The Chronophotographer Ernst Kohlrausch and the Physics of Gymnastics
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The Art of Victorian Photography
THE ART OF VICTORIAN Dr. Laurence Shafe [email protected] PHOTOGRAPHY www.shafe.uk The Art of Victorian Photography The invention and blossoming of photography coincided with the Victorian era and photography had an enormous influence on how Victorians saw the world. We will see how photography developed and how it raised issues concerning its role and purpose and questions about whether it was an art. The photographic revolution put portrait painters out of business and created a new form of portraiture. Many photographers tried various methods and techniques to show it was an art in its own right. It changed the way we see the world and brought the inaccessible, exotic and erotic into the home. It enabled historic events, famous people and exotic places to be seen for the first time and the century ended with the first moving images which ushered in a whole new form of entertainment. • My aim is to take you on a journey from the beginning of photography to the end of the nineteenth century with a focus on the impact it had on the visual arts. • I focus on England and English photographers and I take this title narrowly in the sense of photographs displayed as works of fine art and broadly as the skill of taking photographs using this new medium. • In particular, • Pre-photographic reproduction (including drawing and painting) • The discovery of photography, the first person captured, Fox Talbot and The Pencil of Light • But was it an art, how photographers created ‘artistic’ photographs, ‘artistic’ scenes, blurring, the Pastoral • The Victorian -
Understanding Edward Muybridge: Historical Review of Behavioral
NEUROSURGICAL FOCUS Neurosurg Focus 39 (1):E4, 2015 Understanding Edward Muybridge: historical review of behavioral alterations after a 19th-century head injury and their multifactorial influence on human life and culture Sunil Manjila, MD,1 Gagandeep Singh, MD,2 Ayham M. Alkhachroum, MD,2 and Ciro Ramos-Estebanez, MD, PhD2,3 Departments of 1Neurosurgery and 2Neurology, and 3Divisions of Neurocritical Care and Stroke, Neurological Institute, University Hospitals Case Medical Center, Cleveland, Ohio Edward Muybridge was an Anglo-American photographer, well known for his pioneering contributions in photography and his invention of the “zoopraxiscope,” a forerunner of motion pictures. However, this 19th-century genius, with two original patents in photographic technology, made outstanding contributions in art and neurology alike, the latter being seldom acknowledged. A head injury that he sustained changed his behavior and artistic expression. The shift of his interests from animal motion photography to human locomotion and gait remains a pivotal milestone in our understand- ing of patterns in biomechanics and clinical neurology, while his own behavioral patterns, owing to an injury to the orbitofrontal cortex, remain a mystery even for cognitive neurologists. The behavioral changes he exhibited and the legal conundrum that followed, including a murder of which he was acquitted, all depict the complexities of his personality and impact of frontal lobe injuries. This article highlights the life journey of Muybridge, drawing parallels with Phineas Gage, whose penetrating head injury has been studied widely. The wide sojourn of Muybridge also illustrates the strong con- nections that he maintained with Stanford and Pennsylvania universities, which were later considered pinnacles of higher education on the two coasts of the United States. -
"Alfred Stieglitz: Known and Unknown" on View at the National
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: May 20, 2002 "Alfred Stieglitz: Known and Unknown" On View at the National Gallery of Art, June 2 - September 2, 2002 Provides New Insights into the 50-Year Career of This Seminal Artist Washington, DC--Alfred Stieglitz has been renowned for his introduction of modern European art to America and for his support of contemporary American artists, but he was first and foremost a photographer. His photographs, which span more than five decades from the 1880s through the 1930s, are widely celebrated as some of the most compelling ever made. Alfred Stieglitz: Known and Unknown, on view at the National Gallery of Art West Building June 2 through September 2, 2002, presents 102 of Stieglitz's photographs from the National Gallery's collection. Encompassing the full range and evolution of his art, the exhibition includes many works that have not been exhibited in the last fifty years. It highlights less well-known images in order to demonstrate how they expand our understanding of the development of his art and his contributions to 20th-century photography. The exhibition, which is the culmination of a multi-year project on Stieglitz at the National Gallery, also celebrates the publication of Alfred Stieglitz: The Key Set, a definitive study of this seminal figure in the history of photography. Consisting of 1,642 photographs, the key set of Stieglitz's photographs was donated to the National Gallery by Georgia O'Keeffe in 1949 and 1980 and contains the finest example of every mounted print that was in Stieglitz's possession at the time of his death. -
