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Journal articles on the topic 'Lantern slides'

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

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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2

Lanters, José, and Edna O'Brien. "Lantern Slides." World Literature Today 65, no. 2 (1991): 303. http://dx.doi.org/10.2307/40147196.

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3

Moore, Dick. "The Lapierre circus magic lantern slides." Early Popular Visual Culture 16, no. 3 (July 3, 2018): 317–27. http://dx.doi.org/10.1080/17460654.2019.1569855.

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4

Butterworth, Mark. "Astronomy and the Magic Lantern." Culture and Cosmos 08, no. 0102 (October 2004): 15–32. http://dx.doi.org/10.46472/cc.01208.0207.

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The nineteenth century saw the introduction of the term ‘populariser of science’. The development of this phrase coincided with the increasing use of the magic lantern to illustrate science lectures and astronomy was one of the first disciplines to see its widespread application. The magic lantern was invented in the sixteenth century and spread throughout Europe as a form of home or family entertainment. Examples from the eighteenth century still exist of lantern slides showing astronomical subjects. The invention of limelight illumination in the early nineteenth century resulted in the widespread use of the lantern for public lectures and, again, astronomy was one of the first and most popular subjects. Slides were produced in a wide variety of formats and showed both simple and complex astronomical concepts and phenomena. By the end of the nineteenth century astronomical lectures were seen every year by thousands of members of the general public. With the invention of the moving image and the increasing complexity of astronomy as a science, magic lantern lectures declined in popularity and by the 1930s were only generally given in academic institutions.

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Gallagher, Kevin Thomas, Michael W. Russell, and George Smith. "Robert Burns: Reflections in The Victorian Lantern." Burns Chronicle 133, no. 1 (March 2024): 36–60. http://dx.doi.org/10.3366/burns.2024.0100.

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This article discusses a collection of Victorian ‘Magic Lantern’ slides and supporting paraphernalia concerning the poet Robert Burns. Utilising newly uncovered source materials, it investigates individuals concerned with the creation and ownership of the slides on Burns, including the firm of George Washington Wilson, and also examines the history of their presentation through the example of C. J. Parker, exploring their significance, determining what type of Burns was being propagated to Parker's audiences, and analysing how publically presented readings of Burns therein were constrained by dominant editorial interpretations from the period. Research has discovered that the Burns slides collection is the most complete, publicly held collection in Scotland. This article illustrates the collection's significant cultural and financial value as a fascinating relic of Burns's cultural memory and of early Scottish photography.

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6

Widmer, Alexandra. "The Order of the Magic Lantern Slides." Commoning Ethnography 2, no. 1 (December 19, 2019): 52. http://dx.doi.org/10.26686/ce.v2i1.5269.

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Dr Sylvester Lambert, an American public health doctor who worked for the International Health Board of the Rockefeller Foundation, created a magic lantern slide presentation to retell the arrest of a sorcerer that he had witnessed in 1925 on the island of Malakula in Vanuatu. In this article, I use creative non-fiction to envision other audiences and narrators of this storied event to present an expanded picture of life for Pacific Islanders at that time. I also reflect on how particular events make for good stories because they are contests about belief and incredulity. Reimagining medical stories of sorcery reminds us that medicine is part of larger contests over the nature of reality. This is an imaginative ethnographic experiment with decolonizing intentions which combines archival research, ethnographic research, colonial images and creative non-fiction. It aspires to untie the images from a single fixed colonial narrative and to revisit the images in ways that are open to multiple interpretations, audiences, and narrators.

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7

Callister, Sandy. "Being there: war, women and lantern slides." Rethinking History 12, no. 3 (September 2008): 317–37. http://dx.doi.org/10.1080/13642520802193197.

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8

Wood, Juliette. "Fairytales and the Magic Lantern: Henry Underhill's Lantern Slides in The Folklore Society Collection." Folklore 123, no. 3 (December 2012): 249–68. http://dx.doi.org/10.1080/0015587x.2012.716575.

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9

Rodrigues, Santos, Melo, Otero, and Vilarigues. "Magic Lantern Glass Slides Materials and Techniques: the First Multi-Analytical Study." Heritage 2, no. 3 (August 29, 2019): 2513–30. http://dx.doi.org/10.3390/heritage2030154.

