It would be only as from the Eighties that the notion of four dimensions of the space-time would have been introduced to explain work on the cinema in relief by Holographie.
However this holographic cinema of an animated object or fixes remains visible only for one quasi-motionless observer starting from a low-size but sufficient opening to make it possible in each eye to see an object animated at the same moment.
For various reasons of a technical and economic nature, it is difficult to in practice increase this opening to make collective projections or to widen the amplitude of the movement relating to the observer with for example a gigantic reel, like a large wheel, to make ravel twenty-five great holograms a second directly under the eyes of an observer moving, without projection on a movie screen to two dimensions cancelling the third dimension.

To diffuse multiple sights animated in all the directions, one can also suppose a projection in a “immaterial screen in volume” made up of a gas for example, but the contour of the volume of the real image could not be clearly delimited because of a parasitic diffusion of the pencils of light before and after their formation of the points of the image, as one can already note it on the fuzzy images of the water screens.

This insuperable difficulty, or “space-time obstacle”, in photonic writing for the realization of an image with four dimensions of an object animated for an observer moving is equivalent, in electronic writing, with impossibility of being able to post automatically and at the same time all the points of view around an object which would correspond to all the changing positions several observers moving, this starting from one only flat-faced screen, without special glasses and independently of the animation of the object.

Starting from one only hologram of large opening, it is however possible to show that its image is also in four dimensions for a fixed object, by the run of this great holographic support behind a very reduced opening making it possible to see evolving the relief of this object as to the holographic cinema.
Indeed, the hologram is a gigantic memory where all the points of view inside its framework are recorded and restored instantaneously.
It resembles then a “nest of dolls”, because starting from half of its surface, it also restores the image of the object in entirety under the angle of sight corresponding to the opening, as starting from the quarter of its surface, of the eighth of its surface, of sixteenth of its surface and so on until the limit of light diffraction.
Whereas each point of a material object represents part of sound all, each point of a holographic memory has of this fact the advantage of being able to represent immaterialy the object in entirety.
This “Whole in One” remainder impossible to represent materially in two dimensions, a symbol was allotted to him since the Antiquity and to the four corners of the world, that of Ouroboros, the snake-king who bites the tail, symbolizing the totality of time and space.

Two of the three Ouroboros of the Cour Carrée of the palate from Louvre in Paris (Photographs Alfred Wolf)

The characteristic essential of the integral writing of holography using an interferential phenomenon of the laser light reserved with the field of photonic (photon: “grain” of light), is indeed in the fact that starting from one only point (O) of a holographic support (H), a plane image (IP) is restored by comprising the same number of visual information disseminated by a fixed image with two dimensions registered for example on the totality of the surface of a poster, of a computer or television screen.

Without this phenomenon natural of the light between information to be memorized and the support of recording, it is impossible to write as many information on only one “point” of the surface of a screen.

This is why this writing using luminous interferences was the object at the XXe century of two Nobel Prize of Physics, in 1908 of the physicist Gabriel Lippmann for his interferential method of photography colors, and 1971 of the English physicist of Hungarian extraction Dennis Gabor (1900-1979) for holography (23 years after its discovery).
Indeed, the holography colors which consists in using red, green and blue light laser for the recording of luminous interferences inside a photosensitive layer black and white, is only one improvement of the direct method of photography colors having been invented in 1891 by the physicist Gabriel Lippmann, on the other hand using the solar spectrum for the recording of luminous interferences inside the same photosensitive layer black and white.

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