William George Horner was a British mathematician and headmaster in the late 18th/early 19th century. He founded his own school called "The Seminary" focusing on mathematics. He is known for rediscovering and popularizing the zoetrope, an early animation device, though he did not invent it. Joseph Plateau was a Belgian physicist in the 19th century who invented the phenakistiscope, one of the first animation devices that used the physiological phenomenon of persistence of vision. He made important contributions to the scientific understanding of vision and animation. Emile Reynaud was a French science teacher and inventor in the late 19th century. He developed animated film by inventing the praxinoscope and pra
The Lumiere Brothers were early French pioneers of film who produced over 1,425 short films capturing scenes of everyday life in the late 19th century. Their films amazed audiences, though the brothers themselves doubted film had a future. Joseph Plateau invented the phenakistoscope in 1832, one of the first devices to create the illusion of motion. Charles-Émile Reynaud developed the Praxinoscope in 1877 and first projected animated films publicly in 1892. The modern zoetrope was invented in 1834 by British mathematician William George Horner, though it did not become widely popular until improvements in the 1860s.
History of Animations - digitalmarketinghead@gmail.comSaurabh Verma
This Presentation is all about the history of animation. All the references are from reliable sources over internet on animations. The topics described are:
Early approaches to motion in art
Animation Before Film
The magic lantern
Thaumatrope
Phenakistoscope
Zoetrope
Flip book
Praxinoscope
The Silent Era
Theater Optique
The Kinetoscope
The Golden Age of Animation
Walt Disney
Alice Comedies
World War II era
Post-war period
The Television Era
Animation Techniques
Go motion
and more ...
1 Week 1 Visual Culture in the Western World Th.docxjeremylockett77
1
Week 1
Visual Culture in the Western World
The Idea of Cinema
-Fascination with images can be traced back to
Plato (The Republic) in the parable of “The Cave”
Plato raises the danger of being
complacent with the illusion of the image
The dangers of an uncritical
understanding of the image
-The period of Enlightenment:
scientific studies and machinations are developed
to “capture, project and record images.
-17th century:
Athanasius Kircher (1601-1680)
developed the “catoptric lamp.”
German-born Jesuit priest and scientist whose
book Ars magna lucis et umbrae diagramed the
outlines for his reflecting optic machine.
Did not invent the “magic lantern”
He projected and reflected images on the wall
Encouraged scientific explanation to his spectators
so as to demythify images as some sort of magic
or ghostly apparition.
He emphasised that these images were not magic,
but “art.”
The Magic Lantern—17th Century
2
1659—Christiaan Huygens develops the “lanterne
magique”
1664—Thomas Walgensten developed a similar
apparatus in Paris
Unlike Kircher who used sunlight to reflect the
image Huygens and Walgensten used an artificial
light source
Walgensten traveled through Europe with the
“lanterne magique” (Lyons, Rome, and
Copenhagen)
The people who saw the lanterne magique were
initially royalty in these cities
By the end of the century the lantern shows were
exhibited in more popular culture venues such as
fairs and carnivals
18th and 19th CENTURIES
1740— X. Theodore Barber demonstrates the
“Magick Lanthorn” in Philadelphia, New York, and
Boston.
Venues such as private homes and coffee houses
were the favored sites for these exhibitions.
France, however, was where these lantern shows
first gained commercial popularity at the beginning
of the 19th century.
3
Etienne Gaspars Robertson
“Fantasmagorie” capitalized on superstitions and
religious fears
Invoked the “spirits” of Rousseau and Voltaire
It was a theater of apparitions.
Unlike Kirhcer, Robertson did not tell his audiences
that the “Fantasmagorie” was a technological
spectacle
Like contemporary theater and film, Robertson
maintained the illusion of the image
-It was an extremely complicated production to
put on - images size and intensity of light had to
be continuously managed
The Fantasmagorie was internationally popular.
Each traveling show was uniquely packaged
usually attended by an adult urban middle-class
audience.
1803—Barber presented the French Fantasmagoria
in New York
1803—Showmen Bologna and Thomlinson
exhibited the Fantasmagoria in London
Americans saw the ghost of Benjamin Franklin
and exotic figures like the “Egyptian Pygmy Doll”
4
There was sound with these presentations—
ghost’s voices, music
Ticket prices were approximately US$1.
1830
Photography and the Stereopticon
The difference between t ...
This document provides a history of animation techniques from prehistoric cave paintings to modern computer animation. It describes early animation devices like the thaumatrope, phenakistoscope, and zoetrope which used persistence of vision to create the illusion of movement. Stop motion animation techniques were developed using puppets, models, and claymation. Keyframe animation allowed for more complex movements through the use of inbetweens. Other techniques discussed include rotoscoping, cut-out animation, and the first animated films featuring stop motion characters. The document traces the evolution of animation over thousands of years through these important innovations.
Charles-Émile Reynaud was a French science teacher born in 1844 who created the first projected animated cartoon films and invented the Praxinoscope in 1877. The Praxinoscope was an early movie projector that used mirrors instead of slots to reflect circling images and project animations onto a wall for an audience to see. Reynaud's first film using the Praxinoscope was called Pauvre Pierrot, which premiered in Paris.
