精準成像熨斗大廈 不用相機也不用針孔

When Edward Steichen took his iconic photograph of the Flatiron Building in New York in 1904, the structure itself was only two years old, one of the tallest in the city and the very epitome of modernity. So it seemed the perfect challenge for the identical-twin artists Ryan and Trevor Oakes earlier this summer, a sidelight to the retrospective of their work I curated at the Museum of Mathematics, just up the road at 11 East 26th Street, open daily through Sept. 14. The brothers, who have been engaged in a deep colloquy on the nature of bifocal vision since toddlerhood, have recently developed one of the most intriguing breakthroughs in the depiction of physical reality since the Renaissance: They have come up with a method for tracing camera-obscura-exact renderings of the world before them onto a concave grid with no other optical equipment (no lenses, no pinholes) except their own unaided eyes. Lawrence Weschler

愛德華·斯泰肯(Edward Steichen)1904年拍攝他的標誌性作品——紐約熨斗大廈時，那座大廈剛建成兩年，是紐約最高的建築之一，也是現代性的象徵之作。所以今年夏初，它成了雙胞胎藝術家賴安和特雷弗·奧克斯(Ryan and Trevor Oakes)的絕佳挑戰，也是給我在熨斗大廈北邊不遠處東26街11號數學博物館(Museum of Mathematics)給他們策劃的作品回顧展造勢，該展覽每日開放，直至9月14日。兩兄弟小時就曾對雙焦視覺的本質進行過深刻討論，最近他們設計出了自文藝復興以來在描繪物理現實方面最有趣的突破：他們想出一種方法，能以針孔相機般的精準把他們面前的世界繪製到一個凹形網格上，不借助任何光學設備（不用鏡頭，也不用針孔），僅憑他們自己的眼睛。

First recorded mention of principles behind pinhole camera obscura: Mozi, Chinese philosopher (470-390 B.C.)

首個提到針孔相機原理的人：中國哲學家墨子（公元前470年至公元前390年）

First description and analysis of such a camera obscura: Ibn al-Haytham (Alhazan), Arab mathematician (965-1040 A.D.)

首個描述和分析這樣的針孔相機的人：阿拉伯數學家伊本·海賽姆（Ibn al-Haytham，965年至1040年）

European perfection and promulgation of camera obscura, with lenses: Giambattista della Porta’s “Magia Naturalis” (1558-1589)

歐洲人對帶鏡頭的針孔相機的完善和普及：詹巴蒂斯塔·黛拉·波爾塔(Giambattista della Porta)的《自然魔術》(Magia Naturalis, 1558-1589)