Stereoscopic Media

Call for Papers

Stereoscopic Media Research Provocations
We have an ongoing call for short research pieces for stereoscopicmedia.org

 

Research Provocation Guidelines:

We like to keep the Provocation short so that they can capture the attention of our internet viewers (500-700 words please).

Ideally, the Provocations should pose more question than they answer in order to stimulate thought and debate.

Please following the formatting and bibliography style used in previous Provocations.

Also, think about an image you would like to accompany your piece. If you can’t find/think of one we can help with this.

Please send pieces to miriam.ross@vuw.ac.nz for consideration

 

The Digital in Depth:
An Interdisciplinary Symposium on Depth in Digital Media

FRIDAY 30th MAY 2014

Hosted by the Institute of Advanced Study
and the Department of Film and Television Studies
Millburn House
University of Warwick
CV4 7HS

Keynote Speaker: Dr. Lisa Purse (University of Reading, Author of Digital Imaging in Popular Cinema and Contemporary Action Cinema)

Deadline for abstracts: FRIDAY 28TH MARCH 2014

This symposium explores the ways in which depth imagery is constructed and consumed in contemporary digital practices, and the ways in which we might interpret it. Most digital platforms’ content is consumed through flat screens and yet many of their aesthetics seem anxious to convey the illusion of depth. This curious and ubiquitous paradox is visible, for example, in digital cinema’s most recent spate of 3-D films and the institutional dimensionality of videogames’ fictional environments through which the player wanders. In computing, also, user interfaces and head-up displays demonstrate a renegotiated relationship to the image that is dependent on deep spaces made immediately accessible for spectators and users.

This symposium will investigate the different media that characterise contemporary culture and the aesthetic, cultural and political implications of their digital depth. How is this illusion of depth constructed, and to what ends? The symposium will investigate avenues through which academia might read and interpret both these images and the changing mediascape of which they are a part. It will also ask what these digital constructions of depth demonstrate about the changing culture that they help to construct.

20 minute papers might address (but are not limited to) the following areas:

•       Digital cinema (e.g. 3-D, IMAX, HFR and digital cinematography, editing depth imagery, varying modes of distribution)
•       Television (e.g. digital television aesthetics, 3-D and HD television sets, 3-D sports and documentary programming)
•       Videogames (e.g. stereoscopic games, virtual reality and illusions of three-dimensional space in non-stereoscopic texts, the Oculus Rift, handheld stereoscopic platforms)
•       Computing (e.g. user interfaces, head-up displays [HUD], Google Glass, internet browsers, and stereoscopic internet content)
•       Webcomics and e-books (aesthetics, production, exhibition, renegotiating tactility, the question of the ‘page’)
•       3-D printing and holograms (e.g. their industrial, military, medical and entertainment-based uses)
•       The expressivity of digital depth and its ways of constructing meaning
•       Historical perspectives on depth imagery, both digital and analogue, and the relationship between the two
•       The temporality of digital depth and its aesthetics (e.g. the long take in film/television, experiential readings of videogames’ first person aesthetics)
•       The psychological and sociological effects of depth media
•       Digital depth in relation to genre

Please send abstracts (max 200 words), and a brief biographical note to Dr. Owen Weetch (o.b.weetch@warwick.ac.uk) by FRIDAY 28th MARCH, 2014. Decisions will be announced in early April. For more information, please visit the symposium’s blog, which can be found at thedigitalindepth.wordpress.com, or follow us on twitter @digitalindepth.
Stereoscopic 3D: A Creative Summit on Connecting With Audiences 

Call for Papers –  Deadline Monday 17th February – please forward

*Wednesday 12th and Thursday 13th March 2013, The British Film
Institute,South Bank, London, United Kingdom: http://www.bfi.org.uk
<http://www.bfi.org.uk>*

*Conference Website*
http://www.3dcreativesummit.com/

*Latest News*
http://www.ravensbourne.ac.uk/news-and-events/news/2014/01/3d-creative-summit-2014/

Ravensbourne (www.rave.ac.uk) and the i3DS Society (http://tinyurl.com/crfcmbq), have great pleasure in calling for papers for the fourth annual international Creative Summit. The conference includes a research strand that will offer an opportunity for academia and industry to critically examine stereoscopic media in the field of film, television, and other
content that may inform the field.

