Holography in the history of Comtemporary Art
CC Attribution 3.0 Unported:
You are free to use, adapt and copy, distribute and transmit the work or content in adapted or unchanged form for any legal purpose as long as the work is attributed to the author in the manner specified by the author or licensor.
Garcia-Robles, Rocío
Art movements such as Op-Art, Kinetic Art, Light Art and Conceptual Art have been predecessors as well as contemporary tendencies to the use of holography as an art media. Apart from the obvious historical nexus, there are relevant technical, formal and significant similarities and differences in relation to some of the works created by relevant artists as well as to the main features of those art tendencies. This paper explains the conclusions on a study from a triple semiotic approach: lexical, semantic and pragmatic. On the other hand, holography is an art media, such as painting, sculpture, printmaking, photography, cinema, etc. Like all of these, holography offers some essential features that are unique and representative of the possibilities of the media itself. In this paper we explore those features as well as some key issues in relation to the aesthetics of holography media. An ontological review is undertaken for contextualizing holography according to the Perception Aesthetic, the Participative Aesthetic and the Generative Aesthetic related concepts. Finally, in order to contextualize holography in relation to the most contemporary art tendencies, we explore the relationship between holography and digital media. As photography forced painting to redefine itself in the nineteenth century, nowadays computers have a similar effect on both traditional and other emerging artistic media such as holography. According to experts in the field, some of the most outstanding characteristics of digital media are: Immateriality, Reproducibility, Time Essence, Interactivity and Non-Linearity. This paper explores the possibilities offered by holography in that emerging digital framework.
 Good morning everybody. Wait a minute. I will open this. Okay. Thanks for coming to my presentation. My name is Rocio García Robles. I'm coming from the University of Seville at the South of Spain. I'm currently working as an assistant teacher at the university on computer science, but I started also fine arts and I'm currently doing my PhD thesis on the history of holography art. So that's the reason why I'm here. I hope you will find interest in my research. So my research... Okay. In my presentation, I will explain some of the issues that I have addressed in my paper, but because I have only 20 minutes and also, you know, there is a very, very famous proverb that says that the part reflects the whole. I have decided to select only some topics and I will go into details on this part. But I already made the presentation of all the slides for the whole paper, although I only focus on the first one. What we will see is... I will try to explain to you some of the similarities that I found between the works of arts and art projects and their taking by artists using holography and the main features of some relevant contemporary trends. I want to clarify that I'm not trying to classify anybody or any work, but my aim is to find some clues in order to contextualize what your work in a contemporary art framework. Okay. I will analyze those similarities from four different approaches. Lexical, syntactic, semantic, and pragmatic. Lexical is related to the art techniques and also to the information channel, while syntactic is more related to the network relationships between the lexical elements. The semantic is related to the possible meanings and interpretations. Finally, pragmatic is related to the influence of art on the social context. So the first two approaches, lexical and syntactic, are more related to the morphological issues. I mean to the visual appearance of the artworks. Sorry. I have selected some contemporary art tendencies, the ones I consider the most relevant in relation to the work made by artists using holography. And in fact, there are three groups of tendencies that I will analyze. Neofigurative tendencies that include pop art and sapper realimes or photo realimes. Neoconcrete and technological tendencies as up art, kinetic, and light art. And also conceptual art tendencies from the point of view of the postmodernist aesthetic and also taking into account two tendencies in the conceptual art trend, the linguistic and empirical media. So first tendency I analyze is the pop art tendency. And I have selected these pictures to try to explain to you that there are some syntactic and lexical similarities between the visual aesthetic of both works. You can recognize this is a very famous work by Andy Warhol. And a work, holography work by John Kaufman. And in both of them the use of high hue values in terms of the colors make them close from the visual aesthetic point of view. But in the case of holography, we have also the potential of exploring the dynamic