Top girls: conventional costumes and a digitized stage design

Top Girls: Conventional Costumes and a Digitized Stage Design describes the process of designing the projected sets and traditional costumes for an intermedial production of Caryl Churchill's Top Girls. Intermediality in performance refers to a blending or fusion of differing media in a production. What this practical thesis intends to do is explore the possibility of marrying some of the new techniques of video projection mapping with the requirements of theatrical scenic and prop design, using a limited budget. The intent of this thesis is to demonstrate that a basic mapping overlay of set and props images over simple surfaces is easily attainable

Improvement of oral reports through the students' use of audio-visual aids

Author misnumbered thesis. Please note that there are TWO page 108s, but the continuity is the same. Thesis (Ed.M.)--Boston Universit

Film screenings in the “Polish territories” in 1896 and their international context

This book was financially supported by the National Programme for the Development of Humanities: project “Cinema: Intercultural Perspective. Western-European Cinema in Poland, Polish Cinema in Western Europe. Mutual Perception of Film Cultures (1918–1939)

The virtual magic lantern: an interaction metaphor for enhanced medical data inspection

In this paper we present the Virtual Magic Lantern (VML), an interaction tool tailored to facilitate volumetric data inspection. It behaves like a lantern whose virtual illumination cone provides the focal region which is visualized using a secondary transfer function or different rendering style. This may be used for simple visual inspection, surgery planning, or injure diagnosis. The VML is a particularly friendly and intuitive interaction tool suitable for an immersive Virtual Reality setup with a large screen, where the user moves a Wanda device, like a lantern pointing to the model. We show that this inspection metaphor can be efficiently and easily adapted to a GPU ray casting volume visualization algorithm. We also present the Virtual Magic Window (VMW) metaphor as an efficient collateral implementation of the VML, that can be seen as a restricted case where the lantern illuminates following the viewing direction, through a virtual window created as the intersection of the virtual lantern (guided by the Wanda device) and the bounding box of the volume.Peer ReviewedPostprint (author’s final draft

Bricolage et ingénierie dans le cinéma expérimental

Collection : Encyclopédie raisonnée des techniques du cinémaL'histoire du cinéma expérimental est traversée par des pratiques et des réflexions qui interrogent, contestent ou détournent la prescription des usages des technologies du film par l'industrie. Une large part de l'inventivité technique des cinéastes se consacre ainsi à concevoir des dispositifs qui leur permettront d'inventer des formes originales. Cette idée de « bricolage » constitue le fil rouge de ce livre numérique, qui envisage ainsi la réflexion technique comme ouverture d'un champ de possibilités, et montre comment l'exigence d'efficacité qui sous-tend l'ingénierie cinématographique peut aussi trouver à s'exprimer jusque dans ses marges, avec des résultats parfois spectaculaires.The history of experimental cinema is run through with practices and ideas which interrogate, contest or inflect the uses of film technology ordained by the film industry. In experimental film a large portion of technical inventiveness is devoted to conceiving technical get-ups which will enable filmmakers to invent original forms. This idea of “bricolage” will be a touchstone in this digital book, which will see technical thinking as a way to open up a field of possibilities, and which will also show how the demands of efficiency which underpin cinematic engineering can be found even in its “margins,” with sometimes spectacular results.Introduction = Introduction / Éric Thouvenel ; Pellicule et surface sensible = The film stock and the light-sensitive surface / Éric Thouvenel ; Émulsions artisanales = Artisanal emulsions / Charles-André Coderre ; Rayogramme = Rayographs / Dario Marchiori ; La forme vitrail = The stained glass window form / Vincent Deville ; Caméras et systèmes de prise de vues = Cameras and filming systems ; Un dispositif créé pour un film : La région centrale (Michael Snow, 1971) = A technical set-up created for a film : La région centrale (Michael Snow, 1971) / Stephen Broomer ; Une caméra détournée de son usage standard : Rose Lowder et la Bolex H16 = A film camera put to non-standard use : Rose Lowder and the Bolex H16 / Éric Thouvenel ; Christian Lebrat : déborder l’écran par la couleur = Colour Overflows the screen : Christian Lebrat / Sophie Lorgeré ; Projection = Projection ; Cinéma élargi = Expanded Cinema / Dario Marchiori ; Bricoler la projection : Ken Jacobs = Projection Bricolage : Ken Jacobs / Tatian Monassa

Visibilities and Invisibilities of Wonder: A Practice-Led Exploration of Optical Image Systems

This interdisciplinary practice-led project began with two investigations, both pivoting around the central material of glass. It explored whether glass, with its unique logistics of perception and ability to render invisible phenomena visible, could make visible an imperceptible process of slow change. It also endeavoured to understand how glass, in transporting its image-light across space and time evokes the experience of wonder. These two strands of enquiry were brought together through the research and development of my optical image systems, which serve as perceptual tools for exploring wonder and time. What initially began as an experience of observing slow changes in nature, transformed into a wider consideration of critical wonder, time and visibility. Critical sensibility became fundamental to my explorations of the materiality of wonder, but also crucial for the generation of wonder was a momentary interruption of this criticality by means of the imperceptible and immaterial transfer of light. My hybrid devices incorporate a wide range of old and new technologies, spanning from sixteenth century optical objects of natural magic to contemporary electronics and digital fabrication processes. I relate my efforts to the work of contemporary interdisciplinary artists Adam Brown, Attila Csorgo, Julien Maire and Olafur Eliasson and discuss specific works by Jan Dibbets, Johannes Vermeer and Anthony McCall with reference to visual strategies for directing our attention to the invisible. Historians, philosophers, theorists and a sixteenth century natural magician helped establish the framework for the development of my optical systems. Giovanni Battista Della Porta, Kate Warren, Tom Gunning and Jason Leddington informed my investigations into natural magic and wonder through their various practical and theoretical approaches; and Charles-Emile Reynaud, Jonathan Crary, Hans Jonas, Paul Virilio, Henri Bergson, Mary Ann Doane and Charlie Gere contributed to the framing of my investigations into time, materiality and visibility. The projected image systems I created, 'Hollow Lens' , 'Ghost in the Machine' and 'Object-Image', bring the visible and invisible, and material, digital and virtual into service as a means of evoking wonder and visualising time