Slides: Animation-Sound-Storyboarding
Basics of Motion / Sound * Principles of Animation PrinciplesPrinciples of Animationof Animation In 1981, former ‘Nine Old Men’ animators Ollie Johnston and Frank Thomas wrote the animation book “The Illusion of Life: Disney Animation.” In the book they laid out the 12 basic principles of animation. We are going to begin by adding two of the principles including “arcs” and “timing” Beginning of Animation Since the beginning of history humans have attempted to capture motion. From Grecian urns of people running to fun ‘parlor’ trick type machines that would recreate the concept of motion. Some of these devices include: 480 BC ● Thaumatrope (1825) ● Phénakisticope (1833) ● Zoetrope (1833) ● Flip book (1868) ● Praxinoscope (1877) ● Zoopraxiscope (1879) Phénakisticope 1833 Zoetrope 1833 KeyframeKeyframe Keyframe: A ‘key’ or important part of an animated action is referred to as a keyframe. This action usually occurs at the beginning and the end of an action. Keyframes are very important to creating animation, thus, someone whose job is it is to create keyframes is referred to as a keyframe animator. The role of keyframe animator was a very important job and typically given to a veteran. Keyframe Action Beginning Keyframe End Keyframe Keyframe action End keyframe Beginning keyframe Anticipation Anticipation Follow - Through Follow-Through Secondary Animation Secondary Action ArcsArcs Arcs in animation was the concept that most natural action tends to follow an arched trajectory, and animation should adhere to this principle by following implied "arcs" for greater realism. This can apply to a limb moving by rotating a joint, or a thrown object moving along a parabolic trajectory. -
Eadweard Muybridge
Eadweard Muybridge TEACHERS AND STUDENTS NOTES For use at Kingston Museum or in the classroom Suitable for teachers and students of Key Stage 2-5Stage 3-5 By Caroline Burt and Alexandra Reynolds Kingston Museum and Heritage Service This pack provides a brief introduction to the life and work of Eadweard Muybridge. The pack looks at a selection of works in detail, providing background information, discussion ideas and suggested activities. Cover Images (clockwise from top left) EM8132 Muybridge greets athlete EM0052 Woman dancing EM6880 Ox. Walk, gallop, trot, run EM7838 Fishing Boat coming ashore by moonlight, Guatemala/Panama All images in this pack are courtesy of Kingston Museum and Heritage Service unless otherwise stated www.kingston.gov.uk/museum 2 Introduction Eadweard Muybridge (Kingston upon Thames 1830 - 1904) was one of the world's most innovative and influential photographic pioneers. His extensive studies of humans and animals in motion played a critical role in the history of photography and moving image. Eadweard Muybridge was born Edward Muggeridge to a merchant family in Kingston upon Thames on April 9th 1830. Before his death in 1904, Muybridge would emigrate to America, change his name three times, come close to death and suffer brain damage in a carriage accident. As well as photographing the landscapes, people and cities of 19th Century America, Muybridge was also instrumental in the development of instantaneous photography. To accomplish his famous motion sequence photography, Muybridge designed his own high speed electronic shutter and electro-timer, to be used alongside a battery of up to 24 cameras. Muybridge used this technology to capture the movement of humans and animals in split-second detail, something that had never been seen before. -
Moving Pictures: the History of Early Cinema by Brian Manley
Discovery Guides Moving Pictures: The History of Early Cinema By Brian Manley Introduction The history of film cannot be credited to one individual as an oversimplification of any his- tory often tries to do. Each inventor added to the progress of other inventors, culminating in progress for the entire art and industry. Often masked in mystery and fable, the beginnings of film and the silent era of motion pictures are usually marked by a stigma of crudeness and naiveté, both on the audience's and filmmakers' parts. However, with the landmark depiction of a train hurtling toward and past the camera, the Lumière Brothers’ 1895 picture “La Sortie de l’Usine Lumière à Lyon” (“Workers Leaving the Lumière Factory”), was only one of a series of simultaneous artistic and technological