Evo nekoliko:

Abstract

Sensing the close relationship between sculpture and holography, the artist fused these media, adding electroacoustic music and fiber optics to enhance the overall impact. He thus created what he refers to as 'holosculpture'. While working to integrate sculpture and holography, he found that the brightness of the holograms did not allow the sculpture to be viewed properly. The solution was to show the sculptures and holograms alternately, which he achieved by using electronically operated lighting systems. As an important consequence, his works now are not only displayed in space but also evolve through time, thus becoming more theatrical and spectacula

Dictionary terms. Part IV Holography
 By: Poissant, Louise, Leonardo, 0024094X, 2001, Vol. 34, Issue 4

Luminograms: Apparent Movement in Two-Dimensional Images
By: Kočíb, Zdeněk, Leonardo, 0024094X, 2000, Vol. 33, Issue 2

The 1995 Shearwater Foundation Holography Grants
Posy Jackson Smith
Leonardo, Vol. 29, No. 4 (1996), pp. 327-328

Chromatic Notation of Music: Transforming Bach and Webern into Color and Light
Brigitte Burgmer
Leonardo Music Journal, Vol. 5, 1995 (1995), pp. 5-10

Abstract

The author describes the development of her color:tone system, which began with her coloring of the harmonic structures in the Prelude in C Major from The Well Tempered Clavier, Part I, by Johann S. Bach. She describes her Extended Circle of Fifths, which condenses the harmonic system into one gestalt. Besides converting Bach's Prelude to color, she has converted three other preludes by Chopin, Busoni and Scriabin and an early 12-tone study by Webern. Burgmer describes and evaluates her experiment in composing music with colors: She used her color:tone system to create a new piece of music as an addition to Webern's "Piano Piece." She also discusses her transformation of music graphics into holograms. She contends that these music holograms have their own aesthetic value and exist independently as artworks, parallel to the musical pieces on which they are based.

Wavefronts Theatre of Performing Lights: On Light Shows with Music and Dance
Louis M. Brill
Leonardo, Vol. 13, No. 4 (Autumn, 1980), pp. 307-309

Forms of Light: A Personal History in Holography
Nancy Gorglione
Leonardo, Vol. 25, No. 5, Archives of Holography: A Partial View of a Three-Dimensional World: Special Issue (1992), pp. 473-479

Abstract

The author outlines the history of her involvement in holography and discusses some of her reflection-hologram composites and briefly mentions her transmission-hologram sculptures.

Abstract

The artist outlines his work in holography from his introduction to the medium in 1975 to the present. His experiments with black-and-white and Benton white-light transmission holography are described. He writes about his pioneering use of Holographic Optical Elements (HOEs) in the image-making process that results in animated imagery and his transition from geometric abstracts to organically based compositions. The artist also discusses the improvisational techniques necessary to his involvement in this relatively new and evolving medium, and the technological and conceptual considerations of holographic art and high-tech art in general.

Farewell Prometheus Readings: Light-Music in the Former Soviet Union
Bulat M. Galeyev
Leonardo, Vol. 27, No. 4 (1994), pp. 351-352
doi:10.2307/1576013