Bibliografie tematiche / Art and holography

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Letteratura scientifica selezionata sul tema "Art and holography"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 1 agosto 2024

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Articoli di riviste sul tema "Art and holography"

1

Crenshaw. "The Dynamic Display of Art Holography". Arts 8, n. 3 (19 settembre 2019): 122. http://dx.doi.org/10.3390/arts8030122.

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Abstract (sommario):
Holograms have been displayed in single-artist and group exhibitions, since the late 1960’s. The content within a holographic image can be greatly compromised if the hologram is not displayed correctly. Holography exhibitions can either enhance or diminish the impact of the images depending on how the exhibit layout and lighting are designed. This paper looks at art holography from the exhibition installation perspective and offers methods for assuring dynamic displays.
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Desbiens, Jacques. "The Dispositif of Holography". Arts 8, n. 1 (26 febbraio 2019): 28. http://dx.doi.org/10.3390/arts8010028.

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Abstract (sommario):
The French word dispositif, applied to visual art, encompasses several components of an artwork, such as the apparatus itself as well as its display conditions and the viewers themselves. In this article, I examine the concept of dispositif in the context of holography and, in particular, synthetic holography (computer-generated holography). This analysis concentrates on the holographic space and its effects on time and colors. A few comparisons with the history of spatial representation allow us to state that the holographic dispositif breaks with the perspective tradition and opens a new field of artistic research and experimentation.
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3

Pepper, Andrew. "The Gallery as a Location for Research-Informed Practice and Critical Reflection". Arts 8, n. 4 (27 settembre 2019): 126. http://dx.doi.org/10.3390/arts8040126.

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Abstract (sommario):
Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts.
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4

Alonso Blanco, Angel. "El holograma como Experiencia Artística". Barcelona Investigación Arte Creación 4, n. 2 (2 giugno 2016): 168. http://dx.doi.org/10.17583/brac.2016.1700.

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Abstract (sommario):
Holography has been used as a way of artistic expression, but it has little presence in art events, neither in articles about holographic woks in specialized magazines are very common, although valuable creators have experienced it, since the catalán Salvador Dalí to the american Bruce Nauman.This text explorer the cause of this poor presence. It’s strange that something so attractive and visually rich (also simbolically) is not visible in our historical moment, characterized by the voracity of convert in artistic resource any possible element.After research about the development of holographyc on the field of art, I formed a hypothesis about the reasons of their limited presence: The lack of synergy between scientific institutions and those dedicated to art, the disinterest of the commissioners and the lack of information. It is not enough whit the objects that are produced by isolated artists in their studios, art is a system of relationships where the work is involved as an other element of a structure.
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John, Pearl. "The Silent Researcher Critique: A New Method for Obtaining a Critical Response to a Holographic Artwork". Arts 8, n. 3 (10 settembre 2019): 117. http://dx.doi.org/10.3390/arts8030117.

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Abstract (sommario):
The purpose of this article is to provide a plausible answer as to whether the Z-axis of holographic space can be used to depict a chronological narrative with an affective impact. This article describes a practice-based holographic arts study in which the author created interactive artworks with family photographs taken from the late 1800s to the present day, and stacked them in chronological order within the Z-axis of holographic space. The artworks were evaluated by different audiences to determine whether the viewer could perceive the new application of holographic space, and whether the artwork had an affective impact. An art critique method used both in Higher Education settings in the UK and in professional art practice, was adapted as a research tool for use in this study and termed ‘the silent researcher critique’. The findings of the project were that audiences had a new experience when interacting with the works and were impacted emotionally by them, however only a group of experts in art and holography were able to identify and comprehend the new conceptual use of the Z-axis of holographic space. This study’s value can be measured by its offering practice-based arts researchers a novel method of obtaining valuable critical feedback from peers and by its contribution to the aesthetic development of the medium of art holography.
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Benyon, Margaret, e John Webster. "Pulsed Holography as Art". Leonardo 19, n. 3 (1986): 185. http://dx.doi.org/10.2307/1578235.

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Richardson, Martin. "Mixed Media: Holography within Art". Leonardo 20, n. 3 (1987): 251. http://dx.doi.org/10.2307/1578168.

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Barilleaux, René Paul, e Rene Paul Barilleaux. "Holography and the Art World". Leonardo 25, n. 5 (1992): 417. http://dx.doi.org/10.2307/1575746.

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9

Murray, Kevin. "Art in Holography2 Postcard collection, edited by Patrick Boyd. International Congress on Art in Holography ." Leonardo 34, n. 1 (febbraio 2001): 83. http://dx.doi.org/10.1162/leon.2001.34.1.83a.

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10

Corda, Roberto, Daniele Giusto, Antonio Liotta, Wei Song e Cristian Perra. "Recent Advances in the Processing and Rendering Algorithms for Computer-Generated Holography". Electronics 8, n. 5 (17 maggio 2019): 556. http://dx.doi.org/10.3390/electronics8050556.

