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-------------- C 0 NT EN T S ---------------

Summer 1989 Number 6

Editor /Publisher Sunny Bains

Deputy Editor Martin Taylor

Contributors Simon Brown Susan Cowles David Jones Paul Hubel Vito Orazem David Pizzanelli Graham Saxby Stefan Smith Glen Wood

Published quarterly by: Holographies International BCM-Holographies London WC1N 3XX Britain. Tel: (+44 ) 01 642-8381 ISSN 0951 -3941

Advertisement Department: Geoff Harris Commu nications House George Lane, Royston Hert SG8 9AR Britain. Tel: (+44 ) 0763 245322 Fax: (+44) 0763 245505

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Summer 1989

Editorial

News High tech art in Japan/ niversal lighting ystem/ Holomart takes over SEE 3/Stereograms from a PC/ Ne\\ Applied acq ui itions/ IBN taken over

Graphic Design Simon BroJJJn How to make 2-D and 3-D work together

Commercial A new venture in dich romated gelatin from Raven

People New works from ossette and Kaufman/ Mini Miller

Calendar

Reviews Graham Saxb)' How Ross Books' new directory shape up Vito Orazem Peter Zec's book examining artistic method and ideas

Stereography David Pizzanelli Taki ng holography out of the darkroom

Museum of Holography Susan CoJJJles The good, the bad and the ugly in New York

Art David Jones and Martin Taylor Alexander s retro pective in America

Literature Review Sunny Bains Using holograms in Optical Associative Memory

Holographies International Subscriptions/ Adverti ing Index/ Back op1es

Number 6

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!>ummtr 1989 H olographies lnt<rnJnonJI 3

--------------EDIT 0 RIAL --------------

Editorial I am again baffled by the lack of letters for publication. I get the odd favourable comment from those who I've met, but no letters of outrage or condemnation . Perhaps you think the magazine is so wonderful that it is beyond critici m, or so terrible that no improvement would be good enough . Either way, I would ap­preciate some more feedback on my ef­forts and the efforts of my stafi- if only to let us know what our o·engths and weaknesses are.

In June I visited the Museum of Ho­lography in New York and had talks with new adminiso·ation there . The MoH is a unique institution. ot only is it ex­pected to put together interesting and worthwhile shows, but it has to preserve and archive papers, photographs and ho­lograms from over forty years of holo­graphic history. With the huge rent rise, up by 60% this year, and with the cost of preserving the MoB's collection, Mar­tha Tomko, Bronwyn Albrecht and the other on the team will not find it easv to make ends meet.

ow, I understand that many of you

may be disillusioned by the record of the MoH in the recent past. Its reputation for paying bills and honouring contracts has not been good. But, in my personal opinion, the new adminiso·ators are hon­est and intelligent people, and if anyone is likely to secure the MoH's future, without dece iving others, they are . I, for one, intend to a ist the Museum as far as I am able, and hope that my readers will do so also.

I recently started to wear holographic jewellery for two reasons: because it cre­ates interest in the medium and becau e it makes it easier for me to explain what I do for a living. However, I must say tl1at I find the qual ity of some pieces less tl1an adequate.

One pair of earrings I have has holo­graphic stickers on it so that the sticker can peel off and the hair can get swck to the excess glue on the edge . Also tl1e paint on tl1e back is wearing away. An ­otl1er piece has an insufficiently robust surround, though I know the manutac­turer is aware of this and is taking steps to remedy it .

Also, some of tl1e images leave a lot to be desired. Whv would anvone want to buy a hologran~ of a char~1 when they would not dream of wearing the charm

in the first place? Why use a new medium to copy things that look better in real life? Especially when those th ings have no style or cachet to start with? I have seen some attractive pieces with objects in ab­so·act patterns which appeal to me, but they are few and far between. I am sure that I am not alone in finding a lot ofho­lographic jewellery twee and uninteres­ting.

Many people, especially men, prefer badges to necklaces. So \\'hy not make a pin with an interesting, durable mount, and a well designed hologram that fits into the whole concept and that uses space in a way that only holography can. You could have lots of small abstract ho· lograms, embedded like jewels in wood, metal or brightly coloured pia tic. I have seen many piece of jewellery which were designed to have gems in them but where their loss didn't make the jewel ­lery unwearable. I have rarelv seen the equivalent in holographic jewellery.

The only reason why holographic jewellery is stuck in the novelty market is that, so far, the holographic industry has kept it there.

Bet Wishes.

Sunny Bains

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----------------- NEWS -----------------

Zodiac by Wenyon and Gamble.

Art in Japan The above work, Zodiac by Wenyon and Gamble of Bri­tain, will be just one of over forty new high-tech piece on display at the AR TEC exhibi­tion in Nagoya, Japan from July 15 to ovember 26 this year. Along with four other holographers (Rudie Berk­hout of the United States, Margaret Benyon of Britain , Paula Dawson of Australia and Setsuko Ishii of Japan), Wenyon and Gamble and ex­hibitors in other media will be competing for the ARTEC first prize of about £45 000 (US$70 000) and five second prizes of about £9000 (US$14 000 ).

ARTEC 189 will have its own pavilion as part of the Wodd Design Expo 189. Spon­sored by Meitec Corporation and the Chunichi Shimbun

newspaper, it is thought that AR TEC 189 will be the largest yet exhibition of art with technology as its means or subject. Other media repre­sented include video, com­puter graphics, robotics , architecture and light sculp­ture .

Zodiac was inspired by We­nyon and Gamble's residency at the Royal Greenwich Ob­servatory. Through the nar­row hologram, the viewer sees stars which extend out into space. An electronic con­trol will fade the Lighting be­tween the stars and back­ground, mimicking the ap­pearance of stars at twilight. Zodiac is just one piece in a series which also includes Ze­nith which is currently on show at the Tate Gallery in Liverpool, Britain .

6 Holographies International Summer 1989

Nurelllberg Fair Taking place in the urem­berg Exllibition Centre, FR Germany Hologmphics 1990 intends to cover all aspects of the subject. Its organizer in­tend to combine commercial and art exhibition with a conference, thus making it a holographic trade showcase or fair.

The commercial exhibition is to cover aspects of holo­graphic measuri ng and test equipment, HOE's, laminat­ing systems and laser . Opti­cal and opto-electronic com­ponents, production equip­ment, reconstruction sources,

and recording materials are also to be featured, as well as applications of display holo­grams such as on product packaging and jewellery.

The fair, which has been organised by Mesago of FR Germany, was originally in­tended to take place on dates in 1989, but wiU now be held between October 16 and Oc­tober 18 1990. Additional in­formation can be obtained by contacting Mesago , Mes e und Kongress GmbH , Rote­buhlstrasse 83-85, D-7000 Stuttgart 1, FR Germany. Tel : ( +49 ) 0711 61946 0.

Ne"' Face ofiDI IDI Marketing recentl y changed its nan1e to Holo­graphic Products Incorpor­ated, and are also changing to what it describes as a 11 new look II. The company says this will mean higher quality goods and a corresponding increase in price . It is updat­ing its holographic watches, and re-introducing a range of sunglasses.

The firm specialises in small consumer items, and pro-

duces mainly circular dichro­mated gelatin holograms, which can be mounted as badge or necklaces etc. It also makes calculators, watch­es and framed holograms from cu tom artwork or the company's library of standard holograms.

Holographic Products can be contacted at: 755 South 200 West, Richmond, Utah 84333, USA . Telephone : (+1 ) 801258 2483.

OPTCON '90 OPTCON 190, a trade fair and conterence in the field of lasers and electro-optics, wiJJ be taking place at the H ynes Convention Center in Bos­ton, USA. Managed by SPIE, it will feature lectures and panel discussion s, short courses on laser and optical technologies and a technical exhibition of optical pro­ducts . The first OPTCON had an attendance figure of over 7000 witl1 a total of237 exhibiting companies. The conference is due to take place from ovember 4 -9 nex~ year.

SPIE in association witl1

the Environmental Research In titute of Michigan (ERIM ), will also be releasing a substantial update to The Infra red Handbook. The third edition, to be called The Infrm'ed and Electro-Optical Handbook, is due to be pub­lished within the next two years, and will be edited by Joseph Accetta and David Shumaker of ERIM. The book will contain electro-op­tical systems analysis, illus­trated by data and examples.

SPIE can be contacted at PO Box 10, Bellingham, WA 98227 , U A.Telephone : (+1) 206 676 3290.

---------------- - NEWS -----------------

SEE 3 Deal SEE 3 Holograms Ltd is to be taken over by Holomart Plc of Britain. The £100 000 (US$160 000 ) deal is due to be concluded this summer. vVith the company, Holomart will acquire a package of ho­lographic masters and pat­ents, mastering facilities and experience gained over ten years in the industry.

Established in 1978, SEE 3 is the longest surviving UK holographic company and has several major achieve ­ments to its name . In 1981, in partnership with Hollu ­sions Ltd, it originated what is believed to be Europe's first embossed hologram, as well as organising several sub ­sequent holographic exhibi -

tions, and producing laser ef­fects for television.

More recently, the com­pany has concentrated on the origination of holographic embossing masters and the development of new formats for mass produced ho lo ­grams . The company's joint managing directors, Jonathan Ro s and David Pizzanelli, said they had "been looking for a suitable partner for some time " when Holomart of­fered what they considered to be an "acceptable financial package ".

Holomart's main interest in SEE 3 was the acquisition of its origination facility, but the company's directors say that they also felt that it is a

A wodl by Patrick Boyd lit with one of Robinson )s Lighting SyJtems.

A SEE 3 P1'0ject: the hologram and music nm'c cvtt on this silver plastic record at the same time.

business providing a good quality service, which should be maintained.

SEE 3 is to become a part of Holomart Pic, and will be moving to new premises. Ho­I oman's corporate trategy is to provide all the services

necessary to complete a holo­graphic project, from graphic design and printing to origin ­ation and hot-stamping, en ­tirely in -house . SEE 3 is one of a number of companies it plans to acquire in order to fulfil this plan.

