Stereoscopic 3-D

Realistic renderings contain a large amount of information about the spatial, geometric and material properties of prospective buildings that can directly affect design decisions, yet these images are most of the time used as after-the-fact representational visualizations. In this paper we propose a model to make the realistic images a very part of the design and decision making process. If we are to utilize realistic images during earlier decision making stages of the design processes, then we should develop experiential workflows in which we can create and interact with immersive realistic images real-time. We take several steps towards establishing an interactive rendering-animating-editing workflow that enables the designers to work with real-time rendered stereoscopic animations. In our system, we use realism to create an immersive exploration environment, as opposed to underutilizing it to represent a static moment.

In this work, we proposed a novel depth adaptive tone mapping scheme for stereo HDR imaging and 3D display. We are interested in the case where different exposures are taken from different viewpoints. The scheme employed a new depth-adaptive cross-trilateral filter (DA-CTF) for recovering High Dynamic Range (HDR) images from multiple Low Dynamic Range (LDR) images captured at different exposure levels. Explicitly leveraging additional depth information in the tone mapping operation correctly identify global contrast change and detail visibility change by preserving the edges and reducing halo artifacts in the synthesized 3D views by depth-image-based rendering (DIBR) procedure. The experiments show that the proposed DA-CTF and DIBR scheme outper-forms state-of-the-art operators in the enhanced depiction of tone mapped HDR stereo images on LDR displays.

In proposing an ontology of motion capture, this paper identifies three modalities — capture, hold, release — to conceptualise the peculiar affordances of motion capture technology in its relationship to a performer’s movement. Motion capture is unique among contemporary moving image media in its capacity to re-perform a performer’s recorded movement a potentially limitless number of times, e.g. as applied to innumerable different CG characters. Unlike live-action film or even rotoscoping (motion capture’s closest equivalent), the movement extracted from the captured performance lives on, but only by way of the inimagable (non-visible) domain of motion data. Motion data ‘holds’ movement itself in inimagable form, and ‘releases’ it in the domain of the digital moving image. This tri-fold conception relates an important dimension of (Heideggerian) Being to the idea of movement as fundamental to an ontology or ‘being’ of motion capture. At the same time, the proposed ontology challenge...

Attempting to discuss bringing about a rebirth of ancient Greek artistic mathematical physics is practically impossible. We know that Plato’s ethical mathematics is relevant to evolving consciousness within the workings of David Bohm’s infinite universe. Scientists have pointed out that Plato was developing Anaxagoras’ infinite fractal geometrical mathematics from a biological perspective. However, prevailing science cannot tolerate such ideas. Einstein had a moral tribal obligation to develop his science in accordance to his mechanistic worldview. This was necessary to prevent the inhuman Nazi regime from being the first to build the atomic bomb. DNA now shows that all human tribes belong to a single species. A species dedicated to harming itself is obviously suffering from some form of mental disease. Plato’s human survival science, whilst providing the medical antidote shows we are living in a confused state of scientific schizophrenia.
The co-founder of the American National Cancer Research Foundation, the Nobel Laureate in Medicine, Albert Szent-Györgyi in his his book The Crazy Ape, points out that man “the more he progresses technologically, seems the more to regress psychologically and socially, until he resembles his [tribal] primate ancestors in a state of high schizophrenia” and “most of scientific research that is done to elevate human life serves in the end to destroy it”1. Obtaining the antidote to this medical problem is not difficult but the prevailing tribal science mentality simply means that the humanitarian academic will to obtain it does not exist.
As superstitious tribal science and human survival science are both integral aspects of human evolution, they can be entangled within a computer program governed by universal first- cause principle logic in order to generate sustainable human survival blueprint simulations. The survival blueprints will guarantee wealth and power beyond the limitations of primitive tribal science. Such a reality can be used to negotiate sharing armistice information between tribal nations preparing for military conflict. This crucial antidote science appears to belong to neurological medical scientists using Plato’s asymmetric mathematical information functioning under the auspices of an acceptable international medical agreement.

