Latent Image

Discovery of the entire series of original architectural blueprints of Amenhotep III art projects /Temples of Luxor Quanpho Imaging Lab Images report by Jenny Chung 07-17-21
Meet Amenhotep III, the richest pharaoh in ancient Egypt Although it is difficult to define the richest pharaoh of Ancient Egypt, as it is necessary to assess factors such as territory expansion, number of armies and trade, it is possible to appoint a leader as the one who ruled the most prosperous period, when the country was a military superpower and commercial: this is Amenhotep III, from the 18 th dynasty. Amenhotep III became pharaoh in 1388BC, reigning until 1351BC. Amenhotep III, he reigned for almost forty years at a time when Egypt was at the peak of her glory. He lived a life of pleasure, building hue temples and statues. He was incredibly rich and his palace at Thebes was the most opulent of the ancient world. With stable international trade and a plentiful supply of gold from the mines, the economy of Egypt was booming. This great wealth led to an outpouring of artistic talent and Amenhotep, son of Hapu, who was so highly thought of by the King that he was rewarded with his own mortuary temple. Amenhotep's patronage of the arts set new standards of quality and realism in representation. His building works can be found all over Egypt. Amenhotep III was the son of the pharaoh Tuthmosis IV and 4 daughters who were also involved in 4 of his art projects. Nine scarabs were the symbol of the ninth King, 4 scarabs symbol of the son of the pharaoh Tuthmosis IV and 4 daughters who were involved in 4 of his art projects. 4 of these scarabs were linking to 3 small oval shapes of carbon stones as a family collaboration of achievements. The entire series of original architectural blueprints were embedded in 14 scarabs (25mmX20mm each) of black diamond and link to 3 oval-shaped between 4 scarabs (10mmX5mm) family members' structure.

The faint yellowed body image embedded into the linen cloth of the Turin Shroud has peculiar chemical and physical char- acteristics that at the moment cannot be replicated all together in laboratory. The authors present experimental results of ArF excimer laser irradiation (wavelength 193 nm) of a raw linen fabric, seeking for coloration similar to that of the Shroud image. The authors achieved a permanent yellow coloration of linen as a threshold ef- fect of the laser beam intensity and number of shots. Most impor- tant, the authors have achieved for the first time a submicrometer depth of coloration of the outermost part of the fibers, leaving a colorless fiber medulla. The authors also obtained latent coloration that appears after artificial aging of linen following laser irradiations that at first did not generate any visible effect. The authors have recognized different physical and chemical processes involved in both coloration and latent coloration. The comparison of the Tur...

The D-Scope® is an audiovisual apparatus which creates a system of apparent motion using concrete physical objects lit sequentially. It is, in short, a new medium for creating screen-less animation. According to dictionary definitions, cinematic ontology requires an 'image system' which we take to mean a recording lens for creating an image and a screen for reshowing that image. The D-Scope does not deal in images. It deals with real and concrete objects and their position in space/time. The way we see these objects, and perceive them in apparent motion is fundamental to the D-Scope, because animation occurs without an intervening lens or a framing screen. As a new medium, the D-Scope offers a unique visualization of human perception of the 'seen' real object and for the 'unseen' liminal time and space in which that object is perceived.

The D-Scope® is an audio-visual apparatus which creates a system of apparent motion using concrete physical objects lit sequentially. It is, in short, a new medium for creating screen-less animation. According to dictionary definitions, cinematic ontology requires an 'image system' which we take to mean a recording lens for creating an image and a screen for reshowing that image. The D-Scope does not deal in images. It deals with real and concrete objects and their position in space/time. The way we see these objects, and perceive them in apparent motion is fundamental to the D-Scope, because animation occurs without an intervening lens or a framing screen. As a new medium, the D-Scope offers a unique visualization of human perception of the 'seen' real object and for the 'unseen' liminal time and space in which that object is perceived.

This paper suggests that understood correctly photography is not a representation of reality but a representation of representation. Not one, but two degrees of separation from the real cause photography to be the visual manifestation of the logic of pataphysics as developed by Alfred Jarry. Conceived from within the parameters of absurdist poetics photography is able to break through the metaphysical sound barrier and inhabit the space at the edge of the known universe where the visible is not bound by the limitations of human vision but opens itself up to the possibilities of invisible and unknowable material presence. What might come as a surprise is that this type of post-metaphysical image making was already practiced by 19th Century photographers, particularly during doomed arctic expeditions rife with self-cannibalism, madness and hypothermia. As this paper will go on to suggest, in such conditions photography can become detached from its degenerative role as a second rate replacement to the real and become emancipated to take on a reality of its own.