Why 3-D video art

[P3D <Al_Razutis@xxxxxxxxxxxxxxxx>]

More on 3-D (stereoscopic) video art and why comparisons to
other 3-d mediums are inevitable:
l.  3D video (we all know about video resolution!) is elegantly portable:
plug in your interface and play motion-picture-sound-color scenes on
any home vcr/tv.  Edit either with linear or non-linear (digital) systems.
2.  Assuming your camera-head ccd's are of quality resolution, and
the field-multiplexing stable,  output on any format recorder (3/4", hi-8,
vhs, etc.), is possible.  The higher the tape-end resolution, the better.
3. I understand that VRex has a proprietary video projection system
capable of high-quality projection.  Otherwise the field of playback-viewing
is as varied as the Virtual I/O (I found it lower quality) to Stereographics
CrystalEyes.  More information on these and other systems warranted.
4.I use as subject matter scenes/objects, computer graphics, holographics,
cloud-shapes suspended in solution, virtually anything that can be captured
spatially using a 3-D video camera.
5.  Of particular interest to me (in my art) is the placement of the stereo-
window, superimpositions of several (or more) stereo scenes, transition
effects, 2-D/3-D superimpositions, and explorations of what I term 'virtual
space' in its many synthetic and motion-stasis forms.
I don't believe for an instant that stereoscopic photo-film-video
accurately depicts 'real' spatial perception.  It is closer to evoking a kind
of 'magic realism' than mimetic reproduction of perceptual reality.  And
these 'limitations' are exciting areas to explore.
6.  The documentation (which I pursue) of holographic images via 3-D video
I found a necessary step since in the making of several documentaries of
holographic artists and art there was always the obvious frustration of
depicting
the holographic images in a 'spatial' form.  The notion that a hologram is
less
resolved than a photograph is absurd.  Holograms of living subjects (pulsed
holography) suffer from 'noise' (incurred in faulty developing and bleaching
techniques).  Most people have seen only 'transfers' (copies) of the original
holograms which are rendered white-light viewable.  There is no such thing
as an 'out of fucus' holographic image.  Typically, blurred images occur when
the illuminating source is either spatially or temporally incoherent.  I
would
be glad to discuss/debate the issue at even greater length in direct e-mail
for
those interested in such topics.
7.  The relationship of the computer-generated stereoscopic 3-d image (as
virtual object, as avatar, etc.) to the videographic (photographic) image, to
the
holographic image (as depicted in 3-D video), to the interferometric
(holographic)
image is of interest to me and these issues constitute some of the subjects
of
my 3D video art.
8.  If we live in a world of virtual desktops, 'virtual realities', and
virtual simulations
of virtual realities and un-realities, then ANY art that explores these
virtualities and
their relationship to the history of representation, to philosophy and
perception are
of interest.  What is lacking in many industrial demos offered by
manufacturers
of 3-D video viewing systems is CONTENT and an artistry that explores the
possibilities of 3-D imaging.  How many ski scenes, travel spots,
skateboarders,
feet poking through the stereo window have to be offered before we get beyond
"gee whiz it's three-dee"?
Enough said.  I will now turn my attention to responding to the personal
querries
delivered on my desktop and will try to clarify what "holography is' to
Gabriel who
seemed to be particularly disturbed by some inferior work that he has
witnessed.
Don't judge the medium by the popular standards of low-end delivery
(incoherent
light and lousy technique).  Al_Razutis@xxxxxxxxxxxxxxxx




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