William George Horner was a British mathematician and headmaster in the late 18th/early 19th century. He founded his own school called "The Seminary" focusing on mathematics. He is known for rediscovering and popularizing the zoetrope, an early animation device, though he did not invent it. Joseph Plateau was a Belgian physicist in the 19th century who invented the phenakistiscope, one of the first animation devices that used the physiological phenomenon of persistence of vision. He made important contributions to the scientific understanding of vision and animation. Emile Reynaud was a French science teacher and inventor in the late 19th century. He developed animated film by inventing the praxinoscope and pra
The Lumiere Brothers were early French pioneers of film who produced over 1,425 short films capturing scenes of everyday life in the late 19th century. Their films amazed audiences, though the brothers themselves doubted film had a future. Joseph Plateau invented the phenakistoscope in 1832, one of the first devices to create the illusion of motion. Charles-Émile Reynaud developed the Praxinoscope in 1877 and first projected animated films publicly in 1892. The modern zoetrope was invented in 1834 by British mathematician William George Horner, though it did not become widely popular until improvements in the 1860s.
History of Animations - digitalmarketinghead@gmail.comSaurabh Verma
This Presentation is all about the history of animation. All the references are from reliable sources over internet on animations. The topics described are:
Early approaches to motion in art
Animation Before Film
The magic lantern
Thaumatrope
Phenakistoscope
Zoetrope
Flip book
Praxinoscope
The Silent Era
Theater Optique
The Kinetoscope
The Golden Age of Animation
Walt Disney
Alice Comedies
World War II era
Post-war period
The Television Era
Animation Techniques
Go motion
and more ...
1 Week 1 Visual Culture in the Western World Th.docxjeremylockett77
1
Week 1
Visual Culture in the Western World
The Idea of Cinema
-Fascination with images can be traced back to
Plato (The Republic) in the parable of “The Cave”
Plato raises the danger of being
complacent with the illusion of the image
The dangers of an uncritical
understanding of the image
-The period of Enlightenment:
scientific studies and machinations are developed
to “capture, project and record images.
-17th century:
Athanasius Kircher (1601-1680)
developed the “catoptric lamp.”
German-born Jesuit priest and scientist whose
book Ars magna lucis et umbrae diagramed the
outlines for his reflecting optic machine.
Did not invent the “magic lantern”
He projected and reflected images on the wall
Encouraged scientific explanation to his spectators
so as to demythify images as some sort of magic
or ghostly apparition.
He emphasised that these images were not magic,
but “art.”
The Magic Lantern—17th Century
2
1659—Christiaan Huygens develops the “lanterne
magique”
1664—Thomas Walgensten developed a similar
apparatus in Paris
Unlike Kircher who used sunlight to reflect the
image Huygens and Walgensten used an artificial
light source
Walgensten traveled through Europe with the
“lanterne magique” (Lyons, Rome, and
Copenhagen)
The people who saw the lanterne magique were
initially royalty in these cities
By the end of the century the lantern shows were
exhibited in more popular culture venues such as
fairs and carnivals
18th and 19th CENTURIES
1740— X. Theodore Barber demonstrates the
“Magick Lanthorn” in Philadelphia, New York, and
Boston.
Venues such as private homes and coffee houses
were the favored sites for these exhibitions.
France, however, was where these lantern shows
first gained commercial popularity at the beginning
of the 19th century.
3
Etienne Gaspars Robertson
“Fantasmagorie” capitalized on superstitions and
religious fears
Invoked the “spirits” of Rousseau and Voltaire
It was a theater of apparitions.
Unlike Kirhcer, Robertson did not tell his audiences
that the “Fantasmagorie” was a technological
spectacle
Like contemporary theater and film, Robertson
maintained the illusion of the image
-It was an extremely complicated production to
put on - images size and intensity of light had to
be continuously managed
The Fantasmagorie was internationally popular.
Each traveling show was uniquely packaged
usually attended by an adult urban middle-class
audience.
1803—Barber presented the French Fantasmagoria
in New York
1803—Showmen Bologna and Thomlinson
exhibited the Fantasmagoria in London
Americans saw the ghost of Benjamin Franklin
and exotic figures like the “Egyptian Pygmy Doll”
4
There was sound with these presentations—
ghost’s voices, music
Ticket prices were approximately US$1.
1830
Photography and the Stereopticon
The difference between t ...
This document provides a history of animation techniques from prehistoric cave paintings to modern computer animation. It describes early animation devices like the thaumatrope, phenakistoscope, and zoetrope which used persistence of vision to create the illusion of movement. Stop motion animation techniques were developed using puppets, models, and claymation. Keyframe animation allowed for more complex movements through the use of inbetweens. Other techniques discussed include rotoscoping, cut-out animation, and the first animated films featuring stop motion characters. The document traces the evolution of animation over thousands of years through these important innovations.
Charles-Émile Reynaud was a French science teacher born in 1844 who created the first projected animated cartoon films and invented the Praxinoscope in 1877. The Praxinoscope was an early movie projector that used mirrors instead of slots to reflect circling images and project animations onto a wall for an audience to see. Reynaud's first film using the Praxinoscope was called Pauvre Pierrot, which premiered in Paris.
