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August 2009 Archives

August 2, 2009

3D TV in UK Next Year

The Royal Ballet being filmed in hi-def 3D for BSkyB


Satellite broadcaster BSkyB is planning on offering original, high-definition 3D programming in 2010.

"3D is a genuinely 'seeing is believing' experience [and] next year we will make our HD boxes work even harder for customers by launching Europe's first 3D TV channel," said Brian Sullivan, the managing director of Sky's customer group.

In order to watch the programming a 3D capable TV plus glasses will be required. The cost of such sets is said to be comparable to current plasma TVs, so this will be initially for high end consumers only. But someday soon, as prices for technology fall, a European Ralph Kramden will finally get his wish.

For the complete story in the Guardian UK, go here.

August 6, 2009

Christopher Schneberger at Dorsky Gallery

Opening and Artists Reception Friday August 7, 2009, 2-5pm

The Limbless Stereoscopic Horror of Frances Naylor

"...we were attracted to work about the figure you aren’t sure you saw, the sound you couldn’t have heard, the memory you must have invented. We were attracted to work about paralyzing indecision and haunting regret, work that resees old things in new and disturbing ways — whether it be an old movie, a violent political event, or your own childhood."

August 11, 2009

A New 3D Discussion Forum Opens Online — 3D-Forums.com


A new online forum for general 3D and stereoscopic discussion has been launched at www.3d-forums.com. It's easy and free to register and we invite all NYSS members and our web audience to check this out. Below are a listing of the initial topic areas:

3D TVs
3D TV Channels
3D Movies

Stereoscopic Computing
3D Monitors
Stereoscopic Gaming
Stereo Software
NVIDIA 3D Stereoscopic Software/Hardware

3D Photography and Video
3D Cameras
3D Photography Software
3D Photos
3D Video

August 17, 2009

Finally, a reason to go see Shakespeare: the 3D Musical Adaptations

A Shakespeare Musical That's in Your Face
by Genevieve M. Blaber, Latino Review, August 14, 2009

Sometimes you love two insanely different things only to discover that together they make the perfect combo — think, peanut butter and chocolate. And that's how I hope things will turn out now that Mark Thomas from Elsinore Films has announced he'll be combining the musical with Shakespeare and — yes, I cannot believe it — 3-D.

With an intent to target the younger audiences that go crazy for High School Musical and Harry Potter, Thomas plans to adapt six of Shakespeare's plays into 3-D musicals, starting with none other than the classic "Hamlet" and moving on to other well-known works like "Macbeth," "Romeo and Juliet," and "Twelfth Night."

Frankly, the idea of a distraught Hamlet thrusting Yorick's skull into the faces of audience members amuses me to no end. But for those of you who remain a tad skeptical about bringing the words of a long-dead playwright to 3-D musical life, I'd like to remind you that — for all of their classic lines and lofty themes — Shakespeare's plays were about titillating the audience. Ghosts, swordfights, gender bending, were par for the course, and if anything the musical infusion will help liven up the extensive monologues that not every person can stand.

Thomas won't be starting from scratch though. Instead he'll be working off of the musical versions that Shakespeare 4 Kidz, a U.K. theater company, created. John Godber is set to direct, and in the meantime Elsinore Films will also be shooting a TV show to cast for the roles of Romeo and Juliet in one of the forthcoming adaptations. The title of the show? Movie Quest — A Romeo 4 Juliet.

3D Music Video by The Crystal Method, "Drown in the Now"


NYSS member Dimitris Athos tugs our coat to the new 3D music video by The Crystal Method, the electronica duo made up of Ken Jordan and Scott Kirkland.




The song is Drown in the Now featuring Matisyahu, the Jewish reggae rapper from their album, Divided by Night. The video was produced by UVPHACTORY and directed by Alexandre Moors and Jessica Brillhart.


Divided by Night album cover

August 21, 2009

Robert Zemeckis & Disney to produce 3D "Yellow Submarine" based on 1968 animation from obscure British pop group


Variety reports here that Robert Zemeckis and the Disney Company are seeking the rights to 16 songs by some obscure British band from the 60s. Who could possibly be interested in music that's over 40 years old?