Sergei Eisenstein believed that connecting with audiences was at the heart of filmmaking or, as he put it, understanding how to “‘throw a bridge’ across the gulf separating the spectator and the actor” (Mendiburu et al, 2012). A number of notable recent films explore how stereoscopic 3D might enhance this connection. Ang Lee’s Life of Pi explores how to use 3D to create a greater feeling of presence for the viewer; we are invited to ‘be’ Pi. In Gravity the
viewer is encouraged to experience the grandeur of space and offered an overload of technical information in order to understand the immediate and often terrifying choices facing astronauts in their not-so-everyday working lives. Television spectaculars such as the Doctor Who anniversary, and more short-form independent 3D content for Internet distribution are also contributing to our understanding of how to create the bridges Eisenstein felt
were so essential.

We therefore call for presentations from either practice-based or theoretical perspectives on the following themes, but welcome contributions that inform how the use of the third dimension assists us to connect with audiences:

* How are writers inviting audiences to become immersed in story or the mise-en-scène?

* What cinematographic techniques are being pioneered to draw us into the frame?

* Can pre-visualisation tools amplify what immersive experiences we can construct?

* Are we now developing an aesthetic that is particular to stereoscopic media?

* Does the convergence of film and gaming offer opportunities to draw the audience more effectively into augmented gaming worlds?

We will be accepting papers or presentations on the topics above that will be part of the main conference proceedings on the afternoon of the first day. Abstracts should be sent in the form of 500 word abstracts to the selection committee via lizzie.jackson@rave.ac.uk by *Monday 17th February2014.* When submitting your abstracts, please also state your name,
affiliation, and provide a one-paragraph biography.

Accepted papers/presentations will receive a conference fee waiver.

 

Ravensbourne and the International 3D Society Call for Papers for ‘Stereoscopic 3D: A Creative Summit’ Conference

Wednesday 27th and Thursday 28th March, 2013
The British Film Institute, South Bank, London

Ravensbourne and the i3DS Society, have great pleasure in calling for papers for the third international conference on stereoscopic film and television.

On June 21 1838 the Royal Society published Charles Wheatstone’s paper on 3D Stereoscopy, Contributions to the Physiology of Vision. The eminent Professor of Experimental Philosophy at Kings College London laid out principles of stereoscopy and later invented the stereoscope. The stereoscopic technique has therefore existed for over 150 years, but what level of maturity has it reached?

The aim of the overall conference is to draw together industry and academia to debate and demonstrate what the nature of high quality stereoscopic television and film is. The conference aims to promote discussion around the development of international standards, something of high interest to industry. As researchers, however, we deepen the debate to ask, in a dedicated section of the conference…

Can 3DS be considered to have reached maturity? Who decides what creative or technical ‘maturity’ means?

What is the possibility of setting worldwide technical standards and creative guidelines for stereoscopic film, television and other related content?

It could be argued that the releasing of 2D to 3D conversions is having a degenerative effect on the maturation of the craft of stereoscopic 3DS. The need to generate revenue through ‘brand 3D’ may be altering the perception of 3DS from audience perspectives. Should we therefore now define what is and what is not ‘true’ stereoscopy?

What is next after the commodification of 3DS, for example 4K 3DS?

We will be accepting around 15 papers or presentations on the topics above, which can include investigations into stereoscopic animation or gaming if the study contributes to the conference theme. However ALL acceptable research from practitioners interested in stereoscopic 3D can have a place through the exhibition of a poster outlining your work. Attendees will also be able to contribute to a workshop, which will map research being generated in this field, worldwide.

