Andrew T. Pepper and Eric P. Krantz*

Department of Media Art
Academy of Media Arts Cologne
Peter-Welter-Platz 2
50676 Cologne, Germany.



ABSTRACT

The concept of collaborations between artists and scientists, working with holography, is explored. A background and history to such collaborations is given and two case studies are detailed: one from a pioneering artist in the field who organised very early collaborations with scientists and engineers, the second from a more recent collaboration between the authors of this paper. A description of the authors' collaboration is given and details of a single exposure colour mixing technique for rainbow "shadow" holograms is specified. The description of the making of a collaborative hologram, using this system, is provided.


2. INTRODUCTION

"Every human being is an artist - because I am talking about the 'point of freedom' that exists within every individual".(1)

Although German artist Joseph Beuys made the above statement, which is still relevant today in the discussion about how art and science interacts, there are many who would dispute it, particularly scientists who would not want to be considered artists. Previously there was little, or no, distinction between art and science. It was possible to know about and work within both areas - it was possible to be an artisan.

Leonardo da Vinci was probably the last true artisan. In his lifetime it was possible for a single person to be accurately informed about all aspects of art and science. Looking at his life's work, one can see that his abilities encompassed a wide area of human achievements. He painted, he invented, he engineered, he philosophised, he pioneered in many areas. It is obviously impossible, over five hundred years later, to accurately verify the extent of his knowledge in all areas of human achievement, but his writings, drawings and paintings help form a subjective picture of his achievements and have been explored by many scholars.

"He was able to achieve this because he was an artist. In his lifetime there were no professional scientists working by experiment; and the observations of natural phenomena as handed down by Aristotle and other ancient philosophers continues to form the foundation of an authorised creed accepted by Schoolmen, who depreciated experimental methods as subversive and 'unlettered'. But being an artist Leonardo steered a course guided by visual experience. His intelligence was free and wholly devoted to inquiry".(2)

Today it is impossible for the artisan to exist. There is simply too much information, too many branches of human activity, too many opinions to be digested, stored and expounded by a single human. As an example of this overload of information and ideas we can take the electronic Internet. Fashionably called a superhighway, this electronic global network of millions of computers storing and exchanging information is so vast that it is impossible to be aware of all the information it contains, let alone read and absorb it all. We now have to either employ 'net surfers', experts who, for a fee, will attempt to find information on the massive electronic networks for you, or electronic agents, 'intelligent' filters which once instructed ,will 'travel' the networks and locate the specific information we request.

We are in the age of the expert, whose expertise becomes ever more defined and specific.


3. THE EXPERT IN HOLOGRAPHY

Holography is part of this massive background of human achievement and its published results. Just looking at the diversity of branches, achievements and opinions present in this symposium helps to reinforce the view that explorers must, by nature of the situation, become more and more expert. As authors of this paper, we know things about holography that you as a specialist reader do not. Likewise each specialist reader of this paper knows specifics about holography that we do not. Some of this knowledge is restricted due to legalities of a working situation (patent applications/sensitive contracts), business practices (protecting a product or image effect), artistic priority (a specific technique producing a specific effect which if known would allow the art work to be simulated or copied). For whatever reason information (specific knowledge) is power.

At some point it is valuable for experts to come together and collaborate on a project, to bring with them their specific knowledge, learn from the results and return (hopefully enlightened) to their expert field. Such collaborations in holography have been key points in the development of the process as a visual and creative medium.


4. COLLABORATION HISTORY

It is clear that holography has a place, in the history of human achievements, as a creative visual medium. It is also clear that this achievement is a fringe element of all activities in holography. We need only count the number of art facilities and independent artists using the process, and compare these to the number of research facilities and scientists/engineers contracted to work with the process, to confirm this statement.

Holography was invented by a scientist and, for the early years, remained a scientific pursuit. Once artists began to hear about it, (3) even though information was very scarce, they naturally wanted to begin exploring for themselves. Access was restricted to scientific and research facilities, information was available only in a scientific vocabulary, often not accessible to artists (either physically or intellectually) and equipment was expensive. In such a situation it is clear that collaborations between artists and scientists would develop, as it was the only possibility for artists to gain access to the technology.


