Abstract
This article investigates a decision every holographer makes: where to place light-forms along the z-axis, given the power of light imagery. This choice governs what sits behind the plate, what is on the surface and what projects in front of the plate toward the viewer. After considering ways that the placement of imagery sets the stage for viewers to respond to a holographic narrative, examples are offered from a series of reflection holograms. These examples are drawn from a continuing creative practice which explores aspects of narrative within the unique parameters of holographic volume.
Highlights
Picturing the Z-AxisEven forgetting high-school algebra, most people can navigate locations using the x-axis and y-axis of Descartes’ coordinates
I made a series of large holograms where text and found objects float in volumes of color—non-linear narratives in a teasing relationship with science
Hologram viewers are primed for the narrative power of a light-form, especially when that light-form defies logic floating in front of the surface on the z-axis—it is as if they see the world in a grain of sand
Summary
Even forgetting high-school algebra, most people can navigate locations using the x-axis and y-axis of Descartes’ coordinates. Light imagery can attract and engage the viewer by leaping out of the frame, defying the norms of a two-dimensional picture. Narrative is usually constructed as a sequence of images, where viewers extract meaning by following a line from left to right on the horizontal x-axis, down the y-axis to the line. A hologram allows the viewer to move away from the surface: we have two options along the z-axis in addition to imaging on the surface. Arts 2020, 9, 1 led me to question what was compelling about creating a light-form to represent an object. I made a series of large holograms where text and found objects float in volumes of color—non-linear narratives in a teasing relationship with science. You got a lot of picture in the one frame.”
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