The document summarizes four early pioneers of motion pictures:
1. The Lumiere brothers, Auguste and Louis Lumiere, were the first filmmakers and recorded their first footage in March 1895 in France.
2. William Horner created the zoetrope in 1834, which used rotating slits to create the optical illusion of motion when viewing sequential images.
3. Emile Reynaud created the first animated cartoon film and the Praxinoscope, an advancement of the zoetrope, and showed his animated films to the public in his Theatre Optique.
4. Joseph Plateau created an early device in 1829 that used two counter-rotating
The document summarizes four early pioneers of motion pictures:
1) The Lumiere brothers, Auguste and Louis Lumiere, were the first filmmakers and recorded their first footage in March 1895 in France.
2) William Horner created the zoetrope in 1834, which used rotating slits to create the illusion of motion when viewing sequential images.
3) Emile Reynaud created the first animated cartoon film and the Praxinoscope, an advancement of the zoetrope, and showed his animated films to the public in his Theatre Optique.
4) Joseph Plateau created an early device in 1829 that used two counter-rotating disks
Louis Daguerre was a French artist and chemist born in 1787 who invented the daguerreotype, one of the earliest photographic processes. He started as an apprentice architect and stage designer in Paris where he experimented with lighting effects and dioramas. While working as a stage designer, Daguerre began experimenting with using a camera to capture scenes, which led to his invention of the daguerreotype process around 1837 through accidental discovery. The daguerreotype involved developing latent images on light-sensitive silver-halide-coated plates with mercury vapor and became one of the earliest practical forms of photography.
Joseph Plateau invented the phenakistoscope in 1832, one of the earliest animation devices that used two discs to create the illusion of movement. William Horner then created the zoetrope in 1834 using Plateau's idea, which used vertical slits and spinning to display animated images. Eadweard Muybridge later invented the zoopraxiscope in 1879, an early film projector. Thomas Edison then created the kinetoscope in 1891, a device using film and a spinning wheel to create moving images for viewers. The Lumière brothers developed the cinematograph in the 1890s, an early film camera and projector that helped establish modern cinema.
This document provides brief biographies of several important figures in the history of photography and forensic science:
- Joseph Nicéphore Niépce was the first to make a permanent photographic image.
- Louis Daguerre invented the daguerreotype process and is considered one of the fathers of photography.
- Alphonse Bertillon developed anthropometry, the first scientific system used by police to identify criminals based on physical measurements.
- Victor Balthazard published a statistical model of fingerprint individuality in 1911 that was influential for forensic science.
- Several inventors contributed innovative photographic processes and techniques, including Frederick Langenheim's pioneering work in stereoscopic photography.
This document provides a history of photography from its origins to modern applications. It discusses early innovators like Niepce, Daguerre, and Talbot who developed the first photographic processes in the 1820s-1840s. The daguerreotype and calotype processes allowed photographs to be taken and reproduced. Advances like the wet plate collodion process in the 1850s led to photographs being widely used to document events like the Civil War. Photography was also used in science, medicine, industry, and to document social issues. Further innovations driven by the development of more portable cameras expanded photography's uses through the late 19th century until it became widely accessible to the public by the late 1880s.
Photography has evolved significantly since its invention in the early 19th century. Early methods like the daguerreotype required exposures of up to 8 hours, but advances like the use of film by George Eastman and 35mm cameras made photography faster and more accessible. The development of digital photography in the 1980s transformed the industry, allowing photos to be instantly captured, edited, and shared. While photography was once a complex chemical process, today's digital cameras make it possible to take high-quality photos with a smartphone in seconds.
The Lumiere brothers, Auguste and Louis Lumiere, were French filmmakers born in the 19th century who are considered the first filmmakers in history. They invented the cinematograph, a device that could both film and project movies, and held the first public film screening in 1895 which is considered the birth of the commercial film industry. Their early films were mostly short documentary-style films showing everyday scenes and events. While not the only pioneers of early film technology, the Lumiere brothers are credited with being the first to demonstrate how motion pictures could be mass produced and distributed as a new form of popular entertainment.
The Lumiere brothers, Auguste and Louis Lumiere, were French filmmakers born in the 19th century who are considered the first filmmakers in history. They developed the cinematograph, a device that could both film and project movies, and held the first public film screening in 1895 which is considered the birth of the commercial film industry. Their early films were mostly short documentary-style pieces showing everyday scenes and events. While not the only pioneers of movie technology, the Lumiere brothers helped establish film as a new mass medium through their development of motion picture equipment and hosting the first commercial film exhibition.
This document provides biographical information about several famous mathematicians - Fermat, Galois, Hilbert, Pascal, and Oliva Sabuco - who are involved with the plot of the Spanish thriller film "Fermat's Room". Evariste Galois was a revolutionary mathematician who died in a duel at age 20. David Hilbert made major contributions to geometry and helped establish modern mathematical logic. Blaise Pascal made discoveries in probability theory and invented an early mechanical calculator. Oliva Sabuco was a 16th century Spanish philosopher and possible author of an early work combining science and philosophy.
The document provides background information on the 2007 Spanish thriller film "Fermat's Room" and the prominent mathematicians featured in it, including Fermat, Galois, Hilbert, Pascal, and Oliva Sabuco. It gives biographical details and major contributions to mathematics for each mathematician. It also describes how some of the mathematicians are portrayed in the film.
