Relevant bibliographies by topics / Lantern projection

Academic literature on the topic 'Lantern projection'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Lantern projection"

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Christensen, A. Kent. "Preparation of 2″ X 2″ Projection Slides From EM And Other Negatives." Microscopy Today 2, no. 2 (March 1994): 6–7. http://dx.doi.org/10.1017/s1551929500062982.

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In the early days of biological electron microscopy (the 1950s and 1960s), projection slides of electron micrographs for talks or teaching were generally prepared as 3-1/2″ X 4″ lantern slides, which were shown using large lantern-slide projectors. It was felt by professional electron microscopists that the detail, tones, and general image quality of electron micrographs could be adequately portrayed only in this larger format.However the large lantern slides were very cumbersome, and most professionals began switching to 2″ X 2″ slides in the early 1970s. Some of us during that period put in a great deal of time trying to work out a procedure for printing EM negatives directly on 2″ X 2″ glass Kodak Projector Slide Plates, following the general approach by which we had previously made the 3-1/4″ X 4″ lantern slides.
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STAUBERMANN, KLAUS B. "Making stars: projection culture in nineteenth-century German astronomy." British Journal for the History of Science 34, no. 4 (December 2001): 439–51. http://dx.doi.org/10.1017/s0007087401004472.

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The introduction into the laboratory of the magic lantern and the arts of projection marked a change from putatively individual and mechanical to obviously collective and skillful perception in nineteenth-century German sciences. In 1860 Karl Friedrich Zöllner introduced an astro-photometer to astronomers who, by practising with it, became aware of their own tacit and ubiquitous skills. Zöllner was a showman who was aware of the personal skills involved in magic-lantern projection. Like showmen, nineteenth-century astronomers could also control and calibrate their vision with this instrument. Photometrists such as Zöllner were not only aware of subjectivity, but developed techniques to manipulate, control and to employ it in scientific judgements. This view stands in contrast to that of the scientists described by Lorraine Daston and Peter Galison, for whom ‘machines offered freedom from will – from the willful interventions that had come to be seen as the most dangerous aspects of subjectivity’. But with Zöllner's successful programme of instrumental subjectivity, acts of willful intervention were at the very centre of astronomical judgement.
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Klein, Susanne, and Paul Elter. "The Tartan Ribbon or Further Experiments of Maxwell’s Disappointment/Sutton’s Accident." Heritage 6, no. 2 (January 24, 2023): 968–78. http://dx.doi.org/10.3390/heritage6020054.

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On 17 May 1861, James Clerk Maxwell delivered a lecture at the Royal Society where he demonstrated, using a lantern slide projection, his theory for colour perception in the human eye via the additive colour process known today as RGB. Three images from three separate lantern slide projectors were projected onto a surface. The same colour filters with which the object had been photographed where then placed in front of each projection lens, carefully realigned, and what has been called “the first colour photograph” was supposed to have been created. It was a series of happy accidents, during capture and exposure, and a misinterpretation of the results—mostly long after the event itself—that has invented this commonly referred to fictional “First Ever” title. In the following retelling of the historical details in their chronological order and through a series of experiments with historically correct emulsions, we will clearly outline the errors and where they occurred.
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Egelmeers, Wouter. "The Example of Joan of Arc. How a Belgian Teacher Created a Lesson Illustrated by Means of Lantern Slides." TMG Journal for Media History 26, no. 1 (June 5, 2023): 1–18. http://dx.doi.org/10.18146/tmg.863.

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Due to a lack of sources documenting everyday teaching practices, historians engaging with the use of the optical lantern in education have traditionally focused on the top-down implementation of the medium. This contribution presents a rare case study of how the medium was actually used by focusing on a lesson on the saint Joan of Arc that was taught by means of the optical lantern at a Catholic school for girls. This analysis is enabled by the preservation of an exceptionally rich collection of lantern slides and related materials, including a notebook with the text that was probably used during the projection of the images. These sources show that the teacher who was in charge of the lesson went to great lengths to combine various images and text fragments with each other, creating a unique narrative that corresponded to her Catholic worldview and goals.
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Malt, Johanna. "The Blob and the Magic Lantern: On Subjectivity, Faciality and Projection." Paragraph 36, no. 3 (November 2013): 305–23. http://dx.doi.org/10.3366/para.2013.0096.