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This paper presents the first systematic investigation of hand-painted magic lantern glass slides using multi-analytical techniques combined with a critical analysis of historical written sources of the painting materials and techniques used to produce them. The magic lantern was an optical instrument used from the seventeenth to the twentieth century that attained great success and impact on the entertainment industry, science, religion, and advertisement industry. The glass, colorants, and organic media of five magic lantern slides from the Museum of Natural History and Science of the University of Lisbon were studied. By means of energy-dispersive X-ray fluorescence spectrometry, the glass was characterized and the oxide quantification unveiled that the glass substrate was possibly produced between 1870 and 1930. Ultraviolet-Visible, Raman and Fourier transform infrared spectroscopies allowed the characterization of the colorants: Prussian blue, an anthraquinone red lake pigment of animal origin (such as cochineal), an unidentified organic yellow, and carbon black. The remaining colors were achieved through mixtures of the pure pigments. Infrared analysis detected a complex fingerprint in all colors, nevertheless, a terpenoid resin such as shellac was identified. Metal carboxylates were also detected, contributing to the assessment of the state of conservation of the paints.

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10

Gray, Lara Cain. "Magic Moments: Contextualising Cinema Advertising Slides from the Queensland Museum Collection." Queensland Review 18, no. 1 (2011): 73–84. http://dx.doi.org/10.1375/qr.18.1.73.

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The Queensland Museum's eclectic State Collection holds an extensive range of photographic and moving image equipment, as well as a collection of slides and photographs that tells all manner of stories about the history of Queensland. This collection goes back to the earliest technologies, such as daguerreotypes and hand-drawn magic lantern slides, and extends through to a digital image repository. Included in this collection are two captivating series of cinema advertising slides used at the Wintergarden cinemas in Maryborough and Ipswich during the 1940s and 1950s. These slides simultaneously illuminate a history of entertainment and cinema-going, a history of image technologies and the histories of the advertised products and events pertinent to regional Queenslanders at this time.

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Brooker, Jeremy. "The ‘Frankenstein Phantasmagoria’: making slides for the magic lantern." Early Popular Visual Culture 17, no. 1 (January 2, 2019): 112–18. http://dx.doi.org/10.1080/17460654.2019.1615683.

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12

STEPHENSON, BRUCE. "THE DEREK PRICE ARCHIVE AT THE ADLER PLANETARIUM." Nuncius 16, no. 2 (2001): 739–46. http://dx.doi.org/10.1163/182539101x00668.

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Abstracttitle SUMMARY /title The scholarly legacy of Derek Price resides in two archives one at La Villette near Paris and one at the Adler Planetarium Astronomy Museum in Chicago. The Adler archive is primarily photographic, comprising several thousand prints and hundreds of slides, lantern slides, and large-format transparencies. The largest subject categories are Astrolabes and Sundials. In addition to this photography, the archive includes sketches and photographs of the Antikythera mechanism and a written appraisal of the Adler collection circa 1960.

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13

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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14

Spindler, Robert P. "Windows to the American Past: Lantern Slides as Historic Evidence." Visual Resources 5, no. 1 (March 1988): 1–15. http://dx.doi.org/10.1080/01973762.1988.9659153.

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15

Johnstone, Robert Edmund. "Lantern Slides from University Of Pennsylvania Anesthesia Department, 1965–68." Journal of Anesthesia History 2, no. 3 (July 2016): 101. http://dx.doi.org/10.1016/j.janh.2016.03.005.

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16

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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17

Harlan, Deborah. "William James Stillman. Images in the Archives of the Society for the Promotion of Hellenic Studies." Archaeological Reports 55 (November 2009): 123–44. http://dx.doi.org/10.1017/s0570608400001447.

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Previous discussions of collections printed in Archaeological Reports have consisted of catalogues of antiquities. This contribution does not deal with antiquities per se, but with objects depicting antiquities – 46 glass plate photographic negatives dating to the nineteenth century. However, these objects are also culturally-produced artefacts. Most of them are large, approximately 20cm by 20cm, glass plates, though some are rectangular of both smaller and larger dimensions. In addition, there are seventeen duplicated images in a British standard 8.25cm by 8.25cm lantern slide format. These glass artefacts are remnants of a much larger collection of negatives and slides amassed by the Society for the Promotion of Hellenic Studies (hereafter Hellenic Society) in the late nineteenth to the first half of the twentieth century.

