Bokus
Jens Schröter - 3D, Häftad

Häftad, Engelska, 2014

3D

History, Theory and Aesthetics of the Transplane Image

Av Jens Schröter

Del i serien International Texts in Critical Media Aesthetics

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Beskrivning
There is a blind spot in recent accounts of the history, theory and aesthetics of optical media: namely, the field of the three-dimensional, or trans-plane, image. It has been widely used in the 20th century for very different practices - military, scientific and medical visualization - precisely because it can provide more spatial information. And now in the 21st century, television and film are employing the method even more. 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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Jens Schröter is Professor of Theory and Practice of Multimedia Systems in the Department of Media Studies, University of Siegen, Germany, and is also the co-editor, with Stefan Rieger, of Das holographische Wissen, Berlin (2009).

Recensioner i media

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.

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