Easy Lights Arevolutionaryintegrallight- lighting area of 50x60cm ing system suitable for all and, with two different power types of hologram has been units available, it can operate launched by Robinson Holo- whatever the user's require­gram Lighting Systems of ments or conditions. The mo­Britain. dule can also be mounted in

The portable device con- several different ways, so that sists of a power pack, lighting it can be attached to objects unit and curved mirror. It has such as a wall or table, or a a power output of either 50 window display. or 100 watts, with shutters to One of Robinson's earlv adjust the beam size. The customers , John Vogel o.f manufacturer claims that this Holographies UK said that at ­will eliminate peripheral light though he had not used the as well as increasing bright- modules much, he felt that ness, and reducing distortion they ,,·ere very useful in siw­and dispersion effects . ations where a spot- Light is

The angle of incidence of not suitable. He added that the light source is ai o ad - the display units look good , justable, to allow for holo- and are quite a breakthrough grams of different reference in holographic technology. angles. This effectively means The system costs about that the lighting unit can be £120 (US$200 ). For more used with almost any holo- information, contact Robin ­gram available, and that the son Hologram Lighting Sys­image can be changed fre - tems, 5 Hillside Cottages, quently with only minor ad - Owlsmoor Road, Camberley, justments necessary. GU15 4SU, Britain. Tele-

The unit has a m~ximum phone: ( +44 ) 0344 762739.

Summer 1989 Hologrophics Inrernorional 7

---------------- NEWS ---------------~

The Amiga Centre Scotland stand rvhere Munday's stereog1'am was exhibited.

Munday Makes It With an Amiga

A hologram by Rob Munday of the Royal College of Art in London, Britain, was ex ­hibited at the UK Commo­dore Computer Show in June. Made using CITE pro­gramme equipment (see page 22 ), the holographic stereo­gram consists of images from computer equipment which costs less than £1000 (US$1600 ).

Rob Munday, who origin­ally studied Electronic Im­aging, has recently been con­ducting re earch into using low-cost computer systems to produce stereograms. In par­ticular he has been using the

Commodore Amiga, which is capable of solid modelling with realistic rendering of full colour images. The software allows for multi -coloured light sources which give the scene highlights and sha ­dows, texture mapping, and a choice of surfuces including metal, mirror and glas . Full animation capabilities enables tl1e generation of the 200+ views needed to make a holo­graphic ste reogram.

The first Amiga hologram, which was part of the display pictured, was monochrome and of a imple wire fi·ame image, tl1ough Munday is al -

8 Hologr,lph i<s I nrcrnario nal Summer 1989

ready working on a colour se­quel. He chose a simple sub­ject partly due to tl1e process­ing time nece sary which, for a complicated subject, can be several hours for each frame.

Commodore has now given tl1e CITE programme some more powerful compu­ters, and a project designed to link personal computers wiili fast CRAY supercomputers has been initiated. It is there­fore hoped tl1at it will soon be a straightforward matter to produce complex colour ho­lograms, using personal com­puter and the CITE project, in a relatively short time .

Holographers Meet in Bath

The Second International Conference on Holographic Systems, Components and Ap­plications is due to take place in Bath, Britain, from Sep­tember ll-13.

Organised primarily by tl1e Institute of Electrical Engin­eers, tl1e conference will in­clude sessions on holography in measurement, display ho­lography, computer gener­ated holograms, photorefrac­tion and phase conjugation, and holographic optical ele­ments.

For registration details please contact Conference Services, lEE, Savoy Place, London WC2R OBL. Tele­phone: (+44) 01 240 1871.

Zec Chairs FRG Holo

Society A holographic society was formed in ilie Federal Repub­lic of Germany on March 3 of tl1is year. Its chairman is Peter Zec, auilior of Holographie­Geschichte, Technik, Kunst (see reviews page ), and its vice chair is taken by Brigitte Blirgmer, author of Holo­g1'aphic A1't/ Perception/ Evol­t~tion/Future.

The society was founded to

promote awareness of holo­graphy, and its members are mainly holographers and ar­tists. To iliis end, ilie group intends to organise exhibi­tions, and has access to two holographic studios, in Osna­bruck and Munich, in which members can produce tl1eir own vvork.

For further information contact Peter Zec, Deutsche GeseUschaft der Holografie, Lerchen Strasse 142a, 4500 Osnabrlick, FR Germany. Tel: (+49 ) 0541186059.

---------------- NEWS ----------------

Vegas Twinkles By the end of the summer, passers-by will be able to see holographic billboards and holograms covering the fa ­cades of three hotels in Neva­da, USA, as well as a 30ft high holographic sculpture in Ca­nada. The holographic dif­fraction gratings used in these projects are made by Spectra­tek Corporation, based in Los Angeles.

The Rivera Hotel in Las Vegas will have 360 holo­graphic diamonds positioned on it. Each one consists of a truncated diamond-shaped pyramid with a further dia­mond-shaped pyramid cut into the top. Each face is made up of square gratings, which consist of a series of triangular segments radiating from the centre, which are laminated onto aluminium.

The facades of the other two hotels, the Flamingo Hil ­tons in Reno and Las Vegas, will be entirely covered with diffraction gratings laminated onto glass.

At the Amoco Plaza in Cal­gary, Canada, a space frame sculpture, designed by Mi­chael Hayden of California and containing 56 acry lic sheets measuring 24x48in each, is to be erected. Costing in excess of US$150 000 to manufacture, the sculpture is said to be quite spectacular.

Michael Wanlass and Mi­chael Foster, who own Spec­tratek, are interested in colla­borating with anyone who can supply 2ft square holo­graphic masters in either nickel or photoresist. Using their seamless wide-web tech ­niques, they say they can pro­duce a roll of2500 holograms of this size in one week.

Spectratek is at 1510 Cot­ner Avenue, Los Angeles, CA 90025. Tel: (+1 ) 213 473 4966.

Ne"W Laser Po"Wer Meter

One of the new power meten from Lase1' Instrumentation Ltd.

Applied Acquires ADD and Cablebook

Applied Holographies Pic of Britain has recently taken over Advanced Dimensional Displays of California, USA, and Cablebook, a retail pro­ducts manufacturer.

The acquisition of ADD through an American subsi­diary, Applied Holographies Corporation, was announced last December. As well as the company's stocks, assets, pat­ents and intellectual rights, which it acquired for US$700 000, Applied Holo­graphies Corporation has se­cured the transfer of all staff including the nvo ADD sen ­ior executives, Chris Out­water and Craig News -

wanger. It was through collabora­

tion between ADD and AH that the colour holograms of Shakespeare on British cheque cards were produced.

In February, AH acquired Cab lebook for £300 000 (US$480 000 ), and the com­pany is now functioning as AH's retail division. The in ­tention is to use Cablebook's retail expertise to develop the market in gift wrap, novelty and greetings cards.

To meet the costs of dlis latter acquisition, 150 000 ordinary Sp shares were placed at 240p . Dealings in these shares started in March.

Pictured is one of a new range of power meters, which its manufacturer, Laser In ­su·umentation Ltd of Britain, says are stable, accurate and rugged. The instruments range in sensitivity from 0-lOOmW for the 7101 model to 0-2kW for the 7105 , with three intermediate models. Each instrument includes a higher sensitivity section for measurements at the lower end of the given range.

A particular feature of these meters is the uniform re ­sponse of the 15 or 25mm de­tector target. This , says the manufacturer, make posi ­tioning less crucial. Prices range from £680 to £1150 (US$1100-$1900).

For further information contact: Peter Hurley, Laser Instrumentation Ltd , The Forge, The Street, Binstead, Hampshire GU34 4PB , Bri­tain . Tel: (+44 ) 0420 22464.

Holotiles Halo GmbH ofFR Germany is now marketing holographic floor tiles for use in disco­theques, shops, airports and stations. Called AENA or Holotiles, the manufacturer claims that they are tough, durable and damp -proof. There are a number of stock images avai lable , which can be reproduced in custom sizes, accordjng to consumer requirements.

Halo describes its product as a high tech signpost, as well as a medium for advertising slogans and corporate logos. The tiles are clamped to the floor by a metal frame, allow­ing tl1em to be easily replaced.

Furtl1er details about the tiles can be obtained from: Halo GmbH, Holografiela­bor Osnabri.i.ck, Mindener Strasse 205 , D-4500 Osna­bri.ick, FR Germany . Tel: (+49 ) 0541 7102 173.

Summer 1989 Holographies International 9

---------------- NEWS -------------

Researchers at IBM, MIT (Massachusetts Imtitute .¥ of Teclmology) and Polm·oid iu the United States fmpe collaborated to P1'oducc a staeogmm from compute1' gmphics fo1· the COJIC1' of the IBM Joumal of Rescm·c/; autf DerJC!opmeut, pictlt1·ed abo11e. IBM p1·ovidetf the mat/;cmatics, M I T the graphics, anti the final hologmm 111as assembled at Polaroid. 6.5 000 copies of the hologram JPen· produced. PIJoto by Stcfa11 Smit/1.

Embossing File Light Impressions has com ­piled a collection of copy­ri ght-free ho lographic im ­ages, which it is making avai l­able to the general public.

The company calls the col ­lection a H olofilc. 1 t consist of a binder containing sam­ples of about l 00 diftl·action gratings and l 00 ho lographic stickers. The tile is to be used as a catalogue ti·om \\'hich tack images can be o rdered,

thu avoiding the need for the cost!)' and time consuming process of o riginatio n.

The Holofilc is available for £25 or S$40. To obtain a copy, or to obtain further de­tails, contact John Brown or Carol Breuer at Light 1m ­pre sions Europe, 5 Mole Business Park, off Station Road Leatherhead Surrey KT22 7BA, Britai n . Tel: (+44 ) 0372 386677.

Shelf Wobblers for

IC I'ld~~~ o~~~~~,e~~~lo tain is using holograms in a grams to bob up and down in point-of- ale promotion for an insec t-like manner. They two of its insecticides, Rose- are also handed o ut at chec­clear and Rapid, which, it is kouts. claimed, attack only greenfly ICI's Product Manager, and no other insect . igcl J upe, said that the com -

IC ! commissioned Light pany was, "del ighted with the fanta tic Plc to design and finished results " . H e also produce holograms teatu ring added that he looked fo rward bees and ladybirds, which are to usi ng holograms in future not aflccted by the product . promotions. T he ho lograms

T he ho lograms are sus- were made using IC I 's own

IBN Tal(en Over by

US Banlmote The International Banknote Compa n y ( IBN ) of the

nited States, parent com ­pany of American Bank :--Jote H o lograph ies (ABN ), ha been taken O\'er by US Ban­knote. As ~~et , it is unclear how this will affect the acti ­vitie of ABN.

