Дисертації з теми "Art and holography"

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.

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).

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.

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.<br>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.

Orientador: Jose Joaquim Lunazzi<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>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<br>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<br>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<br>Doutorado<br>Artes Visuais<br>Mestre em Artes

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.<br>Doctor of Philosophy<br>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.

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.

With the growing interest in digital ways to experience art exhibitions, HCI and especially experience-centred design research have in recent years begun to show promising results when implementing holograms into the social dynamics found in art exhibitions. However, as to why holograms can enhance engagement and immersion, more research can be done. This thesis seeks to explore holograms' unique characteristics through an iterative experience-centred approach through the theoretical lens of Flow and its ability to prompt for co-experience. In two studies with eight participants, a design workshop and a mini-exhibition, we uncovered four unique characteristics and two takeaways regarding its potential to design for co-experience. The results indicated that holograms were perceived as immersive and presented properties related not only to the hologram but also the environment, as to why. It was concluded that even though holograms can benefit art exhibitions, the social aspects could be explored further.

Thesis (Ph.D.) -- University of Western Sydney, 2001.<br>"Submitted in fulfilment of requirements for the degree of Doctor of Philosophy, School of Engineering and Industrial Design, University of Western Sydney" Includes bibliography.

This dissertation focuses on two aspects of integrating near-infrared plasmonics with electronics with the intent of developing the platform for future photonics. The first aspect focuses on fabrication by introducing and developing a simple, single reflective optical element capable of high–throughput, large scale fabrication of micro- and nano-sized structure templates using holographic lithography. This reflective optical element is then utilized to show proof of concept in fabricating three dimensional structures in negative photoresists as well as tuning subwavelength features in two dimensional compound lattices for the fabrication of dimer and trimer antenna templates. The second aspect focuses on the study of aluminum zinc oxide (AZO), which belongs to recently popularized material class of transparent conducting oxides, capable of tunable plasmonic capabilities in the near-IR regime. Holographic lithography is used to pattern an AZO film with a square lattice array that are shown to form standing wave resonances at the interface of the AZO and the substrate. To demonstrate device level integration the final experiment utilizes AZO patterned gratings and measures the variation of diffraction efficiency as a negative bias is applied to change the AZO optical properties. Additionally efforts to understand the behavior of these structures through optical measurements is complemented with finite difference time domain simulations.

In this dissertation, I am presenting my research on the fabrication and simulation of the optical properties of 3D photonic crystals and 2D graded photonic super-crystals. The 3D photonic crystals were fabricated using holographic lithography with a single, custom-built reflective optical element (ROE) and single exposure from a visible light laser. Fully 3D photonic crystals with 4-fold, 5- fold, and 6-fold symmetries were fabricated using the flexible, 3D printed ROE. In addition, novel 2D graded photonic super-crystals were fabricated using a spatial light modulator (SLM) in a 4f setup for pixel-by-pixel phase engineering. The SLM was used to control the phase and intensity of sets of beams to fabricate the 2D photonic crystals in a single exposure. The 2D photonic crystals integrate super-cell periodicities with 4-fold, 5-fold, and 6-fold symmetries and a graded fill fraction. The simulations of the 2D graded photonic super-crystals show extraordinary properties such as full photonic band gaps and cavity modes with Q-factors of ~106. This research could help in the development of organic light emitting diodes, high-efficiency solar cells, and other devices.