4.1. Decade progression

During the late 1960's, considered to be the starting point for artists in the field, those who helped pioneer creative holography collaborated with scientists. Margaret Benyon, Harriet Casdin-Silver, Carl Fredrik Reuterswärd and Anait Stephens made work with technical support and encouragement from a number of different scientists and scientific research establishments. During the 1970's more artists began exploring the possibilities of the medium, as information began to be accessible to them and there were more holograms to see and more people to contact. Setsuko Ishii, Dieter Jung, John Kaufman, Sam Moree, Ruben Nunez, Dan Schweitzer, Rick Silberman and Fred Unterseher either worked with, brushed against or collaborated with technical experts.

During the 1980's collaborations appear to have reduced, not because artists no longer consider the help of scientists important, but because the field expanded. In the '80's information about, and non-scientific courses for, holography were easily accessible. Part of the late '70's generation and most of the '80's generation of artists taught themselves or were taught by other artists. These are of course generalisations, but are included here to help shape our view of collaborations between artists and scientists in holography.


4.2. Collaboration types

There are many types of collaboration possibilities:

• Artist employs scientist or technician to make holograms for them. The finished piece is considered to be the work of the artist.

• Artist works together with scientist to make joint exploration. The finished piece is considered to be the work of the artist, but credit is given to the scientist in catalogues for example.

• Artist and scientist work together to produce a joint piece. The finished piece is considered to be the work of both artist and scientist and is credited so.

• Scientist employs artist to contribute creative input to technical project. The finished piece is considered to be the work of the scientist or research group. The artist is given credit.

• Scientist employs artist to contribute creative input to technical project. The finished piece is considered to be the work of the scientist or research group. The artist is not credited.

• Multiple cross variations of the above.

It is perhaps useful here to take an historical example to compare some of these options and the complexity of creative and technical input each offers.


5. CASE STUDY: ONE

Margaret Benyon, considered a pioneer in the field of creative holography, has worked on many levels in her career. Considered to be the first artist to make holograms herself, (4) she has also collaborated with scientists on many levels. She taught herself holography in the Product Engineering Department of Nottingham University, UK, and some of her early 5 x 7 inch laser transmission holograms, notably Interference Pattern Box were made at the British Aircraft Corporation, Bristol, UK, by Peter Spicer. They are, however, considered to be her work. Other pieces were made at the University of Loughborough in 1970, with facilities loaned by John Butters, but Benyon made the holograms herself. She also worked with scientists at the National Physical Laboratory, London, UK, between 1969/1970. Asked to comment on these collaborations, Benyon stated, "Creatively there is usually little, if any, input from the scientists, but as a learning experience, being able to work with them has always been extremely valuable, and the more intuitive the scientist, the better the outcome." (5) Her white light transmission holograms Black Rainbow and White Rainbow, were joint pieces between herself and Stephen A. Benton. The work is by Benyon & Benton, rather like the working situation of Wenyon & Gamble. For this work Benyon stated that, "...holographically his (Benton's) creative input was greater than mine." (6)

Other collaborations have included working together with John Webster in the production of Tiresias and Counting the Beat, which were influenced by the way Benyon and Webster interacted together as people, resulting in a comment on art and science, male and female, which Benyon feels would not have been the same if the collaboration had been just on a technical level.

When asked to review the question of technical and creative input, Benyon stated, "..often the brilliance of the "technician" can be the crucial element in the success or otherwise of a piece of work. Brilliant holographers like Rob Munday or Craig Newswanger have had a considerable influence on the outcome of individual art works by numbers of artists." She goes on to acknowledge the support provided by others she has collaborated with, or who have supported her work. (7)


5.1. The art/science debate.

As someone who has explored many avenues in the area of collaboration, it is interesting to read her comments relating to these experiences. In her PhD thesis submitted to the Royal College of Art, UK, she states, "For me, there is little need to debate about the connection between science and art in holography. As an artist I live with holography on a daily basis in an organic way. I doubt whether many artists using holography see their artwork as science, and to suggest to a scientist that they were making art would probably be taken as a gross insult. In general, scientists aim to understand natural laws, and the subjective element is not part of the discipline. Artists may be presenting world views which are in accord with natural laws, but they are not determining what these natural laws are." (8) It is clear that as the expertise of people working in holography continues to compress and be focused, so there will continue to be attempts to combine some of these specific areas of knowledge and produce collaborative works.

