Holography

The propagation of a light beam through a photo-sensitive photopolymer Polyvinyl Alcohol/Acrylamide (PVA/AA), and the creation of self-written waveguides (SWWs), has received much attention. Here we explore the manufacture and characterization of SWWs in PVA/AA for applications at near infrared communication wavelengths 850nm and 1300nm. The SWWs are fabricated using visible light at wavelength 532nm. The insertion and optical loss of the SWWs at different wavelengths will be interrogated. An optical loss and attenuation profile is to be built up for each of the three wavelengths as they propagate down the resulting SWWs.

The déjà vu experience is a common phenomenon, occurring in pathological as well as nonpathological conditions. It has been defined as any subjectively inappropriate impression of familiarity of a present experience with an undefined past. The authors discuss the epidemiologic data, clinical features, and etiology of the phenomenon of déjà vu. They also review the different hypotheses on the psychopathogenesis of the déjà vu experience and introduce an explanation based on the hologram as a mnestic model.

L'utilisation de plus en plus prégnante des nouvelles technologies dans les musées et bibliothèques (tablettes tactiles, audioguides, écrans interactifs, etc.) diviserait les publics entre ceux qui recherchent la compréhension et ceux pour qui prime l'émotion. Comment alors concilier expérience collective partagée et dispositifs techniques ? Comment des cartels virtuels flottant dans les airs peuvent devenir des "fantasmagories didactiques" ? Retour d'expérience muséographique de réalité mixte autour de l'utilisation de vitrines virtuelles "holographiques"

The arrangement of binary subwavelength structures is a promising alternative to the conventional multiheight level technique to generate computer generated holograms (CGHs). However, the current heuristic design approach leads to a slight mismatch between the target signal and experimental data. To evaluate this deviation, a diffractive beam splitter design is investigated rigorously using a finite-difference time-domain (FDTD) method. Since the use of a rigorous Maxwell-equation solver like FDTD requires a massive computational effort, an alternative scalar approach, a fast Fourier transform beam propagation method (FFT-BPM), is investigated with a substantial higher computing speed, showing still a good agreement with the FDTD simulation and experimental data. Therefore, an implementation of this scalar approach into the CGH design process offers the possibility to significantly increase the accuracy.

In this paper, the phenomenon of virtual idol Hatsune Miku will be analyzed in the context of critical theory, emerging technologies, and theory of digital art practices. The first part focuses on the phenomenon of the virtual celebrity seen as Deleuze and Guattari’s concept of ‘body without organs.’ The second part examines how the state-of-the-art technologies have enabled the existence of Hatsune Miku who is simultaneously a corporate software product, a pop icon, a performance artist, and a collaborative multimedia artwork. Based on the reading of Hatsune Miku as a hybrid product emerging from the fusion of arts and IT, the last part revolves around the concept of ‘aura’ (Benjamin) generated by virtual idol’s presence. Finally, the notion of hyperterminality is introduced not only to differentiate between entities/identities appearing on the surface of the screen and those virtual constructs co-existing with us in the spaces of physical reality, but also to explore how these newly emerging “phygital” entities transform the existing conceptions of body and identity.

Holografi, çok sayıda fizikçi, kimyacı, matematikçi ve mühendisin araştırma ve uygulamaları ile yaratılmış ve halen geliştirilmesine devam edilen çağdaş bir görüntüleme tekniğidir. Bu teknikle ışığın ve sesin kaydedilmesi, depolanması ve istenilen bir zaman ve mekanda yeniden oluşturulması amaçlanmaktadır. Ağırlıklı olarak bilimsel ve teknolojik araştırma ve uygulamalarda kullanılan holografi, sanatçıların 1960’lı yıllarda bu tekniğin sanatsal potansiyelini keşfetmesiyle birlikte pek çok ülkede sanat alanında da artarak kullanılmaya başlamıştır.

Cálculos para construir cualquier pirámide holográfica Para proyectar hologramas tridimensionales, se utilizó una pirámide truncada de base cuadrada, con 4 caras (trapecios isósceles) inclinadas 45°. Para encontrar las dimensiones de dicha pirámide, de manera generalizada, se desarrolló el siguiente análisis matemático. Sean las variables: í µí±© = í µí±©í µí²‚í µí²”í µí²† í µí²í µí²†í µí² í µí²•í µí²“í µí²‚í µí²‘í µí²†í µí²„í µí²Ší µí², í µí²í µí²‚í µí²í µí² í µí²í µí²†í µí² í µí²„í µí²–í µí²‚í µí²í µí²“í µí²‚í µí²í µí² í µí²ƒí µí²‚í µí²”í µí²† í µí²š í µí²‚í µí²“í µí²Ší µí²”í µí²•í µí²‚ í µí²Ší µí²í µí²‡í µí²†í µí²“í µí²Ší µí²í µí²“ í µí²í µí²† í µí²í µí²‚ í µí²‘í µí²Ší µí²“áí µí²Ží µí²Ší µí²í µí²† Este valor se suministra en dependencia del tamaño de la pantalla transmisora de luz que se vaya a utilizar en la proyección del holograma. í µí²ƒ = í µí±©í µí²‚í µí²”í µí²† í µí²Ží µí²†í µí²í µí²í µí²“ í µí²í µí²†í µí² í µí²•í µí²“í µí²‚í µí²‘í µí²†í µí²„í µí²Ší µí² Se debe tener en cuenta que entre más grande sea b, menor será la altura de la pirámide y de las caras (trapecios), es por eso que se debe buscar la mayor diferencia posible entre B y b sabiendo que el cuadrado superior servirá de soporte. Sobre el análisis de la ilustración 1, y aplicando algunos conceptos trigonométricos se obtiene: • Altura de la pirámide truncada: í µí²‰ í µí²‘ = í µí±© − í µí²ƒ í µí¿ (1) • Altura de las caras de la pirámide (trapecios): Utilizando la razón trigonométrica coseno o seno, cos(45) = ℎ í µí± ℎ í µí±¡ Despejando ℎ í µí±¡ , ℎ í µí±¡ = ℎ í µí± cos (45) (2) Reemplazando (1) en (2), ℎ í µí±¡ = í µí°µ − í µí± 2 cos (45) Evaluando el valor del coseno, ℎ í µí±¡ = í µí°µ − í µí± 2 √2 2 Simplificando, se obtiene la ecuación para calcular la altura de los trapecios (caras): ℎ í µí±¡ = 2(í µí°µ − í µí±) 2√2 Ilustración 1: Pirámide Holográfica

IN HERE IS PROOF THAT THE AETHERS THEMSELVES ARE CHANGING AND BECOMING PURPLISH CIRCUITRY.  FOR THE ULTIMATE AI PROGRAM.  THEN THERE’S THE WORLDWIDE PURPLISH TIDAL WAVE IN THE ATMOSPHERE.  A BIG BIG CHANGE IS COMING.  IT IS VISIBLE TO EARTHLINGS.

left a reason for downloading OUR SHADOW SELVES The recognition that we live in a holographic reality, which we can alter, once we recognized it and become aware of it.  CORRECT!!!!!