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Through an examination of Proust's ‘magic lantern’ scene from the opening of A la recherche du temps perdu, alongside the work of the contemporary installation artist Tony Oursler, this article takes projection as a means of exploring the relationship between subjectivity and embodiment. Reading them in conjunction with Deleuze and Guattari's concept of ‘faciality’, I argue that Oursler's installations, combining performance, sculpture and video art, explore the fate of the body subjected to signification and can be described as ‘tragedies of faciality’. At the same time, anchored as they are in material relations, they are unable to detach the subject from the limits of the body in the radical way Proust can, via a literary account of projection which is, I argue, doubly virtual.
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VERMEIR, KOEN. "The magic of the magic lantern (1660–1700): on analogical demonstration and the visualization of the invisible." British Journal for the History of Science 38, no. 2 (May 25, 2005): 127–59. http://dx.doi.org/10.1017/s0007087405006709.

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The history of the magic lantern provides a privileged case study with which to explore the histories of projection, demonstration, illusion and the occult, and their different intersections. I focus on the role of the magic lantern in the work of the Jesuit Athanasius Kircher and the French Cartesian Abbé de Vallemont. After explaining the various meanings of the seventeenth-century concept of illusio, I propose a new solution for the long-standing problem that Kircher added the ‘wrong’ illustrations to his description of the lantern. The complex interaction between text, image and performance was crucial in Kircher's work and these ‘wrong’ figures provide us with a key to interpreting his Ars Magna. I argue that Vallemont used the magic lantern in a similar rhetorical way in a crucial phase of his argument. The magic lantern should not be understood merely as an illustrative image or an item of demonstration apparatus; rather the instrument is employed as part of a performance which is not meant simply to be entertaining. Both authors used a special form of scientific demonstration, which I will term ‘analogical demonstration’, to bolster their world view. This account opens new ways to think about the relation between instruments and the occult.Sol fons lucis universi, vas admirabile, opus Excelsi, divinitatis thalamus, risus coeli, decor, & pulchritudo mundiA. KircherFor one of those Gnostics, the visible universe was an illusion or, more precisely, a sophism. Mirrors and fatherhood are abominable because they multiply it and extend it.J. L. Borges
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Nawata, Yūji. "Phantasmagoric Literatures from 1827 : Johann Wolfgang von Goethe, Sin Chaha, and Kyokutei Bakin1." Jahrbuch für Internationale Germanistik 54, no. 1 (January 1, 2022): 145–66. http://dx.doi.org/10.3726/jig541_145.

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The magic lantern as a projection technique, which has existed in Europe since the 17th century (at the latest), and phantasmagoria as a large-scale magic lantern occupy a prominent place in the world history of visual culture. As they spread across the world, these technologies encountered written cultures and produced fantastic literature—phantasmagorical literature, so to speak. This article analyzes phantasmagorical literature written or published circa 1827 by Johann Wolfgang von Goethe (1749–1832) of Germany, (SIN Chaha, also called [SIN Wi], 1769–18452 of Korea, and (KYOKUTEI Bakin, 1767–1848) of Japan. This is a demonstration of a novel approach to comparative literature, which compares literary works in the light of global technological history, and this is an attempt to give an insight into the world history of visual culture from the perspective of 1827.
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Washitani, Hana. "Gentō." Feminist Media Histories 2, no. 1 (January 1, 2016): 61–85. http://dx.doi.org/10.1525/fmh.2016.2.1.61.

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Japanese gentō (originally a translation of the English term “magic lantern”) is a still-image projection system that enlarges images on a transparent slide or film and projects them onto a large screen. Most studies argue that the magic lantern, stereopticon, or gentō thrived from the seventeenth to the nineteenth centuries and that their use declined in the early twentieth century with the arrival of the motion picture. This article examines the revival and redevelopment of gentō in mid-twentieth-century Japan, focusing on its use in 1950s social movements (including labor, social welfare, and political protest movements) and exploring how independent gentō works represented the landscapes, histories, and everyday lives threatened by the presence of U.S. military forces in Japan. It also examines the representation of female gender and sexuality in these gentō works, looking at the ways they depict women as both symbols of a victimized and humiliated homeland and as threats to the order of paternalistic family and society in Japan.
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Vogl-Bienek, Ludwig, and Yvonne Zimmermann. "Paul Hoffmann (1829-1888), « Screen Practitioner and Media-Entrepreneur ». Formation and Practices of a 19 th Century Travelling Lantern Lecturer." Le Temps des médias 41, no. 2 (October 20, 2023): 36–53. http://dx.doi.org/10.3917/tdm.041.0036.

