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Csinos, David M. "Light Art, Street Art, and the Art of Preaching: Sound-and-Light Shows as Public Proclamation." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72283.
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This article examines how the phenomenon of sound-and-light shows fulfills the purposes of preaching and, as such, can be perceived as a form of public proclamation. Originating in France but now offered all over the world, these shows use large-scale video projection to display images on the facades of historic buildings, many of which are religious in nature, set to sound effects and music. The author begins by addressing three purposes of preaching that arise within homiletical discourse: testimony of God’s story, empowering transformation, and engendering encounters with God. Drawing from recent qualitative research into spectators’ experiences at sound-and-light shows, the author then examines how three specific shows serve as case studies that demonstrate that, while not sermons, they can indeed fulfill each of the purposes of preaching. As such, these spectacles can be seen as a vibrant form of proclamation amidst contemporary public settings.
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Dracoulis, Wendy Fay, and wdracoulis@gmail com. "Coloured light." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080102.093428.
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This project involves the examination of abstract, geometric paintings, kinetic sculptures, electronic art and installations that use opticality, perspectival space and colour relationships that destabilise compositional cohesion. Works made between 1964 and 1980, particularly those by Victor Vasarely and Bridget Riley are referenced in the determination of how geometric forms, colour transitions, interactions and juxtapositions have been used to suggest movement. This enquiry includes a review of the usage of planar space and the creation of optical effects. Artworks such as Bridget Riley's Chant 2, (1967) inform new works in which available digital technological processes are utilised. These new works consist mainly of compositions of line and coloured forms and are created in response to the outcomes of the research into the selected works. For example, static works that create movement through the use of colour and geometric form inform the creation of new w ork in media that uses motion. The artworks produced are installation-based works. The works include digital projections and static images that use painting processes as well as digital media. The objective of the project is to produce artworks that reference painting processes and extend explorations into colour usage designed to maximise optical effects and spatial disorientation. The artworks are intended to reflect elements researched whilst maximising the potential for using new media.
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Kotze, Willem Riaan. "Art Workshop : contextual architecture in light." Diss., Pretoria : [S.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11272008-000720.
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Dutro, Anna R. "An Art-Light Mosaic Light Distraction for the Pediatric Healthcare Environment." Diss., Virginia Tech, 2016. http://hdl.handle.net/10919/73543.
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In his classic book, Experiencing Architecture, Rasmussen (1959) noted that architects inspired by addressing problems in built environments created buildings with a special spirit: a distinctive stamp. Recent problems in healthcare facilities, specifically those related to reducing stress and anxiety, have inspired designers to create positive, uplifting distractions to redirect a patient's attention from a sterile environment and/or noxious event. In doing so, healthcare facilities have become special environments with a caring spirit.
This study examined a specific aspect of creating a caring environment: determining whether or not a positive distraction, a child's art-light mosaic movie developed by the researcher, would lower pain and distress in children 4, 5, and 6 years old during an immunization procedure. The researcher conducted a randomized controlled study in two locations using a child's self-report pain scale, heart rate, parent/guardian report, and nurse report measures. After collecting and analyzing data from 76 well-participants receiving one to five immunizations, the researcher found no statistically significant difference between the conditions for any of the measures. Thus, the null hypothesis, the art-light mosaic image would not assist in lowering pain and distress in pediatric patients, 4 to 6 years old, during an immunization procedure, was not rejected. From these results, the researcher recommended future studies incorporate training the parent and child on how to use the distraction, combine the distraction with a topical analgesic, provide a clear understanding of pain and distress from the child's point of view, and develop more sensitive self-report measures of pain for children.<br>Ph. D.
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Edmonds, Anne, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Light as surface and intensity." THESIS_CAESS_CAR_Edmonds_A.xml, 2003. http://handle.uws.edu.au:8081/1959.7/561.