IBN had sold a 20% stake in ABN to the De La Rue

o mpany Pic of Britain tor S$15 million. In return, De

La Rue sold IB the ame percentage of its subsid iary, Amblehurst Ltd, tor US$5 millio n . The S$10 million surplus on the deal allowed I BN to repo rt an ove rall profit for the fir t quarter of 1989 .

Chairman of International Bankno te, Edward Weitzen, said that the agreement with De La Rue would increase the worldwide marketing poten ­ti al for holograms. He also believed that ho logra m would rejuvenate his com ­pany's traditi o nal secu ri ty

priming business. IB~ prints stock certitlcate , govern ­ment toad coupons, etc, as well as banknotes.

But the management of IB J had been criticized lw a group of stockholders, who controlled 11 .7% of the com ­pany's stock, tor not pa~·ing enough ,utcntion to tradi ­tional security printing. The~' pointed to the USS 1.2 mil ­lion operating lo which IBN made in the first quarter of this year, before the De La Rue deal was included.

Tom mith , a spokesman for the disatfected tockhol­ders, said that the group be­lieved that management had not done enough to properly va lue its assets, or to raise enough capital tor expansion. In an appa rent response to this criticism, IB 's manage­ment hired Rothschild Inc to examine optio ns to maximi e it stock value, but hortlv aften\'a rds the company wa· taken over bv U Banknote .

pended from "she lf wob - Staufen 80 micron material. Light Fautastic "shclfrPobblcn"fo1'JJ1'et.'11 c/;cmicals.

I() Holo!lr.1phoc' lnrcrn.n ion.l l Summer 1989

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---------------- NEWS ----------------

Uncertainty in Beijing

Plans for the International Confe1'ence on Holog1'aphy Applications to be held in Beijing, China, in 1990, are going ahead as normal , but will be reviewed in two or three months.

The conference organisers recentl y i ued a ca ll for papers on any of the follow­ing subjects: the fundamen­tals of holography, interfero­metry , display, materials ,

HOEs, instrumentatio n, me­trology, DT, education, optical computi ng and other applications. Due to take place from May 22-24 at the Beijing F1iendship Hotel, the conference ha s Emmett Leith, G von Bally and Yu Deni yuk among its chair­men .

Dr Tung Jeong, JOint American Subcommi ttee Chairman with HJ Caulfield ,

has said that for the moment, plans will continue as normal in the hope that the political turmoil in hina will lessen. H owever, should this not happen, it is possible that the conference might be can ­celled. A meeting on another topic, which had been due to take place just three months after the army took over Beij ­ing, has been postponed .

The deadline for the sub­mission of papers is at present set for September 30 , 1989 . Full details of where ro send papers can be obtained fi-om: Prof Hsu Dahsiung, Beijing University of Posts and Tele­communications, Beijing 100088 China.

Optics Fair in Netherlands Inte1··optex '90, an exhibition of optical technology, will take place in The Hague,

etherlands, in conjunction with ECO 3, an PIE-run conference.

The exhibition, organised by Mesago ofWest Germany, 'vvill focus mainly on the fol ­lowing topics: optical sen ing and meu·ology, optical sys­tems and components, opti -

cal materials, lasers and lase r processing, and optical com­puting. The aud ience is ex­pected to consist mainly of scientists, experts from re ­search and development, and the decision -makers of user indusu·ies. Over 4000 visito rs are expected, among them an esti mated 2000 opto-electro­nics specialists.

The exhibition will take

12 Holographi~s International Summer 1989

place at the letherlands Con­ference Centre from March 12-14, 1990, with the con­ference extending to March 16. For further details , the or­ganizers of Interoptex '90 can be contacted at the fo llowing address: Mesago, Messe und Kongre s GmbH Rote ­bi.ihl trasse 83-85, D-7000 Stuttgart l , FR Germany. Tel: (+49 ) 0711 61946 45 .

Frisco Images

I mages in Time and Space, the long running Canadian holographic exhibition, op­ened in San Francisco, USA, on May 3 of this year. It "ill be open until August 31.

The exhibition, which has been described as the "world's largest international exhibition of holography", is organised by Associates of Science and Technology Inc, a Canadian non -profit organ­ization founded to promote public awareness in this area.

This yea r's display will fea ­ture over 180 holograms from fifteen countries along ' ith lecn1res, videos and live demonstrations. The show explores themes such as fine art, architecture, engineering, information storage, optical research , aerodynamics, dis­play advertising and med­icine.

Images in Time and Space is at Fisherman's Wharf, Pier 45, Shed A, San Francisco California, U A.

---------------- NEWS ---------- ------

Gorbachev Signs Disasterous Agreement

An international cenu·e for re ­search into uses of display ho­lography for art and archaeo­logy is to be set up in Kiev, USSR, under a co-operation agreement between the Council of Europe and the Soviet Union. The agreement was signed during the visit of Soviet President Mikhail Gorbachev to Strasbourg, France, in early July.

The agreement is aimed at improving co-operation in the prevention, prediction and relief of major natural and technological disasters , and

covers research into the use of interferometry, including ho­lographic interferometry, in predicting earthquakes and damage to buildings.

The European Centre for Cultural Research in Ravello, Italy, and the European Asso­ciation of Photonics will par­ticipate in the new centre. They will also attend the UN­ESCO-organised holography conference to be held in Kiev in September (see Calendar on page 19) at which many related issues will be dis ­cussed.

East Meets West at Bulgarian Conference

Holography )89, billed as "The International Con­ference on Holography, Op­tical Recording and Process­ing of Information with In­ternational Exhibition, " was held in Varna, Bulgaria, on May 21 -24.

The conference was hosted by Dr V Sainov and the large group working at the Bulga­ria Academy of Sciences Cen­tral Laboratory of Optical Storage and Processing ofin­formation . The conference showed the extent of Bulga­ria's scientific research in ho­lography and optics, with many Bulgarian papers and posters, all of a very high

standard. Of more than 70 papers

presented, over half were from the USSR, with Eastern Europe also well represented. Only 17 papers were from Western countries . Among the 90 plus poster presenta­tions almost half were Bulga­rian , 'vVith just eight from the West . The conference was marked by openness and free exchange of information an1ong all the participants.

Ke ynote lectures were given by conference chairman Yuri Denisyuk on "Some properties and applications of thick 3-D holograms " and HJ Caulfield on "Holograms for

Left to Right: NM Ermolaev and V Bryskin from the USSR and host V Sainov from Bulgaria

neural networks ". An interesting develop­

ment was the appearance of two new companies, or co­operatives, from the Soviet Union: Holex, specialising in holographic interferometry and optical components; and Photon, which produces Ruby and d:YAG lasers.

The material on display ho­lography included two Soviet papers: 0 B Serov on holo­graphic cinema and NM Er­molaev on practical imagi ng holography application pur­poses. JJ Lunazzi fi·om Brazil spoke on "A new proposal for holography in white light ", which is a technique that uses the dispersion blurring in ho­lograms to create a 3-D hori ­zontal paralla..x image from a photograph. A paper from China on holographic stereo­grams and computer graphic images was given by Qu Zhimin.

Other papers related to dis­play included an analysis of silver halide and DCG materi ­als fi·om the Bulgarian group, conference co-chairman Tung Jeong on applications ofHOEs for holography, and S Shetka on the inclusion of holography in The World Art Project.

The International Holo-

Light Impressions of Britain made a series of six "Tony the Tige1' 11 4x5in holograms, JVhich JVere featured on millions of pacltets of the K ellogg's breakfast cereal Frosties.

The company handled the com­plete process from model-making to the embossing of the finished holo­gram. For Light Impressions' ad­dress, please see page 1 0 article entitled "Emboss­ing File ".

graphy Exhibition was a small collection of some high quality reflection holograms. It included some artistic works by V Btyskin of the USSR using real image tech­niques with mixed media and, as expected, there were many outstanding Denisyuk holo­grams from Bulgaria and the USSR. Colour hologram s were shown by Paul H ubel and by TG Ovechki.na from

IKFI in Moscow. The group at the State Optical In­stitute in Leningrad showed two high quality real image portraits made with a

d:YAG laser. Highlights from the non­

display sessions included So­vie t papers on data recording in optical disks, holographic memory, holographic investi­gation in space with a light­weight holographic camera, holographic testing of artitl ­cial heart valves, synthesis of HOEs, and liquid ctystal re ­lief grating holograms. H ans Bjelkhagen from the US gave an update on his work on holendoscopes .

Full details of these and many other works presented in Varna will be published in SPIE proceedings vo lume 1183 which is expected to be out by the end of the summer.

Summer 1989 Holographies lnrcrmtioml 13

------------GRAPHIC+ D ESIGN -----------

Graphic Attack by Simon Brown

Where they have broken through into the commercial world, holograms have often looked cheap and tacky. This is often because the graphics surrounding the hologram are either completely un ­imaginative or unsuited to the hologram used. Examples of how this can happen, and how this problem can be overcome to make a project successful, are two pro­motions by Applied Holographies, the second of which was launched earlier this year. .. after a false start.

The holographers were first ap­proached by abisco to produce 3-D multi -charu1el reflection holograms as overlay pieces on cards printed in four colour process. The theme of the pro­motion was Dungeons and Dragons. For this job, the graphic de igners simply left a black rectangle where the hologram

Amvo1'1~, ne1v and old, n1ith a copy of the final card.

was to go and worked in the remaining space. The final graphics bore lirde rela­tion to the holograms, and though d1e promotion was successful, it was not a creative success.

Nabi co returned to Applied Holo-

graphic in June 1988 with a second pro­motion : this time the product was Trio biscuits and the theme was to be Ghost­busten, based on the uccessful film and cartoon series. The idea was to have the "ghosts" in the hologram and the 11 ghostbu ters 11 andsurroundingsin2-D graphics. The reflection hologram were to be laminated onto a 4x5in printed card.

Concept line drawings were presented and approved by AH, Nabisco, Marvel and Columbia, and from these the model maker set about to produce models which would fit in context. In the two channel holograms there had to be two models: one of the 11 ghost 11 attacking the 11 heroes 11 and another of it being zapped and fleeing from them. A the finished card wa rotated, the viewer would see the 11 ghostbuster 11 attacked, and then see him repel the 11 ghost 11

•

The team at AH were eventually presented with approved models and line artwork to show the approximate loca­tions and desired animation. The holo­grams were produced using these as a guide and the design team felt confident that all areas of confusion had been avoided. However, the fmal colour art­work turned out to be unsuitable a a background for a reflection hologram. lt was simply too light and bright: there

The complete set: four ghostbusters and foul' ghosts. Continued on page 16.

