The D-Scope: Mining the Gap
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Optical Machines, Pr
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA UMI800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS Copyrighted materials in this document have not been filmed at the request of the author. They are available for consultation at the author’s university library. -
Elements of Screenology: Toward an Archaeology of the Screen 2006
Repositorium für die Medienwissenschaft Erkki Huhtamo Elements of screenology: Toward an Archaeology of the Screen 2006 https://doi.org/10.25969/mediarep/1958 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Huhtamo, Erkki: Elements of screenology: Toward an Archaeology of the Screen. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 6 (2006), Nr. 2, S. 31–64. DOI: https://doi.org/10.25969/mediarep/1958. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. -
Persistence of Vision: the Value of Invention in Independent Art Animation
Virginia Commonwealth University VCU Scholars Compass Kinetic Imaging Publications and Presentations Dept. of Kinetic Imaging 2006 Persistence of Vision: The alueV of Invention in Independent Art Animation Pamela Turner Virginia Commonwealth University, [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/kine_pubs Part of the Film and Media Studies Commons, Fine Arts Commons, and the Interdisciplinary Arts and Media Commons Copyright © The Author. Originally presented at Connectivity, The 10th ieB nnial Symposium on Arts and Technology at Connecticut College, March 31, 2006. Downloaded from http://scholarscompass.vcu.edu/kine_pubs/3 This Presentation is brought to you for free and open access by the Dept. of Kinetic Imaging at VCU Scholars Compass. It has been accepted for inclusion in Kinetic Imaging Publications and Presentations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Pamela Turner 2220 Newman Road, Richmond VA 23231 Virginia Commonwealth University – School of the Arts 804-222-1699 (home), 804-828-3757 (office) 804-828-1550 (fax) [email protected], www.people.vcu.edu/~ptturner/website Persistence of Vision: The Value of Invention in Independent Art Animation In the practice of art being postmodern has many advantages, the primary one being that the whole gamut of previous art and experience is available as influence and inspiration in a non-linear whole. Music and image can be formed through determined methods introduced and delightfully disseminated by John Cage. Medieval chants can weave their way through hip-hopped top hits or into sound compositions reverberating in an art gallery. -
Proto-Cinematic Narrative in Nineteenth-Century British Fiction
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-2016 Moving Words/Motion Pictures: Proto-Cinematic Narrative In Nineteenth-Century British Fiction Kara Marie Manning University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Literature in English, British Isles Commons, and the Other Film and Media Studies Commons Recommended Citation Manning, Kara Marie, "Moving Words/Motion Pictures: Proto-Cinematic Narrative In Nineteenth-Century British Fiction" (2016). Dissertations. 906. https://aquila.usm.edu/dissertations/906 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. MOVING WORDS/MOTION PICTURES: PROTO-CINEMATIC NARRATIVE IN NINETEENTH-CENTURY BRITISH FICTION by Kara Marie Manning A Dissertation Submitted to the Graduate School and the Department of English at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Approved: ________________________________________________ Dr. Eric L.Tribunella, Committee Chair Associate Professor, English ________________________________________________ Dr. Monika Gehlawat, Committee Member Associate Professor, English ________________________________________________ Dr. Phillip Gentile, Committee Member Assistant Professor, -
TESSERACT -- Antique Scientific Instruments
TESSERACT Early Scientific Instruments Special Issue: OPTICAL PLEASURES Catalogue One Hundred Seven Summer, 2018 $10 CATALOGUE ONE HUNDRED SEVEN Copyright 2018 David Coffeen CONDITIONS OF SALE All items in this catalogue are available at the time of printing. We do not charge for shipping and insurance to anywhere in the contiguous 48 states. New York residents must pay applicable sales taxes. For buyers outside the 48 states, we will provide packing and delivery to the post office or shipper but you must pay the actual shipping charges. Items may be reserved by telephone, and will be held for a reasonable time pending receipt of payment. All items are offered with a 10-day money-back guarantee for any reason, but