The Visual Language of Holograms

Abstract

Any medium which represents three-dimensional space via a two-dimensional plane employs a representational system. Perspective, a system in which lines, which recede from the foreground to the horizon, create the illusion of depth by converging to the vanishing point has become the dominant means of representing space in western civilisation. Just like other representational systems, display holograms represent space in an abstract way through a series of conventions, which are defined by recording procedures and replay methods. The holographic representational system is so radically different from perspective, enabling the subject to appear in front of, straddling, or behind the hologram plane, that at times it seems invisible to viewers who believe they see the subject by a kind of magic. Even astute theorists, Umberto Eco (Eco,1987) who saw holograms as hyperreal, and Jean Baudrillard (Baudrillard,1997) who thought of them as simulacra, were implying that the hologram did not have a representational system, that it was a replica of reality. Though holograms can have a high level of spatial verisimilitude, this is variable, as is the resolution, spectral range, blur and the shape and location of the viewing zone. A primary aim of this chapter is to introduce the properties of the representational systems of several hologram types, including HOE holographic optical elements, laser transmission, white light reflection, ’rainbow’ white light transmission, white-light transmission holographic stereograms and printed synthetic holograms. Secondly the chapter will trace how the expressive potential of pictorial qualities such as light and darkness, transparency, reflections, colour and impossible forms operate within these representational systems. Case studies by artists such as, Margaret Benyon, Rudie Berkhout, Brigitte Burgmer, Salvador Dali, Paula Dawson, Jacques Desbiens, Mary Harman, Dieter Jung, Eduardo Kac, Martina Mrongovius, Seth Riskin, Andy Pepper, Martin Richardson, James Turrell, Doris Vila and Sally Weber will be examined. Occasional comparison will be made between the effect of using the same pictorial qualities – light, darkness, transparency, reflections, colour and impossible forms in holograms and in other traditional media. Thirdly, the chapter looks at some factors, which are likely to impact on viewer reception and interpretation of the visual language of holograms: the bodily experience of interaction with the holographic image, the physiological and psychological aspects of depth perception and other influences such as historic genres and the associations of related media.