__IJSIM : International Journal on Stereo & Immersive Media

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

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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.
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
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.
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 'Animated Polystereoscope' of Francisco Dalmau : Introducing Stereo Photography in Barcelona Through Optical Shows (1853-1863)
(Edições Universitárias Lusófonas, 2018) Cuenca, Celia; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
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.
Shifting temporal planes : affective temporality in immersive audio-photographic installation art
(Edições Universitárias Lusófonas, 2017) Santamas, Hali; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
This paper explores the temporal implications of audio-photographic art which is defined as a creative practice that utilizes sound and photographic images in an effort to create immersive, affective installations. When presented in an immersive context, I contend that the temporal dissonance between still image and sound opens up a space between the materials. This conceptual space between the materials becomes a site of interaction between art and participant, sound and image, stasis and movement. Drawing on my own creative practice and the theoretical work of Roland Barthes, Jonathan Kramer and Eleni Ikoniadou I set out the differences in temporality between sound and photography. Using this as the basis of this work, I then go on to show how the space between is created through the clashing of multiple shifting temporal planes in the perception of the participant and how this complex temporality can create an immersive, transcendent temporal effect.
Media Archaeology as Film Practice : The Werner Nekes Collection
(Edições Universitárias Lusófonas, 2021) Monteiro, Helena Gouveia; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
The Nekes Collection of visual techniques and optical devices is an invaluable resource for scholars and filmmakers researching a wider history of film and animation comprised of early and pre cinematographic materials.Items relating to three-dimensional optical techniques such as stereoscopes, perspective theatres, peepshows, vues d’optique, and zograscopes (the bulk dating from the mid-18th century to the early 20th century) make for a significant part of the collection and reveal an interest in three-dimensional representation and binocular superimposition.The films of Dore O. (b.1946) and Werner Nekes (1944–2017) stand out in terms of the richness of experimental visual techniques in dialogue with this extensive historical archive used primarily as a source for creating new films and devising new ways of engaging with the medium.This paper presents an overview of the collection and investigates the connections between the objects found in the archive and Nekes and O.’s editing techniques, with a particular focus on three-dimensionality and spatial illusions created through transparency and dissolving effects.
Pioneer Iranian Stereo : Photographers at the Persian Court, 1858-1905
(Edições Universitárias Lusófonas, 2018) Tahmasbpour, Mohammad Reza; Pérez González, Carmen; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
The camera entered Iran as early as 1842, during the Qajar Dynasty (1785-1925). Naser al-Din Shah (reigned 1848-1896), was fascinated by the new medium and became both a patron of photography and an amateur photographer himself, establishing the Royal Photography Atelier in the Golestan Palace. Aqa Reza Iqbal al-Saltaneh (1843-1889) was appointed in 1863 as Naser al-Din Shah’s first court photographer. Henceforth known as Reza Akkasbashi, his fascinating legacy includes a rare collection of several hundred stereographs (1858-65). The rudimentary and very poor examples of stereo photographs analysed here can be revealing of a stereo desire that was not paired with proper technological skill. The paper shows how stereo craze reached Iran and how early local photographers experimented with double images and photographic cameras. Almost 40 years later, Naser al-Din Shah’s son Mozaffar al-Din Shah (reigned 1896-1907) produced stereographs himself during his second trip to Europe in 1903, and purchased a long list of photographic material from the London Stereoscopic and Photographic Society.
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; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
This paper presents an exploratory study aimed at advancing the identification, analysis, evaluation, and dissemination of documentary evidence related to immersive visual media in Spain between 1822 and 1872. The relevant references for this research were obtained from cultural testimonies found in online historical press advertisements and news housed in Spanish digital newspaper libraries. The main objective of this study is to highlight the obscured history of early immersive optical performances, thereby enhancing our understanding of the archaeology of audiovisual media. In pursuit of this, we have striven to address the following research enquiries: What were the most frequently represented immersive visual media in the Spanish territory between 1822 and 1872? In which Spanish cities were these immersive visual media exhibited between 1822 and 1872? Where were the immersive shows located within Spain between 1822 and 1872? To accomplish this, the research was structured around two fundamental tasks. The first task involved delimitation, identification, inventory, cataloguing, and registration of information found in the documentary sources. The second task involved mapping and visualising the records located in primary sources, such as local Spanish newspapers through network graphs and visualisations. This study has important implications for understanding the early use of immersive visual media technology in Spain and offers new perspectives for future research on the topic.
The disruptive relations between sound and image in Poème Électronique
(Edições Universitárias Lusófonas, 2018) Centola, Nicolau; CICANT - Centre for Research in Applied Communication, Culture, and New 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.
