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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 중앙대학교 영상콘텐츠융합연구소 TECHART: Journal of Arts and Imaging Science TECHART: Journal of Arts and Imaging Science Vol.3 No.1
- 발행연도
- 2016.2
- 수록면
- 25 - 30 (6page)
- DOI
- 10.15323/techart.2016.02.3.1.25
이용수
초록· 키워드
오류제보하기
From a historical perspective, window, frame and screen are interrelated terms. As digital technology converges the medium specificities, today these entities are intermingled and seen as flat in the context of our media ecology. In light of traditional monocular perspective, our screen experiences have been constructed as opposed to current diverse, multiple screens displays. In this indiscriminate merging of digital technologies, what will be the next development?
목차
Abstract
1. Introduction
2. Perspective for Representation
3. Camera Obscura as a Receptacle
4. Window as a Virtual Space
5. Flexible Screen
6. Converging Media
7. Conclusion
References
참고문헌 (7)
참고문헌 신청
A.Friedberg, The Virtual Window, MIT Press:Cambridge,pp42
E.Panofsky, Perspective as symbolic form , MIT Press:Cambridge,1996,pp31
A.Bazin, The Ontology of the Photographic Iimage; Hugh Gray. Film Quarterly, Vol. 13, No. 4. (Summer, 1960)pp.11
Baudry claims, “Fabricated on the model of the camera obscura, it permits the construction of an image analogous to the perspective projections developed during the Italian Renaissance. Unlike the ”discontinuous and heterogeneous“ space of the Greeks ”based on a multiplicity of points of view, “ the ”centered space“ of the Renaissance painting presents a ”motionless and continuous whole, “ a ”virtual image that provides a tangible representation of metaphysics.
S.Heath, Narrative Space.,Springer,1981,pp388
E.Panofsky, Perspective as symbolic form , MIT Press:Cambridge,1996,pp31
A.Bazin, The Ontology of the Photographic Iimage; Hugh Gray. Film Quarterly, Vol. 13, No. 4. (Summer, 1960)pp.11
Baudry claims, “Fabricated on the model of the camera obscura, it permits the construction of an image analogous to the perspective projections developed during the Italian Renaissance. Unlike the ”discontinuous and heterogeneous“ space of the Greeks ”based on a multiplicity of points of view, “ the ”centered space“ of the Renaissance painting presents a ”motionless and continuous whole, “ a ”virtual image that provides a tangible representation of metaphysics.
S.Heath, Narrative Space.,Springer,1981,pp388
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