stereoscopy

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ster·e·os·co·py

 (stĕr′ē-ŏs′kə-pē, stîr′-)
n.
1. The viewing of objects as three-dimensional.
2. The technique of making or using stereoscopes and stereoscopic slides.

ster′e·os′co·pist n.

stereoscopy

(ˌstɛrɪˈɒskəpɪ; ˌstɪər-)
n
1. (Art Terms) the viewing or appearance of objects in or as if in three dimensions
2. (General Physics) the study and use of the stereoscope
ˌstereˈoscopist n

ster•e•os•co•py

(ˌstɛr iˈɒs kə pi, ˌstɪər-)

n.
1. the study of the stereoscope and its techniques.
2. three-dimensional vision.
[1860–65]
ster`e•os′co•pist, n.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.stereoscopy - three-dimensional vision produced by the fusion of two slightly different views of a scene on each retina
binocular vision - vision involving the use of both eyes
Translations
References in periodicals archive ?
(a) Stereoviews looking down the gorge of TcAChE binding with 3g; (b) representation of compound 3g docked into the binding site of AChE highlighting the protein residues that form the main interactions with the inhibitor.
''It aims to show how photography can be self-empowering and how the medium of photography can be an approach to resilience and reparation.'' The 200 stereoviews (the ancestor of photographs) taken at the very end of the 19th century are contrasted with works by four award-winning contemporary Caribbean photographers.
Egypt Stereoviews: Underwood & Underwood includes images from AUC's rare books and special collections library that have never been shown before.
The rare books and special collections library (RBSCL) currently owns a rare collection of stereoviews that belong to the period from 1889 to 1890.
Drawn from his own personal collection of photogravures, collotypes, cyanotypes, engravings, stereoviews, cartes de visites, and more, he offers us an intimate mirror of a ghostly Jamaica in silver gelatin and albumen print, in an age before the tropical colors of turquoise blue sea and deep greenery tinged our collective imaginary of the Caribbean.
The age of stereoviews was waning by this time, but Gardiner produced both souvenir view books and regular photographic prints of island scenes.
We track the gradual, historic progress in the representation of New Women, from "comic construction" in Melody Davis's "The New Woman in American Stereoviews, 1871-1905," where the New Woman is lampooned as wearing the literal and metaphoric trousers (as husbands are left behind to do the wash) to the "vigorous and self-sufficient" image of Amelia Earhart explored in Kristen Lubben's "A New American Ideal: Photography and Amelia Earhart." We also observe the recurrent ways in which, as Lubben says of Earhart, "this potent image was threatening and required management or mediation" (293).
During the early 1900s, the Keystone View Company of Pennsylvania was the largest producer of stereoviews in the United States.