Seth Riskin MIT Museum Play (26min) Download: FLV | MOV | mp3

December 5th 2008 the MIT Museum opened an exhibition entitled “Luminous Windows: Holography for the 21st Century”. The event was a milestone for the MIT Museum, as well as for the field of holographic art. The exhibition showcased holography for the purpose of overcoming the material limits and hours of operation of the Museum and presenting a night exhibition of combined artistic and technical achievement that reached into the public space. “Luminous Windows”, that filled the Museum’s outdoor environment with light, color and virtual space through the winter nights, was a great success, drawing thousands of visitors through the four months of its run. Consequently, the MIT Museum has committed to presenting a “Luminous Windows” exhibition annually, with even-number years focused on technical achievements and odd- number years, artistic achievements in display holography. The success of “Luminous Windows” also spurred the development of a biennial, interdisciplinary forum at the leading edges of holography and potential partner fields: “Photons, Neurons and Bits: Holography for the 21st Century”. The event took place during the run of the inaugural “Luminous Windows” exhibition, and tapped into MIT culture of innovation and significant history of contribution to the advancement of holography, from the age of film to the digital age. Intensive, wide-ranging applications of digital technologies provided the general focus, and active and potential areas of holography innovation provided the subject matter for presentations and discussions, e. g., volume holography for biological research, 3-D optical illusions for brain research, 3-D seeing machines?for the sight-impaired. These activities have helped to re-imagine and re-kindle the MIT Museum’s Holography and Spatial Imaging Initiative, and they have served to generate momentum and collective energy and discussion at MIT and beyond. This paper will discuss the development of “Luminous Windows” and “Photons, Neurons and Bits” and the future plans they have generated for the MIT Museum’s support of the advancement of the field and the creation of opportunities for the public engagement with and understanding of holography.

Hiroshi Yoshikawa Nihon University, Japan Play (15min) Download: FLV | MOV | mp3

Around 1990, researches on the electro-holography or the holographic video display had become very active in Japan. One of the reason might be that fine liquid crystal panels for television became commercially available. Another reason might be that the researchers were encouraged by the success of the holographic video display research at MIT. Recently, researches on holographic video display are getting very active again, though the goal is still challenging. This paper describes recent research activities on the holographic video system in Japan. It includes hologram calculations and acquisitions as well as displays.

Pawel Stepien Marcin Badenski Polish Holographic Systems, Poland Play (23min) Download: FLV | MOV | mp3

The eye of a man is perfectly designed by nature, but still it can be deceived. This attribute is the basics of holography, especially useful for making the 3D effects. In traditional rainbow holograms the diffractive pattern is recorded to be visible in white light as 3D image, but with parallax in one direction only. Is it possible to easily create a computer generated pattern which will be visible by the viewer as 3D image with parallax in all directions (like a relief)? Yes, it can be achieved using generalized Fresnel lens to calculate structures then recorded by optical lithography. The Kinemax technology was originally designed for exposing rainbow holograms with best diffraction efficiency. The further development of both optics and software enabled the possibility of using of Kinemax system as optical lithography unit. The essential feature of optical lithography is exposing images directly, with very high resolution. The Fresnel lens is well-know method of imitating thick real lens by the flat pattern, which modulates the phase of light. It is possible to imitate spherical lens, cylindrical lens etc. But it is also possible to make a lot more complicated designs, which will be visible for the viewer as full 3D reliefs, being less than micron thick. The exposed pattern is calculated in the similar way as the pattern of the Fresnel lenses. New Kinemax-Litho system combines generalized Fresnel lens calculation technique with optical lithography recording, allowing to expose very complicated, highly detailed designs. However the designing process is very simple, does not require much of technical or theoretical knowledge. The depth of 3D relief is represented on the design by the level of gray in a 8-bit grayscale bitmap file, in the way similar to the change of colors on the relief map. So the only limitations in preparing the designs is imagination and graphical designing abilities. 

