![]() ![]() As an encounter of rays, retina, and desire, it circumscribes not a thing but a moment of crossing, of relaying, of complicating the boundaries between the physical world, the mind, and the incantations of an ocular. The virtual image, as it is discussed below, holds a specific place within a distinctive scientific culture of the nineteenth century, but its resonances can be found and tuned into even today. But – whose eye, and what kind of existence? With what voice does an eye call? Where is the virtual image, what reality does it inhabit when called, and how are we to understand the seeming contradiction between a passive eye that merely receives rays, and a conjuring, evocative eye that has the power to conceive an image? In Airy’s description, we learn that an eye can call an image into existence. You could be me and I could be you / Always the same and never the same / Day by day, life after life / Without my legs or my hair / Without my genes or my blood / With no name and with no type of story / Where do I live? / Tell me, where do I exist? / We’re just … / Im-ma-ma-material, immaterial / Immaterial boys, immaterial girls / Im-ma-ma-material, immaterial / We’re just, im-ma-ma-material (I could be anything I want) / Immaterial, immaterial boys (anyhow, anywhere) / Immaterial girls (any place, anyone that I want) / Im-ma-ma-material, immaterial - SOPHIE, “Immaterial,” track #8 on Oil of Every Pearl’s Un-Insides, MSMSMSM / Future Classics, 2018Įven though the history of the ‘virtual’ reaches back a lot further than its mention in a British secondary school book from 1870, Osmund Airy’s above definition of the ‘virtual image’ might still be unfamiliar to readers of the early twenty-first century, to whom virtual spaces are commonplace, or common places. Osmund Airy, Geometrical Optics: Adapted to the Use of the Higher Classes in Schools, Etc., 1870 The eye calls the image, though not the rays, into existence. ![]() may be described as an image that does not exist until there is an eye to receive the rays. *** Waves Creative Access licenses do not cover DTS Neural™ plugins.The conception of a virtual image, to take an early instance, is probably an entirely new one to the reader’s mind. ![]() Individual plugin licenses for this product require V9.92 installers or higher. ** For versions below V9.92, the SSL G-Channel is only available as part of the full SSL 4000 Collection license. * Registered owners of SSL E-Channel, SSL G-Equalizer, or SSL G-Master Buss Compressor will need to select the SSL 4000 Collection when installing. Plugins included in the V9.6 Offline Installer: Mac OS 10.8.5: only Pro Tools 10.3.10 supported if you wish to run V9 side by side with V10 or higher – please install version 9.92. Software version 9.6 cannot co-exist with software versions V10 or higher.V9.6 is the last version to support RTAS/DAE plugins for Pro Tools 10 and below.Check which software version is most suitable for your system and DAW.V9.6 is the last version to support: macOS 10.8.5 & 10.9.5.To check if a plugin exists in the V9.6 installer, scroll to the bottom of this page.V9.6 plugins can be activated by Waves Creative Access subscription licenses*** as well as by perpetual (non-subscription) V14-V9.2 licenses.Supported on macOS 10.8.5 for ProTools 10 only, via offline installation and USB licensing. See System Requirements and Supported Hosts. ![]() ** Waves Creative Access licenses do not cover DTS Neural™ plugins. * Registered owners will need to select the SSL 4000 Collection when installing. Plugins included in the v9.92 Offline Installer: This installer does not include sample libraries, which can be downloaded here.V9.92 is the last version to support macOS Yosemite (10.10.5).Existing V9 licenses can be found and managed on the Licenses page of Waves Central.To check if a plugin exists in the V9.92 installer, scroll to the bottom of this page.V9.92 plugins can be activated by Waves Creative Access subscription licenses**, as well as by perpetual (non-subscription) V14-V9.2 licenses. ![]()
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