• “Did you say Multiplexe? The New Trend of Holography in London” –  Interferenzen – 1st quarter 1993.
  • “Future Tense, Call for a new generation of artist”, SPIE Proceeding,  Volume 2333, 1995
  • „Holografie Ausbildung und Kultur – Interferenzen 1997
  • “Tunnel of Light”Vol.3358, 1998, “Mirror of Light” , Vol. 4149,  2000- St Poelten (Austria) July 2000 Artist grant from SPIE.
  • “The Matrix of Inspiration/ the Micro Hologram” 2005, Vol. 5742 SPIE holography group/ search “inside a Hologram” 2005. San Jose CA USA
  • « The Micro-Hologram »–co-author « experience defocalisation «   San José, California, West Photonics, SPIE proceedings Vol. 5742. 2005,
  • “The Micro Hologram”, Installation 120x50cm presented in Canada, Montreal private galleries, UQCLA, in West Photonics, San Jose, CA, USA,  artists grant from SPIE.
  • “Applications of Syn4D holographic prints”, co-author, proceeding 4th International Forum Holoexpo  July 2007-  Moscow, Russia.
  • « Holography, 60years of History » Stereoscopy 3D, Fraunhofer Institute, Berlin, August 2007.
  • « Synfograms: a new generation of Holographic Applications”, co-author, Holopack-Holoprint proceeding on CD, Hong Kong,  18 November 2007
  • “Synfogram: New creation and applications in 4D” for “3D Today event”,  November 28, 2007,  Munchen
  • “Syn4D displays for a new generations of Holographic Applications”, SPIE Europe, Strasbourg, April 2008. SPIE Proceeding. Vol 7001.
  • “Synfograms: Inscribe Space/time  information for museum” conference „Holography in the Modern Museum“ of the Royal Photographic  Society Holography Group  at De Montfort University in Leicester – September 2008. UK.


  • Studienprojekt „Theorie und Praxis der Fotografie“, Einsatz des Mediums Großfotografie in der Jugend-/Ausländerarbeit, Projektgruppe der Hochschule für Bildende Künste unter Thilo Rösler, 1982
  • Articles about art and applications of media published in German and English publications. Co-editor of the magazine „Interferenzen“ as vice president of the DGH (German Association of Holography) 1997 & 1998.
  • Faszination 3-D, Multimedia Hologramme. Amiga magazine April 1993
  • Computer_Art_Faszination, Buch, 1993
  • Computer Art: DOT-Dotzler, Frankfurt 1994
  • Future Tense, Call for a new generation of artists SPIE – 1994
  • Der Weg Zum selbstdesignten Hologramm – Computer Design Magazin, 1995
  • What is my mind? Where is my mind? International Workshop and exhibition, Denis Gabor award, Kecskemet, Hungarian, June 96.
  • Tunnel of Light, SPIE 1997
  • Mirror of Light, SPIE 2000
  • Genesis, artBridge, 2002
  • The Matrix of Inspiration SPIE 2005
  • Inside a Hologram, Newsletter, Holography group, SPIE, Vol.16, No1, June 2005
  • Leonardo, Vol. 39, No2, MIT Press Journals, April 2006
  • Workshop Synfogramme- Holografie in Bewegung, Kompetenzzentrum Virtual Reality, Technische Universität Ilmenau, Nov. 2008





Abstract of my publication and Conference Paper


The matrix of inspiration (Proceedings Paper)
Authors: Dietmar Oehlmann, Odile M. Ohlmann, Hans U. Danzebrink
Published 21 April 2005

Abstract: The research of Odile Meulien and Dietmar Ohlmann is about perceiving a multidimensional world. Not about the cyberspace created for new cinema creation, nor the reality which seems to be created by communication. It’s the search for the reality we perceive, when the mind „touches“ an object with its senses. In fact, it is a study of the surface of an object, which we can record in its visual appearing, its structure, shape and colors. When using photographic media, the tactile sense of the structure is missing, when using some other reproductive media; we experience somewhere a sensation of fault, something different. When using holography, we are able to record some three dimensional shape which has in fact a lot of parameter of a realistic copy. What is missing is the touch, the smell, the way we can go close and far, surround the object, relate the reflected light to its surrounding. The only interesting attribute of a hologram is for Dietmar Ohlmann its capacity to illustrate a continuum. He likes its changing diffractive character during daytime and surrounds lighting. For Odile Meulien the continuum of a hologram represents a new possible model for understanding wholeness in a social context. In fact, both are working on an educational process together, helping children and adults to find a new position of their own in harmony with living surrounding. Dietmar Ohlmann is working on his artistic side, while Odile Meulien works on educational programs experiencing the perspective of a curator and social analyst. New is the implication of using the latest of the techniques like the atomic force microscopy, which make possible to touch the holographic grating while the holographic image remains untouched. In other words it is the reverse of the usual approach of objects which at first we touch to investigate further. Their difference in experiencing and perceiving scientific and technical approach brings a lot of paradigm in their discussion. Together they will perform this exchange, as a matrix, understood as source, of new ideas.


