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Fine Art Holography in Transition

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thank you I I just want to start by saying that for me I gatherings like this are really important and we we were just discussing last nite and was the Crenshaw I where there is and was Benchley out tried and that to to be in this community of people is usually the in the summer the peak times of our lives in terms of this level of interaction and excitement that it generates and so I'm very grateful that the museum in taking this course and is interested in pursuing in developing it further for myself and i've been on this coast of digital and analog pyelography for a long time and this I began New York Institute technology where I was working in the center for optics lasers myelography when their computer graphics I was in its heyday we began building at an experimental system for creating digital holograms at that time which was around 83 84 and as I progressed I have a lot of accessed at that time new objects to high-end graphics this that was a hotbed of computer graphics at that time and then particularly with the 3 D animation systems that they were running on huge rack systems at that time so I I and took that with me when I left progress to my own work with in the Digital Realm which is mostly in 2 days I have been moving to D digital and an analog pyelography and now 3 D digital mixing and matching all these aspects so by the early nineties and I had an opportunity to work can Haynes who have developed a new system after he left American bank to make computer-generated holograms ought to take digital content to make holograms from that and I worked as a 3 D animated for them for a couple years and but that at that time it was making mass-produce hologram's from embossing so these were all commercial images something and make 1 of my own Ozal images during wartime norm through that again we have a an understanding of the medium and what its potential walls since then Simeon the cans company folded and although that was a very high end system for its time on there was really nothing to fill the gap for a for a period time after that until we began to see were coming from zebra and then later from some of the other countries so I'm going to talk today about the what that transition means for fine artist because we're at the cost of what I feel is a really important and pivotal time where there are many artist out there that have experience with 3 D animation and there are there's a huge body of Arts will there's a body of artists who have had experience with holography much experience with holography but we have to find ways to merge the 2 so when
1st of all to do with define a little bit of my terms here an analog holography ionize referring to as pyelography that's being created using a continuous wave laser for i and it in the traditional way of making reflecting light of an object with the reference beam and forming wave fronts which recalled onto film and then historically we would next next moved into pulsar lover fee which is in many ways was analog to digital photography with with all the time of with flash so now we could stop motion then we're also seeing what I'm being produced through the holographic stereogram which has had many different names on using that term which is a way of taking a movie sequences and imaging those into little strip polygrams on cylindrical film initially in the that the work of like cross particularly and now we're moving into more advanced systems that take digital data or it could be digital data from many different sources I can images into a holographic image I'm using digital in that context there are other people talking about digital holography when they're referring to creating hologram's from a generating the way fronts in the computer that's a very advanced technology that doesn't really lend itself to artists at this point in time in the broad spectrum that I'm talking about I'm really looking at it from the practical aspects of how artists can gain access to this technology is start to really work with it because we have the technology now so
bloom in terms of of this evolving technology we really began with multiplex with the work of and on that also got termed as the holographic stereogram so essentially we're looking at a series of stereo pairs of images were we sacrifice the vertical parallax and they were being imaged is rainbow holograms at at that time I've some of that at that time too there were a few people that were beginning to take computer data the 3 D animations and be able to make a transfer that data to film and then image that's is that data through a multiplex system of uhm John McCormick had been doing some of that work early on so now we're getting into a number of other terms and there are a number of companies out there that are now making holograms and they're using their own terminology you may hear that term since the ground and that's being used by geo left to to brands their type of additional hollow-gram you may hear talk about a rabbit hole which is again with basically the same system as the dual system they had combined together to make that technology early on but then the 2 companies split so since the grounds a rabbit holes are basically much the same although I think there are involving their on research separately no on another term that's been coming up lately has been synthetic Hall pyelography of Jack the idea and who worked extensively with xyz imaging which is now a rabbit holes had on done some interesting work and he has been using the term synthetic pyelography to describe content that has been generated in the computer an output to 1 of these types of systems to define it distinctly from the digital Hall grammar he refers to which is the 1 where you generating the fronts and creating a hologram purely in the computer from from ToBI additional data I actually prefer to use the term digital holography at this point in time because I'm reef I think I feel that that this point we're we need to encourage more and more artists who have skills in digital imaging to be working with holography and Digital Holography from me defines that realm where they can meet with us they are working digitally and if we're talking about synthetic rather calls and since the grounds I think we're confusing the issue and I am I think it's better to be clear