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18

Dellmann, Sarah. "Analogue objects online. Epistemological reflections on digital reproductions of lantern slides." Early Popular Visual Culture 17, no. 3-4 (July 3, 2019): 322–40. http://dx.doi.org/10.1080/17460654.2019.1667108.

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19

Cullen, Fintan. "Marketing National Sentiment: Lantern Slides of Evictions in Late Nineteenth‐century Ireland." History Workshop Journal 54, no. 1 (2002): 162–79. http://dx.doi.org/10.1093/hwj/54.1.162.

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20

Cox, Amy. "Purifying Bodies, Translating Race: The Lantern Slides of Sir Everard im Thurn." History of Photography 31, no. 4 (December 2007): 348–64. http://dx.doi.org/10.1080/03087290701605864.

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21

EDYVEAN, R. G. J. "Henry Clifton Sorby (1826–1908): studies in marine biology—the algal lantern slides." Archives of Natural History 15, no. 1 (February 1988): 35–44. http://dx.doi.org/10.3366/anh.1988.15.1.35.

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Henry Clifton Sorby formed his marine zoological and algal collection not only for private study but also as a means of displaying material to large audiences. It is unique in that Sorby devised and perfected a technique to mount and preserve the specimens as projection ("lantern") slides. The algal herbarium described in detail in this paper forms part of a much larger collection of marine animals preserved in the same way. The specimens are held between two pieces of glass 8.3 cm square and are preserved in such a way as to be translucent yet retaining remarkable colour. The technique involves rendering the specimens almost completely flat without distorting the shape. While not so difficult with the algae, this was a considerable feat with the animals. The collection is in the keeping of the Sheffield City Museums, and the Zoology Department of the University of Sheffield.

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22

Quinn, Amanda. "Lantern Slides Reveal the Impact of World War I on St. Elizabeths Hospital." Military Medicine 182, no. 5 (May 2017): 1570–71. http://dx.doi.org/10.7205/milmed-d-17-00056.

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23

Butterworth, Mark. "Imaging a continent: George Washington Wilson & Co.’s lantern slides of Australia." Early Popular Visual Culture 7, no. 3 (November 2009): 253–71. http://dx.doi.org/10.1080/17460650903268919.

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24

Morris, Catherine. "‘Unremarkable, Forgotten, Cast Adrift’: Feminist Revolutions in Irish Visual Culture." Review of Irish Studies in Europe 2, no. 2 (October 24, 2018): 70–88. http://dx.doi.org/10.32803/rise.v2i2.1888.

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This creative essay examines how visual culture and Alice Milligan’s re-animation of the Tableaux as a radical form of theatre practice operated as a link between ideas of national culture and revolutionary feminism in Ireland. But the tableaux had other elective affinities too. Theatre, photography and the magic lantern were the most immediately obvious of these; but cinema and art installation are by now also recognizably among them. The moving cinematic image is in fact a series of still pictures which give the effect of movement. As silent films became more popular in Ireland in the early years of the twentieth century they were called ‘living pictures’, the name also used to describe tableaux. But even in the era of the early silent film, directors often suspended action to jolt the viewer into another interpretative realm. We see this in Griffith’s 1909 film A Corner in Wheat — where a shot of a bread queue looks like the film has stopped. Early photography was vital to Alice Milligan’s practice: she raised funds for the first magic lantern for the Gaelic League (first used in Donegal); travelled the country taking photographs of people and sites; projected glass slides as part of community tableaux shows; and Maud Gonne’s early play Dawn uses 3 of her tableaux. During the 1897 royal visit to Dublin, James Connolly, Milligan and Maud Gonne used a magic lantern to project onto Dublin’s city walls photographs of famine that they had witnessed in the west of Ireland.

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25

Agafonova, Yana. "The Common Reader in Public Readings with Magic Lantern Slides in Late Imperial Russia." Russian Literature 129 (April 2022): 73–93. http://dx.doi.org/10.1016/j.ruslit.2021.12.001.

