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| diagram of a camera obscura: Vermeer's Camera Philip Steadman, 2002 Art historians have long speculated on how Vermeer achieved the uncanny mixture of detached precision, compositional repose, and perspective accuracy that have drawn many to describe his work as photographic. Indeed, many wonder if Vermeer employed a camera obscura, a primitive form of camera, to enhance his realistic effects? In Vermeer's Camera, Philip Steadman traces the development of the camera obscura--first described by Leonaro da Vinci--weighs the arguments that scholars have made for and against Vermeer's use of the camera, and offers a fascinating examination of the paintings themselves and what they alone can tell us of Vermeer's technique. Vermeer left no record of his method and indeed we know almost nothing of the man nor of how he worked. But by a close and illuminating study of the paintings Steadman concludes that Vermeer did use the camera obscura and shows how the inherent defects in this primitive device enabled Vermeer to achieve some remarkable effects--the slight blurring of image, the absence of sharp lines, the peculiar illusion not of closeness but of distance in the domestic scenes. Steadman argues that the use of the camera also explains some previously unexplainable qualities of Vermeer's art, such as the absence of conventional drawing, the pattern of underpainting in areas of pure tone, the pervasive feeling of reticence that suffuses his canvases, and the almost magical sense that Vermeer is painting not objects but light itself. Drawing on a wealth of Vermeer research and displaying an extraordinary sensitivity to the subtleties of the work itself, Philip Steadman offers in Vermeer's Camera a fresh perspective on some of the most enchanting paintings ever created. |
| diagram of a camera obscura: The Daguerreotype M. Susan Barger, William B. White, 2000-05-12 Our scientific work gave us the opportunity to take a new look and interpretation of the scientific and technological literature on the daguerreotype and to reevaluate its technical history.--from the Preface to the 1999 edition |
| diagram of a camera obscura: The Museum of Science and Art Dionysius Lardner, 1859 |
| diagram of a camera obscura: Pinhole Photography Eric Renner, 2012-08-21 A respected guide for creatives, artists and photographers alike, Pinhole Photography is packed with all the information you need to understand and get underway with this wonderfully quirky, creative technique. Covering pinhole photography from its historical roots, pinhole expert Eric Renner, founder of pinholeresource.com, fully explores the theory and practical application of pinhole in this beautiful resource. Packed with inspiring images, instructional tips and information on a variety of pinhole cameras for beginner and advanced photographers, this classic text now offers a new chapter on digital imaging and more in depth how-to coverage for beginners, as well as revised exposure guides and optimal pinhole charts. With an expanded gallery of full-color photographs displaying the creative results of pinhole cameras, along with listings of workshops, pinhole photographer's websites, pinhole books and suppliers of pinhole equipment, this is the one guide you need to learn the craft and navigate the industry. |
| diagram of a camera obscura: Activities Linking Science With Math, 5-8 John Eichinger, 2009-05-30 Science does not exist in a vacuum and, therefore, shouldn't be taught that way. In that spirit, Activities Linking Science With Math, 5-8, is a hands-on guide for preservice and inservice elementary and middle school teachers who want to connect science instruction with other areas of study-including visual arts, social sciences, language arts, and especially math. |
| diagram of a camera obscura: Developing Animals Matthew Brower, 2011 How the emergence of wildlife photography changed the way we think about animals. |
| diagram of a camera obscura: The Culture of Diagram John Bender, Michael Marrinan, 2010-01-20 This book defines diagrams as tools manipulated by users to produce new kinds of understanding and demonstrates that a modern diagrammatic knowledge emerged in eighteenth-century visual culture to become the foundation of later nineteenth-century science. |
| diagram of a camera obscura: Physics, the Human Adventure Gerald James Holton, Stephen G. Brush, 2001 Of Some Trigonometric Relations -- Vector Algebra. |
| diagram of a camera obscura: Fractal Narrative German A. Duarte, 2014-09-30 Fractals suggest recursivity, infinity and the repetition of a principle of order. They are digital pictures of the universe's continuous movement ignored by mankind during millennia. This book investigates the relationship existing between geometries and technology, and how it guided cognitive processes and thus the organization of narrative spaces. The author proposes a new approach for the study of media remarking that from Bacon's camera obscura to von Neumann's computers both geometries and technology strongly influenced the organization of narrative spaces, which acquired a fractal character. |
| diagram of a camera obscura: Techniques of the Observer Jonathan Crary, 1992-02-25 Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle. In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of subjective vision were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision. Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as realist, were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s. |
