The feasibility of using X-ray fluorescence techniques to determine the concentration of silver, bromine, and iodine in silver halide holographic films is studied. A small apparatus employing a 30 mCi 57Co radioactive source and a Germanium photon detector is described. AgBr - films were exposed to different amounts of light and subjected to several types of chemical processing, and their silver and halide content were investigated. In addition the relation between the concentration of absorbing silver in the emulsion and optical density was determined.

Light-in-flight recording by holography is originally based on the holo-diagram which is a diagram first designed to simplify the making and evaluation of holograms. It was soon found to include much more general uses than first expected. During the 20 years since its introduction we have applied this diagram to many different fields such as holography, interferometry, diffraction, Fermat's principle, light-in-flight recordings, three-dimensional measurements with ultrashort lightpulses and the special theory of relativity.

Simplified techniques of recording rainbow and full-field cylindrical holograms by using flexible fiber optic light beam delivery systems are described. The method used in recording full-fieId cylindrical holograms is similar to that of the conventional technique, where the object is kept at the centre of a cylinder and the hologram recording film is wrapped around the object forming a cylindrical shape. There are, however, some practical problems in realising these holograms: (a) proper illumination of the object and (b) achievement of a balanced intensity ratio between the object and the reference beams. These problems have conveniently been overcome by employing flexible multiple fiber optic beam delivery systems, where both front and the back sides of the object have been illuminated separately using a practically non-overlapping fiber optic end geometry coupled with an independent reference beam. Rainbow holograms in both one-step and two-step recording geometries have also been successfully realised, where the advantage of flexibility offered by fiber optic beam delivery system is gainfully utilised for providing the desired vertically inclined (overhanging) reference beam. Methods for recording inbuilt reference beam and large size rainbow holograms by the use of optical fibers in the recording geometries are also being studied.

The title of this paper is the name of an artwork which fills a museum gallery. It consists of six holographic installations with narrative sound.

IT WAS INVI TABLE REALY WHEN WONDERS OF HOLOGRAPHY GALLERY CAME INTO BEING IN EARLY 1987, IT WAS NOT A SPECULATIVE VENTURE - THE COMPANY WAS CREATED TO SERVE AN EMER1GING MARKET FOR LASER UTILISATION IN THE PRESENTATION INDUSTRY . THE GALLERY IS OWNED BY MAHMOUD B. BAGHDADI GROUP, AND IS LOCATED IN AL JAM JOOM CENTER IN JEDDAH. IT IS THE FIRST GALLERY IN THE ARAB WORLD, AND THE NINTH IN THE WHOLE WORLD, OFFERING THE OPPORTUNITY OF EXPERIENCING MORE THAN 150 FINE HOLOGRAMS FROM ALL OVER THE WORLD IN ONE BREATH-TAKING EXHIBITION . THE IDEA OF THE GALLERY WAS BROUGHT IN TO EXISTENCE BY MR ABDUL- WAHAB M. BAGHDADI THE YOUNGEST SON OF MR M. BAGHDADI WHOSE CONTINUED DEDICATION TO HARD WORK AND THROUGH SCIENTIFIC RESEARCH ENABLES HIM TO FOLLOW HIS IDEA FROM CONCEPTION THROUGH TO THE EXISTING PRESENTATION. HE ALSO CREATED HIS OWN HOLOGRAM TO BE THE FIRST ARAB TO HAVE HIS 3D PICTURE RECORDED BY THE ADVANCE TECHNIQUE OF HOLOGRAPHY . THE GALLERY HAVE HIGHLY SOPHISTICATED LASER DISPLAY SYSTEMS TO MAKE LIVE LASER SHOWS FOR CLIENTS, THESE SHOWS ARE PRODUCED AND CREATED BY ALL WELL TRAINED SAUDI ENGINEERS AND PROGRAMRS .

Factors affecting the choice of producing wavelengths for recording true-color holograms are examined. It is argued that the choice of wavelengths is largely independent of the method used for recording and, in fact, largely independent of holography. It is shown that a large area of the CIE chart need not be covered and that, in fact, choosing wavelengths that cover a large area can have deleterious effects. A set of three wavelengths is proposed which, in principle, can produce true-color holograms of excellent quality. A convenient method of obtaining three acceptable wavelengths is discussed.