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Cet article met en lumière les domaines professionnels très différenciés de l’art - et du commerce - de projection au milieu et à la fin du xix e siècle, en prenant pour exemple l’entrepreneur de médias Paul Hoffmann. Hoffmann utilisait la technique de projection la plus moderne pour illustrer des conférences populaires sur des sujets scientifiques. Ses “Grands Spectacles” contribuaient de manière fondamentale à l’établissement de l’écran dans les grands théâtres et les salles de spectacles.
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Da Rocha Gonçalves, Dulce. "The Nutslezing and the lantern: Public lectures with image projection organized by the Maatschappij tot Nut van 't Algemeen in the first decades of the 20th century." TMG Journal for Media History 26, no. 1 (June 5, 2023): 1–29. http://dx.doi.org/10.18146/tmg.828.

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Public lectures were a typical social event to nineteenth and twentieth century audiences in the Netherlands. Among these, the so-called Nutslezingen were particularly well-known, eliciting praise, criticism, and mockery. The wide use of term Nutslezing is confirmed by its inclusion in the Van Dale dictionary with defines it as “lecture for a department of ‘t Nut.” The Maatschappij tot Nut van ’t Algemeen, Society for the Common Benefit, was established in the Netherlands in 1784, and the Nutslezingen were one of their earliest and certainly the most recognizable of their activities. In 1900, by becoming a member of the recently founded Vereeniging tot het houden van Voordrachten met Lichtbeelden, Association for the Organization of Illustrated Lectures, the departments of ‘t Nut gained access to a collection of slide-sets and readings which they could use for their lectures. Using Frank Kessler’s concept of the educational magic lantern dispositif, this article will examine how the projection of lantern slides was incorporated in the Nutslezingen and how the historical stakeholders, audiences, speakers, local board members, and the national administration of ‘t Nut engaged with the technology, in theory and in practice.
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Dissertations / Theses on the topic "Lantern projection"

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Hartrick, Elizabeth. "Consuming illusions : the magic lantern in Australia and Aotearoa/New Zealand 1850-1910 /." Connect to thesis, 2003. http://eprints.unimelb.edu.au/archive/00002203.

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Duarte, Fernanda Carolina Armando 1980. "A aplicação dos efeitos visuais em tempo real na construção narrativa de espetáculos com projeção /." São Paulo, 2017. http://hdl.handle.net/11449/153969.