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Abstract (sommario):
Digital holography represents a novel media which promises to revolutionize the way the users interacts with content. This paper presents an in-depth review of the state-of-the-art algorithms for advanced processing and rendering of computer-generated holography. Open-access holographic data are selected and characterized as references for the experimental analysis. The design of a tool for digital hologram rendering and quality evaluation is presented and implemented as an open-source reference software, with the aim to encourage the approach to the holography research area, and simplify the rendering and quality evaluation tasks. Exploration studies focused on the reproducibility of the results are reported, showing a practical application of the proposed architecture for standardization activities. A final discussion on the results obtained is reported, also highlighting the future developments of the reconstruction software that is made publicly available with this work.
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Più fonti

Tesi sul tema "Art and holography"

1

Benyon, Margaret. "How is holography art?" Thesis, Royal College of Art, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359209.

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2

Rush, Amy Art College of Fine Arts UNSW. "Rainbow holograms". Awarded by:University of New South Wales. School of Art, 2007. http://handle.unsw.edu.au/1959.4/35241.

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Abstract (sommario):
Rainbow holography is the medium I have chosen to specialize in. Holography itself uses light as a sculptural element. In regards to my work, rainbow holography stresses the field of experimentation with the light spectrum until a certain point that I define as travelling the superhighway from reality to virtual worlds. My work appears then as the documentation, in the form of rainbow holograms, of this travel. It depicts narrative imagery while capturing the moments I existed in this virtual world set behind the rainbow. This project aims to present through still, 3D and filmic imagery the co ??? existence of the physical body and its psychological realm. The psychological reality is articulated as a fictional landscape and the rainbow is used as a metaphor for travel between real and virtual worlds. More importantly, I see holography or rainbow holography as a means of crystallising the vision of the unreachable world behind the rainbow. I see my practice as a new way of using this medium by using this rainbow world as subject matter within the rainbow hologram. By experimenting with combined image processing techniques within rainbow holography, such as analogue white light transmission holograms, full colour digital stereograms, and dot matrix holograms, it becomes possible to generate a synthetic new world. Here each pixel can have the potential to be every color of the rainbow spectrum simultaneously, depending on the angle of the eye of the perceiver. It is here that my investigation through holographic representation has led me to explore and create other worldly landscapes and to extend reality. Our longing to travel over the rainbow into our imagination is with us from a very young age. For me this desire has lasted well into adulthood and has somehow found itself at the centre of my creations over the last few years. The childlike and na??ve appearance of my imagery has the ability to evoke the feeling in the viewers of the nostalgia they may have felt as a child, when confronted with the intense experience and wonder of the imaginings of the rainbow. My work trades on a misunderstanding that the medium of holography is taken as a direct representation of an existing reality. My first hologram I???m a rainbow depicts an alter-egotistical projection of myself as a rainbow princess living in a far away fairytale rainbow galaxy, and communicating with earth beings via the technology of the message contained within the hologram. The hologram has often been associated in science fiction with a message to save the planet. This body of work invites viewers to delve into the depths of their imagination, to save this place where I have travelled by believing in it. As in the story of peter pan where the children are asked to clap their hands if they believe in fairies, by others believing in my imagination they are able to save it. The world within the imagination holds no fixed place; it is a shifting and dynamic space. This quality is shared with the rainbow, which is similarly ephemeral, vanishing and appearing within the eye of the beholder according to weather patterns. The rainbow hologram is a fixed rainbow. When replayed through the eyes of the viewer, the interaction with the real rainbow is recalled, and the viewer enters into the imagination to perceive the work. Throughout this paper I have referred to concepts and techniques in other fields such as physics, anthropology, art history and theory. My research is by no means intended as primarily a technical examination of the medium of rainbow holography. The holographic environments I have made rearrange elements from the real world with fictitious realities. They make people feel as if they are viewing a world that is real, but which imitates unreal ideas. These holographic environments enable viewers to experience ideas as a real place. As Rainbow holography is a relatively new medium, and as my own work uses the rainbow as a multi-layered tool I feel it necessary to investigate the appearance of the rainbow in nature and the reaction of humans to the rainbow as a mythical component in ancient cultures. I am interested in investigating how the rainbow has been used a metaphor for travelling from a material world to ???other worlds??? through its presence in various imaging processes through specific art works. The different ways the rainbow has been used have enabled me to more accurately understand my own work as being a nexus between depicting and generating rainbows. Furthermore, in the discussion of the application of rainbow holography I can show that my own work is necessarily different because of the way I am depicting a rainbow to explore undiscovered territory in which I am the author. Finally I look at how holography is perceived by the public, which helps me to explain the way in which my own work is perceived. Deliberately using the idea of an image in its surrounding context has helped to achieve my desired outcome: to make people believe that the world behind the rainbow really does exist and that I have travelled there, and that they too can do so via viewing my work.
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3

Diers, Belinda Gail. "Claywork within the holographic paradigm: a transpersonal perspective on art therapy". Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002471.