you pay return postage and insurance. We will do everything possible to expedite your shipment, and can work within the framework of institutional requirements. The prices in this catalogue are net and are in effect through December, 2018. Payments by check, bank transfer, or credit card (Visa, Mastercard, American Express) are all welcome. — David Coffeen, Ph.D. — Yola Coffeen, Ph.D. Members: Scientific Instrument Society American Association for the History of Medicine Historical Medical Equipment Society Antiquarian Horological Society International Society of Antique Scale Collectors Surveyors Historical Society Early American Industries Association The Oughtred Society American Astronomical Society International Coronelli Society American Association of Museums Co-Published : RITTENHOUSE: The Journal of the American Scientific Instrument Enterprise (http://www.etesseract.com/RHjournal/) We are always interested in buying single items or collections. In addition to buying and selling early instruments, we can perform formal appraisals of your single instruments or whole collections, whether to determine fair market value for donation, for insurance, for loss, etc. -
NEKES COLLECTION of OPTICAL DEVICES, PRINTS, and GAMES, 1700-1996, Bulk 1740-1920
http://oac.cdlib.org/findaid/ark:/13030/kt8x0nf5tp No online items INVENTORY OF THE NEKES COLLECTION OF OPTICAL DEVICES, PRINTS, AND GAMES, 1700-1996, bulk 1740-1920 Finding Aid prepared by Isotta Poggi Getty Research Institute Research Library Special Collections and Visual Resources 1200 Getty Center Drive, Suite 1100 Los Angeles, CA 90049-1688 Phone: (310) 440-7390 Fax: (310) 440-7780 Email requests: http://www.getty.edu/research/conducting_research/library/reference_form.html URL: http://www.getty.edu/research/conduction_research/library/ ©2007 J. Paul Getty Trust 93.R.118 1 INVENTORY OF THE NEKES COLLECTION OF OPTICAL DEVICES, PRINTS, AND GAMES, 1700-1996, bulk 1740-1920 Accession no. 93.R.118 Finding aid prepared by Isotta Poggi Getty Research Institute Contact Information: Getty Research Institute Research Library Special Collections and Visual Resources 1200 Getty Center Drive, Suite 1100 Los Angeles, California 90049-1688 Phone: (310) 440-7390 Fax: (310) 440-7780 Email requests: http://www.getty.edu/research/conducting_research/library/reference_form.html URL: http://www.getty.edu/research/conducting_research/library/ Processed by: Isotta Poggi Date Completed: 1998 Encoded by: Aptara ©2007 J. Paul Getty Trust Descriptive Summary Title: Nekes collection of optical devices, prints, and games Dates: 1700-1996 Dates: 1740-1920 Collection number: 93.R.118 Collector: Nekes, Werner Extent: 45 linear feet (75 boxes, 1 flat file folder) Repository: Getty Research Institute Research Libary Special Collections and Visual Resources 1200 Getty Center Drive, Suite 1100 Los Angeles, CA 90049-1688 Abstract: German filmmaker. The collection charts the nature of visual perception in modern European culture at a time when pre-cinema objects evolved from instruments of natural magic to devices for entertainment. -
SIS Bulletin Issue 28
Scientific Instrument Society Bulletin of the Scientific Instrument Society No. 28 March 1991 Bulletin of the Scientific Instrument Society ISSN 0956-8271 For Table of Contents, see inside back cover Executive Committee Jon Darius, Chairman Gerard Turner, Vice Chairman Howard Dawes, Executive Secretary Stanley Warren, Meetings Secretary Allan Mills, Editor Desmond Squire, Advertising Manager Brian Brass, Treasurer Ronald Bristow Anthony Michaelis Arthur Middleton Stuart Talbot David Weston Membership and Administrative Matters Mr. Howard Dawes P.O. Box 15 Pershore Worcestershire WR10 2RD Tel: 0386-861075 United Kingdom Fax: 0386-861074 See inside back corer for information on membership Editorial Matters Dr. Allan Mills Astronomy Group University of Leicester University Road Leicester LE1 7RH Tel: 0533-523924 United Kingdom Fax: 0533-523918 Advertising Manager Mr Desmond Squire 137 Coombe Lane London SW20 0QY United Kingdom Tel: 081-946 1470 Organization of Meetings Mr Stanley Warren Dept of Archaeological Sciences University of Bradford Richmond Road Tel: 0274-733466 ext 477 Bradford BD7 1DP Fax: 0274-305340 United Kingdom Tel (home): 0274-601434 Typesetting and Printing Halpen Graphic Communication Limited Victoria House Gertrude Street Chelsea London SW10 0]N Tel 071-351 5577 United Kingdom Fax 071-352 7418 Price: £6 per issue, including back numbers where available The Scientific Instrument Society is Registered Charity No. 326733 The Delicate Issue of Short Research Book Reviews Authenticity Projects Sought The Editor would be pleased to hear from Quite recently, for the first time in its Nowadays, students reading for a first members willing to review new and history, the British Museum deliberately deg~ in a scienti~ sub~ct are commmdy forthcoming books in our general fieldof held an exhibition of fakes) Oriented required to carry out a small research interest.If author, titleand publisher(and, towards fine art and statuary, Baird's project in their final year. -