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Light Intensity and Surface is the title of this PhD art exhibition where I explore through paintings, the world of my own encounter with the radiant light of the Linear Accelerator used in treatment of women with breast cancer. This engagement with the world of light technology encompasses oncologists, physicists and women who extended their personal experience to inform my artwork and contribute to the theoretical connections made in this thesis. The contribution of this thesis lies in how the lecture The Origin of the Work of Art by philosopher Martin Heidegger can be applied to a reading of great artworks that are separated in time, space and culture but connected in their subject: Light. It was his philosophy that helped shape the connections between where art originates and what springs from the artwork itself. The concept of light in the title of this thesis refers to Heidegger’s notion of the clearing seins Lichtung-the lighting centre- the medium that holds one being to another from where the idea for an artwork springs in the artist. Surface relates to the attunement of artists throughout history to the new particularly in the science of controlling light which influences the way artists achieve the material appearance of their artwork. Intensity refers to the level of openness to the mystery of light in both physicists and artists to create and control some thing that stabilises a community and remains a source of wonder. This thesis demonstrated how artists have responded to the new light technology with a way of seeing that created a depth dimension that bridges cultural worlds to unearth the breath of something often most effectively communicated by being silent<br>Doctor of Philosophy(PhD)
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Lindholm, Kevin R. "Looking For Light." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276670352.
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Nikolic, Bojana. "Light art in Contemporary Architectural Lighting Design." Thesis, KTH, Ljusdesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-208660.
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This research focuses on understanding the relationship betweenlight art and architectural lighting design and determining towhat extent can aspects of light art be used when designingfunctional lighting for architecture.The first part of this paper looks into the historical applicationof light as a material. Light has been an important element inart even prior to the introduction of artificial light sources, butthe exploration of light as an independent material throughinstallation art only developed in the last century. Similarly inarchitecture, the impact of light on creating and shaping spaceshas been recognized since ancient times, yet it was much longerbefore the development of lighting design as an autonomousdiscipline.In recent years there is an increased need for creative expressionfrom lighting designers who are pushing the boundaries ofcommunication through light. In order to understand the extentto which successful innovative lighting schemes can drawinspiration from artwork, this research further analyses keyvisual and emotional properties of light art, as well as potentialconstraints of functional spaces. Distinction of roles of the artistand designer as well as the conditions in which they work withthe medium of light pose a challenge in relating these twodisciplines.Findings from first two parts of this research are further used toanalyse an example of an architectural lighting project, to drawconclusions about light art’s applicability to functional lighting.
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Villalobos, Hitos Yéssica Montsserrat. "Shedding Light on Droughts: Light in Art Installations as an Awareness Tool." Thesis, KTH, Ljusdesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280084.
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The master thesis studies the value of light art installations as a tool to raise awareness, communicate messages,inspire people and create social engagement to take action and deal with important issues. Additionally, it researchesthe lighting characteristics that have to be considered in order to create a high emotional response. Three case studieson light art installations tackling environmental issues were selected to understand the tools that makes themsuccessful. The final result of the thesis is the design proposal for a site specific light art installation to raise awarenesson droughts and its effects - following the CLUE competition 2019 guidelines - and create social engagement to fightthis major crisis. Specifically, the installation uses daylight in combination with shadows and reflections, in order toachieve the purpose of the installation. In the interest of creating a strong emotional response from the visitors,brightness, color, dynamics, contrast and direction of the perceived light were used to change the visitor’s perception ofthe space. The thesis concludes with the discussion of the evaluation of the installation to prove how effective thedesign is to achieve its purpose on raising awareness on droughts and the presence of the 7 light characteristics inorder to create an emotional response from the visitors.
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Manninen, Mateus. "The Roles of Light: Artificial Light as a Resource in Public Art." Thesis, KTH, Ljusdesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-289198.
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In this paper, I will explore the role of artificial light in public art through a case study project. With the word role, I mean the visual and conceptual hierarchy of materials and resources in artwork. Light is a significant resource in public art. The artwork needs highlighting, especially in Northern countries where the winter’s darkness is inevitable. Light is not only a highlighter, it also tells a story of its own.
