3D: History, Theory and Aesthetics of the Transplane Image: International Texts in Critical Media Aesthetics
Autor Jens Schröteren Limba Engleză Paperback – 13 mar 2014
Appearing for the first time in English, Jens Schröter's comprehensive study of the aesthetics of the 3D image is a major scholarly addition to this evolving field. Citing case studies from the history of both technology and the arts, this wide-ranging and authoritative book charts the development in the theory and practice of three-dimensional images. Discussing and analyzing the transformation of the socio-cultural and technological milieu, Schröter has produced a work of scholarship that combines impressive historical scope with contemporary theoretical arguments.
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Specificații
ISBN-13: 9781441167262
ISBN-10: 1441167269
Pagini: 496
Ilustrații: 65 illus
Dimensiuni: 140 x 216 x 33 mm
Greutate: 0.58 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria International Texts in Critical Media Aesthetics
Locul publicării:New York, United States
ISBN-10: 1441167269
Pagini: 496
Ilustrații: 65 illus
Dimensiuni: 140 x 216 x 33 mm
Greutate: 0.58 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria International Texts in Critical Media Aesthetics
Locul publicării:New York, United States
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Cuprins
Preface / Theory - Method / 1. Theory, Method, and Outline / 1.1. Jonathan Crary's Techniques of the Observer / 1.1.1. Charting the Techniques of the Observer / 1.1.2. Inconsistencies in Crary's Approach / 1.2 Towards an Alternative Model of Media History / 1.2.1. Layers - Not Succession / 1.2.2. Discontinuity and Continuity: Which Foucault? / 1.2.3. The Four Optical Series / 1.3 A Short Comment on Optics and Optical Media / 1.4. Transplane Images and The Production of Space (Henri Lefebvre) 3D / 1.5. Spatial Knowlegde and the Media Aesthetics of Transplane Images / 1.6. Summary / Case Studies / 2. 1851: Sir David Brewster and the Stereoscopic Reproduction of Sculptures. The Series of Physiological Optics I / 3. 1860ff.: Photo-Sculptures. The Series of Virtual Optics I. / Media Aesthetics of Transplane Images I / Karin Sander: PEOPLE 1:10 (1998-2001) / Media Aesthetics of Transplane Images II: THE MATRIX (1999) / 4. 1891: Lippmann Photography / The Series of Wave-Optics I / 5. 1908ff.: Integral Photography. Lenticular Images / The Series of Geometrical Optics??Usage and Manipulation / Media Aesthetics of Transplane Images III: Mariko Mori: BIRTH OF A STAR (1995) / 6. 1935ff. "A People Without Space"?? A People With Stereoscopy / Stereoscopy in the Third Reich / The Series of Physiological Optics II / The Politics of Transplane Images I / Media Aesthetics of Transplane Images IV: Thomas Ruff: RUHRGEBIET I (1996) / 7. 1918-1935: Media Aesthetics of Transplane Images V:Marcel Duchamp: From Projection to Rotoreliefs / 8. 1948ff.: The Volumetric Display. / The Series of Physiological Optics III. The Series of Virtual Optics II. / The Politics of Transplane Images II. / Media Aesthetics of Transplane Images VI and VII:Jenny Holzer: LUSTMORD (1994-1996) and Olafur Eliasson: CONVEX/CONCAVE (1995/2000) / 9. 1946ff.: Holography. The Series of Wave Optics II / 9.1. Principle, Genesis, Theoretical Reflections of Holography / 9.2. The Spatial Knowledge of Holo-Interferometry / 9.3. Wave Optics and Simulation of Geometrical Optics: Holographic-Optical / Elements. Optical vs. Visual Media / 9.4. Media Aesthetics of Transplane Images VIII. / Artistic Holography: Illusionism, Light and Achronisms / 9.5 Results / 10. 1960ff.: Repetition and Difference / On the Series of Virtual Optics III. / The Interactive-Transplane Image / 11. Conclusion
Recenzii
What if, instead of writing the history of those things that have become the cultural dominant, we were to write the history of the overlooked - of those other, non-victorious cultural forms that the march of history pushed into the shade? And what if the history in question is that of visual media, from Daguerre to the present?
Jens Schröter's inquiry begins as a project of 'minor' history, tracing the development of one among the many visual media existing in the shadows of the dominant: the 3-D (or 'transplane') image. In the course of excavating this particular terrain something larger and more dangerous is unearthed: the systematic blind-spots, exclusions, red herrings, and cul-de-sacs that have helped to shape the shiny new discipline of the history of visuality. Warning: this book may cause the reader to lose faith in a number of cherished beliefs concerning visual regimes and their periodization, and the viability of such concepts as embodied spectatorship, the physiological paradigm of vision, and the theoretical fiction known as 'the observer.
Schröter's book gives an in-depth insight into the puzzling amalgam of 3D images, for the first time in media history sufficiently exploring the technical difference of stereoscopic and holographic '3D', as well as the theoretical implications of the respective methods. Challenging Jonathan Crary's seminal studies of the stereoscopic image (Techniques of the Observer), Jens Schröter demonstrates that the history of 3D-images is not changing abruptly, but that there a parallel threads in the evolution of visual media according to various hypotheses about the nature of light.
An intriguing and insightful study.
Jens Schröter's inquiry begins as a project of 'minor' history, tracing the development of one among the many visual media existing in the shadows of the dominant: the 3-D (or 'transplane') image. In the course of excavating this particular terrain something larger and more dangerous is unearthed: the systematic blind-spots, exclusions, red herrings, and cul-de-sacs that have helped to shape the shiny new discipline of the history of visuality. Warning: this book may cause the reader to lose faith in a number of cherished beliefs concerning visual regimes and their periodization, and the viability of such concepts as embodied spectatorship, the physiological paradigm of vision, and the theoretical fiction known as 'the observer.
Schröter's book gives an in-depth insight into the puzzling amalgam of 3D images, for the first time in media history sufficiently exploring the technical difference of stereoscopic and holographic '3D', as well as the theoretical implications of the respective methods. Challenging Jonathan Crary's seminal studies of the stereoscopic image (Techniques of the Observer), Jens Schröter demonstrates that the history of 3D-images is not changing abruptly, but that there a parallel threads in the evolution of visual media according to various hypotheses about the nature of light.
An intriguing and insightful study.