interaction of colors. From the semantic point of view, it is more difficult to find concidence between pop art and the work I have been studying. Because I haven't found, maybe you can help me, I haven't found any hologram of the object that has been made with the purpose of trying to transform it in a social icon as it was the purpose and the goal of many pop artists such as Andy Warhol. But it is easier to find artists using holography who have used objects for conceptual purposes as we will see later on. So the second tendency I will spend to you is the supper, realings or photorealings. On one hand from lexical and syntactic perspective, holography as in photographic media has been often used to reproduce the actual appearance of the recorded scene. But on the other hand, most of the works of art of the supper, realings, share with the holography images the paradox of looking so real although they are not. So they are tricky to the human sensory capacity concerning sight and tactile sense mainly. From the semantic point of view, it is easier to find, it is also easy to find a coincidence because in supper realings, it is very usual to find social themes represented in the works. And there are many examples of holographic works with feminist, homosexual, ecological and many other social perspectives. So I have included two images, one of the Margaret Bayon cosmetic series of the female series and also an installation related to the ecological theme by Philip Boyson, it is called Gaia. The third group of tendencies I will spend to you is the op art, kinetic and light art. First of all I want to say that from an historical point of view, it is possible to find references on the literature with connect or holographic works with those tendencies. And in fact I will tell you just three of them. Marc-Chan Fith is a professor, very famous in the Spanish literature and he categorized holography as a type of lighting environment. In his book, The Arte Conceptuala, La Larte del Concepto. Another example is found in the book The Art of the Electronic Age, written by Frank Popper. The second chapter is devoted to what is called Laser and Holographic Art. Finally, the most recent literature, really one literature I have found connecting these tendencies with the holographic work is the Holographic Network. It is a book edited by Dieter Jung and in this book this synergy is also analyzed. So I want also to say that in fact it is not easy to find literature on history of art that take into account holographic works. So these three are quite relevant ones. So on one hand one of the immateriality can be considered as a linking feature in relation to the works, the holographic works and also some artworks well known of these tendencies. But indeed the immateriality, this characteristic justifies that some works are described as holographic while they are not. And we have two examples here. Paul Freelanders is this pictures about a kinetic sculpture. He uses a string rotating and projected images. And he got similar aesthetic to holographic images. And Hiro Yamagata, this is a picture of one of his installations. Hiro Yamagata, sometimes he uses holographic surface but he normally doesn't use the holographic in the sense we are talking here. I have this is something, this reflection has an important consequence because from the pragmatic point of view the society and also we can see it in the science fiction literature, everything that looks a vanes-ten and three dimensional is called holographic. So this is a contribution also of this media, of this aesthetic to the history of art. Okay. Moreover, there are artists of op-art, kinetic and light art such as Lubith, building from Malina, Bruce Nauman, Dan Flavin that can be considered as predecessor who has inspired artists using holographic media. And even some of them, for example, Bruce Nauman, we have a picture in this slide, who had been using holographic media for experimental purposes. Those works of art makes us think, I mean the works of art of this tendency make us think about another common syntactic issue which is the need of good lighting configuration as a key factor for getting the right visualization. Also an example of a explicit link between op-art, kinetic art and some work made using holography is a work by Jacob Agam, a kinetic sculpture with a hologram at the top. In this case, Agam has been serving the aesthetic exploitation of what Trumpopers call the perceptual essence of the image. So another interesting commonality is the preference for the geometric subjects by artists of these tendencies and holographic work. Some of the most outstanding artists who have been using holography for this type of research, for example, Rudy Beckhout, Dieter Jung, or Marianne Decozette, we have a picture also. There are also some syntactic similarities between works of this tendency and holographic works. In fact, in the literature, these work of art are described according to four types of movements, virtual chromatic