If You Can See It, It's Not There,
by Nancy Gorglione
with photographs by Greg Cherry,
Jeffrey W. Milton, and others...
A Virtual Examination of Holographic Phenomena
coming soon to a book near you..

THE TANTRIC COOKBOOK
OF NINI TANTRINI

The “Voice
of the Horse”
in prophecy, poetry, commentary,
fact and fiction,
all dressed up
in fancy diction
offering depiction
of Yoga
and postmodern recipes
for rapid evolution
as a solution
to the pollution
of our planet.

Email us or Buy It On Amazon or Thru Paypal

   ARCHETYPES IN HOLOGRAPHY:
If You Can See It, It's Not There,
   A Print Exhibition and Examination
of Holographic Phenomena
By Nancy Gorglione


Nancy Gorglione's beautiful book pictures hundreds of holograms and many pivotal laser performances and installations. Innovative Text for this sumptuous historical record is graphically arranged by Gorglione from contemporary sources - an exceptional volume of art on the Golden Age of Holography.  

Look for it near you, early 2018.

ARCHETYPES IN HOLOGRAPHY:
If You Can See It, It's Not There, introduction by Author & Holographic Artist, Nancy Gorglione:

ARCHETYPES IN HOLOGRAPHY:
If You Can See It, It Not There! Is an art book of holographic phenomena that happened to me. The story of Holography - wavefront reconstruction to the scientists, and three dimensional laser photography to an artist - is also a story about the value of culture to contemporary civilization. I was a hippy in the Haight Ashbury when I became an early student of Lloyd Cross and Jerry Pethick at the School of Holography in San Francisco, California. The School's students were to go out and spread the art and techniques of holography to the rest of the World. At the time, we thought maybe we were creating history.

I’ve had access to a holography studio almost continuously since 1972. I poured my first cement - hand-mixed in a wheel barrel - for a holographic sand table with Celestial Holograms' David Harrell, Lon Moore, and John Fairstein. Randy James joined later, all partners in an early holographic arts' company on Second Avenue in San Francisco.

Collage of Tunnel Dance, early Light Sound Motion Performance by Laser Affiliates from Archetypes in Holography: If You Can See It, It's Not There

In the mid 1970's, I coordinated Laser Affiliates, member project of the Haight Ashbury Arts Workshop. Laser Affiliates created The Kinetic Art School, to develop laser arts' education and performances. Laser Affiliates produced many laser light shows, large participatory events with hundreds of co-creators.

Ion Gun ionizing residual atmosphere in my bell jar. A sensory monitoring system and molecular glass cleaner.

Through Laser Affiliates I hired Michael Kan, (School of Holography savant, Multiplex machine engineer) under whose tutelage I built a high vacuum deposition machine. It had e-beam evaporation for optical development and sheer beauty.



Dichroic glass and aluminum kinetic sculpture by Nancy Gorglione for Lightscapes Photography and the Laser Exhibition, first group show of L.A.S.E.R. opened December 1980 at Holos Gallery, SF..

Laser Affiliates eventually spun off another group, L.A.S.E.R., (The Laser Arts Society for Education and Research) which counted many of the World's holographers as its members. Exhibitions, Like the traveling group show: "Lightscapes, Photography and the Laser;" lectures, media productions and educational programs spread holographic aesthetics and techniques to interested people around the World.

As a California Arts Council "Artist in Community" I introduced holography to myriad institutions, and provided studio introductions for free (!) to the greater Bay Area 1982-through 1985.

In 1985, I married Greg Cherry, and we started Cherry Optical Holography, named for Greg's prototype design of optical components. His laser and electro-optics' engineering allowed us to really explore holography as visual art media. We’be participated in, and observed, the birth of a new art form and technological instrument of marvel. Holography's universal constraints are very personal to me.

What is Holography?

A hologram is a true, three-dimensional photograph recorded through the interference of laser light. Holography offers the artist the potential to record time in space, all captured on a flat film plane. Holography is difficult to do, and a bit difficult to explain. The metaphors for our holographic world abound into mythological space removed from the actuality of holography: The Art Media. Holograms are recorded with lasers onto fine photographic emulsions on film or glass. The finished hologram is a diffraction grating which bends the illumination light back onto the path of the original object. Holograms, unlike the pictures of holograms in this document, are truly three dimensional, with depth and projection.