Comment Avatar (2009) en tant que phénomène (commercial, esthétique, technique) a-t-il été possible ? Par la même alliance qui a si bien réussi à Titanic (1997) douze années auparavant : un superbe fondu enchainé mêlait déjà la carcasse rouillée du Titanic à son revêtement high-tech en image de synthèse (la 3D des années 90), opérant la fusion narrative entre le témoin âgé (Gloria Stuart) et la beauté romanesque (Katie Holmes) qu’elle fut au moment du nauvrage. Ce subtil alliage entre esthétique et technique, entre art et industrie, entre trucage et prise de vue réelle, brillamment réorchestré par James Cameron avec l’avènement technique de l’IMAX-3D, structure toute l’histoire du relief au cinéma.

StereoPhoto Maker (SPM) is a FREE program for just about anything that you might want to do to a stereo image pair to make it suitable for comfortable 3-D viewing. It also may be used to display digital pair 3-D images in a multitude of formats, including parallel, cross-eyed, over/under, anaglyph, and interlaced for certain 3-D monitors. This is a guide to get you started with this program.

ABSTRACT The floating window technique is commonly employed by stereoscopic 3D filmmakers to reduce the effects of window violations by masking out portions of the screen that contain visual information that doesn’t exist in one of the views. Although widely adopted in the film industry, and despite its potential benefits, the technique has not been adopted by video game developers to the same extent possibly because of the lack of understanding of how the floating window can be utilized in such an interactive medium. Here, we describe a quantitative study that investigates how the floating window technique affects users’ depth perception in a simple game-like environment. Our goal is to determine how various stereoscopic 3D parameters such as the existence, shape, and size of the floating window affect the user experience and to devise a set of guidelines for game developers wishing to develop stereoscopic 3D content. Providing game designers with quantitative knowledge of how these parameters can affect user experience is invaluable when choosing to design interactive stereoscopic 3D content.

This paper explains how we can calibrate stereo camera setup and then create a disparity map from them and then convert it into point cloud which can be further used for several applications. All this is done using two open source computer vision libraries namely, OpenCV and PCL and other dependencies.

Où l’on analyse l’ancienne fracture entre essence et reflet, icone et indice, réalité et image à l’aune de la simulation stéréoscopique du cinéma 3D des années 2000, dans laquelle on distingue une veine immersive (Avatar de James Cameron) et une veine théâtrale (Alice in Wonderland de Tim Burton), dont les frontières sont plus poreuses qu’il n’y paraît.

Pictures that move and give an illusion of depth have long fascinated viewers. "3D and Animated Lenticular Photography: Between Utopia and Entertainment" recounts a multifaceted history of images that animate with a flick of the wrist or appear vividly three-dimensional without the use of special devices. Both effects are made possible by one of photography’s most original technologies: the lenticular process.
Timby weaves lenticular imagery into scientific and popular culture, from early cinema and color reproduction, to the birth of modern advertising and the market for studio portraits, postcards, and religious imagery. The motivations behind the invention and reinvention of this technology, from the turn of the twentieth century through the end of the pre-digital era, shed new light on our relationship to photographic realism and on the forceful interplay in photography between technological innovation and the desire to be entertained.

[In this file: Contents, Introduction, Index]

Godard and the Essay Film offers a history and analysis of the essay film, one of the most significant forms of intellectual filmmaking since the end of World War II. War-ner incisively reconsiders the defining traits and legacies of this still-evolving genre through a groundbreaking examination of the vast and formidable oeuvre of Jean-Luc Godard. The essay film has often been understood by scholars as an eccentric development within documentary, but Warner shows how an essayistic process of thinking can materialize just as potently within narrative fiction films, through self-critical investigations into the aesthetic , political, and philosophical resources of the medium. Studying examples by Godard and other directors, such as Orson Welles, Chris Marker, Agnès Varda, and Harun Farocki, Warner elaborates a fresh account of essayistic reflection that turns on the imaginative, constructive role of the viewer. Through fine-grained analyses, this book contributes the most nuanced description yet of the relational interface between viewer and screen in the context of the essay film. Shedding new light on Godard's work, from the 1960s to the 2010s, in film, television, video, and digital stereoscopy, Warner distills an understanding of essayistic cinema as a shared exercise of critical rumination and perceptual discovery.

http://www.nupress.northwestern.edu/content/godard-and-essay-film

This book is dedicated to the great Georgian modern artist David Kakabadze (1889-1952). This book compares the importance of David Kakabadze’s creative work against the background of world avant-garde art of the beginning of the 20th century. This book is of interest for art historians and other experts, studying Georgian and Soviet art/culture, modern art and, especially, abstract art.

