodology is used to break down and examine key aspects of the game and its music by drawing connections between the gameplay mechanics and the audio design.
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    Volumetria e montagem como instrumentos de experimentação no expressionismo abstrato do cinema de Ken Jacobs
    (Edições Universitárias Lusófonas, 2023) Souza, Fabiano Pereira de; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
    Este artigo tem como objetivo reunir obras, propostas, características de estilo e análises relacionadas ao trabalho do cineasta experimental americano Ken Jacobs com efeito tridimensional, seja por meio de estereoscopia ou outras técnicas que ele tenha adotado. A questão da profundidade de campo e distribuição dos corpos na imagem é central no trabalho de Jacobs, mas ela não se pauta por representações verossímeis, pois a base da sua formação como artista se deu no escopo do Expressionismo Abstrato em meados do século XX. Com a tecnologia digital deste século, a produção do americano ligada à imagem tridimensional se intensificou e diversificou, de modo que falta ainda uma análise especializada mais ampla e aprofundada dessa parte de sua filmografia, propósito para o qual este estudo tem o intuito de contribuir.
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    Miklós Barabás : Innovation on the Periphery of Europe
    (Edições Universitárias Lusófonas, 2018) Szegedy-Maszák, Zsuzsanna; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Painter Miklós Barabás (1810–1898) is generally regarded as a highly prolific portraitist whose role in the cultural history of nineteenth-century Hungary is irrefutable, but whose art reflects a somewhat academic and outdated approach. However, as an artist who took a strong and continuous interest in perspective, optics, and photography, he was something of a pioneer in emerging ideas and approaches to the roles of art in an arguably somewhat peripheral part of Europe. Parallel to his substantial output of official depictions of people of influence, Barabás showed an intense curiosity in photography and alternative theories of perspective throughout his long career. In this article, I touch on a few examples of his interest in the question of perspective, which was relatively innovative for the time. 
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    'By the aid of our glass you see’ immersivity, illusion, and identity in "The Stereoscopic Photograph Magazine"
    (Edições Universitárias Lusófonas, 2023) Judd, Sarah; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    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.
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    Science, art and heritage : the isolated discovery of photography in Brazil
    (Edições Universitárias Lusófonas, 2019) Kossoy, Boris; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Produzidas por diferentes técnicas e processos, as fotografias se prestam como meios de conhecimento visual, fontes históricas para o estudo e a pesquisa transdisciplinar de múltiplos aspectos da história, cultura, memória e identidade das sociedades. O patrimônio cultural de um povo tem na imagem fotográfica e nos seus artefatos, a memória visual preservada. Meu tema se refere justamente ao momento anterior à expansão da fotografia pelo mundo. A um momento em que a fotografia,ou a ideia dela, era ainda algo que alguns pesquisadores, muito poucos, uns afastados dos outros, pensavam e experimentavam com um propósito semelhante: o de tornar permanentes as imagens da camera obscura. Me refiro às primeiras décadas do século XIX e, mais precisamente, à década de 1830. As abordagens históricas quando buscam analisar as possíveis causas determinantes das descobertas costumam repetir “que a ideia estava no ar”. Na realidade essa frase explica muito pouco sobre o fenômeno, pelo menos no caso que abordaremos aqui.
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    The Expansive and Proximate Scales of Immersive Media
    (Edições Universitárias Lusófonas, 2018) Jones, Nick; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    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.
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    Seeing with two eyes and hearing with two ears
    (Edições Universitárias Lusófonas, 2017) Wade, Nicholas; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    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.
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    Sound and the fragment in artistic practices
    (Edições Universitárias Lusófonas, 2017) Ribeiro, Luís Cláudio; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
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    From the observatory to the classroom : space images in the keystone “600 SET” and “1200 SET”
    (Edições Universitárias Lusófonas, 2017) Pérez Gonzalez, Carmen; ECATI - School of Communication, Architecture, Arts and Information Technologies
    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.
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    Stereoscopy's impact on the making of digital visual effects in films
    (Edições Universitárias Lusófonas, 2020) Jacopin, Esther; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Since Avatar (Cameron, 2009) released, almost every stereoscopic 3D (S3D) film contain digital visual effects (VFX). Assuming that stereoscopy and VFX nowadays go hand in hand, this article aims to study the impact of stereoscopy on the making of digital VFX. It will cross information with crew members' witnesses from the production of French films Amazonia (Ragobert, 2013), Astérix & Obélix (Tirard, 2012), and The Young and Prodigious T.S. Spivet (Jeunet, 2013). This case study-oriented approach will go through the three film production's stages: pre-production, on-set principle photography, and post-production; in order to provide an overview of changes in cinematographic techniques that occur when designing stereoscopic-VFX, as well as how cinema technicians manage to adapt their skills to make stereoscopic and visual effects cohabit in films' images.
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    Media archaeology experiences : method, meaning and amusement
    (Edições Universitárias Lusófonas, 2022) Bantjes, Rod; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    In this paper I make four interventions in favour of the seductive value of experiential media archaeology. 1) The constellation of material artefacts that mediate between us and the world are an implicit context for historic writing on perception, representation and epistemology. Engagement with the materiality of these often-forgotten artefacts offers insight into the meanings of texts that exclusively text-based scholarship would otherwise miss. 2) Tacit, artisanal knowledge embedded in artefacts sometimes exceeds that which can be found in written texts. I argue that an effective way of accessing this material logic is to re-build old artefacts to see how they work. Applying the theory of extended cognition to this process, I make a case for its unique epistemo- logical value. 3) I show how the seductive intimacy of these objects can be amplified by re-imagining their aesthetic possibilities. 4) I discuss the educational value of the “rational recreation” with media artifacts as “philosophical toys.”
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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; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
    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.
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    The stereoscopic negatives by J. Laurent : Portugal views in the year of 1869
    (Edições Universitárias Lusófonas, 2020) Teixidor-Cadenas, Carlos; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Jean (or Juan) Laurent lived in Madrid and started to work as a photographer in 1856, by opening a portrait gallery. In 1857 he was already taking stereoscopic views. Between 1861 and 1868 he was announced as the photographer for Queen Elizabeth II of Spain. In1869 he traveled to Portugal to obtain city views and portrait the Portuguese royal family. Laurent sold these photographs at his headquarters in Madrid and through an extensive network of depositaries in different Spanish and European cities, including Lisbon and Porto. All his negatives from Portugal were made with the technique of wet collodion glass plates, using a handcart as a photographic darkroom. Most of the copies were printed on albumen paper, while some others on Leptographic paper. The Laurent archive is preserved in Madrid, in the Spanish Cultural Heritage Institute. In total there are about 12,000 negatives of the nineteenth century, made by Laurent and his hired photographers. Among the stereoscopic negatives (13 x 18 cm format) there are 78 views of Portugal, mainly from Lisbon, Batalha, Tomar, Coimbra, Porto, Setúbal and Évora. Other interesting negatives of Portugal are twelve glass plates in the gigantic panoramic format of 27 x 60 centimeters. However, most of the conserved negatives in Portugal are of the standard 27 x 36 cm format. All positive copies were obtained by contact, at the same size by trimming the edges. Albumen paper copies were mounted on separate cards or in albums. As of 1875, Laurent’s company was named J. Laurent y Compañía.
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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; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
    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.