movement, virtual interference movement, virtual temporal movement and real temporal movement. So let's analyze all of them. The virtual chromatic movement is a characteristic of the chromatic and illustration tendency of the USA op-art trend. One example is Joseph Albert's work on the interaction of color. So the same type of chromatic dynamics can be explored using holography. In fact, one example is, for example, Dieter Jung's work. You can see also in the slides. Individual perception is conditioned in the case of holographic work by so many factors such as this tank, height, lighting angle, that it could be said that this virtual chromatic movement turns into a completely subjected personal experience. And this is also a contribution of the holographic media. The virtual interference movement, the second type of movement, is representative of the European op-art tendency. And a good example of this type of movement can be found in Victor Vasarelli or Jean-Pierre Iveral's work. In those types of work, virtual movement is devoted to the perception of the patterns in which the smallest single elements produce interference perception phenomena, depending on the density of the proximity of the elements. So we can find some experimental work and then taken by artists such as Sinyaki Megidistain. Yesterday I discovered one good example about this in his work, in the exhibition. And also, for example, Dieter Jung is a good example. Dieter Jung also uses patterns as a conceptual expression of holings and networking. The third type of movement is the virtual temporal movement. And this characteristic of the human visual perception is related to the retina persistence principle. And it is the base for the cinematographic effects. In the case of the holograms, all the frames are safe normally in the same plate by virtue of the multishannel property, as you already know. So this aesthetic resource has been widely used by the artist community using holography. Some of the stereotypes we saw yesterday are a good example. I included a video, but I decided to keep it away. And the last movement is the real temporal movement, which is a main feature of the kinetic and light art tendencies. It is produced by the real movement of the physical objects or light bulbs or lasers. And in the case of holography, it can be produced by the movement of the holograms. A good example is this mobile. It's a work by Sepsuko Ishii. Although it is a resource that has been used, it is more common to find holography works in which the artists leave spectators to move themselves around the works, being then this concept more closely related to the previous type of movement, the virtual temporal movement. Okay. So in these tendencies, many artists have been working with the domain of the space and the time domain. And this is something that it is also explored using the holography media. So a good example, we can find some examples, for example, in Poladauson, Bayon and Gamboza or Gustav Hamos works. And we will discuss it later on. After reviewing all these artworks, it is possible to discern two main tendencies inside holography, abstract and realistic imaging holography. Therefore, from the pragmatic point of view, we can conclude that holography is the only light media by means of which the figurative imaging based purely on light is being explored. And this fact could be considered an original contribution of holography to the history of visual art. One proof of that is the fact I was explaining before. The term holography is used for any kind of vanishing three-dimensional imaging. And also, well, that's the conclusion. The abstract holography tendency is closer related to the morphological features of the representative artworks of all of our kinetic and light art. I have included in the slide one example of the realistic trends and of the abstract trends. One by Martin Richardson and the other by Rudy Bergaut. I have more information in my paper about that. Okay. So let's continue with the last group of tendencies, the conceptual art tendency. An interesting link between conceptual art features and the holographic aesthetic is, again, the immateriality. Because in fact, some theoreticians like Vicente Carreton or Peter Seck had used this argument for justifying the potentiality of holography media in relation to the post-modern aesthetic. Nevertheless, there are some issues that must be considered concerning the two main tendencies inside the conceptual art. There are two main tendencies, the linguistic tendency and the empirical media tendency. So from the linguistic tendency perspective, the hologram couldn't be described as purely material because due to the material essence of the hologram of the player of the film, but even on the case of the most radical linguistic tendency, the materialization is impossible because even the written or the spoken words are cultural objects, are perceptive and have an inputted meaning. So that's the main reason for arguing that the convenience of describing