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Orientador(a): Rosangella da Silva Leote
Banca: Josette Maria Alves de Souza Monzani
Banca: Marcus Vinicius Fainer Bastos
Banca: Agnaldo Valente Germano da Silva
Banca: Rita Luciana Berti Bredariolli
Resumo: Esta pesquisa investigou a aplicação dos efeitos visuais em tempo real na construção narrativa de espetáculos com projeção. Partindo de estudos para a construção de um dispositivo direcionado para a aplicação de efeitos visuais em tempo real, pretendíamos localizar como é possível fazer tal aplicação dentro de três modalidades diferentes de espetáculos, que se enquadram no escopo de trabalhos realizados pelo grupo artístico RE(C)organize, do qual fazemos parte, sendo eles: um show musical, um espetáculo performático (sendo que esses devem integrar em seus projetos a videoprojeção) e uma apresentação de vídeo mapping, que seja total ou parcialmente, realizada de forma ao vivo. A opção por essas modalidades foi feita de acordo com a afinidade profissional do grupo. Buscamos, através de um processo teórico e prático, identificar os efeitos que evidenciam um discurso narrativo, de forma simbólica e/ou metafórica, além de detectar aqueles que possuíssem a potencialidade de atender as exigências do espetáculo ao vivo, que a nosso ver são: a urgência (no sentido de que a obra precisa acontecer naquele instante único) e a evidência (no sentido de caracterizar o momento específico de forma clara) - o que é abordado de forma detalhada ao longo deste projeto
Abstract: This research investigated the application of visual effects in real time in the narrative construction of spectacles with projection. Starting from studies to construct a device directed to the application of visual effects in real time, we wanted to locate how it is possible to make such application in three different modalities of spectacles, that fall within the scope of works realized by the artistic group RE(C)organize, of which we are part, being: a musical show, a performance spectacle (being that these must integrate in their projects the videoprojection) and a presentation of video mapping, that is totally or partially, realized in a live form. The option for these modalities was made according to the professional affinity of the group. We seek, through a theoretical and practical process, to identify the effects that evidence a narrative discourse, in a symbolic and / or metaphorical way, as well as to detect those who had the potential to meet the demands of the live show, which we believe are: the urgency (in the sense that the work must happen in that unique instant) and the evidence (in the sense of characterizing the specific moment in a clear way) - which is discussed in detail throughout this project
Resumen: Esta investigación estudió la aplicación de los efectos visuales en tiempo real en la construcción narrativa de espectáculos con proyección. A partir de analisis para la construcción de un dispositivo dirigido a la aplicación de efectos visuales en tiempo real, pretendíamos localizar cómo es posible hacer la aplicación de efectos dentro de tres modalidades diferentes de espectáculos, que se encuadran en el ámbito de trabajos realizados por el grupo artístico RE(C)organize, de lo cual formamos parte, siendo ellos: un show musical, un espectáculo performático (siendo que éstos deben integrar en sus proyectos la videoproyección) y una presentación de video mapping, que sea total o parcialmente, realizada de forma en vivo. La opción por estas modalidades se hizo de acuerdo con la afinidad profesional del grupo. Buscamos, a través de un proceso teórico y práctico, identificar los efectos que evidencian un discurso narrativo, de forma simbólica y / o metafórica, además de detectar aquellos que poseían la potencialidad de atender las exigencias del espectáculo en vivo, que a nuestro ver son: la urgencia (en el sentido de que la obra necesita suceder en aquel instante único) y la evidencia (en el sentido de caracterizar el momento específico de forma clara) - lo que se aborda de forma detallada al largo de este proyecto
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Hayes, Emily Jane Eleanor Rhydderch. "Geographical projections : lantern-slides and the making of geographical knowledge at the Royal Geographical Society c.1885-1924." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/23096.

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This thesis is about the mobilities of geographical knowledge in the material form of lantern-slides and the forces exerted on these by technological and human factors. Owing to its concern with matter, human- and non-human, and its circulation, the thesis addresses the physics of geographical knowledge. The chapters below investigate the Royal Geographical Society’s (RGS) ongoing tradition of telling stories of science and exploration through words, objects and pictures in the final quarter of the nineteenth century and as geography professionalized and geographical science developed. These processes occurred within the context of a plethora of technological innovations, including the combination of the older medium of the magic lantern and photographic lantern-slides, integral to a wide range of entertainment, scientific and educational performances across Britain. In 1886 the RGS began to engage with the magic lantern. Via this technology and the interactive lecture performances in which it featured, I argue that the Society embraced the medium of photography, thereby engendering transformations in methods of knowledge making and to the RGS collections. I study how these transformations influenced the discipline of Geography as it was re-established at the University of Oxford in 1887. I demonstrate the evolution of the RGS’s Evening, Technical and Young Persons’ lectures, their contingent lantern-slide practices and, consequently, how these moulded, and were moulded by, the RGS Fellowship between c. 1885 and 1924. The chapters below explore how these innovations in visual technologies and practices arose, how they circulated knowledge and their effect on geographies of geographical knowledge making. By harnessing the lantern the RGS attracted an expanding and diversifying audience demographic. The thesis demonstrates the interactive nature of RGS lantern-slide lectures and audiences' important role in shaping the Society’s practices and geographical knowledge. The chapters below argue that it was via the use of the lantern that geography was disseminated to new places. The thesis therefore brings additional perspectives and dimensions to understandings of the circulation of geographical knowledge.
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Ravel, Cécile. "Pour une archéologie de l'audio-visuel à travers une production personnelle : pour une poétique de la projection." Paris 1, 1993. http://www.theses.fr/1993PA010513.

