Sourcing and Qualifying Passive Polarised 3D TVs

Millions of Stereoscopic 3D capable TVs were sold into the consumer market from 2007 through to 2016. A wide range of display technologies were supported including rear-projection DLP, Plasma, LCD and OLED. Some displays supported the Active 3D method using liquid-crystal shutter glasses, and some displays supported the Passive 3D method using circularly polarised 3D glasses. Displays supporting Full-HD and Ultra-HD (4K) resolution were available in sizes ranging from 32" to 86" diagonal. Unfortunately display manufacturers eventually changed their focus to promoting other display technologies and 2016 was the last year that new 3D TVs were made for the consumer market. Fortunately, there are still millions of 3D displays available through the secondhand- market, however it can be difficult to know which displays have 3D display support. This paper will provide a listing of specifically Passive 3D TVs manufactured by LG, however it has been our experience that the 3D quality varied considerably from one display to another hence it is necessary to qualify the quality of the 3D available on these displays using a testing technique that will be described in the paper.

Immersive telepresence in theatre: performing arts education in digital spaces

This case study examines a joint project in performer training and rehearsal conducted between Coventry University (UK) and Tampere University (Finland) using a variety of telepresence and app-based technologies. In this project, two identical spaces, equipped with rear projection screens and linked by videoconferencing technology, were created in both institutions. This study reports on the adaptation of the pedagogical practices to a digital setting.

On Enunciation in Apparatus Theory

The concept of enunciation has flowed into Lacanian psychoanalysis through Benveniste’s linguistic theory and refers to the constitutive division of the subject into the “subject of speech” and the “speaking subject.” While the former refers to a transparent model of the self, the latter refers to the opaque aspect of the uttering subject. In summary, it can be said that most authors avoid the negativity of the absent cause to the extent that all try to conceive a concrete instance of enunciation. If in Metz’s text “History/ Discourse” the viewer takes this position, in Raymond Bellour’s analysis of Hitchcock’s Marnie the enunciator coincides with the author. In a counterreading of Marnie, I try to show that it is precisely in the anamorphic rear projection sequences of the film that a division of the enunciator is set in motion, which negates the visual power of the authorial subject.