El uso de los métodos estereoscópicos añade una nueva dimensión a las representaciones y amplía el conocimiento del objeto representado, a la vez que despierta el interés del espectador por aquello que visualiza. Sin embargo, las técnicas estereoscópicas, que tuvieron su origen hace casi dos siglos, son actualmente poco conocidas y apenas se utilizan en el campo científico y docente, pues parece como si sólo estuvieran en manos de los gurús de la industria cinematográfica y sus fundamentos hubieran caído en el olvido, precisamente en un momento en el que las nuevas tecnologías nos abren un mundo de posibilidades.
En esta Tesis se pretende aglutinar los aspectos históricos y técnicos de la estereoscopia en un documento único, que pueda servir de ayuda a todos aquellos que quieran incorporarla como una vía complementaria de expresión, tanto en el campo de la divulgación científica, como en el docente. Por este motivo no se aborda sólo una cuestión específica, sino que se pretende ofrecer una visión global del problema estereoscópico y resolver una serie de carencias particulares, detectadas con la práctica de la estereoscopia, realizando aportaciones propias tanto desde el punto de vista técnico, como del histórico.
Es importante contextualizar los contenidos, analizando los antecedentes y su historia, empezando por los protagonistas y las aportaciones más relevantes. Resulta igualmente necesario prestar especial atención a los aspectos psicofisiológicos de la visión, que resultan determinantes en el fenómeno de la percepción estereoscópica, teniendo en cuenta los estudios más relevantes en el campo del confort visual.
Todo ello permite identificar los parámetros clave de la percepción estereoscópica y los factores que pueden inducir distorsiones perceptivas; a partir de ellos se diseña una metodología de captura estereoscópica propia para establecer los parámetros óptimos, que garanticen una experiencia de visualización confortable y eviten las distorsiones perceptivas del modelo representado.
Se analizan también los medios de reproducción y visionado actuales, estudiando los formatos multimedia compatibles con los modernos televisores 3D y las plataformas de distribución de contenido estereoscópico a través de internet. A raíz de este análisis se aporta una metodología eficaz y práctica, basada en software libre, para elaborar y editar material estereoscópico propio, ya sean imágenes estáticas o vídeos.
Los panoramas esféricos se han convertido en un recurso muy apreciado en la representación arquitectónica y en las técnicas de realidad virtual, pero nunca antes se había planteado una versión estereoscópica de este tipo de imágenes panorámicas. Por ello, se ha diseñado un método de captura fotográfica que permite obtener panoramas esféricos estereoscópicos y se han desarrollado los algoritmos necesarios para poder elaborar un visor específico con el que visualizarlos de manera efectiva.
Se ha realizado una profunda búsqueda bibliográfica y un análisis comparativo de las publicaciones estereoscópicas relacionadas con la expresión gráfica. También se han destacado varios de los escasos ejemplos de aplicación en el campo científico, sacando a la luz algunos casos inéditos.
Por último, se ha llevado a cabo un minucioso estudio documental, para tratar de censar y obtener las fotografías estereoscópicas de Valencia, publicadas por los editores comerciales del siglo XIX. Ello permitirá recuperar la memoria de diversos elementos arquitectónicos desaparecidos y conocer los aspectos urbanos de este periodo, en visión estereoscópica.

Ce mémoire interroge les usages documentaires de deux technologies immersives, la stéréoscopie et la réalité virtuelle. L’une, la stéréoscopie, remet en cause la planéarité du cadre en lui conférant un relief singulier. L’autre, la réalité virtuelle, interroge les limites mêmes du
cadre, désormais relatives et dépendantes en permanence de l’activité du spectateur.

