Better than the real thing? Models - The Third Dimension of Science

2005 ◽  
Vol 86 (4) ◽  
pp. 303-305
Author(s):  
Gerhard Scholtz
2004 ◽  
Vol 21 (3) ◽  
pp. 437-443 ◽  
Author(s):  
STEPHEN J. DAIN

At the Göttingen meeting of the International Colour Vision Society, I reported on a comparison of the second edition of the American Optical Hardy-Rand-Rittler Pseudoisochromatic plates (AO HRR) with the Richmond Products third edition of the same test and concluded that the chromaticities were exceptionally poorly matched and that the new edition was a “pale imitation of the real thing” (unpublished). This conclusion led to our abandoning a clinical trial. In 2002, Richmond Products has published a fourth edition and, in 2003, Waggoner has published a modified HRR with additional (Ishihara style) plates and the tetartan confusion figures removed. As a precursor to any clinical trial, the colors used in the plates have been measured and comparisons drawn between the four editions. While the two most recent editions much more closely resemble the original AO HRR and the chromaticities are much better aligned on the dichromatic confusion lines, the excitation purities (and therefore the degree of difficulty) of the plates are less well matched in the Richmond Products editions. In addition, there is a significant degree of metamerism in the third edition and Waggoner edition that makes variations in illuminant more critical to performance.


2018 ◽  
Vol 23 (6) ◽  
pp. 74-79
Author(s):  
Ciaran Smyth
Keyword(s):  
The Real ◽  

2007 ◽  
Vol 4 (2) ◽  
Author(s):  
Charles S. Abrams
Keyword(s):  
The Real ◽  

2017 ◽  
Vol 9 (1) ◽  
pp. 62-84 ◽  
Author(s):  
Ole Marius Hylland

This article investigates how a digital turn and digital copies have influenced ideas, roles and authorities within a national museum sector. It asks whether digital mu-seums and their digital reproductions expand and/or challenge a traditional cul-tural policy. Two specific cases are highlighted to inform the discussion on these questions – the Norwegian digital museum platform DigitaltMuseum and Google Art Project. The article argues that there is a certain epochalism at play when the impact of a digital turn is analysed. At the same time, some clear major changes are taking place, even if their impact on cultural policies might be less than expec-ted. I propose that one of the changes is the replacing of authenticity with accessi-bility as the primary legitimating value of museum objects.


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