IJSIM : International Journal on Stereo & Immersive Media, Vol. 1, Nº. 2 (2017)
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Item Guilherme Santos collection in the Rio de Janeiro museum of image and sound : A three-dimensional city (1908-1957)(Universidade Lusófona de Humanidades e Tecnologias, 2017) Mendonça, Maria IsabelaThis paper aims to present Guilherme Santos’ historical stereoscopic collection, which belongs to the Rio de Janeiro Museum of Image and Sound. As an amateur photographer, Santos widely registered the city of Rio de Janeiro between 1909 and 1957 and his stereoscopic collection is considered one of the most important in Brazil. The historical period in which he developed his work is characterised by the restructuring of Rio de Janeiro as a bourgeois metropolis. The modernised daily life and the new signs of development in the country’s former capital were intensely recorded by Santos during his photography trajectory. As an enthusiast of social life, he was constantly cataloguing the most diverse events, different touristic places and the exuberant nature of the “wonderful city”. Playing the role of a cultural representation of his time, Santos’ photographs give important clues of the shaping of a typically bourgeois lifestyle in Rio de Janeiro.Item Resonance and wonder : Susan Philipsz's 'study for strings'(Universidade Lusófona de Humanidades e Tecnologias, 2017) Camacho, SandraThis 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.Item Two logics of remediation in Lo-Fi : the inversion of immediacy in the cases of soundscape and indie rock(Universidade Lusófona de Humanidades e Tecnologias, 2017) Aragão, Thaís AmorimAmid other uses, the term "lo-fi" (a corruption of "low fidelity") appears both in soundscape studies and in indie rock. Even though it is associated to negative qualities in the former and positive ones in the latter, these apparently antagonistic postures reclaim conditions of sonic production and contemplation that might have been lost in the past—if not in a pre-industrial era, at least in a moment prior to the culture industry. Nevertheless, both emerge from the same idea of "fidelity" that hatched from the stereophony phenomenon. Such a case seems to defy the pertinence of Bolter and Grusin's double logic of remediation, so as to deal with sonic processes. That happens due to conceptions of lo-fi which demonstrate that by making media perceptible does not always result in the absence of presence, nor does it block a sense of immersion.Item 3D negative space beyond stereoscopy(Universidade Lusófona de Humanidades e Tecnologias, 2017) Parmeggiani, PaoloThis 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.Item Sound and the fragment in artistic practices(Universidade Lusófona de Humanidades e Tecnologias, 2017) Ribeiro, Luís CláudioItem Lisbon and its region : stereoscopic photography, C. 1853-1890(Universidade Lusófona de Humanidades e Tecnologias, 2017) Araújo, Nuno Borges deThis paper concerns the use of steroscopic photography in Lisbon and its region, especially in Sintra, from the 1850s to the end of the 1880s. We will synthetically address the documents and images generated by professional and amateur photographers, their context and their themes. The first material about stereoscopic photography, the first stereoscopic images and the first imported stereoscopes arrived in Lisbon in the 1850s through photographers, most of them foreigners, who brought them for their local use. A very small number of professionals took stereoscopic portraits in studios. As of the late 1850s, some professionals and trained amateurs used this technique and portrayed the city and its region. At the end of that decade and the beginning of the next, stereoscopic photos were sold in photographic studios and in a specialised warehouse. Already in the 1850s, but mainly after the late 1860s, Parisian photographers and editors of stereoscopic photos also occasionally produced and sold images of Portugal, including Lisbon, and had them listed in their catalogues. In the 1860s and 1870s, stereoscopic photos were exhibited in shows, according to contemporary descriptions, although their precise technical nature was not always very clear. The occasional production and commercialisation of stereoscopic images continued into the 1870s and declined sharply in the 1880s. It was only at the end of the next decade, and above all during the start of the 20th century, would stereoscopic photography regain the interest of professionals and amateurs.