Spherical Zone Plate and Plane Wave Interference

Some of the transmission holograms pictured in If You Can See It.... project five feet and more in front of the film plane, right out there into the hologram viewer’s space.

Pitchfork, Transmission Hologram by Greg Cherry projects the tines about 5 feet out of the front of the hologram. 22 by 30 inches, 1987, for Equus/Underwater, A Holographic StageSet by Nancy Gorglione and Greg Cherry.

True depth and parallax, the ability to see around holographed objects to objects behind, add sculptural dimensions to the challenges of making and portraying art holography. Many of these holograms also have kinetic color changes and movement. And the colors! A primary additive palette offers the artist a whole different mix to explore within holography.

If You Can See It, It's Not There is also a visual record of our pioneering work in laser scanning techniques and performance, spanning early Laser Affiliates Light Sound Motion performances in the Haight Ashbury, California; through City-wide laser sky shows from San Francisco's Hills; to the recent Laser Light & Percussion Orchestra- a community based orchestra where everyone is invited to play percussion instruments together under the laser lights. Many of these events were in collaboration with Bay Area artists and musicians. The beauty of laser light and its potential in performance was at least as important to me as exploring holographic space. Many laser and holographic lighting effects we developed are in common usage today.

We made hundreds of different holograms in our basement laboratory, exploring subject matter and developing unique techniques. We introduced holography in stage sets and environments, taking the media into sculptural and conceptual realms influential to other artists Worldwide. I also directed and administrated non profit organizations, designed exhibitions, wrote catalogs, built web sites, and took holography out of its small dedicated holography niche into public institutions.

A few years ago I realized it was going to be necessary to act as my own curator and historian, too. Good thing I'd saved almost everything written, published, posted, videotaped, or photographed about Greg Cherry and my laser art: posters, invitations to exhibitions, newspaper articles and reviews, catalogs, photographs and videos of performances and many exhibitions of holograms around the World.

If You Can See It, It's Not There reproduces some technical information about holography and laser art, developed for exhibitions and students over the years. It also reproduces excerpts from original versions of articles and text written by myself and others about my holography, and the collaborative work with Greg Cherry and Cherry Optical Holography. Mostly, The Archives of Holography: If You Can See It, It's Not There is a visual document, picturing about 400 of our 450 holograms, some of which have become archetypes in holographic art. Laser scanning in performance, the pursuit of the synchronization of light, sound and motion, form part of this unique book.

Holography exhibitions, and years of laser light shows are reconstructed with comprehensive color photos by Greg Cherry, Jeffrey W. Milton, myself (Nancy Gorglione) Steve Anderson and other participants; including the archives of: Cherry Optical Holography 1985-2017; Laser Affiliates 1972 - 2001 and L.A.S.E.R. - The Laser Arts Society for Education and Research 1979-1984. I have tried to keep the original format of the articles and texts as keeping with a file of historical documents for a resume, or curriculum vitae. Although:

When compiling images from the laser performances for this document, I could not stop myself from making collages and composites; rearranging the many images; installing virtual exhibitions and performances. I also colorized some text blocks, and treated the pages as spacial fields, to increase the legibility and beauty of this information. I hope these techniques have accurately captured the essence or soul of each event.

Technology of Cherry Optical Holography

Working in silver halide, mostly continuous wave holography, as Cherry Optical Holography we've developed or explored about 25 different technical variations of holography, including: open aperture diffraction gratings; and slit aperture Rainbow/Benton transmission holograms in all size formats. We are pioneers in film sensitization and multiple exposure in color-controlled reflection holograms. Open aperture image-plane reflection holograms allow us to create multiple copies from single sets of Masters. Transmission and reflection stereograms based on both scanning slits, and mechanically controlled objects create unique moving imagery. Smaller digital holograms are a more recent addition, as are our unique self-illuminated holographic display boxes.

An inner sanctum of If You Can See It, It's Not There is Space-Within-Space,  covering the Space-within Space holograms of Greg Cherry and Cherry Optical Holography. These include some of the most influential (or at least copied) holograms in the World.


Donations By Nancy Gorglione and Greg Cherry - Cherry Optical Holography. all rights reserved since 1984.

I holographed our first holographic projection screen in 1984, and sometimes wonder what other future holographic developments are currently stored in our basement laboratory.

