**2. Representational systems**

By representing space one makes programmatic statements about the kind of relationship between subject and space that is at stake when one makes an image (Alphen, 2005).

The holographic image is capable of completely renouncing illusion… moreover holography confronts the principle of illusion perception with a totally new aesthetic effect and a new model of perception, whose special characteristic is the correlation of physiological perception and psychological perception (Zec, 1989).

Holography is not just a medium to explore 3D space. We now have a medium in which it is possible to explore our own perceptions, the subtleties of human awareness (Law, 2008).

*The Broken Window* (Fig. 1) by Canadian artist Jacques Desbiens evokes the spaces of Chinese scroll painting, perspective and the holographic representational system. (Desbiens, 2009) The viewer is confronted with a visual paradox by the holographic plate containing the scroll, which contains the window, which is traversed by tree-branch and moving leaves. The scroll is positioned at the plane of the holographic plate and rolls open and closes rather like a pair of theatre curtains. Though not continuously unraveling space by one side unwinding while the other winds up, the all-important function of the scroll in revealing and hiding sections of the image is clearly indicated. The windowpanes, also located at the picture plane of the hologram, are framed as an aperture to a scene.

The window on the right, framing the scene behind, evokes a perspectival notion of the image as a window onto a world. Whereas the window pane on the left is broken and through it comes a more beautiful and intense light, a protruding branch which extends from behind the picture plane into the viewer's space and a floating leaf. These elements, the broken picture plane, the strong presence of light and the spatial and temporal distribution of the image, are key points to the holographic representational system.

Fig. 1. Jacques Desbiens, *The Broken Window*, 2006, Printed Synthetic hologram, computer graphic (not the actual hologram) of the 1100th point of view (total of 1280 points of view) 140 x 38cm.

However, the functioning holographic representational system of this synthetic reflection hologram, which enables the viewer to see the subject matter of the scroll, the window the branch and falling leaf, is not directly visible. To conceive of this representational system, like any other, it is necessary to strip away the subject matter to reveal its underpinning structure.

By representing space one makes programmatic statements about the kind of relationship

The holographic image is capable of completely renouncing illusion… moreover holography confronts the principle of illusion perception with a totally new aesthetic effect and a new model of perception, whose special characteristic is the correlation of physiological

Holography is not just a medium to explore 3D space. We now have a medium in which it is possible to explore our own perceptions, the subtleties of human awareness (Law, 2008). *The Broken Window* (Fig. 1) by Canadian artist Jacques Desbiens evokes the spaces of Chinese scroll painting, perspective and the holographic representational system. (Desbiens, 2009) The viewer is confronted with a visual paradox by the holographic plate containing the scroll, which contains the window, which is traversed by tree-branch and moving leaves. The scroll is positioned at the plane of the holographic plate and rolls open and closes rather like a pair of theatre curtains. Though not continuously unraveling space by one side unwinding while the other winds up, the all-important function of the scroll in revealing and hiding sections of the image is clearly indicated. The windowpanes, also located at the

The window on the right, framing the scene behind, evokes a perspectival notion of the image as a window onto a world. Whereas the window pane on the left is broken and through it comes a more beautiful and intense light, a protruding branch which extends from behind the picture plane into the viewer's space and a floating leaf. These elements, the broken picture plane, the strong presence of light and the spatial and temporal distribution

Fig. 1. Jacques Desbiens, *The Broken Window*, 2006, Printed Synthetic hologram, computer graphic (not the actual hologram) of the 1100th point of view (total of 1280 points of view)

However, the functioning holographic representational system of this synthetic reflection hologram, which enables the viewer to see the subject matter of the scroll, the window the branch and falling leaf, is not directly visible. To conceive of this representational system, like any other, it is necessary to strip away the subject matter to reveal its underpinning

between subject and space that is at stake when one makes an image (Alphen, 2005).

**2. Representational systems** 

140 x 38cm.

structure.

perception and psychological perception (Zec, 1989).

picture plane of the hologram, are framed as an aperture to a scene.

of the image, are key points to the holographic representational system.

Beaudrillard's and Eco's discourses, which set the tone for the appreciation of display holography, do not describe the specifics of holographic representational space. Rather they describe the effect as a *simulacra* or a part of a kitsch trend towards the *hyperreal*:

…as you shift your gaze you can see those parts of the object that you were prevented from glimpsing by the laws of perspective... Holography could only prosper in America, a country obsessed with realism, where, if a reconstitution is to be credible, it must be absolutely iconic, a perfect likeness, a "real' copy of the reality being represented (Eco, 1987). The hologram simply does not have the intelligence of trompe l'oeil, which is one of seduction, of always proceeding, according to the rules of appearances, through allusion to and ellipsis of presence (Baudrillard, 1997).

