scholarly journals On Stereoscopic Art

i-Perception ◽  
2021 ◽  
Vol 12 (3) ◽  
pp. 204166952110071
Author(s):  
Nicholas J. Wade
Keyword(s):  
Picture Plane ◽  
Early History ◽  
Stereoscopic Depth ◽  
Two Dimensional ◽  
Art Works ◽  
Pictorial Cues ◽  
Random Dot Stereograms ◽  
History Of

Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made public at about the same time and their marriage was soon cemented; most stereoscopic art is now photographic. Wheatstone sought to examine stereoscopic depth without monocular pictorial cues. He was unable to do this, but it was achieved a century later by Julesz with random-dot stereograms The early history of non-photographic stereoscopic art is described as well as reference to some contemporary works. Novel stereograms employing a wider variety of carrier patterns than random dots are presented as anaglyphs; they show modulations of pictorial surface depths as well as inclusions within a binocular picture.

Practical Aspects of Cascade Wind Tunnel Research

1947 ◽  
Vol 157 (1) ◽  
pp. 482-497 ◽  
Author(s):  
K. W. Todd
Keyword(s):  
Control System ◽  
Wind Tunnel ◽  
High Speed ◽  
Air Flow ◽  
Compressor Blade ◽  
Early History ◽  
Optical Systems ◽  
Two Dimensional ◽  
History Of

This paper deals mainly with the development of a high-speed wind tunnel for the testing of turbine or compressor blade cascades under two-dimensional air flow at velocities up to that of sound. It includes a brief résumé of the early history of the technique, and goes on to enumerate the variables which must be brought under the operator's control. Reference is made to methods of presentation of results, including the use of optical systems for demonstration of shock phenomena. Finally, the control system evolved for operating the high-speed tunnel is described, and some notes are added on the protection of the operators from fatigue induced by monotony and noise.

Early Work on Defect Driven Phase Transitions

2016 ◽  
Vol 30 (30) ◽  
pp. 1630018 ◽  
Author(s):  
J. Michael Kosterlitz ◽  
David J. Thouless
Keyword(s):  
Phase Transitions ◽  
Superfluid Helium ◽  
Topological Defects ◽  
Early History ◽  
Two Dimensional ◽  
Helium Films ◽  
Experimental Systems ◽  
History Of

This article summarizes the early history of the theory of phase transitions driven by topological defects, such as vortices in superfluid helium films or dislocations and disclinations in two-dimensional solids. We start with a review of our two earliest papers, pointing out their errors and omissions as well as their insights. We then describe the work, partly done by Kosterlitz but mostly done by other people, which corrected these oversights, and applied these ideas to experimental systems, and to numerical and experimental simulations.

Some early history of replica techniques for electron microscopy

1992 ◽  
Vol 50 (2) ◽  
pp. 1076-1077
Author(s):  
Robert M. Fisher
Keyword(s):  
Thin Film ◽  
Electron Microscopy ◽  
Optical Microscope ◽  
Early History ◽  
Bulk Materials ◽  
Thin Sections ◽  
Transmission Electron ◽  
Reflected Light ◽  
History Of ◽  
Electron Microscopes

By 1940, a half dozen or so commercial or home-built transmission electron microscopes were in use for studies of the ultrastructure of matter. These operated at 30-60 kV and most pioneering microscopists were preoccupied with their search for electron transparent substrates to support dispersions of particulates or bacteria for TEM examination and did not contemplate studies of bulk materials. Metallurgist H. Mahl and other physical scientists, accustomed to examining etched, deformed or machined specimens by reflected light in the optical microscope, were also highly motivated to capitalize on the superior resolution of the electron microscope. Mahl originated several methods of preparing thin oxide or lacquer impressions of surfaces that were transparent in his 50 kV TEM. The utility of replication was recognized immediately and many variations on the theme, including two-step negative-positive replicas, soon appeared. Intense development of replica techniques slowed after 1955 but important advances still occur. The availability of 100 kV instruments, advent of thin film methods for metals and ceramics and microtoming of thin sections for biological specimens largely eliminated any need to resort to replicas.

The early history of tuberous sclerosis

1979 ◽  
Vol 115 (11) ◽  
pp. 1317-1319 ◽  
Author(s):  
J. E. Morgan
Keyword(s):  
Tuberous Sclerosis ◽  
Early History ◽  
History Of

New Light on the Early History of the Greater Northwest

2015 ◽  
Author(s):  
Alexander Henry ◽  
David Thompson
Keyword(s):  
Early History ◽  
History Of

The Film World’s Cooperative Store: Institutions and Films of the 1930s and 1940s

2018 ◽  
Author(s):  
C. Claire Thomson
Keyword(s):  
World War Ii ◽  
Meat Products ◽  
Public Information ◽  
Early History ◽  
World War ◽  
International Context ◽  
German Occupation ◽  
History Of ◽  
The Uk ◽  
The Impact

This chapter traces the early history of state-sponsored informational filmmaking in Denmark, emphasising its organisation as a ‘cooperative’ of organisations and government agencies. After an account of the establishment and early development of the agency Dansk Kulturfilm in the 1930s, the chapter considers two of its earliest productions, both process films documenting the manufacture of bricks and meat products. The broader context of documentary in Denmark is fleshed out with an account of the production and reception of Poul Henningsen’s seminal film Danmark (1935), and the international context is accounted for with an overview of the development of state-supported filmmaking in the UK, Italy and Germany. Developments in the funding and output of Dansk Kulturfilm up to World War II are outlined, followed by an account of the impact of the German Occupation of Denmark on domestic informational film. The establishment of the Danish Government Film Committee or Ministeriernes Filmudvalg kick-started aprofessionalisation of state-sponsored filmmaking, and two wartime public information films are briefly analysed as examples of its early output. The chapter concludes with an account of the relations between the Danish Resistance and an emerging generation of documentarists.

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