the holographic conceptual words as closely related to the empirical media tendency, far from the tautological reflection of the linguistic tendency. The empirical media tendency does not advocate on the complete dematerialization of the work, but it replaces it by refusing the traditional physicality of the object in favor of a more immaterialized form of energy. And probably you will agree with me that there is no more other dematerialized energy that delights itself, which is the essence of the holographic image. So therefore, materiality is, to conclude, materiality is reduced to the support in the case of the holographic media and it is the self-reference of light per se what makes holography, and especially suitable media for conceptual artworks. Also, the empirical media tendency is characterized by interdisciplinarity and intermediality. And this is something that is very usual also in holographic works. We have some examples here by Doris Mila, Pascal Guchette, Sally Weber and Melissa Crenshaw. Conceptual works are also characterized because it demands new means of elaboration. Photography, cinema, video and computer are the media more often used, more often used, but holography is a media as good as any other for serving the spatial and temporal domains and the conceptual research. Okay, so. In this slide, I have included some examples of conceptual works, holographic conceptual works, but after what I said before, I think the strongest connection between conceptual art and the work by some artists who have been using holography is the art project itself. We have good examples in these works. I will not explain in detail, but in my paper I explained something about CAC work, on all of poetry and Bayesian and Gamble works on Vivio Manzi. It is also remarkable the use of daily life objects in their work. As you can see here, in the contextualization exercise, which seems to be very contemporary, but at the same time historically connected to the shampe ready-made or even to Andy Warhol's Breaker books, for example. So concerning post-modern aesthetic, it is possible to find examples of the use of appropriateness, fragmentation and the construction, which are characteristics of the post-modern aesthetic in holographic work. In my paper, I explained, I compare, for example, the contextualization exercise made by Troy Browntuch in this piece of the third Reich, or many in the city by Robert Longo. The appropriateness exercise made by Richard Prince in his Marvoros series. I compared to Patrick Boyce and Gustave Hamos and also David Pisanelli work, because they use real-life images and they de-contextualize them to input new meaning. Finally, as the last example on appropriateness and the construction, I compare, for example, Louis Lowler's arrangement artwork with Paolo Dawson's work to the absent friends. Lowler made pictures of artworks placed at the indoors of museums and other less glamorous locations, involving the spectator in the reflection of the museum strategies, which enable or disable those artworks to be idolized by the general public. On Dawson's case, the scent of memory, virtually lodged in a specific architecture, happens very frequently in her work. The bar is in some ways an attempt to visualize the relationship between memory, object, present, and past in a visual way. These are the authors' work. Dawson and Lowler are both trying to confront the spectator with familiar situations, looking for the spectator's further reflections. Dawson uses appropriateness, fragmentation, and simulation to enhance her conceptual purposes. Finally, the conclusion I have made is a short review about some outstanding features of the most related contemporary art tendencies. In the rest of my paper, I analyze also, I compare holography media with other media, and also I contextualize holography in the digital age framework. So my purpose has been to document the artist's aesthetic reflections about their artwork, as well as to contextualize the possibilities of holography in relation to the dynamic nature of contemporary art. Okay, thanks a lot. Yes, one more thing. I want to tell you that you can't imagine how much I enjoyed yesterday, even I didn't eat anything, because I had the chance to see all these holograms that I didn't see, I only saw them on internet. So I want to thank you, Jonathan Rose, Martin Richardson, and all the organizers and the artists for giving me these opportunities. And also I want to take the chance to ask the artists for further collaboration in order to get a better picture of your actual motivations and artistic approaches. I don't want to disturb you too much, so I will give you my card, and if you allow me, I will write you an email and ask you further about your work, because I'm very interested. I have to thank you also publicly to Dr. Benjoran, because he gave me the chance to make a practical work in the University of Lund last year. So thanks a lot. Any questions? Okay, that was fantastic. Thank you so much, Rockett.
