The art of the last fifty years has significantly surrounded the presence of the body, the relationship between human and interactive technologies. Today in interactive art, there are not only representations that speak of the body but actions and behaviours that involve the body. In holography, the image appears and disappears from the observer’s vision field; because the holographic image is light, we can see multidimensional spaces, shapes and colours existing on the same time, presence and absence of the image on the holographic plate. And the image can be flowing in front of the plate that sometimes people try touching it with his hands. That means, to the viewer will be interactive events, with no beginning or end that can be perceived in any direction, forward or backward, depending on the relative position and the time the viewer spends in front of the hologram. To explore that feature we are proposing an installation with four holograms, and several sources of different kind of sounds connected with each hologram. When viewers will move in front of each hologram they will activate different sources of sound. The search is not only about the images in the holograms, but also the looking for different types of sounds that this demand will require. The digital holograms were produced using the HoloCam Portable Light System with the 35 mm camera Canon 700D to capture image information, it was then edited on computer using the Motion 5 and Final Cut Pro X programs.
In this series of digital art holograms and lenticulars, we used the HoloCam Portable Light System with the 35 mm cameras, Canon IS3 and the Canon 700D, to capture the image information, it was then edited on the computer using Motion 5 and Final Cut Pro X programs. We are presenting several actions in the digital holographic space. The figures are in dialogue within the holographic space and the viewer, in front of the holographic plate. In holography the time of the image is the time of the viewer present. And that particular feature is what distinguishes digital holography from other media.
Through two temporal modalities, the time of the holographic image (the performance recorded time) and the performance time of the public, we create “a new space for the image”, whose structure is influenced by the holographic images and the public as performer. In the tension between the action space of the participants and the virtual space of holographic images, it exists the time image that goes beyond the issue of the movement and has a direct relationship with the participant’s thought.
In this series of digital holographic images and lenticulars, we are using an old camera Canon IS3 and a new HD Canon, on the HOLOrail, to capture old fashion scenes and other scenes having a “nowadays” look and put them on the surface of the holographic plate.
In this series of digital art holograms and lenticulars, we are examining different kinds of movement inside the digital holographic space explored by Elizabeth Sandford-Richardson, a visual performance artist. During the process of capturing the image, we used the HoloCam Portable Light System, equipped with Canon and Nikon cameras positioned at different heights and angles, in order to improve the rendering of the holographic space. Based on the “Performativity of Performance Documentation” a notion introduced by Philip Auslanderi we revisit some authors that have been working in the “theatrical” practise, mainly in photography, adding the possibility of movement in 3D space. We must realise that the movement of the viewer in front of a digital holographic image creates the performance that he/she is looking at. We should consider the physical space, outside the hologram, and this kind of “performance acts”, also part of the work. In summary, we propose a reflection on the digital holographic space, time, movement and its place in contemporary art.
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