Laser Light In A Petri Dish

Jupiter's Village, (pictured left) contains nine Masters combined, including a multiple exposure integral stereogram, - the pink Dragon, whose jaws open and close. The Dragon was copied along with continuous wave slit and open aperture Master holograms, to compose a multiple-color transmission hologram laminated with a mirrored back. Three different viewing angles with sequenced lights were designed for viewers of all sizes and ages. It is one of our more complex holograms, created for Neverland Ranch.

Who Does What?

I returned from a journey to the Himalayas (described at end of Transmissions, which also contains further information about our history in holography) to discover Greg Cherry's photopolymer "short run" machine, which he engineered and built in my absence. For practical purposes, Greg is the engineer and I am the exploratory artist- although our roles have overlapped many times. The first name listed on a hologram designates the originating artist of the hologram. A single name means one person both designed and holographed the image, doing all the lab work herself. Two names designate our collaborative work together on significant aspects of the hologram. The Extraordinary People Measure Magazine Article at the bottom of the Publications Scrollbar on the left further defines our collaborations..

A confirmed third world traveler, I’be been in about six countries while a revolution was taking place. This was always accidental. I’be been a poet all my life. My first poem was published in High Life Magazine when I was eight. I’ve been in 33 countries, written poetry in all of them, and left holograms behind whenever I could.

In th 1990’s, I began writing poetry books, chantefables about the holographic interconnections of all things and characters. When computers opened up the World, and History, and typesetting, I fashioned the poetic books into non linear holographic documents, some, about non linear, holographic subjects. I have included a few relevant poems, and pages here. The sheer invitation of the graphic surfaces of this document invited insertion of other poems within "If You Can See It..."

The art of typesetting and its technological changes are also a subtext of this document. Evident on early posters and newsletters, original efforts aligning press type or silk screen type by hand, evolved to linotype machine text, then morphed into early digital dot matrix type setting. Digital type over a brief time has evolved to my graphics' intensive current use of it as a self-referencing tool of art history. The title If You Can See It, It's Not There, is a line of poetry from The Tantric Cookbook of Nini Tantrini:.

... Humankind united entire
On streams of light!
Do not settle for any form of illusion,
If you can see it, It's not there!

...Fill my song with endless light,
All else deviates into night.
Defilements are of the duality,
Reality is held on words,
End contemplation of the tragic,
Arouse my creative potential
Into exponential magic...

The non-dual mind is by its very nature unconditioned...

Or as the Complexity Scientists Say:
No Matter, No Time,
Maybe Not Even Only Empty Space

Look for Archetypes in Holography: If You Can See It, It's Not There, by Nancy Gorglione in print near you, 2018!

Copyright 2003, 2018. Website Excerpts copyright 2017. All rights and applicable artists' trademarks reserved by the artists.

Search for the interconnection of all things holographic lead to study of the Clear Light practices of Dzogchen and Tantric Buddhism with the Tibetans, travel to the Himalayas, and The Tantric Cookbook of Nini Tantrinl: The Great Kalagni, The Great Light. (Copyright 2003, web c. 2017)

Nini Tantrini’s sound studies and travel to Tibet forced her to compile The Tantric Cookbook of Nini Tantrini. Sonic, holographic and cosmological information complement the Tibetan Buddhist practices of Mantra, Tantra and Dzogchen. The Sound Currents, and the Sounds of the Chakras and chant architecture join specific frequencies of the orbits and spin rates of the planets.

“Elements and elemental tables, joining horses’ fables,” adds E'clair.

In a recent interview with one of the horse poets of The Tantric Cookbook, Huudini had the last laugh and said:

Fortunate are those who own this book! Most of the pages are on clear white paper, the better to illustrate form and its illusions. A few brightly colored pages highlight important information, expedient in changing times. The word art holds and molds its own magic! There’s a holographic cover, and some of the precise illustrations reveal chapters on both Nada Brahma and the geometry of form: Father Tantra - hidden under the leaves of Mother Tantra and the Six + Yogas of Naropa. Color pages inside cover, 342 pages, 7 inches by 10 inches, packed with rare and beautiful information. $27 + shipping at Amazon or email us here for PayPal information.

The “Voice
of the Horse” in
prophecy, poetry, commentary,
fact and fiction,
all dressed up in fancy diction
offering depiction
of Yoga
and postmodern recipes
for rapid evolution
as a solution
to the pollution
of our planet.