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La recherche porte sur l'histoire des projections lumineuses de la fin du XVIIe à la première décennie du XXe, et se concentre sur le passage de l'image fixe à l'image animée. De 1892 (avec les pantomimes lumineuses d'Émile Reynaud) à 1910 (début de la normalisation de la projection cinématographique) se développent des formes de spectacles lumineux mélangeant projection cinématographique et projection au moyen de lanterne magique. La pratique des projections de cette époque se caractérise par des traits marquants qui constituent la base d'un travail plastique personnel et permettant de définir une poétique de la projection. D'autre part, l'archéologie de la lumière, de l'antiquité à Descartes, réactualisée dans la littérature fantastique du XIXe révèle une poétique du rayon lumineux qui est réinvestie dans mon travail. Le modèle archéologique est donc réinterprété à l'intérieur de réalisations audio-visuelles personnelles qui opèrent le passage synchronique et diachronique de l'image fixe à l'image animée: - une pièce de théâtre utilisant le diaporama; - trois réalisations audio-visuelles mélangeant cinéma et diaporama; - un film 16mm
This study deals with the history of light projections from the end of the XIXth century to the first decade of the XXth century, and dwells at great length on the passage from still to animated projection. From 1892 (with emile reynaud's "pantomimes lumineuses") to 1910 (the beginning of the motion picture standardisation), a certain kind of light show arises combining motion pictures with transparencies. The projection habits of that time can be characterized by specific features underlying a personal artistic work as well as making it possible to definethe poetic nature of projection. Besides, from the antiquity to descartes, the archaeology of light, actualized again in the sciencefiction novels of the xixth century, reveals a poetical approach to the luminous beam which is used again in our work. The archaeology of audio-visual practises is reinterpreted as a model within some personal audio-visual works according to a synchronic and diachronic passage from still pictures to animated ones : - a play using slide projections; - three audio-visuals creations combining motion picture and slide projections; - a 16 mm film
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Trusz, Alice Dubina. "Entre lanternas mágicas e cinematógrafos : as origens do espetáculo cinematográfico em Porto Alegre (1861-1908)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/15547.

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Este estudo histórico sobre as origens do espetáculo cinematográfico em Porto Alegre investiga as práticas que caracterizaram a exploração comercial do cinematógrafo para fins de entretenimento desde a sua introdução na cidade em novembro de 1896 até a abertura das primeiras salas permanentes especializadas na exibição cinematográfica, em 1908, e que deram início ao processo de sedentarização da atividade exibidora. O cinema não surgiu como um gênero espetacular acabado e tampouco foi uma prática inédita enquanto espetáculo de projeções, mas esteve estreitamente vinculado à tradição dos espetáculos de projeções de lanterna mágica do século XIX, o que explica a extensão da pesquisa a 1861. Entre 1896 e 1908, o cinematógrafo deixou de ser apenas uma nova invenção técnica e uma nova modalidade de projeção de imagens ópticas para se constituir e afirmar como novo gênero espetacular, autônomo de outras práticas culturais que lhe foram anteriores e contemporâneas e com as quais estabeleceu diferentes formas de associação. Ao longo deste período, o cinematógrafo foi explorado comercialmente de modo descontínuo e temporário por diferentes exibidores cinematográficos itinerantes que ocuparam centros de diversões já existentes e criaram espaços especializados de exibição, propondo distintos modos de organização do espetáculo e dos programas. A heterogeneidade da exibição também facultou um acesso diversificado do público ao cinema e possibilitou uma grande variedade nas formas de sua apropriação pelos espectadores, conferindo uma dinâmica ímpar ao processo de afirmação do cinema como gênero espetacular específico e nova prática cultural.
This historical study on the origins of the cinematographic spectacle in Porto Alegre investigates the practices which characterized the commercial exploitation of the cinematographer for entertainment purposes from its introduction in the city in november 1896 to the opening of the first permanent theaters specialized in cinematographic exhibitions, in 1908, which gave start to the process of sedentarization of the exhibiting activity. Cinema did not appear as an accomplished spectacle genre and neither the projection spectacle was a new practice; it was closely linked to the tradition of the magic lantern projection spectacles of the 19th century, as explained by the extension of the research to 1861. Between 1896 and 1908, the cinematograph has shifted from being solely a new technical invention and a new mode of projection of optical images to becoming a new spectacular genre, independent from other cultural practices, previous and contemporary, with which it had established various forms of association. Throughout this period, the cinematograph was commercially explored in a discontinuous and temporary fashion by a number of itinerant cinematographic exhibitors who occupied existing entertainment centers and created specialized exhibition spaces, proposing distinct ways of organization of the spectacle and of the programs. The heterogeneity of the exhibition also allowed diversified access from the public to cinema and introduced a great variety of possibilities for the audience to appropriate it, conferring an unparalleled dynamic to the process of affirmation of cinema as a specific spectacle genre and a new cultural practice.
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WU, Pei-Shan, and 吳佩珊. "Text Analysis of the Visual Images for Projection-mapping Show of Taipei Lantern Festival." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/00693383414354224433.