Underpinning the arguments of simulacra and hyperreal is the assumption that a hologram replicates or simulates reality, leaving no room for cultural interventions such as expression and abstraction, or a representational system, and by extension no potential for conceptual content.

By contrast, from the above example, *The Broken Window*, it is clear that the hologram is not necessarily a replication or simulation of a physically real thing, that its referents can be highly conceptual and in fact engaged with the very nature of its representational capabilities. The potential offered by the synthetic hologram's representational system clearly extends the scope of the functionality of the hologram well beyond *simulacra* and *hyperreal*. The representational systems of laser transmission holograms, holographic optical elements, one and two step reflection holograms, rainbow holograms and white-light transmission stereograms each operate in a different way and therefore make available other types of compositions. But before examining the specifics of holographic representational systems it is useful to first establish the basics of representational systems in general. These are firstly their formal abstract properties, secondly the way in which these interface with the beholder and finally the meanings which are ascribed to them.

Fundamentally, representational systems are abstract codified means by which spatial and temporal information can be represented and interpreted. They underpin the majority of the images we see. Representational systems can be employed in hand-made works such as drawings and paintings, or through optical/digital photography, film, computer generated environments, video and diffractive holograms. Depending on the representational system used, the same subject matter can have quite a different appearance. For example, visually, the image of a house using the representational system of perspective would differ from the same house rendered in oblique projection, because in perspective the rules of abstraction dictate that the lines running away from the viewer will converge to a vanishing point and in oblique projection these lines remain parallel. Both achieve the objective of abstracting the three-dimensional space in such a way that the viewer can deduce that the two-dimensional image signifies a house.

In each case the representational system shapes the way in which information about the subject will be formed into an image. In some cases the properties of one representational system can be used across many media. Perspective for example can be applied to drawings, painting, computer graphic environments and holograms. Traits of some representational systems can also be quoted or appropriated in others.

We have seen that there is a range of examples of holograms, which engage in a didactic or overt way with other representational systems, such as *The Broken Window*. Early optical holograms such as Bridget Baumer's work *Leonardo's Baby* a "Denisyuk" reflection

The Visual Language of Holograms 333

Fig. 2. Patrick Boyd *, Bartus Takes a Downtown Train*, 1990, two colour reflection hologram in

The diverse motivations behind the early development of the various range of holographic representational systems has been thoroughly documented by Sean Johnston (Johnson, 2006). Though varied, the underlying commonality of "display" holographic representational systems is that they generate new types of pictorial space in which representation can take place. The technical basis of these holographic representational systems is extensively set out by Benton, Bove et al in *Holographic Imaging* (Benton, 2007). These techniques enable unique arrangements of the viewing zone in respect to the support

Ernst Van Alphen in the chapter The Representation of Space and the Space of

The space of representation is certainly not a fixed entity. The history of art can even be seen as a sequence of changing conceptions of the space of representation. There have been periods in which representational space was defined as illusionistic space; in polemical reaction to this many twentieth century artists have devoted their careers to fighting illusionism and have instead explored the flatness of the painted image (Alphen, 2005). The three kinds of representational spaces are identified by Van Alphen as operational in two dimensional and shallow relief works, namely: the illusionistic space behind the picture surface; secondly the two-dimensional space of the picture surface and thirdly the lived space of the beholder between the image and the viewer. To describe holographic

a box, 10" x 8"x 3".

(holographic plate) and the image of the subject.

Representation has argued that :

hologram employs a physical model based on a line drawing by Leonardo da Vinci from the Codex Atlanticus. This work is engaged with the representation of anamorphic distortion, one of the artifacts of perspective within the holographic diffractive environment.

…the hologram is distorted and the plastic anamorphosis grows enormously in the pseudoscopic, so that it becomes more anthropomorphic than the model (Burgmer, 1987).

Also concerned with re-stating perspective space, but within one step laser transmission holograms, is the work by Salvador Dali, *Card Players,* which refers to the spatial composition of a painting by Diego Velasquez by employing physically built sets and live actors. Using laser transmission holography, Margaret Benyon in 1969 made a work entitled *Picasso* in which the elements of *Les demoiselles d'Avignon*, considered the essential lexicon of cubism, were represented by cardboard cutouts of the subjects of the painting placed at angles to a physical cube. As Coyle and Hayward remark:

Cubism provided one particular starting point in this area and [Benyon] responded to Cubist attempts to render three-dimensional materiality without recourse to traditional painting techniques of perspective or colouristic logic (Coyle, 1995).

