Eye-box extended retinal projection type near-eye display with multiple independent viewpoints [Invited]

2020 ◽  
Vol 60 (4) ◽  
pp. A268
Author(s):  
Youngjin Jo ◽  
Chanhyung Yoo ◽  
Kiseung Bang ◽  
Byounghyo Lee ◽  
Byoungho Lee
Keyword(s):  
Retinal Projection

scholarly journals An Approach to a Retinal Projection Display with Wide Viewing Zone

2004 ◽  
Vol 124 (2) ◽  
pp. 461-466
Author(s):  
Hideya Takahashi ◽  
Kiyotaka Eizumi ◽  
Masaki Hirasawa ◽  
Eiji Shimizu
Keyword(s):  
Retinal Projection ◽  
Projection Display

Pixelated holographic reflector recording for retinal projection devices

2021 ◽  
Author(s):  
Christophe Martinez ◽  
Marie-Claude Gentet ◽  
Yann Lee ◽  
Matthias Colard ◽  
Paul Legentil
Keyword(s):  
Retinal Projection

Immersion-based holographic wave front printer setup for volume holographic retinal projection elements

2021 ◽  
Author(s):  
Tobias Wilm ◽  
Johannes Hofmann ◽  
Reinhold Fiess ◽  
Simone Höckh ◽  
Wilhelm Stork
Keyword(s):  
Wave Front ◽  
Retinal Projection

The Physics of Vision in Kepler, Descartes, and Milton

2020 ◽  
pp. 103-131
Author(s):  
Erin Webster
Keyword(s):  
Seventeenth Century ◽  
Retinal Image ◽  
Paradise Lost ◽  
Main Argument ◽  
Retinal Projection ◽  
Camera Obscura ◽  
New Model ◽  
Johannes Kepler ◽  
Projection Screen ◽  
Intellectual Context

This chapter provides a new intellectual context for John Milton’s treatment of light and vision in Paradise Lost (1667) by locating Milton’s poem within the framework of seventeenth-century optical theory. It does so by examining the parallels and distinctions between the role played by light in Milton’s model of vision and models proposed by Johannes Kepler and René Descartes. The main argument of the chapter is that Milton adopts Kepler’s theory of the retinal image, which posits that the human eye operates according to the mechanical principles of a camera obscura. But where Kepler and Descartes use the analogy of the camera obscura to explain the properties of light as it relates to vision, Milton uses it to express the fragility of vision within this new model. Speaking from a position of blindness, Milton’s narrator explores the theological and epistemological implications of having light at ‘one entrance quite shut out’, thereby being ‘presented with a Universal blanc’ (PL 3.48–50) in the place of the retinal projection screen.

Sign in / Sign up

Export Citation Format

Share Document