Colloidal particles are small particles ranging in size from nanometres to micrometres suspended in a fluid. Amongst many scientific and biological applications, they have been used to model crystallisation, vitrification, and particle interactions along with the use of colloidal model systems for the study of the fundamental nature of the fluid-crystal and fluid-glass phase transitions. It has been shown that colloidal particles can be trapped and manipulated using strongly-focused light beams known as optical tweezers, and this has paved the way for research into the area of micromanipulation using optical trapping. Holographic elements can replace multiple lenses in creating large numbers of optical tweezers and this is known as holographic optical trapping (HOT). A computer generated hologram can be designed to create large structured light fields, consisting of multiple foci, to enable trapping of multiple particles in arbitrary configurations. The overall aim of this project was to design, develop and test the suitability of a simple, inexpensive optical trapping arrangement suitable for multiple optical trapping. To achieve this, a theoretically-exact expression for the wavefront of a single point source was implemented in the coding scheme, allowing for the fast creation of multiple point sources suitable for holographic optical trapping experiments. Compensation for the spherical aberration present in the focusing optics was implemented into the coding scheme. Kodalith photographic film was chosen as the holographic recording medium for its high contrast and availability. The film has proven to be a successful medium, when used to record photographically-reduced images of high-quality printouts of the computed diffraction pattern, as it was able to successfully reproduce complex light fields. It is believed that this will be the first time that this film has been implemented for optical trapping purposes. The main limitations concerning the performance of the holograms recorded on Kodalith were the phase nonuniformities caused by unevenness in the film thickness which resulted in a failure to separately resolve light traps separated by less than about 5 (Mu)m. Index matching of the film between sheets of flat glass helped to compensate for these limitations. Holographic optical trapping was successfully observed using a variety of different initial beam powers, holographic aperture settings and light field configurations. Trapping experiments on of two types of particles (PMMA and polystyrene) were successfully conducted, with as little as ~ 150 (Mu)W per trap being required for multiple polystyrene trapping. However, particles were weakly trapped and were easily dislodged at these powers, and a higher power per trap of around 1 mW is preferred. The use of a relatively low numerical aperture (NA) 50 mm SLR lens for focusing the holographic optical traps was successful, proving that optical trapping can be conducted without the use of high NA microscope-objective lenses commonly used in other set ups. Holographic trapping of colloidal particles was successfully conducted at RMIT University for the first time proving the validity of the coding scheme, the recording method and the trapping arrangement.

La capacité à concevoir dans l’abstraction fait appel à la faculté qu’a notre cerveau de combler ce qui n’est pas visible par l’image la plus proche. Cela crée alors une illusion visuelle et l’imagination apporte ensuite à l’esprit des images mentales. Mes recherches consistent à présenter un concept artistique à base d’interférences et d’illusions pour créer des personnages tridimensionnels. Aussi cette thèse est-elle composée de deux parties. La première partie, théorique, est une étude globale sur les propriétés de la lumière, l’optique et la méthode de création des interférences. Dans la deuxième partie j’aborde la pratique en expliquant tout le processus mis en œuvre pour concevoir des personnages tridimensionnels grâce aux illusions visuelles issues des franges d’interférence volontairement perturbées<br>The ability to conceive in total abstraction calls upon the faculty that has our brain to fill what is not visible by the nearest image. That creates a visual illusion and then our imagination bring forward mental images. My research consists in presenting an artistic concept using interferences and illusions to create three-dimensional characters. Also this thesis is composed in two sections. The first section is a general study on the properties of light, optical and the method to create interferences. The second section is based on my practical work. I explain, step by step, how to conceive three-dimensional characters due to visual illusions obtained through interference rings disturbed on purpose

In this work, we study the use of a spatial light modulator (SLM) for local manipulation of phase in interfering laser beams to fabricate photonic crystal templates with embedded, engineered defects. A SLM displaying geometric phase patterns was used as a digitally programmable phase mask to fabricate 4-fold and 6-fold symmetric photonic crystal templates. Through pixel-by-pixel phase engineering, digital control of the phases of one or more of the interfering beams was demonstrated, thus allowing change in the interference pattern. The phases of the generated beams were programmed at specific locations, resulting in defect structures in the fabricated photonic lattices such as missing lattice line defects, and single-motif lattice defects in dual-motif lattice background. The diffraction efficiency from the phase pattern was used to locally modify the filling fraction in holographically fabricated structures, resulting in defects with a different fill fraction than the bulk lattice. Through two steps of phase engineering, a spatially variant lattice defect with a 90° bend in a periodic bulk lattice was fabricated. Finally, by reducing the relative phase shift of the defect line and utilizing the different diffraction efficiency between the defect line and the background phase pattern, desired and functional defect lattices can be registered into the background lattice through direct imaging of the designed phase patterns.

In this dissertation, we study the optical property of 2D graded photonic super-crystals (GPSCs) for photon management. We focused primarily on manipulation and control of light by using the newly discovered GPSCs which present great opportunity for electromagnetic wave control in photonic devices. The GPSC has been used to explore the superior capability of improving the light extraction efficiency of OLEDs. The enhancement of extraction efficiency has been explained in term of destructive interference of surface plasmon resonance and out-coupling of surface plasmon through phase matching provided by GPSC and verified by e-field intensity distributions. A large light extraction efficiency up to 75% into glass substrate has been predicted through simulation. We also study the light trapping enhancement in GPSCs. Broadband, wide incident angle, and polarization independent light trapping enhancement is achieved in silicon solar cells patterned with the GPSCs. In addition, novel 2D GPSCs were fabricated using holographic lithography through the interference lithography by two sets of multiple beams arranged in a cone geometry using a spatial light modulator (SLM). Finally, we also report a fabrication of GPSCs with a super-cell size of 12a×12a by using e-beam lithography. Diffraction pattern from GPSCs reveals unique diffraction properties. In an application aspect, light emitting diode arrays can be replaced by a single light emitting diode shinning onto the diffraction pattern for a uniform fluorescence.