ROSA BONHEUR, Plowing in the Nivernais, 1849Rosa Bonheur.docxdaniely50
ROSA BONHEUR, Plowing in the Nivernais, 1849
Rosa Bonheur was one of the most renowned animal painters in history. Her earliest training was received from her father, a minor landscape painter, who encouraged her interest in art in general and in animals as her exclusive subject. He allowed her to keep a veritable menagerie in their home, including a sheep that is reported to have lived on the balcony of their sixth-floor Parisian apartment.
Bonheur's unconventional lifestyle contributed to the myth that surrounded her during her lifetime. She smoked cigarettes in public, rode astride, and wore her hair short. To study the anatomy of animals, Bonheur visited the slaughterhouse; for this work, she favored men's attire and was required to obtain an official authorization from the police to dress in trousers and a smock. Because of this recognition from official sources, she was then awarded a commission from the French government to produce a painting on the subject of plowing. Exhibited in the Salon of 1849, it firmly established her career in France.
Figure 22-31 ROSA BONHEUR, The Horse Fair, 1853–1855. Oil on canvas, 8’ 1/4” x 16’ 7 1/2”. Metropolitan Museum of Art, New York.
The artist was praised by Napoleon III and Delacroix for her very realistic, yet passionate, studies of animals. This was a sensation at the 1853 Salon. It was reworked until 1855 and then it toured England and the U.S. for three years. She sold the painting and its reproduction rights. When an engraving was made of the work, it made the owner of the painting a lot of money since many people bought inexpensive reproductions of it. Her art, as did most Academic art, reached a broad audience through the mass medium of the print.
NIEPCE, View from His Window at La Gras, c. 1826
The very first photograph ever taken. Niepce used a mixture of natural, light-sensitive elements on a piece of pewter placed in a camera obscura and left it to daylight exposure. It rendered this image called a heliograph because it was exposed to the sun. Helio = sun, graph = writing, in other words, “sun writing.” Photo = light, thus photography is “light writing.”
Even though this image is blurry and hazy, we can still see the rooftops, trees, and sky.
LOUIS DAGUERRE, Boulevard du Temple, Paris, c. 1838
In 1839, Louis Daguerre patented his process of fixing images on a copper plate called a daguerreotype. It is the earliest form of creating portraits. These portraits were placed under glass, framed and placed in a hinged box for the owner to cherish. Daguerreotypes are one-of-a-kind and cannot be duplicated. The image rendered in this fashion was extremely crisp and detailed. Tt came in different sizes from very small (2” x 2 1/2”) to what we would consider to be a normal sized picture for a portrait, (6 1/2” x 8 1/2”).
However, this image is not of a person/persons. It is of a busy street scene, yet there are almost no people (there’s a person getting his shoes shined in .
The document discusses the origins and early history of cinema. It describes how sequential art predates comics by millennia as a way to tell stories and show the passage of time. Several inventions were needed to achieve moving images, including retinal persistence, optical toys like the magic lantern, zoetrope, and praxinoscope, as well as early photography techniques. The kinetoscope and the Lumière brothers' cinematograph helped bring cinema into its modern form by enabling the projection of moving pictures. Pioneers like Georges Méliès and Emile Cohl helped establish early film techniques and animation. The document concludes by outlining an assignment for students to experiment with techniques used in early cinema devices.
Animation is produced by rapidly displaying sequential images to create the illusion of movement due to the phenomenon of persistence of vision. Early examples include paleolithic cave paintings depicting animals with multiple legs and a 5,000 year old bowl from Iran showing images of a goat painted along its sides. However, these did not truly qualify as animation since there was no way to view the images in motion. Later inventions like the zoetrope and praxinoscope used technological means to produce the appearance of movement from sequential drawings, helping develop animation further.
Joseph Plateau invented the phenakistoscope in 1832, creating the illusion of movement using a spinning disk with drawings of incremental changes. William Horner then created the zoetrope in 1834, improving on Plateau's design by allowing multiple viewers and not requiring a mirror. Emile Muybridge pioneered stop motion photography in the 1870s, inspiring scientists like Edison and Marey. Edison then invented the kinetoscope in the late 1880s, allowing moving images to be viewed individually through a viewer. The Lumiere brothers created the cinematographe in 1895, which could both film and project movies, making motion pictures available to mass audiences.
This document provides information on three contemporary animation developers: The Brothers Quay, Ray Harryhausen, and Tim Burton.
The Brothers Quay are identical twin brothers known for their surreal stop-motion puppet animation films inspired by European visual artists. Ray Harryhausen pioneered stop-motion model animation, creating memorable effects in films like Mighty Joe Young and Jason and the Argonauts. Tim Burton is a film director known for his dark, quirky themes and works with Johnny Depp; he has explored stop-motion animation in films like The Nightmare Before Christmas and Corpse Bride.
