Academic literature on the topic 'Photography, Panoramic – History'

Background: Throughout the history of the city, the architecture of Alexandria, Egypt, has been in contact with world cultures, especially those of the Mediterranean sphere. Alexandria is rich with cultural features dating back seven thousand years. In Alexandria, the heritage value of the city has decreased because there is no suitable documentation system for these more recent assets. The development of a new technique for preserving heritage buildings is required. For example, image- based techniques can gather data using photography, panoramic photography, and close-range photogrammetry. In this research, we primarily seek to implement Heritage Digitisation Process Phases (HDPP) and establish new documentation methods in architectural conservation and built-heritage preservation, i.e., Virtual Reality (VR) and Website Heritage Documentation (WHD). Methods: The methodology is designed to preserve and manage cultural heritage using HDPP for the promotion of heritage building preservation in Alexandria. Results: The results show that the application of HDPP has led to the creation of a digital database about the Société Immobilière building, which was chosen as a case study for this research. Conclusions: Implementation of HDPP and usage of new documentation methods i.e., VR and WHD create a digital path to help strengthen its image and connect the place to users, recreational areas are created to communicate and explore the city’s architectural history.

In the last two decades the definition of the term “virtual museum” changed due to rapid technological developments. Using today’s available 3D technologies a virtual museum is no longer just a presentation of collections on the Internet or a virtual tour of an exhibition using panoramic photography. On one hand, a virtual museum should enhance a museum visitor's experience by providing access to additional materials for review and knowledge deepening either before or after the real visit. On the other hand, a virtual museum should also be used as teaching material in the context of museum education. The laboratory for Photogrammetry & Laser Scanning of the HafenCity University Hamburg has developed a virtual museum (VM) of the museum “Alt-Segeberger Bürgerhaus”, a historic town house. The VM offers two options for visitors wishing to explore the museum without travelling to the city of Bad Segeberg, Schleswig-Holstein, Germany. Option a, an interactive computer-based, tour for visitors to explore the exhibition and to collect information of interest or option b, to immerse into virtual reality in 3D with the HTC Vive Virtual Reality System.

Yogyakarta in The Impressionism Photography. The creation of photographic works with the title “Yogyakarta in Impressionism Photography” aims to present the scenery of Yogyakarta area using photographic techniques that look like an impressionist painting. The main objects in these photographic works are historical and natural tourist attractions in Yogyakarta area. The intensity of experience and feeling conveyed in this creation of photographic work are the feeling of boredom of the routines that are carried out in photographing, especially taking landscape photography. The method implemented for the photo creation was to have exploration and experimentation in photographing landscapes. Exploration and experimentation are conducted by moving the camera around the object or moving the camera during the image recording process. The result of the creation of this artwork is that photographic works resemble the impressionist paintings. ABSTRAKPenciptaan karya fotografi dengan judul "Yogyakarta dalam Fotografi Impresionisme" bertujuan untuk menampilkan objek pemandangan Yogyakarta yang dikemas dengan teknik fotografi dengan visualisasi berbentuk seperti lukisan impresionisme. Objek utama dalam penciptaan karya fotografi ini adalah tempat wisata bersejarah dan wisata alam di kawasan Yogyakarta. Intensitas pengalaman dan perasaan yang dituangkan dalam penciptaan karya fotografi ini adalah rasa jenuh terhadap rutinitas yang dilakukan dalam memotret, terutama memotret fotografi panorama. Rasa jenuh ini mendorong untuk melakukan eksplorasi dan eksperimentasi dalam memotret panorama. Eksplorasi dan eksperimentasi dilakukan dengan cara melakukan pemotretan memutari objek dan menggerakkan kamera pada saat proses perekaman gambar.Hasil dari penciptaan karya seni ini adalah karya fotografi dengan kesan lukisan impresionisme.

The article examines the representation of the city in rooftopping photography. Methodologically, the research is based on A. Lefebvre’s concept of social space, and also M. de Certeau’s concept of spatial practices as agents of its production. The principal notions in this analytical framework employed in the article are the urban imaginary and the gaze in constructivist understanding, which not only reflects, but also forms the object of vision. Rooftopping photography is considered in the context of the history of the view of the city from above, which has become an important factor in the urban imagination. The expansion of rooftopping photography into the public space and the presentation of cities is associated with the development of new communication and optical representation technologies in the 2010s. The analysis of the rooftoppers’ visualizing of the city carried out in semantic, aesthetic and rhetorical aspects revealed its substantive and aesthetic qualities. Rooftoppers photos capture the moment when a person faces the city as a whole. The city converges with natural and landscape objects. In the night panoramas that make up the bulk of roofer photography, the city is represented as a space of energy flows. In rhetorical terms, in contrast to the metonymy of a promenade, roofer photography is metaphorical. In general, it is concluded that the subject of rooftopper photography is not so much the identity of the city as its universal urban beginning embodied in the centers of the world’s megalopolises. Following D. Nye and his interpreters, the aesthetic mode of the city in roofer visuality is interpreted as urban version of the sublime.