so let's talk a little bit about holography is a fine art medium I we've been looking at it here now for about 40 years Margaret an and I Stevens Harry Kesten sylvan all began around 1968 and we now have a number of artists who have mature bodies of work through that period time but we're still knocking on the door of the fine arts establishment it has been you know echoed around a lot that it took a hundred years for photography to get accepted I'm hoping that is going to be you have home and I think it is time now to start to really push these aspects and and to to not back actively on the door of the final world i.e. at this point I'd like to mention the fact that a node that I'm john perry at holographic snow has been working with James Tyrrell quite extensively now for several years and most recently has done a body of I believe it's 36 hologram's and most of which are 6 feet by 38 inches huge pieces and I believe 3 of those pieces are going to be in a major retrospective at the Guggenheim he has also been showing it pays will destine and on it and 2 major shows so that we have here are a big name artists whose signature is also selling this for us to but I think it's really important to notice that uh and to prepare because if I view it as a as a wedge into the art world that if we can follow behind that wedge and get some other shows out there and get the art world to start taking notice then this is a golden opportunity that we mustn't ignore all
still let's look at some of the issues here am I want to 1st of all look at where you can go to get your data transferred into holograms I think we have to look at the archival properties of these hollow arousing we've been talking about that here today in relation to how well these hologram's of being kept on them and there's some interesting points that think we have to pay attention to here we need to look at the skills that you require that are required to make masterful holographic art in this medium visualizing in 3 days and we do that in analog pyelography it's a long process of pre visualization that has honed skills in all these artists you have to be of the see that image in your mind in order to create the hollow-gram without long process you have visualization that is not necessarily true in the 3 D animation world under the talk a little bit about that aspect to n we need to also we need time to experiment with this new medium it's expensive We need get access to these systems will we can play are doesn't just appear overnight you need time to experiment and try trial and error and play with the exchange of all that has to happen for this to really grow the and we really need a system that has the capacity to be flexible right now these printing systems are largely fixed printers you the the film in 1 and filled in 3 D data and a hologram comes out the other that's within certain parameters I'm really interested in in a system that will be available for artists where we can vary those parameters and really push the envelope as we do with our local of right now the
so in terms of what's available right now I am I'm citing color-graphics nor 1st because although there is is an analog system they have been transferring digital data into the system through transferring it to film and creating holograms and have been doing this for a very long time they have also facilitated many many artists to do work that I think would never have been done otherwise and John In himself as has been is facilitated this person who makes it possible for those artists in and flexible and wonderful way and I think I would I applaud you I'm so glad you're here because I think we wouldn't be where we are in hell of you right now if you have been rent so now rabbit holes media rabbit holes were originally xyz imaging and they were in collaboration with and they built this 1st system all x y z and d the 1st system which has now been on rabbit holes owns parts of it and have their own system this is a system that's is capable of producing large scale of the these this is like 1 meter by at least 2 meters wide it theoretically it can be bigger of full-color reflection holography the it it is largely being produced in horizontal on parallax because of the computational aspects of of how much data is needed to produce an image of that size but it has the capacity of going to fall parallax they are and available to make they can make smaller sizes and larger sizes they have 2 different sizes of pixels that are and that they can print out at and they have been working with some artists mostly I 3 animators that have more of a Hollywood background that on and they are open to working with other artists and I will be working with them for this project at the arts in Seattle they are going to be on by outputting holograms of students going be making geo has a set that basically the same system there in Lithuania and are they have mostly the same parameters they have developed a camera realm and met much of the material see coming from the system tends to be more from photographically generated content although there is you can have a computer generated it is doing computer generated in and pull Dawson has done work with them and they are both of these systems are being independently worked on so are being developed further our Dutch holographic labs and Walters bearings has a system a small-scale system I think it's a two-step system but he does also work with artists and is available to to do digit data transfer carriage and the Academy for Media Arts in Cologne has had a system that was originally from and waters bearings and and and Dutch holographic labs and is now they have been teaching students there for some time at who had pretty for free access although I think that um these days the current administration isn't quite as supportive of holography and it's not clear what the status of that facility is any longer and and the Hall Center in Korea was so we only has a high I'm not quite sure how far that system is yet but I know he's working on a digital system and he has an in an artist in residence program that is beginning to get make it the his equipment available to other artists