The elimination of visually unecessary information has made possible the demonstration of computer-generated, interactive, moving holographic video images possible for the first time. Here we present an overview of the basic conceptual and hardware principles involved.

This paper reports on work which sets out some considerations for the translation of holography into an art medium. It continues an interaction with the traditional art area of painting within holography, and includes a collaboration with British painter Richard Hamilton

The old recipes for Lippmann emulsions are presented as well as processing methods used for Lippmann color photography. These techniques are compared with modern silver halide emulsion preparation used for holography. Western emulsion making as well as the fabrication of the ultra-fine grained emulsions of the Soviet type are described. Processing methods for extremely fine grained emulsions are also presented.

Belgium is probably the most productive holographic nation, insofar the production of silver halide material is concerned, and silver halide is still the workhorse for a very large number of holographic applications, both in display and technical fields.

An overview of recent advancements in direct digital holographic imaging (DDHI) is presented in this paper. Our patented DDHI printer is used as an example in discussing DDHI processes starting from artwork to the photo-resist hologram origination. All of the control parameters are digital in origin, thus such a system is naturally conducive to precise image and color manipulations.

The successful flow in the evolution of an idea from its conception to its existence in our common experience relies both on the clarity of one's vision and the ability to stay the course directly to its fullest realization. The artist working with holography may meet detours such that the vision is obscured and the expression bent; the intent and the content divided. I seek to relieve the dichotomy. I seek purity, source to mouth. What follows is a discussion of this pursut. A trinity of concerns will come into focus, specifically: I. The loss of oneself and one's sight in the eye of the tiger. II. The pretense of apprehending reality through holography. III. (ving weight to complexity and confusing it with the profound.

In this paper, we investigate the advantages of a tilt-tuneable, etalon-based argon laser which is remotely air cooled. Not only several (16) longitudinal modes can be tuned, but also individual wavelengths which lase in the argon's visible spectrum (457.9nm - 514.5nm). Power outputs in a given frequency range from 3 to 30 mW, C.W.. Due to the wide longitudinal mode spacing, stability is easily achieved and no mode hops occur after initial warm-up periods. Users requiring a long coherence length single longitudinal mode with a convenient 115 VAC argon laser source will benefit from this device.

Nowhere is the global village more clear than in holography. Working in diverse environments in various countries, my intention is to invoke an awareness of the socio-political and psychological truths of these societies. This sounds presumptuous, but by focusing on a singular signpost or person, perhaps not impossible. Making holograms in three enormously different parts of the world has been a remarkable and rewarding experience. Chronologically, in the last two years I worked in the following countries: 1. in the Soviet Union with Dr. Vladimir Markov, Chief of the Holography Laboratory, and his group, Kiev, Ukranian Institute of Physics, Academy of Sciences, July 1989; 2. Florida, U.S.A., with Larry Lieberman et al at Holographic Images, February 1991; 3. France, with Hugh Souparis et al at Hologram Industries, Fontenay-sous-Bois, a suburb of Paris, March 1991. Between the Soviet and Florida productions, an exhibition of our Soviet work integrated into installations was shown at the Museum of Holography (MOH), New York City.

The author has serendipitously designed a monument to honor America’s heroic astronauts using holograms

Careful planning for holographic artwork exhibitions, particularly when dealing with international artists, creates not only a collection of the type of work desired but also enhances a necessarily practical budget for value received. Investigative work on the part of the planner can save a great deal of money in shipping and handling alone, the major unseen and non-educational expenses of any artistic exhibition.

Salient factors are discussed for the production of holograms in photoresist materials including; choosing and handling photoresist emulsions and establishing criteria for properly exposing and developing photoresist to produce high quality rainbow images. Comparisons are drawn with the more familiar silver halide emulsions and with microlithography where such comparisons are deemed helpful.

