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3D : history, theory and aesthetics of the transplane image /
There is a blind spot in recent accounts of the history, theory and aesthetics of optical media: namely, the field of the three-dimensional, or trans-plane, image. It has been widely used in the 20th century for very different practices - military, scientific and medical visualization - precisely be...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Otros Autores: | , |
| Formato: | Electrónico eBook |
| Idioma: | Inglés Alemán |
| Publicado: |
London :
Bloomsbury Publishing,
2014.
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| Colección: | International texts in critical media aesthetics ;
v. 6. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover page; Halftitle page; Series page; Title page; Copyright page; Dedication page; CONTENTS; ACKNOWLEDGMENTS; PART ONE Theoretical and Methodological Considerations; CHAPTER ONE Outline; 1.1 Jonathan Crary's Techniques of the Observer; 1.1.1 Contours of Techniques of the Observer; 1.1.1.1 Introducing the rhetorics of ruptures; 1.1.1.2 Rupture around 1820: Embodying vision; 1.1.1.3 The observer as effect: Crary's references to Foucault; 1.1.1.4 From geometrical to physiological optics; 1.1.1.5 The problematic status of photography; 1.1.2 The self-dissolution of Crary's approach.
- 1.2 Outlining an alternative1.2.1 Layering replacing succession; 1.2.2 Discontinuity and continuity: Which Foucault?; 1.2.3 The four optical series; 1.3 Some short remarks on optics and optical media; 1.4 Transplane images and the production of space (Henri Lefebvre): 3D; 1.4.1 First series: Geometrical optics-plane; 1.4.2 Second, third and fourth series: 3D; 1.5 Spatial knowledge and media aesthetics of transplane images; 1.6 Summary and 0utline; Notes; PART TWO Case Studies; CHAPTER TWO 1851: Sir David Brewster and the stereoscopic reproduction of sculptures; Notes.
- CHAPTER THREE Since 1860: Photo sculptureSince 1860: Willème's photo sculpture; Media aesthetics of photo sculpture; Notes; CHAPTER FOUR 1891: Lippmann photography; Notes; CHAPTER FIVE Since 1908: Integral photography/lenticular images; Notes; CHAPTER SIX 1935-1945: 'People without space'-people with spatial images; Notes; CHAPTER SEVEN 1918-1935: Marcel Duchamp: From projection to rotorelief; Notes; CHAPTER EIGHT Since 1948: The volumetric display; Notes; CHAPTER NINE Since 1948: Holography; 9.1 Principles, genesis and theory of holography; 9.2 The spatial knowledge of holo-interferometry.
- 9.3 Wave optics and the 'simulation' of geometrical optics: Holographic- optical elements, optical vs. visual media9.4 Media aesthetics of the transplane image 8-artistic holography: Illusionism, light and achrony; 9.5 Conclusion; Notes; CHAPTER TEN Since 1960: Repetition and difference: The interactive-transplane image; Notes; PART THREE Conclusions; CHAPTER ELEVEN 2013: Resume; 11.1 First conclusion: Layering and not succession in media history; 11.2 Second conclusion: The importance of the seemingly marginal transplane images for the production of space.
- 11.3 Third conclusion: the diff erence of optical and visual media. Anthropomorphic vs. non-anthropomorphic media models11.4 Fourth conclusion: Critique of the planocentric notion of the image; Notes; BIBLIOGRAPHY; TABLE OF IMAGE RIGHTS; INDEX; Plate 1; Plate 2; Plate 3; Plate 4; Plate 5.