Predatory vision : 3D imaging and the transformation of screen-space

Despite Wheatstone’s academic interests in the device, the stereoscope languished somewhat as an optical toy. Yet the advent of 3D screen-spaces for home and mass entertainment suggests today’s consumers and practitioners of screen culture hold the view that screen culture will be ‘improved’ through 3D imaging technologies. Like cinema and photography, stereoscopic 3D imaging has the potential to transform visual culture. But what is transformed, as optics and electronic imaging techniques deliver Alice in Wonderland in 3D? This paper links the advent of 3D cinema and TV to the notion that vision is itself a ‘technology of the visual’. As such, our innate binocular stereoacuity is ripe for exploitation by developers of 3D imaging technologies. I argue that contemporary 3D imaging marks an epistemological visual-perceptual shift: toward screenspaces becoming spaces for potential action. Such a shift entails seeing as doing rather than seeing as thinking. 3D imaging exploits binocular vision’s spatial acuity (stereopsis), but is effective only for objects within near distal space. The 3D effect tapers off dramatically for objects only some metres away, because the two retinal images lack significant lateral disparity (difference) to trigger stereopsis: the imagery flattens out and becomes ‘monoscopic’. Information available from conventional 2D media entails a peculiarly unspecified spatiality. Perceptually, the contents of a conventional cinematic screen are like those of a painting: they are situated neither near nor far, and constitute a shared and ambiguous visual space. Our own eyes are like those of a cat: frontally placed for predatory action. The visuality of 3D screen-spaces assumes a perceptuality of the near-by and close at hand, since this is the structure of the visible information to which stereopsis is adapted to respond. Noting the binocular acuity of predatory animals, as well as some etymological links, this paper examines the implications of perceptually ‘capturing’ the sensation of visually solid objects in one’s immediate space. Stereopsis is about decisive action within an immediate environment: but it also presupposes the single viewpoint of an active observer toward which the 3D imagery is targeted.

Bondi Beach NSW, 28 May 2011, 11:06

This artwork is the result of the curators’ premise to invite an artist or artists to produce an initial image according to a brief. These initial images were then given to photographers to respond to and re-interpret the initial image. The curators produced a broadsheet publication and an online document cataloguing the works.

Use of a photographic manipulation tool to assess corneal vascular response

Purpose. Corneal vasculature change in contact lens wearers has been linked to the level of hypoxia within the cornea. To assess the impact a treatment has on limbal vessels, a sensitive method of measurement and quantification is required.

Methods. A group of 21 highly myopic, hydrogel wearers, with preexisting signs of corneal hypoxia, were enrolled into a study where they wore sifilcon A silicone hydrogel lenses (Dk/t = 117), on a daily wear basis for 9 months. At all scheduled visits, photographs were taken of the superior, inferior, temporal, and nasal limbal regions which were then imported into Adobe Photoshop. A red-free filter was applied to enhance the contrast of the blood columns. In each quadrant, the length of the longest visible blood column was measured and the blood columns that penetrated >0.5 mm into the cornea were counted. A control group of 11 non-lens wearers was recruited. Their photographs were taken at the beginning of the study and 9 months later. An independent, masked observer assessed the photographs.

Results. There was a significant decrease in the maximum penetration of the blood column in all quadrants (p < 0.001) from baseline to the 9-month visit (e.g., superior: baseline 0.84 ± 0.39 mm; 9 months 0.63 ± 0.20 mm). There was also significant reduction in the number of visible blood columns longer than 0.5 mm in each quadrant (p < 0.001) from baseline to 9 months in all quadrants (e.g., superior: baseline 14.0 ± 8.2; 9 months 6.5 ± 6.0). The control group showed no change over time for the maximum blood column length (p = 0.638) or the number of columns >0.5 mm (p = 0.341).

Conclusions. A group of highly myopic subjects exhibited reduction in the maximum length and number of blood columns in the cornea when refit with a highly permeable silicone hydrogel material. The use of photography, along with Adobe Photoshop software, provides a reliable way of measuring corneal vascular responses over time.

The watcher

'The Watcher' was created as a response to Rick Amor's 'Sailing to the West' and exhibited in the 'Face to Face' exhibition.  Exhibition dates: Deakin Art Gallery at Burwood 25th July to 1st September 2012 and Dennys lascelles Gallery, Deakin Geelong's Waterfront Campus 2nd October to 2nd November 2012

Self portrait as time traveller

Self Portrait as Time Traveller' is one of a suite of drawings that responds to the work 'Kangaroo Stalking' by S.T.Gill. It also plays with certain ideas or problems in the depiction of landscape more broadly. The work plays on an old spatial illusion or trick of photography(think tourists at the Leaning Tower of Pisa). Maybe the trick works temporally as well as spatially or at least fails equally to convince us in both dimensions.

After all, everything

Comprises 4 photographs by Rozalind Drummond taken in Tokyo, Japan and 4 poetic texts by Patrick West written in Lake Bolac, Western Victoria.

Stay with me here

A poetic and photographic investigation into place and belonging

Second nature

 A joint exhibition of two separate shows under the one title.

Dematerialised data and human desire : the Internet and copy culture

Since Licklider in the 1960s [27] influential proponents of networked computing have envisioned electronic information in terms of a relatively small (even singular) number of 'sources', distributed through technologies such as the Internet. Most recently, Levy writes, in Becoming Virtual, that "in cyberspace, since any point is directly accessible from any other point, there is an increasing tendency to replace copies of documents with hypertext links. Ultimately, there will only need to be a single physical exemplar of the text" [13 p.61]. Hypertext implies, in theory, the end of 'the copy', and the multiplication of access points to the original. But, in practice, the Internet abounds with copying, both large and small scale, both as conscious human practice, and also as autonomous computer function. Effective and cheap data storage that encourages computer users to keep anything of use they have downloaded, lest the links they have found, 'break'; while browsers don't 'browse' the Internet - they download copies of everything to client machines. Not surprisingly, there is significant regulation against 'copying' - regulation that constrains our understanding of 'copying' to maintain a legal fiction of the 'original' for the purposes of intellectual property protection. In this paper, I will firstly demonstrate, by a series of examples, how 'copying' is more than just copyright infringement of music and software, but is a defining, multi-faceted feature of Internet behaviour. I will then argue that the Internet produces an interaction between dematerialised, digital data and human subjectivity and desire that fundamentally challenges notions of originality and copy. Walter Benjamin noted about photography: "one can make any number of prints [from a negative]; to ask for the 'authentic' print makes no sense" [4 p.224]. In cyberspace, I conclude, it makes no sense to ask which one is the copy.