An extensive list of works produced and collaborations involved can be found in Benyon's 12-year retrospective catalogue. (9)


6. CASE STUDY: TWO

Collaborations can develop in may different ways. With Benyon they came from specific desires to understand a process, gain access to equipment or work on a specific theme or piece. Her collaborations are shaped by the fact that she was an independent artist working outside institutional frameworks. She would enter the institutions as and when the need or opportunity arose. In this second case study we concentrate on the collaboration between the two authors, the formulation of the collaboration, and the resulting works.

As definition points, and as 'markers' for this discussion, the authors have defined themselves as artist (Pepper) and scientist (Krantz). These definitions are open to negotiation, but are included here to facilitate our discussion.(10)

Both met at the Academy of Media Arts Cologne, Germany, where there is an active programme of bringing artists and scientists/technical experts together. Pepper as a member of staff in the Department of Media Art and Krantz as fellow in the same department. (11) The decision to collaborate was spontaneous. Pepper saw a piece of work by Krantz, which had resulted from part of a research project he was working on within the department. The piece was a double exposure, white light transmission hologram illuminated from above and below (double reference), combining colour mixing of a dynamic and subtle nature. While viewing the piece, Krantz and Pepper felt that they would like to work together on a mutual experiment. One of the positive elements of the Academy structure is that such collaborations between staff, fellows and students are tolerated and often encouraged. Such collaborations are seen as autonomous projects which ultimately contribute to the relationships between members of the Academy, the teaching programmes, the further development of specific creative and technical fields and the reputation of the Academy on an international stage.


6.1. Collaboration specifics

It was decided from the onset that the collaboration should be based on the mutual respect each person had for the work, knowledge and abilities of the other, i.e. the artist was not simply using the skills of the scientist to make his work, the scientist was not simply using the skills of the artist to add image content. In the spirit of experimentation an open collaboration was envisaged where both parties would bring their specific interests to a period of intense experimentation. The vehicle and source of the collaboration being a system, envisaged by Krantz, for colour mixing in holography using a one-step process to produce white-light transmission "shadow" holograms.

A period of one week was arranged for the project with the explicit understanding that no 'finished' piece would be aimed for, and that as many aspects of the colour mixing process would be explored. This did not exclude the possibility of a 'finished' piece being produced, but it was thought too restrictive to make a specification. Although the Academy Hololab is exceptionally well equipped with quality engineered optical and mechanical elements, a 'low tech' working situation was decided so that any results could be further developed by artists and scientists with a minimum of equipment. The basic set-up was discussed and refined, elements were prepared and the collaboration started with building and testing of a preliminary system.

6.2. Recording system

There is already a long history for the use of one-step recording systems. (12-17) This system was developed to offer a degree of flexibility which might appeal to both artist and scientist who wished to work with an intuitive method for producing colour experiments. It also follows a metaphor of artistic expression related to painting so that we refer to three basic elements: the canvas (holographic plate); the composition (shadow producing subject matter), and the palette (slit diffusion screen). (fig1)

*

Figure 1. showing basic elements of the holographic system in relationship to each other. Note the shaped slit diffusion screen allowing multiple slits to be located in different spatial positions.
With these three element, it is possible to explore colour mixing with a minimal amount of equipment, produce results rapidly, which can then be observed, discussed and changed when making the next hologram. As a painter has the opportunity to consider their paint marks and colour mixing while they work, always having the chance to re-colour or change a specific area, so with this system a method of accessibility and change is afforded.

An un-diverged beam from a krypton laser, using the 647nm line, was passed through a cylindrical lens and then a linear diffraction grating. The subsequently produced multiple lines fall onto a shaped diffusion screen. This light then passes through a 2-D painted composition, on glass, to fall onto the holographic plate where an off-axis white-light transmission hologram is recorded onto Agfa-Gevaert Holotest 8E75 HD plates. The advantage of having multiple lines present on the diffusing screen means that it is simple to choose which are to be used and mask out any unwanted ones. New lines can be added or subtracted in subsequent holograms so that a rapid and dynamic comparison can be made of the degree of colour mixing from each line. Each line on the diffusion screen will produce a different rainbow orientation, and subsequently different overlaps of these multiple rainbows will provide different colour mixing . By changing the orientation of the shaped diffraction screen, different physical locations for each line can be arranged adding even more flexibility to the final one-step colour mix.