ILLUSION.Pdf
PUBLISHED BY SCIENCE GALLERY PEARSE STREET, TRINITY COLLEGE DUBLIN, DUBLIN 2, IRELAND SCIENCEGALLERY.COM T: +353 (O)1 896 4091 E: [email protected] ISBN: 978-0-9926110-0-2 INTRO 04 THE WILLING SUSPENSION OF DISBELIEF 06 ALL THE UNIVERSE IS FULL OF THE LIVES OF PERFECT CREATURES 08 BOTTLE MAGIC 10 COLUMBA 12 COUNTER 14 CUBES 16 DELICATE BOUNDARIES 18 DIE FALLE 20 MOIRÉ MATRIX: HYBRID FORM 22 MOTION AFTEREFFECT ILLUSION 24 PENROSE PATTERN & FIGURE-GROUND 26 REVELATORS I–VII 28 SIGNIFICANT BIRDS 30 SIMPLY SMASHING 32 SOMETHING IN THE WAY IT MOVES 34 SUPERMAJOR 36 THE HURWITZ SINGULARITY 38 THE INVISIBLE EYE 40 THE POINT OF PERCEPTION 42 TITRE VARIABLE NO9 44 TYPOGRAPHIC ORGANISM 46 WHAT WE SEE 48 YOU. HERE. NOW. 50 ARTIST’S BIOGRAPHIES 52 ACKNOWLEDGEMENTS 58 CURATORS 59 SCIENCE GALLERY SUPPORTERS 60 NOTHING IS AS IT SEEMS Should we always believe what we see right in front pattern of diamonds that gives the optical illusion of of us? Can you trust your senses? Has technology six cubes, when in fact the cube you see only consists made things clearer or muddied the waters between of three diamond shapes grouped together. Another reality and fiction? And is anything really as it seems? work, The Hurwitz Singularity by Jonty Hurwitz, makes Illusions distort the senses and mystify our logical the viewer actively engage with the piece’s structural thinking. The human mind can be easily fooled. composition before the illusion can be revealed. ILLUSION: NOTHING IS AS IT SEEMS offers Similar to contemporary illusionists, cutting- an insight into the human mind through an exploration edge research is also concerned with why our brains make of the motivations and mechanisms of sensory deception. -
Optical Illusion - Wikipedia, the Free Encyclopedia
Optical illusion - Wikipedia, the free encyclopedia Try Beta Log in / create account article discussion edit this page history [Hide] Wikipedia is there when you need it — now it needs you. $0.6M USD $7.5M USD Donate Now navigation Optical illusion Main page From Wikipedia, the free encyclopedia Contents Featured content This article is about visual perception. See Optical Illusion (album) for Current events information about the Time Requiem album. Random article An optical illusion (also called a visual illusion) is characterized by search visually perceived images that differ from objective reality. The information gathered by the eye is processed in the brain to give a percept that does not tally with a physical measurement of the stimulus source. There are three main types: literal optical illusions that create images that are interaction different from the objects that make them, physiological ones that are the An optical illusion. The square A About Wikipedia effects on the eyes and brain of excessive stimulation of a specific type is exactly the same shade of grey Community portal (brightness, tilt, color, movement), and cognitive illusions where the eye as square B. See Same color Recent changes and brain make unconscious inferences. illusion Contact Wikipedia Donate to Wikipedia Contents [hide] Help 1 Physiological illusions toolbox 2 Cognitive illusions 3 Explanation of cognitive illusions What links here 3.1 Perceptual organization Related changes 3.2 Depth and motion perception Upload file Special pages 3.3 Color and brightness -
The Enigma of Appearances Photography of the Third Dimension
The Enigma of Appearances Photography of the Third Dimension Tina Fiveash A report submitted in fulfilment of the requirements of the degree Master of Fine Art, School of Media Arts, College of Fine Arts, University of New South Wales by Tina Fiveash, July 2007. abstract The Enigma of Appearances is an examination into the medium of three- dimensional photography, with particular focus on the technique of stereoscopy. Invented in the mid-Victorian era, stereoscopy was an attempt to simulate natural three-dimensional perception via a combination of optics, neurology, and a pair of dissimilar images. Whilst successful in producing a powerful illusion of spatial depth and tangibility, the illusion produced by stereoscopy is anything but ‘natural’, when compared to three-dimensional perception observed with the naked eye. Rather, stereoscopic photography creates a strange and unnatural interpretation of three-dimensional reality, devoid of atmosphere, movement and sound, where figures appear frozen in mid-motion, like waxwork models, or embalmed creatures in a museum. However, it is precisely stereoscopic photography’s unique and enigmatic interpretation of three-dimensional reality, which gives it its strength, separating it from being a mere ‘realistic’ recording of the natural world. This thesis examines the unique cultural position that stereoscopy has occupied since its invention in 1838, from its early role as a tool for the study of binocular vision, to its phenomenal popularity as a form of mass entertainment in the second half of the 19th century, to its emergence in contemporary fine art practice in the late 20th and 21stt centuries. Additionally, The Enigma of Appearances gives a detailed analysis of the theory of spatial depth perception; it discusses the dichotomy between naturalia versus artificialia in relation to stereoscopic vision; and finally, traces the development of experimental studio practice and research into stereoscopic photography, undertaken for this MFA between 2005 and 2007. -
Eye Openers: Exploring Optical Illusions Provides an Enjoyable Learning Experience and Stimulates Interest in the Science of Vision
eye openers exploring optical illusions museum of Vision eye openers exploring optical illusions museum of Vision THE MISSION OF THE MUSEUM OF VISION IS TO EDUCATE PEOPLE ABOUT THE EYE AND VISION. The Museum has a variety of resources for people who are curious about our most important sense—vision. • A collection of over 10,000 vision-related objects, dating from the 300 BC to the present • Interactive public outreach programs for children • Traveling Exhibitions For more information, contact: Museum of Vision at 415-561-8500 ©2000 by the Museum of Vision Foundation of the American Academy of Ophthalmology 655 Beach Street, San Francisco, CA 94109-1336 contentsEYE OPENERS INTRODUCTION CHAPTER 1: HOW WE SEE; THE EYE AND THE HUMAN VISUAL SYSTEM 6 Key Concepts Parts of the Eye 7 How do You See? 8 How does the Eye Focus? 9 Activities Name the Parts 10 Draw Your Eye 11 CHAPTER 2: BINOCULAR VISION 12 Activities Different Views 13 Hole-in-Your-Hand 15 Find Your Blind Spot 17 CHAPTER 3: THE EYE-BRAIN CONNECTION 20 Activities 2 7 Optical Illusions 21 #1:Train Tracks 22 #2: Rotating Staircase 23 #3: Barrel 24 #4: Kissing Lovebirds 25 #5: Smiling Frogs 26 #6:Two Straws 27 #7:Two Flowers 28 CHAPTER 4: PERSISTENCE OF VISION 30 Activities Make a Spinning Disc (Thaumatrope) 31 Make a Flipbook 35 BIBLIOGRAPHY INTRODUCTION ptical illusions are pictures that play tricks on your eyes and confuse your brain. They are an enjoyable way of learning about the sci- ence of vision as well as a playful reminder that our assumptions about the visual world can sometimes be deceptive. -
Chapter 6 Visual Perception
Chapter 6 Visual Perception Steven M. LaValle University of Oulu Copyright Steven M. LaValle 2019 Available for downloading at http://vr.cs.uiuc.edu/ 154 S. M. LaValle: Virtual Reality Chapter 6 Visual Perception This chapter continues where Chapter 5 left off by transitioning from the phys- iology of human vision to perception. If we were computers, then this transition might seem like going from low-level hardware to higher-level software and algo- rithms. How do our brains interpret the world around us so effectively in spite of our limited biological hardware? To understand how we may be fooled by visual stimuli presented by a display, you must first understand how our we perceive or interpret the real world under normal circumstances. It is not always clear what we will perceive. We have already seen several optical illusions. VR itself can be Figure 6.1: This painting uses a monocular depth cue called a texture gradient to considered as a grand optical illusion. Under what conditions will it succeed or enhance depth perception: The bricks become smaller and thinner as the depth fail? increases. Other cues arise from perspective projection, including height in the vi- Section 6.1 covers perception of the distance of objects from our eyes, which sual field and retinal image size. (“Paris Street, Rainy Day,” Gustave Caillebotte, is also related to the perception of object scale. Section 6.2 explains how we 1877. Art Institute of Chicago.) perceive motion. An important part of this is the illusion of motion that we perceive from videos, which are merely a sequence of pictures.