The holographic activity in Denmark is coordinated in a joint venture orginization between two national research laboratories - one at the Technical University and one at Risp National Laboratory - and two companies - Light & Optics and STL Although differently profiled, the members of the centre have been informally collaborating for several years.

The work in progress, "You Are Here" is the first in a series of site - specific holographic installations dealing primarily with the representation of nature in contemporary culture. The work will be experienced in three modes. The Site, the Non Sites, and the Event. The Site: A beach on the north eastern coast of Australia is the main site where a stereogram depicting sea level changes over the past 2.5 million years will be seen by moonlight. The stereogram will be shown on the same beach for the next 2.5 million years. Non-Sites: In-door venues where copies of the stereogram will be viewed mounted to the wall of a small lounge room type set. Event: A satellite transmission of the lunar illumination of the stereogram and the landscape on its first viewing will be seen at all the non-site venues. By the relationship of events, sites, and images which comprise "You Are Here", the viewer is placed at the centre of two vast time spans which reach out in opposing directions.

Professor Jeong asked me to touch some personal moments of my scientific biography in my report. I am glad to do that. I started my way in display holography long ago, in 1958. The term "hologram” was known at that time to a dozen of specialists, and the term "display holography" has not existed at all.

Until now, fiber optic holography has been restricted by the unavailability of adequate optical fibers and required launching and control equipment. The introduction of anti-reflective (AR) coated single mode optical fibers and user friendly optical fiber handling equipment will revolutionize holography. There are, however, theories and concepts that must be understood to take full advantage of the speed and versatility of optical fiber holography. This paper will discuss: the care and handling of optical fibers, the equipment required, the theory and operation of fiber optic handling equipment, and the techniques required to make a hologram with optical fiber transmitted light.

An overview of the progress of display holography in Britain in the three years preceding July 1991 is presented.

The international journal of art and technology, "Leonardo" plans the publication of two issues on holography. They are intended as a archival record of the development of the media, which will increase contemporary understanding and support. Holographers of the world are invited to tell their story of participation in the development of holography

Scanning holography is a brand new concept in holographic optics. We describe various techniques of making scanning holograms and elaborate on the basic principles, relevant mathematics, applications and limitations of scanning holography.

Holographic interferometry has emerged as a significant optical imaging tool in supplementing conventional automotive powertrain testing methods in the areas of noise, vibration and durability. This paper focuses on various techniques and applications in measuring inherent structural static and dynamic properties as well as overall noise and vibration characteristics of components, subsystems and complete powertrain systems. Within the scope of continous wave and pulsed interferometry methods for imaging, the areas of display and quantification are discussed. Reflection mode holograms obtained directly as well as generation from transmission holograms are illustrated. Measurement of modulated fringe phase in conjunction with an image processor for three dimensional surface contours is described. Also addressed are removal of rigid body carrier fringes by sandwich techniques. Reflection mode interferometric results are compared to classical two beam transmission interferograms for image quality, fringe characteristics and general technical advantages and drawbacks of each method of display.

We present a complete and rigorous mathematical analysis of the diffraction by a volume grating with periodically modulated refractive index. The analysis is entirely derived from the electromagnetic theory of continuous media, or in other words, from: a) the macroscopic Maxwell equations; b) the material equations; c) the electromagnetic boundary conditions. We propose an exact resolution of this mathematical problem, and then we give explicit methods for numerical computations. The theory presented is an alternative form of the characteristic mode theory. From the given geometrical parameters of the grating : — thickness of the grating, — angle of slant, — Fourier coefficients of the modulation profile, it is possible to compute the diffraction efficiency at each order for any angle of incidence. In the present paper, after an outline of the theory, we develop the detailed calculations in order to obtain explicit formulas, which can then be converted into programs for computation. This paper is only theoretical; experimental tests are not discussed.

The development of the field of holography has depended on the coherence of laser light. The most meaningful attribute of coherence for holographers is the coherence length. Commonly, coherence length is regarded as the maximum optical path difference between two beams, such as those in a Michelson interferometer, that results in a discernable interference pattern. Herein we discuss two direct holographic methods of measuring coherence length, each yielding visually observable results. We begin by examining several theoretical models for laser spectral line-widths and the corresponding derivation of coherence lengths.