breakthroughs that began to culminate at the end of the nineteenth century. These triumphs that began with the creation of a machine that captured moving images led to one of the most celebrated and distinctive art forms at the start of the 20th century. Audiences had already reveled in Magic Lantern, 1818, Musée des Arts et Métiers motion pictures through clever uses of slides http://en.wikipedia.org/wiki/File:Magic-lantern.jpg and mechanisms creating "moving photographs" with such 16th-century inventions as magic lanterns. These basic concepts, combined with trial and error and the desire of audiences across the world to see entertainment projected onto a large screen in front of them, birthed the movies. From the “actualities” of penny arcades, the idea of telling a story in order to draw larger crowds through the use of differing scenes began to formulate in the minds of early pioneers such as Georges Melies and Edwin S. -
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, -
Cinema-Prehistory.Pdf
Shadow Play Shadow Play Motion Picture Origins What do we need to make moving pictures work? Two Necessary Illusions 1. Persistence of vision – The tendency of the retina to retain an image for a fraction of a second after the light source is gone. Two Necessary Illusions 1. Persistence of vision – The tendency of the retina to retain an image for a fraction of a second after the light source is gone. 2. Beta Movement – The perception of sequential discrete images as a single moving image.* * Sometimes referred to as the “phi phenomenon.” Beta Movement Beta Movement Sequential Photographs Basic Requirements •Illusion of motion Basic Requirements •Illusion of motion •Projection Basic Requirements •Illusion of motion •Projection •Photography Illusion of Motion Mechanical Toys/Devices Illusion of Motion Mechanical Toys/Devices Illusion of Motion Stroboscopic Toys Illusion of Motion Stroboscopic Toys •Thaumatrope Illusion of Motion Stroboscopic Toys •Thaumatrope Illusion of Motion Stroboscopic Toys •Thaumatrope •Phenakistoscope Illusion of Motion Stroboscopic Toys •Thaumatrope •Phenakistoscope •Zoetrope Illusion of Motion Stroboscopic Toys •Thaumatrope •Phenakistoscope •Zoetrope Illusion of Motion Stroboscopic Toys •Thaumatrope •Phenakistoscope •Zoetrope •Praxinoscope Basic Requirements Illusion of motion •Projection •Photography Projection •Magic Lantern Athanaseus Kircher “Ars Magna Lucis et Umbrae” (1646) Projection •Magic Lantern Athanaseus Kircher “Ars Magna Lucis et Umbrae” (1646) 19th century version of the Magic Lantern Projection -
Resources and Bibliography
RESOURCES aND BIBlIOGRaPHY ARCHIVES, LIBRaRIES & MUSEUmS Barnes Collection, St Ives, Cornwall, England. Barnes Collection, Hove Museum & Art Gallery, Brighton & Hove, England. [concentrates on South Coast of England film-makers and film companies] Brighton Library, Brighton & Hove, England. British Film Institute National Film Library, London, England. [within Special Collections at the BFI is found G. A. Smith’s Cash Book and the Tom Williamson Collection] British Library Newspaper Library, London, England. Charles Urban Collection, National Science & Media Museum, Bradford, England. Hove Reference Library, Brighton & Hove, England. Library of Congress, Washington, USA. Museum of Modern Art, New York, USA. The National Archives, Kew, England. National Park Service, Edison National Historic Site, West Orange, New Jersey. Available online through the site, Thomas A. Edison Papers (Rutgers, the State University of New Jersey. South Archive South East, University of Brighton, Brighton & Hove, England. University of Brighton Library, St Peter’s House, Brighton & Hove, England. FIlm CaTalOGUES Paul, Robert. 1898. Animated Photograph Films, List No. 15. London. [London: BFI Library] © The Author(s) 2019 279 F. Gray, The Brighton School and the Birth of British Film, https://doi.org/10.1007/978-3-030-17505-4 280 RESOURCES AND BIBLIOGRAPHY ———. 1901. Animatograph Films—Robert Paul; Cameras, Projectors & Accessories. London. [Paris: La Cinématheque Française] We Put the World Before you by means of The Bioscope and Urban Films. 1903. London: Charles Urban Trading Company. [New York: Museum of Modern Art; Media History Digital Library] Urban Film Catalogue. 1905. London: Charles Urban Trading Company. Republished in, Stephen Herbert. 2000. A History of Early Film, Volume 1. London: Routledge. -
From Spectator to User, from Viewer to (Act)Or A,1 a B Eleni N