Andrew Pepper used the oblique projection system to make a projected drawing, *Drawing 1 (from a series of 5)* which is recorded as an optical reflection hologram. David Pizzanelli transposed the animation process of Muybridge's original gravure photographic prints by alignment of side by side photographic views in a mirror-backed holographic stereogram on glass, *Bruno Walking to the Left,* 20 x 13cm, 1989. (Pizzanelli, 1989) When the beholder walks left to right Bruno walks to the left. When the viewer walks right to left Bruno walks backwards.

Muybridge was working several years before the invention of the cine camera, so in order to expose his plates in quick succession a number of individual cameras were triggered by the subject's passing laterally in front of each camera in turn, recording not just the motion but different perspective views of the subject…synthesized into a single three-dimensional animated scene, showing all the depth and solidity of the original event (Pepper, 1995).

The visibility of the sprockets and frame numbers in Patrick Boyd's work *Bartus takes the Downtown train* (Fig. 2) alludes to the illusion of time being generated though the series of still frames of the super 8 film. As the viewer moves across the train moves either in or out along the z axis.

The purposes of representation systems vary enormously. Some generate illusions. Others transpose salient factors of the subject to an image, which clearly can be recognized as referencing the subject, but in an abstract way. The representational systems of Cubism or a plan view do not entail what we commonly call illusions, yet they refer effectively to the subject in a symbolic way. All representational systems in some way address and reciprocate perceptual and conceptual capabilities of the beholder, for it is through these that the image is readable.

In humans the information for perception of spatial environments comes from approximately nine sources – occlusion, relative size, relative density, height in the visual field, aerial perspective, motion parallax, binocular disparities, convergence and accommodation. The relative importance of these has been shown to vary according to the size of the space the beholder occupies (Cutting, 1995). In examining holographic representational systems of different types, which operate within the zones of personal space or action space, it will be seen that some cater more to certain source types of threedimensional information than others.

hologram employs a physical model based on a line drawing by Leonardo da Vinci from the Codex Atlanticus. This work is engaged with the representation of anamorphic distortion,

…the hologram is distorted and the plastic anamorphosis grows enormously in the pseudoscopic, so that it becomes more anthropomorphic than the model (Burgmer, 1987). Also concerned with re-stating perspective space, but within one step laser transmission holograms, is the work by Salvador Dali, *Card Players,* which refers to the spatial composition of a painting by Diego Velasquez by employing physically built sets and live actors. Using laser transmission holography, Margaret Benyon in 1969 made a work entitled *Picasso* in which the elements of *Les demoiselles d'Avignon*, considered the essential lexicon of cubism, were represented by cardboard cutouts of the subjects of the painting placed at

Cubism provided one particular starting point in this area and [Benyon] responded to Cubist attempts to render three-dimensional materiality without recourse to traditional

Andrew Pepper used the oblique projection system to make a projected drawing, *Drawing 1 (from a series of 5)* which is recorded as an optical reflection hologram. David Pizzanelli transposed the animation process of Muybridge's original gravure photographic prints by alignment of side by side photographic views in a mirror-backed holographic stereogram on glass, *Bruno Walking to the Left,* 20 x 13cm, 1989. (Pizzanelli, 1989) When the beholder walks left to right Bruno walks to the left. When the viewer walks right to left Bruno walks

Muybridge was working several years before the invention of the cine camera, so in order to expose his plates in quick succession a number of individual cameras were triggered by the subject's passing laterally in front of each camera in turn, recording not just the motion but different perspective views of the subject…synthesized into a single three-dimensional animated scene, showing all the depth and solidity of the original event (Pepper, 1995). The visibility of the sprockets and frame numbers in Patrick Boyd's work *Bartus takes the Downtown train* (Fig. 2) alludes to the illusion of time being generated though the series of still frames of the super 8 film. As the viewer moves across the train moves either in or out

The purposes of representation systems vary enormously. Some generate illusions. Others transpose salient factors of the subject to an image, which clearly can be recognized as referencing the subject, but in an abstract way. The representational systems of Cubism or a plan view do not entail what we commonly call illusions, yet they refer effectively to the subject in a symbolic way. All representational systems in some way address and reciprocate perceptual and conceptual capabilities of the beholder, for it is through these

In humans the information for perception of spatial environments comes from approximately nine sources – occlusion, relative size, relative density, height in the visual field, aerial perspective, motion parallax, binocular disparities, convergence and accommodation. The relative importance of these has been shown to vary according to the size of the space the beholder occupies (Cutting, 1995). In examining holographic representational systems of different types, which operate within the zones of personal space or action space, it will be seen that some cater more to certain source types of three-

one of the artifacts of perspective within the holographic diffractive environment.

angles to a physical cube. As Coyle and Hayward remark:

backwards.

along the z axis.

that the image is readable.

dimensional information than others.

painting techniques of perspective or colouristic logic (Coyle, 1995).