Zemeckis plans to use the 3D motion capture technique he used in The Polar Express and his upcoming A Christmas Carol.

Can't these guys come up with anything original? What's next — big screen re-makes of dopey 1960s sit-coms like Bewitched or Get Smart?

Scientific American Mind on "Seeing in Stereo" — Did you know Prof. Carl Pulfrich had only one working eye?


An excellent article on the evolution and mechanics of stereoscopic binocular vision is online here from Scientific American Mind.

August 26, 2009

Stereoscopic 3-D Exhibit by NYSS Member Stuart Stiles with a Master Class in Digital Stereo Photography

Stereoscopic 3-D —Photography with the depth of normal vision.
A Lyceum presentation of Orange County Community College
115 South Street, Middletown, NY

This exhibit of stereo photography by Stuart Stiles and others also introduces various formats that were developed by ingenious innovators who designed their own unique systems for taking and viewing of stereo photographs.


Reception: Saturday, August 29, 2009 2:30 to 5 pm
Master class digital stereo photography: September 14, 2009, 11 am - 12:45 pm
Exhibit Schedule: through September 25, 2009.

Details found on the college website: www.sunyorange.edu/calendar/

Organized by Stuart Stiles, member of the New York Stereoscopic Society and psychology professor emeritus, Orange County Community College to introduce an awareness of major techniques that are landmarks in the history of stereo photography by which stereo images can be obtained and viewed this exhibit shows stereo photographs of cameras and viewers, as well as stereo images produced by such equipment.


The free exhibit is in the gallery loft of Orange Hall on the Middletown, NY campus, a public space. Parking on campus is limited. The Saturday reception, also free, should find more parking will be available.

For assistance email Professor Stiles: 3d@sunyorange.edu

August 28, 2009

Special NYSS Preview :: Thurs. Sept. 3 :: Gerald Marks Career Retrospective :: 35 Years in 3-D


NYSS member Gerald Marks will be having a large retrospective show of his 35 years of doing Stereoscopic 3-D Art. There will be his early printed anaglyph work; polarizing projection of 3-D his photography, old and new; lenticular prints, transparencies, & computer screen; a Professor Pulfrich's Universe shadow room; his computer generated hologram done at the MIT MedialLab; and excerpts from his 3-D videos for the Rolling Stones.

The show is being sponsored by the School of Visual Arts' MFA program in Computer Art, where Marks has been teaching Stereoscopic 3-D for the past seven years. The department's commitment to 3-D has been greatly expanded in recent years. The gallery is owned by the school and is located at 132 West 21 Street, 7th Floor. SVA has several buildings on the same block, so don't just look for SVA, but go to this building!

There will be three different opening events, plus a special fourth preview especially for NYSS members and their friends. Anyone can attend any of the events but they are specialized. . .

Thursday, September 3, 6:00 to 8:00 pm will the special preview for NYSS members and their friends. The Linkedin Stereoscopic Professionals Group is also being invited, and various other organizations. This is a special opportunity for 3-D practitioners.

Friday, September 11, 5:00 to 7:00 pm will be the School of Visual Arts official opening reception for the show, mostly for SVA students and faculty, but open to anyone.

Saturday, September 12, 2:00 to 8:00 pm will be the full Chelsea gallery opening, with an artist's gallery talk at 4:00 PM. This is when the majority of art lovers, friends, & family will attend.

Thursday, September 17, 5:00 to 7:00 pm will be the closing party for the show, and a good last chance to catch it.

In addition, the gallery can be opened by appointment Monday through Friday from 10:00 am to 6:00 pm, by contacting Charley Lewis at 212-592-2517 or charley@mfaca.sva.edu

August 30, 2009

“The Horror Show” at THE DORSKY GALLERY — Reviewed by George Higham

Striving to define “horror” is itself a nightmare, as the term itself is dependent upon the subjective perspectives of those involved – both the creator and audience, as the case may be when discussing works of art and fiction. The curators (Dave and Debra Tolchinsky) of “The Horror Show” on display at the Dorsky Gallery in NYC are keenly aware of this, and have ensured the effectiveness of this gallery exhibit by including a myriad of vastly different artistic styles.