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Abstract (sommario):
This thesis is grounded in the theoretical discourses of art therapy and transpersonal psychology. The focus is on a single session of claywork, where a sculpture was made and discussed, leading to an understanding of some of the sculptor's central psychological issues. The overall aim of the research was to examine different hermeneutic perspectives on art therapy with clay sculpture in terms of how well they open up and do justice to the experience of the sculptor and the nature of the overall process. Within this there are two particular goals: Firstly, to examine the extent to which the holographic paradigm in comparison to other perspectives, allows a deeper access to, and deeper understanding of, transpersonal themes and processes; and secondly, to examine the extent to which processes within claywork can be understood as ritual activities. The research was a phenomenological-hermeneutic case study. The session was reduced to a narrative synopsis, and then a hermeneutically grounded thematic analysis was carried out using the theory of Transpersonal Feminism (Knight, 1997) and Schema-Focused Cognitive Therapy (young, 1990, 1994). The principal conclusions reached were that the holographic paradigm does add to our understanding of the experiences (personal and transpersonal) of the claywork, often beyond the scope of other art therapy perspectives. The image of the shaman is used as a metaphor for understanding the process of healing described within the holographic paradigm. Within the healing process, ritual plays an important role in the meaningful therapeutic activity of art therapy. The claywork expresses that the transpersonal struggle with archetypal forces within the collective unconscious is reflected on a personal level through individual conflicts and dilemmas within the personal unconscious. Indeed, these difficulties are viewed on both levels as 'stepping stones' on the path of spiritual development described by Engler (1984) and Welwood (1986).
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4

Chalfant, Deborah Parker. "Applications of art and technology for artists and educators in holography and videos". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1322762112.

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5

Dawson, Paula Heatley Art College of Fine Arts UNSW. "The Concrete Holographic Image: an Examination of Spatial and Temporal Properties and their Application in a Religious Art Work". Awarded by:University of New South Wales. School of Art, 2000. http://handle.unsw.edu.au/1959.4/18201.

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Abstract (sommario):
The premise of this thesis is that the ???concrete holographic image???, a laser transmission hologram which has an object or a hologram of an object as its subject, has unique spatial and temporal properties which can suggest a plurality of tenses to a viewer. There is a lack of comprehensive analysis of the holographic representational system within art related theoretical and critical writing and a tendency to analyse individual works only in terms of generalities which apply to the concepts surrounding the holographic medium. While these form an important background for art image production, in some cases corresponding to artists works, the existing written material on the subject is inadequate as a model from which to draw the all important temporal conclusions. To date the critical reception of holograms has made no mention of acuity, the size of the viewing frustum, the depth of the image and scant mention of interference phenomena which are the intrinsic factors which I believe precipitate temporal illusions. Therefore this thesis examines the concrete holographic image in great detail on its own terms, firstly through theories of the basic image forming phenomena of interference and diffraction and secondly through the techniques of production as they have been adapted for the making of my art works. The extent of the metaphorical and allegorical potential of the spatial and temporal properties of the concrete holographic image are put to the ultimate test in a commission for St Brigid???s Church, Coogee. The Shrine of the Sacred Heart commission for St Brigid???s requires a concrete holographic image to facilitate devotion to the Sacred Heart. The Sacred Heart is not a physical thing but a complex, evolving spiritual entity with a realist pictorial history.
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6

Young, Duncan. "Fine art application of holography : the historical significance of light and hologram in visual preception and artistic depiction". Thesis, Liverpool John Moores University, 1998. http://researchonline.ljmu.ac.uk/5035/.

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7

Chaban, Antonina. "Non-invasive methods for the study of wall decorations in art history and archaelogy Metodi non invasivi per lo studio degli apparati decorativi di interesse archeologico e storico-artistico". Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3422212.