 

Papers, posters, or expressions of interest in mapping 3DS Research should be sent in the form of abstracts to lizzie.jackson@rave.ac.uk by Monday 4th February 2013.


PUBLIC 47/

*** Please note the extended deadline for abstracts which is now May 1st***

Parallax: Stereoscopic 3D in Moving Images and Visual Art

Publication: Spring 2013
Edited by Janine Marchessault, Dan Adler and Sanja Obradovic

The most recent revival of stereoscopic 3D (S3D) moving images, from cinema and television to video games and cell phone applications, signifies a new development in global screen cultures and media technologies. As the stereoscopic technology becomes more available and more studio productions are scheduled for release in S3D format, scholars, artists and industry professionals require a common language for discussing the aesthetics and industry of S3D that goes beyond the current largely technical terminology. Moreover, independent S3D works of art require careful examination in the context of the most recent resurgence of the medium within the mainstream mediascapes.

This special issue of PUBLIC will critically analyze the dynamics and significance of the current, past and future developments of S3D. The essays in this issue will explore the aesthetic, economic and cultural implications of using stereoscopic images in the context of contemporary art, media and technology. Interdisciplinary perspectives and artists’ projects are welcome.

Potential topics:

– hitherto uncharted history of stereoscopic 3D
– language  and aesthetics of stereoscopic moving images
– stereoscopy and new media art
– stereo 3D in video game design and environments
– case studies of stereoscopic artworks
– use of sound in combination with stereoscopic visual content
– non-entertainment use of stereoscopic media
– stereo 3D military applications, cartography, medical/scientific imaging in artistic practices
– artistic projects

Proposal deadline (250 words): May 1st, 2012
Text and project deadline (3-6,000 words): July 1st, 2012

Please send proposal, c.v. and bio to: sanjao@yorku.ca

PUBLIC gratefully acknowledges the support of the Canada Council for the Arts, the Ontario Arts Council, and York University.

 

 

Moving Your Storytelling Into the Third Dimension*
Industry Conference with a two-day research tract.

22nd and 23rd March, 2012
Ravensbourne,
6, Penrose Way,
Greenwich,
London,
SE10 0EW

http://3dstorytelling.co.uk/?page_id=222

The Latin for perspective is *perspicere (*to see through), seeing beyond
boundaries or beyond solidity. The Greeks attempted to evolve a system of
perspective around the 5th century B.C. as part of an interest in
illusionism and Renaissance artists took this further by developing
techniques of using the third dimension in art (Kemp, 1992). Impressionists
such as Cezanne broke these  ‘rules’ by arranging objects in order of
importance rather than distance from the viewer.

Playing with the Mise-en-scene, or finding new ways to tell a story using
the third dimension, is the theme of this second international conference
on 3-D stereoscopic media (principally Film and Television). 800 industry
delegates will be attending the free two-day conference and we invite
papers and presentations from researchers who would like to share their
work in this area.

Technical, economic and cultural approaches are welcome, in particular
topics which encourage a critical analysis of the opportunities and
challenges of 3-D Television and Film. Production and audience perspectives
will also be of high interest to delegates as will ethnographic studies
which combine applied and basic/pure research, for example explorations
into a ‘glasses-free’ experience, or on children’s experiences of 3-D
stereoscopic media. We will schedule themed panels in response to the call.
Presentations should last no longer than 15 minutes. If you wish to submit
a paper/presentation, or if you wish to suggest and chair a panel, the
deadline for submissions is *Monday 5th March. *Please send a 500 word
abstract to: Lizzie Jackson, lizzie.jackson@rave.ac.uk.
<lizzie.jackson@rave.ac.uk>

The conference is supported by Screen International and draws together an
existing community of over 400 directors, producers, technicians, and
manufacturers who formed an online community of practice after last year’s
conference. ** <lizzie.jackson@rave.ac.uk>For further information:
http://3dstorytelling.co.uk/