Full geometry, technical considerations and wavelength analysis are dealt with in another paper. (18)


6.3. Aesthetic considerations

One great limitation of holography has been the amount of time taken to produce an image and the rigid structures and processes involved. Many artists work using an intuitive exploration, seeing what will happen in a certain situation, making changes to their starting point and taking advantage of events which happen while they are working. This one-step system allows a good degree of flexibility and an opportunity to see directly what colour mixing effects result from particular lines on the palette/diffusing screen. Careful masking of wanted and unwanted lines on the palette can produce sharp or diffused colour areas, i.e. areas can be softened or hardened. After a period working with the system, it should be possible to anticipate the colour mixing or, if required, produce a specific palette where colours can be accurately calculated and repeated.

It is suggested that such a system provides a degree of control over colour mixing which would appeal to the aesthetic experimentation of artists and allow them to explore the holographic space and colour variants it offers. It should also be possible to automate such a system of multiple palette lines and moving shaped diffusion screen, offering a completely automatic and accurate colour mixing system.


6.4. A true collaborative result

During the various experiments undertaken within the collaboration period there was constant discussion between the two authors. These discussions covered improvement of the holographic set-up, the needs and desires of each participant within the collaboration and an attempt to focus the many ideas and concerns into a single piece of work. It was decided to produce a hologram, at the end of the collaboration, which would attempt to bring together many of the experiments produced during the week and somehow reflect and focus on the spirit of collaboration.

A 30 x 40 cm hologram was designed. It comprised of two exposures, each of which used the principle of colour mixing previously explored and allowed each participant to control a specific exposure.

A 2-D graphic pattern was created and painted onto the canvas glass screen. Two opaque masks were prepared to be placed directly onto the holographic plate, so allowing it to be exposed only in the centre of the plate. Each mask was made up of 3 hard edges and a single ripped edge. (fig 2)

Fig 2. showing each of the opaque masks used to expose the collaborative hologram. These were made from black card allowing both 'hard' cut edges and 'soft' ripped edges.


The authors each produced their own random element in the mask by individually ripping one edge of the mask. In effect two personal masks were produced, one for each author. During the exposure of the hologram, Pepper's mask was placed on the holographic plate and the exposure was made by Krantz. The plate was then rotated through 180 degrees, Pepper's mask was removed and Krantz's mask installed, with this exposure being made by Pepper.

The resulting hologram, illuminated with two sources, one from above and one from below, produces a rectangle in the centre of the 30 x 40 plate made up of two halves. these two halves overlap to produce dynamic and subtle colour mixing. (fig 3).

Fig 3. Twenty Three Nine, Pepper/Krantz, 1993. One-step white-light transmission hologram on 30 x 40 cm glass plate, illuminated with two opposite reconstruction beams (above and below). Both reconstructed images, and their colour mixing, overlap in the central area.

6.5. The conceptual background

The three hard edges were constant in each mask and were used to represent the fixed elements of the system and the conceptual boundaries of knowledge, both generally for holography and specifically for each author. The ripped edge represented the character and personality of the specific author who made the tear, and the random, unknown element present in most working situations.

Having each author make the exposure for the other author's mask represented the degree of collaboration which was experienced during the working period and was a way of symbolising the trust offered to each author by the other. It was also important to symbolise that the finished hologram was a true collaboration, each element being so intertwined that they could not be separated. The resulting hologram would not have been produced by a single author and can be seen as a true joint work.

When on display the result is a single rectangle in the centre of the 30 x 40 cm plate. This is made up of two halves, each displaying a mix of colour equal and opposite to the other. Because each half of the hologram is illuminated from opposite directions, the resulting rainbow dispersion is also opposite. As a viewer moves up and down in front of the piece, one half of the plate will shift in colour towards the blue (for each exposed line on the palette) while the other shifts towards the red. Where the two halves overlap (the area of the ripped side of the mask) these colours mix together, producing a result which is the sum of both halves and which could not exist without the other's presence. This overlap is significant within the framework of the collaboration.

As a viewer moves in the horizontal axis, so a kinetic effect takes place produced by the elements of the opaque graphic design, originally located on the canvas.

