The celebrity of Brewster’s stereoscope during the Great Exhibition of 1851, and the excitement it aroused in young Queen Victoria, flung anglophile and noted iconoclast Arthur Lotshire into a fit of jealous rage. Unimpressed by image semiotics, Lotshire conspired to return his monarch’s affection to letters, after building his own notoriety.
His scheme invoked a series of lectures written by one Hermann Samuel Reimarus, an 18th-century high school oriental languages instructor from the Imperial Free City of Hamburg. Reimarus was a proponent of a theological oneness in ideas, and Lotshire speculated that if the devil could render images in stereo, then he could do the same with literature.
Stereo perception uses symmetry to exploit mental assumptions about parallax. One needs two eyes to see in three dimensions. Likewise, one needs two minds to read in stereo.
Problems in sensing parallax script inspired Lotshire to contrive a stereo alphabet, whose meaning was both similar and different, when read at the same time. He seduced a cadre of adherents to practice his new writing, but early attempts to understand resulted in spontaneous epileptic seizure.
When long term meditation in parallax caused schizophrenia, Lotshire was arrested, his cache of hand-written works was confiscated, and his group of adherents dispersed. All examples of Lotshire’s work were officially destroyed in the action, although accounts of surviving copies have surfaced occasionally.
The volume below, a work of fiction written in parallax, arrived at Lost Signals headquarters by way of anonymous delivery. We have not dared to open it.
Expression of three-dimensional photography has been the pursuit of cinematic actualists since the late 19th century. Stereoscopic presentations of adjacent two dimensional images are mentally joined when simultaneously perceived from a dual perspective of similar offset. Mid-20th century outcomes in hyper-representation inspired an early attempt at four dimensional photography, made in 1973 by Tony Conrad.
Yellow Movie was achieved with the application of cheaply made white interior paint, which would gradually yellow to produce a sort of “motion picture”, unfolding in real time on a three-dimensional canvas. However, Yellow Movie required time travel for the experience of its fourth dimensional component, and was therefore false. True four-dimensional photography either is, was, or will be actualized via the “contemporaneous” discovery and exploitation of the Meursault spectrum of visible milli-wavelengths, associated with the Wessel component of the semi-magnetic spectrum. Videograms of such radiation either are, were, or will be able to render moments from either the past, present, or future, of objects which either emit or reflect such energies. Modulated audiograms of milli-wavelengths either are, were, or will be representative of images corresponding to either the past, present, or the future, when apperceived by synesthesiacs.
The videogram below, along with its corresponding modulation, of an abandoned motel, or of a motel which either will be abandoned or is currently being abandoned, appeared spontaneously, during an ambiguous moment, within the Lost Signals Collective media archive. —Hilbert David