IJSIM : International Journal on Stereo & Immersive Media, Vol. 2, Nº. 1 (2018)
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Item Spectators' Experience of 2D Film Versus Virtual Reality Cinematic Film(Universidade Lusófona de Humanidades e Tecnologias, 2018) Nicolae, DanaMany agree that the best-known image related to virtual reality (VR) experiences is the head mounted display (HMD). While the history of headset-mediated virtual reality dates back to the sixties with Ivan Sutherland’s Sword of Damocles trials, the past two years have seen the release of impressive high definition image rendering HMDs that have also prompted the production of various VR experiences such as movies, games, therapeutic content, documentaries and even simple interactive movies just to name a few. The cinematic films had no prior precedent for this medium. Can we truly name VR films cinematic? What can we say about the difference between 360-degree fictional movies and VR computer-generated ones? What can we say about these new categories of technologically-mediated fiction and their spectators? How are they different from the two-dimensional spectator experience? These are legitimate questions that I will address in my paper.Item The disruptive relations between sound and image in Poème Électronique(Universidade Lusófona de Humanidades e Tecnologias, 2018) Centola, NicolauThis 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.Item Pioneer Iranian Stereo : Photographers at the Persian Court, 1858-1905(Universidade Lusófona de Humanidades e Tecnologias, 2018) Tahmasbpour, Mohammad Reza; Pérez González, CarmenThe 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.Item Media Archaeology as Practice : The case of Bill Morrison's Dawson City: Frozen Time(Universidade Lusófona de Humanidades e Tecnologias, 2018) Gonçalves, Dulce da RochaBill 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.Item Immersion and Beyond : a critical approach to understanding the aesthetic potential of 3D audio(Universidade Lusófona de Humanidades e Tecnologias, 2018) Breitsameter, SabineSince around one decade, the word “immersion” has become one of the major terms relating to current developments in digital media. Being able to (re-)create the experience of being surrounded by and immersed in sensory impressions is widely considered as a main characteristic of nowaday’s digital technologies, as for example in games, in 360° film or in 3D audio. As in 3D audio, immersion’s aesthetic strength is mainly assigned to cohesiveness as well as to its capability to create an “as if” experience. By this it is coming very close to the experience of reality, and is touching, if not transgressing the boundaries to Virtual Reality. Concerning sound and audiomedia, there is, however, an interesting history of critical approach, when it comes to illusionism and realism made possible and enhanced by new technologies. This paper will not only point out critical aspects of immersion as a goal for media experience in general, but show artistic methods and strategies, by which the critique can be made fruitful, expanding 3D-audio’s aesthetic potential beyond the limitations of the merely obvious.Item Invention of the Myth of Total Photography(Universidade Lusófona de Humanidades e Tecnologias, 2018) Timby, KimIn 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.