Jingfang Zhang Zhongchao Special Security Technology Co. Ltd., China Play (17min) Download: FLV | MOV | mp3

The paper is composed of 5 parts. The first one is a brief introduction of China Banknote Printing and Minting Corporation (CBPM). Under the direct leadership of People’s Bank of China (China’s central bank) and is in charge of the production of legal tender, CBPM has approximately 30,000 staff and operates 19 enterprises and one state-level technical center which are specialized in banknote printing, minting, banknote paper making, banknote printing and minting machinery, credit cards, high-purity gold and silver refining, printing of value-added tax invoices, securities, bank vouchers, high-level anti-counterfeiting certificates. The Optical Anti-counterfeiting Research Institute is one of 11 institutes in the Technical Center. Optical anti-counterfeiting products such as hologram window thread and patch are manufactured in house by Zhongchao Special Security Technology Co., Ltd., which is one of 19 subsidiaries in CBPM. The second part introduces the application of holograms for Beijing 2008 Olympic Games official licensed products. Window thread and patch are applied to the commemorative banknotes of celebrating Beijing 2008 Olympic Games, patch is applied to the gold and silver badge. New technologies have been applied to these window threads and patch, the anti-counterfeiting features of public levels are easily seen by consumers. The application of hologram in banknotes is introduced in the third part. In 1999, both of window thread and patch were applied to the commemorative banknote of celebrating the 50th anniversary of the foundation of People’s Republic of China, and patch was used in a plastic commemorative banknote for the New Century in 2000. There are hologram-magnetic window threads in the 10 yuan and 5 yuan of the fifth series of Renminbi Yuan issued in 2001 and 2002 respectively, and recently on 100 yuan, 50 yuan, 20 yuan 10 yuan and 5 yuan denominations issued in August 2005. Hologram window threads were used in Macao Banknotes issued in 2003 and 2004 respectively. All patches and window threads applied to these banknotes have anti-counterfeiting features of public professional and expert levels. The fourth part is the introduction of the application of Hologram in bank cards in China. We had supplied security hologram patches for about 10 kinds of bank cards to Agriculture Bank of China China Post Saving Bureau, etc. According to [2001] No.5 document issued by the People’s Bank of China, in order to prevent the risk of counterfeit, the “Yinlian” (namely China Union Pay) hologram patch is manufactured and operated exclusively by certified and designated organization. Zhongchao Credit Card Plant–a subsidiary of CBPM operated the design R&D and production. Some self-developed new technologies have been used on the patch. The fifth part shows the art holograms made in our holography laboratory, including pulse hologram, reflection hologram, and dynamic true color stereogram hologram.

Jacques Desbiens www.i-jacques.com Play (41min) Download: FLV | MOV | mp3

The structure of a synthetic hologram is made of thousands of 3D computer graphic images corresponding to as much points of view on a three-dimensional scene. This technology brings back a perspectivist approach to holography. However, the multiple viewpoints of these holograms depart from the fix single point of view of classical perspective. To appreciate the entire space, the observer has to vary its points of view; he has to move, to walk. Holographic panoramagrams are indeed panoramas. In the history of imaging, very few occidental artists have undertaken the representation of space and volume from variable points of view, whereas this approach is widespread in oriental landscape painting. In this paper, we take a look at the history of multiple points of view perspective to seize the particularities of synthetic holography and better understand its place in the historical development of 3D imaging and holography. Searching in the texts of renaissance treatises on perspective and oriental treatises on painting, we can find several indications that the artists of the past centuries where aware of the necessity of representing multiple points of view and attempted to do so. From Jean Pelerin Viator and Kuo Hsi, the concepts of multiple viewpoints in spatial representation have found their way into synthetic holography, to create the necessary conditions for imaging space in its entirety. 

Sumio Nakahara Kansai University, Japan Play (27min) Download: FLV | MOV | mp3

Recently, the demand to the holographic optical element (HOE) is increasing with the developments in the laser or holographic display technology. In this research, the application of laser direct-write lithography (LDWL) system to the fabrication of HOEs is examined. We created a relative large HOE with same method of production of the diffractive-optical element (DOE) using the LDWL system that has the feature of high-resolution drawing, high-speed drawing, and a high accuracy positioning system. Although it is difficult to draw to a large-sized substrate with electron-beam lithography system, since the LDWL system makes it possible, production of the large HOE is expected. Furthermore, a binary phase-type HOE was easily produced by wet etching processing to the glass substrate, and in order to obtain a bright image, a comparison of the diffraction efficiency of the amplitude-type DOE and the phase-type one was examined on Fresnel zone plate (FZP). The diffraction efficiency is influenced by etching-depth of grating of a phase type hologram. Therefore, we manufactured a phase type HOE of a required grating depth with accuracy using a reactive ion etching (RIE) system.