 Good morning everybody. Wait a minute.  I will open this.  Okay. Thanks for coming to my presentation.  My name is Rocio García Robles.  I'm coming from the University of Seville at the South of Spain.  I'm currently working as an assistant teacher at the university  on computer science, but I started also fine arts  and I'm currently doing my PhD thesis on the history of holography art.  So that's the reason why I'm here.  I hope you will find interest in my research.  So my research...  Okay.  In my presentation, I will explain some of the issues  that I have addressed in my paper, but because I have only 20 minutes  and also, you know, there is a very, very famous proverb that says  that the part reflects the whole.  I have decided to select only some topics and I will go into details on this part.  But I already made the presentation of all the slides for the whole paper,  although I only focus on the first one.  What we will see is...  I will try to explain to you some of the similarities that I found  between the works of arts and art projects  and their taking by artists using holography  and the main features of some relevant contemporary trends.  I want to clarify that I'm not trying to classify anybody or any work,  but my aim is to find some clues in order to contextualize  what your work in a contemporary art framework.  Okay.  I will analyze those similarities from four different approaches.  Lexical, syntactic, semantic, and pragmatic.  Lexical is related to the art techniques and also to the information channel,  while syntactic is more related to the network relationships  between the lexical elements.  The semantic is related to the possible meanings and interpretations.  Finally, pragmatic is related to the influence of art on the social context.  So the first two approaches, lexical and syntactic,  are more related to the morphological issues.  I mean to the visual appearance of the artworks.  Sorry.  I have selected some contemporary art tendencies,  the ones I consider the most relevant in relation to the work  made by artists using holography.  And in fact, there are three groups of tendencies  that I will analyze.  Neofigurative tendencies that include pop art and sapper realimes or photo realimes.  Neoconcrete and technological tendencies as up art, kinetic, and light art.  And also conceptual art tendencies from the point of view of the postmodernist aesthetic  and also taking into account two tendencies in the conceptual art trend,  the linguistic and empirical media.  So first tendency I analyze is the pop art tendency.  And I have selected these pictures to try to explain to you  that there are some syntactic and lexical similarities  between the visual aesthetic of both works.  You can recognize this is a very famous work by Andy Warhol.  And a work, holography work by John Kaufman.  And in both of them the use of high hue values in terms of the colors  make them close from the visual aesthetic point of view.  But in the case of holography, we have also the potential  of exploring the dynamic interaction of colors.  From the semantic point of view, it is more difficult to find  concidence between pop art and the work I have been studying.  Because I haven't found, maybe you can help me,  I haven't found any hologram of the object that has been made  with the purpose of trying to transform it in a social icon  as it was the purpose and the goal of many pop artists such as Andy Warhol.  But it is easier to find artists using holography  who have used objects for conceptual purposes as we will see later on.  So the second tendency I will spend to you is the supper,  realings or photorealings.  On one hand from lexical and syntactic perspective,  holography as in photographic media has been often used  to reproduce the actual appearance of the recorded scene.  But on the other hand, most of the works of art of the supper,  realings, share with the holography images the paradox  of looking so real although they are not.  So they are tricky to the human sensory capacity concerning  sight and tactile sense mainly.  From the semantic point of view, it is easier to find,  it is also easy to find a coincidence because in supper realings,  it is very usual to find social themes represented in the works.  And there are many examples of holographic works with feminist,  homosexual, ecological and many other social perspectives.  So I have included two images, one of the Margaret Bayon  cosmetic series of the female series and also an installation  related to the ecological theme by Philip Boyson, it is called Gaia.  The third group of tendencies I will spend to you is the  op art, kinetic and light art.  First of all I want to say that from an historical point of view,  it is possible to find references on the literature with connect  or holographic works with those tendencies.  And in fact I will tell you just three of them.  Marc-Chan Fith is a professor, very famous in the Spanish literature  and he categorized holography as a type of lighting environment.  