AbstractThomas Ashby was a very well-known British archaeologist of the beginning of last century. He travelled a lot and left to the British School at Rome, of which he was the first student, many albums of photographs. Some of them have been recently published. This article deals with the trip to Libya by sea made in May 1910. He took photographs of Derna, Benghazi and Tripoli with general views of them. Of course, the panorama is now changed, but it is interesting to note some features which are nowadays lost, like the Turkish castle at Benghazi, or the arch of Marcus Aurelius at Tripoli still obstructed by later buildings, or the ‘modern’ technology of the radio masts at Derna.

<p><strong>Abstract.</strong> Today when online satellite images are just a click away, access to geographic information showing the latest images of the globe has dramatically expanded, and historico-geographic research based on such information is flourishing. However, in the study of Chinese history, historical research employing GIS or similar technologies is still in its infancy, since “historical” geographic information with a high degree of precision are lacking. From within the ambit of Chinese geographic information, this report specifically highlights aerial surveys effected during the Republic of China era. To start, we review the history of domestic aerial surveys during R. O. C. period. Then, focusing on Nanjing as an example, we proceed to introduce maps that were actually created based on aerial surveys.</p><p>Chinese aerial surveys date back to around 1930. At the Nationalist Party’s General Assembly in 1929, partisans proposed for the need for aerial surveys. In 1930, the “Aerial Photography and Survey Research Team” was formed within the General Land Survey Department at General Staff Headquarters (National Army of the Republic of China). Consequently, foreign technicians were invited to provide relevant education/training. In June 1931, China’s pioneer initiative in aerial photography took place in Zhejiang province. The aim of aerial surveys in those early days was to create maps for military purposes. Between 1932 and 1939, topographic maps of fortifications located in areas such as the Jiangnan district were prepared. Further, starting from around the same period until the Sino-Japanese War, land registry maps based on aerial surveys were also produced. After the Sino-Japanese War ended, the above-mentioned directorate handed over responsibility for aerial surveys to the Naval General Staff. However, in 1949 the Chinese Communist Party confiscated the maps theretofore produced.</p><p>Although the aerial photographs and the geographic information produced therefrom during the R. O. C. era were seized by the People’s Republic of China, in actuality, some had previously been transferred to Taiwan. The topographic maps of the Nanjing metropolitan area (一萬分一南京城廂附近圖), based on aerial surveys and drawn in 1932, are currently archived at Academia Historica in Taipei. Comprising a total of 16 sheets, these maps were drawn on a scale of 1:10,000 by the General Land Survey Department.</p><p>Similarly, other maps (各省分幅地形圖) produced by the General Land Survey Department, comprising a total of 56 sheets and partly detailing Nanjing, are now in the possession of Academia Sinica in Taipei. There was no information about photographing or making in these maps. But almost the same maps were archived at Library of Congress in Washington D. C. According to those maps at LC, based on aerial photographs taken and surveys conducted in 1933, these topographic maps (1:10,000 scale) were completed in 1936.</p><p>The examples introduced above are topographic maps based on aerial photography. However, starting in 1937, land registry maps were also created. Detailing the outskirts of Nanjing (1:1,000 scale) and comprising a total of 121 sheets, they are now archived at Academia Historica. While the land registry maps were produced in 1937, supplementary surveys were effected following the Sino-Japanese War in 1947.</p><p>Since the geographic information based on aerial surveys during the R. O. C. era in China were precise, they can serve as a source of manifold information. This report only delved into information developed by the Government of the R. O. C., but it is becoming evident that U. S. Armed Forces and Japan also produced geographic information of their own based on aerial surveys. If the comprehensive panorama captured by all three protagonists can be illuminated, further advances in Chinese historico-geographic studies employing geographic information will be forthcoming.</p>

Abstract The following article comes as a result of a Spanish Ministry R&D funded project entitled “Virtual Worlds in Early Cinema: Devices, Aesthetics and Audiences”. Our starting hypothesis is that some of the central ideas that define the metaverse’s virtual imaginary can be found in some of the visual devices and apparatuses from the 17th to the early 20th centuries. The article contextualizes and details how the desire for immersion, three-dimensional images, observation of replicas of our worlds, and living a non-narrative experience are contained in early optical devices such as magic lanterns, stereoscopic photography, panoramas, maréoramas or phantom rides. The main purpose is to illustrate that, despite the technological transformation, we ultimately are part of a long history where equivalences, parallelisms and returns arise between past and present times. The metaverse’s visual culture is no exception, and it gathers the imaginary of virtual worlds figured in some of the optical devices and visual spectacles of the past.