La stéréoscopie porte la promesse d’un renouvellement possible de l’image documentaire. Pina de Wim Wenders (2011) et La Grotte des Rêves perdus (2011) de Werner Herzog en constituent l’illustration la plus importante. Elle induit une proximité singulière du spectateur
avec le réel filmé, et une liberté d’exploration nouvelle d’une image désormais spatiale.

La réalité virtuelle semble s’inscrire dans la continuité de cette libération d’une image désormais indépendante des limites du cadre et offrant au spectateur un rapport quasi immédiat au réel, qui se manifeste dans son caractère brut. L’image, redevenue champ perceptif , ne peut
plus mentir ; elle devient garante de l’absence de biais interprétatif.

Mais la stéréoscopie et la réalité virtuelle empêchent également de bénéficier des ressources discursives habituelles de l’image filmée. Elles font ainsi émerger la menace d’un sacrifice du regard documentaire. Il s’agit donc d’étudier à la fois les pouvoirs documentaires
de l’immersion et les problèmes esthétiques, épistémologiques et éthiques que posent ces deux
technologies.

The current fashion for digital 3-D has renewed interest in the history of nineteenth century stereoscopic media. But what can this history teach us about the present or future of cinema? This article reconsiders the intertwined history of stereoscopic and cinematic representation to ask how new media may reposition old possibilities. Between the emergence of photography and cinema, techniques for producing spatial and temporal depth often overlapped and complemented one another. Hybrid formats of this period—such as 3-D zoetropes, stereopanoramas, and 'time studies'—combined stereographic and cinematic strategies in a range of effects. Using digital tools, contemporary media artists reinvoke these 'pre-cinematic' hybrids to test the dimensions of the 'postcinematic' image.

Scope of the book:
This book focusses on the technical concepts of deep learning and its associated branch Neural Networks for the various dimensions of image processing applications. The proposed volume intends to bring together researchers to report the latest results or progress in the development of the above-mentioned areas. Since there is a deficit of books on this specific subject matter, the editors aim to provide a common platform for researchers working in this area to exhibit their novel findings.
Topics of Interest:
This book solicits contributions, which include the fundamentals in the field of Deep Artificial Neural Networks and Image Processing supported by case studies and practical examples. Each chapter is expected to be self-contained and to cover an in-depth analysis of real life applications of neural networks to image analysis.

Catalogue of the 'The War Beyond The Western Front: Hidden Histories of the First World War' exhibition hosted at the Glass Tank Gallery at Oxford Brookes University in Nov-Dec 2016, featuring 3D anaglyph conversions of contemporary stereoscopic images courtesy of Simon Wilson, and the individual research projects conducted at the Soldiers of Oxfordshire Museum (Sofo) as part of our AHRC funded research development project with Stephen Barker and the Centre for Hidden Histories at the University of Nottingham.

This article offers a theoretical analysis of the 3D cinema experience, paying particular attention to the paradoxical manner in which a further apparatus, medium, or filter namely 3D glasses enables what many viewers perceive as a greater level of realism in the cinematic image. That 3D glasses constitute a further apparatus, medium or filter between the image and the viewer ultimately will lead to a more abstract discussion of the differences between solid and gaseous perception or, briefly, between seeing objects as solid barriers or as permeable, and of the importance of darkness in perception itself. The authors argument is that darkness, equated here with the extra medium of the 3D glasses, is a key but overlooked aspect of film viewing, something made clear by 3D cinema. Into this argument, he includes analysis of Avatar (James Cameron, 2009), which enacts some of the theoretical arguments that he wishes to make.

The basic requirements of 19th Century tribal science were the same for the preceding centuries of human evolution. All that abruptly changed when DNA demonstrated that all human tribes belong to a single species dedicated to continually harming itself. Since they came into existence, tribes have been neurologically groomed by nature to obey the observable survival of the fittest law in nature. From the new DNA perspective we now exist within a diseased global tribal society requiring an alternative human survival thought-form antidote for the benefit of the entire human species.