700 Workshop Proceedings of the 9th International Conference on Intelligent Environments J.A. Botía and D. Charitos (Eds.) © 2013 The Author(s). This article is published online with Open Access by IOS Press and distributed under the terms of the Creative Commons Attribution Non-Commercial License. doi:10.3233/978-1-61499-286-8-700 From Spectator to User, From Viewer to (Act)or a,1 a b Eleni N. MITAKOU , Paraskevi G. FANOU and Efpraxia D. ZAMANI a School of Architecture, National Technical University of Athens b Department of Management Science & Technology, Athens University of Economics and Business Abstract. Stephen Hawking, when introducing Krauss’ ‘The Physics of Star Trek’, wrote that “[s]cience fiction (…) is not only good fun but it also serves a serious purpose, that of expanding the human imagination.” In this paper, following a retrospective juxtaposition of the two last centuries’ filmic production, we show how imaginary worlds have become conventional and familiar, while viewers have transformed from mere spectators to users of intelligent technologies. We also exhibit how this led to the emergence of a new generation of users, that of intelligent users, who are now both transmitters and receivers of information, and who perceive urban reality very differently from previous generations. Keywords. Cinema, city, narrative, technology, information technology, intelligent user Introduction The city may be described by its physical parts (i.e., places) as well as by the human activities (e.g., going to work, to eat, out), the public events (e.g., festivals, demonstrations) and the intelligent systems (e.g., smartphones, sensors, antennas) informing and being informed by the activities taking place within the urban web/landscape. -
Kino Climates
8 > 13 JUNE 2012 KINOMEETING OF EU ROCPEANLIMATES INDEPENDENT & ALTERNATIVE CINEMA SPACES CINEMA FR > Du 8 au 13 juin 2012, le Nova se transformera en laboratoire d’idées By way of a preamble… et de débats dans le cadre de la rencontre Kino Climates à Bruxel- les, un réseau de cinémas indépen- In January 2010, in partnership with the Rotterdam International Film dants créé en 2010 au Festival du Festival, we organized a European meeting where the aim was to assess the Film de Rotterdam. En journée, une state of independent film exhibition in Europe today. Around forty associations quarantaine de cinémas associatifs took part in this meeting and decided to start a network that was called Kino européens se rencontreront via des Climates after the name of the event held in Rotterdam. The objective of the Kino tables rondes internes, dont seule Climates network is dual. On one hand it aims to facilitate exchanges among celle sur le cinéma digital est ouver- European independent cinemas and also to support the circulation of non- te au public (le 12 juin). En soirée, commercial films. On the other hand, it wishes to develop common strategies and une programmation de délectations actions to reinforce the visibility of these independent venues which contribute to kino-sonores sont prévues pour nos the diversification of the cinematographic landscape. In these challenging times, convives, mais aussi pour le public! where cinema is facing fast and deep changes, it is important to join strengths in order to promote and defend cultural values which are disappearing. The NL > Van 8 tot 13 juni verandert articulation of the balance of power between culture and the commercial sector has never been so complex as it is right now and it is cultural diversity Nova in een broedplaats van ideeën. -
THE PUBLIC EXHIBITION of MOVING PICTURES BEFORE 1896 by Deac Rossell
THE PUBLIC EXHIBITION OF MOVING PICTURES BEFORE 1896 by Deac Rossell [Pre-publication English-language text later published in slightly altered form in KINtop: Jahrbuch zur Erforschung des frühen Films, 14/15 (Frankfurt am Main/Basle, 2006: Stroemfeld/Roter Stern)] Part 1: Choosing a different perspective This article is an attempt to refresh our ideas of how moving pictures were invented and first seen. It is also an attempt to find one new way — of many possible ways — of discussing the earliest moving pictures, and in so doing to think again about which inventors or pioneers were significant in developing moving image culture. A fresh look at the period of invention before 1896, particularly one that is frank and open about its assumptions and methodology, and one that incorporates recent scholarship from all of Europe as well as America, can help to illuminate the work of some figures who have been poorly served – or even wholly ignored – in the received version of the history of the invention of moving pictures. As an appendix to the main text, but as a crucial element of this recast narrative, a chronology noting specific moving picture exhibitions forms Part 3 of this essay. Why is an article about the earliest public exhibition of moving pictures necessary? What new shapes does it bring to the story of the invention of the cinema as it is usually written? This story is usually conceived as a narrative about technology; indeed, the very use of the word “invention” popularly implies some ingenious arrangement of mechanical elements to produce a wholly new effect or process.