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On the currents

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On the currents
Revelations in recent works
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This paper examines the intent and the resulting content of some of this artist’s current work in pulsed, large-format holography. It discusses shifting the starting point for working. Instead of specific pre-visualization, a more open and organic structure is proposed. Gently and patiently, a question is repeated hoping to prompt a gracious resolution. In their own time, image answers will float into view and ascend to the center of attention. Lightly held, and the work flows with its own compass, without pressure, unconstrained, and unfolding revelations. Some of the work discussed: 1. Obtruded Purity: Impede the reference beam and subsequent areas of ‘negative volume’ become content. 2. Dance in Quantum Time: A complex multitude of simultaneous creations and destructions results from a simple and direct recording. 3. Transcape 6,7,10: Questions the limited volume of the exhibition site with an apparent unlimited volume within the hologram. 4. Reference Trinity: Two transmission images and one reflection image produced with one exposure result in images that refer to themselves and the process of their conception. 5. Sum of Many Whispers: Uses light as a material and recalls the science of emergence theory. Individual ‘cells’ work independently and still combine with others to produce larger organized ‘content patterns’.
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Types photos Computer animation reflection time Content heads part Coloured digital communication
area photos Computer animation orders bits heck Coloured Demo digital communication
photos Computer animation bits Coloured
photos Graph Computer animation sample spacetime
point area Slides constraints Computer animation reflection retrieval life spacetime information geometric
point Computer animation Development placeholder volume sort Sphere fields spacetime
Computer animation bits sort Sphere digital communication
tablets confinement time surface projects volume digital communication web volumes Cut Computer animation different terms decomposition shadow Windows spacetime
area Computer animation information volume branch shadow sequence Sphere dimension
photos Computer animation closed projects Video volume figure rules Coloured potential surjections
photos Computer animation configuration time Ranges loss objects several digital communication elements geometric
suite Computer animation surface negative branch volume shadow spacetime
Computer animation surface time reflection branch lines Coloured Results digital communication
Computer animation spacetime
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Lecture/Conference reflection Sender
Slides Computer animation case sequence number
Computer animation wavelengths part digital communication since spacetime
hello everybody just a little while longer and I feel like a ship dance tyrannical home I still do this thing from my students and then immediately so pay attention for a little bit longer but 1st I have to thank the organisers and Martin of course and this is an opportunity for me to add to that thank Hans publicly to without Hans I wouldn't be here today and also it's a good opportunity to thank Dr. John if he's in the room the also without him I wouldn't be here today and on and on inadvertently have have gotten the opportunity to thank Tom such a bitch to time more than 20 years ago would put up with my nagging questions I would call in the middle of the day and you hardly knew who I was and I would ask these urgent questions about chemistry or something like this and so in many respects without your help I wouldn't be here today too much time and thank you all for your attention and let's move on this of the presentation i have is a little bit different than the paper and so try to blend the men seamlessly the title of course of the paper is on currency revelations in recent works and I think it might help me at least to get started with us to to read the abstract and this part of the abstract on might be doing its own time well see we might have to follow this this paper examines the intent and the resulting content of some of those artists current work pulsed large-format holography it discusses shifting the starting point for working instead of specific pre visualization for a more open and organic structure is proposed gently and patiently the question is repeated hoping to prompt a gracious resolution in their own time image answers will float interview and ascended to the center of attention widely held and the workflows with its own compass without pressure unconstrained and unfolding revelations and then this goes on to discuss some of the current work which I would like to perceived to but I'm having trouble at all the there
so this is going to be sort of a not for lack of a better term I've been trying to think all that a little bit of a schizophrenic presentation although maybe selling you would praise me when I say and shaman is take that that that would be nice because I have always been concerned with 2 different aspects of holography 1 is using
holograms specifically as holograms themselves as and and products and pieces and then the other is that of incorporating them with other media or other other objects
the and so good head back here so I've had different concerns and quite long and quite a long time and what this means is basically I do a lot of work in a laser transmission masters and and then I'll do a reflection and this is a this 1st image here is a part of the hologram that's actually photographs that I made not too too many years ago now that normally would be presented in a completely different color than this it would be this type of subject matter you would see that in a white black and white imagery or a full-color images but you wouldn't necessarily associated
