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TransHoloCinemas Maurício Augusto Sampaio Pinto (Mauri Samp)
Universidade Estadual de Campinas – UNICAMP (State University of Campinas, São
Paulo, Brazil)
+55 19 98299.0108
URL: pt.slideshare.net/maurisamp
Keywords: multimedia, cinema, holographic principle, consciousness, ontology of reality.
Mini Autobiography
Masters student in Multimedia Studies at the Arts Institute, UNICAMP. His research is entitled TransHoloCinemas. He holds a BA in Design from UNESP (2001). He was finalist in 2000 at the Talento Volkswagen, presenting the BullDog pickup at the São Paulo International Motor Show the same year. He is a visual artist, and exhibited his work at the Contemporary Art Museum, MAC at the University of São Paulo. He is deeply interested in the convergence between art, technology, science and conscience. In February 2015 his BullDog was published on Cartier Art Magazine, a magazine issued globally in 8 languages.
Abstract
The objective of our research is to evaluate the impact of the Holographic
Principle from Physics, as well as complex systems from both Biology and
Philosophy in multimedia arts, specifically those that used optical holography and
those that now use digital holography. This study is relevant insofar as it is a bet
on future development based on increasingly frequent use of simulation
processes in expanded cinema and in contemporary visual arts in general. Rather
than being a specific field within the Arts, the image is an interdisciplinary subject
of utmost importance in areas apparently as diverse as Neuroscience,
Mathematics, and Medicine, as well as all those fields that use data visualization.
Entitled TransHoloCinemas, this research draws from the theoretical
conceptualization of expanded cinema - Leonard Susskind, Lynne McTaggart,
and Nassim Haramein in Physics; Robert Lanza, Humberto Maturana, and
Francisco Varela in Biology; Gilles Deleuze and Jean Baudrillard in Philosophy,
and Giselle Beiguelman and Eduardo Kac in the Arts. We analyze relations
between technology and spiritualism in the context of the creation of the
cinematograph in the late 19th century, and its recent revival, which shows
surprising similarities between what Arlindo Machado calls pre-cinemas and post-
cinemas. Although the hologram is born in the 1960’s with the invention of the
laser (coherent light beam), it would only become popular in the collective
imagination in 1977 with George Lucas’s motion picture Star Wars, which
proposed a new intergalactic mythology. The cinema hologram is more likely a
meta-hologram, as a hologram simulation or a post-hologram, since holograms
have not yet reached the technological development shown in science fiction,
floating in the air. They are still only about bi-dimensional surfaces in which we
perceive objects projected outward or backward from this plane.
As an exercise for the subject Methods and Research Techniques, taught
by Professor Lygia Eluf, I have made a video entitled TransHoloCinemas
(https://youtu.be/1T_lwsOwXGw) to make clear for myself and for the others what
my research is about and the paths it takes, distinguishing operational, nomad
and structural concepts based on Aby Warburg’s panels. Much more than a
futurist visualization system, information storage or metaphor that helps us
understand both how the brain-mind interface works and the universe in its
cosmic scale, the exact sciences point to the fact that in this second decade of
the 21st century, we can live in a universe that is a holographical simulation that
is the ontology of reality itself, a discovery that may be revealing the last—or one
of the last—epistemological barriers for human understanding. After matter and
energy were shown to be interchangeable by Einstein in the 20th century, today
we are witnesses to the rise of a new character or a new piece in this new
paradigm of immaterial information, one that is holographically recorded in the
fabric of space-time itself and that is now regarded as a plenum, rather than as a
vacuum or void that the previous model offered to us.
