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Frutos Esteban, Francisco Javier - One of the best experts on this subject based on the ideXlab platform.
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De la cámara oscura a la cinematografía: tres siglos de tecnología al servicio de la creación visual
Ediciones Complutense, 2008Co-Authors: Frutos Esteban, Francisco JavierAbstract:The Camera Obscura, as a guiding image of optics and the germ of a whole world of media that have revolutionised human perception, has now emerged as a fundamental element in the ever growing development of the sciences of observation. From the 17th to the 20th centuries, technologies that were heir to the Camera Obscura, such as photography, stereoscopy, chronophotography and cinematography have explored, represented and constructed new worlds –both physical and metaphysical, real and imagined- that were inaccessible to the naked eye
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De la cámara oscura a la cinematografía tres siglos de tecnología al servicio de la creación visual
2008Co-Authors: Frutos Esteban, Francisco JavierAbstract:[ES]La cámara oscura, como instrumento guía de la ciencia óptica y germen de todo un mundo de medios que revolucionaron la percepción humana, emerge en la actualidad como elemento fundamental en el desarrollo siempre creciente de las ciencias de la observación. Desde el siglo XVII hasta el XX, tecnologías herederas de la cámara oscura como la fotografía, la estereoscopia, la cronofotografía o la cinematografía, han explorado, representado y construido nuevos mundos –físicos y metafísicos, reales e imaginados–, inaccesibles a simple vista.[EN]The Camera Obscura, as a guiding image of optics and the germ of a whole world of media that have revolutionised human perception, has now emerged as a fundamental element in the ever growing development of the sciences of observation. From the 17th to the 20th centuries, technologies that were heir to the Camera Obscura, such as photography, stereoscopy, chronophotography and cinematography have explored,represented and constructed new worlds –both physical and metaphysical, real and imagined- that were inaccessible to the naked eye
Chik Caroline - One of the best experts on this subject based on the ideXlab platform.
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Chapitre I. La Camera Obscura immobilis, ou les origines « mouvementées » de la photographie
'OpenEdition', 2019Co-Authors: Chik CarolineAbstract:De l’observation scientifique au spectacle Débuter la partie de l’ouvrage dédiée à l’image photographique avec la Camera Obscura peut laisser présager un simple rappel historique et technique prenant la Camera Obscura comme la forme inaugurale d’un long processus d’évolution aboutissant à la photographie. Il est vrai qu’un fil chronologique sera suivi, et que l’étude du dispositif de la Camera Obscura demande d’en aborder certains aspects techniques. Ceci étant dit, la visée qui sous-tend la ..
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L'image paradoxale
'OpenEdition', 2019Co-Authors: Chik Caroline, Gaudreault AndréAbstract:À l’ère du numérique, les frontières entre les catégories, entre les états de l’image se sont ouvertes de manière évidente. L’image n’est plus nécessairement une image fixe ou une image animée mais, de plus en plus, les deux à la fois. Bien plus, il semble que le clivage « image fixe versus image animée » n’ait pas toujours eu cours. Un regard rétrospectif sur l’image optique nous enseigne qu’elle fut de tout temps travaillée par des liens étroits et féconds entre les deux états. Ce livre traite des relations entre fixité et mouvement qui se sont nouées tout au long de l’histoire de l’image optique, depuis ses origines jusqu’à ses formes les plus récentes. Il propose une analyse de ces nouvelles images au statut parfois ambigu entre fixité et mouvement, mais il s’interroge aussi, auparavant, sur les liens paradoxaux de la photographie au mouvement, et de l’image animée, à la fixité. S’appuyant sur de multiples dispositifs allant de la Camera Obscura aux animations interactives, il envisage l’image optique comme une et continue, sous un angle à la fois historique, esthétique et technique, libéré de certains schématismes. De cette image si répandue et souvent partiellement méconnue, image qui n’a cessé d’être pensée en termes d’opposition (entre fixité et mouvement, entre optique et numérique, entre archaïsme et modernité), il s’agit de relier, voire réconcilier les différents aspects, histoires et états, afin d’en mieux saisir les paradoxes et les problématiques spécifiques
Ricardo L Carrau - One of the best experts on this subject based on the ideXlab platform.
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johannes vermeer of delft 1632 1675 and vision in neuroendoscopy
Surgical Neurology International, 2014Co-Authors: Waleed A Azab, Daniel M Prevedello, Ricardo L CarrauAbstract:Background Johannes Vermeer of Delft [1632-1675] was one of the greatest Masters of the Dutch Golden Age who was intensely preoccupied with the behavior of light and other optical effects and was entitled "The Master of Light". He fastidiously attended to the subtleties of visual expression through geometry, composition, and precise mastery of the rules of perspective. It has been our impression that some visual similarity does exist between neuroendoscopic images and some of Vermeer's paintings. Such a relation could be explained by the fact that optical devices are utilized in producing both types of display. Methods We reviewed the pertinent medical and art literature, observed some video clips of our endoscopy cases, and inspected digital high resolution images of Vermeer's paintings in order to elaborate on shared optical phenomena between neuroendoscopic views and Vermeer's paintings. Results Specific optical phenomena are indeed shared by Johannes Vermeer's works and neuroendoscopic vision, namely light and color effects as well as the rules of perspective. Conclusion From the physical point of view, the possibility that a Camera Obscura inspired Vermeer's artistic creation makes the existence of a visual link between his paintings and the endoscopic views of the intracranial cavity comprehensible.
Burkhard Priemer - One of the best experts on this subject based on the ideXlab platform.
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from the pinhole Camera to the shape of a lens the Camera Obscura reloaded
Physics Education, 2015Co-Authors: Max Ziegler, Burkhard PriemerAbstract:We demonstrate how the form of a plano-convex lens and a derivation of the thin lens equation can be understood through simple physical considerations. The basic principle is the extension of the pinhole Camera using additional holes. The resulting images are brought into coincidence through the deflection of light with an arrangement of prisms. This contribution describes this approach in detail and gives an illustrative experiment.
Waleed A Azab - One of the best experts on this subject based on the ideXlab platform.
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johannes vermeer of delft 1632 1675 and vision in neuroendoscopy
Surgical Neurology International, 2014Co-Authors: Waleed A Azab, Daniel M Prevedello, Ricardo L CarrauAbstract:Background Johannes Vermeer of Delft [1632-1675] was one of the greatest Masters of the Dutch Golden Age who was intensely preoccupied with the behavior of light and other optical effects and was entitled "The Master of Light". He fastidiously attended to the subtleties of visual expression through geometry, composition, and precise mastery of the rules of perspective. It has been our impression that some visual similarity does exist between neuroendoscopic images and some of Vermeer's paintings. Such a relation could be explained by the fact that optical devices are utilized in producing both types of display. Methods We reviewed the pertinent medical and art literature, observed some video clips of our endoscopy cases, and inspected digital high resolution images of Vermeer's paintings in order to elaborate on shared optical phenomena between neuroendoscopic views and Vermeer's paintings. Results Specific optical phenomena are indeed shared by Johannes Vermeer's works and neuroendoscopic vision, namely light and color effects as well as the rules of perspective. Conclusion From the physical point of view, the possibility that a Camera Obscura inspired Vermeer's artistic creation makes the existence of a visual link between his paintings and the endoscopic views of the intracranial cavity comprehensible.