with red and this used to bother me when I was work with the when I would work with of transmission masters Ruby transmission masters the red various seduced by deep bread but then at the same time it's not necessarily complementary with your subject matter and so for a long time I thought it was necessary to try to combine the the 2 that the the the content well
with its color and then after a while I decided that that's
just as it's too limiting and I started to say to heck with that so this is an example here this this image which you can see now open in the top left of the whole that of using something that I would not normally do a combining these these different areas these disparities subject matter and and covers but this is a difficult holiday interview you know is 30 by 40 years plates and again a laser is illuminated transmission masters and you can see the photographs loading up in the top and it's difficult to photograph also because in the in the front and the foreground and you can see barely are a pair of hands holding the amount and I did this in several stages of back in the background there a deeper in the scene not so much in the background but deeper in the scene is that of the giant walk it looks a little bit like a cauldron it's filled with ashes and on top of those annotations are to white roses and I did this in different segments right now I can think in which order them but I use the shadow of the of the hands of the harmonica to unmask areas of the master so that the then I could do superimposed secondary imagery secondary exposures
in the master and not degrade the image quality sorry this piece is called even song and I just
produces this last year and a little bit to do with the death of my father but not directly this piece another example of photographs that that would not necessarily be presented with this color but still I think has a certain but evocative necessary in the deep bread and this is this piece is called the gift of a child I'm going to go through some of these fairly quickly because they don't
necessarily relate directly to the paper and the just the
samples the current work this we've all seen lenses
incorporated in the space of the whole graph but perhaps the little poignancy with this this particular I found some interesting things I would have been doing obviously in this 1st year examples is incorporating my own photographs in the
holographic space there's been a real strong desire to do that and this slide I include because if you look carefully at how visible is to you but for me it's visible because I understand that but up on the top there you might see a brawl and the nose and this is the young the reflected image of the was actually the transmitted image of the reflection of myself as it happens that
holding plate I like to do this place holder is there such a pain in the neck pardon me so I get to the point where excuse me I just want to just hold the played out and catch the life and I've actually been thinking about this and for for several years now I actually have been doing this experimenting with like language film on top of myself and you know just trying to you know just point the and go up to where it is just a lot simpler just gets look retrieval of river lot that the constraints of the geometry but this piece is actually of the final master the piece that is in the area the exhibition and just a little piece of this white floats
in in the whole volume and this is a few exposures and then 1 sort of quickly this included because it's actually talking about it's actually development for 1 of the pieces that I mentioned specifically in paper I was working with points of light
trying to find ways to get large fields and letter large points and this was the beginning of something else that I started to put in reflecting spheres in space and and here you can see again the human placeholder reflected in sphere and that was basically an accident but I decided it was something to pursue and subsequently excuse me I have to look at the paper
here that subsequently idea I did more work using these spheres and this is the image nicely came of forming trying to find it here this is only that differently than I did originally and I'm not seeing it what's interesting so this is this piece is titled reference Trinity and it's a little bit difficult to understand at 1st but
some I think for those of you who who see a lot of transmission masters that you'll be able to pick it up so this is a handy of reaching in and holding a sphere of metallic sphere and a mirror ball gazing ball and I love to go in the hardware stores and take these things approach and but if you if you actually if you look at this you can visualize that sort of you looking into the transmission master hologram and you're
seeing me hold the plate at the same time that I'm holding the gazing ball and then over here on the left of the fingers the transmission image of my fingers holding the place so on the on the left and then you can see you see the hands the fingers as they appear in the center of the image they're holding so everything is reversed that is good for me the interesting thing about this image was that I was able to really work within volumes I was able to to divide the volume of the transmission space and this is this is really an exciting idea for me to work out to just keep dissecting the spaces and the the volume and gets smaller and smaller so I've been thinking about a lot of different things to to user mirrors of examples like that so but then also I started to run out of existence and since x 4 is about to hold them on learning with Fuji about the only thing that I've had to to work with I started to do have plates and it's it's a funny in its entirety because this project is really only this particular piece is only a doable not only doable but made much more easy to do with the half plate because of the reference beam gets in the way and you can see the shadow here of of the ball is on my shirt and this image does have actually 2 other images in it that there is this the transmission image of my face reflected its the 2nd surface image and then there is also a Dennis that image so you can walk around the transmission pieces hanging and