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26

Hollman, V. C. "Glass lantern slides and visual instruction for school teachers in early twentieth-century Argentina." Early Popular Visual Culture 14, no. 1 (January 2, 2016): 1–15. http://dx.doi.org/10.1080/17460654.2015.1092390.

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27

Dellmann, Sarah. "Beyond and with the object: assessing the dissemination range of lantern slides and their imagery." Early Popular Visual Culture 14, no. 4 (September 26, 2016): 340–58. http://dx.doi.org/10.1080/17460654.2016.1222927.

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28

López San Segundo, Carmen, Francisco Javier Frutos, and Roberto Therón. "Linternauta: a web application for the interpretation of magic lantern slides according to discursive genre." Early Popular Visual Culture 17, no. 3-4 (July 3, 2019): 361–85. http://dx.doi.org/10.1080/17460654.2019.1705650.

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29

Millar, Pat. "A collaborative legacy: Keith Jack’s coloured lantern slides from the Ross Sea Party (1914–1917)." Polar Journal 2, no. 2 (December 2012): 427–43. http://dx.doi.org/10.1080/2154896x.2012.735043.

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30

Morrison, Annie O., and Jerad M. Gardner. "Microscopic Image Photography Techniques of the Past, Present, and Future." Archives of Pathology & Laboratory Medicine 139, no. 12 (May 19, 2015): 1558–64. http://dx.doi.org/10.5858/arpa.2014-0315-ra.

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Context The field of pathology is driven by microscopic images. Educational activities for trainees and practicing pathologists alike are conducted through exposure to images of a variety of pathologic entities in textbooks, publications, online tutorials, national and international conferences, and interdepartmental conferences. During the past century and a half, photographic technology has progressed from primitive and bulky, glass-lantern projector slides to static and/or whole slide digital-image formats that can now be transferred around the world in a matter of moments via the Internet. Objective To provide a historic and technologic overview of the evolution of microscopic-image photographic tools and techniques. Data Sources Primary historic methods of microscopic image capture were delineated through interviews conducted with senior staff members in the Emory University Department of Pathology. Searches for the historic image-capturing methods were conducted using the Google search engine. Google Scholar and PubMed databases were used to research methods of digital photography, whole slide scanning, and smart phone cameras for microscopic image capture in a pathology practice setting. Conclusions Although film-based cameras dominated for much of the time, the rise of digital cameras outside of pathology generated a shift toward digital-image capturing methods, including mounted digital cameras and whole slide digital-slide scanning. Digital image capture techniques have ushered in new applications for slide sharing and second-opinion consultations of unusual or difficult cases in pathology. With their recent surge in popularity, we suspect that smart phone cameras are poised to become a widespread, cost-effective method for pathology image acquisition.

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31

van Roessel, Annemarie. "Through a Glass, Brightly: Re-viewing a Lost Architectural and Pedagogical Landscape Through Historic Lantern Slides." Art Documentation: Journal of the Art Libraries Society of North America 22, no. 1 (April 2003): 4–8. http://dx.doi.org/10.1086/adx.22.1.27949228.

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32

Newberry, Sterling. "Are We Reduced To Using Scraps Of Cut Film?" Microscopy Today 3, no. 2 (March 1995): 10–11. http://dx.doi.org/10.1017/s1551929500063069.

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Kent Christensen documents the values of glass photographic plates1 and also their demise. As a former user of glass plates for microscopy, radiography, autoradiographyandspectroscopy, I sympathize with Kent. Today there are substitute sheet and or roll films for most of the glass plate applications. For example, [ have found Kodak's "Trnax" films as sensitive as lantern plates for soft X-rays and nearly as good for resolution. Tmax is also a good general purpose emulsion for the laboratory, with the possibility of reversal development for slides and availability in a range of formats including 120 and four by five. Perhaps we should recognize the passing of the glass plate as part of current times and inscribe "RIP" over our hallowed collection of glass negatives. After all, many predict that electronic photography will eventually replace all forms of chemical photography.

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33

Sinton, W. M. "Through the Infrared with Logbook and Lantern Slides - a History of Infrared Astronomy from 1868 TO 1960." Publications of the Astronomical Society of the Pacific 98 (February 1986): 246. http://dx.doi.org/10.1086/131750.

