Victor Flores - Academia.edu (original) (raw)
Papers by Victor Flores
Archiving Conference
Digitizing stereo photographs can bring back to museums and archives some of the challenges that ... more Digitizing stereo photographs can bring back to museums and archives some of the challenges that early photographers had to deal with. When digitizing the original negative plates in wet collodion or in gelatin silver, the protocol followed for stereos is apparently the same as for mono photography. As a result, archives are presenting to their public and researchers files with untransposed left and right images of each stereo pair. In other words, wrong or ’pseudo views’ are being uploaded daily in institutional websites and databases, adding an extra layer of difficulty for the presentation and viewing of some historical gems of western visual culture. This problem was first noticed during a research project dedicated to Portuguese stereo photography which has catalogued thirty one collections of stereo photography, consisting of mainly negatives.
Comunicação e Sociedade, 2012
Este ensaio debruça-se sobre a cultura do fotográfico que as imagens técnicas vieram desenvolver,... more Este ensaio debruça-se sobre a cultura do fotográfico que as imagens técnicas vieram desenvolver, visando, em particular, o modo influente pelo qual essa cultura criou fortes paradoxos na actual evolução da imagem digital. Um desses paradoxos mais “visíveis” prende-se com a convocação por parte das actuais práticas da imagem digital de ruídos e distorções visuais próprios ao regime visual anterior, o analógico. Este facto, que muito nos diz sobre a actual cultura visual, deve antes de mais permitir-nos questionar sobre o peso que a qualidade da imagem (ou seja, a sua nitidez e definição) teve na emergência e aceitação social de cada novo medium visual. Em segundo lugar, irá permitir-nos avaliar o peso dos ruídos visuais na cultura do fotográfico, assim como na sua respectiva incorporação pela cultura digital e pelas suas diferentes interfaces. Tal como sucedeu no projecto visual moderno, os ideais de semelhança, transparência e nitidez convivem hoje tranquilamente com ruídos próprio...
Early Popular Visual Culture, 2016
Cinema was born in a visual culture where stereoscopy played a crucial role. In this paper, we wi... more Cinema was born in a visual culture where stereoscopy played a crucial role. In this paper, we will discuss how stereoscopy and cinema derived from a common programme caused by photography that brought images and life closer, boosting an unseen period of mergers and experiments in the history of the image. The project of moving images was also a stereoscopic project. To animate the images in relief was one of the main challenges of the realism desired by nineteenth-century visual culture. In particular, I will reflect on the stereoscopic photography by Aurélio da Paz dos Reis, his cinematic experiments, the major discourses that followed and the ‘archive fever’ that hit it. Furthermore, I will consider the specificities of stereoscopy as a personal, as opposed to communal, medium and technique. I also argue that if the nineteenth-century stereo visual culture has anticipated our current personal media age, the unstable presence of stereoscopy in the twentieth-century mass media culture becomes an understandable and inevitable phenomenon.
The International Journal of the Image, 2013
Artnodes. E-Journal on Art, Science and Technology, 2018
Although the invention of the stereoscope in 1832 shed new light on the anomalies of vision and o... more Although the invention of the stereoscope in 1832 shed new light on the anomalies of vision and on the constructive role of the mind in visual perception, this became no obstacle to its scientific uses throughout the 19th and 20th centuries. On the contrary, combined with photography, the stereoscope embodied both the imperialist politics of the 19th century and its scientific ideology. These pairs of twin images perfected photography as an accurate and credible scientific instrument and gave explorers the chance to map, calculate and "grab the world in an image". The use of stereo photography in geodesic and topographic fieldworks is one of the best evidences of such scientific practices, largely overlooked by stereo photography studies. Here, we introduce the stereoviews by Portuguese explorers such as Francisco Afonso Chaves, an early-20th-century Azorean naturalist, and analyse a particular series of Verascope glass plates which represent theodolites photographed durin...
Archiving Conference
Digitizing stereo photographs can bring back to museums and archives some of the challenges that ... more Digitizing stereo photographs can bring back to museums and archives some of the challenges that early photographers had to deal with. When digitizing the original negative plates in wet collodion or in gelatin silver, the protocol followed for stereos is apparently the same as for mono photography. As a result, archives are presenting to their public and researchers files with untransposed left and right images of each stereo pair. In other words, wrong or ’pseudo views’ are being uploaded daily in institutional websites and databases, adding an extra layer of difficulty for the presentation and viewing of some historical gems of western visual culture. This problem was first noticed during a research project dedicated to Portuguese stereo photography which has catalogued thirty one collections of stereo photography, consisting of mainly negatives.
Comunicação e Sociedade, 2012
Este ensaio debruça-se sobre a cultura do fotográfico que as imagens técnicas vieram desenvolver,... more Este ensaio debruça-se sobre a cultura do fotográfico que as imagens técnicas vieram desenvolver, visando, em particular, o modo influente pelo qual essa cultura criou fortes paradoxos na actual evolução da imagem digital. Um desses paradoxos mais “visíveis” prende-se com a convocação por parte das actuais práticas da imagem digital de ruídos e distorções visuais próprios ao regime visual anterior, o analógico. Este facto, que muito nos diz sobre a actual cultura visual, deve antes de mais permitir-nos questionar sobre o peso que a qualidade da imagem (ou seja, a sua nitidez e definição) teve na emergência e aceitação social de cada novo medium visual. Em segundo lugar, irá permitir-nos avaliar o peso dos ruídos visuais na cultura do fotográfico, assim como na sua respectiva incorporação pela cultura digital e pelas suas diferentes interfaces. Tal como sucedeu no projecto visual moderno, os ideais de semelhança, transparência e nitidez convivem hoje tranquilamente com ruídos próprio...
Early Popular Visual Culture, 2016
Cinema was born in a visual culture where stereoscopy played a crucial role. In this paper, we wi... more Cinema was born in a visual culture where stereoscopy played a crucial role. In this paper, we will discuss how stereoscopy and cinema derived from a common programme caused by photography that brought images and life closer, boosting an unseen period of mergers and experiments in the history of the image. The project of moving images was also a stereoscopic project. To animate the images in relief was one of the main challenges of the realism desired by nineteenth-century visual culture. In particular, I will reflect on the stereoscopic photography by Aurélio da Paz dos Reis, his cinematic experiments, the major discourses that followed and the ‘archive fever’ that hit it. Furthermore, I will consider the specificities of stereoscopy as a personal, as opposed to communal, medium and technique. I also argue that if the nineteenth-century stereo visual culture has anticipated our current personal media age, the unstable presence of stereoscopy in the twentieth-century mass media culture becomes an understandable and inevitable phenomenon.
The International Journal of the Image, 2013
Artnodes. E-Journal on Art, Science and Technology, 2018
Although the invention of the stereoscope in 1832 shed new light on the anomalies of vision and o... more Although the invention of the stereoscope in 1832 shed new light on the anomalies of vision and on the constructive role of the mind in visual perception, this became no obstacle to its scientific uses throughout the 19th and 20th centuries. On the contrary, combined with photography, the stereoscope embodied both the imperialist politics of the 19th century and its scientific ideology. These pairs of twin images perfected photography as an accurate and credible scientific instrument and gave explorers the chance to map, calculate and "grab the world in an image". The use of stereo photography in geodesic and topographic fieldworks is one of the best evidences of such scientific practices, largely overlooked by stereo photography studies. Here, we introduce the stereoviews by Portuguese explorers such as Francisco Afonso Chaves, an early-20th-century Azorean naturalist, and analyse a particular series of Verascope glass plates which represent theodolites photographed durin...