A look at Mach's work on monocular stereoscopy with relation to Mach Bands and the sensation of space.

Does a penny viewed at an angle in some sense look elliptical, as though projected on a two-dimensional surface? Many philosophers have said such things, from Malebranche (1674/1997) and Hume (1739/1978), through early 20th-century sense-data theorists, to Tye (2000) and Noë (2004). I confess that it doesn't seem this way to me, though I'm somewhat baffled by the phenomenology and pessimistic about our ability to resolve the dispute. I raise geometrical complaints against the view and conjecture that views of this (...) sort draw some of their appeal from over-analogizing visual experience to painting or photography. Theorists writing in contexts where vision is typically analogized to less-projective media--wax signet impressions in ancient Greece, stereoscopy in introspective psychology circa 1900--are substantially less likely to attribute such projective distortions to visual appearances. (shrink)

Adjectives such as “environmental”, “social”, “cosmopolitan”, “relational”, “distributive”, etc. reflect how scholars discern the many faces of justice and put several claims to, and claimants of, justice in perspective. They have also helped related research to focus on some surfaces of justice, that is, on spaces that invite justice, localities and formations, such as the state, social policies, social institutions, etc. within which ethical-political challenges unravel. Diverse philosophical perspectives enable context-specific explorations of (sur)faces of justice. However, I argue, there is (...) more to the concept of justice than what perspectives (considered alone or in their sum total) allow us to view. To theorize how this surplus may be more discernible through stereoscopic rather than perspectival optics I first describe how educational-philosophical perspectives, old and new, discuss just education or education for justice; and then I critique the very notion of perspective on which scholarly work relies. Despite their merits, perspectival framings of justice fail to address the interconnectivity of various (sur)faces of justice. (shrink)

L'auteure, riche de son expérience de scripte cinéma, analyse l'organisation spatio-temporelle des éléments constituants un film de fiction pour définir le concept de continuité apparente. Celui-ci est ensuite réinvesti dans l'étude de la stéréoscopie au cinéma. Ces deux notions sont à l'origine de la création de deux courts-métrages en 3D visant à les réunir.

In some cases our sensory organs are no longer capable of rendering processes in the external world perceptible to us. Their inadequacy expresses itself, for example, in phenomena that involve the kind of expansion of space and time in which the conditions for summary perception are no longer at all present. The resources that aid our immediate sense perception in these circumstances will thus be charged with the task of expanding or diminishing space and time to the extent that the (...) contiguity and succession of events is comprehensible to us. The microscope is thus essentially based upon the principle of spatial expansion, the map on that of spatial diminution. The pertinent contrivances for these purposes are largely derived from the graphic arts. How stereoscopy and instantaneous photography, which is based on temporal expansion, facilitate our perception! In spite of the multifarious applications of photography, one has yet to take the step of employing it in the opposite direction, namely as a means of temporal diminution. We demonstrate that phenomena that take place in too ephemeral and too rapid a succession for our eyes can, with the help of instantaneous photographs in series, be analyzed with our senses as the event passes in a comparatively longer time. Quite analogously, we could also compress into a small duration the moments of an event separated widely from one another in time and thereby give our perception an understanding of the nature thereof. (shrink)