This paper argues that stereoscopic technology, deepening space, may also be related to the concept of Time-Image, although a frozen image. Stereoscopic viewing deepens space as well as it invites the viewer to take time in scanning this deepness, deepening in this way, time itself in such a way as to make the observer aware of his/her own look, moving his/her eyes through the image, resembling Deleuze's definition of the cinema of time. I compare the work of the stereoscopic photographer and Portuguese film pioneer Aurélio Paz dos Reis, and his experiments with movement, illusion and narrative in stereoscopy, with the experimental approach by Chris Marker, namely in his "photographic film" La Jetée.

Following a previous international conference at the Sapientia Hungarian University of Transylvania in Cluj-Napoca, Romania, and the subsequent publication of a volume of studies with the title Film in the Post-Media Age (Cambridge Scholars Publishing, 2012), which insisted, citing the ideas of Jacques Rancière, that the ecosystem of contemporary moving images should be understood not as a unified digital environment, but as a highly diversified, “multisensory milieu,” another conference was organised, focusing this time directly on the “multisensory” nature of moving images. Pairing the keywords “cinema” and “sensation”, an invitation was extended for presentations offering a closer examination of the sensual aspects of moving images in order to identify and map out at least some of the possible new directions perceived as taking shape as “sensuous” film studies.The conference took place between the 25th and 27th of May 2012, with the title The Cinema of Sensations, and attracted researchers from all over the world for what turned out to be three days of presentations on extremely varied subjects and lively discussions conducted in a memorably cheerful atmosphere. The present volume having the same title as the conference is the palpable outcome of these debates, and publishes a selection of articles that have been written for this conference, alongside a few essays written afterwards within the framework of a subsequent research project focusing on questions of intermediality in the cinema of Eastern Europe, and which has also been premised on the sensuous nature of the complex medial experience of film.

These articles on 3DTV and 3D movies were written over the last two decades of the 43 year period since I began. They are illustrated with original photos and historical materials resulting from thousands of hours researching the technical and patent literature and attending and exhibiting at trade shows. I decided to publish them in a book as they have only existed in scattered locations and they have proven quite popular when I recently posted some of them on the net. They present information and viewpoints difficult or impossible to find that nicely supplement what is available elsewhere.

This book has now been published in a revised version in ebook and printed versions  https://www.amazon.com/3DTV-3D-Movie-Technology-1996-2017-ebook/dp/B0723GVVJ9 .

As with all sites, the archives of 3DTV Corporation may be viewed on the wayback machine at https://web.archive.org/web/*/http://3dmagic.com and it’s mirror https://web.archive.org/web/*/http://3dtv.jp

These articles on 3DTV and 3D movies were written over the last two decades of the 44year period since I began. They are illustrated with original photos and historical materials resulting from thousands of hours researching the technical and patent literature and attending and exhibiting at trade shows. I decided to publish them in a book as they have only existed in scattered locations and they have proven quite popular when I recently posted some of them on the net. They present information and viewpoints difficult or impossible to find that nicely supplement what is available elsewhere.

The comprehensive coverage of various trade shows held at the peak of the 3D frenzy (ca 2009-11) are a unique record of what was actually available in the market place at major international shows. To attend one of them would cost the average participant over $1000 and a week’s time, with many hours a day walking the floor, fighting the crowds and exhaustion, and very few would see or understand most of what was on display. This was easier for me as I had already spent 36 years studying 3D full time. I exerted the most effort at NAB (the National Association of Broadcasters) where I trudged the aisles about 8 hours a day for 5 days visiting most of the 3D relevant booths twice, and then spent several weeks reading and researching to put them into context. The patent and technical literature searches however occupied four decades. I also include several practical articles on making and viewing 3D video that include numerous tips not present in the many books and articles I have seen. I make no attempt to repeat the material in the many excellent books and countless articles that have appeared recently. Those who want a fairly comprehensive coverage of 3D technology should get the SPIE CD with many hundreds of articles from 1977 to 2009 ISBN-10: 0819476595 and subsequent proceedings, and of course for the diligent there is no substitute for the patent literature.