14 Holographies International Summer 1989

In the last two years alone ILFORD research has created . .. Red sensitive film products for the mass production of holograms with Ruby or He-Ne lasers incorporating the BIPS factor to avoid the need far preswelling.

Machine compatible processing chemicals in concentrate farm far convenient replenishment on long production runs.

All countries except UK & USA Glenn Wood ILFORD LIMITED Town Lone Mobberley, Knutsford Cheshire WA16 7HA, England Telephone: 0565 50000

Blue/ green sensitive plates which have now become the industry standard for mastering for embossing. The low scatter enables blue recording for blue transfer to photo resist.

Emulsions for full colour holograms.

For furthe r information please conta ct:

UK Marketing Deportment ILFORD PHOTO Company 14-22 Tottenhom Street London WlP OAH, England Telephone: 01-636 7890

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USA Ek Sochtler ILFORD PHOTO Corporation West 70 Century Rood Paramus New Jersey 07653, USA Telephone: 201 265 6000

--------- --- GRAPHIC • DESIGN ------------

Continued from page 14.

were no areas that were sufficiently dark to give the holograms a chance.

Apart from t!Us, no gutter had been left between the printed cards to allow enough space for cropping. The ystem for mass producing reflection film holo­gram at AH i based around exposing area of film measuring 200x250mm on a roll of film 400ft long. It was proposed that each frame contain four images per exposure. These were to be laminated to a transfer adhesive backing, sheeted, and applied by hand to the printed card which would then be flat-bed die cut.

With no gutter , there would be no margin for error at any of the e many rages. Thi meant tl1at there would be a

significant number of finished cards where the registration was millimetres out and would therefore have to be re ­jected.

Because of this, it was decided that the artwork would have to be reoriginated . Since the holographic images were al­ready finished, it was easier to identify

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the areas on the card which \\ ould have to be dark. The artist and printer were quickly given dimension to work to that would allm the minimum 3mm be­tween images. Thi meant that the holo­graphic film could be stuck to the printed card at a reasonable rate of pro­duction and finished with losses at a mllllmUm.

At this stage it was decided to increa e the physical size of the "heroes" with re ­spect to the "ghosts " and to make them more bold and distinctive. Unfortunate­ly tlus had one drawback, in that the ho­lograms no longer fitted the space quite as ' ell as tl1ey had pre iousl , . On the new artwork, the "ghosts " occupy the same space a the "heroes" at some point . The apparent time of the scene was a! o changed from day-time into night -time which made the areas of black, needed to make the holograms stand out, more ju tifiable.

In January and February ofl989, the artwork was reoriginated, proofed and approved. By early march the contract was complete and tl1e thousands of card

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were sent to a handling house where they would hopefully be snapped up for £2 each by the Trio eating public.

The traditional complaint about holo­graphy is that outside the viewing win ­dow tllere is noming but black or ilver pace. With the print on the "gho tbu -

ters" cards, ho\ ever, the viewer can ·ee an attractive image even when the holo­gram i completely invisible . When the hologram does emerge, therefore, it is that much more dramatic.

The concept of the real and spirit worlds being eparate was a particularly appropriate subject to treat holographi­cally since gho ts are intangible and sometimes im i ible. Thi property ofho­lography was also used extremely well in the Palin , Lee and eymour book 11Je Min'orstone. But the main thing these two project have in common is that the graphic were an integral part of the ho­lographic composition, not an after­thought. Successful u e ofholography in print demands consultation between, and dedication from , both the holo­graphic and grapluc design teams.

Selected client list:

PILKINGTON BROTHERS

BGW (GERMAN GAS AUTHORITY)

BASLE UNIVERSITY (SWITZERLAND)

THE SCIENCE MUSEUM (LONDON)

PHOTO PRINTING COMPANY (JAPAN)

ALCAN INTERNATIONAL

BBC

BRITISH AIRWAYS

THE BRITISH MUSEUM

BOC CRYOPLANT

ESSO PETROCHEMICALS

HEUGA {NETHERLANDS)

HONEYWELL COMPUTERS

MIDLAND BANK

OMAN UNIVERSITY

SONY {NETHERLANDS)

TANDEM COMPUTERS

THE TATE GALLERY

THORN EM/

------------- C 0 M MERCIA L -------------

Raven's Colour DCG by Sunny Bains

The hologram shown on the cover of this issue was made by Raven Holo­graphies of Hampshire in Britain . The company is run by Stuart Ainslie-Brown, who originally got into the business by backing a yOLmg holographer who was working in silver halide. His interest in DCG started when he saw some of the work done by Pilkington in this area, work which he thought was far superior An ea1'l)' broad band piece of a fish fossil, done at Raven Holographies. to anything he had seen in silver.

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R.wen was founded in January 1988, and initially the company concentrated on researching broad band work. The company has produced some impressive experimental holograms of coins and similar objects which look surprisingly lifelike. The fish fossil shown is another piece which they did to show the possi­bilities of broad band.

When Ainslie-Brown joined forces with Richard Rallison, well known for his dichromate work in the USA, they moved further along this path of colour conu·ol, hence the cover picntre which was made by Raliison while he was in Britain to work with Raven. Since they did this piece, Ainslie-Brown has said that they have improved the colour satu­ration even further.

The piece was done using a two col­our method vvhich produces rich red ­oranges and bright blue-greens which mix to a creamy white. The system is part nantral and part pseudo-colour and re­quires two laser lines and two emulsions. Blue is obtained naturally by using the 458nm argon line and red derived from the 514nm line.

Raven has just started to approach dis­tributors with 1:\vo-colour pendants, one of a rose in red and green, and another of a Tutankhamen in blue and gold . There have so far been two trial produc-

tion runs during which they made about 500 holograms in a day. Raven is very keen to make sure that they do not allow any holograms with sub-standard colour balance to get onto the market, and their single plate/ two colour process will mean that they are unlikely to have a re­jection rate much lower than 15%. How­ever, they say, the new pendants are un ­likely to cost much more than any single colour dichromate pendant.

Ainslie -Brown expects to be able to produce two colour 4x5in plate holo­grams within a year and has hopes to go even larger. He says that Raven has man­aged to produce some 8x 1 Oin holo­grams which do not have blue streaks: one of the many problems that people working with dichromated gelatin have been trying to overcome.

Ainslie-Brown, who was not a holo­grapher until he started Raven , has taken on Mike Medora, formerly of Medora Waves and who has also done work in colour, and Richard Rallison as directors of the company. Together they hope to be ab le to produce affordable holo­grams, both colour and otherwise, with images people want to buy.

Raven Holographies is at The Old Sawmills, yewood, r Petersfield, Hampshire GU31 5HX. Tel: ( +44 ) 0730 80612.

Summer 1989 Ho lographies International 17

--------------- P E 0 P L E ---------------

Pictured is Patrick Boyd shown in front of the gallery which recently exhibited his one man show. The show, which fin ­ished in the spring, was held at the Discreetly Bizarre gallery in London's advertising district. It included many of his pulse fashion pieces, as well as some of tl1e earlier work he did at the Royal College of Art from which he graduated last year. This was the first holographic show to be put on at the Discreetly Bizarre gallery, and its success may open the way for other such exhibitions. Le seigneur des Anneaux: From MA Cossette1s recent shoJV.

And Baby Makes Five ...

Below: Joan Scott (ex Light Impress­ions ) with daughter Charlotte, cat Cosmo, Peter Miller and tl1eir son Ross Madron Scott-Miller, born on January

18 Holographies International Summer 1989

28 of this year. At present, Peter Miller divides his

time between Laser Lightvvorks in Lon­don, where he primarily works on com­missions witl1 partner Dominic Welby, and his home at Mousehole, near Land 's End in Cornwall, where he is busy witl1 his personal artwork, in pired by tl1e countryside and Joan 's landscape garde­rling.

Laser Lightworks is at BlA Hatton Square, l6/ 16A Baldwins Gardens London EC l 7RJ, Britain. Telephone: (+44) 01430 0028 .

To view stereographs: hold the print so that they are evenly lit, at arm's length and at eye level. Look under me bottom edge of the page at ome distant object. Position tl1e prints so that this object can be seen beyond the middle of me left print with your left eye open and beyond the middle of tl1e right print wim the right eye open . Blink alternate eyes to check.

Keeping your gaze fixed on me object, move tl1e prints into your line of vision . You will find you can see mree images wl"lich are out of focus . Keep your eyes fLxed as if looking tight through me ma­gazine at the object, concentrating on the middle image.Once you have 11 locked on 11 to it, it should resolve into focus in 3-D . Slowly moving the prints to your normal reading distance may help.

--------------CALENDAR--------------

Events Calendar

May 3 - August 31 Images in Time and Space exhibition in San Francisco, U A. ee page 12 Frisco Im­ages

June 17 - July 29 Andrew Pepper's exhibition Beyond the Surface: W01'ks rvith Light at the Inter ­ference Hologram Gallery, 008 -ll 79A King Street We t , Toronto, Canada . Phone (+ 1) 416 535 2323 for further information .

U ntil August 2 R ecent Acquisitions, exhibi­tion of holograms made a part of the Museum of Ho­lography's Artist in Re idence programme. ALSO: Charles Lysogorski , one-man show in lower gal ­lery. The Museum ofHolo­graphy i at ll Mercer Street, 1 ew York , ew York U A. Please phone (+1 ) 212 925 0581 for fur­ther detail .

Mid-August onwards As We See It: Exploring the World Through Holography. A collaboration between the Museum of Holography and the National Geo ­graphic ociety in the USA, this exhibition was pre -iously hown at the a­

tiona! Geographic Head ­quarter in Washington DC. ALSO:Sue Cowles, one ­woman show in lower gal ­lery. ee previous entry for MoH details.

August 30 - October 30 Visiona '89 a multi-media

exhibition, is to be held in Zurich, witzerland. Exter­nal exhibition of the Mu-eum for Holography and

New Visual Media in Pul ­heim, near ologne, FRG. Phone ( +49 ) 02238 51054 for further information.