Fig. 2. Patrick Boyd *, Bartus Takes a Downtown Train*, 1990, two colour reflection hologram in a box, 10" x 8"x 3".

The diverse motivations behind the early development of the various range of holographic representational systems has been thoroughly documented by Sean Johnston (Johnson, 2006). Though varied, the underlying commonality of "display" holographic representational systems is that they generate new types of pictorial space in which representation can take place. The technical basis of these holographic representational systems is extensively set out by Benton, Bove et al in *Holographic Imaging* (Benton, 2007). These techniques enable unique arrangements of the viewing zone in respect to the support (holographic plate) and the image of the subject.

Ernst Van Alphen in the chapter The Representation of Space and the Space of Representation has argued that :

The space of representation is certainly not a fixed entity. The history of art can even be seen as a sequence of changing conceptions of the space of representation. There have been periods in which representational space was defined as illusionistic space; in polemical reaction to this many twentieth century artists have devoted their careers to fighting illusionism and have instead explored the flatness of the painted image (Alphen, 2005).

The three kinds of representational spaces are identified by Van Alphen as operational in two dimensional and shallow relief works, namely: the illusionistic space behind the picture surface; secondly the two-dimensional space of the picture surface and thirdly the lived space of the beholder between the image and the viewer. To describe holographic

The Visual Language of Holograms 335

(inside out). Such changes to images which are painted, photographed or drawn cannot take place as these images and the surfaces to which they are recorded (the support) are

Fig. 3. Seth Riskin, *Figure with Crowns*, 2002, HOE, installation, Sky Art Conference, 24" x

"Display" holographic representational systems are seen though the conjunction of a light and some sort of screen or plate, which holds the interference pattern. These two elements, one intangible and the other imperceptable, the light and the interference pattern, are employed sending the diffracted light away from the screen or plate to other locations to form the image. In addition, there is residual light passing through or being reflected from the surface of the plate, depending upon on whether the hologram is played back with light passing from behind (transmission) or in front of the plate (reflection). Because the replay light is redirected by the interference pattern distributed within the volume of the photosensitive material attached to the substrate,which in the case of painting or drawing would be called the support, it is necessary for the viewer to look in the direction of this plate or film to see the image. The subject of the holographic image may appear to extend out into the viewers space but the subject can only appear in locations, which fall within the angle subtended by the viewer's eyes and the perimeter of the plate. For this reason the hologram viewing space constantly changes shape according to the position of the viewer. In most instances the replay beam is stationary and the beholder moves, whereas in this case the reference beam source, the laser diode, is attached to the moving performer who is viewed simultaneously with the changing

synonymous.

20", Ikaria, Greece.

holographic image he is influencing.

representational systems additional elements are needed – the replay light, the image space in front and through the support and also the viewing zone. The holographic viewing zone, (the volume of space in which the viewer must be located in order to see the image) is rarely the same as the volume of physical space in front of the holographic picture plane that the beholder can occupy. The beholder, as is customary, looks towards the support (holographic picture plane) in order to see the subject. The holographic image may appear to extend behind and or out into the viewer's space but it can only be seen when the beholder is inside the prescribed viewing zone.

Van Alphen has argued that though perspective's requirement of stability of the viewing position, which causes the viewer to become stationary and fixed to the ground, limits the viewer's response, compositions which bring attention to the surface exclude the viewer from pictorial space. The limited nature of the *ideal* viewing zone, or point, for perspective imagery does not prevent the beholder from seeing the image from a complete range of angles because the image and its support occupy the same two-dimensional space. However due to the physical properties of the hologram there is a limit to the range of angles through which light can be diffracted to produce an observable image and so if the beholder of a hologram walks outside this viewing zone, though still looking at the holographic picture plane, they will not see the subject at all. The beholder becomes conscious of the shape of the viewing zone and its boundaries when its edges occlude the subject, inside the angle subtended by the viewer's eyes and the perimeter of the plate.

The following examples demonstrate the way in which aspects of holographic representational systems such as the viewing zone, the hologram plane and the position of the subject are used in conjunction with other pictorial agents to convey ideas. These are works which must be experienced, as they mobilise the beholder in a complex interplay of embodied engagement over time, with spatially distributed visual information.
