**11. References**


Like perspective, the range of positions available for viewing the subject is directly tied to the representation of the subject. These are inseparable elements, which form the image space/ viewing space continuum. However unlike perspective, where the ideal space for viewing is confined to a specific point along the x-axis, holographic representational systems range from full X, Y, Z mobility of the beholder to narrow long corridors, thin wide strips

The fundamental property which all holographic representational systems share is that they precipitate and reciprocate the movement of the beholder with further visual information distributed in space and time. From the above mentioned examples it is clear that the additional information gained by the beholder from moving though the viewing zone, rather than confirming the *simulacra* and *hyperreality* of the subject, can equally be used to introduce ambiguities of tone, colour, space and time which challenge initial assumptions.

…the capacity to give multiple interpretations is not a separate faculty invented or used by the artist. It is instead tied to a general capacity of the brain to give several interpretations, to instill meaning by applying several concepts, a capacity that is important for art in its role of acquiring knowledge. It is on this physiological basis that the prized quality of ambiguity in

Firstly, thanks to Sylvia Ross, Head of the School of Art, College of Fine Arts, The University of New South Wales, Sydney for generously approving research time to undertake the writing of this chapter. Next, thanks to several artists for willingly and speedily providing information and imagery of their works, Margaret Benyon, Patrick Boyd, Melissa Cranshaw, Jacques Desbiens, Dieter Jung, Martina Mrongovius, Seth Riskin, Andy Pepper, Martin Richardson and Sally Weber. Also thanks to Jonathan Ross for providing information on Patrick Boyd and David Pizzanelli. Profound thanks go to the inventors and developers of the representational systems discussed and to the many artists who developed the visual language of holograms. Finally, thanks to John Gage for his constant support and for

Abramson, N. (1981) *The Making and Evaluation of Holograms,* Academic Press,

Alphen, E. v. (2005) *Art in Mind How Contemporary Images Shape Thought,*University of

Baudrillard, J. (1997) *Simulacra and Simulation,*The University of Michigan Press,

Baxandall, M. (1995) *Shadows and Enlightenment,*Yale University Press, New Haven &

Benyon, M. (1994) *How is Holography Art?*, unpublished thesis (Thesis in Holography), Royal

Benton, S. A., Bove, V.M (2007) *Holographic imaging,*Wiley,ISBN0-470-22412-6, New York.

Chicago Press, ISBN0226015289, Chicago and London.

and trapezoids.

As Zeki argues:

art is built (Zeki, 2009).

**11. References** 

**10. Acknowledgements** 

reading and commenting on several drafts.

ISBN120428202 London, NY.

ISBN0472065211, Michigan.

London, ISBN0-3000-05979-5,

College of Art.

Benyon, M. (1989) 'Cosmetic Series 1986-1987', *Leonardo,* 22(3)


 http://artnews.org/gallery.php?i=166&exi=16370&Pace\_Wildenstein&James\_Turr ell [accessed


**0**

**16**

**in Optics**

Javier Gamo

*Spain*

**A Contribution to Virtual Experimentation**

Parallel to the development and popularization of Internet, the emergence of resources for on-line learning is becoming quite common in all scientific disciplines. Optics is a good example of this telelearning. Today there exist several utilities, which allow to perform virtual experiments in Optics, from a computer connected to the Internet. These web-based tools, usually developed in Java (Carnicer, 2010), are suitable to get a first introduction to the optical phenomenon, but do not allow interaction with real, on-going experimentation in the laboratory. On the other hand, websites with videos of real experiments in Optics are also common (Carreño, 2010), but usually they do not allow interaction of the user via simulation. To match both worlds, a set of software tools has been developed at the University of Alcalá, allowing *virtual* and *physical* laboratory testing of different optical phenomena through the same software platform. Developed in MATLAB (Matlab, 2010), these tools cover different topics in Optics. They are aimed to complement "classical" classroom teaching on engineering studies. Current developments include Diffraction, Radiometry and Photometry, Acousto-Optics interaction, Moiré phenomenon, and Computer-Generated Holograms (CGHs)1. In this chapter, only diffraction-related phenomena will be described.

The **theoretical background** module introduces the student to the optical phenomenon. Then, by using the **simulation** module, the user can make simulations of the phenomenon using the power and flexibility of MATLAB. Interaction and/or comparison with real, physical experiments can be achieved through the **laboratory experimentation** module. At any time,

<sup>1</sup> The list of covered optical phenomena is being extended, to include more optical topics such as Theory

**1. Introduction**

**2. Module structure**

• Theoretical module • Simulation module

• Laboratory experimentation module

the user can get interactive help on each module.

of Color, Geometrical Optics and Optical Fibers, among others

Each software tool is developed under the following structure:

*Department of Electronics - University of Alcalá*