Joseph Plateau created the phenakistoscope in 1832, which was the first device to demonstrate moving images using a spinning disk with drawings that created the illusion of motion. William Horner then invented the zoetrope in 1834, improving on Plateau's design by making it more portable and viewable by multiple people simultaneously. Emile Muybridge's photographic studies of animal motion inspired scientists like Edison and Marey. Edison then created the kinetoscope in the late 1880s, which was the first device to show moving images to the public using film strips on a wax cylinder. The Lumiere brothers were inspired by the kinetoscope and created the cinematographe in 1895, which could
The document summarizes four early pioneers of motion pictures:
1. The Lumiere brothers, Auguste and Louis Lumiere, were the first filmmakers and recorded their first footage in March 1895 in France.
2. William Horner created the zoetrope in 1834, which used rotating slits to create the optical illusion of motion when viewing sequential images.
3. Emile Reynaud created the first animated cartoon film and the Praxinoscope, an advancement of the zoetrope, and showed his animated films to the public in his Theatre Optique.
4. Joseph Plateau created an early device in 1829 that used two counter-rotating
The document summarizes four early pioneers of motion pictures:
1) The Lumiere brothers, Auguste and Louis Lumiere, were the first filmmakers and recorded their first footage in March 1895 in France.
2) William Horner created the zoetrope in 1834, which used rotating slits to create the illusion of motion when viewing sequential images.
3) Emile Reynaud created the first animated cartoon film and the Praxinoscope, an advancement of the zoetrope, and showed his animated films to the public in his Theatre Optique.
4) Joseph Plateau created an early device in 1829 that used two counter-rotating disks
Louis Daguerre was a French artist and chemist born in 1787 who invented the daguerreotype, one of the earliest photographic processes. He started as an apprentice architect and stage designer in Paris where he experimented with lighting effects and dioramas. While working as a stage designer, Daguerre began experimenting with using a camera to capture scenes, which led to his invention of the daguerreotype process around 1837 through accidental discovery. The daguerreotype involved developing latent images on light-sensitive silver-halide-coated plates with mercury vapor and became one of the earliest practical forms of photography.
Joseph Plateau invented the phenakistoscope in 1832, one of the earliest animation devices that used two discs to create the illusion of movement. William Horner then created the zoetrope in 1834 using Plateau's idea, which used vertical slits and spinning to display animated images. Eadweard Muybridge later invented the zoopraxiscope in 1879, an early film projector. Thomas Edison then created the kinetoscope in 1891, a device using film and a spinning wheel to create moving images for viewers. The Lumière brothers developed the cinematograph in the 1890s, an early film camera and projector that helped establish modern cinema.
This document provides brief biographies of several important figures in the history of photography and forensic science:
- Joseph Nicéphore Niépce was the first to make a permanent photographic image.
- Louis Daguerre invented the daguerreotype process and is considered one of the fathers of photography.
- Alphonse Bertillon developed anthropometry, the first scientific system used by police to identify criminals based on physical measurements.
- Victor Balthazard published a statistical model of fingerprint individuality in 1911 that was influential for forensic science.
- Several inventors contributed innovative photographic processes and techniques, including Frederick Langenheim's pioneering work in stereoscopic photography.
This document provides a history of photography from its origins to modern applications. It discusses early innovators like Niepce, Daguerre, and Talbot who developed the first photographic processes in the 1820s-1840s. The daguerreotype and calotype processes allowed photographs to be taken and reproduced. Advances like the wet plate collodion process in the 1850s led to photographs being widely used to document events like the Civil War. Photography was also used in science, medicine, industry, and to document social issues. Further innovations driven by the development of more portable cameras expanded photography's uses through the late 19th century until it became widely accessible to the public by the late 1880s.
Photography has evolved significantly since its invention in the early 19th century. Early methods like the daguerreotype required exposures of up to 8 hours, but advances like the use of film by George Eastman and 35mm cameras made photography faster and more accessible. The development of digital photography in the 1980s transformed the industry, allowing photos to be instantly captured, edited, and shared. While photography was once a complex chemical process, today's digital cameras make it possible to take high-quality photos with a smartphone in seconds.
The Lumiere brothers, Auguste and Louis Lumiere, were French filmmakers born in the 19th century who are considered the first filmmakers in history. They invented the cinematograph, a device that could both film and project movies, and held the first public film screening in 1895 which is considered the birth of the commercial film industry. Their early films were mostly short documentary-style films showing everyday scenes and events. While not the only pioneers of early film technology, the Lumiere brothers are credited with being the first to demonstrate how motion pictures could be mass produced and distributed as a new form of popular entertainment.
The Lumiere brothers, Auguste and Louis Lumiere, were French filmmakers born in the 19th century who are considered the first filmmakers in history. They developed the cinematograph, a device that could both film and project movies, and held the first public film screening in 1895 which is considered the birth of the commercial film industry. Their early films were mostly short documentary-style pieces showing everyday scenes and events. While not the only pioneers of movie technology, the Lumiere brothers helped establish film as a new mass medium through their development of motion picture equipment and hosting the first commercial film exhibition.
This document provides biographical information about several famous mathematicians - Fermat, Galois, Hilbert, Pascal, and Oliva Sabuco - who are involved with the plot of the Spanish thriller film "Fermat's Room". Evariste Galois was a revolutionary mathematician who died in a duel at age 20. David Hilbert made major contributions to geometry and helped establish modern mathematical logic. Blaise Pascal made discoveries in probability theory and invented an early mechanical calculator. Oliva Sabuco was a 16th century Spanish philosopher and possible author of an early work combining science and philosophy.