Nini Tantrini and her Horses? The Voice of the Horse by Nini Tantrini and her Horses Eclair (Clarity) Huudini Kundalini, and Echo (Ecology)

“Is that parallax?” Asked Eclair.
“Is this all a PostModern invention?
Where is brevity, levity, laxity,
Tax codes on odes to reason, seasons,
Parody and poised ready, heady?
Limited by that bulky thing, the skeptic.
Take wings on dreams prognostic,
Vignettes...

...For all the seeds of evolution have been sown as teasers
On the true reasons of the Earth, spinning,
A nondenominational multidimensional church of humankind,
Remembering and recreating, carbon dating,
Satiating phenomena as the whole drama.
So incomplete I weep and wander earth side turning.”

“Bridled, my fair child,
Saddled up when we would be wild,” answer Echo, staring at the City street.

Eclair and Echo in Lust for Light

“Tachytelic, pertaining to evolution at a rate faster than the standard for a given group of plants of animals,”
Boomed Huudini to the great room that is Eclair,
An easy answer (the horse as dancer and jumper both)
Bold to implement the collective egos into something forward,
Old questions of our continuing place in the great race of planets hurtling through space,
The paradigm of the accelerated curvature of time.
For the older Earth holds the leasehold,
The whole-souled centerfold of the vibrations of thoughts of nations,
Sorrow and its weight (wait) of individual and unitary expectations.

Huudini & Nini Tantrini in The Black Horse Watch

My feelings, exactly, says the great horse, Saint, as he tumbles,
at the (straw) wall,
Nini Tantrini, caught, falling,
Beneath the real and theoretical and rapturous and  inevitable and avoidable
Intertwining of history, enigmas, intervention of the gods, the cogs
of supernatural machinery,
The fictions and depictions,
The futility of words cementing the absolute into fixed forms
Combining narrative, poetry, scholarly commentary,
Holographic points of light, magic cookbooks,
Projection and absence,
Veneration of nations,
Some incense, a scratch and sniff page on a propaganda age
to collectively commune thought onto the asleep and dreaming...
Now awake to collective conscious dreaming...

and it felt verbs, vibrations, primordial hums,
All sentience centered, sonics, strumming,
See for once REALLY
instead of language (based on knowledge [a subset of futility, {annihilation}])

Lust for Light by Nini Tantrini and her Horses Eclair (Clarity) Huudini Kundalini, and Echo all applicable Copyrights, human rights and horses' rights are here reserved

 

 

Huudini and Nini Tantrini Doubled. Please Note the Self-Arising Garuda in the center leaves and shadow.

LUST FOR LIGHT  Series title trademarked by Nini Tantrini & her Horses
copyright 1999, reprint 2017/18 all rights reserved.

 

 

 

 

 

 

 

Archetypes In Holography:
If You Can See It,
It's Not There,
is a completely illustrated examination of Art Holography developed by Nancy Gorglione and Greg Cherry.  It contains thousands of images of laser and holographic art, hundreds of holograms pictured and referenced by contemporary  text.
An incomparable historical document
that's all art.

Humankind united entire
On streams of light!
Do not settle for any form of illusion,
If you can see it, It's not there!

Film frames,
holographic parallax plays,
Repositioning our angle of view.
Hey you! Over here!
Drifting universe,
Firmament of green grass,
Transparent windows,
Summation of synonyms for the personal
dissolving and involving
into the promise of burnt language.

We are all One!
Only the Tongues separate us.

Poem from Lust for Light
by N Gorglione
All rights of reproduction are reserved
by the artists.

Poem for the Public House of Holography

A silhouette against promise of dawn, standing tall,
A marbled museum, granite,
Point light sources blazing bright
Described only by the faint and absence of light,

My sight, said the horse, a silken saline thing of humor,
An aureus canal and chambered iris on crystalline lens,
Its facets spraying aureoles of molecular bloom
and a whole universe of rooms of inner light,
Spacious, with clairvoyant journal of veracity,
Prose unity and valediction.
 All holographic truths, all holographic fictions,
A silent teacher of conviction,
A transfixion and public benediction

From The Black Horse Watch, by Nini Gorglione & her Horses. Copyright 1999, 2017.