September 5 -8 International UNESCO Seminar on 3 - D Holo ­graphy '89: Science, Cul­ture, Education . For further information contact D r Markov 3-D Holography, In ritute of Ph ys ics, 46 Prospect auky, Kiev 28, U R. Telephone : (+7 ) 044 212 2158 .

September 11 -13 Second International Con­ference on Holographic Sys­tem , Components and Ap­plication . University of Bath, Britain. See page 8 Hologmphe1'S Meet iu Bath for further details.

September 12 Rob Murray, sculptor and holographer, talks to the Roya l Photographic So­ciety's Holography Group in Britain. Meeting starts at 7 .30pm at the Challoner

lub, 61 Pont Street, Lon­don SWl .

Mid -September elebration of the tenth an­

niversary of the foundation of the Museum for Holo­grap hy and New Visual Media in Pulheim, near Co­logne, FRG. Phone ( +49 ) 02238 51054 for fur ­ther information .

Lysog01'ski JVOI··kfrom the MoH shoJP. Photo: A1t:hur Fonlm'i.

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\ ummcr 1989 Holog:raphics lntcrn.ltlml.ll 19

--- ------------ REVIEWS -------------------j

Holography Marketplace

Review by Graham Saxby

Holography Marketplace 1989 is the first edition of a new publication from Ross Books, publisher of Holog1'aphy Hand­book (Fred Unterseher et al , 1982 ), which is evidently intended to become an annual directory for tl1e holography industry.

Such directories depend heavily on the contributions of tl1e individuals who have meir names and businesses in them, and in view of the fact mat this costs noming but a stamp, it is extraordinary how many get left out. It is le s surpris­ing tl1at a number of individuals and companies manage to get entries several times over, and tl1is has certainly hap­pened in Holog1-aphy Mm'ketplace.

This book is much more man a list of commercial enterprises and suppliers of equipment. It also contains a list of indi ­viduals and establ ishments offering tui ­tion in holography and, for tl1e benefit of tl1ose wishing to enter tl1e market­place with a mind less tl1an well-dressed technologically, a good deal about holo­grams and how tl1ey are made . I believe the autl1or (unnamed , inexcusably) is Scott Lloyd, who wa formerly re pon­sible for educational matters at tl1e ew York Museum of Holography, and one­time eilltor of Holosphere. In tl1e preface to this first edition, tl1e editors explain mat it is concerned chiefly with artistic holography, and tl1at subsequent edi ­tions will cover more full y tl1e fields of commercial, applied and scientific holo­graphy.

The book contains an introduction and seven further chapters, along witl1 a bibliography and glossary. The intro­duction and chapter one deal with tl1e principles of transmission and reflection holograms and explain in a very basic way how tl1ey are made. The principles of transfer holograms are introduced brief­ly. Embossed holograms and holo­graphic stereograms are discussed in more detail and holographically gener­ated optical effects and diffraction art­work are mentioned . There is a very

20 Holographies lnrernarional Summer 1989

good chart showing the various rypes of display and ornamental holograms and the selection of pathways in making tl1em .

Chapter nvo discusses tl1e rypes of art­work suitable for decorative holograms for company promotions, letterheads, etc, for nvo-dimensional flat and spatial overlays, and fur multi -channel anima­tions; and tl1e kinds of model suitable for mree-dimensional images, 2D/ 3D im ­ages, and images with size reduction .

Advice on me preparation of contracts benveen holographers and clients fOl ­lows in me mird chapter. Royalty pay­ments , deadlines and reprint arrange­ments are discussed in detail, mainly in terms of current American business prac­tice . Copyright is discussed, again mainly in American terms: the new British Co­pyright Act, tl1e first to mention holo­graphy specifical ly, seems to have missed me printer's deadline, which is a pity.

Manufacturers of holograms are listed in chapter fOur. There are tables drawn up in alphabetical order by country and name, with ticked boxes indicating who does commercial mastering, fine -art origina ls, stereograms, large-format work, pulse-laser hologram , etc. These are followed by a full list of addresses in the same order, each one being ref­erenced to the tables by code letters. (This seems to me to be complicated and unnecessary: it takes ages to fmd out what a particular company offers as you have to keep referring back to me table .) Most of the addresses are in tl1e USA, but many are in the UK; Canada, France and We t Germany are also well repre­sented, togemer with fifteen otl1er coun­tries.

Chapter five covers producers and dis­tributer of holograms. The text intro­duces the prospective dealer to me pit­falls of buying and selling holograms. It examines the current price ranges of tl1e different types and size of holograms, and explains what can be expected for one's money . It also deals with correct metl1ods of display, a matter where retai ­lers are often careless. This is followed by a table and a list of addresses, to which the comments above apply.

The next chapter looks at holography in education, li sting the institutions throughout me world concerned with the teaching of holography, under ca­tegories such as "hands-on workshops ", "curricu lum development", "public school programs ", and "college-level in­struction ". The list also includes anum -

ber of periodical that include articles o holography regularly. The final chaptc lists suppLiers of equipment for holo graphy, again with the majotiry of ad dresses in the USA.

The bibliography has largely bee taken from the library system of th Universiry of Cal ifornia, and covers pro ceedings of most ( tl1ough not all ) sym posia on holography as well as books and a number of articles from learne journals. The list is by no means com plete (a large number of importan papers are ab ent ), although mis is no surprising. (A search I made recent!) produced a list of more tlun a tl1ousan papers witl1 the word "holography" (o a derivative) in the title · a complete li witl1 abstracts would fill a thick book 01

its own. ) There is a barely adequat index.

Dealing a it does witl1 so scattered a population of enthu iasts, no directory of t!Us rype could hope to be compre­hensive, and this book does not pretend to be. In fact , on several page mere arc appeals for tl1ose who have been omitted to come out and be counted .

Among the various universities and colleges listed in the chapter on educa­tion I was sorry to see no mention of the British polytechnics, particularly my own at Wolverhampton (where me teaching of holography on first -degree courses in the UK was pioneered ), and also Liver­pool and ewcastle-upon-Tyne who, like Wolverhampton, teach holography in engineering and applied art and run short courses in practical display holo­graphy for me public. The education chapter is certainly tile weakest in me book.

In me earlier chapters the instructional material on holography is a little patchy, to say tile least; here and mere tile odd unexplained technical term appears, and steps in the argument are skipped . I do not think tllis is the fault of me aumor of these passages: it looks more as though he was allowed so tl)any words to tell tilt story, and mat he did me best he could; and tl1at, even so, some of me input was axed. If mis is true, it is a great pity. There are simply not enough good sub­editors around.

There are also many important omis­sions in the list of suppliers of equip­ment, particularly outside tl1e USA, and it would have been helpful to have a Eu­ropean co-ordinating editor. Nevertlle­less, this is a valuable book for anyone concerned (or wishing to be concerned ~

--- ----- ----- --REVIEWS ----- ----------

with holography and its commercial as­pect .

It is not difficult to envisage a direc­taty much better laid out than this one, which is repetitive and often confusing, and has a whimsical layout (familiar from H olography Handbooll) with many free-

Peter Zec: Concepts

of Art Hologmphie - Geschichte, Technik, Kunst (Holog~·aphy - History, Technology, Art) by Peter Zec was published by DuMont nearly eighteen months ago. T his was the first time that a book on concepts of holographic art, whjch had previously been dealt with mainly in newspaper ar­ticles and ex hj bi tion catalogues, was made available to the German - peaking public, and it is hoped that the book will be available in English in the near fumre. Although holograph y had become scientifically and technically well-de­veloped, and had a wide variety of appli­cations, a coherent iliscussion of ilisplay holography had not been previously published .

Zec set himself the difficult goal of creating a basis on which the historical and aesthetic aspects of the medium could be defined and explained, whjch he achieved b_ describing the develop­ment of holography. He a aids conven­tional treatments of ho lography which emphasize technical and practical areas or are written in connection with specific exhibitions.

The book gives special attention to the logic of holography, that is the perspec­tive from which it is viewed and thought about. The emphasis is not on the tech­nology involved, nor is this a purely hjs­torical report. Instead the intellecntal core of the book concerns holographers themselves and the potential of the me­dium to convey their artistic message. The beginning of the book does, how­ever, cover technical aspects of hologram production in order to avoid the reader perceiving holography solely phenom­enologically.

hand iliagrams and headings that look like something from a John Bull junior printing set. But in the end it is the con ­tent that matters, and tills directory con­tains much valuable information. My guess i that the serious entrepreneurs in holography "viii make sure that they have

Thi basic technical knowledge is presented in comparison with other three-dimensional technologies and is therefore easy to understand. It gives the reader a concepn1al basis from which ho­lography, and its meaning and impact, can be judged without it being seen as some kind of lightplay withou t sub­stance. This is particularly important be­cau e the phenomenological view re ­veals the striking emptiness of the holo­graphic message : an emptiness whjch ap­pears e pecially strong in comparison to other visual media .

The conceptual basis, however, is not founded on the technical hjstory of ho­lography only. At the end of the book

a copy. Holography Marketplace 1989 is pub­

lished by Ross Books, PO Box 4340, Berkeley, California, United States . US$35 paperback, 179pp. ISB 0-89496-047-4 . Em ted by Franz Ross and Elizabeth Yerkes.

gina] fascination with it is weakening and the medium i already beginning to show some of the signs of premature agemg.

Thus, besides being a critical appraisal of the medium , the book is a brave re ­analysis of its historical and aesthetic be­ginnings. It offers the creative and criti ­cally interested reader an intellectual basis for thought and action as well for seeing, compreheniling and enjoying holography.

Holographic - Geschichte, Technik, Kunst by Peter Zec is published by Du­Mont Verlag, Koln , 1987.

by Vito Orazem after examining the -----------------------­present condition of holography, Zec looks at holo -graphy's a rti stic origins. He firstl y detaches himself from the photo­graphical para ­digm , which shows it elf mainly in tl1e prevalent over-em­phasis of the 11 tl1ird 11 dimension of holography. In-read he postulates

the "self-creating power of light " as the creative foun ­dation of the holo­graphic medium.

By presenting the role of light in tl1e hjstory of art he is negating the dis­cussion about per­spectivism and re­lates holograph y more to the fire -work tl1an to theta-bleau. He incor-porates important impulses for fur ­ther development of holography at a time when tl1e vir-

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Summ~r 1989 Holographies International 21

------- C 0 M PUT E R + AI DE D +DESIGN -------- •

3-D From CAIJ

A eminar on three-dimensional imaging at London's Royal College of Art in May marked the start of a new teaching pro­gramme based on the techniques of stereoscopic photography, computer­aided design (CAD ) and holographic tereoscopy.

