دانلود کتاب 3D : History, Theory and Aesthetics of the Transplane Image

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Cover page
Halftitle page
Series page
Title page
Copyright page
Dedication page
CONTENTS
ACKNOWLEDGMENTS
PART ONE Theoretical and Methodological Considerations
CHAPTER ONE Outline
1.1 Jonathan Crary’s Techniques of the Observer
1.1.1 Contours of Techniques of the Observer
1.1.1.1 Introducing the rhetorics of ruptures
1.1.1.2 Rupture around 1820: Embodying vision
1.1.1.3 The observer as effect: Crary’s references to Foucault
1.1.1.4 From geometrical to physiological optics
1.1.1.5 The problematic status of photography
1.1.2 The self-dissolution of Crary’s approach
1.2 Outlining an alternative
1.2.1 Layering replacing succession
1.2.2 Discontinuity and continuity: Which Foucault?
1.2.3 The four optical series
1.3 Some short remarks on optics and optical media
1.4 Transplane images and the production of space (Henri Lefebvre): 3D
1.4.1 First series: Geometrical optics—plane
1.4.2 Second, third and fourth series: 3D
1.5 Spatial knowledge and media aesthetics of transplane images
1.6 Summary and 0utline
Notes
PART TWO Case Studies
CHAPTER TWO 1851: Sir David Brewster and the stereoscopic reproduction of sculptures
Notes
CHAPTER THREE Since 1860: Photo sculpture
Since 1860: Willème’s photo sculpture
Media aesthetics of photo sculpture
Notes
CHAPTER FOUR 1891: Lippmann photography
Notes
CHAPTER FIVE Since 1908: Integral photography/lenticular images
Notes
CHAPTER SIX 1935–1945: ‘People without space’—people with spatial images
Notes
CHAPTER SEVEN 1918–1935: Marcel Duchamp: From projection to rotorelief
Notes
CHAPTER EIGHT Since 1948: The volumetric display
Notes
CHAPTER NINE Since 1948: Holography
9.1 Principles, genesis and theory of holography
9.2 The spatial knowledge of holo-interferometry
9.3 Wave optics and the ‘simulation’ of geometrical optics: Holographic- optical elements, optical vs. visual media
9.4 Media aesthetics of the transplane image 8—artistic holography: Illusionism, light and achrony
9.5 Conclusion
Notes
CHAPTER TEN Since 1960: Repetition and difference: The interactive-transplane image
Notes
PART THREE Conclusions
CHAPTER ELEVEN 2013: Resume
11.1 First conclusion: Layering and not succession in media history
11.2 Second conclusion: The importance of the seemingly marginal transplane images for the production of space
11.3 Third conclusion: the diff erence of optical and visual media. Anthropomorphic vs. non-anthropomorphic media models
11.4 Fourth conclusion: Critique of the planocentric notion of the image
Notes
BIBLIOGRAPHY
TABLE OF IMAGE RIGHTS
INDEX
Plate 1
Plate 2
Plate 3
Plate 4
Plate 5