| diagram of a camera obscura: Fundamentals of Cognitive Science Thomas Hardy Leahey, 2022-07-19 Fundamentals of Cognitive Science draws on research from psychology, philosophy, artificial intelligence, linguistics, evolution, and neuroscience to provide an engaging and student-friendly introduction to this interdisciplinary field. While structured around traditional cognitive psychology topics, from attention, learning theory, and memory to information processing, thinking, and decision making, the book also looks at neural networks, cognitive neuroscience, embodied cognition, and magic to illustrate cognitive science principles. The book is organized around the history of thinking about the mind and its relation to the world. It considers the evolution of cognition and how it demonstrates how our current thinking about cognitive processes is derived from pre-scientific philosophies and common sense, through psychologists’ empirical inquiries into mind and behavior as they pursued a science of cognition and the construction of artificial intelligences. The architectures of cognition are also applied throughout, and the book proposes a synthesis of them, from traditional symbol system architectures to recent work in embodied cognition and Bayesian predictive processing. Practical and policy implications are also considered but solutions are left for the readers to determine. Using extended case studies to address the most important themes, ideas, and findings, this book is suitable for upper-level undergraduate and graduate courses in psychology and related fields. It is also suitable for general readers interested in an accessible treatment of cognitive science and its practical implications. Please visit www.fundamentalsofcognitivescience.com for further resources to accompany the book. |
| diagram of a camera obscura: The Psychology of Perspective and Renaissance Art Michael Kubovy, 1986 Michael Kubovy, an experimental psychologist, recounts the lively history of the invention of perspective in the fifteenth century, and shows how, as soon as the invention spread, it was used to achieve subtle and fascinating aesthetic effects. A clear presentation of the fundamental concepts of perspective and the reasons for its effectiveness, drawing on the latest laboratory research on how people perceive, leads into the development of a new theory to explain why Renaissance artists such as Leonardo and Mantegna used perspective in unorthodox ways which have puzzled art scholars. This theory illuminates the author's broader consideration of the evolution of art: the book proposes a resolution of the debate between those who believe that the invention/discovery of perspective is a stage in the steady progress of art and those who believe that perspective is merely a conventional and arbitrary system for the representation of space. |
| diagram of a camera obscura: The Darkroom Anne Marsh, 2003 Anne Marsh's treatise on the art of photography traces its theoretical underpinning from the early debates between the rationalists and the fantasists, through psychoanalytical interpretations, to the theatre of desire. She investigates the role of photography in ghostly performances', the masking of desire' and high camp aesthetics' - through to performance art' and the role of the photographer as a gender terrorist' - as in the work of Del LaGrace Volcano. The study concludes with notable examples of postmodern photography as they have occurred in the Australian context. This ground-breaking work by a leading Monash University academic will interest all students of photography and followers of recent trends in art and art theory. |
| diagram of a camera obscura: Leonardo Da Vinci's Elements of the Science of Man Kenneth D. Keele, 2014-05-10 Leonardo Da Vinci's Elements of the Science of Man describes how Da Vinci integrates his mechanical observations and experiments in mechanics into underlying principles. This book is composed of 17 chapters that highlight the principles underlying Da Vinci's research in anatomical studies. Considerable chapters deal with Leonardo's scientific methods and the mathematics of his pyramidal law, as well as his observations on the human and animal movements. Other chapters describe the artist's anatomical approach to the mechanism of the human body, specifically the physiology of vision, voice, music, senses, soul, and the nervous system. The remaining chapters examine the mechanism of the bones, joints, respiration, heart, digestion, and urinary and reproductive systems. |
| diagram of a camera obscura: Report , 1924 |
| diagram of a camera obscura: Annual Report of the National Advisory Committee for Aeronautics United States. National Advisory Committee for Aeronautics, 1924 Includes the Committee's Reports no. 1-1058, reprinted in v. 1-37. |
| diagram of a camera obscura: Manuals Combined: Over 60 1920s-1930s Pre-NASA NACA Airship Studies , |
| diagram of a camera obscura: Report United States. National Advisory Committee for Aeronautics, |