so archival holography we need to be doing accelerated aging tests on all these companies need to be doing accelerating aging tests on holography we need to know what the lifetime of these materials are I would encourage you to go on to holography at needing and and enjoying the forum and there's a lot of discussion going on there about archival of protection of holograms and we need to also look at the standards that the photographic world has use because photography is going through all this in terms of archival we protecting silver halide materials I think there's a lot that we can learn from them
it so in books in terms
of bringing the 2 worlds together we have a lot of artists now with experience in 3 D animation but have no knowledge of holography and from what I've seen in my opinion without knowing about analog holography and its properties you basically just making hologram's that a hard copy of 3 D animation and I think that holography can do much much more and if you're going to find ways to create images that utilize all those properties of will the you need to understand about holography and we also have a lot of holographic artist now with much experience with long but who have had very little experience in the Digital Realm and I am looking for ways in which we can bridge those gaps in ways that we can work with each other and with the ways in which we can teach about this new medium so I think we need
facilities where there's still an analog artists can come together and work side by side I think those should ideally be in conjunction with engineers who we can work with collaboratively so that we can have systems but that are state of the art and the push the envelope I think we need an open architecture system where we can experiment with that and take it beyond what can be done with the conventional printing and on I I think it it it should be a collaborative and open environment
so I and II I've but I've got some images to show you of the course which can be totally inadequate because adjust to the slice of their work but to give you a little taste of a few of the artists working in the medium that this is not an exclusive list by any means and they're not in any sequence of order and just I just want to draw your attention to some of the work that is happening so I'm DTU Yong who and has had
had been heading up the facility a holography facility in Cologne has been working a lot in and with dot matrix systems which make perfect sense with his work too because he's his work was all about color field but it is digital content being output in the holographic form and he's making all mobiles and large installations now has happened having 2 major shows in the Far East
and looks my you know and as a student at KTH KHM and I'm been intrigued and fascinated by this work these pieces are portrayed see each of these small pieces in here in this installation is a portray that has been shot essentially as a but this you know holographic stereogram on with photographic content going in but then there's been collaged into this large installation piece so this artist has been known to walk with a small format and but yet make a large installation he's
Martin Richardson is working in collaboration with Gio up here is that the Montfort University in England and is teaching a graduate level courses in digital holography and his work is more photographically based and he's working with the camera rail that he became from GEO so he's shooting sequences of of still photographs that make up these these pieces but he's also co lodging them with 3 D animation working is mixing and matching of media
Jack debut of these works were done that xyz imaging and when he was working for them but they're very beautiful pieces that explore this the the long piece the scroll piece is exploring the idea of the the the the perspective the way that it was explored in Chinese scroll paintings so it that as you walk past the pieces you see in the sequence and the piece above that the seat from the 1 side you see the scroll closeness you work walk past it opens and then the words appear across the top he also did the book the book is about its it the words when you read them are an old French and they are a history of holography and the images you see are at 3 D images that pop up from the page of the book and the pages turn as you move past it and you see further drawings and aspects of all over the Japan's as on finishing his PhD right now about holography and I think he's going to be an interesting contributor meets
minor a he here initially had an interest in holography and didn't started a little bit of analog pyelography and then on when Robert holes came on the scene he contacted them you have to be extended period of time experimenting are he's made many pieces with them here he has a long history of 3 D animation in the film industry and he was commissioned by see graph to do this piece called the the animation mother for the animation freely animation festival and it was given as Award at the festival and was the images were featured all of the conference and at an exhibition at nomen Institute after the Conference on during the conference and while the
momentous choice has been working a lot with with dot matrix but this is the piece that was done with Wolters bearings at Dutch holographic labs and these are just some stills from the sequence of the animation of this and David Warren I