As I comment in several places, though thousands (or millions) have contributed to the technology that gave rise to the rebirth of 3D films and television, if I had to pick out just two, then I think Larry Hornbeck of Texas Instruments, who invented the DLP micromirror technology used for projection, and Brian Critchley of projector maker Digital Projection, who took the lead in researching and developing it into a workable cinema projector, deserve top honors. I continue to sell 3D hardware as a hobby and greatly enjoy hunting down obscure 3D films on the net (many of them never released theatrically in 3D and only distributed on 3D blu-ray in one part of the world, and so only seen in 3D by a tiny minority of the viewing public).

Texto que oferece uma leitura ao ensaio de Krauss, destacando as principais questões nele presentes, e oferecendo alguns breves comentários às mesmas. Ainda uma pequena discussão em torno do Ecrã como espaço do não-discurso (algo que pode continuar a ser investigado, trabalhado) ... Talvez o problema nestas recensões que faço é o facto de fazer muito uso das palavras da autora...

The paper entitled Trail Blazing Scientists of the 21st Century by Robert Pope and Dudley Leggett published by Academia.edu on 20 December 2018 contained a painting and a photograph of asymmetrical electromagnetic glasses, which when used to view the artwork reveals a series of interlocking holographic images.

This phenomenon caught the attention of scientific researchers engaged in a search for rigorous biotechnology links between Platonic ethical artistic creativity mathematics and future human survival technology. They believe that this visual discovery of Plato’s artistic electromagnetic mathematical thought-form information, previously concealed in plane geometry for some 2400 years, is of crucial neurological importance. It is philosophically oriented to help in resolving the current acceleration of global chaos.

The research group noted that the painting contained slight movements within the interlocking holographic images and requested if another painting could be created to display increased movement. They were interested in the possibility that the colour movement in the painting might be resonating in some way with flat plane cerebral functioning in which mind generates electromagnetic thought-form torque force movement transforming chemical energy in the brain to mechanistic movement.

As requested, another painting was created that unexpectedly increased the overall movement across the painting from barely perceivable to approximately 4 millimetres across the entire artwork.

Plato’s long lost spiritual message in flat plane geometry has generated endless philosophic conjecture regarding the fate of the human species. Our Science-Art Research Centre, in collaboration with the International Quantum Art Movement, is now being credited for creating improved human survival information artefacts. For example, none of Leonardo da Vinci’s influential artistic artefacts contained the holographic evidence that Plato had alluded to. Da Vinci thought that this was not possible. For academic discussion on this complex mental phenomenon, the paper Artefacts in cultural transmission: Evolutionary perspective is recommended reading ( Nicolic. A. 2018)

[Book chapter] A history of the origins of the 3D lenticular postcard in the 1960s–70s, including eye-catching touristic views, religious imagery, and still lives of flowers and animals. As products, these postcards responded to a desire for unusual images to keep as souvenirs, collect, or send. Placed in the wider history of 3D photography, the postcard’s iconographies and uses show that the lenticular process had become associated with kitsch and a distinctive lack of naturalism while holography became the focus of enduring fascination with the idea of an integral image.

This is Chapter 7 of my book “3D and Animated Lenticular Photography: Between Utopia and Entertainment” (De Gruyter, 2015).

Keywords: Postcards, popular imagery, religious imagery, Lourdes, kitsch, holography, 3D photography, animated photography

DNA shows that all humans belong to a single species. A species harming itself through tribal conflict demonstrates that Einstein’s tribal science is infected with a mental disorder requiring an urgent medical antidote. Tribal science is genetically and emotionally programmed to ignore any consideration that the actions of Einstein’s law must be subject to an equal and opposite reaction. Now that the likelihood of this physics law preforming its natural function is understood, new aspects of neurological science can be programmed into computer research, governed by nous-mind infinite fractal logic in order to generate human survival blueprint simulations.

Following some comments on the nature of stereo perception as it relates to stereo video
displays, a number of areas of interest are briefly reviewed and accompanied by extensive citations and rare illustrations
from the patent and technical literature. These include single camera(70 refs.) and dual camera(100
refs.) stereoscopy, compatible 3D recording and transmission(57 refs.), head mounted displays(85
refs.), field sequential stereo(285 refs.), and autostereoscopic systems including lenticular(64 refs.),
parallax barrier(22 refs.), stereoptiplexer(17 refs.), integral imaging(24 refs.), direction selective
mirrors, lenses or screens(26 refs.), volumetric displays(133 refs.), holovision(13 refs.),
stereoendoscopy(14 refs.),and stereosculpting(15 refs.). Interfaces for stereo graphics and the
interaction of stereo video and stereo graphics are also discussed.