First, I’m going to open up the concepts of public space, public art, light in public art and light art, to place the study in context. The literature review in the first part of the study allows better insight into the relation of light, public art, and light art.
The second part introduces the selected case study project, which is a concept design of a landscape artwork competition, for Tramway art in Tampere, Finland. Richard Kelly’s perceptual theory will be used to discuss the observations from the case study. Kelly’s theory consists of three fundamental elements of visual design: ambient luminescence, focal glow and play of brilliants.
The researcher’s subjective experience in the case study discusses with the documentations and observations of the project, to explore the circumstances and to examine the boundary conditions of the case study project.
The role of artificial light in public art can be functional and make the space visible; it can be a highlighter and drag the focus into the artwork; or it can be the artwork itself. With the findings of the case study, I will divide the roles of artificial light in public art in functional, supporting and leading.
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Merritt, Zachary. "Oscillations of the Unadorned Light Bulb." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400072401.
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Mercado, Nicholas. "A framework for site informed light art installations." Kansas State University, 2015. http://hdl.handle.net/2097/19162.
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Master of Landscape Architecture<br>Landscape Architecture/Regional and Community Planning<br>Mary C. Kingery-Page<br>The purpose of this study is to investigate and design public light art installations. The investigation consisted of evaluating select examples of public light installations in order to develop a typology, and designing two site-specific light art installations: one in Wichita, Kansas, and the other, in Denver, Colorado. Though public light art is found in most cities, its potential is often lost or unrecognized. In certain cases, public light art can be ‘plop art,’ which is plopped senselessly without much regard to context or experiential qualities. This project seeks to explore the different types of public light art and to find what approach or qualities should be considered when designing public light art.
My approach can be described as artistic research. The methods include an apprenticeship to an artist, a precedent study, development of a light typology, an analysis of site and context, establishing a design matrix for two design projects, and an iterative process of making. Each of these methods were undertaken in order to effectively address my research question: What type of public light art is most appropriate for a specific site and how does it relate to creative placemaking?
This project overlaps with a collective project group entitled Creative Place-Making, which is comprised of other fifth-year master of landscape architecture students with an underlying interest in art and design as place-making tools. Each student in the group addressed the site in Wichita, Kansas in a unique way. I addressed this site as a temporary landscape, creating an interactive light installation intended to be in place up to five years. In contrast, I addressed the Denver, Colorado site as a long term landscape, and designed a sculptural illuminating gateway. Each of these light art installations were informed by a particular set of characteristics that make each design site-specific.
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Betlem, Gloria. "Landscape and the light /." Online version of thesis, 1989. http://hdl.handle.net/1850/11519.
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Neale, Stacey J. "Light and landscape /." Online version of thesis, 1990. http://hdl.handle.net/1850/11315.
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Willms, Emily Nicole. "Darkness & light." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6884.
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Darkness & Light is a narrative body of work that reflects upon recent changes in my life. The series begins dark and abstract and becomes lighter and more refined with each artwork, functioning as a visual timeline. The chosen color palettes of each artwork are symbolic of my emotional experiences. Darkness & Light is an up-close, very small facet of the much larger work that is taking place within my community. I am inspired by my life and by others who share my philosophy. Throughout the creation of this body of work, I collaborated with various individuals within my community to create a collective design that viewers might find inspiring. The involvement of community within my work has changed the way I view art education.
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Edmonds, Anne B. "Light as surface and intensity /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050923.103216/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2003.<br>"Doctor of Philosophy, Visual and Contemporary Arts, University of Western Sydney" Supervisor, Graham Marchant; co-supervisor, Phillip Kent. Bibliography : leaves 214-221.
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Koert, Bernadine Wisniewski. "Relationships of light and the spirit /." Online version of thesis, 1987. http://hdl.handle.net/1850/10308.
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McMillian, Christina A. "Light interaction." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/52581.