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碩士
國立臺灣師範大學
圖文傳播學系
101
Since 2005, projection-mapping has been used in Taipei Lantern Festival and variously turned Taipei City Hall into a huge "virtual lantern". By displaying physical and virtual main lanterns simultaneously, it not only highlighted the characteristic of Taipei Lantern Festival, but made a difference to other ceremonies in the last couple of years. However, despite large crowds attracted by the show, no studies have ever tried to put its content and meaning into a discussion academically. Purposes of this study is therefore threefold: (a) to report on trends in usages of projection-mapping for Taipei Lantern Festival; (b) to analyze the culture elements in content; and (c) to discuss the meaning and the impact to the public. For these objectives to be achieved, content of the projecting mapping in Taipei Lantern Festival was analyzed with text analysis and iconography and several interviews were also conducted with academics and audience. According to the findings, visual images of projection mapping in Taipei Lantern Festival are composed of daily elements, historic and ceremonial elements, and others. With these elements, the projection-mapping show reveal the characteristics of modern visual culture combined with the meanings and values of the new era. The virtual main lantern also has the role to make a breakthrough in traditional ceremonies and transmit the culture meaning to the public. This study is hoped can serve as a basis for further study in projection mapping.
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Books on the topic "Lantern projection"

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Rossell, Deac. Laterna Magica =: Magic lantern. Stuttgart: Füsslin, 2008.

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Jean-Jacques, Tatin-Gourier, ed. La lanterne magique: Pratiques et mise en écriture : actes. [Tours]: Université de Tours, U.F.R de lettres, 1997.

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Campagnoni, Donata Pesenti, and Laurent Mannoni. Lanterna magica e film dipinto: 400 anni di cinema. Torino: La Venaria Reale, 2010.

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Shin'ichi, Tsuchiya, and Miyuki Endō. Gentō suraido no hakubutsushi: Purojekushon, media no kōkogaku. Tōkyō: Seikyūsha, 2015.

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Richard, Crangle, Herbert Stephen, Robinson David 1930-, and Magic Lantern Society of Great Britain., eds. Encyclopaedia of the magic lantern. London: Magic Lantern Society, 2001.

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Dennis, Crompton, Franklin Richard, Herbert Stephen, and Magic Lantern Society of Great Britain., eds. Servants of light: The book of the lantern. Kirkby Malzeard: Magic Lantern Society, 1997.

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Minici, Carlo Alberto Zotti. Dispositivi ottici alle origini del cinema: Immaginario scientifico e spettacolo nel XVII e XVIII secolo. Bologna: CLUEB, 1998.

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Men, Ségolène Le. Lanternes magiques: Tableaux transparents : 18 septembre 1995 - 7 janvier 1996, Musée d'Orsay. Paris: Réunion des musées nationaux, 1995.

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Harald, Hansen. Optisches Spielzeug und Laterna magicas: Ausstellung im Städtischen Museum Schloss Rheydt, Mönchengladbach vom 25. November 1990 bis 3. April 1991. Mönchengladbach: Das Museum, 1990.

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Perriault, Jacques. Dialogues autour d'une lanterne: Une brève histoire de la projection animée. Paris: L'Harmattan, 2013.

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Book chapters on the topic "Lantern projection"

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Teughels, Nelleke. "Teachers’ Agency and the Introduction of New Materialities of Schooling: the Projection Lantern and Classroom Transformations in Antwerp Municipal Schools, c. 1900–1940." In Learning with Light and Shadows, 145–67. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.techne-mph-eb.5.131498.

