The Emergent Holographic Scene Compositions of movement and affect using multiplexed holographic images A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Martina Mrongovius Bachelor of Applied Science (Applied Physics) School of Architecture + Design Spatial Information Architecture Laboratory RMIT University September 2011 Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Martina Mrongovius 15 September 2011 2 The Emergent Holographic Scene Compositions of movement and affect using multiplexed holographic images Conventionally, a hologram offers a view into a single space; a window onto a scene. The term ʻhologramʼ, refers to both a method of encoding a spatial image within a physical surface and the reconstructed optical image that is produced through the diffraction of light as it meets with that surface. A holographic window of perspective allows for bio-ocular depth perception and for the viewer to move as they look from different angles through the hologram. When the recorded visual perspective matches the viewerʼs perceptual sense of space the holographic image produces a visually-realistic volume: a 3- dimensional light sculpture. This research explores the multiplex or stencilled hologram, which divides the perspective window so that the viewer moving around the hologram perceives a composition of views, superimposed into a holographic scene. Because of this assemblage of perspective views the multiplex hologram has the potential to actively engage the spatial experience of the viewer in a way that departs from the conventional deployment of holograms. In this project-based research the multiplexed holographic scene is used to remap the viewerʼs gaze by connecting it to a composition of multiple, hinged photographic views. This required the development of ways to anchor these multiple perspectives into a holographic structure, achieved through connecting points of visual attention and lines of movement that are then traced into a spatial arrangement of views. The research led to an experimental practice where the composition of holographic images and their installation in physical spaces highlighted and affected the disjunctions and fusions between different systems of perception in embodied act of looking. This research aims to convey a series of techniques for the expansion of holography through a design and installation practice that focuses on a visuo-spatial choreography. These choreographies aim to heighten an awareness of the perceiving body – both in the process of capturing images for a holographic scene and during the viewer's exploration of this scene. The projects seek to work actively with the role of movement and multiple perspectives, mapping perceptual shapings and virtual extensions that inform the experience of urban navigation. ʻPerceptual shapingʼ here refers to the perception of an undulation and/or rhythm of dimensions and forces: ʻshapesʼ or diagrams that are mapped through qualities and trajectories of movement. These diagrams or ʻshapesʼ become important in working with ʻa complex sense of locationʼ, an idea developed here to describe how multiple spaces and orientation systems are enfolded. The multiplex hologram then becomes medium for conducting a diagram of movements. This research articulates a design practice of holography that focuses on the relationship between bodily movement and the experience of space, where the hologram becomes a device that guides and structures a felt relation between movement and spatial experience. As well as developing the field of display holography, this project-based research aims to point to broader issues relating to the contemporary infusion of visual media and how image-systems and ways of looking, such as a holographic view, shape experience. 3 Acknowledgements The research environment of the Spatial Information Architecture Laboratory (SIAL) at RMIT University allowed me to develop a creative practice into doctoral research. This would not have been possible without the guidance of my supervisor Dr Pia Ednie-Brown and advice from Dr Andrew Burrow and Dr Inger Mewburn. I am also deeply grateful for the efforts of my wonderful editors: Robert Mrongovius, Alice Mrongovius, Gwyneth Dolon and Ryan Wood – who made working with text a pleasure. Numerous people have encouraged and assisted with the exhibitions of my hologram. The exhibition ʻThe Emergent Holographic Sceneʼ was produced with help from Wouter Cox, Urs Fries, Anna Baróthy, Tom Scott, Alice Mrongovius and Bernd Voss. The opportunity to develop my practice arose from my work at a number of holography studios. I sincerely thank the following people for sharing their knowledge and facilities as well supporting my experimentation (in order of meeting): Associate/Professor Philip Wilksch – RMIT School of Applied Physics, Melbourne, Australia Dr Martin Richardson – The Holographic Image Studio, London, UK Ana Maria Nicholson, Sam Moree and Ikuo Nakamura – Center for the Holographic Arts, New York, USA Dr John Perry – Holographics North, Burlington, USA Peter Schuster and Urs Fries – Academy of Media Arts (KHM), Cologne, Germany Professor Juyong Lee – The Korean HOLOcenter and Korean National University of Arts, Seoul, Korea I would like to express my gratitude to the collectors and libraries of holograms where I have been able to view holograms: The Jonathan Ross Hologram Collection, London Sammlung Lauk [Lauk Collection], multiple locations in Germany Media Library of ZKM | Zentrum für Kunst und Medientechnologie [Centre for Art and Media Karlsruhe] MIT Museum, Holography Collection, Boston www.holonet.khm.de hosted by Academy of Media Arts (KHM), Cologne And to all the artists, scientists and authors who have been such an inspiration. –Thank You. 4 Viewer, reflection and hologram, Unfurl, 2004/5 5 CONTENTS Introduction 1. Research background and methodology ...............................................................................................8 2. Research focus and contribution..........................................................................................................11 3. Holography and media theory: Getting beyond the fake.....................................................................15 4. Movement as holographic materiality...................................................................................................18 5. Important precedents for structuring movement in images.................................................................20 6. Affect and the embodied encounter: Drive, awareness, agency ........................................................22 7. Interactivity, mobility and virtual worlds................................................................................................24 Thesis structure .........................................................................................................................................26 Chapter 1 – The experience of being lost A : Are you here?.......................................................................................................................................28 A1 : Lost.................................................................................................................................................28 A2 : A mapping ......................................................................................................................................29 A3 : map of Here and There.............................................................................................................33 B : The mapping process ..........................................................................................................................33 B1 : What does the map do? ................................................................................................................33 B2 : Mapping movement .......................................................................................................................35 B3 : A composition of movements........................................................................................................37 C : The shape of experience between the map and location..................................................................39 C1 : Mapping complex topographies....................................................................................................39 C2 : The shape of experience between location..................................................................................42 C3 : Here in the fold...............................................................................................................................43 C4 : Here on the map ............................................................................................................................46 Chapter 2 – Linking the holographic view to the body A : Anchoring the gaze into a holographic scene ....................................................................................49 A1 : Looking at and within a holographic scene ..................................................................................49