SIS Bulletin Issue 28
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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. -
Photography and Animation
REFRAMING PHOTOGRAPHY photo and animation PHOTOGRAPHY AND ANIMATION: ANIMATING IMAGES THROUGH OPTICAL TOYS AND OTHER AMUSEMENTS course number: instructor’s name: room number: office number: course day and times: instructor’s email Office Hours: Ex: Tuesdays and Thursdays, 11:45am -1:15pm or email to set up an appointment. COURSE DESCRIPTION Before modern cinema, 19th century optical toys such as the “wonder turner” and the “wheel of the Devil” entertained through the illusion of motion. In this class, you’ll animate still photographic images. You’ll learn to make thaumatropes, flipbooks, and zoetropes, devices that rely upon the persistence of vision, and you’ll create other entertaining objects such as an animated exquisite corpse, tunnel books, strip animations, and moving panoramas. You’ll learn to construct these devices and effectively create an illusion with each. The main focus of the course will be on the development your ideas. COURSE PROJECTS There will be three projects in which you will create an artwork based on a particular early animation device. For these projects, you will create images and build the optical device based on your ideas as an artist. All projects will be evaluated on the strength of your ideas, the inventiveness of your use of the device, the craft of the images and object, and the success of the final illusion. PROJECT 1: flip books PROJECT 2: thaumatropes PROJECT 3: zoetrope COURSE WORKSHOPS There will be five in-class workshops that provide an entry point into experimenting with the larger project, or that allow you to play with other types of devices and illusions. -
Early Cinema's Touch(Able) Screens – from Uncle Josh to Ali Barbouyou
Repositorium für die Medienwissenschaft Wanda Strauven Early cinema’s touch(able) screens – From Uncle Josh to Ali Barbouyou 2012 https://doi.org/10.25969/mediarep/15054 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Strauven, Wanda: Early cinema’s touch(able) screens – From Uncle Josh to Ali Barbouyou. In: NECSUS. European Journal of Media Studies, Jg. 1 (2012), Nr. 2, S. 155–176. DOI: https://doi.org/10.25969/mediarep/15054. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5117/NECSUS2012.2.STRA Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org NECSUS Published by: Amsterdam University Press Early cinema’s touch(able) screens From Uncle Josh to Ali Barbouyou Wanda Strauven NECSUS 1 (2):155–176 DOI: 10.5117/NECSUS2012.2.STRA Keywords: cinema, film, tangibility, touchscreen Return of the rube? Last spring a ‘magic moment’ happened at an afternoon screening of Martin Scorsese’s 3D film Hugo (2011). When the end credits were scrolling across the huge screen-wall and the audience was leaving the auditorium, a little girl ran to the front. At first a bit hesitant, she reached up and touched the screen. -
Forms of Machines, Forms of Movement
Forms of Machines, Forms of Movement Benoît Turquety for Hadrien Fac-similes In a documentary produced in 1996-1997, American filmmaker Stan Bra- khage, who spent much of his life painting and scratching film, stated that One of the major things in film is that you have 24 beats in a second, or 16 beats or whatever speed the projector is running at. It is a medium that has a base beat, that is intrinsically baroque. And aesthetically speaking, it’s just appalling to me to try to watch, for example, as I did, Eisenstein’s Battleship Potemkin on video: it dulls all the rhythm of the editing. Because video looks, in comparison to the sharp, hard clarities of snapping individual frames, and what that produces at the cut, video looks like a pudding, that’s virtually uncuttable, like a jello. It’s all ashake with itself. And furthermore, as a colorist, it doesn’t interest me, because it is whatever color anyone sets their receptor to. It has no fixed color.1 Each optical machine produces a specific mode of perception. Canadian filmmaker Norman McLaren also devoted an essential part of his work to research on the material of film itself, making films with or without camera through all kinds of methods, drawing, painting, scratching film, develop- ing a reflection on what a film frame is and what happens in the interval between two images. Yet today his work is distributed by the National Film Board of Canada only in digital format, and such prestigious institutions as the Centre Pompidou in Paris project it that way – even as the compression of digital files required by their transfer on DVD pretty much abolishes the fundamental cell that is the single frame. -
Special Catalogue and Price List of Instructive Mechanical, Optical And
TRADE MARK. 2 Medals Chicago 1893. Gold Medal Gold Medal Nuremberg 1882. Nuremberg 1896. Factory. * tUCj^-sJ ^JC. F actory. — lit rut t if f “ f— . i [vTa* Factory and Warehouse * INSTRUCTIVE * OPTICAL TOYS. Magic Lanterns Dissolving view ffpparati. 5<dopticons. Cinematographs. Large Collection of new slides in sets. Stereoscopes. i.» • JlC >M*\ S" ; o N 1 we made When starting the manufacture of MttgiC LdtertlS a special point of using for this speciality only an excellent and effective Optic. adhered to even in the manufacture of our cheapest This principle, which we have Lanterns, we have to thank, that our goods are not only everywhere appreciated but also find preference to the competition manufacture. Through our continual endeavours we have succeeded in bringing our through a correct Optic Lanterns to a fine state of perfection , and produced. sharp, distinct and large pictures are in Cinematographs we are bringing forth various new sorts this year, which are partly constructed after an entirely new principle. As a special advantage of this new system we might mention the excellent reproduction of living pictures with an almost noiseless working. Our collection of Magic Lantern Slides we have now enlarged, amongst other series, with a new (second set ) of artistic pictures . which like the first serie were sketched and painted by a well known artist. We have also supplemented our collection through a number of other series of slides. y y I he section t(i} £OSCOj)CS etc. has also been enlarged through a number of new patterns, the finish of which is in every respect strong and elegant. -
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. -
Through the Looking Glass: Philosophical Toys and Digital Visual Effects
Through the Looking Glass: Philosophical Toys and Digital Visual Effects Stephen Prince Abstract: Digital visual effects bridge art and science in ways that have ex- panded the expressive tools available to filmmakers. Digital imaging also has enlarged a domain for realism in cinema based on indexical and perceptual factors. Examining these factors, the article questions the visual skepticism that often surrounds discussion of visual effects in film studies. A conjunction of art and science has characterized cinema throughout its history, especially in the era of “philosophical toys” from which the medium originated. The ar- ticle examines that era in light of what it suggests about digital imaging to- day and the aesthetic forms that it enables. Keywords: digital effects, indexical image, perceptual realism, philosophical toy, special effects Digital visual effects come to us by way of the phenakistoscope. Nothing ever happens for the first time in film history, and we can learn about contempo- rary modes of image making by taking a detour into the past, to the begin- nings of cinema in an era when science and entertainment were connected by a well-traveled bridge. The bridge between art and sci- Digital visual effects ence that gave birth to movies is relevant to our understanding of come to us by way of how digital imaging tools function in cinema today. Art and science the phenakistoscope. coexist in a domain where fantastic worlds are built with a physically accurate rendition of the behavior of solids, liquids, gases, light, movement, and sound. This area of contemporary culture is the domain of digital visual effects in cinema.