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Edgcumbe, Philip, Philip Pratt, Guang-Zhong Yang, Chris Nguan, and Rob Rohling. "Pico Lantern: A Pick-up Projector for Augmented Reality in Laparoscopic Surgery." In Medical Image Computing and Computer-Assisted Intervention – MICCAI 2014, 432–39. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10404-1_54.

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Casid, Jill H. "Empire through the Magic Lantern." In Scenes of Projection, 89–124. University of Minnesota Press, 2015. http://dx.doi.org/10.5749/minnesota/9780816646692.003.0003.

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"Part I. Magic Lantern (Projection)." In Three Metaphors for Life, 28–73. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618115744-003.

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Crangle, Richard. "Six (or Seven) Ways of Looking at a Lantern Slide." In Practices of Projection, 87–103. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190934118.003.0006.

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This chapter offers a consideration of the magic lantern slide from a series of viewpoints giving overlapping ways of thinking about what it is as an artefact, how it works as a component of a narrative and performance medium, and its significances in historical and contemporary contexts of creative use. With illustrations from the Lucerna web resource, institutional and private collections, and the work of the Million Pictures research project, the chapter considers the physicality of slides as objects; their relative cultural (and financial) valuations; their various roles and motivations in the transference and concealment of knowledge; their relationships with other portions of the projection process; and some parallels between historic usage of slides and modern media practices, especially in the complex mixture of ‘authority’ and ‘freedom’ that determines their use and interpretation. Conventional approaches to what is sometimes called the ‘historical art of projection’ can be prone to dwell on one or two of these aspects, often with an emphasis on the visual content of the slide image or the physical nature of the artefact. However, to begin to understand the overall cultural impact of this largely lost medium we need to open out the discussion beyond its component parts and consider its possible uses, both historical and current. This chapter therefore aims to describe lantern slide projection as an interactive, ephemeral performance medium, elusive and difficult to categorize, but rich in its creative possibilities.
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Williams, Keith. "‘I Bar the Magic Lantern’: Dubliners and Pre-Filmic Cinematicity." In James Joyce and Cinematicity, 35–105. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474402484.003.0002.

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Demonstrates the importance of the magic lantern to Joyce’s ‘media-cultural imaginary’ and the cinematicity of his techniques and themes. The lantern provided a major cultural and technological context giving birth to film. Despite appearing to ‘bar’ its influence, Dubliners alludes widely to lantern motifs, genres and techniques, explaining how Joyce’s innovations appear modernistically cinematic before film developed equivalent techniques. Chapter 1 demonstrates the fundamental part lanternism played in Joyce’s ekphrastic method: in projection effects and multi-layered intrusions of images from one context into another, but also in ‘dissolving views’ transitioning in space, time and consciousness. Lanternism sheds light on Joyce’s use of ‘flashback’ form several years before film editing, because it represented ‘multi-spatiotemporality’ by superimposing or inserting images visualising thoughts or fantasies, presenting dynamic narrative transformations in photographic ‘life-model’ sets, the predecessors of film features but also a parallel influence on Joyce. The lantern also had a reputation as a ‘technology of the uncanny’, Joyce evoking its ‘phantasmagoria’ for the uncanny vision climaxing Dubliners, a verbal ‘dissolve’, in which a moving ghost world replaces mundane reality. Thus Dubliners’ cinematicity references film’s inheritance from lanternism and anticipates its narrative futures.
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Gunning, Tom. "The Invention of Cinema." In The Oxford Handbook of Silent Cinema, 17–37. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190496692.013.20.

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Abstract The cinema apparatus includes the system of presentation (projector, screen, auditorium, as well as spectator) and the various devices for producing films (camera, printer). This apparatus depends on the moving image, achieved by a succession of rapidly appearing single images and a shutter mechanism, interacting with the viewer’s perceptual capabilities. The presentation derives especially from the magic lantern. Cinema has been linked with the process of photography, especially chronophotography, which fixed a series of images of movement in a succession of rapid exposures. However, moving images were also produced through drawings. The creation of a modern cinema depended as well on a flexible band for a series of images; celluloid fulfilled this need although other bases were sometimes employed. Initial devices tended to be single-viewer peepshows, while larger cinema audiences depended on projection. The claims for inventors are multiple, including Muybridge, Marey, Reynaud, Edison, Dickson, Lumière, and others.
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"Rilke’s Magic Lantern: Figural Language and the Projection of “Interior Action” in the Rodin Lecture." In Interiors and Interiority, 313–46. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110340457-019.