The term "holographic poetry", or "holopoetry", refers to a kind of experimental text the author has been producing since 1983, which is characterized by parameters such as "textual instability", "fluid sign", and "discontinuous syntax". These concepts are presented in the paper and complemented by a brief description of the pieces created from January 1989 to July 1991. Computer holopoetry, an extension of optical "holographic poetry", is also discussed; it is a writing process that employs digital synthesis and animation as communication factors.

By combining the latest technology from the field of imaging namely a high resolution CCD image scanner, computer-aided design and a LCD-screen it is possible to build a versatile holographic camera for producing holographic stereograms.This paper will discuss a camera of this type including the hardware and software we use. The prospects of such a camera ranging from holographic representations of natural scenes to microscopic objects will be discussed and some of the problems we face will be mentioned

The education system in USSR in opposite of USA education system have general goal to give young man the concrete speciality. Nevertheless in the last years this system is being changed and physical education become more broad and humanitarian.

Holography has done well these past three years since the previous International Display Conference. All of the various areas of holography are going strong: display holography, holographic (or more broadly, diffractive) optical elements, hologram interferometry, holographic spatial filtering, and holographic devices for optical computation.

Through the application of paint as a gray scale separation technique, artists can make use of the entire color spectrum in holography.

Electronic holography and speckle interferometry are combined with femtosecond gating techniques to form images of absorbing structures embedded in organic tissue. The method takes advantage of the inherent instability of living tissue.

The juxtaposition of art holography with commercial and science holography in exhibition has threatened to render their boundaries indistinct. Scientific and high-tech imagery hinders the medium's acceptance as art. Artists have turned to traditional modernist concerns to legitimize their place in an art context.

A new mechanism of the angular selectivity of the holograms with the reference speckle wave was studied both theoretically and experimentally. It was shown that the main cause of it consists in the space mismatch between the speckle structures of the reference and the readout beams. In particularly, there is the high angular selectivity of such holograms at rotation around the arbitrary axes lying in the input hologram plane. The application of this effect to the increasing of the holographic storage capacity was shown.

This paper is the result of two years of work with Agfa film (50x60cm) for pseudo-color reflection shadowgrams using an 18 milliwatt laser on a sand table. The author describes the procedures and equipment used in producing these holograms. This system empowers the individual artist/holographer to produce work often thought to be available only to teams working in large labs. The paper focuses primarily on the gelatine lamination technique used by the author to hold film to glass. The pros and cons of other film holding techniques are mentioned. Special handling of the film during pre-swelling and squeegeeing is described as is the exposure and development scheme necessary for low power lasers. The camera geometry for reflection shadowgrams is detailed as is the equipment (plate holders, mirrors) needed for making 50x50cm images on a sand table.

This paper is about The Royal College of Art Holography Unit its history ,status ,facilities ,and aesthetic philosophy. It will include slides of the studios and works produced by the students.

Optimal construction of stereograms requires accordance between recording conditions of the 2 dimensional recording and the subsequent holographic master recording. In recording of different stereograms for use in mass productions it is appropriate to be capable of changing the recording conditions. This can be achieved by approximating the optimal holographic recording. The approximation is accomplished by use of different recording principles in the 2 dimensional and the holographic recording. As a result image aberrations occur in the stereograms. For evaluating the magnitude of image aberrations a computer program was developed. The program simulates the image aberrations observed as a result of different viewing angles and distances in respect to the final holographic stereogram.