Lighting in cinematic virtual reality
(Edições Universitárias Lusófonas, 2023) Säks, Ermo; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
With the emergence of inexpensive virtual reality (VR) head-mounted display (HMD) systems in recent years, VR has become commercially viable and more widely popular with some 200 million users worldwide. An important role in this take-up has been the development of cinematic virtual reality (CVR). As in any imagery, lighting design is one of the crucial elements in CVR that can greatly enhance the immersive experience in creating a desired look and feel and an engaging environment for the viewers to explore. However, there is currently very limited research on how set lighting can be and is used in CVR productions. This paper aims to fill this gap by reviewing the prevalent concepts for set lighting 360-degree videos which are companioned by examples by studying an existing CVR drama genre experience Wiktoria 1920. This paper investigates four set lighting strategies used in CVR: natural or ambient lighting, practical lighting, hidden lighting, and mixed lighting.
Jornalismo imersivo : dez anos de pesquisa e produções
(Edições Universitárias Lusófonas, 2019) Fonseca, Adalton; Lima, Luciellen; Barbosa, Suzana; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
Este artigo tem como objetivo fazer uma revisão dos primeiros dez anos de pesquisa do jornalismo imersivo, fazendo uma relação com a prática jornalística. Parte-se da formulação inicial do conceito apresentado no trabalho de De la Peña et al. (2010). Explora-se com uma pesquisa bibliográfica uma metodologia de abordagem qualitativa, combinada com uma abordagem quantitativa através de uma análise bibliométrica das publicações acadêmicas sobre o conceito. Desta forma, elabora-se um mapeamento das investigações sobre o jornalismo imersivo em português, inglês e espanhol, e propõe-se uma categorização destes trabalhos considerando as respectivas abordagens. Observam-se também produtos imersivos profissionais explorados como corpus empírico nas publicações. Entre os resultados conclui-se que há uma escassez de pesquisas aplicadas e uma demanda por um tratamento mais aprofundado do jornalismo imersivo, para além de abordagens meramente descritivas. Regista-se ainda um desfasamento, ainda não abordado academicamente, entre o contexto a partir do qual o conceito de jornalismo imersivo foi desenvolvido e a prática relatada em publicações científicas.
The quest for stereoscopic movement : was the first film ever in 3-D?
(Edições Universitárias Lusófonas, 2017) Pellerin, Denis; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Histories of the cinema mention the Lumière brothers and sometimes Louis Le Prince as the precursors of the moving pictures but they usually forget the important part played by Antoine Claudet, Louis Jules Duboscq, Charles Wheatstone and Joseph Plateau. Barely a year after the introduction of the lenticular stereoscope, these polymaths managed to create what can not only be considered as the first "movie" ever but also happens to be in 3-D!
Literature and panoramic structure
(Edições Universitárias Lusófonas, 2023) Fontanella, Lee; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
American writer John Greenleaf Whittier composed his ambitious poem "The Panorama" in late 1855, not long before the Civil War of the States (1861-1865). Literarily, it was meant to dissuade the North and new western territories from following the example of the southern Democrats, and to abolish black slavery. For us today, interest rests also in the way this poem was structured. Whittier must have witnessed a "moving-Panorama" spectacle in his native New England and determined that he would apply that same mechanism for revelation, as structural basis for his lengthy, sententious poem. The political message of this work has earned notable attention, but its reliance on a mid-nineteenth-century popular spectacle had been mentioned just in passing. My aim is to demonstrate intricately how that popular spectacle was applied in this poem.
Invention of the Myth of Total Photography
(Edições Universitárias Lusófonas, 2018) Timby, Kim; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
In the mid-twentieth-century, it was widely believed that innovations in photographing movement, colour, and depth would one day afford complete mastery of the simulation of visual perception. This collective representation of purpose and of progress in photography was eloquently expressed as the “myth of total cinema” by André Bazin (1946), who argued that the longing for “integral realism” had always marked mechanical reproduction, inspiring inventors since the nineteenth century. This assumption remains common today. The present article historicises the integral-image utopia, mapping the expression of its intellectual mechanisms in the first accounts of photography then in photography’s emerging historiography. This research reveals the absence of a shared project around “complete” perceptual realism for most of the nineteenth century. The idea of progress toward a total image reproducing vision emerged and came to prevail in the popular imagination at a very particular moment – in 1896, following the invention of cinema – transforming how people thought about the future of photography and told the story of its past.
Adventures of a photographer from Madeira in the imperial court of Brazil
(Edições Universitárias Lusófonas, 2019) Lissovsky, Maurício; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
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.
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.
The aesthetic illusion of “Dogville”
(Edições Universitárias Lusófonas, 2023) Yeoman, Ivar Erik; CICANT - Centre for Research in Applied Communication, Culture, and New 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.
A case of science and playfulness
(Edições Universitárias Lusófonas, 2022) Lucena, Isabel de; CICANT - Centre for Research in Applied Communication, Culture, and New 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.

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