The First Scientific ‘selfie’?

On Stereoscopic Art

Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made public at about the same time and their marriage was soon cemented; most stereoscopic art is now photographic. Wheatstone sought to examine stereoscopic depth without monocular pictorial cues. He was unable to do this, but it was achieved a century later by Julesz with random-dot stereograms The early history of non-photographic stereoscopic art is described as well as reference to some contemporary works. Novel stereograms employing a wider variety of carrier patterns than random dots are presented as anaglyphs; they show modulations of pictorial surface depths as well as inclusions within a binocular picture.

Exploring Factors Behind Offline and Online Selfie Popularity Among Youth in India

“The Selfie Culture,” practiced globally, is gaining popularity with each passing day. Owing to its ubiquitous fame across the globe, it becomes essential to inquire the grounds for such worldwide recognition. In few years, it also became the center of attraction among researchers and previous studies had recognized two important aspects of selfie: first, why is selfie posting on social media is increasing day by day and second, who choose to involve more frequently in selfie posting behavior on social media? However, these studies focused only on its online popularity on various social media platforms but did not pay much attention on its offline popularity among selfie takers. In addition to this, the multifaceted sides of selfie which may make it different from other pictures and might also play an important role in its popularity in both offline and online platforms remained unexplored. The present study addressed this gap and explored two important aspects of selfie related behavior, First, it emphasized the significance of understanding the user's conception of selfie and second, it explored the determining factors behind both offline (taking) and online (posting) modes of the practice. 60 college going students (44 females and 16 males) living in Delhi, India participated in the study. Semi-structured interviews were conducted and qualitative thematic analysis was used to cull out the themes. The results showed five factors (looks good, keeping memories, mood driven, mirroring the self and posting on social media) behind selfie offline (taking) involvement. Further, the online (posting) selfie popularity had been driven by three factors (social approval, being the best among the rest, to maintain online presence). Participants' popularity of selfie usage in both offline and online modes advocates the need to explore the offline selfie involvement of selfie takers in future research. The study also extended the existing conceptualization of selfie phenomenon which could help to unravel its wide popularity among its users.

Diagnosis of Tensilon-Negative Ocular Myasthenia Gravis By Daily Selfie

The initial symptoms of myasthenia gravis are usually ptosis and diplopia. The diagnosis is often confirmed by testing for anti-acetylcholine receptor antibodies or by observing the effects of intravenous edrophonium (Tensilon) injection. However, these standard tests may be negative in patients with isolated ocular findings. We present the case of an 83-year-old woman with negative serologic and Tensilon testing. She was asked to photograph herself daily. The resulting sequence of daily selfies captured striking fluctuations in her ocular alignment and ptosis. Daily selfies may be a useful strategy for confirming the clinical diagnosis of ocular myasthenia gravis.

Claparède (1904) on Monocular Stereopsis: History, Theory, and Translation

Astoundingly, looking at a photograph with one eye can yield an experience of depth of the depicted objects similar to that from viewing the real objects with both eyes. Édouard Claparède (1873-1940) was one of the first to report this phenomenon in a French paper published in 1904. I give some historical and theoretical context to the phenomenon, provide some biographical information about Claparède, and provide a translation into English of Claparède's paper.

Universal Principles of Depicting Oneself across the Centuries: From Renaissance Self-Portraits to Selfie-Photographs

Selfie-photography is generally thought of as a cultural mass phenomenon of the early 21st century, inseparably related to the development and triumph of the smartphone with integrated camera. Western culture, however, has been highly familiar with self-depictions since the Renaissance days. Putting the contemporary selfie into this historic context covering more than five centuries of cultural development from Dürer's (1500) famous “Self-Portrait at 28” (also known as “Selbstbildnis im Pelzrock”) to today's Instagram galleries allows for identifying central parallels concerning the technical and social antecedents as well as common underlying psychological factors and shared properties of different kinds of self-depiction. The article provides an overview of the types of contemporary photographic selfies and compares them with painted self-portraits. Finally, this historic perspective leads us to the insight that self-portraits as well as selfies are both referring to nothing less than the “conditio humana.”

Faces and Photography in 19th-Century Visual Science

Reading faces for identity, character, and expression is as old as humanity but representing these states is relatively recent. From the 16th century, physiognomists classified character in terms of both facial form and represented the types graphically. Darwin distinguished between physiognomy (which concerned static features reflecting character) and expression (which was dynamic and reflected emotions). Artists represented personality, pleasure, and pain in their paintings and drawings, but the scientific study of faces was revolutionized by photography in the 19th century. Rather than relying on artistic abstractions of fleeting facial expressions, scientists photographed what the eye could not discriminate. Photography was applied first to stereoscopic portraiture (by Wheatstone) then to the study of facial expressions (by Duchenne) and to identity (by Galton and Bertillon). Photography opened new methods for investigating face perception, most markedly with Galton's composites derived from combining aligned photographs of many sitters. In the same decade (1870s), Kühne took the process of photography as a model for the chemical action of light in the retina. These developments and their developers are described and fixed in time, but the ideas they initiated have proved impossible to stop.