http://orcid.org/0000-0001-8768-6858
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ABSTRACT
Among all of the new media arts, holography has not yet been thoroughly understood due to its complicated visual and technical structure, which may cause misconceptions about its real content or perhaps an underestimation of its artistic value. This research, therefore, raises an attempt to reinterpret the visual representation theory of the holographic object by using Joseph Kosuth’s conceptual assumption in his conceptual artworks as a model to conceptually decode the holographic scene. While Kosuth’s conceptual art is represented by three separate conceptual definitions of an object (real, visual and verbal), this research investigates the holographic form as a physical alternative that combines the same three definitions of an object into a unified physical form. Hence, this research assumes that the holographic model is a form of post-conceptual art. By emphasizing the crucial role of scientific research in the recent revolutionary artistic and cultural trends in our contemporary societies, this project attempts to reveal the extent to which the scientific properties of the unconventional mediums can truly contribute to reshaping our conceptual visual perception. Additionally, the experiment series of the project scientifically sheds light on the conceptual vision and also reinforces the conceptual dimensions of the visual holographic scene in contemporary visual art.
Acknowledgments
To Prof. Dr. Rita Hofman, who provided insight, expertise and countless houres that greatly assisted the research.
Disclosure statement
No potential conflict of interest was reported by the author.
Notes on contributor
Diaa Ahmed Mohamed Ahmedien is a PhD researcher at the Faculty of Humanities, University of Bern and a researcher at the University of Applied Sciences, Bern, Switzerland. The author’s accurate specialization is in sciences of visual arts and new media arts, focusing on Laser Art, Holography, Neurological Art and Visual Communication. The author is an artist, educator, researcher and creator to set up systems of artworks essentially depending on the interaction of Art, Science, and Technology. For more information see: www.diaaahmedien.com
ORCID
Diaa Ahmed Mohamed Ahmedien http://orcid.org/0000-0001-8768-6858
Notes
1 Natural sciences’, in this research, means a science concerned with studying the physical world. Chemistry, biology and physics are all natural sciences including the interdisciplinary domains derived from them (Oxford Dictionary of Academic English, OLDAE, 2015).
2 Conceptual art: A widespread movement from the mid-1960s through the 1970s, it emphasized the artist’s thinking, and the idea as a central point of the artwork, making any activity or thought a work of art without the necessity of translating it into an independent physical form, (Oxford Dictionary of Artistic Terms, 2010).
3 LASER: A device that generates an intense beam of coherent monochromatic light by stimulated emission of photons from excited atoms or molecules. Its optical properties are exploited in holography, reading bar codes, and in recording and playing compact discs (Cambridge Scientific Dictionary, 2012).
4 Image: A picture that is produced by a camera, artist, mirror, in 2D form etc. (Merriam Webster Dictionary, 2016).
5 Object, in this research, means a real 3D object that can be perceived by the physics laws in our physical world.
6 Illusion means, in this research, an illusion caused by the eye and characterized by visually perceived images that differ from objective reality. The information gathered by the eye is processed in the brain to give a perception that does not tally with a physical measurement of the stimulus source. This is entirely different about the holographic vision that represents a full real visual scene without any kind of illusion.
7 Language, in this research, means the normal language used for communication in our daily life but using it in the context of the artwork, it became a part of the artistic processes in a verbal form.
8 Artistic style means that a particular way used to achieve an artwork, that refers to an individuality of a particular artist. This term ‘style’ usually used in traditional arts (painting, drawing, sculpture, and so on) that give a chance for the artist to show his handmade skills and therefore his individual style. Such term is no longer available to be used in conceptual art and its followers, in which artists used ready-made objects or artificial equipment to reflect only their conceptual thoughts mentally (Clarke, Citation2010).
9 Processes art means an art in which the processes of its making became the subject. Conceptual art was one of the most important artistic trends that contributed to integrate the concept of the artwork into its processes instead of showing it in its final result (Girst et al., Citation2014).
10 The expression ‘holographic interferometry’ has a double etymologic origin: ‘holography’ derives from the Greek words ‘oλoς’ and ‘γραϕειν’, meaning (to write all), whereas the term ‘interferometry’ comes from the Latin words inter, ‘ferire’ and ‘metrum’, meaning literally (a measure of the hits in-between) (Colombani and Bert Citation2007). The term technically means the holographic recording processes executed by the holographic setup.
11 A pattern, as in optics or acoustics, that results when the amplitudes of two or more coherent waves intersect in constructive or destructive interference.
12 CCD camera: A photosensitive semiconductor device that transports electric charge from one capacitor to another, allowing serial output of parallel data, typically used for digital image capture.
13 Hologram, as a word in the language, refers to the medium (the holographic plate), but holographic is an adjective of the holography that refers to the recorded object itself.
14 Transmission hologram: A type of hologram which is constructed by causing the object beam and reference beam to interfere from the same side of the holographic film or plate. In order to view the reconstructed image, semi-coherent filtered light or very coherent laser light is transmitted to the viewer through the hologram (Sergey Citation2003).
15 Object or scene beam: That part of the laser beam which is sent to the object being holographed and which is subsequently changed or modulated by the object before interfering which the reference beam on the photosensitive material (Sergey Citation2003).
16 Reference beam: That part of the laser beam which is not affected or changed by the object being holographed (Sergey Citation2003).
17 Parallax: As you change your viewpoint the relative positions of objects appear to change.
18 Relative size: More distant objects appear smaller in proportion to near objects.
19 Aerial perspective: Subject contrast decreases with increasing distance, and hues become bluish.
20 Obscuration: Nearer objects overlap farther objects.
21 Accommodation: You need to re-focus your eyes for objects at different distances.
22 Lighting contrast: Coarse contrast (modelling) and fine contrast (texture) indicate the three-dimensionality of objects.
23 Convergence: The axes of the eyes need to converge to fuse the images of nearer objects.
24 Stereopsis: Differences between the two images are recognized and interpreted by the brain as depth in the scene.
25 A photon is an elementary particle, the quantum of light and all other forms of electromagnetic radiation. In 1926 the optical physicist Frithiof Wolfers and the chemist Gilbert N. Lewis coined the name photon for these particles, and after 1927, when Arthur H. Compton won the Nobel Prize for his scattering studies, most scientists accepted the validity that quanta of light have an independent existence, and the term photon for light quanta was accepted (Field, Citation1983).
26 Spatial light modulator (SLM) is a general term describing devices that are used to modulate amplitude, phase, or polarization of light waves in space and time.