Future tense: call for a new generation of artists (Proceedings Paper)
Author: Dietmar Ohlmann
Published 17 February 1995 |

Abstract: Some people try hard to educate others about the beauty and technical benefits of holographic applications but another generation is already waiting to learn more about the media which talk to them about the future. Today the most common question is ‚How can I do holograms with a computer?‘ ‚Can I do it with an Amiga?‘ For the MIT specialists these are now very simple questions. We can expect to see the present shape of the holographic laboratory pass into history. I personally like to work with a VHS camera and mix it with CAD/CAM images, but computer and video are not the only media which will change the face of holography. The He.Ne. will be exchanged by diode laser. In a wavelength of 690 nm, some of them bring 40 mW in single mode and single line, not bigger than your little finger. Having such energy in so little a container, and the state of the art drifts rapidly into more flexibility. Using new media and introducing it in our societies give us a new responsibility. Would too much media kill the art? I donot think so, because I like the variety of media which give new possibility of expression. The game with new media is the power of creativity and it will find its meaning by itself. (DOI: 10.1117/12.201892)


Mirror of light (Proceedings Paper)
Author: Dietmar Ohlmann
Published 3 October 2000 |

Abstract: The making of holograms is better understood than their uses. As an artist who studied holography in Liverpool and at the Royal College of Art in London in the fine art section, I like to use this media in a quite unusual way avoiding the well-worn cliches of Laser-Light-Kitchen- Object-Table-Top-Photography and all these horrible, greenish, blinking plastics. After seeing a master and being introduced to its potential and being inspired by artists such as Rod Murray, Rick Silverman, Margaret Benyon, and Peter Miller I used to spend more time in the Laser- Laboratory than in my painting studio. However, this is no longer true. I have been working on the Millennium-Project since 1996. The project is the idea of Werner Lindemann who is creating a gigantic Amphitheater. On this site, I have the opportunity to meet all sorts of artists and craftsmen, such as opera singers, ceramics designers and architects, to whom I introduced several different large scale projects. Forced to work out installations of a minimum 20 square meters in dimension, I have developed what I call the None- Hologram.


Synfograms: a new generation of holographic applications (Proceedings Paper)
Authors: Odile Meulien Öhlmann, Dietmar Öhlmann D.D.S., Stanislovas J. Zacharovas
Published 1 May 2008 |

Abstract: In these past 30years, Holography has been mainly used in museum for exhibitions itself.  Now, in our digital world, Space – time coordinates can be printed as digital Holograms, giving a new educational tool to museum.  Digital 4 dimensional files are available as DICOM in medicine, CAD in Engineering and Architecture, and as 3-D scan format in Geography and digital Archaeology. Our experience with museums shows the interest of digital holography especially for its visual, educational and attractive capacity of presentation. Presentations in museums required from curators almost a scientific approached of what is possible with what they dreams to use for their exhibitions.  Syn4D™ is offering a full service of imaging creation and display of synthetic 4dimensional information called Synfograms.  The main advantage to use digital holograms lay in the capacity to create, not just reproduce content in time and space, showing what otherwise would not be possible to explain and visualised. The price, the additional lightning, and limited mass production still make the media a luxury. We provide the interface between the conceptual ideas, printable file, and final display which communicate the museums need, and the technology.  According to the museums, we have been working on different applications and presentations types, which will be illustrated in this lecture.

Kunstwerk in the age of holography, MIT Press




Bucherscheinung: Practical Holography XIX: Materials and Applications, Tung H.Jeong; Hans Bjelhagen,


Bucherscheinung: Maßlose Bilder, Visuelle Ästhetik der Transgression, Ingeborg Reichle, Steffen Siegel, berlin-brandenburgische Akademie der Wissenschaften, Nicole Stöcklmayer, 2009

Maßlose Bilder, Ingeborg Reichle, Steffen Siegel (HG.)

Diskussion über das Syn4D Hologramm im phaeno. Frau Stöcklmayer definiert und analysiert auf Seite 293 die Technik und Vorgehensweise des Künstler Dietmar Öhlmann: „Auf Grundlage des, von Zaha Hadid Architects zur Verfügung gestellten, digitalen 3D Modells des Entwurfs, definierte Dietmar Öhlmann (Syn4D) die räumliche Position, Perspektive und Animation. Das mit Texturen und Beleuchtung ausgearbeitete und in Szene gesetzte, digitale 3D-Modell bildet die Basis, um die Parameter für die Kamerafahrt in 2.500 verschiedene Perspektiven zu rendern. Diese errechneten Einzelbilder wurden danach mit einer speziellen Software in ihre einzelnen Pixel zerlegt und in einem holografischen Pixel (>>sub-holograms<<) zusammengefasst. Die >>sub-holograms<< summierten sich anschließend zu jenem holografischen Fenster, das heute im phaeno ausgestellt ist.“

Für Frau Stöcklmayer führt die „vollkommen losgelöste Darstellung des Architekurentwurfs vom städtebaulichen Maßstab,… zu einer Bedeutungsverschiebung, wodurch der architektonische Entwurf nicht mehr als Architektur erkennbar ist.“


Digitale Visualisierung und holografische Technologien ermöglichen völlig neue Wahrnehmungsprinzipien auszulösen. Eine neue Dimension der Perception entsteht (Das holographische Universum, Odile Meulien Öhlmann).

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