The document provides background information on the 2007 Spanish thriller film "Fermat's Room" and the prominent mathematicians featured in it, including Fermat, Galois, Hilbert, Pascal, and Oliva Sabuco. It gives biographical details and major contributions to mathematics for each mathematician. It also describes how some of the mathematicians are portrayed in the film.
ROSA BONHEUR, Plowing in the Nivernais, 1849Rosa Bonheur.docxdaniely50
ROSA BONHEUR, Plowing in the Nivernais, 1849
Rosa Bonheur was one of the most renowned animal painters in history. Her earliest training was received from her father, a minor landscape painter, who encouraged her interest in art in general and in animals as her exclusive subject. He allowed her to keep a veritable menagerie in their home, including a sheep that is reported to have lived on the balcony of their sixth-floor Parisian apartment.
Bonheur's unconventional lifestyle contributed to the myth that surrounded her during her lifetime. She smoked cigarettes in public, rode astride, and wore her hair short. To study the anatomy of animals, Bonheur visited the slaughterhouse; for this work, she favored men's attire and was required to obtain an official authorization from the police to dress in trousers and a smock. Because of this recognition from official sources, she was then awarded a commission from the French government to produce a painting on the subject of plowing. Exhibited in the Salon of 1849, it firmly established her career in France.
Figure 22-31 ROSA BONHEUR, The Horse Fair, 1853–1855. Oil on canvas, 8’ 1/4” x 16’ 7 1/2”. Metropolitan Museum of Art, New York.
The artist was praised by Napoleon III and Delacroix for her very realistic, yet passionate, studies of animals. This was a sensation at the 1853 Salon. It was reworked until 1855 and then it toured England and the U.S. for three years. She sold the painting and its reproduction rights. When an engraving was made of the work, it made the owner of the painting a lot of money since many people bought inexpensive reproductions of it. Her art, as did most Academic art, reached a broad audience through the mass medium of the print.
NIEPCE, View from His Window at La Gras, c. 1826
The very first photograph ever taken. Niepce used a mixture of natural, light-sensitive elements on a piece of pewter placed in a camera obscura and left it to daylight exposure. It rendered this image called a heliograph because it was exposed to the sun. Helio = sun, graph = writing, in other words, “sun writing.” Photo = light, thus photography is “light writing.”
Even though this image is blurry and hazy, we can still see the rooftops, trees, and sky.
LOUIS DAGUERRE, Boulevard du Temple, Paris, c. 1838
In 1839, Louis Daguerre patented his process of fixing images on a copper plate called a daguerreotype. It is the earliest form of creating portraits. These portraits were placed under glass, framed and placed in a hinged box for the owner to cherish. Daguerreotypes are one-of-a-kind and cannot be duplicated. The image rendered in this fashion was extremely crisp and detailed. Tt came in different sizes from very small (2” x 2 1/2”) to what we would consider to be a normal sized picture for a portrait, (6 1/2” x 8 1/2”).
However, this image is not of a person/persons. It is of a busy street scene, yet there are almost no people (there’s a person getting his shoes shined in .
The document discusses the origins and early history of cinema. It describes how sequential art predates comics by millennia as a way to tell stories and show the passage of time. Several inventions were needed to achieve moving images, including retinal persistence, optical toys like the magic lantern, zoetrope, and praxinoscope, as well as early photography techniques. The kinetoscope and the Lumière brothers' cinematograph helped bring cinema into its modern form by enabling the projection of moving pictures. Pioneers like Georges Méliès and Emile Cohl helped establish early film techniques and animation. The document concludes by outlining an assignment for students to experiment with techniques used in early cinema devices.
Animation is produced by rapidly displaying sequential images to create the illusion of movement due to the phenomenon of persistence of vision. Early examples include paleolithic cave paintings depicting animals with multiple legs and a 5,000 year old bowl from Iran showing images of a goat painted along its sides. However, these did not truly qualify as animation since there was no way to view the images in motion. Later inventions like the zoetrope and praxinoscope used technological means to produce the appearance of movement from sequential drawings, helping develop animation further.
Joseph Plateau invented the phenakistoscope in 1832, creating the illusion of movement using a spinning disk with drawings of incremental changes. William Horner then created the zoetrope in 1834, improving on Plateau's design by allowing multiple viewers and not requiring a mirror. Emile Muybridge pioneered stop motion photography in the 1870s, inspiring scientists like Edison and Marey. Edison then invented the kinetoscope in the late 1880s, allowing moving images to be viewed individually through a viewer. The Lumiere brothers created the cinematographe in 1895, which could both film and project movies, making motion pictures available to mass audiences.
This document provides information on three contemporary animation developers: The Brothers Quay, Ray Harryhausen, and Tim Burton.
The Brothers Quay are identical twin brothers known for their surreal stop-motion puppet animation films inspired by European visual artists. Ray Harryhausen pioneered stop-motion model animation, creating memorable effects in films like Mighty Joe Young and Jason and the Argonauts. Tim Burton is a film director known for his dark, quirky themes and works with Johnny Depp; he has explored stop-motion animation in films like The Nightmare Before Christmas and Corpse Bride.
