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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
Christoph Hoffmann - One of the best experts on this subject based on the ideXlab platform.
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Superpositions: Ludwig Mach and Étienne-Jules Marey’s studies in streamline photography
Studies in History and Philosophy of Science Part A, 2013Co-Authors: Christoph HoffmannAbstract:Abstract In the 1890s Ludwig Mach (the first-born son of Ernst Mach) employed photography for visualizing streamlines in the emerging field of aerodynamic research. Etienne-Jules Marey developed a similar approach at the turn of the century. The two projects can be related to a number of current discussions on the history of scientific photography. (1) The case of Ludwig Mach demonstrates how the collection of numerical data became both the subject and the challenge of a line of research intimately linked to the capacities of photography. (2) At the end of the nineteenth century, the particular potential of scientific photography is very often defined by comparison with the limited power of the human eye. In contrast, the example of streamline photography underlines that the requirements of the research context are critical for successfully employing photography. (3) Marey’s studies point to a tension between his characterization of Chronophotography as a method for analyzing the elementary units of processes in nature on the one hand and the necessary summation of single moments in time in his recordings of streamlines on the other. What Marey usually qualified as a cumbersome confusion was here the prerequisite of observation. (4) The ’philosophy in machines’ (Peter Galison) ultimately limited the success of streamline photography; it aided in debates about qualitative matters, but could hardly provide what most interested scientists and engineers: reliable numbers.
Geneviève Aubert - One of the best experts on this subject based on the ideXlab platform.
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Chapter 20: neurological illustration from photography to cinematography.
Handbook of clinical neurology, 2010Co-Authors: Geneviève AubertAbstract:Abstract This chapter explores iconography in neurology from the birth of photography up to the early medical applications of cinematography before 1914. The important visual part of neurological diagnosis explains why these techniques were adopted very early by neurologists. Duchenne published the first medical book illustrated with photographs of patients. The first and most famous photographic laboratory was created in Charcot's department, at the Salpetriere in Paris, under the direction of Albert Londe. Londe published the first book dedicated to medical photography. The physiologist Marey and the photographer Muybridge, in association with neurologists, played key roles in the development of Chronophotography and cinematography. Germany was the first country to welcome cinematography in a neurology department. Independently, neurologists began to film patients in other countries in Europe and in America. In 1905, Arthur Van Gehuchten (1861–1914), Belgian anatomist and neurologist, began systematically to film neurologic patients, with the intention of building up a complete neurological iconographic collection. This collection has survived and has been restored in the laboratory of the Royal Belgian Film Archive where the films are now safely stored in their vaults.
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From Photography to Cinematography: Recording Movement and Gait in a Neurological Context
Journal of the history of the neurosciences, 2002Co-Authors: Geneviève AubertAbstract:The major challenge of photography has been freezing movement, to transform it into a fixed image or series of images. Very soon, photographers became interested in movement itself and tried to use photography as a tool to analyze movement. At the early stages, physicians interested in movement, perhaps surprisingly, made important technical contributions. Mecanisme de la physionomie humaine, by Duchenne, the first book with physiological experiments illustrated by photographs, is a landmark in this historical development. At the Salpetriere, thanks to Charcot, photography officially entered clinical neurology. Medical journals with photographs were actively developed by Bourneville. Londe established a clinical photographic laboratory and published the first book on medical photography. The study of animal and human movement by Muybridge and Marey in the 1880s led to Chronophotography and later cinematography. Clinicians such as Dercum and Richer took advantage of these new techniques to study pathological movement and gait in neurological diseases.
Vinicius Demarchi Silva Terra - One of the best experts on this subject based on the ideXlab platform.
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Pedaços do tempo, gestos partidos : memorias do corpo em movimento na fotografia de Etienne-Jules Marey
2017Co-Authors: Vinicius Demarchi Silva TerraAbstract:Resumo: Conduzidos inicialmente pela cronofotografia de Etienne-Jules Marey, percorremos os caos metodológicos desse fisiologista Francês em suas análises de ecomposição do movimento, buscando persistências de um supostoprograma de educação visual do corpo urbano na memória das representações visuais da ciência médica do final do século XIX e na arte do começo do século XVI. A pesquisa teve como fontes inspiradoras as imagens de Marey em seuesforço de captação, decomposiçâo e síntese gráfica do movimento corporal, e seguiu em busca das persistências desta forma de olhar o corpo nos estudos anatômicos e pictóricos de Leonardo Da Vinci. Pudemos perceber,neste arcabouço de imagens, uma mudança nas formas de representação e estudo visual do corpo (e da alma): nelas o corpo, mecânico e termodinâmica, devidamente harmonizado cm qualidades médias e prudentes,serve como modelo das nossas formas de imaginar o real e de reproduzi-lo. Envolvido nesta trama, encontramos Georges Demeny, assistente de Marey efundador do Método de Ginástica lèacional, o projeto pedagógico-laboratorial que sistematizaria os conceitos visuais que estudamos num notável modelo deEducação Física, que, por sua vez, se encarnaria nos corpos do trabalho, da nação, da urbes. Atravessando toda a nossa escrita, lampeja a máquina fotográfica, umaalegoria da cidade. Este complexo aparato urbano é entendida, também, como lugar de educação da memória. Ela (a máquina) é uma imagem em potência que em suas preciosas fagulhas ajuda-nos a entender os lastros pedagógicos queemanam da urbes: caixa-preta de tácitos mecanismos, ela conserva a memória, filtra a luz, comprime as aberturas, regula as velocidades da cidade. Enfim: educa os corpos, em