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Related to stereography: polar stereographic projection


 (stĕr′ē-ŏg′rə-fē, stîr′-)
1. The art or technique of depicting solid bodies on a plane surface.
2. Photography that involves the use of stereoscopic equipment.

ster′e·o·graph′ic (-ə-grăf′ĭk), ster′e·o·graph′i·cal (-ĭ-kəl) adj.
ster′e·o·graph′i·cal·ly adv.


(ˌstɛrɪˈɒɡrəfɪ; ˌstɪər-)
1. (Mathematics) the study and construction of geometrical solids
2. (Art Terms) the art of drawing a solid figure on a flat surface
stereographic, ˌstereoˈgraphical adj
ˌstereoˈgraphically adv


(ˌstɛr iˈɒg rə fi, ˌstɪər-)

1. the art of delineating the forms of solid bodies on a plane.
2. a branch of solid geometry dealing with the construction of regularly defined solids.
ster`e•o•graph′ic (-əˈgræf ɪk, ˌstɪər-) adj.
ster`e•o•graph′i•cal•ly, adv.


the art of representing the forms of solid bodies on a plane surface. — stereographer, n. — stereographic, stereographical, adj.
See also: Drawing
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References in periodicals archive ?
23] found a lower reproducibility for the frontal plane, raster stereography is considered to be a reliable method for the noninvasive, three-dimensional assessment of spinal alignment in normal non-scoliotic individuals in the sagittal plane and partly for scoliosis parameters, which fulfills scientific as well as practical recommendations for spine shape screening and monitoring, but cross-sectional or follow-up effect analyses should take into account the degree of reliability differing in various spine shape parameters.
Haine has also taught cinematography, editing, color grading, visual design and stereography.
The second edition includes expanded sections on on-set stereography, The Academy Color Encoding System (ACES), shooting and converting to 3D, virtual production, editorial workflow as it pertains to working in animation, 3D matte painting, and general geometry instancing.
Raster stereography may also be considered to document the shape of the spine using reflected light beams without the use of ionizing radiation.
In reference to this painting, Desnoyers discusses Jonathan Crary's Techniques of the Observer, which argues that the classical 'camera obscura' model of subjectivity was displaced by early nineteenth-century optical devices--practices, techniques, institutions, and procedures of subjectification, such as photography and stereography, for instance--that operate directly on the body and impose a regularizable, measurable and exchangeable (in a capitalist context) experience.