The project is being run under the aus ­pices of CITE ( the Consortium for Graphic Intormation Training in Eu ­rope ). ITE was founded in 1987 as a University Enterprise Training Partner-hip (UETP ) under the Commission of

the European Communities COM ­METT programme, and has access to European Community funding pro­grammes. About 30 companies and in ­stitutions from throughout the EC are associated with CITE.

In the holography programme the in-

by David Pizzanelli

tention is to establish a multiplexing fa ­cility which can interface with data input from a wide variety of ources. Of pri ­mary interest is the use of CAD/ CAM systems (computer-aided design/ manu ­facntre ) to generated images of com ­puter-designed non -ex istent objects and events and have them preserved as holo­grams, to provide a "hard copy " of the information displayed on the monitor screen . A faci li ty for making holographic stereograms is already running and is lo­cated in the Department of Physics at the Univer ity ofLoughborough in Britain. Here, pin -registered film strip are con ­verted into holograms .

On display at the eminar were some of the holograms recently made o n tl1e multiplexing equipment. The "Evere t hologram " (described last issue ) was a

Crash Impact hologra1n made by Amazing Array Productions from computer g ene7'ated images. Photo by DaPid Pizzanelli.

22 Holographic> lntcrn.uion.tl urnmtr 1989

good example of one of the main tenets of t he CITE programme philosophy: taking holography out of tl1e confine of the sntdio .

The very first photograph, taken in 1827, was of a sunlit courtyard, but ho· lography, both continuous wave and pulse, has always been confined to the darkness of tl1e sntdio. Even the original multiplex holograms of the early even­ties tended to be of girls rotating on turntables, photographed in the sntdio. There are some notable exceptions, but for the mo t part, outdoor hologram have been a rarity. It is hoped that all that will change: soon anyone with a video or film camera and a grasp of stereo photo­graphy will have access to holography as "hard-copy " to a sequence of images shot on land, in tl1e air or underwater.

Perhaps the most progressive aim of the project, however, i to open up ho­lography to non -holographers, to teach scientists, artists and industrial de igners how to generate stereoscopic footage uitable for multiplexing into a bolo·

gram. The most interesting 3-D image are to be found in tl1e world at large, not in the holographer's studio. The concept of hologram as "hard-copy " relegates the medium to a position of seconda importance to the data, which is as i should be.

o-one considers a photocopy to be anything of importance in itself: only the alpha-numeric sy mbols and figure which are photocopied have importance. Yet the hologram has always been prof­fered to the world a something extraor­dinary and magical, regardless of the image. Long-term survival of the me­dium is dependent on its being taken for granted rather than being displayed as a novelty, because it is in tl1e nature of aJl novelties that they become tiresome after a while and are put aside, eitl1er forever or until a new generation comes along for whom they are again novel.

--------- C 0 M PUT E R+ AIDED+ DESIGN---------

A hologram of a car-crash which was on display at the seminar demonstrated how holography could be used as a hard copy meclium . The image was computer generated by Amazing Array Produc­tions. Some 200 frames of animation show the effects on marmequin passen­gers at the moment of impact. Spanning an angle of view of ome 40 degrees, the action is compressed, but still intel­ligible: the driver and front passengers are restrained by seat belts , whilst the dummy in the back takes a fatal pound­ing and a small child is hurled all the way from the back to the front of the vehicle, crashing against the dashboard. The ho­logram makes an eloquent statement in favour of rear safety belts , but it is also an exan1ple of a use of holography to make 3-D images of" non-existent " ob­jects and events: scenes which are com­puter generated, which without holo­graphy would vanish when the monitor is switched off.

Equally impressive was a hologran1 of a fly's head made from images taken from a scanning electron microscope (SEM ). The stereo-photographic foot­age was shot by David Burder, one of the guest speakers at the seminar, who is an expert stereo photographer. Showing some 72 degrees rotation over 140 frames, the l Ox8in image magnifies the fl y's head from a pinhead to tl1e size of an orange. Modifications had to be made to d1e chamber of the instrument so tl1at the subject could be rotated, and the in­ternal workings of tl1e microscope were shielded . The image is built up line by line on a cathode ray tube, as some 6000 volts are bombarded at tl1e specimen in a vacuum chamber. Specimens are gold plated and the image is formed by the emission of secondary electrons fi-om the metal.

One feature of tl1is imaging system is a tremendous depm of field (focus ), relative to optical systems using lenses and visible light (which partially explains why the stereo photographs taken from the original SEM images appear to be so much sharper tl1an the stereo photo­graphs of tl1e hologram generated from them ). David Burder shot me stereo se­quence on 120 roll film (which has no sprockets). He modified the camera ex­posures for each image to correct for me clifferences in luminescence and contrast between sequential frames shown on the monitor. The entire job took three hours of scanning, which is a long time when one considers me punishment to which

TJVo ft"ames fi'om the sequence of stereoscopic images used to make the Bug hologmm. Note the clarity obtained using a scanning electron microscope. Photogmphs by David Burde7'. See stereo viewing inst7'Uctions on page 18.

the specimen is subjected. Indeed, sev­eral specimens were tested to determine which one would be most resistant to electronic bombardment for tl1e dura­tion of the shoot.

The 120 roll film had to be transferred onto 35mm film (wi th sprockets) for the multiplex machine. This was done u ing a rostrum camera. In tl1e electronic image, visual markers had been gener­ated to ensure registration of tl1e image at the rostrum stage. The location of the image plane of tl1e fly's head in the final hologram was done at mis stage. The ability to manipulate stereoscopic film seq uences at the rostrum camera step makes the system particularly versatile: stereo data from almost any source can be converted, enhanced, colour separ­ated and altered at d1is stage .

T he CITE training course aims to heighten awareness of how people per­ceive cues associated witl1 depm and per­spective and give practical experience of

d1e production processes of holographic stereography. The course is modular, divided between Middle ex Polytechnic in London (which will teach d1e use of computers in three-dimensional design ), the Royal College of Art (which will pro­vide studies in perspective photo­graphy), and Loughborough University Department ofPhysics (where the holo­graphic hard -copies are made).

Much of tl1e hardware is already in place. The multiplex equipment is oper­ational, and Middlesex Polytechnic is re ­ceiving a PCR with an Oxbury head , a device which will enable high -resolution images fi-om a computer monitor to be recorded on pin-registered film. The RCA is purchasing a linear rail and rot­ary stage for direct filming of live sub­jects. These are both computer control­led, giving exact positioning and reposi ­tioning of tl1e camera, and travel wim a linear movement of up to ten metre per second.

The Bug hologram by David Burder, reflection transfe~· by Steve Done. Photographs by David Pizzanelli. Fo7' ste1'eo vieJVing instructions, please see page 18.

Summer 1989 Holographies International 23

--------- C 0 M P UTE R+ AIDED+ DESIGN ---------1

The RCA already has a ro trum camera to aid students in formatting films, and CITE ha provided a FORO X animation table which allows the precise positioning control which i vital when copying material onto pin -registered film . The college has its own computing facilities and will also be receiving a PCR with :1n O xbury head to allow students to shoot pin -registered film from the monitor.

Amazing results have already been produced at the RCA by Rob Munday using the C ITE multiplexing equip­ment. He used a desktop Amiga com ­puter and a pin -registered camera, and simply took photographs of the monitor

Equipn1ent Details

The multiplex equipment used for the CIT programme is based on the sys­tem developed by Steve Benton ( ee diagram), which utilises an Hl laser transmission hologram which i trans­fened to an H2 white light viewable hologram, rather than the original one- tep method developed by Lloyd Cross for cylindtical multiplex holo­grams.

The use of the two- tep method gives greater versatility as the white light hologram can be made from sev-

II

24 Holographies I ntcrnarionJI Summer 1989

creen . See page 8 of this issue . In the corning months the programme

will expand with more equipment aimed at teaching non -holographers about three -dimensional imaging. Comma­dare K are donating Amig:1 2000 com ­puters, and communications software will be written which will make it possible to use these sm:1ll do mestic computers as front end gr:1phic work ra ­tions for Cray super-computers.

The Amiga PCs wi ll carry the graphics programme and communicate with the "user -savage" C ray computer, which wi ll do all the he:lV)' number crunching. This will make it po sible for small users to get into supercomputing for the first

era! strip masters to provide a multi-col­our minbow hologram. Alternatively, a reflection hologram can be made from the Hl or it can be used to make a trans­fer on photo-resist for embossing.

The mechanism which converts the stereo copic film snip to a laser tran -mission hologram (Hl ) is designed to take 35mm film which has been exposed in a pin-registered camer:1, 'vith images et along the length of the film in "Leica

fOrmat" (ie. that of a SLR camera, rather than a movie camera, where the images run across the film). The images are back-projected using the light from an argon -ion laser onto a diffusing creen. T he Hl is a 30x40cm plate set in-line to the screen's centre and horizontal with respect to the table . The plate is inclined at Benton's adu·omatic angle with re -

time . The C ITE stereoscopic imaging an

ho logr:1phy project could prO\·ide a brg number of people with the training re qui red to make multiplex holograms an Jt the s:1 me time it promises to bring nr11 :1nd interesti ng imagery to the medium T here :11-c no fixed dares available Jt th time of writing, but the cour e fee is e, peered to be in the region of 25 (U $400 ).

For more information contact: T o Evans , C IT E Project Coordinator, on ( +44 ) 0 l 584 5020 extension 328 , or write to him :1t the Royal College of Art, 25 Kensin gton Gore, London S\V 2EU, Britain.

speer to the screen (ie. leaning back­wards away from the creen ), and is il · luminated by an overhead reference beam.

As each frame of the film foot:1ge i projected onto the diffi.1sing creen in turn, a narrow slit mask, 2mm wide, is moved laterally across the urface of the Hl plate between expo ·ures . The hologram is divided into some 200 2mm ections, each of which form a thin "window" commanding a view of a eparate image from the tereos­copic sequence . Lengths ofHl can be varied according to the number of film frames, ranging fi·om about 140 to 200 fi·ames. The final white light viewable hologram is usually a 1 Ox8in plate wirl1landscape (hori zontal) for­mat, either reflection or transmission.