look and see it reflected in the this piece I included because I was trying to pad against I was afraid it was probably 3 o'clock in the morning and I could have an so I enjoy this piece but it's not necessarily as so related to today's topic there some interesting things about this again this is a transmission piece which was designed to be displayed with the diode laser was the web working out for several years but but an interesting thing with this when you work with the transmission window you have all of this volume cut back to that but you know there is this tendency to to center your subject and you're still thinking in terms of these you know the the the traditional confines of of composition to decomposition and this piece is actually position so that the subject matters down below almost on the floor so initially when you look through this you don't see much at all you have to and this is just some promise I think for some other things and now you can start to think about the volume and think about subjects that are but in
different areas of this volume as large as the volume can be and now we break into little sequence that is about a piece of that are in the paper and it's titled obtruded purity this is a different piece this is called molecular conception and this is a large-format Dennis talk on how I wanna say about
32 by 42 of the precise dimensions inches and this is that same sphere that same walk that I used in even at the beginning but what I did was projected of branches or shadows the onto the subject before they got to the Shore so what I'm doing with this is injecting information into the
reference beam going against the rules and this has a lot of a lot of other of the potentials the and this is the wonderful video that we met
here Microsoft does not seem to want to accept for me today so we don't have any videos unfortunately but this is a close up of the piece that's mentioned in the paper but it's actually not the close up but it's an overall again this is a 32 inch by 42 and genesis and desire to project photographic imagery onto figures in the volume of Dennis a color GM initially inspired the work on this piece earlier work casting light onto the
subject through stencils or other objects worked in
transmission arrangements when the object and reference beams naturally a separated ratio but course Dennis geometry insert inextricably linked the reference beam with object being manipulation and although 1 could place a photographic transparency between the emulsion and the subject of this would emphasize the photograph is an independent elements within the whole range another option is to partially occluded the reference beam and appreciate what this arrangement so so this goes on and on a little concerned with times and I can go into too much more but effectively it Dennis arrangements with objects are different of of the film of the plate and subject that behind and and the nice
thing going back to if I can immaculate conception here this is the suit oscopic imagery now what you have is what I'm calling negative volume black shadows of the of the branches floating out in space here and then the back on the concave surface there static
and income what what results on the surface and that's what that's like that's supposed to be is a wonderful diffraction pattern around each branch European diffraction
lines it's really quite beautiful 1 I knew I talked a lot this is called dead and quantum time and this is a complete departure from most of the stuff that have been doing recently and it's been very freeing I just got sick and tired of all of the the heavy register and 0 and also that what I call the sickly sweet reflection colors and so I started to do so white light transmission work
and this is the tryptic each panel is about 30 inches what about 40 inches wide and uses some details the idea with that
is it hangs free in space you
can walk around the the imagery front and back and this
unfortunately was not a good scan of this piece this is piece called some of many whispers it's a weaving and I want to explore this even more it's pieces of film that can be woven
together and it's almost unlimited with what you can do
with this this is the back of it
it's meant to hang in free space and those who view the transmitted reflection imagery back behind you can see some rainbows projected down below and maybe what I can do is sum this up I believe that might be the
last slide so the
finishing up you know actually no it's not quite right and that which case I'm not going to talk about this I the now I'm getting closer get 1 more after this 1 this is called trans K 6 7 10 because 1 of those pieces of film is number 6 in the exposure sequence 1 of them is number 7 1 of them is number 10 and natural which is which this is a white light
transmission piece which is unique because I think for the most part I managed to get rid of the long wavelength and when you look at this and sit in the room with it becomes a
rather meditative piece and only when you walk up very close to it you actually see the longer wavelengths but it gives you a sense of being inside inside an infinite space within a limited space of the exhibition and since we're coming up to the end world and the thank you for your kind attention thank you but think but