Скачать или смотреть Simone Forti, Lloyd Cross, Harmonics, ca. 1976, holographic film, 120 deg.

Experimental holographic multiplex film by Simone Forti and Lloyd Cross, Harmonics, 120 degrees cylinder viewing - rotated here for documentation at Sharon McCormack Collection & Archives, by XAR3D (Al Razutis, curator, admin.).

Inventory item #XAR-SF-005

Reference page on McCormack Archives and Forti holograms with more information on their collaborations and works: https://www.alchemists.com/visual_alc...

These experimental motion-picture films in holographic form represent some of the earliest works in this medium and genre. Selected and curated by Al Razutis, holographer and artist, collection administrator.

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A fascinating account of Simone Forti's work and interests in holography and experiments with 'time smear' appear in "Phantom Limbs" by Solveig Nelson for ARTFORUM 2018

https://www.artforum.com/print/201807...

"Making these so-called multiplex holograms was a complicated process. Cross filmed Forti performing on a rotating platform, requiring her to move very slowly, and limiting each sequence to forty-five seconds for the 360-degree holograms (and shorter durations for holograms not filling an entire Plexiglas cylinder). The processed film was then put into a purpose-built holographic printer comprising a projector, a laser, a beam splitter, and various kinds of lenses. Using this device, each individual frame (representing a change of about a third of a degree in the viewing position) was then embedded into a holographic film and carefully mounted on the Plexiglas support. When the resulting hologram is illuminated from within, the viewer sees thousands of vertical slits, resembling television scan lines, within the Plexi’s curved pane. Each of our eyes registers a slightly different sequence of the marginally overlapping slits, and our brains fuse them together stereoscopically to create the image of a body in motion. Unlike the photographic stereogram, in which we see two photographs whose perspectives are combined to create the illusion of depth, Cross’s method produces a sequence of holograms that the viewer can approach “in the round” without being confined to a fixed position."

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"In fact, as if in response to the accomplishment that Cross’s three-dimensional moving pictures represented at the time, Forti’s holograms exploit their technical limitations. When one moves around these works, a second, harmonic hologram sometimes appears,