This is not a show of cheapened “horrors,” as there are no body parts or Halloween props – no blood, no gore and no quick-scares or shock effects . . .This is a show of the uncanny, a show of creeping subtleness spiced with the humorously outlandish.

Case in point – Mr. Christopher Schneberger’s Frances Naylor series. Mr. Schneberger is represented by three large sepia-toned prints that document the strange case of Frances Naylor, a young woman from the early 1920’s who, although legless, moved about for a brief time as if she had legs. The striking images clearly show Ms. Naylor floating about while participating in otherwise mundane family social events. The images are uncanny, in the true sense of the word. At first glance, they appear normal. . .but when actually looked at, the simple absence of the familiar (her legs) elevate it to downright disturbing.

Mr. Schneberger’s work is supplemented by the back-story of Ms. Naylor’s levitation – a brief recounting of the event told in such a dry, straightforward way that it becomes the aforementioned humorously outlandish.

Of most interest was the other supplement to the series – several sets of Viewmaster ™ reels set into viewers, showing these images and additional ones in Stereo 3-D. Mr. Schneberger has masterfully created a document of the whole Frances Naylor event, which he presents as the original stereo photographs taken by her father in 1921. It was thrilling to stand in front of the large prints hold up the Viewmaster ™ viewer at the same time, truly adding depth to this unique experience!

An additional compliment to Mr. Schneberger is due for steadfastly maintaining the fictional history surrounding the work, even in the show’s catalogue in place of the traditional “Artist’s Statement.”

An art gallery exhibit by its very nature is a voyeuristic experience, but “The Horror Show” often carries this concept further by forcing one to intimately peer and gaze into many of the works. The Frances Naylor Viewmaster ™ reels are but one example. . .

Quite striking was Debra Tolchinsky’s Man in the Mirror from her Smoke and Mirrors series, a quietly disturbing work that lured me closer and closer to peer into the elaborate ebony frame and the deceptively reflective surface therein. It was only then that I perceived the ghostly form trapped inside, an ethereal being apparently lifted from a silent-era expressionist film, but one with an even stranger origin. . .after struggling to discern the blurred being, I turned to the next exhibit to see a GIANT print of the mysterious being, now revealed as the “King of Pop” himself, Michael Jackson!

Dave Tolchinsky and Dan Silverstein created the compelling and aptly named Horror, an apparently simple sculpture that presents three portals – three choices for the viewer. . .a closed gate, an open door and a rather strange pit that once again forces the viewer to lean in very close to peer down into it. An escalating audio track presenting the horrors of indecision accompany the piece. The panicked voice, which when listened to for awhile, eases the tension and soon crosses the border from insanity to the absurd, humorously bringing to mind the Bridge Guardian’s simple questions from Monty Python and the Holy Grail, and the ultimate price paid for minor indecision!

Continuing the “pull you in really close to the art” motif, Brian Getnick’s Old Airport #3 is a post industrial nightmare that stirs one’s curiosity enough to overcome the admitted uneasiness of peering into a fuzzy yarn-like cocoon of a sphincter that is the only breach in its mechanical surface. Mr. Getnick states that he designed his pieces with traps in mind, and wishes to be able to have his pieces absorb and close around the people it traps. I’m personally glad that a few good laws prevent him from doing this. Kudos to Mr. Getnick for an effective piece, even if it doesn’t swallow you up as you look at it!

Still very much uncanny, the other dominant voyeuristic theme of “The Horror Show” is that of perspective.

Stephen Nyktas’s Underneath series gives us the strange perspectives perceived by beings that may exist behind a rock or under a porch. These glimpses make our world out to be the mysterious one!

Jeanne Dunning gives fancy desserts an uncanny spin when her large colorful prints reveal the assorted fungi that inhabit each piece of cake or pie. Her work would be horrifying if upon our plates, but exhibit a strange beauty when upon the wall.

