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Across Light: Through Colour II

This paper intends to be a reflection on the end product of the process of preparing movies to digital art holograms, comparing the kind of space and movement between those images and the ones in a previous paper. This paper explores too questions about the act of seeing through those images and it is concerned with the surrounding debate of ideas for new experimental methodologies applied to holographic images.


Introduction
In a recent paper titled "Across Light: Through Colour" [1], we have explained the expressive possibilities of the holographic medium in the creation of digital art holograms and lenticulars. The paper's subject was essentially concerned with time as expressed through change and transformation. Light and colour played an important role in the construction of a special space and special time. Exploring holography as a time-based medium some scenes can be seen left and right or back and forward deliberating a visual dialogue inside holographic plate with the viewer. That dynamic experience of seeing a digital hologram where the image is not static, but in a nonstop transformation, questions us about the act of seeing. In that paper, our method for image capturing was explored using the HoloCam Portable Light System whereby a camera is running parallel to the floor and in front of the scene. In the present paper, we have used another geometry, that explores the same system using the

Concepts in art about representation and illusion
In the act of opening our eyes we receive a mass of visual information that can often become anaesthetic. In everyday life, vision is very limited, because we only see what our instincts require to solve practical problems. We only pay attention to what we need and is likely that we are blind to what we don't "need " to see. In fact perception is connected with symbolic conventions, and the visual stimuli depends upon habits and conditions of observation. When we are reading a book, or listening to music, we enter into a larger space than the room of the activity. Our imagination helps us enter this space, especially in visual arts, and the imaginative space of the artist. Why you don't enter? If you don't like it you can go out again [2].
What are images? For example, to Damásio [3], the word images means mental patterns with each sensorial way. Not only related at "visual" images nor static objects, but also sonorous images, or body inside images like those described by "Realism is a matter not of any constant or absolute relationship between a picture and its object but of a relationship between the system of representation employed in the picture and the standard system", as wrote Goodman [6].
Representation is a matter of context and illusion a matter of how understanding the relationship between objects and images that represent objects. The aim of illusion could be to create in the audience the same response that the viewer would have to the object in similar conditions of observation. Perhaps we can say that art has never been a pure representation, "that was figurative without been representative", as said Deleuze [7]. An artist depicting an image is never doing that without imprinting himself in each work of art.
Even to a photographer, a pure representation is an impossibility. Perhaps we could define representation as an interpretation of another representation in infinitive way: each one interpreting in different and unique way, reinventing the work of art. "The works of art are done by the viewers", to quote Marcel Duchamp [8].
It does not mean that traditional ways of making art has been exhausted. Today we live in a time of synchronization where we have a mix of universal language and trans-disciplined multimedia offering new ways of appreciation join together different cultures. The act of taking a hologram might be described as a more accurate way of collecting data about our world than taking a photography, but Denisyuk advised "it is natural to imagine that the property of a three-dimensional hologram is brought about by the fact that its structure somehow aspires to copy a given object's form, but it is very difficult to prove this since no method for predetermining an arbitrary three-dimensional object is known to optics" [9].
Holography is one of many new "Hyper-Medias" that allows a three-dimensional form to superimpose another three-dimensional form, as one may envisage a double exposure in photography, but in real space, in real time where one can walk around the projected images and view them as one would a sculpture [10]. In "reality" this is not something we would see in everyday life. On one hand we need to learn some rules to see some kind of representation as natural, in the other hand we can see new forms of images that may help us to see our "reality" in a different kind of way. Similar to the way photography made profound changes in the way we see ourselves and the world around us, as said Susan Sontag [11]. Holography could do the same, even more if we are understanding holography not to "reproducing" the world but opening new formal play and unexpected imagery, where can coexist photography, film, video and electronic image manipulation into the digital holographic image, perhaps could be a land to develop new ways of seeing ourselves and the world.    These images are recorded using Canon IS3 camera (Fig. 5) and Sony HDR CX105 camera (Fig. 6), on the rail, using the HoloCam, to compare different effects.
Approximately thirty movies were recorded, but only four digital holograms were selected for printing. We observed that the movies made with the Sony camera have a tendency to be red, and the red is without alternate transparencies and opacities.
Utilizing the Canon camera we found a higher colour content. One may notice the white dotted pattern in the costume of the sitter appears red within the Sony recordings.
Pictures used from the Canon present an image identifiable with a kind of timeless quality, that specificity seems interesting to explore in next digital art holograms.
In the present paper, we have used another geometry for image capturing that explores the same system using the Canon camera angled at 45 degrees (toward the floor) and carrying on a different kind of space and movement as compared to the movies in the previous paper.
In capturing the scenes top to bottom, we used the floor to build another kind of setups and compositions and we produced another series of digital art holograms and lenticulars titled "Across Light: Through Colour II".
We recorded near fifty movies but we only selected four to printing.
In "Peter Pan" (Fig. 7)    In "Earth Lighting" (Fig. 9), a Moon balloon is jumping in direction at the Earth balloon near at a hammer and a shinning stair. It is jumping, up and down depending viewer movements, the hammer is presented like something dangerous about to happen to the planet. In "The Gardener" (Fig. 10) a human figure, an entity, is partially showing through the feet and a white dress, inside a celestial garden. A frog is recognizing the entity, and all the elements in the garden are celebrating his presence, shining, moving and projecting colours between them, for all and forever, depending the viewer movements. Using different cameras on the HOLOSHOT rail, we discovered several problems occurred with the digital printing process due to non-calibration by GEOLA.

Conclusion
The quality of these digital holographic images is dependent on true colour observations that play an important role in the construction of space and time. The audience will interact with events that have no beginning, or end, that can be