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34

Renders, Helmut, and Lidia Kameyo Ueda-Fischer. "O SLIDE DE LANTERNA “O AMOR AO DINHEIRO É RAIZ DE TODOS OS MALES”: ASPECTOS ICONOGRÁFICOS E ICONOLÓGICOS." Revista Caminhos - Revista de Ciências da Religião 20, no. 2 (September 30, 2022): 208. http://dx.doi.org/10.18224/cam.v20i2.12392.

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O protestantismo de missão chegou no fim do século XIX no Brasil com uma alta diver-sificação de meios visuais em formatos como de Bíblias ilustradas, charts com ilustra-ções religiosas circulando nas escolas dominicais e slides de lanternas, usados tanto dentro de igrejas e suas instituições de ensino como em apresentações públicas. Nesse artigo apresentamos um desses slides de lanterna com uma temática ética, intitulado por nós como “Vícios, ganância e morte”. Nosso interesse se concentra na sua icono-grafia e consequente (e suposta) iconologia peculiar. Dialogamos com o método icono-lógico de Erwin Panofsky. Como resultado apontamos a polifonia da linguagem visual do slide de lanternas que, entre outros, revela uma concepção moral complementar que integra questões da ética social e pessoal, que apelam tanto à necessidade de políticas públicas como à importância de uma educação religiosa que capacita o indivíduo para analisar e estabelecer comportamentos e hábitos pessoais.

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35

Hershey, David R. "JOHN H. PATTERSON'S USE OF HORTICULTURE FOR INDUSTRIAL WELFARE IN THE EARLY 1900'S." HortScience 25, no. 9 (September 1990): 1126d—1126. http://dx.doi.org/10.21273/hortsci.25.9.1126d.

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John H. Patterson, founder and president of the National Cash Register Co. (now NCR Corp.), is best known for his innovative business practices which made the cash register a standard product, Less well-known was his program of industrial welfare for NCR employees which included many uses of horticulture. Illustrations of the landscaping contests Patterson sponsored in his factory neighborhoods are shown in a collection of early 1900's glass lantern slides recently discovered in the University of Maryland Horticulture Building attic. The noted Olmsted landscaping firm was hired to design the NCR factory grounds. Neighborhood children were given company land, tools, instructions, and awards, enabling them to grow vegetables to sell and to give to their families. Patterson created these `Boys Gardens' to occupy youngsters who might otherwise break windows in the NCR factory and give the factory neighborhood a bad reputation. Although his program of industrial welfare was unique in an era of worker exploitation, Patterson justified the program because “It pays”.

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Moore, P. G. "Natural history in newspapers: Dugald Semple (1884–1964), Ayrshire naturalist and nature journalist." Archives of Natural History 41, no. 2 (October 2014): 1–14. http://dx.doi.org/10.3366/anh.2014.0242.

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Dugald Semple (1884–1964), living in Ayrshire, Scotland, was a prolific twentieth-century author of books and articles in local newspapers on natural history, as well as on diet and simple living. Forsaking a conventional urban life he chose to live close to nature in rural surroundings. Espousing vegetarianism he emulated Thoreau, following for fifty years a Ghandi-like philosophy of simplicity while earning enough from his writings and lecturing to provide for what he could not grow himself. It was his life outdoors and his enthusiasm for the natural world that he imparted not only in the printed word, but also in lectures to all who were prepared to listen. He illustrated many of his articles with his own photographs, a collection of which survive as deteriorating glass-quarter-plate negatives and lantern slides, along with three decrepit, but extensive, scrapbooks of his personal press cuttings. These form the basis for his contribution to the popularization of natural history, which deserves to be more widely recognized.

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RUIZ, JASON. "Desire among the Ruins: The Politics of Difference in American Visions of Porfirian Mexico." Journal of American Studies 46, no. 4 (November 2012): 919–40. http://dx.doi.org/10.1017/s0021875812001351.

