Exploring the threshold of perception and reverie for a display hologram

Paula H. Dawson

doi:10.1117/12.236048

25 March 1996 Exploring the threshold of perception and reverie for a display hologram

Paula H. Dawson

Proceedings Volume 2652, Practical Holography X; (1996) https://doi.org/10.1117/12.236048
Event: Electronic Imaging: Science and Technology, 1996, San Jose, CA, United States

Abstract

The subjects of display holograms tend to fall into 3 categories--those which aspire to replicate their real world counterparts, those which through the conventions of graphics, text or diagrams represent abstract information and those which record holographic phenomena of subjects. In designing a holographic shrine for a Catholic Church in Australia the modes of representation available through the history of art and their bearing on holographic image types were examined. The most highly symbolic elements of the image were recorded by interferometric techniques in order that they appeared to be made only from light and darkness. To enable the viewer to make a transition from perception to reverie it was necessary for the scale of the image to encourage z axis eye movement. This experiences of staring into space, was achieved by leading attention from near to far ground objects along the omnidirectional segments of a highly embellished geodesic dome. Links between near and far ground objects were made through the use of darkness, in particular by the intentional overexposure of several hundred live flowers which form part of the dome texture. The combination of replication of material objects and holographic phenomena produce a non literal conjunction which stimulates a contemplative response in the viewer.

Citation Download Citation

Paula H. Dawson "Exploring the threshold of perception and reverie for a display hologram", Proc. SPIE 2652, Practical Holography X, (25 March 1996); https://doi.org/10.1117/12.236048

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KEYWORDS

Holography

Holograms

Heart

Visualization

3D image reconstruction

Image processing

Eye

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