This article has now been published in a revised version in ebook and printed versions  https://www.amazon.com/3DTV-3D-Movie-Technology-1996-2017-ebook/dp/B0723GVVJ9 .

As with all sites, the archives of 3DTV Corporation may be viewed on the wayback machine at https://web.archive.org/web/*/http://3dmagic.com and it’s mirror https://web.archive.org/web/*/http://3dtv.jp

Einstein’s atomic physics worldview was morally needed to help build the atomic bomb before the psychotic Nazi regime did so. The evolution of tribal scientific intellect for thousands of years has been forced to obey the survival of the fittest law seen in nature. Within tribal science “The art of war is of vital importance to the State. It is a matter of life and death, a road either to safety or to ruin. Hence it is a subject of inquiry which can on no account be neglected”. This common sense quote was taken from the oldest military treatise in the world. The economy supporting tribal science that finances the building of weaponry and religious or secular dogma provides the artistic rhetoric, ceremony and pageantry to evoke an emotional willingness to participate in deadly murderous tribal conflict.

From a neurological perspective the basis for this inherited tribal science became obsolete when DNA revealed that all human tribes actually belong to a single species dedicated to harming itself. Centuries of aggressive hereditary information encoded into DNA exists alongside intuitive feelings of global compassion concerning economic stratagems that are inflicting incredible pain and suffering upon millions of people. Tribal science, capable of incredible ingenuity, needs to undergo a transformation away from supporting aggressive tribal conflict. From this new perspective the crucial transformation to a human survival science involves a neurological remedy.

This article is about one of the lesser known processes for making anaglyph lantern slides, circa 1910, which allowed for 3D viewing or projection using a single lantern slide. It was published in "Stereo World", the journal of the National Stereoscopic Association.

L’ennesimo ritorno del cinema tridimensionale degli anni 2000 ha toccato anche l’industria cinematografica italiana in quanto mercato di sfogo del prodotto hollywoodiano, testa di ponte del mutamento tecnologico ieri come oggi. Decine e decine di pellicole a tre dimensioni sono state importate con esiti per la verità non sempre felicissimi, e la clamorosa attenzione per il fenomeno culminata con la distribuzione di Avatar (Cameron, 2009) pare essere già in fase calante. Ancora un flop del 3D? Presto per dirlo. Presto per dire cioè se la tecnologia tridimensionale resterà un’opzione stabile della produzione del film, così come è successo, per esempio, con lo schermo largo degli anni Cinquanta. Ma forse il digital-3D ha già raggiunto lo scopo per il quale è stato così vigorosamente promosso dagli studi hollywoodiani nel biennio 2009-2010: non tanto sostituire il cinema “piatto”, quanto fare da cavallo di troia per il digitale, ovvero spingere gli esercenti cinematografici, ultimo strategico anello della filiera industriale del film, ad equipaggiare i propri impianti con i proiettori di ultima generazione. In linea con gli studi più recenti di tipo economico-industriale riconducibili al paradigma dei media industry studies, il presente saggio intende analizzare il 3D quale aspetto attrazionale del cinema digitale e misurare il suo impatto sulla conversione dell’esercizio italiano.

The discovery of Plato’s spiritual geometry hidden for some 2400 years within plane geometry, reveals itself to be an infinite fractal mathematical logic orienting a political medical science capable of moving civilization toward an ethical human survival destiny.

Although ‘tribal’ democracies evolved intellect by creating weaponry to ensure their survival DNA demonstrates that humans belong to a single species. The need to obey the survival of the fittest law defines that a species harming itself is suffering from a neurological disorder. Plato’s political medical science anticipated this situation and provided the information to obtain its antidote.