In his book, The Arte Conceptuala, La Larte del Concepto.  Another example is found in the book The Art of the Electronic Age,  written by Frank Popper.  The second chapter is devoted to what is called Laser and Holographic Art.  Finally, the most recent literature, really one literature I have found  connecting these tendencies with the holographic work is the  Holographic Network.  It is a book edited by Dieter Jung and in this book this synergy is also analyzed.  So I want also to say that in fact it is not easy to find literature on  history of art that take into account holographic works.  So these three are quite relevant ones.  So on one hand one of the immateriality can be considered as a  linking feature in relation to the works, the holographic works  and also some artworks well known of these tendencies.  But indeed the immateriality, this characteristic justifies that some  works are described as holographic while they are not.  And we have two examples here.  Paul Freelanders is this pictures about a kinetic sculpture.  He uses a string rotating and projected images.  And he got similar aesthetic to holographic images.  And Hiro Yamagata, this is a picture of one of his installations.  Hiro Yamagata, sometimes he uses holographic surface but he normally  doesn't use the holographic in the sense we are talking here.  I have this is something, this reflection has an important consequence  because from the pragmatic point of view the society and also we can see it  in the science fiction literature, everything that looks a  vanes-ten and three dimensional is called holographic.  So this is a contribution also of this media, of this aesthetic to the  history of art.  Okay.  Moreover, there are artists of op-art, kinetic and light art such as  Lubith, building from Malina, Bruce Nauman, Dan Flavin that can be  considered as predecessor who has inspired artists using holographic media.  And even some of them, for example, Bruce Nauman, we have a picture in this slide,  who had been using holographic media for experimental purposes.  Those works of art makes us think, I mean the works of art of this  tendency make us think about another common syntactic issue which is the  need of good lighting configuration as a key factor for getting the right  visualization.  Also an example of a explicit link between op-art, kinetic art and some work  made using holography is a work by Jacob Agam, a kinetic sculpture with a  hologram at the top.  In this case, Agam has been serving the aesthetic exploitation of what  Trumpopers call the perceptual essence of the image.  So another interesting commonality is the preference for the geometric  subjects by artists of these tendencies and holographic work.  Some of the most outstanding artists who have been using holography for this  type of research, for example, Rudy Beckhout, Dieter Jung, or Marianne  Decozette, we have a picture also.  There are also some syntactic similarities between works of this  tendency and holographic works.  In fact, in the literature, these work of art are described according to  four types of movements, virtual chromatic movement, virtual interference  movement, virtual temporal movement and real temporal movement.  So let's analyze all of them.  The virtual chromatic movement is a characteristic of the chromatic and  illustration tendency of the USA op-art trend.  One example is Joseph Albert's work on the interaction of color.  So the same type of chromatic dynamics can be explored using holography.  In fact, one example is, for example, Dieter Jung's work.  You can see also in the slides.  Individual perception is conditioned in the case of holographic work by  so many factors such as this tank, height, lighting angle, that it could be  said that this virtual chromatic movement turns into a completely  subjected personal experience.  And this is also a contribution of the holographic media.  The virtual interference movement, the second type of movement, is representative  of the European op-art tendency.  And a good example of this type of movement can be found in Victor  Vasarelli or Jean-Pierre Iveral's work.  In those types of work, virtual movement is devoted to the perception of the  patterns in which the smallest single elements produce interference  perception phenomena, depending on the density of the proximity of the elements.  So we can find some experimental work and then taken by artists such as  Sinyaki Megidistain.  Yesterday I discovered one good example about this in his work, in the exhibition.  And also, for example, Dieter Jung is a good example.  Dieter Jung also uses patterns as a conceptual expression of holings and networking.  The third type of movement is the virtual temporal movement.  And this characteristic of the human visual perception is related to the  retina persistence principle.  And it is the base for the cinematographic effects.  