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Essays and documentation of work towards the MFA degree of the University of Tasmania

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Marwood, Jim,1932- (1989) Essays and documentation of work towards the MFA degree of the University of Tasmania. Unspecified thesis, University of Tasmania.

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Abstract

Contains essays and documentation of work towards the MFA degree of the University of Tasmania, 1989.
The career of South Australian artist Walter Grosser is discussed. His
production of stereoscopic photographs is placed in the context of the
history of this medium. Scientific investigation of stereoscopic vision up
to the present time is summarised, and reasons are sought for the virtual
exclusion of the medium from the art world.
Although the Arabs may have recognised the importance of binocular vision
a thousand years ago, stereopsis was ignored by Western philosophers
until Wheatstone's discovery in 1838. Wheatstone's invention of the
stereoscope was adapted to photography by Brewster. The device became
popular, especially in the United States, where it was developed
commercially, importing images, and exporting card-sets and cheap
stereoscopes all over the world (including Australia).
About 1910, Walter Grosser was struggling to make a living as a
commercial photographer in the small South Australian town of Millicent.
His commercial work included stereoscopic views but he made also a
small opus of unusual and intensely personal work in the medium
(illustrated). His photographic production ceased by 1914, probably as a
result of wartime anti-German sentiment.
After Wheatstone and Brewster, science ignored stereopsis for a century.
Research resumed only after the commercial development had virtually
ended in the 1930's.. Theories of visual space-perception were based on
analogies of camera and range-finder. In 1960 Julesz used
computer-generated patterns to show these analogies to be inappropriate.
Current theory suggests visual space-perception is achieved by cortical
scanning and comparison of the two visual fields. Other 'cue-systems' are
usually of secondary importance.
The paper ends by suggesting reasons for lack of interest in stereoscopic
work such as that of Grosser within the fine arts, and fantasises on
connexions yet to be established between stereoscopic photography and
holography.

Item Type: Thesis (Unspecified)
Copyright Holders: The Author
Copyright Information:

Copyright 1989 the Author - The University is continuing to endeavour to trace the copyright
owner(s) and in the meantime this item has been reproduced here in good faith. We
would be pleased to hear from the copyright owner(s).

Additional Information:

Thesis (M.F.A.)--University of Tasmania, 1990. Contents: How it was (a shifting viewpoint) -- The vision of space : from Bishop Berkeley to Audrey Hepburn, by way of an obscure photographer and his stereoscope

Date Deposited: 19 Dec 2014 02:37
Last Modified: 15 Sep 2017 03:38
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