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Abstract (sommario):
Wall paintings and mosaics, especially those of archaeological and art historical interest, represent a complex object of study. They are characterized by the presence of a highly valuable decorated surface and several underlying preparation layers, acting as interface to the structural support. The presence of hidden defects within this structure can be related to the ageing and deterioration of materials, inhomogeneities can be the result of past restoration interventions on the ancient artwork. This thesis project introduces a combined in-situ non-invasive approach to characterize ancient wall decorations and their underlying support in art historical and archaeological field. For this purpose, experimental in-situ and laboratory tests are aimed to evaluate the applicability, potentialities and limitations of the combination of four portable electromagnetic methods: - Multispectral imaging (MI), using a modified camera with visible, infrared and ultraviolet filters (300-1000 nm), applied to analysis of the decoration layer; - Holographic subsurface radar (HSR), with 6.4-6.8 GHz antenna), applied to analysis of the shallow subsurface layers; - Infrared thermography (IRT), applied to analysis of the subsurface structure; - High resolution ground penetrating radar (GPR), with a full polar 2 GHz antenna for the investigation of the internal structure of the wall. Operating with different frequencies and related different penetration depth and resolution, these techniques can provide complementary information regarding the surface (i.e. materials, pigments, degradation phenomena, restorations etc.) and its underlying layers (i.e. structural integrity, differences in materials, presence of humidity, detachments, cracks etc.). The in-situ tests were performed on some representative case studies in Italy and Greece, which date to different periods and are characterized by different site conditions and conservation state of the analyzed decorations. The in-situ experimental approach, proposed in the thesis, was integrated by laboratory tests, using additional non-invasive methods: Digital Holographic Speckle Pattern Interferometry and Stimulated Infrared Thermography (DHSPI-SIRT). The experimental approach has shown that the applicability of in-situ methods is strongly conditioned by the intrinsic characteristics of decorated surfaces (high value, geometry, degradation state), to which the use of non-invasive contact methods (GPR and HSR) is limited. The in-situ results are strongly influenced by logistics and acquisition conditions. The key contribution of this thesis is evaluation of advantages and limitations of the tested in-situ non-invasive investigation approach for the diagnostics of ancient wall paintings and mosaics. This experimental research has shown that portability, remote access, immediate visualization and interpretation of data are crucial in the development of general guidelines (non-invasive investigation protocol) for the diagnostics of wall paintings and mosaics. These characteristics are essential for efficient interdisciplinary collaboration between scientists, art historians, archaeologists, conservators and curators, aimed at correct monitoring and conservation planning of wall paintings and mosaics.
Pitture e mosaici parietali, soprattutto quelli di interesse storico-artistico e archeologico, rappresentano un oggetto di studio complesso. Oltre alla struttura fisica, generalmente costituita da una superficie esterna decorata e preziosa e dai diversi strati di preparazione che fungono da interfaccia con il supporto strutturale e che caratterizzano tutti i tipi di decorazioni parietali senza distinzione di tipologia e di epoca di realizzazione, si deve infatti tener conto anche della componente molto importante legata alla storia e alla vetustà  del manufatto. Questo comporta la possibilità  che ci siano presenti anomalie legate al degrado dei materiali e dei supporti e disomogeneità  legate ai restauri che possono aver interessato l'opera nel tempo. La possibilità di ottenere informazioni preliminari in modo non invasivo su tutti gli strati e sulle eventuali anomalie ivi presenti, costituisce pertanto un punto chiave nella diagnostica in-situ delle decorazioni parietali soprattutto per quelle di interesse storico-artistico o archeologico. Il presente progetto di ricerca, attraverso un approccio di tipo sperimentale, mira a testare le potenzialità e limiti di alcuni metodi elettromagnetici per indagini in situ di tipo non invasivo su pitture e mosaici parietali antichi. A tale scopo, sono stati presi in considerazione quattro diversi metodi di indagine: - l'Imaging Multispettrale (MI), utilizzando una macchina fotografica modificata e quattro differenti filtri (VIS-UV- e tre bande IR), per analisi, nel range 300-1000 nm, sulla superficie esterna decorata; - il Radar Olografico (HSR), utilizzando un'antenna con 5 frequenze comprese tra 6.4 GHz e 6.8 GHz, per l'analisi dei primi strati al di sotto della superficie esterna decorata; - la Termografia infrarossa (IRT), per l'analisi delle anomalie sub-superficiali; il georadar (GPR) ad altissima risoluzione, con un'antenna full polar da 2 GHz, per l'analisi della struttura interna dell'apparato murario al di sotto della superficie decorata. Operando con frequenze diverse, corrispondenti a profondità di indagine e risoluzioni differenti, queste tecniche possono in generale fornire informazioni preliminari sulla superficie (per esempio su materiali, pigmenti, stato di degrado, precedenti interventi ecc.) e sugli strati sottostanti (integrità strutturale, differenze nei materiali, presenza di umidità, distacchi, crepe, ecc.). Le misure in-situ sono state condotte su alcuni casi studio rappresentativi in Italia e in Grecia, relativamente a manufatti che risalgono a epoche diverse, in differenti contesti e differenti stati di conservazione. L'approccio sperimentale ha dimostrato che l'applicabilità dei metodi in situ è fortemente condizionata dalle caratteristiche intrinseche delle superfici di pregio (alto valore storico artistico, geometria, stato di degrado), che limitano l'uso dei metodi non invasivi a contatto (GPR e HSR) e che i dati sono inoltre fortemente dipendenti dalla logistica e dalle modalità di acquisizione. La sperimentazione in situ proposta nella tesi è stata integrata con test di laboratorio, utilizzando anche altri metodi non-invasivi, quali l'interferometria olografica e termografia infrarossa attiva (DHSPI-SIRT). Questo lavoro di ricerca ha evidenziato che portabilità, uso a distanza, immediata visualizzazione e interpretazione dei dati sono elementi cruciali nello sviluppo di un approccio non invasivo alla diagnostica di pitture murali e mosaici e risultano fondamentali per la caratterizzazione preliminare, per l'efficiente monitoraggio, la corretta diagnosi e l'adeguata pianificazione degli interventi sulle decorazioni parietali di interesse storico-artistico e archeologico nell'ottica di un'efficace collaborazione interdisciplinare tra componente scientifica e umanistica (storici dell'arte, archeologi) e con conservatori e curatori di questi preziosi beni.
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Azevedo, Paola Cristine Almeida. "Gravura em luz : uma possibilidade holistica da calcogravura e a holografia". [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284315.