In the case of the holograms, all the frames are safe normally in the same plate  by virtue of the multishannel property, as you already know.  So this aesthetic resource has been widely used by the artist community using  holography.  Some of the stereotypes we saw yesterday are a good example.  I included a video, but I decided to keep it away.  And the last movement is the real temporal movement, which is a main feature  of the kinetic and light art tendencies.  It is produced by the real movement of the physical objects or light bulbs or lasers.  And in the case of holography, it can be produced by the movement of the holograms.  A good example is this mobile.  It's a work by Sepsuko Ishii.  Although it is a resource that has been used, it is more common to find holography  works in which the artists leave spectators to move themselves around the works,  being then this concept more closely related to the previous type of movement,  the virtual temporal movement.  Okay.  So in these tendencies, many artists have been working with the domain of the space  and the time domain.  And this is something that it is also explored using the holography media.  So a good example, we can find some examples, for example, in Poladauson,  Bayon and Gamboza or Gustav Hamos works.  And we will discuss it later on.  After reviewing all these artworks, it is possible to discern two main tendencies  inside holography, abstract and realistic imaging holography.  Therefore, from the pragmatic point of view, we can conclude that holography is the only light media  by means of which the figurative imaging based purely on light is being explored.  And this fact could be considered an original contribution of holography to the history of visual art.  One proof of that is the fact I was explaining before.  The term holography is used for any kind of vanishing three-dimensional imaging.  And also, well, that's the conclusion.  The abstract holography tendency is closer related to the morphological features of the representative artworks  of all of our kinetic and light art.  I have included in the slide one example of the realistic trends and of the abstract trends.  One by Martin Richardson and the other by Rudy Bergaut.  I have more information in my paper about that.  Okay.  So let's continue with the last group of tendencies, the conceptual art tendency.  An interesting link between conceptual art features and the holographic aesthetic is, again, the immateriality.  Because in fact, some theoreticians like Vicente Carreton or Peter Seck had used this argument  for justifying the potentiality of holography media in relation to the post-modern aesthetic.  Nevertheless, there are some issues that must be considered concerning the two main tendencies inside the conceptual art.  There are two main tendencies, the linguistic tendency and the empirical media tendency.  So from the linguistic tendency perspective, the hologram couldn't be described as purely material  because due to the material essence of the hologram of the player of the film,  but even on the case of the most radical linguistic tendency,  the materialization is impossible because even the written or the spoken words are cultural objects,  are perceptive and have an inputted meaning.  So that's the main reason for arguing that the convenience of describing the holographic conceptual words  as closely related to the empirical media tendency, far from the tautological reflection of the linguistic tendency.  The empirical media tendency does not advocate on the complete dematerialization of the work,  but it replaces it by refusing the traditional physicality of the object in favor of a more immaterialized form of energy.  And probably you will agree with me that there is no more other dematerialized energy that delights itself,  which is the essence of the holographic image.  So therefore, materiality is, to conclude, materiality is reduced to the support in the case of the holographic media  and it is the self-reference of light per se what makes holography,  and especially suitable media for conceptual artworks.  Also, the empirical media tendency is characterized by interdisciplinarity and intermediality.  And this is something that is very usual also in holographic works.  We have some examples here by Doris Mila, Pascal Guchette, Sally Weber and Melissa Crenshaw.  Conceptual works are also characterized because it demands new means of elaboration.  Photography, cinema, video and computer are the media more often used, more often used,  but holography is a media as good as any other  for serving the spatial and temporal domains and the conceptual research.  Okay, so.  In this slide, I have included some examples of conceptual works, holographic conceptual works,  but after what I said before, I think the strongest connection between conceptual art and the work by some artists  who have been using holography is the art project itself.  We have good examples in these works.  