Interference Patterns. Optical vs Tactile Experiments of Spatial Inmersion, from Psychogeography to Holograms

  1. Antón, Javier 1
  2. Lauter, Max 2
  3. Reina, Teresa
  1. 1 Universidad de Navarra
    info

    Universidad de Navarra

    Pamplona, España

    ROR https://ror.org/02rxc7m23

  2. 2 Columbia University
    info

    Columbia University

    Nueva York, Estados Unidos

    ROR https://ror.org/00hj8s172

Aldizkaria:
Espacio, tiempo y forma. Serie VII, Historia del arte

ISSN: 1130-4715

Argitalpen urtea: 2021

Zenbakien izenburua: El objeto desbordante. Espacios inmersivos y estrategias multisensoriales en el arte

Zenbakia: 9

Orrialdeak: 211-236

Mota: Artikulua

DOI: 10.5944/ETFVII.9.2021.30488 DIALNET GOOGLE SCHOLAR lock_openSarbide irekia editor

Beste argitalpen batzuk: Espacio, tiempo y forma. Serie VII, Historia del arte

Garapen Iraunkorreko Helburuak

Laburpena

The impetus of this project is to gain a historical perspective on some conflicting philosophical theories on perception and representation of space, and to trace a démodé method of representation, that has remained in use in some contexts. The research focuses on the tension between two sensory experiences: tactility and opticality. It is an interweaving of critical narratives to examine ways of perceiving space in the context of artistic and architectural practices. Departing from the optical understanding of space and materialized in some examples such as El Lissitzky’s «Proun Room», Yves Klein’s «The Void» and Lebbeus Woods’ tectonic visuality; this article focuses on the tactile spatial perception theories of the ‘Situationists’ and ‘Surrealists’, with their dérivé mapping techniques, their mediated history/memory of urban space and their approach to capitalism and systems of control. All of this is finally interpreted through the lens of the optical practice of holography, and its success (and failure) as a representational tool.

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By the mid 1980‘s the production of holograms was funded primarily by the defense industry81, supporting the creation of Heads-Up-Display (HUD‘s) and Holographic Optical Elements (HOE‘s). HUD‘s are found in cockpits, providing a view of instruments in direct view of the window, and HOE‘s are found on credit cards and supermarket scanners (353). Zebra Imaging82, a holographic manufacturer founded in 1996, primarily produced until 2017 images for military, architectural, and retail/entertainment applications. Taking CAD drawings or other digital formats, they created 4-dimensional projections of axonometric renderings. Founded by a team of MIT researchers with corporate and government entrepreneurs, they had been praised as developing an ’emerging ‘technology and saving lives. Zebra

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