La Fenêtre Brisée est un Traité de Perspective Appliquée à l'Holographie de Synthèse. Cette approche de la représentation spatiale met à contribution la géométrie, l'optique diffractive et l'infographie 30 pour produire des hologrammes de synthèse composés de centaines de vues sur une scène tridimensionnelle. L'opticité et la spatialité de ces hologrammes sont caractérisées par le volume, la multiplicité des points de vue et la nomadicité de l'observation. Au-delà de l'analyse des fondements perspectivistes de l'holographie de synthèse, ma thèse développe l'hypothèse que tous les procédés de représentation optique de l'espace tridimensionnel se définissent par leurs dispositifs de présentation de l'image. Ces dispositifs se regroupent sous trois formes : la fenêtre, l'environnement et l'objet. Ils décrivent la géométrie du dispositif alors que leurs corollaires, « devant », « dans » et « autour », sont des concepts qui décrivent la relation spatiale entre l'observateur et le dispositif. Les quatre premiers chapitres de cette thèse examinent les bases historiques, méthodologiques et structurelles qui préfigurent et soutiennent le développement d'une perspective à multiple points de vue. Les postulats présentés au chapitre cinq ont pour objectif de soutenir l'expérimentation de l'holographie synthétique dans la composition d'images tirant avantage des attributs optiques, spatiaux, cinétiques et interactifs de la perspective holographique. Ces postulats sont issus de mes expérimentations holographiques en lien avec mes dessins et mes photographies qui sont traités plus spécifiquement dans le chapitre six. La conclusion fait le point sur le volet exposition de la thèse et un glossaire des principaux termes spécialisés est présenté en Annexe. Cet ouvrage s'inscrit dans la tradition des Traités de dessin, de perspective et d'optique qui ont habité l'histoire des méthodes de représentation. Optique et géométrie, art et science, Orient et Occident, recherche historique et expérimentation s'y rencontrent dans une multitude de procédés et de dispositifs artistiques. ______________________________________________________________________________

博士<br>國立交通大學<br>機械工程系所<br>103<br>Many small-form-factor optical pickup unit based on the swing arm design utilize single piezoelectricity or slim plate of metal to perform focusing action. Technological obstacles to the use of rotary-type swing arm actuators to actuate optical pickup modules in small-form-factor (SFF) disk drives stem from a hinge’s skewed actuation subsequently inducts off-axis aberrations and deteriorates optical quality. This research describes a dual-stage seesaw-swivel actuator for optical pickup actuation. A bimorph bender made of piezoelectric materials, PbZrTiO3 (PZTs), is connected between the suspension and pickup head. The seesaw type actuator with PZT is a new driving mechanism used for swiveling the entire optical pickup heads devices. Additionally, the actuating force is increased within the limit of actuator size constraints by using an alternating multi segmented magnet array (MSMA) in biaxial voice coil motors (VCMs). The performance of the biaxial VCM is verified through simulation by finite-element methods, and the effectiveness is confirmed by parametric design optimization and experiments results. The configuration of the dual-stage seesaw swivel actuator has unique features including a rotary actuator for coarse and fine tracking and a seesaw arm for swiveling along a pivot instead of a hinge to permit a tilt focus movement. Besides, the tunable vibration absorber (TVA) unit is mounted on the seesaw swing arm to offer a balanced force to reduce vibrations in a focusing direction. Both PZT and TVA are designed to satisfy stable focusing operation operational requirements and compensate for the tilt angle or deformation of a measurement surface. The model equation of PZT bimorph is built and optimized by applying nonlinear programing theorem. Furthermore, the performances of optical module with swing arm-swivel actuation are experimentally evaluated to demonstrate the effectiveness of precise flying height positioning measurement method. Finally, HOE module with dual-stage seesaw arm actuator was utilized to evaluate blood coagulation in real time. The method involved assessing the decrease in transmitted light of the blood sample surface when the clotting is formed. The prothrombin time (PT) was measured by illumining and focusing a 635nm laser beam onto the sample. As the fibrinogen turned into non-solute fibrin, the transmitted efficiency and total intensity of the reflected light from the reflector changed. This method may provide a non-contact, label-free bio-detection process with less preparing time than other traditional methods. The results of PT measurements by proposed method were compared with those made by other optical sensors.