| diagram of a camera obscura: Pixels & Paintings David G. Stork, 2023-11-15 PIXELS & PAINTINGS “The discussion is firmly grounded in established art historical practices, such as close visual analysis and an understanding of artists’ working methods, and real-world examples demonstrate how computer-assisted techniques can complement traditional approaches.” —Dr. Emilie Gordenker, Director of the Van Gogh Museum The pioneering presentation of computer-based image analysis of fine art, forging a dialog between art scholars and the computer vision community In recent years, sophisticated computer vision, graphics, and artificial intelligence algorithms have proven to be increasingly powerful tools in the study of fine art. These methods—some adapted from forensic digital photography and others developed specifically for art—empower a growing number of computer-savvy art scholars, conservators, and historians to answer longstanding questions as well as provide new approaches to the interpretation of art. Pixels & Paintings provides the first and authoritative overview of the broad range of these methods, which extend from image processing of palette, marks, brush strokes, and shapes up through analysis of objects, poses, style, composition, to the computation of simple interpretations of artworks. This book stresses that computer methods for art analysis must always incorporate the cultural contexts appropriate to the art studies at hand—a blend of humanistic and scientific expertise. Describes powerful computer image analysis methods and their application to problems in the history and interpretation of fine art Discusses some of the art historical lessons and revelations provided by the use of these methods Clarifies the assumptions and applicability of methods and the role of cultural contexts in their use Shows how computation can be used to analyze tens of thousands of artworks to reveal trends and anomalies that could not be found by traditional non-computer methods Pixels & Paintings is essential reading for computer image analysts and graphics specialists, conservators, historians, students, psychologists and the general public interested in the study and appreciation of art. |
| diagram of a camera obscura: Perceiving in Depth, Volume 1: Basic Mechanisms Ian P. Howard, 2012-01-27 The three-volume work Perceiving in Depth is a sequel to Binocular Vision and Stereopsis and to Seeing in Depth, both by Ian P. Howard and Brian J. Rogers. This work is much broader in scope than the previous books and includes mechanisms of depth perception by all senses, including aural, electrosensory organs, and the somatosensory system. Volume 1 reviews sensory coding, psychophysical and analytic procedures, and basic visual mechanisms. Volume 2 reviews stereoscopic vision. Volume 3 reviews all mechanisms of depth perception other than stereoscopic vision. The three volumes are extensively illustrated and referenced and provide the most detailed review of all aspects of perceiving the three-dimensional world. Volume 1 starts with a review of the history of visual science from the ancient Greeks to the early 20th century with special attention devoted to the discovery of the principles of perspective and stereoscopic vision. The first chapter also contains an account of early visual display systems, such as panoramas and peepshows, and the development of stereoscopes and stereophotography. A chapter on the psychophysical and analytic procedures used in investigations of depth perception is followed by a chapter on sensory coding and the geometry of visual space. An account of the structure and physiology of the primate visual system proceeds from the eye through the LGN to the visual cortex and higher visual centers. This is followed by a review of the evolution of visual systems and of the development of the mammalian visual system in the embryonic and post-natal periods, with an emphasis on experience-dependent neural plasticity. An account of the development of perceptual functions, especially depth perception, is followed by a review of the effects of early visual deprivation during the critical period of neural plasticity on amblyopia and other defects in depth perception. Volume 1 ends with accounts of the accommodation mechanism of the human eye and vergence eye movements. |
| diagram of a camera obscura: American Journal of Physics , 1955 Archival journal targeted toward advanced-level physics and physics education, with its focus on the teaching and cultural aspects of physics. |
| diagram of a camera obscura: The Reciprocity of Perceiver and Environment Thomas J. Lombardo, 2017-03-27 Originally published in 1987, this title intended to historically reveal, through tracing Gibson’s development, the substance of his views and how they bore upon general philosophical issues in theories of knowledge, and to investigate in detail the historical context of Gibson’s theoretical position within psychology. Though the author has included a history of Gibson’s perceptual research and experimentation, the focus is to explicate the ‘dynamic abstract form’ of Gibson’s ecological approach. His emphasis is philosophical and theoretical, attempting to bring out the direction Gibson was moving in and how such changes could restructure the theoretical fabric of psychology. He devotes considerable attention to the Greeks, Medievalists, and the founders of the Scientific Revolution. This is because Gibson’s theoretical challenge runs deep into the structure of western thought. The authors’ central goal was to set Gibson’s ecological theory within the historical context of fundamental philosophical-scientific issues. |
| diagram of a camera obscura: Elements of Natural Philosophy Embracing the General Principles of Mechanics, Hydrostatics, Hydraulics, Pneumatics ... by Leonard D. Gale Leonard D. Gale, 1851 |
| diagram of a camera obscura: 3D Jens Schröter, 2014-01-16 3D presents the theory, history and aesthetics of trans-plane images for the first time ever. |