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Abstract (sommario):
Orientador: Jose Joaquim Lunazzi
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-10T03:37:00Z (GMT). No. of bitstreams: 1 Azevedo_PaolaCristineAlmeida_D.pdf: 3042587 bytes, checksum: 6e2407a885f75cbe4b90031a1cadd1f1 (MD5) Previous issue date: 2007
Resumo: Esta pesquisa objetivou criar e refletir sobre o alargamento de linguagens usadas na arte e a tecnologia como parâmetros de criação de um trabalho em poéticas visuais. Para estruturar esses conceitos, foram levantadas leituras referentes à mudança paradigmática da segunda metade do século XX relativa ao campo da física quântica, assim como a retomada de uma postura unificadora das áreas do conhecimento proposta pela visão holística. Dessa maneira, no tratamento empírico realizaram-se os trabalhos poéticos considerados ? as hologravuras ? com objetivo de aproximar o observador de um estado de percepção maior ao vivido cotidianamente, com ênfase na fenomenologia da percepção, descrita e recorrente na produção de artistas nas últimas cinco décadas. O trabalho tem quatro partes. A primeira é dedicada às questões teóricas; a segunda ao histórico dos meios técnicos calcogravura e holografia; no terceiro a recorrência da fenomenologia e a utilização da linha como elementos pertinentes na ambientação do trabalho artístico, como método comparativo, nas duas últimas partes, uso das obras de artistas consolidados na área que fazem aproximações com esta pesquisa; na quarta e última parte, relato a produção empírica desta pesquisa envolvendo questões de imaterialidade do trabalho e sua relação frente à arte contemporânea. Esta pesquisa tem aplicações pertinentes a um estado de reflexão e sistematização em termos científicos na produção de trabalhos em poéticas visuais; as hipóteses aqui levantadas são compatíveis com os resultados alcançados no que se refere a um alargamento das linguagens artísticas usando como recurso a arte e a tecnologia, pois os trabalhos desenvolvidos a partir daí incluem informação científica e tecnológica, mas é atualizada dentro de moldes poéticos próprios, tornando-se exemplo do que é possível fazer: unir dois campos do conhecimento.Nesse sentido, buscando uma conscientização de dentro para fora, a fenomenologia pode ser tomada como modelo pelas artes que lidam com a tecnologia
Abstract: The present research project entitled Light Etchings; a Holistic Possibility of Calcogravure and Holography has as it?s main objective to reflect upon the widening of languages through the fusion of art and technology emphasizing these two quite different approaches as parameters for the creation of a visual poetics. In order to mount these concepts, readings regarding the paradigmatic changes in the area of Quantum Physics during the second half of the twentieth century became instrumental especially when placed in context to the vision proposed by Holistic Theory. In this way, in what regards empirical treatment, a number of Holoetchings (Hologravura) were elaborated with the objective of bringing the observer to a higher state of observation than that normally experienced and thus emphasizing methods recurrent in the production of artists during the past five decades regarding the phenomenology of perception. The work is organized in four parts. The first, dedicated to theoretical questions, the second to the technical aspects of metal engraving and holography, the third to the recurrence of phenomenology and the use of linearity as pertinent elements in the environment of the artistic work, as a comparative method in the last two parts I use the works of established artists whose work border this research, and in the fourth part, a description of the empirical work of this research involving questions of the immateriality of the work and it?s relation to contemporary art. This research has pertinent applications in relation to the reflection and systematization in scientific terms in relation to works in visual poetics, to the hypotheses here proposed which are compatible to the results obtained pertinent to the widening of artistic languages using as resources art and technology since works effected from that point contain information which is both scientific and technological, but brought up-to date within definite poetic molds, becoming thus, an example of what it is possible to achieve by blending two fields of knowledge. In this sense, searching for concicousness from inside out, phenomenology can be taken as a model by arts that deal with technology
Doutorado
Artes Visuais
Mestre em Artes
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9

Rhoades, Michael Jewell. "Composing Holochoric Visual Music: Interdisciplinary Matrices". Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/102159.

