36,198 research outputs found

    Grand Illusions: Large-Scale Optical Toys and Contemporary Scientific Spectacle

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    Nineteenth-century optical toys that showcase illusions of motion such as the phenakistoscope, zoetrope, and praxinoscope, have enjoyed active “afterlives” in the twentieth and twenty-first centuries. Contemporary incarnations of the zoetrope are frequently found in the realms of fine art and advertising, and they are often much larger than their nineteenth-century counterparts. This article argues that modern-day optical toys are able to conjure feelings of wonder and spectacle equivalent to their nineteenth-century antecedents because of their adjustment in scale. Exploring a range of contemporary philosophical toys found in arts, entertainment, and advertising contexts, the article discusses various technical adjustments made to successfully “scale up” optical toys, including the replacement of hand-spun mechanisms with larger sources of motion and the use of various means such as architectural features and stroboscopic lights to replace traditional shutter mechanisms such as the zoetrope’s dark slots. Critical consideration of scale as a central feature of these installations reconfigures the relationship between audience and device. Large-scale adaptations of optical toys revise the traditional conception of the user, who is able to tactilely manipulate and interact with the apparatus, instead positing a viewer who has less control over the illusion’s operation and is instead a captive audience surrounded by the animation. It is primarily through their adaptation of scale that contemporary zoetropes successfully elicit wonder as scientific spectacles from their audiences today

    16th century Persian tiles in dialogue with 21st century digital tiles in the Sadrian universe

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    This article brings together tiles of 16th century Persian architecture and 21st century digital tiles of moving image to explore new potentials beyond the perceived image. As minimal parts of a bigger image, they both appear still and motionless. However, Persian Islamic philosopher, Mulla Sadrā Shirazi’s (1571-1640) theory of ‘substantial motion’ (al-harakat al-jawhariyya) argues that, at the level of substance, an invisible internal motion and change takes place. Due to this internal change, aspects of the Divine Being constantly manifest in the existence of entities. Sadrā’s unique view on existence suggests that all living and non-living entities, as manifestations of the Divine Being, have certain experiences of the universe. To think that an image, a tile, or a pixel, as an existing entity, has certain experiences can unfold new avenues for creative thinking/making in digital moving image that can reveal what is hidden from human perception

    Change blindness: eradication of gestalt strategies

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    Arrays of eight, texture-defined rectangles were used as stimuli in a one-shot change blindness (CB) task where there was a 50% chance that one rectangle would change orientation between two successive presentations separated by an interval. CB was eliminated by cueing the target rectangle in the first stimulus, reduced by cueing in the interval and unaffected by cueing in the second presentation. This supports the idea that a representation was formed that persisted through the interval before being 'overwritten' by the second presentation (Landman et al, 2003 Vision Research 43149–164]. Another possibility is that participants used some kind of grouping or Gestalt strategy. To test this we changed the spatial position of the rectangles in the second presentation by shifting them along imaginary spokes (by ±1 degree) emanating from the central fixation point. There was no significant difference seen in performance between this and the standard task [F(1,4)=2.565, p=0.185]. This may suggest two things: (i) Gestalt grouping is not used as a strategy in these tasks, and (ii) it gives further weight to the argument that objects may be stored and retrieved from a pre-attentional store during this task

    The theatre and its screen double

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    This essay offers a close exploration of the live filming and sound production in the schaubĂŒhne berlin staging of strindberg's FrĂ€ulein Julie (directed by Katie Mitchell, shown on tour at the barbican, london, in 2012). It provides a series of theoretical and critical angles from which to discuss contemporary intermedia performance and audiovisual scenography. After a brief evocation of Artaud's writings in "theatre and cruelty" and on raw cinema, the essay builds on a historical understanding of Western theatre's evolving and hardly settled relationship to cinematography and moving-image technologies, as well as the "choreographic unconscious," as examined in contemporary dance and technology, before delving into an analysis of Mitchell's dramaturgy of real-time film construction and her use of the "camera-actor." A particular emphasis is placed on the question whether the live mediatization of realist drama, under Mitchell's direction, deliberately weakens the theatricality of the physical body and spoken language while proffering an extenuated, if uncritical/unpolitical modulation of digital prosthetics in a superbly crafted, seamless intermedial performance