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Travel to Mexico became instantly faster, smoother, and cheaper for Americans when workers finally linked US and Mexican rail lines in 1884. Following the opening of the international rail connection, Americans went south of the border in droves and produced a wide array of representations depicting Mexico under the dictatorship of Porfirio Díaz (1876–1911, a period known as the “Porfiriato”). Travelogues, picture postcards, stereographs, and magic-lantern slides with Mexican themes all circulated heavily in US popular culture during this time. This essay examines the politics of difference in these representations – chiefly travel writing and postcards – arguing that travelers and other observers played a crucial but overlooked role in popularizing the view of Mexico as a logical field for capitalist (and sometimes territorial) expansionism. By positioning Mexican bodies as both desirable and dangerous, I argue, the creators of travel discourse set the stage for contradictory and ambivalent views of Mexico that reverberate in the United States even today.

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38

Tucker, Jennifer. "Dangerous Exposures: Visualizing Work and Waste in the Victorian Chemical Trades." International Labor and Working-Class History 95 (2019): 130–65. http://dx.doi.org/10.1017/s014754791900005x.

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AbstractCheshire, Britain, and the towns of Widnes and St. Helens, where many of the world's first chemical factories and towns were created in the nineteenth century, is an especially important place to study historical responses to industrial pollution and its social costs. This paper, based on newly recovered archival sources about the Victorian alkali industry, explores the role of visual imagery, particularly drawings and lantern slides, in materializing the connection between labor in chemical trades, the disposal of waste, and poor health outcomes for diverse communities in the late nineteenth century. The paper will focus on the writer Robert Sherard's article “White Slaves of England” (1897), a work that, more than many of its time, drew national attention to the plight of nineteenth-century chemical workers by pictorializing the ways that work in heavy chemical industries, many of them involving waste and its disposal, affected individual workers and their lives. The paper concludes with critical reflections on the current state of scholarship on images, waste, and labor, areas for more needed work, and paths forward.

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Muttappallymyalil, Jayakumary, Susirith Mendis, Lisha Jenny John, Nisha Shanthakumari, Jayadevan Sreedharan, and Rizwana B. Shaikh. "Evolution of technology in teaching: Blackboard and beyond in Medical Education." Nepal Journal of Epidemiology 6, no. 3 (October 3, 2016): 588–94. http://dx.doi.org/10.3126/nje.v6i3.15870.

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Teaching and learning - the passing of knowledge from one generation to another - has been in existence from the earliest times of human civilization. It began in 1801, with a large piece of slate hung on the wall in a school in Scotland to provide information to a large audience at one time. In the US by mid-19th century, every class room had a blackboard to teach students. The modern version of the blackboard is either green or brown board. This was introduced in late 1960s. The whiteboards came into use during the late 1980s. Projected aids have been used since 1420. The various devices used are the epidiascope, slide projector, overhead projector for transparencies and the micro projector. An instrument to project images from a horizontal surface onto a vertical screen was invented in the 1870s. By the 1960s, transparencies were in use in classrooms.The ‘Hyalotype’, a transparent image of a photograph using actual black and white photographs on a glass slide that could be projected was invented in 1851. By 1916, the German company Agfa started producing colored lantern slides. The first version of PowerPoint was released by Microsoft in the year 1990.Cell phones, palmtops, and handheld computers; tablets, laptops, and media players are included under mobile learning devices. With the evolution of technology, students achieved competence and interested in interactive learning. The education industry has moved from distance learning to e-learning and finally to m-learning as knowledge expanded exponentially and the demand escalated.While using teaching aids with advanced technology, we must not forget the lessons from the past, striking a balance between embracing new methods of teaching and learning while upholding the timeless principles of education. The newer educational technology can be part of a comprehensive system for lifelong education.

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Conrich, Ian. "Early Māori photography as commodified object: Mementoes, miniatures and material culture." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 227–49. http://dx.doi.org/10.1386/nzps_00039_1.

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During the late nineteenth and early twentieth centuries, there was a boom in the different forms of material culture of the photographic image with the emergence of cheap methods for its mass (re)production. The material culture extended into postcards, illustrated books, magic lantern slides and stereoviews, but also into the much-less discussed area of souvenir china. These commodified objects of illustrated porcelain were popular mementoes of places visited, physical reminders of spaces encountered, made possible through newly developing modes of leisure culture and organized travel. Edwardian New Zealand was no exception, where images of the Māori were a striking presence within its visual culture. This was a country that was beginning to promote its cultural uniqueness partly through its Indigenous population, with early tourism literature referring to the country as Maoriland. New Zealand souvenirs depicted images of the Māori and Māoritanga (Māori culture) on decorative china essentially for consumption by local tourists and travellers. This article considers these commodified objects in the context of photography as material culture, exploring their social biography and the manner in which the images were reproduced and altered. It contends that in addressing keepsake china as objects bearing photographic images, and in positioning these souvenirs as popular artefacts within a scopic culture, a more complex argument of variant readings emerges.