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With a lineage originating in the days of silent films, visual music, in its current incarnation, is a relatively recent phenomenon when compared to an historically broad field of creative expression. Today it is a time-based audio/visual territory explored and mined by a handful of visual and musical artists. However, an extensive examination of the literature indicates that few of these composers have delved into the associable areas of merging virtual holography and holophony toward visual music composition. It is posited here that such an approach is extremely rich with novel expressive potential and simultaneously with numerous novel challenges. The goal of this study is, through praxis, to instantiate and document an initial exploration into the implementation of holochory toward the creation of visual music compositions. Obviously, engaging holochoric visual music as a means of artistic expression requires an interdisciplinary pipeline. Certainly, this is demonstrated in merging music and visual art into a cohesive form, which is the basis of visual music composition. However, in this study is revealed another form of interdisciplinarity. A major challenge resides with the development of the means to efficiently render the high-resolution stereoscopic images intrinsic to the animation of virtual holograms. Though rendering is a challenge consistent with creating digital animations in general, here the challenge is further exacerbated by the extensive use of multiple reflections and refractions to create complexity from relatively simple geometric objects. This reveals that, with the level of computational technology currently available, the implementation of high-performance computing is the optimal approach. Unifying such diverse areas as music, visual art, and computer science toward a common artistic medium necessitates a methodological approach in which the interdependency between each facet is recognized and engaged. Ultimately, a quadrilateral reciprocative feedback loop, involving the composer's sensibilities in addition to each of the other facets of the compositional process, must be realized in order to facilitate a cohesive methodology leading toward viability. This dissertation provides documentation of methodologies and ideologies undertaken in an initial foray into creating holochoric visual music compositions. Interlaced matrices of contextualization are intended to disseminate the processes involved in deference to composers who will inevitably follow in the wake of this research. Accomplishing such a goal is a quintessential aspect of practice-based research, through which new knowledge is gained during the act of creating. Rather than formulating theoretical perspectives, it is through the praxis of composing holochoric visual music that the constantly arising challenges are recognized, analyzed, and subsequently addressed and resolved in order to ensure progression in the compositional process. Though measuring the success of the resultant compositions is indeed a subjective endeavor, as is the case with all art, the means by which they are achieved is not. The development of such pipelines and processes, and their implementation in practice, are the basic building blocks of further exploration, discovery, and artistic expression. This is the impetus for this document and for my constantly evolving and progressing trajectory as a scholar, artist, composer, and computer scientist.
Doctor of Philosophy
In this paper the author explores the idea that, owing to their shared three-dimensional nature, holophons and holograms are well suited as mediums for visual music composition. This union is ripe with creative opportunity and fraught with challenges in the areas of aesthetics and technical implementation. Squarely situated upon the bleeding edge of phenomenological research and creative practice, this novel medium is nonetheless within reach. Here, one methodological pipeline is delineated that employs the convergence of holography, holophony, and super-computing toward the creation of visual music compositions intended for head mounted displays or large scale 3D/360 projection screens and high-density loudspeaker arrays.
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Tornari, Vivi. "Holographic interference : structural deformation detection applied to cultural heritage objects". Thesis, University of Sunderland, 2013. http://sure.sunderland.ac.uk/5228/.

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Interference is a fundamental physical phenomenon proving the wave nature of energy. It is based on wave superposition forming natural waveeffects expressed both in nature under random selective conditions as well as in laboratory scientific experiments by carefully controlled selection of parameters. Science generates a number of technology applications using the inherited properties of waves after their superposition in space termed interference. These interfering waves have extremely rare properties compared to their initial physical systems and become entities with measurable quantities which can be used to quantify qualities in other phenomena, mechanisms, and physical objects with variety of physical properties. These waves are currently fully explored in theoretical and experimental physics finding many modern applications and enlightening the way to longstanding questions. Remote non contact study of surfaces and their reactions visually witnessing internal subsurface and unknown bulk information without need to implement destructing forces or penetrating irradiation to trace them and without interacting with it or interfering with the results is one of the most challenging modern applications of interference physics. Apart from everyday life applications artworks’ conservation is a field that interference properties are uniquely suited. It is the quality of light wave interference that is being utilised in this body of research and summarised in the present thesis. The context of the presented thesis unfolded in next chapters is constructed in one book on a contextual rather than chronological order. The contextual base presentation is achieved through clustering same context published articles that have resulted over the course of years of research which have been published in review journals, conference proceedings or governmental publications. The formation of laser interference fringe patterns and their exceptional qualitites in application for structural diagnosis with defect detection and definition, their unique properties utilised in studies of environmental and climate effects, the prototype optical geometries and novel experimental methodologies envisaged to solve specific application problems are presented along with examination on theoretical matters of exploring interference properties, qualities, geometries and their outmost final product the interference fringe pattern. Thus in this thesis the aim is to prove the contribution of the experimental research publications to the study of interference patterns as a highly sophisticated structural diagnostic tool in the complicated problems of Cultural Heritage applications. The implementation of interference phenomena and the development in experimental investigations applied in inhomogeneous, anisotropic, shape variant, multilayered, multicomposition cultural heritage objects, paves the way to implement “fringe patterns” as a scaleless (scale independent) diagnostic detector allowing generation of novel tools and practices on problem solving projects. The developments are beyond the specific application and are extended to other fields of science and technology. The articles and bibliography cited within the text including author's publications utilised as sources in the writing of this thesis are referenced in square brackets and are explicitly listed in ANNEX I The list of publications of the author is shown in ANNEX II. The originals of author's publications supporting the thesis are provided after the Annex II as have been published. Due to limitation in number of pages there is not included a section to present the fundamental principles of the phenomena presented here instead a list of books commonly found in most University libraries is provided for interested readers as BIBLIOGRAPHY at the last paragraphs of ANNEX I.
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Libri sul tema "Art and holography"

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H, Jeong Tung, Bjelkhagen Hans I e Lake Forest College. Center for Photonics Studies., a cura di. Sixth International Symposium on Display Holography, 21-25 July 1997, Lake Forest, Illinois. Bellingham, Wash: SPIE, 1998.