Alfred Hitchcock’s Psycho is given a new perspective – from an auditory angle, of all places! Melissa Grey’s Variation Nos. 1, 9, and 11 dominates the Dorsky Gallery entrance with a large screen playing the infamous shower scene on a video loop. Ms. Grey has daringly replaced Bernard Herrman’s overly-known soundtrack with the above titled audio variations. Bach Toccata in Fugue in D Minor is arguably better known to the masses an old horror stand-by, and is amusing to witness when combined with Hitchcock’s work. Not so amusing are Ms. Grey’s more ambient and whispering chorus variations, which were appropriately disturbing and surprisingly successful. Ms. Grey demonstrates what filmmaker Gus Van Sant failed to, with his shot-for-shot remake of Psycho in 1998.

The very effective Big Box 3 is a kinetic sculpture/video installation created by Jennifer and Kevin McCoy. It takes a moment to absorb what you are looking at, and the moment of revelation was a real payoff. A miniature circular setting of wrecked shopping malls and mega-stores are populated by 1” tall plastic figures. The whole thing spins endlessly upon a turntable, which is quite disorienting when viewed from an average height. A tiny camera, however, has been mounted upon its periphery giving us a completely new perspective that is viewed upon a giant video screen mounted nearby. With everything now seemingly the right size, you see how wrong it truly is. The tiny figures are grisly zombies, and the background motion now seems to have increased to a frenetic pace.

What was suggestive of a toy train set is now suddenly realized to be a horrifying “what if?” vision of mass consumer culture, an idea similarly explored by filmmaker George A. Romero in Dawn of the Dead. Jennifer and Kevin McCoy’s deliriously inventive work is a fantastic new take on the doom that awaits us all at WalMart.

Another highlight was The Outcast, a large B&W print by Jean Marie Casbarian, whose headless subject is firmly rooted in nightmare and lies somewhere between Muybridge and Murnau with a nod to Dore.

Facing Panic is a room-dominating video installation by Renate Ferro, addressing the horrors of the Cuban Missile Crisis and the 9/11 terrorist threats that we live with today.

Craig Yu’s Untitled painting from his Airline Disaster series also addresses the modern day horror of flying, through abstraction and disorientation. An airplane bleeds smoke during its crashing descent, as masterfully represented by his few broad strokes that evoke certain dread.

Up in Smoke is a brief video by Ellen Wetmore that is based upon a nightmare of her body being reduced to ash. Ms. Wetmore presents this vignette to us, tempered by a very conscious absurdity that makes it both more accessible and quite engaging.

The Genius of Coolwhip is a rather strange work by Jeffrey Sconce, utilizing audio clips from the British show To Catch a Predator and found images. It confronts perversions and the public’s reaction to them. . .

Josh Faught’s The First Person I Ever Came Out To Was a Convicted Sexual Predator, No. 5 touches on a similar subject, but with a decidedly serious tone in an overwhelmingly large representation of a rather ghostly child.

The last exhibit was a last-rites kit from 1912, ingeniously modified with a Schumann Resonator by Brad Todd. Halo, as he calls it, addresses the emotional state of the grieving by translating the 7.83 Hz frequency of the earth itself into a palpable field surrounding the kit.

The catalogue for “The Horror Show” aptly opens with the famous quote by Nietzsche “. . .And when you stare for a long time into an abyss, the abyss stares back into you.”

The Dorsky Gallery has even printed the high-end catalogue’s cover in a highly reflective silver cardboard stock – a final treat in which your own face is distorted through a funhouse mirror effect as it stares back at you.

It doesn’t get any more uncanny than that. . .

Like any great “Horror Show” deserves, let’s hope that the Dorsky Gallery will give us “The Horror Show 2”!

The Dorsky Gallery is located at 11-03 45th Ave., Long Island City, New York.

George Higham knows horror. By day, he X-Rays corpses at the morgue. By night, he creates monsters and waxworks, often photographing them in Stereo 3-D.


About August 2009

This page contains all entries posted to New York Stereoscopic Society in August 2009. They are listed from oldest to newest.

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