Many elementary discussions of real and virtual images assert that virtual images cannot be projected directly onto a screen; using a special classroom transmission hologram, we demonstrate the contrary. Virtual and real images can be defined as images located respectively on the opposite side and the same side of the viewing system from the observer. These definitions appear to preclude the possibility of any virtual image appearing on a screen, assuming that the screen must be at the location of the image. This dilemma is resolved, however, by recognizing the similarity between projected virtual hologram images and pinhole images. Pinhole images are formed by a diverging ray bundle from an object point spreading by an amount controlled by the pinhole diameter. In the case of projected virtual hologram, a diverging ray bundle spreads from a virtual image point; the spread in the ray bundle is limited by the hologram aperture stop diameter. Thus projected virtual images model pinhole images in three ways: First, in both cases diverging ray bundles form the image; for the pinhole the diverging ray bundle originates from a real object point whereas for the hologram the diverging ray bundle appears to originate from the location of a virtual image point. Second, the virtual hologram image acts in a manner directly analogous to the real pinhole object. The third similarity is that, in both cases, successful projection of the image is possible only if the the ray bundle angular size is sufficiently limited. The ray bundle angular size is controlled by an aperture stop; for the pinhole image the pinhole edge is the aperture stop while for the projected virtual images the boundary of the illuminated portion of the hologram is the aperture stop. Reducing the size of the illuminated portion of the hologram is analogous to reducing the diameter of the pinhole. We show photos of projected virtual images for several aperture stop diameters; as the hologram aperture is reduced in successive steps the images becomes increasingly well-resolved. This process leads to the well known example of a hologram illuminated by an undiverged laser beam; a screen placed nearly anywhere beyond the hologram will display all hologram images. Although this procedure is familiar to many persons the associated images appear not to have been carefully analyzed. Because of the widespread assertion that virtual images cannot appear on a screen, it is likely that many persons viewing these projected images incorrectly interpret them as exclusively "real." Recognizing that they are projected virtual images permits a useful analysis to be developed.

In this article I would like to describe how holography is being taught at the Institute for Media Sciences and Film at the Brunswick Art University. Besides I will be going into some details concerning our own works created together with Thomas Liick, which as examples of "Radical Holography" show the orientation of the teaching in Brunswick.

This paper is based on my experiences in holography. It will explain, from the beginning, different steps of a research on movement and holography, from production of stereograms to the production of a holographic slits animation. Being an artist, working alone as an independant with different grants, my last project will have taken almost seven years to be completly accomplish. From the very beginning, the first idea that generated this project, to the end, the construction of the final displayer, three engineers, one electronic specialist, one programmer and many others will have work to find the best solutions for the wellbeing of this project.

Revised interest in edge-illuminated holograms has resulted in new studies of optical phenomena which are not widely appreciated. The formation of edge-illuminated holograms requires a study of uncommon optical regimes and yields results which are not in keeping with common expectation. In this paper, we take another look at the edge-illumination problem but uncover some historically interesting work in the area of evanescent waves that provides us with unexpected new insights.

We review the properties and relative usefulness of 3 non silver Volume holographic recording materials that are available today. Dichromated Gelatin (DCG) will receive the most attention followed by Dupont Omnidex products and a light treatment of Polyvinyl Carbazole (PVK). Enhancement and control of color, bandwidth and diffraction efficiency of volume reflection holograms recorded in DCG and photopolymers is discussed. Methods of increasing the bandwidth while shifting the center frequency toward the red is given for photopolymers. Red pseudo color will be covered thoroughly so that the practitioner will have all the elementary tools to make full color and broadband DCG holograms from scratch. The entire DCG technology is disclosed as it relates to production of high quality display holograms that span the spectrum and may be narrowband and very deep or shallow and broadband.

Many holographers either mount their subject matter on its side or, if they use an overhead reference beam, mount the reference mirror on supports on the optical table. Both methods are artistically limiting and inherently unstable. The paper describes a method of supporting an overhead reference mirror and subject illumination in a manner that is inherently stable, using a gantry constructed from scaffolding pipe with KeeKlamp connectors. This gantry system not only provides versatility in possible lighting set-ups, but also forms a frame for a novel kind of draft exclusion material, and provides a substantial contribution to the rigidity of the table itself. Examples of table layouts of varying degrees of complexity, all designed for maximum stability, are shown. Finally, methods of keeping exposure time to a minimum by careful control of both optical geometry and processing conditions are discussed.