Takeshi Yamaguchi Nihon University, Japan Play (18min) Download: FLV | MOV | mp3

It becomes quite easy to calculate over 10 Giga-pixel computer-generated hologram (CGH) of three-dimensional object, even with a normal personal computer. On the other hand, it is not so easy to output the calculated result as a hologram. The commercial printer does not show the enough parameter which CGH requires. Also, the liquid crystal panel has a few micron pixel pitch, but the number of pixels is only a few mega. Since computer-generated display hologram requires over 100 Giga-pixel, the parameter of liquid crystal panel does not satisfy the demand. The electron beam writer is well known as the good output device for the CGH. However, since the price of the whole system is very expensive and the running cost is also high, it is not suitable for the personal output device of CGH. We have developed a direct fringe printer, which consist of a laser, an X-Y stage and a liquid crystal panel, and the de-magnified image of it is recorded on a holographic plate. Then the plate is translated by the X-Y stage to write next part of the fringe. Since the running cost of the fringe printer is almost holographic plate fee, its price is not so expensive. In this paper, we have made some improvements on our previous system. We achieved to print more than 10 Giga-pixel hologram with 0.44 um pitch. Also, we introduce the various kind of CGH with the fringe printer; Fresnel type, rainbow type, cylindrical type and disk type.

V. Michael Bove MIT Media Laboratory Cambridge, MA USA Play (27min) Download: FLV | MOV | mp3

Holographic television, or “holo-video”, has been seen by many as the ultimate development not only of holography but of electronic visual communication generally. To make widespread, successful holo-video, four things are needed: 1) content, 2) a distribution mechanism, 3) sufficient processing at the receiver, and 4) suitable electro-optics at the display, and all of these must be available at prices suitable for consumers. In the past one to two years, there has been a great interest in 3-D television, but few researchers seem to have noted that many of the recent developments in 3-D TV are also solving — or at least pointing the way to solving — problems associated with holo-video. I will examine particularly relevant developments in content capture/creation, content representation (including standardization activities), and the increased suitability of graphics processors for 3-D applications, and connect these with work at the MIT Media Laboratory in developing a holo-video display suitable for consumer use. Keywords: 3-D television, synthetic holography, electro-optics, graphics processors, consumer electronics

Ian Lancaster and Glenn P. Wood Reconnaissance International Play (23min) Download: FLV | MOV | mp3

Gabor’s first hologram was a display hologram (of sorts), and transmission display holograms were the first made following the invention of the laser. It was display holograms that inspired early artist and entrepreneur holographers, with some impressive, striking and still memorable early results. Yet no-one would deny that the subsequent history of display holography has been disappointing. For over two decades display holography has languished as the poor relation: surface-relief holograms have made the running in the commercial field, and institutional research in holography has focused on HOEs and data storage devices. Key players, such as Agfa and then Fuji, have pulled out and display holography courses have closed. Early aspirations and expectations for display holography as an artistic, promotional and illustrational medium have been disappointed. Similarly, the development of full-colour 3D holography progressed only in fits and starts, with early experiments in multi-exposure transmission holograms and pseudo-colour reflection holograms interesting to aficionados but not to illustrators or advertisers. Is this about to change? The last few years have seen renewed activity in the development of true-colour display holograms, both large format and small. Small specialist companies such as UHR, Rabbit Holes, Colour Holographic, Zebra and Geola have pushed forward with techniques for exposure of large format reflection holograms in true colour, while large companies such as Dai Nippon and Sony have made similar strides with small holograms. Once again display holograms catch attention – not just of aficionados but also of hard-nosed commercial clients and the public. But there are challenges still to overcome if display holography can fulfil the hopes and dreams of two generations of holographers. Price in large quantity is critical; so is consistency. And there is competition for the mantle of 3D visual medium from lenticular printing (which has also improved substantially), computerised display systems, projector screens (the best of which use HOEs) and telepresence systems (masquerading as holograms). The foundations of the techniques and technologies for large-scale full-colour display holograms are in place. Can these be built on in the next decade to bring display holography to the point which all its practitioners hope for? In this paper I will expand on the factors that will affect this future.