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King, H. G. R. "Amundsen's Lantern Slides - The Amundsen photographs. R. Huntford (editors). 1987. London, Hodder and Stoughton. 199p, illustrated, hard cover. ISBN 0-340-41280-1. £17.95." Polar Record 25, no. 153 (April 1989): 150–51. http://dx.doi.org/10.1017/s0032247400010548.

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Hayes, Emily. "‘No branch of science enters more closely than Geography into the art of war’: The First World War, lantern slides and the Royal Geographical Society, London." Early Popular Visual Culture 12, no. 4 (October 2, 2014): 434–45. http://dx.doi.org/10.1080/17460654.2014.984950.

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Elliott, Julie, and Matthew E. Pritchard. "Historic photographs of glaciers and glacial landforms from the Ralph Stockman Tarr collection at Cornell University." Earth System Science Data 12, no. 2 (April 2, 2020): 771–87. http://dx.doi.org/10.5194/essd-12-771-2020.

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Abstract. Historic photographs are useful for documenting glacier, environmental, and landscape change, and we have digitized a collection of about 1949 images collected during an 1896 expedition to Greenland and trips to Alaska in 1905, 1906, 1909, and 1911, led by Ralph Stockman Tarr and his students at Cornell University. These images are openly available in the public domain through Cornell University Library (http://digital.library.cornell.edu/collections/tarr, last access: 15 March 2020; Tarr and Cornell University Library, 2014, https://doi.org/10.7298/X4M61H5R). The primary research targets of these expeditions were glaciers (there are about 990 photographs of at least 58 named glaciers), but there are also photographs of people, villages, and geomorphological features, including glacial features in the formally glaciated regions of New York state. Some of the glaciers featured in the photographs have retreated significantly in the last century or even completely vanished. The images document terminus positions and ice elevations for many of the glaciers and some glaciers have photographs from multiple viewpoints that may be suitable for ice volume estimation through photogrammetric methods. While some of these photographs have been used in publications in the early 20th century, most of the images are only now widely available for the first time. The digitized collection also includes about 300 lantern slides made from the expedition photographs and other related images and used in classes and public presentations for decades. The archive is searchable by a variety of terms including title, landform type, glacier name, location, and date. The images are of scientific interest for understanding glacier and ecological change; of public policy interest for documenting climate change; of historic and anthropological interest as local people, settlements, and gold-rush era paraphernalia are featured in the images; and of technological interest as the photographic techniques used were cutting edge for their time.

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Renders, Helmut, and Lidia Kameyo Ueda-Fischer. "Estética do afeto: da lanterna mágica aos slides de lanterna na Igreja Metodista nos EUA e no Brasil." REFLEXUS - Revista Semestral de Teologia e Ciências das Religiões 17, no. 1 (July 1, 2023): 147–69. http://dx.doi.org/10.20890/reflexus.v17i1.2724.

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Este artigo dedica-se ao uso de slides de lanterna na Igreja Metodista Episcopal e Igreja Metodista Episcopal, Sul, nos EUA e no Brasil, entre 1840 e cerca de 1950. Menciona-se o uso religioso dessa mídia já com seu predecessor, a lanterna mágica, inventada ao redor de 1671. Contudo, a crítica do seu amplo uso fantasmagórico, atrasa inicialmente seu uso, tanto na religião tradicional como na ciência. Isso muda sucessivamente durante o século 18 até seu amplo uso no século 19 na ciência, na educação e na educação religiosa, em especial na escola dominical. Depois de 1840, as igrejas usam slides de lanternas para evangelizar dentro e fora dos EUA e para tornar conhecido, internamente, o trabalho de suas missões em diferentes partes do mundo, com peso entre 1870 e 1930. Uma contribuição metodista peculiar e a montagem da maior tela de projeção até então conhecido em 1919, na Exposição do Centenário Metodista. Acompanha o uso da mídia pelos metodistas um amplo uso de diferentes estilos de arte, em especial do barroco e do romantismo, sem filtros confessionais. Sugere-se que a opção tanto pela mídia em si como pelos estilos em geral não ocorre por acaso e, quanto ao segundo aspecto, nem por uma atitude “proto-ecumênica”, nem por uma simples ignorância em relação ao fato, mas, pelo interesse na promoção de uma religiosidade que valoriza o aspecto afetivo da piedade.

