Viewpoint Dependent Imaging: An Interactive Stereoscopic Display (original) (raw)
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Medical Imaging in the Digital Age: Fusing the Real and the Imagined
'Any sufficiently advanced technology is indistinguishable from magic', noted Arthur C. Clarke. 1 We think his statement still rings true. As we become more intimate with technology we realise how much our lives, and the understanding of our lives, has improved, while new questions and issues that need addressing were brought to light. Our particular work relies on the use of medical imaging and computer simulation technologies to enable the scientist and the physician to better the understanding of the human body and the ways it functions, by visualising phenomena otherwise not accessible to the naked eye.
The erasure of stereoscopic photography from 20 th century media history, referred by authors such as Crary and Gunning, had repercussions in other fields. In the main bibliography related to the history of visual effects there are no references to this medium. This paper discusses the foundation of an awe effect as a guideline to the act of seeing, and analyzes the problems arising from the remediation of that effect in the transition from analog to digital. We have found that this image conversion process, necessary to the creation and dissemination of digital files of 19th century stereoscopic photography, is not linear, and that the digital stereoscopic projection cards present a number of difficulties for a proper consistency reproduction of the relief effect. Through the work done for the Stereo Cultural Visual Project supported by the FCT Foundation ref. PTDC / IVC-COM / 5223/2012, it was possible to analyze and carry out the process of transforming an analog stereo archive into a stereo digital archive.
2. Technologies of Viewing: Aspects of Imaging in Natural Sciences
"Medium" is a very broad term, denoting the transmission of a certain message with the help of specific tools. Its definition extends from technological, audiovisual media to speech, drawing, language or writing. Accordingly, the history of science is also a history of the development of use of different media, especially in regard to the visualization of its objects. Traditionally, all natural sciences have used drawings and charts in order to specify their chosen examples. It is readily apparent that the connection between an object and its visual representation is not naturally given, but is constructed by way of conventions. Contemporary Science Studies agree on the constructedness of the scientific image and regard the image as an effect of the interplay of varying factors such as cultural and technical values. But representational media do not just construct the relation between images and objects, they also propose a certain way of perception and thus construct a relation between the image and perceiving subjects. With its special techniques of editing and montage film, for instance, governs the perception of content and requires knowledge of the characteristic visual logic of the medium for deciphering the flow of images. Different media thus structure the perception of reality. Within media theory, this structuring function is called a "dispositif " – the most famous example of this being the cinema as a means of physically configuring the observer and the image and of thus disposing the viewer to be overwhelmed by the powerful illusion of movement on the movie screen. This essay will develop this notion by considering the perceptive powers of media. In contrast to Valerie Hanson's contribution, which underlines pragmatic aspects of media use, this essay focuses on the technical aspects of certain media in contemporary research practice and on the perceptual consequences of these technical features – focussing on the production, perception and distribution of images and illustrations.
The Complexity of Technological Images. The Four Optical Series
The role of perception or, to be more precise, theories of perception for the understanding of the history and aesthetics of media is often discussed in an undifferentiated way. One example: Kittler's famous claim-quoted in the exposé for the conference in Szeged-that 'technical media build on overwhelming our senses' presupposes that knowledge about the senses is implied in the genealogy of technical media. But generalized in this way the claim is problematic. There are indeed imaging technologies, which are built to overwhelm our senses-in presupposing knowledge (at least in an empirical sense) about theme .g. film and stereoscopy. But there are also imaging technologies which do not at all presuppose knowledge on perception, e.g. photography and holography. These media presuppose physical (geometrical or wave) optics, and not physiological optics (Crary). They presuppose knowledge (at least in an empirical sense) about the behavior of light. In the first part of the text these differences are reconstructed by criticizing Crary's approach. In the second part holography is discussed as an important imaging technology from the 20th century, that is not based on physiological optics. Also, there are forms which do not fall in either of these categories. Coming from a long history from drawing and painting and re-emerging in digital images, there are parallel-perspectival representations, which neither accord to human perception nor to the behavior of light. In addition to approximately simulating visual and optical media, digital computers also include non-optical forms of imagistic representation and even combine all the different forms. This point is made in the third part of the paper. Finally, the argument shows that the complexity of contemporary technical imagery cannot be reduced to physiology, optics or non-optical forms alone. Perception is just one element among others.
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The Future of the Moving Image
The Future of the Moving Image, 2013
"Whilst at the Universities of Bristol and the West of England, in collaboration with BBC R&D, I have been responsible for the first higher dynamic range, higher resolution and higher frame rate experiments to measure which combination of these developing parameters of image capture and display best engages the audience. What is essentially happening here is the mapping of the capabilities of imaging equipment to the sensory levels of the eye/brain pathway. We now have greater enhancements to our computational abilities that allow us to uplevel the parameters we are testing and more importantly, this increase in itself speaks of what is to come. Our tests have revealed the creation of a sense of depth, without sensory tricks. But trying to predict where technical and aesthetic developments will lead us does a disservice to the subject area. To more fully explore the importance of these developments, in this paper I attempt to explore the narrative that underlies Cognitive Neuroscience as a descriptor that may reveal the nature of that which looks, as being as important as that which is looked at.""