Imagine a work of art that contained something from every person in the world. What would it look like? How big would it be? What would it mean? These are just a few of the questions I have been asked over the past two years, with the beginning of World Art Project, in an exhibition at the Minneapolis Institute of arts, in October of 1988.

A three dimensional image has been reconstructed from a reflection hologram using edge illumination. This hologram is laminated on a 0.25" thick acrylic substrate and illuminated with white light through the edge of the substrate. In this paper, experimental schemes of recording and illuminating of an edge-lit reflection hologram are presented. The quality of the reconstructed images is evaluated as well.

A theoretical analysis will be presented on how to generate computer images, so each recorded perspective presents the appropriate view to the viewer in the final hologram. To further improve our results we developed an optical registration system on each slite for controlled projection of the perspective views. We produced a full-color image-plane computer generated and a full-color image-plane "stereogram" (circular track) image using 3 different color laser lines. We propose to name the Computer generated holograms and stereograms from now on Multiple Photo Generated Holograms (MPGH). We are testing a very high resolution active matrix black-and-white LCD as interface between computer and printer.

Recent multicolor reflection hologram composites, aesthetic intents and technology are discussed. Large format transmission sculptures are mentioned.

As was already noted and repeated to saturation by a number of prominents, big is beautiful. Therefore it was tried to make a monumental (biggest in the world?) hologram mosaic, that, combined with properly aligned mirrors, would provide the impression of infinity to naive onlookers. Due to the cost of such a project and the financial situation of Belgian universities, a maquette was first made and presented to a number of potential sponsors. After a couple of years, we were lucky enough to be able to produce the real thing, i.e. one quarter of an octogonal fountain pit of about 3 by 3 metres (10x10 feet) surrounded by stairs. The walls were provided with mirrors, two of them, in front of the spectators, providing a kaleidoscopic effect, three smaller ones giving rise to a repetitive reflection. The bottom of the well was a Denisyuk hologram mosaic of leaves; by some optical tricks, it was tried to simulate the effect of shivering water surfaces. The evolution of the proj ect with time, the practical problems involved, the final realisation, the advantage and the shortcomings of the presentation during a technology fair will be discussed.

Technische Fachhochschule, Department of Physics, Berlin 65, Germany The main problem in Germany today may be not holography. Being from Berlin, the old and new capital of Germany, it would be quite an assingnment to talk about unification process and problems.

The author owned and operated a holographic art gallery from 1979 to 1990. He discusses his early difficulties selling enough holographic art to survive, and he analyzes the underlying causes. As the years progressed and sales of holographic art increased, the author theorizes on the reasons for the improvements in the market. While considering in detail global topics such as public awareness of the medium and the nature and quality of the art itself, attention is also focused on specific yet important issues such as the availability of new light sources for home illumination. Looking towards the future, comments address how holographic art must continue to change and adapt in order to gain greater respect and acceptance as a valid form of artistic expression. Finally, the long term outlook for sales of holographic art is discussed and analyzed.

The authors discuss the founding of the Academy of Media Arts Cologne, Germany. Explain its structure, the areas of study and how holography fits into the overall concept The layout of the purpose built holography complex is described in detail with discussion of the equipment, facilities and optical geometry used. Projects within the Department of Media Art are highlighted, including the Central Archive for Holography and Spatial Imaging - an interactive computer archive under development at the Academy. A proposed international conference on holography and its relationship to Media Art, which will be held in Cologne in 1992, is also described. The paper concludes by looking forward to developing international working relationships with workers in the field and requests Lake Forest participants and other readers of this paper to send details of their work to the Academy.

Holographic techniques for measuring particles have been studied since the inception of holography. However, techniques used in the past have had limited success in particle velocimetry for one of the following reasons: large depth of focus, poor signal to noise ratio, distortion, and directional ambiguity in the particle displacement. This paper introduces holographic velocimetry, and discusses methods being investigated for implementing holographic particle image velocimetry (HPIV)

Future Gardens is a large scale installation of over forty 30 X 40 cm holograms housed in a sight specific 17 X 10 X 10 foot structure. The lighting for each of the holograms is controlled using a computer program, performed much the same as a music score. Along with the sound created for the work, this lighting control allows the creation of another level of mood or expression with holography.