I will not explain in detail, but in my paper I explained something about CAC work,  on all of poetry and Bayesian and Gamble works on Vivio Manzi.  It is also remarkable the use of daily life objects in their work.  As you can see here, in the contextualization exercise, which seems to be very contemporary,  but at the same time historically connected to the shampe ready-made or even to Andy Warhol's Breaker books, for example.  So concerning post-modern aesthetic, it is possible to find examples of the use of appropriateness,  fragmentation and the construction, which are characteristics of the post-modern aesthetic in holographic work.  In my paper, I explained, I compare, for example, the contextualization exercise made by Troy Browntuch  in this piece of the third Reich, or many in the city by Robert Longo.  The appropriateness exercise made by Richard Prince in his Marvoros series.  I compared to Patrick Boyce and Gustave Hamos and also David Pisanelli work,  because they use real-life images and they de-contextualize them to input new meaning.  Finally, as the last example on appropriateness and the construction,  I compare, for example, Louis Lowler's arrangement artwork with Paolo Dawson's work to the absent friends.  Lowler made pictures of artworks placed at the indoors of museums and other less glamorous locations,  involving the spectator in the reflection of the museum strategies,  which enable or disable those artworks to be idolized by the general public.  On Dawson's case, the scent of memory, virtually lodged in a specific architecture,  happens very frequently in her work.  The bar is in some ways an attempt to visualize the relationship between memory, object, present, and past in a visual way.  These are the authors' work.  Dawson and Lowler are both trying to confront the spectator with familiar situations,  looking for the spectator's further reflections.  Dawson uses appropriateness, fragmentation, and simulation to enhance her conceptual purposes.  Finally, the conclusion I have made is a short review about some outstanding features of the most related contemporary art tendencies.  In the rest of my paper, I analyze also, I compare holography media with other media, and also I contextualize holography in the digital age framework.  So my purpose has been to document the artist's aesthetic reflections about their artwork, as well as to contextualize the possibilities of holography in relation to the dynamic nature of contemporary art.  Okay, thanks a lot.  Yes, one more thing. I want to tell you that you can't imagine how much I enjoyed yesterday, even I didn't eat anything,  because I had the chance to see all these holograms that I didn't see, I only saw them on internet.  So I want to thank you, Jonathan Rose, Martin Richardson, and all the organizers and the artists for giving me these opportunities.  And also I want to take the chance to ask the artists for further collaboration in order to get a better picture of your actual motivations and artistic approaches.  I don't want to disturb you too much, so I will give you my card, and if you allow me, I will write you an email and ask you further about your work, because I'm very interested.  I have to thank you also publicly to Dr. Benjoran, because he gave me the chance to make a practical work in the University of Lund last year.  So thanks a lot.  Any questions?  Okay, that was fantastic. Thank you so much, Rockett.
Holography_in_the_history_of_Comtemporary_Art_0_47.png Holography_in_the_history_of_Comtemporary_Art_48_107.png Holography_in_the_history_of_Comtemporary_Art_108_155.png Holography_in_the_history_of_Comtemporary_Art_156_203.png Holography_in_the_history_of_Comtemporary_Art_204_251.png Holography_in_the_history_of_Comtemporary_Art_252_383.png Holography_in_the_history_of_Comtemporary_Art_384_503.png Holography_in_the_history_of_Comtemporary_Art_504_755.png Holography_in_the_history_of_Comtemporary_Art_756_887.png Holography_in_the_history_of_Comtemporary_Art_888_1127.png Holography_in_the_history_of_Comtemporary_Art_1128_1235.png Holography_in_the_history_of_Comtemporary_Art_1236_3215.png Holography_in_the_history_of_Comtemporary_Art_3216_5987.png Holography_in_the_history_of_Comtemporary_Art_5988_8627.png Holography_in_the_history_of_Comtemporary_Art_8628_11135.png Holography_in_the_history_of_Comtemporary_Art_11136_16223.png Holography_in_the_history_of_Comtemporary_Art_16224_19043.png Holography_in_the_history_of_Comtemporary_Art_19044_22871.png Holography_in_the_history_of_Comtemporary_Art_22872_25463.png Holography_in_the_history_of_Comtemporary_Art_25464_28355.png Holography_in_the_history_of_Comtemporary_Art_28356_33671.png Holography_in_the_history_of_Comtemporary_Art_33672_35171.png Holography_in_the_history_of_Comtemporary_Art_35172_36851.png Holography_in_the_history_of_Comtemporary_Art_36852_38951.png Holography_in_the_history_of_Comtemporary_Art_38952_39983.png Holography_in_the_history_of_Comtemporary_Art_39984_42365.png