believe peace was stone holographic north right and I'm not sure if that of a pulse piece of there in combined it is all it's all digital yeah and so he's come combining different media together to make the output and has been and outputting through John and
I'm full of dose and I put her last so that I can link the effect she's going to be following in talking about some of the other way that and this is the piece that was done output at GEO up it she had some major funding from I believe Estonian government to fund the research that went into this piece which was looking at how light was portrayed in Renaissance paintings and how that a study that could then be utilized in terms of how we work with light in holographic images so I am I think that is a little bit of a taste aware artistic going in the systems that are happening now and on our open up to questions the question that a great presentation and liter discussed this that as these technologies and means that these 2 fields of art start to perhaps converge I guess is the right word but I don't know in the field of animation in in digital arts did they have their formal language written in document a formal art language written document it better than we do from analog holography cause we discussed that we haven't got that really well defined you know we have terms like really major we have things we you know from the world of optics and we have you know three-dimensional shadows we talk about we talk about channeling ing in and all those kinds of things that it isn't really well defined as a formal art language and I wonder if in in the in the animation world digital art world which is sort of a new or if they if they do they have the same way of describing their effects with specific to that field of the interesting question and I think it's 1 it's changing because right now the animation world is going to change they are moving in 2 stereo happens with 3 D animation and Hollywood is putting big dollars into that right now and I have recently had an opportunity to meet with on Phil McNally who is the head historiography at DreamWorks and he was actually student Martin Richardson's and he got his introduction to all of this circle of at and so he has a really good vision on all of this and we have a long discussion about the fact that 3 D animators have have been working in 3 D modeling software but this onto the screen so that they are then outputting for a 2 D screen and they have been up until recently and now they're moving into the world stereography and they need to to visualize in 3 D and then they visualize in like a half 3 D world right now because it's been through this sequential imaging on a 2 D screen so a lot of influx right now for them and the whole industry is in flux because they're evolving and new language for how to deal with 3 D space in the 2 D movie field and I think there's a lot of carryover between the 2 I as I've been listening to papers being presented other conferences by filmmakers who dealing with these issues have been noticing the analogies and and I think that there's a lot of really that's all place for us all to be in that discussion and and to have been perhaps a forms like this it would be good to have filmmakers are interested in 3 D participating to because I think we can define a lot of those terms together so just a quick note on those representation of a very happy to see so Morrison never heard of honor the beautiful on tied to start a lecture last couple years keeping abreast of bolster Africa movement in video and so want down duct is actually huge from the rich consortia from formed back in April of last year called 3 D at all and all the talk to many factors has refused to reduce the and this is longest filled of gonna get established standards for the standards for home television just 1 to 1 side of the connection walk into a consumer store today and by a 3 ready HTTP for under about indoors and the respondent for anyone involved in stereography exterior pasturage sheep that used on on so that's a syntactically yeah it is I think there's a of the realm of overlap there that you know and doorway we can get into highest selling although I'm wondering if there's some way like I'm not well-versed in 3 D graphs spent for other artists who are per say to if there's some way we could put together form all where either you're teaching at a brings some people in to help holographers because I've been on of looking at this idea but how to make are transitions because sometimes it's just a certain programs other times it's a conceptual leaders well but that would help from our side being able to then have the same kind of discussions the other way as well I think of would be a great idea and the doorway that I've opened it gets starts his but through this graph with the international pyelography funded that's a course that's being tool is 3 D as opposed to a course in 3 D animation in my right so they are part of the systems have a year-long course in 3 D that they start learning with my the making 3 D movies was with stereo HT it making a lenticular now they're going to make a hologram and I think that's a very fertile place but I think we need to look at some way to go back in the other direction to note that that group of students will like my primary students coming from the 3 D world 3 D animation world but I think we need to find ways to bridge back the other way to so I'm totally open to anything we in that direction for you will find work thank contract
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Metadaten

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Titel Fine Art Holography in Transition
Untertitel Analogue to Digital
Serientitel Photons, Neurons and Bits: Holography for the 21st Century (MIT Museum 2009)
Teil 08
Anzahl der Teile 13
Autor Law, Linda
Lizenz CC-Namensnennung 3.0 Unported:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen.
DOI 10.5446/30388
Herausgeber River Valley TV
Erscheinungsjahr 2012
Sprache Englisch
Produktionsort Cambridge

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