Theoretical and experimental optical holography

The intent of this paper is to present an analysis of optical holography. Both the physical theory behind holography and the experimental techniques used in making holograms will be presented. To accomplish this goal, the paper is divided into two independent sections: the theoretical section followed by the experimental section. Each section is intended to be a complete unit. The Theoretical Section is an exposure to the theory behind holography. This consists of a review of the concepts of interference and diffraction. followed by a brief review of partial coherence. The remaining part of the Theoretical Section is devoted to the mathematical analysis of optical holography. The Experimental Section begins with an introduction to the equipment and facilities currently available for optical holography at Colby College. Holographic procedures is dominated by the description of transmission holography (v.s. reflection. or white-light. holography). After these general holographic procedures a few variations on the basic transmission hologram are presented. The experimental section will end with an introduction to holographic interferometry, a major application of holographic techniques.

From the President: On the Liberal Arts and the Lesson of Steve Jobs

Colby President Bro Adams on Steve Jobs and the liberal arts.

Socio-cultural Degeneration and State Patronage of the Arts: Mapplethorpe, Cultural Crisis, and the NEA

The goal of this paper is to investigate how the Untied States federal government, specifically through the National Endowment for the Arts, or NEA, has acted in the position of an arts patron in the past few decades. Specifically, this paper will focus on the past decade and a half since the 'arts crisis' of the late 1980s and the social and political backlash against the art community in the 1990s, which was only against ‘offensive’ art that was seen as morally and culturally corruptive. I explore the political, social, and economic forms the backlash took, particularly rooted in a perceived fear of degenerative arts as a corruption of and a catalyst for the eventual collapse of American culture and values. Additionally, I analyse the role the federal government played in ‘ameliorating’ the situation. I investigate how state arts patronage has affected and continues to affect both the concepts behind and the manifestations of art, as well as who is encouraged, sanctioned, or neglected in the production of art. To accomplish this, I explore how and why the federal government employs the arts to define and redefine morality and culture, and how does it express/allow the expressions of these through art.