IJSIM : International Journal on Stereo & Immersive Media, Vol. 1, Nº. 1 (2017)
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Item The quest for stereoscopic movement: was the first film ever in 3-D?(Edições Universitárias Lusófonas, 2017) Pellerin, Denis; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoHistories 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!Item 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 InformaçãoThis 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.Item Seeing with two eyes and hearing with two ears(Edições Universitárias Lusófonas, 2017) Wade, Nicholas; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoImmersion 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.Item Shifting temporal planes: affective temporality in immersive audio-photographic installation art(Edições Universitárias Lusófonas, 2017) Santamas, Hali; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThis 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.Item Perceptual information or informed perception? synesthesia and sound-art(Edições Universitárias Lusófonas, 2017) Ghosh, Ronit; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoImmersive 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.Item The virtual concert hall : a research tool for the experimental investigation of audiovisual room perception(Edições Universitárias Lusófonas, 2017) Maempel, Hans-Joachim; Horn, Michael; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThe Virtual Concert Hall is a virtual environment that has been specifically designed for the optoacoustic simulation of performance rooms. As a tool for experimental research, its design is derived from particular methodological demands including harvesting comparable acoustical and optical information, dissociating the space and content of multisensory events,varying optical and acoustical room properties in a mutually independent manner, while also providing a full set of stimulus cues. The system features 3D sound and vision by applying dynamic inaural synthesis and a 161°stereoscopic projection on a cylindrical screen. Room simulation data were acquired in situ in the form of orientational binaural room impulse responses and stereoscopic panoramic images. Music and speech performances were recorded acoustically in an anechoic room and optically in a greenbox studio and inserted into the virtual rooms. The Virtual Concert Hall provides nearly all perceptually relevant acoustical and optical cues, enabling experiments on the audiovisual perception of optoacoustically conflicting rooms under rich-cue conditions.