**7. White light transmission holographic stereograms**

The representational system of the holographic stereogram is characterized by the spatial arrangement of an array of two-dimensional views, which correspond, to the position of the beholder relative to the subject across a horizontal field of view. Typical source image types for holographic stereograms are film footage, photographs and computer graphics all of which use perspective. A batch of any type of two dimensional perspective images is exposed firstly to the H1, which is then transferred as an H2 in order to locate the array of 2D images away from the holographic picture plane. Typically this process introduces many optical aberrations and the output stereograms have distortions. The sequences of 2D images can be of sequential side-to-side viewpoints of a static three-dimensional space or sequential side-to-side viewpoints of a dynamic space over time.

The first type of representation, of a consistent, static space can be seen in James Turrell

Pace Wildenstein 2009 exhibition of "transmission light works". In these works the position of a single shape--a triangle, rectangle, ring or a conjunction of two forms, remains static in the centre of the composition. The stereogram is replayed with monochromatic light lending the form a specific hue almost reminiscent of Bauhaus (Kandinsky) and Russian constructivist (Malevich and Kliun) correspondences between hues and forms. The conditions for stereopsis and motion parallax are satisfied. The lack of occlusion of the subject gives it a less material feeling while holding a stable spatial position (Gallery, 2009).

The second type of imagery, that of a dynamic field of information necessarily deprives the viewer both of motion parallax and stereopsis as side-by-side views now carry information about objects in displaced positions. In order to be able to track the image elements the amount of motion has to be very restricted. Too much movement of the subject in the initial 2D images will result in "time smear" where the parts of the subject do not match up in side-by-side views and consequently cause retinal rivalry. Because the animation of the holographic stereogram is activated by the walking of the viewer side to side, the motion of the subject will be read in forward and reverse.

The fluid motion of floating text in Eduardo Kac's, *Adhuk* , 1991 encourages the viewer to walk right and left to locate the point at which the letters coalesce into a word. At this point the viewer pauses. Instead of the beholder observing the three-dimensional representation of a space, the imagery instead designates that the beholder will be in a specific space in relation to the subject and the hologram plane.

Language plays a fundamental role in the constitution of our experiential world. To question the structure of language is to investigate how realities are constructed. My holograms define a linguistic experience that takes place outside syntax and conceptualise instability as a key signifying agent (Pepper, 1995).

Similar to the rainbow hologram the optimum viewing position within the viewing zone for the beholder of the rainbow stereogram lies along a line, which is at the same height as the centre of the holographic plate. The imagery can appear behind, in front of, or straddling the hologram plane. The viewing zone generally extends to the right or left of the plate or film. The locations of the horizontal boundaries of the viewing zone are variable depending on how the hologram is made.

The confines of this type of viewing zone have been used to great effect in works by Martina Mongrovious. "*Pater Noster"*, 300 X 400 mm stereogram reflection print, was first exhibited at the centre for the Holographic Arts in New York and then in the Stairwell Gallery Melbourne.

The representational system of the holographic stereogram is characterized by the spatial arrangement of an array of two-dimensional views, which correspond, to the position of the beholder relative to the subject across a horizontal field of view. Typical source image types for holographic stereograms are film footage, photographs and computer graphics all of which use perspective. A batch of any type of two dimensional perspective images is exposed firstly to the H1, which is then transferred as an H2 in order to locate the array of 2D images away from the holographic picture plane. Typically this process introduces many optical aberrations and the output stereograms have distortions. The sequences of 2D images can be of sequential side-to-side viewpoints of a static three-dimensional space or

The first type of representation, of a consistent, static space can be seen in James Turrell Pace Wildenstein 2009 exhibition of "transmission light works". In these works the position of a single shape--a triangle, rectangle, ring or a conjunction of two forms, remains static in the centre of the composition. The stereogram is replayed with monochromatic light lending the form a specific hue almost reminiscent of Bauhaus (Kandinsky) and Russian constructivist (Malevich and Kliun) correspondences between hues and forms. The conditions for stereopsis and motion parallax are satisfied. The lack of occlusion of the subject gives it a less material feeling while holding a stable spatial position (Gallery, 2009). The second type of imagery, that of a dynamic field of information necessarily deprives the viewer both of motion parallax and stereopsis as side-by-side views now carry information about objects in displaced positions. In order to be able to track the image elements the amount of motion has to be very restricted. Too much movement of the subject in the initial 2D images will result in "time smear" where the parts of the subject do not match up in side-by-side views and consequently cause retinal rivalry. Because the animation of the holographic stereogram is activated by the walking of the viewer side to side, the motion of

The fluid motion of floating text in Eduardo Kac's, *Adhuk* , 1991 encourages the viewer to walk right and left to locate the point at which the letters coalesce into a word. At this point the viewer pauses. Instead of the beholder observing the three-dimensional representation of a space, the imagery instead designates that the beholder will be in a specific space in

Language plays a fundamental role in the constitution of our experiential world. To question the structure of language is to investigate how realities are constructed. My holograms define a linguistic experience that takes place outside syntax and conceptualise

Similar to the rainbow hologram the optimum viewing position within the viewing zone for the beholder of the rainbow stereogram lies along a line, which is at the same height as the centre of the holographic plate. The imagery can appear behind, in front of, or straddling the hologram plane. The viewing zone generally extends to the right or left of the plate or film. The locations of the horizontal boundaries of the viewing zone are variable depending on

The confines of this type of viewing zone have been used to great effect in works by Martina Mongrovious. "*Pater Noster"*, 300 X 400 mm stereogram reflection print, was first exhibited at the centre for the Holographic Arts in New York and then in the Stairwell Gallery

**7. White light transmission holographic stereograms** 

sequential side-to-side viewpoints of a dynamic space over time.

the subject will be read in forward and reverse.

relation to the subject and the hologram plane.

instability as a key signifying agent (Pepper, 1995).

how the hologram is made.

Melbourne.

Fig. 9. Martina Mrongovius, *Jumping Jellies*, 2007, rainbow stereogram, 30 X 40 and 60 x cm

In both these installations I wanted the viewer to mimic ascending /descending in the image. The subject's (my) holding of the camera links the viewer's proprioception to the subject, establishing an emotional and imaginative connection of shared experience…(Mrongovius, 2009).

In *Figure 8* the beholder is propelled at an increase speed in an office wheelie chair along a horizontal line parallel to the plate at the optimum viewing distance and in *Jelly*, the beholder jumps on a trampoline to fly past the small aperture located on the vertical y-axis. Here there is a deliberate reference to the inability to see the stereogram except from a specific height.

Falling, running, jumping and skipping are descriptions of movements but also come with strong emotive connotations. In the *Jumping Jellies* installations it is the physical mimesis between your own sense of blubber and the jellyfish movement that establishes the image. The intention of this work is both playful and to illustrate how proprioception can create a reading through experience (Mrongovius, 2009).