Diagmm fi'om Benton multiplexing patent: US Patent 4,445,749. May 1 1984, Stevm A Benton. Tht· photographic plate is placed beiJind n masfl (5) in which there is a11 elongated slit aperture (6).

5. Mask 13. Mirror 6. Elongated slit 14. Mirror

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---------MUSEUM+ 0 F + H 0 LOG RAP HY -------------1

MoH: Past, Present and

Future The history of the Musewn of Holography in New York is an important part of the history of holography as a whole. Susan Cowles, Director of Education at the MoH, has sifted through some of the Museum's valuable historical material to produce this account of its origins and development. She ends with a look at the Museum's present financial difficulties and the outlook for the future.

There are many people who have been bitten by the holography bug, and sub­sequently pioneered its potential to the full extent of tl1eir imaginative facul ­ties. This was especially apparent in tl1e 1970s on the East Coast of tl1e United States, \.vhere an interest in holography was developing a pO\ erfuJ momentum

in the minds of a number of creative in­clividuals.

In 1973, the ewYorkSchool ofHo­lography opened under tl1e directorship of Joseph Burns . This fast became a ceno·e for budding holographers. Not­able names who graduated from tlus school were Dan Schweitzer and Sam

Moree. Burns himself was a along with Rosemary (POS) ) Jackson, Tung Jeong's first holography held at Lake Forest College in 1972.

In the early 1970s, Burns and J ac worked together as a dynamic They staged two major holography hibitions which helped to instntment idea for the formation of a museum holography. The first of these wasH graph)' )75: the First Decade, staged at International Center for Photograp (ICP) in New York City.

This was tl1e first major show ofholo· grams which prompted an awareness the union occurring between the arts and sciences . On recalling me event, Burns quoted Emmett Leith as saying: "it was the first show tl1at brought scien· tists and artists togetl1er ". Jackson ac­knowledged tlut for the first time "a sense of community was growing .. . scientists and artists became simply ho­lographers ".

Holography '75 also went a long way towards putting holography into me do­main of public awareness. This may or may not have been due to the results of a review in which Hilton Kran1er, the well -known New York Times arts critic of

Recent Acquisitions: on currently in the MoH ~tpper gallery. See Calendar for other inf01'mation. Photo by Betty Sword.

26 H lographi.:• !.lternational Sumrncr 1989

MUSEUM+OF+HOLOGRAPHY

the time, slammed the show. His sca­thing review had an immediate effect -everyone wanted to see what he was talk­ing about and attendance boomed . Here is an except from Kramer's review:

"The culture of holography ... is ... su·ictly concerned with, and immensely pleased by, its bag of illusionistic nicks, and completely mindless about what, if any, expre sive po sibility may be hidden in its technological resources."

The public awareness of holography grew at a rapid pace. Mter the how at ICP, Burns and Jackson mounted an ex­hibition in Stockholm, Sweden, called Holografi Det 3-Di·mensionnella Mcdict. The show attracted an estimated 60 000 visitors in two weeks.

Witl1 the growing interest in the me ­dium as the public quickly became more aware of holography's potential applica­tion , the climate was right for innova­tion. In 1976 the melting pot of activity took shape, focusing on the formation of the institution we now know as the Mu­seum of Holography in New York.

The MoH' as granted a charter t-i·om the State of New York later tl1e same ye:u·, and began operating as the first not-for -profit organization dedicated to me collection of artistic, scientific, his­torical, contemporary and commercial holograms and related materials. The Burns and Jackson team, whose pioneer­ing achievements had led to the found ­ing of the Museum, did not carry out the mission together. Burns went his own way, while Rosemary Jackson became tl1e first official director of tl1e newly op­ened MoH.

The early years of me Museum, in retrospect, seem almost legendary: Jack-on and her contemporaries were pion ­

eering holography in a way no-one had ever done before. In March 1977, ap­proximately four montl1s after the Mu­seum opened, Dennis Gabor and hi wife Marjorie paid a visit. Gabor became the Museum's first official member. He re ­turned tl1e following year and was in ­vited to become honorary chairman of tl1e Board ofTrustees.

The MoH has a number of Gabor's books and papers, his obel Prize and a 120 degree integral hologram of Gabor and tl1e Museum staff members. These are part of the Gabor bequest to tl1e Mu­seum, which it is planned to use as the basis for an exhibition at tl1e MoH about Gabor and his work in late 1990.

The opening exhibition at the MoH was Alice Through The Looking Glass.

tudent ofthe MoH Out Reach P7'ogmmme, 1988.

This was mounted without any funding; holographers generously donated their work for tl1e show. These works then be­came part oftl1e permanent collection of the Museum. Alice became a travelling show which vi ited 28 venues d1roughout the nited States. A repor­ter for tl1e Detroit Free Press remarked about the show, "as you look be aware that you are doing omething his ­toric ... ".

In the years that f-ollowed, Jackson and her staff installed and staged an im­pressive number of shows. The Museum always tried to establish a balance be­tween art and science. A permanent ex­hibition called In-Perspective was in ­stalled in the Museum's lower gallery.

This was an account of the history of holography over 35 years, and incorpor­ated signitlcant holograms, diagrams and other related information. It was a unique historical record of the many as­pects and various methodologies of ho­lography. In-PerspectiJJe served to in­form the visiting public up until last year, when it was dismantled due to its dete ­riorating condition. The pre ent Mu­seum staff plan to install an up-dated ex­hibition on the history ofholography by tl1e end of 1990.

Hologmph_y Works: ApplicationsofHo­logmphy in Industry and Commerce was a major exhibit staged in 1983 dedicated to tl1e industrial applications of the me­dium. One of the Museum's funu·e plans is to curate and exhibit an up-dated ver­sion, Hologmphy Works II. Among not­able artists who have had one-per on

shows at the MoH are Margaret Benyon, Sam Moree, Ruben Nunez, Harriet Cas­din-Silver, Rick Silberman, Anait Ste­phens and Dan chweitzer. The MoH plans to have a one-woman show of Dori Vila's work sometime in 1990.

The MoH has the world's largest col­lection of significant holograms, and i a depository for the early lab notes and ex ­periments of many of the prominent ho­lographic artists who have participated in the Mu eum 's Artist-in-Residence pro­gramme. This was instigated in 1980 under the then education director Ed Bush, and is still the only programme of its kind which is held on a consi tent basis each year.

The AIR programme has erved to create an admirable collection of artists works produced in-house at the Mu ­seum. In fact one of the exhibitions cur­rently on display is Recent Acquisitions, which is a survey of work completed in the 1988 AIR programme.

Applications are currently being in ­vited for the 1989 AIR awards. These should be sent to the Museum no later tl1an September 1 of mis year. Due to a shortage of funding tl1ere will nor be a extensive a programme as in previou years and only three awards" ill be avail ­able.

Another important aspect oftl1e MoH is it publication, Holosphere. This was taken over by the Museum in 1977 under tl1e editorship of Ed Bush. It forms tl1e most complete historical rec­ord of developments, inventions and achievements in holography, with many

ummer 1989 Holographies International 27

---------MUSEUM + 0 F + H 0 LOG RAP HY---------1

holographers having contributed over the year to creating this written history. The Museum is still publishing Holos­phere, despite financial difficulties which have delayed recent issues.

The Museum ofHolography has a rich and complex history. In this article I ha~e endeavoured to present an overall view of the Museum's origins and both its early and recent history. A truly detailed account wou ld , I am sure, take a sizeable book. However, as many readers will be aware, the Museum has fallen on hard financial times recently. What, then, are its prospects for the future?

Since the end of Rosemary Jackson s period as director there have been several directors, each of ' hom has tried to bring their own style of leadership to running the MoH . This has resulted in a mixture of failures and successes. The relatively qttick rum-over of leadership has not had a healthy effect, and has caused confusion and anxiety in the ho­lographic community.

Currently, tl1e MoH has a new body of staff under the able directorship of Martl1a Tomko, who has extensive ex­perience in arts administration and not-

for -profit institutions . Her wish is to make the MoH "a museum again ". She is conscious of the hard work which has to be done to restore the balance both financiall y and dip lomatica lly.

She is working closely with ilie Mu ­seum's dynamic new business manager Bronwyn Albrect, bookkeeper Janice i­chol, and the Board of Directors to get the b oks straight and pay the bills. Be­cause of the recent internal focus o n fin ­ancial troubles, the Museum has at times appeared insular. The Museum staft- are, of course, keen to continue ilie import­ant aspects of the Museum's work - but they want to do it right.

The problems are, however, now being dealt witl1 ready for a dynamic push into ilie 1990s. T here will be a re­birtl1 at the MoH, and to achieve this we will need tl1e support of ilie people who helped create its past, together with others who want to be part of its future.

The MoH has an established ew York State -wide ed uc ationa l pro ­gramme, which is continuing. Much of the grou ndwork for tl1is programme was done by the MoH's previous director of education, Scott Lloyd. The Museum

worked closely witl1 the ew York Edu­cation Department to establish this Ho logmphy in the Classroom programme.

A major exhibit is planned for this sum mer at the MoH, entitled A s We Se It: Explm-ing the World Th1'ough H olo­graphy. This show was produced by the MoH in conjunction with ilie ationa Geographic Society, and is currently on display at the National Geographic head­quarters in Washington, DC. This show i intended to set a precedent for future innovative exhibitions of a high standard at the MoH.

The Museum wishes to continue to provide a public service to educate and inform an international audience about holography. An aggressive fund raising drive is pre ently under way to rai e $150 000, and many of you reading this article will have received a fund -raising letter from Dr Stephen Benton , a mem­ber of the Board of Directors.

The Museum is a unique institution. Please help to retain it as an important part of the history of holography- help support tl1e MoH in any way you can botl1 for posterity and the future of all as­pects of holography.

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DISCOVER AN ART FORM OF THE FUTURE: HOLOGRAPHY

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LEO 1ARDO documents the wo rk or th e p ioneer a ni sLS working with ho lo­graph y as an an medium. A Special I sue, edi ted by Cue t Edi tor LoUIS M. BRil.l . a nd a distinguished inter­national Editorial Board, is being publ ished in 1989. The issue include anicle by leading arti t including MARGARET Bio.NYO:-: , N.\NC:Y GORGLIONE, EDL'ARDO KAc, L'i'.-\:>1:-:E T. \ R and SAI.I.Y WEBicR, PHII.IPPE BOISSO:>/ET,

28 Holographies lntanational ummcr 1989

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Alexander Retrospective

by David Jones and Martin Taylor

One of the best- known artists to turn his hand to holography i Alexander, who, as an e tablished culptor, began to ex­ploit the medium in the early 1980s. Many of his holograms arc featured in a major retrospective exhibition of his work since 1981 , which will be shown in Brazil , Chile, and the United States.

