Preface. On Theories and Art in Visualizing (Apparent)-Motion

Chapters in this book

1. Frontmatter 1
2. Table of Contents 5
3. Preface. On Theories and Art in Visualizing (Apparent)-Motion 9
4. Acknowledgements 13
5. PART 1. On the Study of Apparent Motion, Apparent Corporeality and Apparent Spatiality
6. Seeing as a Scientific Topic 15
7. The Beginnings of the Study of Apparent Motion 21
8. An Individual Way of Seeing: Jan Evangelista Purkinje 24
9. The Explanation of an Optical Illusion: Peter Mark Roget 31
10. The First Motion Picture Machine: Joseph Plateau 33
11. The Phenakistoscope or the Stroboscopic Disk 36
12. Inventions with Stroboscopic Effects 39
13. The Talbot-Plateau law of 1834/35 42
14. Gustav Theodor Fechner’s Subjective colors 45
15. Four notes on Afterimages 47
16. Experiments on the Simulation of Riparian Illusion with the oppel Antirheoscope 50
17. Zöllner’s Illusion 52
18. Reflections on Zöllner’s Illusion: Wilhelm Filehne 56
19. Hermann Helmholtz and the new Physiological optics in the nineteenth century 59
20. Helmholtz’s Experiments on Visual Sensations 61
21. Ernst Brücke: The Advantage of Intermittent Retina Stimuli 64
22. Josef Czermak: Thoughts on Speed during Motional Illusions 67
23. The Influence of Psychophysics on Mach’s Experiments 68
24. Mach’s Series of Experiments on light Stimulus on the Retina 71
25. Mach’s Experiments on Sensation of Movement and Afterimages of Movement 81
26. Studies in Movement: The Mach Drum 84
27. Sigmund Exner: Explorations into Kinesthetics, Sensation of Movement and Apparent Motion 87
28. Two Sparks and One Apparent Motion 89
29. Johann Ignaz Hoppe’s Attempts at Defining Apparent Motion 97
30. The First Psychological Analyses of Stroboscopic Phenomena (1886) 99
31. James McKeen Cattell: Visual Stimulation in Time 101
32. The First Monograph on the Perception of Movement 103
33. Alfred Borschke and Leo Hescheles: Movement Afterimages and Speed of Movement 106
34. Adolf Szily’s Experimental Analysis: Moving Afterimage and Contrasts of Movement 108
35. Szily’s Instrument Based Observations 110
36. Adolf Basler: Memoranda on the Process of Movements of Afterimages 113
37. Vittorio Benussi: From Apparent Motion to Apparent Corporeality 115
38. Stroboscopic Apparent Motion (S-Movement), 1912 118
39. Combinations of Apparent Motion (1918) 122
40. Stereo Kinetics 126
41. Max Wertheimer: The Berlin Gestalt Psychology 130
42. Wertheimer’s Phi-Phenomena (1910–1912) 132
43. From Apparent Motion to a Repositioning of Psychology as a Whole 140
44. Application of a Theory for Types of Visual Perception 141
45. Karl Duncker: On Induced Movements 143
46. Herbert Kleint: Simulation of a Tilted Room 146
47. The Inverted Image of the Retina 150
48. George M. Stratton and the Experiment with Inversion Goggles 152
49. Early Experimental Perception Research at the Innsbruck University: Franz Hillebrand, Theodor Erismann, Ivo Kohler 157
50. Theodor Erismann and Ivo Kohler’s Goggle Experiment 159
51. Consecutive Experiments with Inversion Goggles after 1955 165
52. Resume of Part I 169
53. PART 2. From the Artistic Transformation to Immateriality
54. The Beginnings of Kinetic Art at the Turn of the Twentieth Century 174
55. From Schumann/Wertheimer Wheel-Tachistoscope to Duchamp’s Readymade Roue de bicyclette (Bicycle Wheel) 176
56. Influence of Perception Research on Art after 1960 183
57. Artistic Research: Alfons Schilling, Jeffrey Shaw, Peter Weibel 185
58. Discerning Participatory capacity and Phenomenological narration: Jeffrey Shaw 186
59. Addiction to new Images: Alfons Schilling 208
60. From Perception Devices to Seeing Machines 215
61. Visual Test Situations between Experiment and Theory: Peter Weibel 225
62. The observation of observation in Peter Weibel’s Work 237
63. Construction of Imaginary Spaces and observations in Apparent Spaces 244
64. Interactive Images and Dislocation 256
65. Interactive Plasticity in the Virtual Image 260
66. Feedback-Effects 268
67. Epilog 273
68. Appendix
69. Endnotes 276
70. References 291
71. Internet sources 302
72. Image credits 303