<strong>Abstract</strong><br />This is article about a book of Art history. The book aims have been exploratory rather than critical. The authors, Hugh Honour and John Fleming (1984), referred exposition to interpretation and evaluation, so far as they are separable. The appeal of some works of art in this book is never purely visual, it is<br />just simply to delight our eyes. It is heavy burden to bear in mind that these conceptions are peculiar to the West perspective. It try to vast a large horizon in both time and space, attention on historically prominent periods and areas,<br />which are also those of most basic interest. Chapters are arranged chronogically, across a wide geographical panorama in order to allow crucial events in world history of humankind. This article also focus to history of photography, that was closely allied with both painting and print making, since of its invention in the 1830s. At last, history of art inevitably reflect the feelings and minds of their authors, who have been almost as diverse as the artists about whom they write, as diverse and many-sided as the works of art themselves.<br /><br /><br /><strong>Abstrak</strong><br />Tulisan ini adalah bedah buku tentang sejarah seni. Tujuan buku adalah melakukan penjelajahan daripada bacaan kritis. Penyusunnya, Hugh Honour dan John Fleming, memilih penjelasan terperinci dan sarat penilaian, yang sesungguhnya keduanya dapat terpisah. Karya-karya seni yang ditampilkan pada buku penuh visual, bermaksud untuk menyenangkan amatan pembaca. Beban besar dipikul buku ini, terkait<br />sudut pandang Barat yang rumit. Cakrawala luas ruang dan waktu dibentangkan luas pada buku ini. Penyusunan bab dibuat secara kronologis, merentang panorama geografis teramat lebar dalam rangka menjelaskan peristiwa-peristiwa penting sejarah umat manusia. Tulisan ini juga memusatkan diri pada sejarah fotografi, yang memiliki hubungan erat dengan seni lukis dan cetak mencetak, sejak temuan pada tahun 1830. Pada akhirnya, sejarah adalah cermin dari perasaan dan pikiran penulisnya, yang selalu berbeda-beda seperti halnya seniman yang mereka tulis. Berbeda-beda dan memiliki berbagai sudut pandang seperti halnya karya seni.<br /><br /><br />*) Staf Pengajar Fakultas Pendidikan Seni dan Desain, Universitas Pendidikan

The author suggests to look at media research from a historical perspective and compare the projects of the “golden period”, that is, the 1990s – early 2000s, with the works of recent years. After preliminary contextual explanations, choosing for a more detailed presentation projects of S. Zielinski and J. Parikka, the author shows how the tasks of media studies and their methodology change during the transition from large-scale panoramas claiming to build a new history from the perspectives of media to often fragmented and situational analyses of components of chosen media (for example, the translation of color dispersion into the chemical language of a photograph of a distant star). This was the way by which archaeology, attentive to geological time, turned into archival work being done for “commercial use or machine learning”. This is how the radical approaches to media research characteristic of the first media theorists are leveled, because scientists publishing their works since the second half of the 2010s contribute to the normalization of media theory by bringing it to the long-discussed topics of other disciplines, such as cognitive functions or theories of signs. At the same time, media theory of recent years is being largely politicized, adopting governmental instructions and reducing the “variantology” and multiplicity of media that were developed earlier.

The chapter analyzes how the nineteenth century’s two most significant immersive media—panoramas and stereoscopic photographs—comment on and draw attention to their differences as media through their respective uses of Walter Scott’s novels and poems, and, in turn, how these medial differences bring into relief the aesthetic and philosophical novelty of Scott’s own efforts to write visually. To make its argument, the chapter draws on a wide variety of archives and forms of evidence, including: period guidebooks to panoramas; the histories of media technologies like camera obscuras, linear perspective, and stereoscopes; Victorian stereographs of Scotland, especially by George Washington Wilson; readings of visually evocative passages in Scott’s Waverley, Ivanhoe, and The Fair Maid of Perth; Eugène Delacroix’s painting Rebecca and the Wounded Ivanhoe; and Romantic writings on optics and vision, including Scott’s Letters on Demonology and Witchcraft and his friend David Brewster’s scientific treatises on monocular and binocular vision.