Joseph Plateau created the phenakistoscope in 1832, which was the first device to demonstrate moving images using a spinning disk with drawings that created the illusion of motion. William Horner then invented the zoetrope in 1834, improving on Plateau's design by making it more portable and viewable by multiple people simultaneously. Emile Muybridge's photographic studies of animal motion inspired scientists like Edison and Marey. Edison then created the kinetoscope in the late 1880s, which was the first device to show moving images to the public using film strips on a wax cylinder. The Lumiere brothers were inspired by the kinetoscope and created the cinematographe in 1895, which could
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
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The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
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Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
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Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
2. William George
Horner
William George Horner was a British mathematician and headmaster born to
an upper class family in Bristol in 1786. He founded his own school located in
located in Bath called “The Seminary” when he was 27. He created something
something called the “Zoetrope” intending on teaching his students with it. He
it. He was incredibly bright becoming an assistant master at his school,
Kingswood. Within 4 years by the age of just 20 he had risen to become the
the head of the school. Even though Horner being incredibly passionate about
about science, resigned this post after just 3 years to start his own school,
school, focusing primarily on mathematics.
3. He had an incredibly successful career, writing extensively on a broad range of mathematic
theories, (one of which has become a mathematical standard known as the 'Horner Method'
referring to an algebraic equation). Similarly, to Joseph Plateau he was very much into
imagery, specifically optics, which he had recorded several successful theories. This was just
the start of his journey on creating one of the most influential devices which played a huge
role in order to create the modern-day animation we see now. intrigued in imagery, and more
specifically optics, which he had wrote several successful theories. Horner was a practised
writing for the 'Philosophical Magazine' on optics and theories relating to illusions.
Horner’s successful pieces of work:
• Horner’s Method;
• A Tribute of A Friend (A poem);
• Natural Magic (Leaflet on Optics).
4. People mistaken him for being the inventor of the Zoetrope, however the origin of the Zoetrope
was first introduced in 180AD. Horner ‘reinvented’ the device altering it and bringing it back into
the spot light.Some debate his significance and that he should not be classed as a great inventor, since he
did not come up with the original Zoetrope idea, nor did he have any involvement into very
important theories revolving around animation or how optics work. Though, he did effectively
gained a bigger audience to notice animation and made them to understand the movement to
experiment and research optics and helped drive the concept forward. Nevertheless, this alone
cannot be seen as important enough even to make him on par with Joseph Plateau. In
comparison to Horner, Plateau is undeniably the most influential within the animation
movement, and his work contributed far more.
Outside of animation Horner was an incredibly important figure within science
and mathematics of his time, and made several theories which were the source
for more forward-thinking and evolutionary concepts which has shaped
modern day mathematics.
5. Joseph
Plateau
Joseph Plateau (1801-1883), Belgian physicist, was born at Brussels on the 14th October 1801, and died on the 15th September 1883
at Ghent, where he had been professor of physics from 1835. He was a pupil and friend of L.A.J. Quetelet, who had been his
influence on the early part of his career. The more authentic studies of Plateau refer primarily to portions of one or other of two
branches of science – physiological optics and molecular forces. He invented the “stroboscopic” method of studying the
emotion of a vibrating body, by observing it through equidistant radial slits in a revolving disk. In 1829 he incautiously gazed at the
midday sun for 20 seconds, with the view of studying the after effects. The result was blindness for some days, succeeded by a
temporary recovery; yet for the next 14 years his sight gradually deteriorated, and in 1843 he became permanently blind. This
misfortune did not stop is scientific activity. With the assistance of his wife and son, and afterwards by his son-in-law G. L. Van Der
Mensbrugghe, he continued to the end of his life his researches on vision- directing the course of the experiments which they
made for him, and interpreting the bearing of the results.
6. Plateau is well known for his demonstration of ‘the illusion of a moving image’. This was started way long ago by
Tin Huan back in 180AD, he was the original to be able enlighten how it functions and with scientific theory
refabricate a working device more advanced than any before.
According to official records Plateau was able to read at the age of 6, at that time of period he was seen as a genius
as many adults weren’t still able to read. Some even going as far to say he was a child prodigy.
REFERENCE: Van der Mensbrugghe Biographer & Collaborator
7. He has always been amused and inquisitive as to the persistence of luminous impressions on the retina (When you
stare at a bright light then look away!) this was only the start of his findings into his animation device. In 1829, he
submitted a thesis based on the field of how the retina exhibits several different things including, colour, moving
images, and reconstruction of images. These concepts together in 1832 created his invention known as the
Phenakistiscope.
Plateau is definitely one of the key figures to the evolution of stop-motion, without his existence and findings of what
would later be known as persistence of vision, animation methods would not have been discovered. This was a key
point to consider, since his work into the retina it became known that they eye in fact can store an image for several
milliseconds which when many were played at speed would give the illusion of a moving image, when in fact it’s
just an overlap of imagery in the retina. This principle animation wouldn’t work, as none yet have grasped a way to
achieve movement into a single image.
In conclusion, Plateau is the foundation for stop-motion advancement, and so the growth of animation as a whole.
8. He was born on the 8th December 1844 and died 9th January 1918. He was a French science teacher and inventor,
responsible for the first projected animated cartoons (an animation device patented in 1877 that up-graded on the
Zoetrope). Emile Reynaud’s father was a horologer and a medal engraver, his mother was a cultivated idealist with
liberal ideas where education was concerned, and an accomplished watercolourist.
