Holograms: A Cultural History
2015 abe. · Oxford University Press
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Holograms have been in the public eye for over a half-century, but their influences have deeper cultural roots. No other visual experience is quite like interacting with holograms; no other cultural product melds the technological sublime with magic and optimism in quite the same way. As holograms have evolved, they have left their audiences alternately fascinated, bemused, inspired or indifferent. From expressions of high science to countercultural art to consumer security, holograms have represented modernity, magic and materialism. Their most pervasive impact has been to galvanise hopeful technological dreams. Engineers, artists, hippies and hobbyists have played with, and dreamed about, holograms. This book explores how holograms found a place in distinct cultural settings. It is aimed at readers attracted to pop culture, visual studies and cultural history, scholars concerned with media history, fine art and material studies and, most of all, cross-disciplinary audiences intrigued about how this ubiquitous but still-mysterious visual medium grew up in our midst and became entangled in our culture. This book explores the technical attractions and cultural uses of the hologram, how they were shaped by what came before them, and how they have matured to shape our notional futures. Today, holograms are in our pockets (as identity documents) and in our minds (as gaming fantasies and 'faux hologram' performers). Why aren't they more often in front of our eyes?
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Sean F. Johnston is Professor of Science, Technology and Society at the University of Glasgow, UK, a Fellow of the Higher Education Academy and a Chartered Physicist (Institute of Physics). He has worked both as an historian and as a scientist. Johnston is a recipient of the Paul Bunge Prize, administered by the Gesellschaft Deutscher Chemiker, for the history of scientific instruments and of the George E. Davis Medal of the Institution of Chemical Engineers, for a history of chemical engineering co-written with Colin Divall. He lives in southern Scotland, where he teaches and researches the historical, social and philosophical aspects of science and technology.
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