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Fuentes-Soriano, Sara, Lara Prihodko, Mitchell Manford, and Zachary Rogers. "Shining a New Light on Elmer Ottis Wooton’s Legacy Herbarium and Historical Archive: an Exercise to Increase Student Participation while Promoting Public Engagement." Biodiversity Information Science and Standards 2 (June 13, 2018): e25783. http://dx.doi.org/10.3897/biss.2.25783.

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Elmer Ottis Wooton (1865–1945) was one of the most important early botanists to work in the Southwestern United States, contributing a great deal of natural history knowledge and botanical research on the flora of New Mexico that shaped many naturalists and scientists for generations. The extensive Wooton legacy includes herbarium collections that he and his famous student Paul Carpenter Standley (1884–1963), prolific botanist and explorer, used for the first Flora of New Mexico by Wooten and Standley 1915 , along with resources covering botany and range management strategies for the northern Chihuahuan Desert, and an extensive, yet to be digitized, historical archive of correspondence, field notes, vegetation sketches, photographs, and lantern slides, all from his travels and field work in the region. Starting in 1890, the most complete set of Wooton’s herbarium collections were deposited in the NMC herbarium at New Mexico State University (NMSU), and his archives, now stored in a Campus library, have together been underutilized, offline resources. The goals of this ongoing project are to secure, preserve, and promote Wooton’s important historical resources, by fleshing out the botanical history of the region, raising appreciation of herbarium collections within the community, and emphasizing their unique role in facilitating contemporary research aimed at addressing pressing scientific questions such as vegetation responses to global climate change. Students and the general public involved in this project are engaged through hands-on activities including cataloging, databasing and digitization of nearly 10,000 herbarium specimens and Wooton’s archives. These outputs, combined with contemporary data collection and computational biology techniques from an ecological perspective, are being used to document vegetation changes in iconic, climate-sensitive, high-elevation mountainous ecosystems present in southwestern New Mexico. In a later phase of the project, a variety of public audiences will participate through interactive online story maps and citizen science programs such as iNaturalist, Notes from Nature, and BioBlitz. Images of herbarium specimens will be shared via an online database and other relevant biodiversity portals (Symbiota, iDigBio, JStor) Community members reached through this project will be better-informed citizens, who may go on to become new stewards of natural history collections, with the potential to influence policies safeguarding the future of our planet’s biodiversity. More locally, the project will support the management of Organ Mountains Desert Peaks National Monument, which was established in 2014 to protect the area's human and environmental resources, and for which knowledge and data are currently limited.

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Sleightholme, Stephen R., and Cameron R. Campbell. "Two recently discovered photographs of a thylacine (Thylacinus cynocephalus) at the London Zoo." Australian Zoologist 40, no. 2 (December 2019): 308–13. http://dx.doi.org/10.7882/az.2018.014.

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Two recently discovered lantern slide photographs of a thylacine taken from outside of its enclosure at the London Zoo are published for the first time, and the probable date they were taken and the identity of the thylacine depicted is discussed.

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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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Reiser, Frank. "A Lantern-Slide-Inspired Look into Biology Teaching's Past." American Biology Teacher 72, no. 9 (November 2010): 557–61. http://dx.doi.org/10.1525/abt.2010.72.9.7.

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Bush, Martin. "The astronomical lantern slide set and the Eidouranion in Australia." Early Popular Visual Culture 17, no. 1 (January 2, 2019): 9–33. http://dx.doi.org/10.1080/17460654.2019.1620437.

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Shepard, Elizabeth. "The magic lantern slide in entertainment and education, 1860–1920." History of Photography 11, no. 2 (April 1987): 91–108. http://dx.doi.org/10.1080/03087298.1987.10443777.

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