sua sensibilidade mecânica e poética.Abstract: Initially based on the Etienne-Jules Marey's Chronophotography, we went through the methodological research of this French physiologist about the analysis of the fagmentation of the movement, searching for a persistence of a supposed "visual educational program of the urban body' in the memory of visual representation in the late nineteenth century medical science and in the art of the beginning of sixteenth century.Present research had as inspiration Marey's images -- which were result of Marey effort tocapture, decompose and graphically summarize body movement -- and it aimed to relate thisway of describing the body with Leonardo da Vince anatomical and pictorial studies. It was possible to notice, in this set of images, a change in the representation and in the visual studyof the body (and soul): the body, mechanical and thermodynamic, accurately harmonized withmedium and prudent qualities, is a model of our ways of imagine the reality and reproduce it. Involved in this study, we could find Georges Demeny, Marey's assistant and founder of the"Rational Gymnastics Method", the pedagogic-investigative project that systematized the visual concepts that we study, creating a notable model of Physical Education, whichinfluenced the current concept of body of work, nation and urbes. Throughout this study, it flashes the camera, an allegory of the city. This complex urban device is understood, also, as a place of education of memory. The camera is a potential imagethat help us to understand the pedagogic traces drawn by the urbes: black box of tacit mechanisms, it preserves the memory, filters the light, compresses the apertures, regulates thespeed of the city. Finnaly, it educates mechanically and poetically the bodies
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Pedaços do tempo, gestos partidos : memorias do corpo em movimento na fotografia de Etienne-Jules Marey
Universidade Estadual de Campinas. Faculdade de Educação, 2002Co-Authors: Vinicius Demarchi Silva TerraAbstract:Conduzidos inicialmente pela cronofotografia de Etienne-Jules Marey, percorremos os caos metodológicos desse fisiologista Francês em suas análises de ecomposição do movimento, buscando persistências de um suposto programa de educação visual do corpo urbano na memória das representações visuais da ciência médica do final do século XIX e na arte do começo do século XVI. A pesquisa teve como fontes inspiradoras as imagens de Marey em seu esforço de captação, decomposiçâo e síntese gráfica do movimento corporal, e seguiu em busca das persistências desta forma de olhar o corpo nos estudos anatômicos e pictóricos de Leonardo Da Vinci. Pudemos perceber, neste arcabouço de imagens, uma mudança nas formas de representação e estudo visual do corpo (e da alma): nelas o corpo, mecânico e termodinâmica, devidamente harmonizado cm qualidades médias e prudentes, serve como modelo das nossas formas de imaginar o real e de reproduzi-lo. Envolvido nesta trama, encontramos Georges Demeny, assistente de Marey e fundador do Método de Ginástica lèacional, o projeto pedagógico-laboratorial que sistematizaria os conceitos visuais que estudamos num notável modelo de Educação Física, que, por sua vez, se encarnaria nos corpos do trabalho, da nação, da urbes. Atravessando toda a nossa escrita, lampeja a máquina fotográfica, uma alegoria da cidade. Este complexo aparato urbano é entendida, também, como lugar de educação da memória. Ela (a máquina) é uma imagem em potência que em suas preciosas fagulhas ajuda-nos a entender os lastros pedagógicos que emanam da urbes: caixa-preta de tácitos mecanismos, ela conserva a memória, filtra a luz, comprime as aberturas, regula as velocidades da cidade. Enfim: educa os corpos, em sua sensibilidade mecânica e poética.Initially based on the Etienne-Jules Marey's Chronophotography, we went through the methodological research of this French physiologist about the analysis of the fagmentation of the movement, searching for a persistence of a supposed "visual educational program of the urban body' in the memory of visual representation in the late nineteenth century medical science and in the art of the beginning of sixteenth century.Present research had as inspiration Marey's images -- which were result of Marey effort to capture, decompose and graphically summarize body movement -- and it aimed to relate this way of describing the body with Leonardo da Vince anatomical and pictorial studies. It was possible to notice, in this set of images, a change in the representation and in the visual study of the body (and soul): the body, mechanical and thermodynamic, accurately harmonized with medium and prudent qualities, is a model of our ways of imagine the reality and reproduce it. Involved in this study, we could find Georges Demeny, Marey's assistant and founder of the "Rational Gymnastics Method", the pedagogic-investigative project that systematized the visual concepts that we study, creating a notable model of Physical Education, which influenced the current concept of body of work, nation and urbes. Throughout this study, it flashes the camera, an allegory of the city. This complex urban device is understood, also, as a place of education of memory. The camera is a potential image that help us to understand the pedagogic traces drawn by the urbes: black box of tacit mechanisms, it preserves the memory, filters the light, compresses the apertures, regulates the speed of the city. Finnaly, it educates mechanically and poetically the bodies
Peter B C Matthews - One of the best experts on this subject based on the ideXlab platform.
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historical analysis of the neural control of movement from the bedrock of animal experimentation to human studies
Journal of Applied Physiology, 2004Co-Authors: Peter B C MatthewsAbstract:The history of the investigation of the sensorimotor control of movement is outlined from its inception at the beginning of the 19th century. Particular emphasis is placed on the opening up of new possibilities by the development of new techniques, from Chronophotography to magnetic brain stimulation, all of which have exploited developments in technology. Extrapolating from history, future advance in physiological understanding can be guaranteed to require seizing the new tools provided by the physical sciences and refining these to our particular need. The ever-present danger is that these are then deployed with triumphal optimism rather than critical doubt and earlier methods either jettisoned prematurely or used incautiously. The new techniques have enabled experimentation to become ever less intrusive, permitting a progressive shift from animal to human work, thereby offering the prospect of an increasing clinical reward.