British -born Alexander studied at St Martin's School of Art in London, after which he initially became a painter. In the 1960s and 1970s he made the tran ­sition to culpture, culminating in several monumental works in the late 1970s.

The best-known of the e include The G1'eat ToJller at Rutland Water in Leices­tershire, Britain, which was the largest bronze culpture of modern times, and Jubil ee Oracle, ired on London'

South Bank. His route into

holographic art was not through an interest in tl1e ho­lographic tech ­nique itself. Ratl1er it was an exten ion of his work with "four-dimensional" sc ulptures. The idea for these culptures first oc­

curred to him in 1980 after he had read Ouspen ky's Tertium Organum and spent a con­siderable period re­flecting on the con­cept offour dimen­sions introduced in the book and how it could be repre ­sented in sculpture.

In tllese works,

rotated or the observer walks around it, shapes are seen which do not physically exist, hence the term "four-dimen ­sional" . The simplest are made up of sets of vertical rods, painted in contrasting colour so as to make tl1e illusory forms appear. The retrospective exhibition fea ­tures 27 of these 4 -D scu lptures.

At around this time, Alexander was a lso producing " three -d imensional paintings", in which images in an extra dimension \ ere added to basic two-dimen iona l repre entations. Painted Lady from 1983 is among those included in the retrospective.

When Alexander attended a short course on holography at London University' Goldsmiths' College in

as the culpture is Horrors ofWar: Installation, 1988

30 Holographic< Internatio nal Summer 1989

1982 he was simply looking for a tech­nique to record his 4-D sculptures, which could not be shown fully by ordi­n<U)' photography. T he following year he successfully applied for an Australia Council artist-in -re idence fellow hip at CS IRO . Here he worked with Dr Hari ­luran, one of the leading scientists in ho­lography, who taught him more about tl1e holographic proces .

He soon realised tlut holograms had great artistic potential of their own. "The holograms produced began as a sort of extension oftl1e 4 -D sculptures and then moved further and further away from the physical works while at me same time re ­maining in the same conceptual family, " he says.

The retrospective exhibition illustrates how Alexander's holographic work has developed from simply recording exist­ing 4 -D culprures to making full use of the unique chru·acteristics ofholography. In particular, he introduced figuration into his work, which did not feature in the 4 -D scu lpntres. This has led him to make some hologram which have a strong element of social comment.

During a second period as artist-in­residence at CSIRO in 1985, he and Dr Hariharan made technical advances which enabled him to achieve more am ­bitious artistic goal in holography. In

------------------------------------ AR T --------------------------------

Painted Lady: 1983

June of that year he created wh<:~t was then the large t hologram in the world , entitled .. . Been a G7'eat Deal of Talk About Her.

• Measuring 6ft by 3ft Sin, thi white-light tran mis ion holo­gram showed a life-like manne­quin with the words of the title superimpo ed on the same space.

Soon afterward he created an even larger work, a white-light transmission stereogram called Danielle r Dream. This measured 6ft 6in by 3ft Sin, and consisted of three separate moving images, including one of a live model swinging in a hammock. Later in

War into Peace 2: 1984/5

198S he made several more large hologram , including Meta­morph.

In 1986, Alexander made 1S pulse holograms at the Musee de !'Holographic in Paris. H e then went on to make tl1e first fictional ho lographic movie, La Belle et La Bete, also in France. Technical limitation evercly re tricted this first production, for example, the actors could not look in the di ­rection of the laser for fear of da­maging their eyes.

Some of these limitations had been overcome for his second ho­lographic movie , Masks, also completed in 1986. This has a running time of 4 minutes, over twice as long a La Belle. The fol-

lowing year he completed TI1e Dream, which run for 8 minutes. The latter two movies arc parr of the retrospective. (An article on holographic movies, including Alexander' work, appeared in Holo­graphies International number 2. )

The Power House Museum of Ap­plied Arts and ciences in Sydney, Aus­tralia , commis ioned Alexander to pro­duce a series of large holograms repre­senting seven senses: sight, sou nd , taste, smell , touch, balance, and awarene . These are displayed in the first gallery of the museum, \ hich opened in March 1988 . Three of tl1ese holograms arc fea ­tured in the retro pective.

One of the most recent of tl1e 24 ho-

logram o n di play in the retro pective is also one of the most powerful political images Alexander has produced. En­titled H o}-ron ofWa1··, it features a soldier with a sku ll for a head and a body of barbed wire . As the viewer passes in front of tl1e image the sound of a gunshot i heard . AI o featured in tl1e show is it's powerful forerunner War into Peace 2.

Alexander's R etrospective Exhibition op­ened at the Musw de Arte Contempo­ranea da Unive1'Jidade de Sao Paulo, Brazil, on June 20 and runs ~mtil July 23. The same exhibition will also be shown at the Musco de Bellas A rter, Santiago Chile, from eptember 13 to October 8, and The Modern Museum of Art anta Ana, California USA, from February 24 to Ma_v 13 next year.

Summer 1989 Holographies International 31

----------- LITER AT U R E +R E VI E W ----------

Holographic Associative

Metnory Optical information processing systems can have high processing power because of the large degree of paral lelism and in­terconnection capabi li ty that is possible. Typically, more than a million parallel processing channels are avai lable in the optical ystem, each of\ hich can be con­nected to all of the others.

In 1982, JJ Hopfield introduced a 1-D associative memory model for the operation of neural networks [ l]. Asso­ciative memory, simply, is the ability to input some information which al lows stored information to be retrieved . P al ­tis and Farhat [2] extended this model to 2-D , and it is experimental work done using this latter model and holographic components that I will discuss.

In the 2-D Hopfield model , stored in­formation can be retrieved even if the original signal is not exactly correct, ie . if the channels of communication be­nveen the input device and neural net are noisy. This computation is performed through the following: when the info r­mation (external stimulus) is put into the

· system, it causes some specific neurons to be turned off and on.

The interconnections benveen the neurons cause feedback (related to the signal to noise ratio ) which changes the ex ternal timulus and so changes the neurons which are o n and off, thus chan ging the feedback. This process continues until the system converges onto the correct information.

Theoretically, the Hopfield model is given a the multiplication of vectors and matrices. The mathematic are derived in each of the papers referred to . In the nvo applications we will look at, it is this multiplication which is achieved holo­graphically. In one paper [3] , there is a description not o nly of the mathematics and a (non -holographic) meth od of achievi ng the model, but there is a step­by- step discussion of the arithmetic, showing the thresholding and feedback, for two cases.

There are two recent app lications which use ho lography as a means of achieving this model. The first [ 4 ] uses the circuit shown in figure 1. The net­work is an osci ll ating ring resonator. The

32 Holographies International Summer 1989

11 optical neurons 11 are generated within the saturable , two beam amplifier and the interconnection is achieved using Fourier and object-space holograms to perform the matrix -vector multiplication algorithm.

Two experiments were used to test the system . In the first , two views of a tank were stored in the network . When a par­tially obscured view of one was fed in for 3 seconds, the correct view was fully re­called. This view remained for a further 15 seconds, and, in the ab ence of any more stimuli, the net\ o rk wandered

Figure 1.

FOUAIEA-SPAC( ttOLOGA AM S (LIN'bOJ)'\

4'-0 T~AN SP.\AEriCY

IY 1 otij 1

randomly between the 1:\vo tank views with a period ofl5-25 seconds. The sec­ond experiment demonstrated how, by varyi ng the angle of the stimulus image, different outputs could be obtained.

Another intere ting application of this kind of network is a system for word­break recognition [5]. This is de igned to recognise word breaks, insert spaces and correct spelling in a continuous stream of letters. The system used varies from the Hopfield -type ho lographic as­sociative memory [ 6] in three main ways (see figure 2): in order to recognise the words correctly, a correlator is used and tl1e peaks are detected through a second , artificial , neura l network in the corrcla-

Figure 2.

-

tion plane; to process multiple inputs without cross talk memory words are sto red normal to the input word stream; and finally, the output is scaled down so that spaces appear between the words.

The Fourier-transform hologram of all the memory words (shown in figure 2 ) is recorded si multaneously on ather­moplastic plate with a single reference beam. All the memories are recorded on a plane hologram, rather than a volume hologram, to preserve shift-invariant rec­ognition .

The neural net discussed are some way from the ideal. Until more advanced non -linear optical components become available, it is not possible for these pro­cesses to be perfo rmed in a purely opti ­cal circuit, ie. at the speed oflight. Other serious difficulties which will have to be overcome before large complex prob­lems can be solved using optical neural networks include the question of mem ­ory storage capacity [7].

Sunny Bains

R eferences [ 1) JJ Hopfield , cum/ Ncm•orks nud 1'/~vsica/ S.vstcms n>itb Emergent Col/cctil>c Compumrionnl Abilities, Pro­ceedings of the National Academy of Sciences USA 79 (1982) 2554. [2) D Psaltis and Farhat, Opticallnfonnation Processi ng Based on an Associative-Memory model of eural ets with Thresho lding and Feedback, Optics Letters 10 ( 1985 ) 98. [3) S Lin et al, Optical lmplemw tation of the 2-D Hop­field Model for a 2-D Associative Memory, Optics Com­m unications 70 ( 1989) 87. [ 4) L-S Lee et al , COIIfinuom-timc opticnl nwrnlncr­"'"'k associatiJ>c meuwr_v, Optics Letters 14 ( 1989) 162. [ 5) EG Paek and A Von Lelunen , Hologmpbic nssocia­til>e memory for n>ord-brenk recog nition, Optics Letters 14 (1989) 205. [ 6) EG Paek and D Psaltis, Optical Engineering 26 ( 1987) 428. [7] J Hong and D Psaltis, Optics Letters 11 (1986) 811.

y

+-· I OPTICAL NEU ••• Holographic

Associative Memory

OPTICAL NEURAL NETWORK OPTICAL BELLCORE NETWORK NEURAL

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