| diagram of a camera obscura: Inventions & Discoveries BPI, Inventions and discoveries have been a part of man's life ever since he has walked on the earth. From the discovery of fire to space travel, every breakthrough has made our lives better in many ways. Learn about all the important inventions and discoveries made by mankind through the centuries. Fabulous pictures and comprehensive information, together with fascinating facts, make this book a must for your bookshelf. |
| diagram of a camera obscura: 4D Electron Microscopy Ahmed H. Zewail, John Meurig Thomas, 2010 Structural phase transitions, mechanical deformations, and the embryonic stages of melting and crystallization are examples of phenomena that can now be imaged in unprecedented structural detail with high spatial resolution, and ten orders of magnitude as fast as hitherto. No monograph in existence attempts to cover the revolutionary dimensions that EM in its various modes of operation nowadays makes possible. The authors of this book chart these developments, and also compare the merits of coherent electron waves with those of synchrotron radiation. They judge it prudent to recall some important basic procedural and theoretical aspects of imaging and diffraction so that the reader may better comprehend the significance of the new vistas and applications now afoot. This book is not a vade mecum - numerous other texts are available for the practitioner for that purpose. |
| diagram of a camera obscura: Traces of Vermeer Jane Jelley, 2017-07-14 Johannes Vermeer's luminous paintings are loved and admired around the world, yet we do not understand how they were made. We see sunlit spaces; the glimmer of satin, silver, and linen; we see the softness of a hand on a lute string or letter. We recognise the distilled impression of a moment of time; and we feel it to be real. We might hope for some answers from the experts, but they are confounded too. Even with the modern technology available, they do not know why there is no evidence of any preliminary drawing; why there are shifts in focus; and why his pictures are unusually blurred. Some wonder if he might possibly have used a camera obscura to capture what he saw before him. The few traces Vermeer has left behind tell us little: there are no letters or diaries; and no reports of him at work. Jane Jelley has taken a new path in this detective story. A painter herself, she has worked with the materials of his time: the cochineal insect and lapis lazuli; the sheep bones, soot, earth, and rust. She shows us how painters made their pictures layer by layer; she investigates old secrets; and hears travellers' tales. She explores how Vermeer could have used a lens in the creation of his masterpieces. The clues were there all along. After all this time, now we can unlock the studio door, and catch a glimpse of Vermeer inside, painting light. |
| diagram of a camera obscura: Armchair Physics Isaac McPhee, 2018-02-13 Armchair Physics is an interactive guide that's part of a series of fascinating subjects - physics, algebra, and chemistry. They contain clear and concise explanations of different concepts, as well as profiles of key thinkers and their discoveries. A unique feature of this series are the simple, step-by-step exercises. Some of these have everyday applications, others are theoretical puzzles, and all are designed to challenge you and test your newly acquired knowledge. Written in a highly readable style suitable for any audience. The aim of each book is to convey the basic principles of a subject - and the stories behind them - to anyone who is interested in learning about the universe around them, with an emphasis on how these seemingly abstract principles relate to everyday experiences. Armchair Physics covers the history and development of physics and is an interesting refresher book on the subject. It's great as a study guide for the student or an introduction for the everyday savant. Readable, understandable, it is a brilliant tool to better understand the broad ideas in physics. |
| diagram of a camera obscura: Children Encyclopedia BPI, Children Encyclopedia |
| diagram of a camera obscura: This Book Is a Camera Kelli Anderson, 2015-11-20 This is a working camera that pops up from the pages of a book..The book concisely explains--and actively demonstrates--how a structure as humble as a folded piece of paper can tap into the intrinsic properties of light to produce a photograph.The book includes:- a piece of paper folded into a working 4x5 camera- a lightproof bag- 5 sheets of photo-paper film- development instructions (from complete DIY to outsource it)- a foil-stamped cover- a satisfying demonstration of the connection between design & science / structures & functions |
| diagram of a camera obscura: Johnson's Natural Philosophy, and Key to Philosophical Charts Frank Grant Johnson, 1872 |
| diagram of a camera obscura: Elements of Natural Philosophy Leonard Dunnell Gale, 1838 |
| diagram of a camera obscura: Learning to Look at Paintings Mary Acton, 1997 This accessible guide to the study and appraisal of paintings shows how you can learn to look at and understand an image by analysing how it works, what its pictorial elements are and how they relate to each other. |
