Holography has been recognized as a medium for the confluence of art and science. Given this axiom (within the holographic community) this paper will examine the ways science has informed the work of an artist working with this medium. The evolution of the artwork as work in progress will be used as a case study to demonstrate a functioning hypothesis for this convergence.
Central to this case study is the fundamental premise of holography as a unique medium with its own distinct palette including spatial, temporal and textual elements. In this paper the focus will be shifted away from the need to compare the qualities of appearance of holograms to those of other media, and towards defining a distinct holographic palette. Integral to this will be a discussion of the processes involved in image rendering. The artist's decision-making process on the use of holography for the reproduction of objects, or as a means of generating images that are not derived from objects will be discussed.
The case study explores a thematic or conceptual art/science link. The work is based on a subjective: re-appropriation of terms that are normally used in an objective manner; in scientific terminology. The discussion will expand on these notions and demonstrate the process by which the poetic licence of the artist initiates movement through the layers of contextual definition of a given term. The artwork provides a means to apply a term on several levels, not normally associated with the single use of the term, in order to develop a visual holographic language.
|Title of host publication||Holography 2000|
|Editors||Tung H. Jeong, Werner K. Sobotka|
|Place of Publication||Bellingham, WA|
|Number of pages||9|
|Publication status||Published - 2000|
|Event||Holography 2000 Conference - ST POLTEN, Austria|
Duration: 10 Jul 2000 → 14 Jul 2000
|Name||Proceedings of SPIE|
|Conference||Holography 2000 Conference|
|Period||10/07/00 → 14/07/00|