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Shinbunsha, Chūnichi, e Ibaraki-ken Tsukuba Bijutsukan, a cura di. Sekai no horogurafi ten: Toki to kūkan no imēji : 1992 Ibaraki-ken Tsukuba Bijutsukan = World of holographic art. [Tsukuba]: Ibaraki-ken Tsukuba Bijutsukan, 1992.

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Tyler, Douglas E. Leading lights: Women in holography. Notre Dame, Ind: Department of Art, Saint Mary's College, 2003.

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4

1936-, Caulfield H. J., Leith Emmett N e Denisi︠u︡k I︠U︡ N, a cura di. The art and science of holography: A tribute to Emmett Leith and Yuri Denisyuk. Bellingham, WA: SPIE Optical Engineering Press, 2004.

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Croydon, Michael. 1991 fourth international exhibition of holography: Catalogue of holograms. Lake Forest, Ill: Lake Forest College, 1991.

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International Symposium on Display Holography (7th 2006 St. Asaph, Wales). Proceedings of the 7th International Symposium on Display Holography. A cura di Bjelkhagen Hans I. [Exeter?]: River Valley Press, 2006.

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7

Städtische Galerie im PrinzMaxPalais Karlsruhe. e Museum für Holographie & Neue Visuelle Medien (Pulheim, Germany), a cura di. Holomedia ʹ86: Faszination in Licht und Ton : Ausstellung in der Städtischen Galerie im Prinz-Max-Palais Karlsruhe ... 11. Oktober bis 7. Dezember 1986. Karlsruhe: Die Galerie, 1986.

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Achim, Lipp, Zec Peter e Hamburger Kunsthalle, a cura di. Mehr Licht: Künstlerhologramme und Lichtobjekte = More light. Hamburg: Fielmann, 1985.

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Printing, London College of. No art in holography: Dissertation for BA PFT, 1987. London: LCP, 1987.

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Coyle, Rebecca. Apparition: Holographic art in Australia. Sydney: Power Publications, 1995.

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Capitoli di libri sul tema "Art and holography"

1

Pioaru, I. "Virtual Reality Holography—A New Art Form". In Springer Series on Cultural Computing, 317–33. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42097-0_17.

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Denz, Cornelia. "Structuring and Securing Data with Holography—A Holistic Interdisciplinary Approach". In The Art of Structuring, 251–62. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-06234-7_24.

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Bally, G. "Holography in Medicine and Biology - State of the Art and the Problem of Increasing Militarization". In Optical Metrology, 441–58. Dordrecht: Springer Netherlands, 1987. http://dx.doi.org/10.1007/978-94-009-3609-6_28.

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Stuerwald, Stephan. "Available Systems and State of the Art". In Digital Holographic Methods, 73–83. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00169-8_3.

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Haghanikar, Mojgan M. "The Art of Thinking About Complex Systems". In Visualizing Dynamic Systems: Volumetric and Holographic Display, 1–18. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-031-02092-6_1.

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Tonomura, A. "Electron Holography and Its Applications to Surface Observation". In Ordering at Surfaces and Interfaces, 31–38. Berlin, Heidelberg: Springer Berlin Heidelberg, 1992. http://dx.doi.org/10.1007/978-3-642-84482-9_4.

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Afshar, H., A. Bagchi, S. Detournay, D. Grumiller, S. Prohazka e M. Riegler. "Holographic Chern–Simons Theories". In Modifications of Einstein's Theory of Gravity at Large Distances, 311–29. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10070-8_12.

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Oldenburg, Ian Antón, Hayley Anne Bounds e Nicolas C. Pégard. "High-Speed All-Optical Neural Interfaces with 3D Temporally Focused Holography". In Neuromethods, 101–35. New York, NY: Springer US, 2023. http://dx.doi.org/10.1007/978-1-0716-2764-8_4.