| diagram of a camera obscura: The Vital Landscape William M. Taylor, 2017-11-22 The Vital Landscape explores the arrival of the biological sciences - most notably the sciences oflife entailed in studies of botany and zoology, ecology and evolutionary science, physiology and psychology - in the nineteenth century and their impact on architecture and landscape architecture in Great Britain. Specifically, the book explores the idea of the contrived or artificial environment as an object of both scientific speculation and aesthetic reflection. Unlike specialist histories of biological science or environmental thought, this book is unique in locating one source for present-day concerns for the environment and human well-being in debates over proper housing and the growing popularity of domestic and public gardens in the nineteenth century. The book skilfully interweaves architecture and garden history, the history and philosophy of science, plant and animal physiology and human psychology, works of literature, popular science and domestic economy in a story that opens new opportunities for the study of architecture and gardens. |
| diagram of a camera obscura: Appendix to the Journals of the House of Representatives of New Zealand New Zealand. Parliament. House of Representatives, 1883 |
| diagram of a camera obscura: Appendix to the Journals of the House of Representatives of New Zealand , 1883 |
| diagram of a camera obscura: Elements of Natural Philosophy ... Designed for the use of schools and academies Leonard D. GALE, 1843 |
| diagram of a camera obscura: Science in Culture Stephen R. Graubard, 2018-04-27 Twenty-five years ago, Gerald Holton's Thematic Origins of Scientific Thought introduced a wide audience to his ideas. Holton argued that from ancient times to the modern period, an astonishing feature of innovative scientific work was its ability to hold, simultaneously, deep and opposite commitments of the most fundamental sort. Over the course of Holton's career, he embraced both the humanities and the sciences. Given this background, it is fitting that the explorations assembled in this volume reflect both individually and collectively Holton's dual roots. In the opening essay, Holton sums up his long engagement with Einstein and his thematic commitment to unity. The next two essays address this concern. In historicized form, Lorraine Daston returns the question of the scientific imagination to the Enlightenment period when both sciences and art feared imagination. Daston argues that the split whereby imagination was valued in the arts and loathed in the sciences is a nineteenth-century divide. James Ackerman on Leonardo da Vinci meshes perfectly with Daston's account, showing a form of imaginative intervention where it is irrelevant to draw analogies between art and science. Historians of religion Wendy Doniger and Gregory Spinner pursue the imagination into the bedroom with literary-theological representations. Science, culture, and the imagination also intersect with biologist Edward Wilson and physicist Steven Weinberg. Both tackle the big question of the unity of knowledge and worldviews from a scientific perspective while art historian Ernst Gombrich does the same from the perspective of art history. To emphasize the nitty-gritty of scientific practice, chemists Bretislav Fredrich and Dudley Herschback provide a remarkable historical tour at the boundary of chemistry and physics. In the concluding essay, historian of education Patricia Albjerg Graham addresses pedagogy head-on. In these various reflections on science, art, literature, philosophy, and education, this volume gives us a view in common: a deep and abiding respect for Gerald Holton's contribution to our understanding of science in culture. Peter Galison is Mallinckrodt Professor of History of Science and of physics at Harvard University. Stephen R. Graubard is editor of the American Academy of Arts and Sciences and its journal, Daedalus, and professor of history emeritus at Brown University. Everett Mendelsohn is director of the History of Science Program at Harvard University. |
| diagram of a camera obscura: Pure Intelligence Melvyn C. Usselman, 2015-05-21 William Hyde Wollaston was born into a large, religious, and scientifically informed family in 1766 and died sixty-two years later as one of the Western world s most highly regarded scientists. With encouragement from his well-connected father, he studied medicine at Cambridge, and began practicing as a physician in the provinces before moving his practice to London in 1797, arriving in the capital about the same time as his illustrious colleagues Humphry Davy and Thomas Young. After a few years in London, Wollaston abandoned the vocation he had come to dislike and bravely set out to make his living as a chemical entrepreneur, while pursuing his intellectual interests in a wide range of contemporary scientific subjects. He, Davy, and Young were to become Britain s leading scientific practitioners in the first third of the nineteenth century, and their deaths within a six month time span were seen by many as the end of a glorious period of British supremacy in science. In contrast to his two more famous colleagues, Wollaston s life was not recorded for posterity in a contemporary biography, and his many remarkable scientific, commercial, instrumental, and institutional achievements have fallen into obscurity as a result. This biography is the first book-length study of Wollaston, his science, and the environment in which he thrived. |
| diagram of a camera obscura: Questions and Problems in Elementary Physics, Containing Numerous Practical Examples and Exercises for Use of Pupils in High Schools and Academies C. L. Hotze, 1878 |
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