The Latent ImageSean Cubitt

Inaugural International Conference on The Image December 2-3 2010, UCLA

In the present gonor right nor left nor stayin the middle, where they’ll get you

Charles Olson, ‘The Song and Dance Of’, The Maximus Poems.

The Unholy ImageThe Unstable ImageLatencyManaging InstabilityVector vs Vector PredictionThe Database Economu

3 Thou shalt have no other gods before me.4 Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth:5 thou shalt not bow down thyself to them, nor serve them: for I the LORD thy God am a jealous God, visiting the iniquity of the fathers upon the children unto the third and fourth generation of them that hate me;6 and showing mercy unto thousands of them that love me, and keep my command-ments. Exodus 20

12 Take heed to thyself, lest thou make a covenant with the inhabitants of the land whither thou goest, lest it be for a snare in the midst of thee:13 But ye shall destroy their altars, break their images, and cut down their groves:14 For thou shalt worship no other god: for the LORD, whose name [is] Jealous, [is] a jealous God:15 Lest thou make a covenant with the inhabitants of the land, and they go a whoring after their gods, and do sacrifice unto their gods, and [one] call thee, and thou eat of his sacrifice;16 And thou take of their daughters unto thy sons, and their daughters go a whoring after their gods, and make thy sons go a whoring after their gods.17 Thou shalt make thee no molten gods.Exodus 34

The Unholy Image

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The Unstable Image

Hannah Hoch, 1919, Schnitt mit dem kuchenmesser dada durch die letzte weimarer bierbauchkulturepoche deutschlands (Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch of Germany)

English School, Richard II presented to the Virgin and Child by his Patron Saint John the Baptist and Saints Edward and Edmund (The Wilton Dip-tych); c. 1395 and 1399

Dryden Goodwin, two passages from Wait, video installation, 2000.

Latency

After 4 to 10 minutes, according to the period of the day, according to the season, and to the intensity of light, the image of immobile objects from which the lens receives the light, becomes perfectly imprinted on the plate, although this image is yet in-visible and only latent [“seulement latente”]. Plates should be entirely renewed so that new objects do not come to mix their images with any already exposed on the plate. But this image, that is yet, so to say in a state of an unformed chrysalis, what con-sequently comes to reveal it out of its swaddling clothes? It is the vapour of mercury,

“Isid. B”, ‘Renseignemens sur l’exécution des tab-leaux daguerrotypés ’, Le Constitutionnel, 21 Août 1839, 1–2., cited in R. D. Wood (1996), The Da-guerreotype and Development of the Latent Image: “Une Analogie Remarquable”, Journal of Photo-graphic Science, Sept / Oct 1996, 44 (5), 165–7

Jim Alinder, Ansel Adams in his Darkroom, nd

Microphotograph of a fabricated CMOS imager (3.5x3.5mm), University of Western Australia, 2009

Compound lens for camera

Managing Instability

ompound lens from a rear-projection big-screen television

Membership of the MPEG-LA H.264/AVC patent pool.

* Apple Inc. * DAEWOO * Dolby Laboratories Licensing Corporation * Electronics and Telecommunications Research Institute * France Télécom, société anonyme * Fraunhofer-Gesellschaft zur Förderung der angewandten Forschung e.V. * Fujitsu Limited * Hitachi, Ltd. * Koninklijke Philips Electronics N.V. * LG Electronics Inc. * Microsoft Corporation * Mitsubishi Electric Corporation * NTT docomo * Nippon Telegraph and Telephone Corporation * Panasonic Corporation * Robert Bosch GmbH * Samsung Electronics Co., Ltd. * Scientific-Atlanta Vancouver Company * Sedna Patent Services, LLC * Sharp Corporation * Siemens AG * Sony Corporation * Ericsson * The Trustees of Columbia University in the City of New York * Toshiba Corporation * Victor Company of Japan, Limited The Database Economu

The resolution of each chroma component in a macroblock (Cr and Cb) is half that of the luminance (luma) component. Each chroma block is partitioned in the same way as the luma com-ponent, except that the partition sizes have exactly half the horizontal and vertical resolution (an 8x16 partition in luma cor-responds to a 4x8 partition in chroma; an 8x4 partition in luma corresponds to 4x2 in chroma; and so on). The horizontal and vertical components of each motion vector (one per partition) are halved when applied to the chroma blocks. Example: Figure 2-3 shows a residual frame (without motion compensation). The AVC reference encoder selects the “best” partition size for each part of the frame, i.e. the partition size that minimizes the coded residual and motion vectors. The macroblock partitions chosen for each area are shown super-imposed on the residual frame. In areas where there is little change between the frames (residual appears grey), a 16x16 partition is chosen; in areas of detailed motion (residual ap-pears black or white), smaller partitions are more efficient.

Iain E G Richardson, (2003), H.264 / MPEG-4 Part 10 White Paper : Pre-diction of Inter Macroblocks in P-slices Vector Prediction

Sub-nuclear particle tracks observed in bubble chamber, CERN, c, 1996

Nuclear emulsion print, Nagoya University, c. 2004.

Vector

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