Ms. Yin-Ren Chang Profile

Yin-Ren Chang

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Proceedings Article | 6 April 2017 Presentation + Paper

Holographic space: presence and absence in time

Yin-Ren Chang, Martin Richardson

Proceedings Volume 10127, 1012708 (2017) https://doi.org/10.1117/12.2253062

KEYWORDS: Holography, Holograms, Wavefront reconstruction, Visualization, 3D image processing, Optical simulations, Image processing, Light sources and illumination, 3D image reconstruction, Bone

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In terms of contemporary art, time-based media generally refers to artworks that have duration as a dimension and unfold to the viewer over time, that could be a video, slide, film, computer-based technologies or audio. As part of this category, holography pushes this visual-oriented narrative a step further, which brings a real 3D image to invite and allow audiences revisiting the scene of the past, at the moment of recording in space and time. Audiences could also experience the kinetic holographic aesthetics through constantly moving the viewing point or illumination source, which creates dynamic visual effects. In other words, when the audience and hologram remain still, the holographic image can only be perceived statically. This unique form of expression is not created by virtual simulation; the principal of wavefront reconstruction process made holographic art exceptional from other time-based media. This project integrates 3D printing technology to explore the nature of material aesthetics, transiting between material world and holographic space. In addition, this series of creation also reveals the unique temporal quality of a hologram’s presence and absence, an ambiguous relationship existing in this media.

Proceedings Article | 10 March 2015 Paper

Time within time: 3D printed sculptures within holographic art practice

Yin-Ren Chang, Martin Richardson

Proceedings Volume 9386, 93860C (2015) https://doi.org/10.1117/12.2079448

KEYWORDS: Holography, 3D printing, Mirrors, Skull, Visualization, 3D modeling, Holograms, Reflection, Digital holography, 3D image processing

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Holography is a time-based medium, which uses its own aesthetics and techniques to interpret colour and light. This exclusive descriptive language does not simply represent a particular scenario in the moment of recording, but also documents the performance light during the shooting process.

Nowadays 3D graphic software and Internet offer practitioners greater mobility in both the development and the delivery of their artwork. Furthermore, the diverse web-based social media presents unlimited and various spaces to facilitate artists in the exchange of creative knowledge, it enables them to collaborate on their projects with external connections – audience, specialists, etc.

Within the analogue holography art practice, there is a primary lack of interface, or, in other words, it cannot utilise any digital creative tools. 3D printing makes it possible to bridge the gap between cyber space and the holographic world; even more so, as this emerging technique also becomes a platform, which can connect computational data and light information.

The application of 3D printing in contemporary art will reshape the process of creation, as well as the form of visual narrative itself. New technologies continually and increasingly involve the projection of another artistic dimension, and the term “visual” embarks on challenging the generally accepted notion of understanding art and interacting with it.

As new pathways of practice are established, it will take years to build a complete understanding of this medium in order to be able to take a full advantage of the benefits its use offers. This paper is aimed at looking for the potential new ways of artistic expression, deriving from the interrelation between analogue holography and 3D printing. It will also attempt an articulate assessment of 3D printing within the dynamic holographic aesthetics.

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