The Art and Technology movement reconnected the know-how (a technique) with a meaningful object, reconciliated the technical culture and the humanist culture. The exhibition "Les artistes et la lumiere" held at the Centre National Art et Technologie in Reims, France, demonstrated or confirmed that far from being a sign of closure or of exclusion, Art and Technology is "The dynamic principle of confrontation and renewal perspectives

Georges Dyens' "HOLOSCULPTURES" are hybrid artworks integrating holograms and fiber optics with both sculptures and electroacoustic music. Georges Dyens' approach tends to be holistic in concept seeking the spiritual dim- mens ion of new art forms through technological means. Among artworks like Big Bang II and Big Bang III Georges Dyens explores the concept of cosmological time and memory through light (holograms and fiber optics) and spiritual resonances (electroacoustic music). Furthermore, most of Dyens' artworks possess their own computer controlled life cycle, creating in them, both metaphysically and in reality, a human and mechanical mortality. In this paper Georges Dyens will discuss this approach and its coexistence with technical requirements, and will focus on various problems raised by large scale outdoor permanent installations.

A variety of techniques for the fabrication of one-step rainbow holograms have been published over the years. Inherent problems such as, complexity of optical layout, excessive loss of object beam signal (from required apertures), limited field of view, as a well as aberrations, limit practical application. This paper assumes the reader has an understanding of rainbow holography, optics and phase conjugation. A brief overview (along with pros and cons) of the most common one-step techniques will be covered along with a description of two systems that we are presently using to produce one-step orthoscopic rainbow shadowgrams.

This paper describes the establishment of a continuing program of scheduled instruction in the use of the HeNe laser with 6th, 7th, and 8th graders. The body of instruction, the context in which this curriculum resides, and the genesis of the units of instruction are discussed. The paper concludes with proposals and implications for other levels of public education.

The peculiarities of the holographic image (ie. three-dimensionality, morpho- strucural independence between the image and the support on which it is encoded ) can hardly be translated into the figuration currently performed (both in static and dynamic forms) which follows the rules of bidimensionality and image/support coincidence. In particular for holographic cinema and TV (holokinesis), it is of great importance to respect the human sensorial system. Hence the real goal is to modify the current systems and genres of communication or to design new ones.

As the science of holography moves into commercial applications the issue of "perceived value" on both sides of the business equation becomes increasingly important. If holography is to take its rightful place in the visual arsenal of commerce, we must establish its monetary value realistically. As the business world continues to be dominated by a "bottom-line" mentality, and quarter-to-quarter performance becomes the benchmark, it may be that we are undervaluing the "actual" costs of doing holographic business. This view takes into account neither the nascent indentity of the product nor the enormous time value which should be assigned to educating a new customer.

The first holographic portrait of a President of the United States of America was recorded on May 24, 1991, in Santa Barbara, CA. Ronald Reagan was the subject. The event was the first in a project that began some five years ago with the aim of producing an archive of Presidential pulsed holographic portraits. The authors discuss the inception and evolution of the project. They describe the unique interactions, communications and scheduling as well as trials and triumphs involved in recording a holographic portrait of such a prominent public figure.

The author will discuss the credited holography courses designed as part of the Laser Electro-Optics Technology Program at Pasadena City College. The author will describe the current plans to join the program with the Southern California Space Academy, a magnet high school program that combines academic instruction with advanced technical training.

The subsequent paper is a description of a mixed media installation which incorporates the holographic process real-time interferometry. A walk through description, along with a conceptual elaboration of the work, will be followed by a discussion of the production and challenges in the making of the real-time interferograms. "A Light Touch" is a three-roomed installation which integrates interferometry with other light responsive sculptural elements, such as dichromated gelatin holograms and fiber optics. The key concept of the work "the use of light as a means to look inside" is articulated through the interaction of ideas about the "holographic fringe" and "moirds." The basic subject matter explored via the interferometry is "the four elements." This exploration is simultaneously the acknowledgement of a universal language, and a sensual ^"-presentation of the natural world.