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Astafieva, Elena, and Eileen Kane. "Manufacturing Russian Attachments to Palestine (1894–1903)." In Russian-Arab Worlds, 82—C8P57. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197605769.003.0009.

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Abstract This chapter, like the ones before and after it, explores how Russia established the trans-imperial Imperial Orthodox Palestine Society, with institutions connecting villages and towns across the tsarist empire to the Ottoman Holy Land. The chapter shows that Russian Orthodox Christians’ spiritual bond with Jerusalem, and their mass pilgrimages to the Holy Land by the late nineteenth century, did not result from spontaneous religious feelings; rather, trained Church and lay leaders systematically cultivated these ties through a massive outreach program under the auspices of the IPPO. To raise funds and inspire pilgrimages to the Holy Land, the IPPO convened “reading sessions” intended for illiterate peasants in remote Russian villages, using the popular late nineteenth-century technology of magic lantern projection shows. This chapter includes the “Rules” for conducting such readings, a list of printed pictures, vistas and other propaganda material, and one sample of a pilgrim narrative written for these readings.
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Roberts, Phillip. "Light and Darkness: The Magic Lantern at the Dawn of Media." In Remediating the 1820s, 88–108. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474493277.003.0007.

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The magic lantern had been a tool for poor travelling entertainers. This little projector raised ghosts and grotesques, told stories of hardships and imagined new worlds. A lanternist could make the powerful ridiculous and demand that divine punishment intercede to restore natural justice. The lantern once spoke back to power, but all of this changed in 1821, when a Birmingham instrument maker called Philip Carpenter floated the little machine onto the emerging currents of consumer capital. His Improved Phantasmagoria Lantern utterly transformed the medium. The lantern became a safe educational tool, a must-have consumer novelty in middle-class households. The old lanternists found themselves going out of business as their audience refused to pay for a toy they now had at home. Along with a host of other new media technologies, including the Kaleidoscope, Myriorama, Thaumatrope, Praxinoscope, Stereoscope, Heliograph, Daguerreotype and Calotype, the Improved Phantasmagoria Lantern laid the foundations for the media networks of the later nineteenth century. Carpenter’s flash of business insight made a new world; but it also killed the older media practices that preceded it.
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Conference papers on the topic "Lantern projection"

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Dunham, Laura. "“The Moral of these Pictures:” New Zealand’s Early Urban Reform Movements in Lantern Lectures." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5018pv8ke.

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One of the threads linking together the early twentieth-century urban reform movements of city beautifying, garden city/suburb and town planning is the use of lantern slides and their ubiquitous projection device, the magic lantern. Along with newspapers, pamphlets and posters, lantern slides were an essential tool across each of these movements, presenting and framing the objectives promoted by their enthusiastic leaders and enabling the broad dissemination of their ideas via images projected to audiences in public lectures. Yet our understanding of how lantern media operated in these contexts has been restricted by the lack of extant lantern slide collections and a long-standing view of the medium’s redundancy compared to newer forms of projection media. Histories of how these campaigns were promoted in New Zealand are dominated by personalities such as Charles C. Reade, William R. Davidge and Samuel Hurst Seager, who are known to have frequently employed lantern slides for public lectures. However, the lantern lecture was utilised by a number of other figures and groups with common interests in these interrelated attempts to improve New Zealand’s urban landscape. Lantern lectures engendered, and were evidence of, the intersections of ideas, meanings and relationships between audiences, politicians, architects, planners and other advocates from beyond these professions, such as Reade, who held sway over the Australasian town planning movement for many years. Looking at three lantern lectures between 1913 and 1923, this paper traces the effectiveness of the magic lantern medium and its traditions in facilitating the translation and adaptation of progressive ideas in New Zealand’s urban landscape.
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Hursty, Mark, and Victoria Bradbury. "A Magic Lantern Data Projector." In Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.72.

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