The research described in this chapter arises from the author’s work in designing and building a wearable graphics production facility used to create a new kind of visual art over the past 15 or 20 years. This work bridges the gap between computer graphics, photographic imaging, and painting with powerful yet portable electronic flashlamps. Beyond being of historical significance (the invention of the wearable computer, mediated reality, etc.), this background can lead to broader and more useful applications | Intelligent Image Processing. Steve Mann Copyright 2002 John Wiley Sons Inc. ISBNs 0-471-40637-6 Hardback 0-471-22163-5 Electronic 5 LIGHTSPACE AND ANTIHOMOMORPHIC VECTOR SPACES The research described in this chapter arises from the author s work in designing and building a wearable graphics production facility used to create a new kind of visual art over the past 15 or 20 years. This work bridges the gap between computer graphics photographic imaging and painting with powerful yet portable electronic flashlamps. Beyond being of historical significance the invention of the wearable computer mediated reality etc. this background can lead to broader and more useful applications. The work described in this chapter follows on the work of Chapter 4 where it was argued that hidden within the flow of signals from a camera through image processing to display is a homomorphic filter. While homomorphic filtering is often desirable there are occasions when it is not. The cancellation of this implicit homomorphic filter as introduced in Chapter 4 through the introduction of an antihomomorphic filter will lead us in this chapter to the concept of antihomomorphic superposition and antihomomorphic vector spaces. This chapter follows roughly a 1992 unpublished report by the author entitled Lightspace and the Wyckoff Principle and describes a new genre of visual art that the author developed in the 1970s and early 1980s. The theory of antihomomorphic vector spaces arose out of a desire to create a new kind of visual art combining elements of imaging photography and graphics within the context of personal imaging. Personal imaging is an attempt to 1. resituate the camera in a new way as a true extension of the mind and body rather than merely a tool we might carry with us and 2. allow us to capture a personal account of reality with a goal toward a. personal documentary and 179 180 LIGHTSPACE AND ANTIHOMOMORPHIC VECTOR SPACES b. an expressive artistic and creative form of imaging .
