Grau, Oliver. 2003. "Intermedia Stages of Virtual Reality in the Twentieth Century: Art as Inspiration of Evolving Media,” in Virtual Art from Illusion to Immersion. MIT Press, pp. 140-191.
https://moodle.yorku.ca/moodle/pluginfile.php/1112161/mod_resource/content/1/Grau.pdf
Using stereoscope to create panoramas (141)
"Uses our physiological ability to perceive depth of field: Two eyeglasses arranged as far apart as the eyes, the binocular parallax, allow the combination of two images taken from viewpoints a small distance apart... gives the observer the impression of space and depth"
Disembodiment (142-3)
The synthesis of natural environment and mental impression puts the observer in a bird's-eye view position that overcomes the laws of gravity in the image space
"Spherical expansion" (144)
"New vertical, oblique, and polydimensional elements" that are set in motion electromechanically
Spazioscenico polidmensionale futurista (145)
Blending observer and mechanodynamic image space
Idea of perception and what is real (151)
Film as a medium (153)
""Attempts...to advance beyond two-dimensional screen projection in order to intensify its suggestive effect on the audience'
Cybernetics (161)
Science of conveying messages between humans and machines
Friedberg, Anne. 2009. "The Multiple" in The Virtual Window: Alberti to Microsoft. MIT Press. pp. 191 - 239
http://quod.lib.umich.edu.ezproxy.library.yorku.ca/cgi/t/text/text-idx?c=acls;idno=heb08244
Cubism (192): Shifts in "perspective" are sequential unlike film and television
Montagist (192): The armchair televisual viewer
Visual windows (193): Digital imaging allows for multiple window screens and construction of seamless substitutions and simulation effects
Graphic User Interface (GUI) (193): Transformed the computer screen from a surface with glowing symbols and text to one which displayed icons and, later, digital images.
Postperspectival (194): No longer framed in a single image with fixed centrality
Postcinematic (194): No longer projected onto a screen surface as were the camera obscura or magic lantern
Post-televisual (194): no longer unidirectional in the model of sender and receiver