7. CONCLUSION

This period of collaboration produced many developmental sketches (holograms exposed to explore the variety of colour mixing) and a symbolic piece bringing together the results and desires of the collaborating partners. It is clear that this was a true collaboration. The resulting work is by Pepper/Krantz and could not have existed without an open collaboration based on mutual respect. It has been agreed that when exhibited the pieces will be credited in accordance with who initiated the exhibition. If the work is included in an exhibition of Pepper's work, his name would be listed first. If Krantz organises, or submits work for an exhibition, his name appears first.

To further develop the ideas and techniques explored during this collaboration it was decided to publish results. This is the second of two papers on the theme, each being written from the standpoint of the first named author. Together these two papers (19) should provide enough conceptual and technical information for the techniques to be adopted and adapted by others working in the field. Both authors of this paper hope that such further developments will not only add to the body of creative work in the field but encourage collaborations, on many levels, between members of the art and scientific holography communities.


8. ACKNOWLEDGEMENTS

We extend our gratitude to the members of the Media Art Department at the Academy of Media Arts Cologne, Germany, especially to Dieter Jung, who made the holography lab a reality. This work was made possible through a fellowship grant (to E.P. Krantz) by the Land Nordrhein-Westfalen represented by the Ministry of Science and Research, Germany.

This paper is dedicated to the memory of Elizabeth F. Pepper, 1921-1994, who died during its preparation. She always supported my experimental work, encouraged me to pursue my own desires and helped me to learn and live with holography. She will be sadly missed.
Andrew Pepper.


9. REFERENCES AND NOTES


1. Joseph Beuys in J. Benthall, Science and Technology in Art Today, pp 22., Thames & Hudson., London, 1972.

2. I. A. Richter., Selections from the Notebooks of Leonardo Da Vinci, pp v (preface),Oxford University Press, Oxford, 1977.

3.H. Wilhelmsson, "Holography: a new scientific technique of possible use to artists", Leonardo Journal, Vol., 1, No. 2, pp 161-169, Pergamon Press, Oxford, 1968.

4 R. Jackson, "In Perspective: A thirty-five year account of the development of holography(part 2)", Holosphere, Vol., 12, No., 5, pp13-17, Museum of Holography, New York, USA, Fall 1983.

5. M. Benyon, letter to Andrew Pepper, 20th March 1994.

6. Benyon (5)

7. Soltan Hegedus, Dr. Hariharan, Chris Mead, Anne Marie Christakis, Tibor Balogh, Roddy Canas.

8. M. Benyon, How is Holography Art ?, PhD Thesis, Royal College of Art, London, UK, Summer 1994.

9. M. Benyon, Phases: a twelve year retrospective of the work of Margaret Benyon, pp 42-44, Museum of Holography, New York, USA, 1980.

10. Pepper is formally qualified with a degree in the visual arts (Master of Fine Art), Krantz with a degree in science (Master of Science). Pepper has exhibited his work in galleries, Krantz has carried out numerous research projects. Both of their areas of interest obviously overlap.

11. The Academy of Media Arts Cologne operates a fellowship programme where experts in their field are invited to work for several months on a specific project and interact with students and staff. Krantz was invited by Professor Dieter Jung as a Media Art Fellow.

12. H. Chen and F.T.S. Yu, "One-step rainbow holograms, " Opt. Lett. 2, 85-87., April 1978.

13. P.N. Tamura, "One-step rainbow holography with a field lens, " Applied Optics 17, 3343., November 1978.

14. S. A. Benton, H.S. Mingace Jr, and W.R. Walter, "One-step white light transmission holography," Optics and Photonics Applied to Three-Dimensional Imagery, M. Grossman and P. Meyreuis (eds),Vol. 212, pp.2-7., SPIE Proc. 1979.

15. C.P.Grover and H.M van Driel, "Rainbow holography using full object beam aperture," J. Opt. Soc. Am. 70-3, 335-338., March 1980.

16. H.Chen and M.Kujawinska, "Astigmatic Technique in one-step rainbow holography," Opt. Comm. 40-3, 169-174., January 1982.

17. W.H. Steel and C.H.Freund, "Single-step rainbow holograms without distortion," Opt. Comm. 51-6, 368-370., October 1984.

18. E.P.Krantz and A.T.Pepper, "Single exposure color mixing technique for rainbow "shadow" holograms", Practical Holography VIII, SPIE Proc. No., 2176, Bellngham, USA, February 1994.

19. Krantz/Pepper (18).


* Present address: 179 Sheffield Road, Ithaca, N.Y. 14850 USA.

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