Magic Lantern Slides 2

According to Charles Musser, Huygens had two key innovations for his magic lantern: 1. Images painted on glass instead of etchings on mirrors. 2. An artificial light source was used instead of the reflection of sunlight. (20) Glass slides (often more than one) with hand drawn images are the standard aesthetic for these slides. They are then usually mounted in rectangular wooden frames approx. 4 x 7 inches with a 3 inch circular opening for the image. (Musser 30) The various mechanisms attached to the images are described in the Object Narrative section.

Magic Lantern Slides 4

According to Charles Musser, Huygens had two key innovations for his magic lantern: 1. Images painted on glass instead of etchings on mirrors. 2. An artificial light source was used instead of the reflection of sunlight. (20) Glass slides (often more than one) with hand drawn images are the standard aesthetic for these slides. They are then usually mounted in rectangular wooden frames approx. 4 x 7 inches with a 3 inch circular opening for the image. (Musser 30) The various mechanisms attached to the images are described in the Object Narrative section.

Magic Lantern Slides 1

According to Charles Musser, Huygens had two key innovations for his magic lantern: 1. Images painted on glass instead of etchings on mirrors. 2. An artificial light source was used instead of the reflection of sunlight. (20) Glass slides (often more than one) with hand drawn images are the standard aesthetic for these slides. They are then usually mounted in rectangular wooden frames approx. 4 x 7 inches with a 3 inch circular opening for the image. (Musser 30) The various mechanisms attached to the images are described in the Object Narrative section.

Magic Lantern Slides 3

According to Charles Musser, Huygens had two key innovations for his magic lantern: 1. Images painted on glass instead of etchings on mirrors. 2. An artificial light source was used instead of the reflection of sunlight. (20) Glass slides (often more than one) with hand drawn images are the standard aesthetic for these slides. They are then usually mounted in rectangular wooden frames approx. 4 x 7 inches with a 3 inch circular opening for the image. (Musser 30) The various mechanisms attached to the images are described in the Object Narrative section.

Stereoscope

Wheatstone’s stereoscope placed two mirrors on either side that were mounted at a right angle in order to view the two dissimilar drawings presented (Hankins 148). There are two identical monocular tubes that allow each eye to view the images (Hankins 148). Each eye views the image it was intended to see. The two eyes see slightly different images through this binocular vision (Hankins 148). The combination of the two images creates this illusion of depth and solidarity through their superimposition (Hankins 154). In order to view these images, the eyes were covered from all external light (Clay 152). The stereoscope was first seen as a philosophical toy along with other inventions such as the zoetrope, providing entertainment as well as scientific insight (Hankins 148). The stereoscope above is more similar to the “Holmes Stereoscope”, which transformed Wheatstone’s stereoscope into a handheld version that could be put on a stand (Hawkins 155). He replaced the retina of the eye with a sensitive plate; therefore, the lenses acted as the eyes (Silverman 738). In the video, an embellishment adorns the bottom of the stand that holds up the binocular lens and the images. The lenses are in a wooden frame that has an attached stand that holds the slides of images. There also is a knob on the side of the device that can adjust the lens on the two monocular tubes (Bokander 485).

Zoetrope

The size of the Zoetrope was roughly between a foot or two of cubic space, although the exact dimensions vary from model to model. The materials used to create the Zoetrope were fairly basic; the wooden platform served as the stabilizer, the cylinder was mounted on a wooden or metal pole that elevated the viewing platform and the cylinder itself, we can deduce, was made of a flexible paper-like material that allowed slots to be cut into it. The band with the painted or sketched images would be made of a similar if not identical material as it has to change form to fit inside its corresponding cylinder.

Biunal Lantern

A biunial magic lantern is a wooden box with two lenses, one on top of the other. The lenses have shutters and slots to insert glass slides. The light source is placed inside the box and the images are projected through either of the two lenses. It works in the same way as traditional magic lanterns, but allows for dissolving images and special effects.

Another Way of Saying Enough: Environmental Concern and Popular Mobilization in Kyrgyzstan

This article is a foray into the understudied issue of environmental protest politics in Central Asia. Specifically, it uses Kyrgyzstan as a case study to test the argument that environmental concerns mobilized people to engage in protest and in ways different from other kinds of protest. This essay presents the first systematic study of public opinion about the environment in Kyrgyzstan. It includes results from a 2009 nationwide survey, over 100 expert and elite interviews, and newspaper content analysis. Furthermore, it spatially analyzes these results to identify geographical variation in public perception and political event occurrence patterns. Protest engagement is a complex process determined by the interaction of several factors, and is not explained solely by affluence, rationality, or grievances. Eco-mobilization - collective political action about the environment - represents a class of protest events that offers a different view into mass discontent in the former Soviet Union and neo-patrimonial societies. The study finds that these political actions about the environment are not necessarily elite driven; there is a basic foundation of national concern and salience of these issues, and demonstrated environmental beliefs do help to explain protest behavior.