__IJSIM : International Journal on Stereo & Immersive Media

URI permanente para esta coleção:https://hdl.handle.net/10437/15664

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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.
‘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.
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.
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.
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.
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.
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.
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.
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
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.
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.
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.”
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.
Perceptual information or informed perception? : synesthesia and sound-art
(Edições Universitárias Lusófonas, 2017) Ghosh, Ronit; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
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.
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; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
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.
3x3D – a sobreposição de imagens volumétricas como investigação estética do potencial da montagem
(Edições Universitárias Lusófonas, 2019) Pereira, Fabiano; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
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.
3-D: Realist Illusion or Perception Confusion? : The Technological Image as a Space for Play
(Edições Universitárias Lusófonas, 2021) Gunning, Tom; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
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).
Resonance and wonder : Susan Philipsz's 'study for strings'
(Edições Universitárias Lusófonas, 2017) Camacho, Sandra; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
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.
Protecting and exploiting photography through intellectual property in the long nineteenth-century britain
(Edições Universitárias Lusófonas, 2020) Pritchard, Michael; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
This paper presents a broad survey examining how the photographic industry in Britain used the patent system, trade-mark and design registration systems to protect and exploit inventions during the nineteenth and early twentieth centuries. It looks at how patents were perceived by the industry, how manufacturers and retailers exploited them, and wider issues which surrounded them, all of which received extensive coverage in the pages of the contemporary photographic press. It does not look at copyright protection for photographs which evolved separately.
The gravitational pull of Cuarón's gravity
(Edições Universitárias Lusófonas, 2022) Idrovo, Rene; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Film scholar Miguel Mera (2016) argued that Alfonso Cuarón’s Gravity (2013) was likely to generate a strong “gravitational pull” towards a broader exploitation of three-dimensional (3D) sound. In this article, the aesthetics of Cuarón’s work are compared to those in a number of other films. Alejandro González Iñárritu’s most recent films are presented as advocates of Cuarón’s film style, referred to here as immersive continuity. This approach makes constant use of long takes that are complemented by the immersive action of 3D sound. Moreover, it is observed that many other motion pictures in a variety of genres have made use of similar aesthetics, creating impressive three-dimensional sound designs. Through the examination of several Dolby Atmos titles, the author suggests that the screen-centrality of the cinematic voice is not as great a concern as previously thought. Ultimately, it is argued that conventional editing is now the biggest obstacle to achieving the mythical total cinema described by André Bazin.

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