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AbstractUnderstanding brain function requires technologies that can monitor and manipulate neural activity with cellular resolution and millisecond precision in three dimensions across large volumes. These technologies are best designed using interdisciplinary approaches combining optical techniques with reporters and modulators of neural activity. While advances can be made by separately improving optical resolution or opsin effectiveness, optimizing both systems together matches the strengths and constraints of different approaches to create a solution optimized for the needs of neuroscientists. To achieve this goal, we first developed a new multiphoton photoexcitation method, termed 3D-Scanless Holographic Optogenetics with Temporal focusing (3D-SHOT), that enables simultaneous photoactivation of arbitrary sets of neurons in 3D. Our technique uses point-cloud holography to place multiple copies of a temporally focused disc, matched to the dimensions of a neuron’s cell body, anywhere within the operating volume of the microscope. However, since improved placement of light, on its own, is not sufficient to allow precise control of neural firing patterns, we also developed and tested optogenetic actuators ST-ChroME and ST-eGtACR1 that fully leverage the new experimental capabilities of 3D-SHOT. The synergy of fast opsins matched with our technology allows reliable, precisely timed control of evoked action potentials and enables on-demand read-write operations with unprecedented precision. In this chapter, we review the steps necessary to implement 3D-SHOT and provide a guide to selecting ideal opsins that will work with it. Such collaborative, interdisciplinary approaches will be essential to develop the experimental capabilities needed to gain causal insight into the fundamental principles of the neural code underlying perception and behavior.
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Sima, Adrian, Paul Schiopu, Marian Vladescu, Bogdan-Mihai Gavriloaia, Florin Garoi e Victor Damian. "Real - Time Spatial Light Modulated Digital Holographic Interferometry Applied in Art Structural Diagnosis". In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 193–98. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92213-3_28.

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Li, Rita Yi Man, Kwong Wing Chau e Daniel Chi wing Ho. "AI Object Detection, Holographic Hybrid Reality and Haemodynamic Response to Construction Site Safety Risks". In Current State of Art in Artificial Intelligence and Ubiquitous Cities, 117–34. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0737-1_8.

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Atti di convegni sul tema "Art and holography"

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Pryputniewicz, Ryszard J. "Quantification of Holographic Interferograms: State of the Art Methods". In Holography. Washington, D.C.: Optica Publishing Group, 1986. http://dx.doi.org/10.1364/holography.1986.ma1.

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The problem of quantification of holographic interferograms is not trivial. Even today, 20 years after the invention of hologram interferometry, there is not yet a general method available that can be used reliably to interpret holographic fringe patterns to obtain information on displacements and/or deformations of arbitrary objects. However, a number of methods and systems have been developed for specific applications. The results that are being obtained using these methods are contributing to the further growth of holographic interferometry; the most promising of the methods used are those allowing automated interpretation of holograms.
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Richardson, Martin J., e Hans I. Bjelkhagen. "Art of color holography: pioneers in change". In Holography 2000, a cura di Tung H. Jeong e Werner K. Sobotka. SPIE, 2000. http://dx.doi.org/10.1117/12.402488.

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Benyon, Margaret. "Holography as art: cornucopia". In Display Holography: Fifth International Symposium, a cura di Tung H. Jeong. SPIE, 1995. http://dx.doi.org/10.1117/12.201887.

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Bryskin, V. Z., e A. Prostev. "Holographic art". In International Seminar on 3-D Holography, a cura di Tung H. Jeong e Vladimir B. Markov. SPIE, 1991. http://dx.doi.org/10.1117/12.19366.

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Boone, Pierre M. "Holography: science and art". In International Conference on Applied Optical Metrology, a cura di Pramod K. Rastogi e Ferenc Gyimesi. SPIE, 1998. http://dx.doi.org/10.1117/12.323316.

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Azevedo, Isabel, Joao Dixo e Joao L. Pinto. "Holography and art: two ways of being a voyeur". In Holography 2000, a cura di Tung H. Jeong e Werner K. Sobotka. SPIE, 2000. http://dx.doi.org/10.1117/12.402491.

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Menning, Melinda, e James A. Piper. "Holography as a medium for the confluence of art and science". In Holography 2000, a cura di Tung H. Jeong e Werner K. Sobotka. SPIE, 2000. http://dx.doi.org/10.1117/12.402489.

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Shetka, Stanley J. "World Art Project and holography". In LkForest 91, a cura di Tung H. Jeong. SPIE, 1992. http://dx.doi.org/10.1117/12.57811.

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Jeong, Tung H. "Holography In Art And Education". In 1985 Los Angeles Technical Symposium, a cura di Lloyd Huff. SPIE, 1985. http://dx.doi.org/10.1117/12.946528.

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Barachevsky, Valery A. "Organic storage media for holographic optical memory: state-of-the-art and future". In Holography 2000, a cura di Tung H. Jeong e Werner K. Sobotka. SPIE, 2000. http://dx.doi.org/10.1117/12.402478.

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Rapporti di organizzazioni sul tema "Art and holography"

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Maydykovskiy, Igor. Consciousness as a new form of the matter’s state. Intellectual Archive, agosto 2021. http://dx.doi.org/10.32370/iaj.2555.

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The article discusses the physical model of the implicative form of Consciousness in the form of a holographic wave matrix, for which the material basis is directly the phase environment that fills the entire Space. It is shown that a similar form of Consciousness that exists outside the human brain can be represented as a kind of software shell that controls all forms of matter by implementing a fractal cyclic iterative algorithm. The condition for the completion of each iterative cycle at each scale level is the observance of the laws of symmetry that ensure the survival of the object in the process of copying-incarnation.
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