The problem of recursively approximating motion resulting from the Optical Flow (OF) in video thru Total Least Squares (TLS) techniques is addressed. TLS method solves an inconsistent system Gu=z , with G and z in error due to temporal/spatial derivatives, and nonlinearity, while the Ordinary Least Squares (OLS) model has noise only in z. Sources of difficulty involve the non-stationarity of the field, the ill-posedness, and the existence of noise in the data. Three ways of applying the TLS with different noise conjectures to the end problem are observed. First, the classical TLS (cTLS) is introduced, where the entries of the error matrices of each row of the augmented matrix [G;z] have zero mean and the same standard deviation. Next, the Generalized Total Least Squares (GTLS) is defined to provide a more stable solution, but it still has some problems. The Generalized Scaled TLS (GSTLS) has G and z tainted by different sources of additive zero-mean Gaussian noise and scaling [G;z] by nonsingular D and E, that is, D[G;z]E makes the errors iid with zero mean and a diagonal covariance matrix. The scaling is computed from some knowledge on the error distribution to improve the GTLS estimate. For moderate levels of additive noise, GSTLS outperforms the OLS, and the GTLS approaches. Although any TLS variant requires more computations than the OLS, it is still applicable with proper scaling of the data matrix.

Este artículo sintetiza la investigación llevada a cabo a partir de la recopilación de los libros relacionados con la Geometría Descriptiva, que han utilizado la estereoscopia para ampliar el conocimiento de las formas geométricas representadas. Se han podido recopilar 19 obras, publicadas entre 1912 y 2007, que han sido analizadas y comparadas. Muchas de ellas han tenido que ser adquiridas a través de anticuarios internacionales, pues constituyen toda una rareza. Aquí se muestran las más antiguas e interesantes, destacando los aspectos más relevantes de cada una de ellas. Para mostrar convenientemente sus figuras estereoscópicas, ha sido necesario realizar un profundo trabajo de edición digital, con el fin de uniformizar las tintas, adaptándolas a un único sistema de visualización con gafas convencionales de filtros rojo/cian. Finalmente se muestran los resultados del análisis completo con todos los libros encontrados.

Progress in image sensors and computation power has fueled studies to improve acquisition, processing, and analysis of 3D streams along with 3D scenes/objects reconstruction. The role of motion compensation/ motion estimation (MCME) in 3D TV from end-to-end user is investigated in this chapter. Motion vectors (MVs) are closely related to the concept of disparities, and they can help improving dynamic scene acquisition, content creation, 2D to 3D conversion, compression coding, decompression/decoding, scene rendering, error concealment, virtual/augmented reality handling, intelligent content retrieval, and displaying. Although there are different 3D shape extraction methods, this chapter focuses mostly on shape-from-motion (SfM) techniques due to their relevance to 3D TV. SfM extraction can restore 3D shape information from a single camera data.

The Stereoscopic image provide information on details of each object in the image in three dimension and helps to observe the image in a better way. The Stereoscopic images are also called as 3D images. The 3D Digital Cameras, 3D Televisions, 3D Projectors etc. are commonly available in the electronic stores in a reasonable price. The people prefer 3D images than the 2D image. The 3D image provides more information than the 2D image. The 3D image makes the people to experience real time world in a 2D device. The medical field uses 3D Scan image as a diagnostic tool for various diseases. There are many scientists working in the area of 3D images and movies. A faster 2D to 3D conversion algorithm is developed using Image Fusion technique. The algorithm creates two images one as left eye view and another one as right eye view with reference to the user defined depth. These left view image and right view image are fused with mean value. The left view image and fused image are stored in the 3D image format MPO and shall be viewed in 3D capable device.

In History of Photography 29 (2), 2005, an exploration of some of the technical and theoretical ties between 3D and color photography. /// Original abstract : The invention of stereoscopic photography and of indirect colour photography in the nineteenth century are re-examined so as to underline elemental theoretical similarities between the two processes. Both are illusions, reconstructing either the impression of depth or of natural colour via the deconstruction of human perception into multiple images. Because of their similar foundations, the separate pursuits of colour and three-dimensional representation come to influence each other, in the first half of the twentieth century, as new devices are developed to facilitate their practice. Comparison of the two types of photography on a technical level is relevant to analysis of the meaning of the photographic image in all its forms, and in particular to scrutiny of its ‘realism’.