The visual representation of the hologram: a comparative approach to its political and social uses

Abstract

On April 28, 2017, Jean-Luc Mélenchon, a prominent French politician, pioneered a unique way of engaging with multiple groups. While he was in Dijon in person, he simultaneously connected with a Grenoble audience using a hologram. A central focus is the tangible bond between a politician and their listeners. This study starts by analyzing the semiotic cues in photos and videos on official and social platforms. Subsequently, there’s a deep dive into the reactions of Grenoble attendees to various forms of expression.

Each method is integral to the total experience. As suggested by Kress and Van Leeuwen (2001), meaning is molded socially via channels like discourse, production, design, intake, and the “textual” backdrop. In M.lenchon’s holographic instance, the scope for creative engagement and the idea of heightened modality is evident (highlighted by Andrieu: 2011). Holography offers:

• Voice-driven auditory engagement.

• Observation of physical actions, hand movements, and facial expressions.

• Recognition of visual elements such as clothing, colors, and proportions.

• A three-dimensional display, evoking a feeling of actual presence.

• Interaction with the spoken content, both pre-written and extemporaneous.

This is termed as hypermodal interaction. Designing a tailored hologram in line with the core research question effectively combined theoretical perspectives on holographic interaction. The goal wasn’t merely a visual portrayal of the research but to emphasize this visual method, especially in formulating a visual strategy (as put forth by Pink, 2006). This process captures both visuals and sounds for subsequent engagements with holograms. Furthermore, this research seeks to outline and present the aspects of an innovative, immersive, and visually centric research approach.