At the age of 14 he was already knowledgeable in literary and scientific topics, he was apprenticed to a precision
engineer in Paris, and further studied with the sculptor-photographer Adam Salomon. In no time, he was preparing
lantern slides, photographic and hand-drawn, for the audio-visual lectures arranged by the Abbe Moigno. In 1876
Reynaud decided to make an optical toy in order to amuse a young child. Enhancing on the Phenakistiscope and
Zoetrope, Renaud devised the Praxinoscope, patented on the 21st December 1877, a cylinder with a band of coloured
images fixed inside. The images merged to give a clear, bright, undistorted moving picture without flicker. With his
mother, he took an apartment at the Rue Rodier in Paris, utilizing the adjacent apartment as a workshop where the
Praxinoscope was commercially made, achieving an Honourable Mention in the Paris Exposition of 1878.
9. The following year he included a Patent Supplement for an upgrading – the Praxinoscope Théâtre. The mirror-drum
and cylinder were set in a wooden box in which there was a glass-covered viewing aperture, reflecting a card printed
with a background. The moving subjects – a juggler, clowns, a steeple-chase – were printed on a black band, and
therefore seemed overlaid on an appropriate scene. The Projection Praxinoscope was the further progress which
utilized a sequence of transparent pictures on glass; an oil lamp illuminated the images and the mirror reflections
passed through a lens onto a screen. The same lamp projected a static background, and once again the moving pictures
were observed in a suitable setting. All 3 models were established to the Société Française de Photographie in 1880.
December 1888 Reynaud patented his Théâtre Optique, a large-scale Praxinoscope proposed for public projection.
Using spools to feed and take-up the extended picture band, sequences were no longer limited to short cyclic
movements. The pictures were painted on gelatine squares and affixed between leather bands, with gaps in metal
strips between the photos engaging in pins on the spinning wheel so that each photo was lined up with an aspect of the
mirror drum. This was the main commercial utilization of the perforations that should have been so imperative for
effective cinematography.
10. In 1892 Reynaud consented to an agreement with the Musée Grevin in Paris to exhibit the 'Pantomimes Lumineuses'; the main
animated pictures indicated openly on a screen by means for long, transparent bands of pictures, and gave the first appear on the
28th October. The apparatus was set up behind a translucent screen and Reynaud seemingly gave the vast majority of the
introductions himself, deftly controlling the picture bands to- and for to extend the sequences, making a twelve or fifteen-minute
execution from the 500 frames of Pauvre Pierrot. Two other early subjects were Clown et ses chiens (300 frames) and Un Bon boc
(700). Extraordinary music was incorporated by Gaston Paulin, with eminent publication artwork by Jules Cheret, and the show
was a win. It was closed from 1st March 1894 until 1st January 1895, reviving with new subjects, Un Reve au coin de feu and
Autour d'une cabine. Ahead of schedule in 1896 the clowns Footit and Chocolat played out askethc, Guillaume Tell, for the
Photoscenographe cine camera contrived or gained by Reynaud, the subsequent pictures corrected, hand-hued and mounted as
horizontal bands for the Théâtre Optique.
11. This was finished by August, and in November Reynaud filmed performing artist Galipaux in Le Premiere cigare, on an enhanced
camera. This was prepared for projection by early summer 1897. The next year conventional movies, appeared on a Demenÿ
Chronophotographe, were blended with the Pantomimes Lumineuses'. Reynaud experimented unsuccessfully with an oscillating
mirror projector trying to refresh his presentation technique, yet the fight with the opposition of the Cinématographe and its
imitators, with their continually evolving programmes, was at last lost, and last show occurred on 28th February 1900. From 1903
to 1907 Reynaud dealt with a device for viewing short stereoscopic series of movement, the Stereo-cinema, taking after a double
Praxinoscope arranged vertically, yet it was not financially feasible. Prior to his demise in January 1918, in a fit of depression, he
destroyed the surviving Théâtre Optique mechanism and tossed everything except two of his picture bands into the Seine.
Reproductions of the two groups - Pauvre Pierrot and Autour d'une cabine - are today still being exhibited, as the main surviving
cases of his public screen motion picture work.
12. Downfall and Legacy
• By 1910 Reynaud had been commercially
defeated by the Etiene-Jules Marey’s
cinematograph and the Lumière brother films;
• He died completely penniless 7 years later;
• His method was the first use of film spools and
sprocket holes things that are still essential to
analogue projection today;
• His remaining films are still recognised by
scholars today as the first animated films
(Reynaud has an IMDb account).
13. BIBLIOGRAPHIES
• Theodora.com. (1995). Joseph Antoine Ferdinand Plateau - Encyclopedia. [online] Available at:
http://www.theodora.com/encyclopedia/p2/joseph_antoine_ferdinand_plateau.html [Accessed 28 Mar. 2017].
• Herbert, S. and McKernan, L. (2017). Who's Who of Victorian Cinema. [online] Victorian-cinema.net.
Available at: http://www.victorian-cinema.net/reynaud [Accessed 28 May 2017].
• Buchan, E. (2013). Charles Emile Reynaud.