    Virtual reality: Theoretical basis, practical applications

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    Virtual reality (VR) is a powerful multimedia visualization technique offering a range of mechanisms by which many new experiences can be made available. This paper deals with the basic nature of VR, the technologies needed to create it, and its potential, especially for helping disabled people. It also offers an overview of some examples of existing VR systems

    Smoothness perception : investigation of beat rate effect on frame rate perception

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    Despite the complexity of the Human Visual System (HVS), research over the last few decades has highlighted a number of its limitations. These limitations can be exploited in computer graphics to significantly reduce computational cost and thus required rendering time, without a viewer perceiving any difference in resultant image quality. Furthermore, cross-modal interaction between different modalities, such as the influence of audio on visual perception, has also been shown as significant both in psychology and computer graphics. In this paper we investigate the effect of beat rate on temporal visual perception, i.e. frame rate perception. For the visual quality and perception evaluation, a series of psychophysical experiments was conducted and the data analysed. The results indicate that beat rates in some cases do affect temporal visual perception and that certain beat rates can be used in order to reduce the amount of rendering required to achieve a perceptual high quality. This is another step towards a comprehensive understanding of auditory-visual cross-modal interaction and could be potentially used in high-fidelity interactive multi-sensory virtual environments

    Synopsis of an engineering solution for a painful problem Phantom Limb Pain

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    This paper is synopsis of a recently proposed solution for treating patients who suffer from Phantom Limb Pain (PLP). The underpinning approach of this research and development project is based on an extension of “mirror box” therapy which has had some promising results in pain reduction. An outline of an immersive individually tailored environment giving the patient a virtually realised limb presence, as a means to pain reduction is provided. The virtual 3D holographic environment is meant to produce immersive, engaging and creative environments and tasks to encourage and maintain patients’ interest, an important aspect in two of the more challenging populations under consideration (over-60s and war veterans). The system is hoped to reduce PLP by more than 3 points on an 11 point Visual Analog Scale (VAS), when a score less than 3 could be attributed to distraction alone

    Viewing the Future? Virtual Reality In Journalism

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    Journalism underwent a flurry of virtual reality content creation, production and distribution starting in the final months of 2015. The New York Times distributed more than 1 million cardboard virtual reality viewers and released an app showing a spherical video short about displaced refugees. The Los Angeles Times landed people next to a crater on Mars. USA TODAY took visitors on a ride-along in the "Back to the Future" car on the Universal Studios lot and on a spin through Old Havana in a bright pink '57 Ford. ABC News went to North Korea for a spherical view of a military parade and to Syria to see artifacts threatened by war. The Emblematic Group, a company that creates virtual reality content, followed a woman navigating a gauntlet of anti- abortion demonstrators at a family planning clinic and allowed people to witness a murder-suicide stemming from domestic violence.In short, the period from October 2015 through February 2016 was one of significant experimentation with virtual reality (VR) storytelling. These efforts are part of an initial foray into determining whether VR is a feasible way to present news. The year 2016 is shaping up as a period of further testing and careful monitoring of potential growth in the use of virtual reality among consumers

    Humans perceive flicker artifacts at 500 Hz.

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    Humans perceive a stable average intensity image without flicker artifacts when a television or monitor updates at a sufficiently fast rate. This rate, known as the critical flicker fusion rate, has been studied for both spatially uniform lights, and spatio-temporal displays. These studies have included both stabilized and unstablized retinal images, and report the maximum observable rate as 50-90 Hz. A separate line of research has reported that fast eye movements known as saccades allow simple modulated LEDs to be observed at very high rates. Here we show that humans perceive visual flicker artifacts at rates over 500 Hz when a display includes high frequency spatial edges. This rate is many times higher than previously reported. As a result, modern display designs which use complex spatio-temporal coding need to update much faster than conventional TVs, which traditionally presented a simple sequence of natural images
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