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In the heart of a park, a path spirals up a hill. Follow it and the trees part to reveal a building halfway up. Its thick, rough walls are pulled apart at moments, allowing light and movement into the space. The path leads between the walls. The narrow passage continues in a counter-clockwise motion up a staircase, leading you towards the light; moving from opacity to transparency, darkness to light, thick to thin, and exploring the mo- ments between. The space marks the passage of time. You see sunrise, marked by three narrow slits oriented to capture the light on the Winter and Summer solstices, and Spring and Fall equinoxes. The curved walls leading from the white art glass windows cradle the light like a cupped hand. The midday sun illuminates the central core, translated through the medium of semi-circular, veneer screens. The light and wood interact, revealing what is hidden, allowing the glowing screens to illuminate the outer circle. On the opposite side of the space are similarly-oriented windows to capture the Summer, Spring, Fall, and Winter sunsets, completing the day. It is a space apart from the world into which only the light and the self may enter. The only view of the outside world is the changing sky at the center. It is a space looks at light and how it moves through, is captured by, or is reflected by material. Light changes the materials in the space, is changed by them and marks the passage of time -- days and the seasons.<br>Master of Architecture
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Phillips, Jessica. "The art of perception." This title; PDF viewer required. Home page for entire collection, 2009. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Markus, Dunworth Isobel Catherine. "An Archive of Light." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17560.
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This thesis explores the concept of light as both a tool and subject of contemporary art practice. Light and its relationship to photography is investigated from an historical, cultural and conceptual angle in order to position the work An Archive of Light within a contemporary paradigm. The methodology of this research is that of the photographic process as archive. Central to this investigation of light is a refining of the relationship between light and photography, with a proposal made that the central tenant of the photographic image is its reliance on light. Through examining historical examples, photography will be repositioned as a medium that ‘represents’ light as its subject. This positioning opens up a critique of the relationship between representation and the photographic image, and an argument made that releasing photography from the constraints of representation opens up a whole scope of engagement with the medium. This assertion is supported by historical and contemporary examples of photographic practitioners that reposition photography’s relationship to the photographic image. The photographic in relation to abstraction, the image as object and the photograph as an index of itself is explored throughout this exegesis.
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Brown, Natalie. "Art and consciousness in light of Maharishi Vedic science." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/378.
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This research examines the field of art and consciousness in light of Maharishi Vedic Science. Maharishi Vedic Science is a complete science of consciousness and its expressions, based on ancient Vedic knowledge, as elucidated by His Holiness Maharishi Mahesh Yogi, the foremost scholar in the field of consciousness. The research explores the practical application of Maharishi‘s technologies of consciousness― the Transcendental Meditation program and TM-Sidhi program, and simultaneously the theoretical understanding of consciousness through the study of Maharishi Vedic Science. The research examines this knowledge by considering two questions- Question 1―What is the benefit of the practical technologies and theoretical knowledge of Maharishi Vedic Science for the arts and the artist? Question 2―Through my own subjective research into consciousness, how has this knowledge affected the outcome of my creative practice? This research is both an intellectual objective analysis and simultaneously a subjective investigation through my own personal experience in the development of consciousness. The research elucidates Maharishi Vedic Science and verifies it through modern scientific research, art and its foundation in creative intelligence, the history of art and its future potential, and my own personal artwork and creative process that has grown through the understanding and practical application of Maharishi Vedic Science in my daily life.
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Burt, Carol Anne. "Rural images : studies of color and light." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864939.
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The purpose of this Creative Project was to examine several aspects of color and to apply the results to a series of watercolor and oil paintings of rural subject matter. The process involved several steps: literature research, a series of photographs, and pigment color analysis. To begin with, landscape painters from the seventeenth century to the present were researched for their use of color in portraying the illusion of light and form on a two dimensional surface. A series of photographs was taken over a one year period. These were used to record changes of color on objects due to seasonal and atmospheric differences. Finally, watercolor pigments were analyzed for the range of mixing possibilities they could create. The findings from these three steps were applied in a series of eleven paintings which portrayed the illusion of light and solid form through the use of color.<br>Department of Art
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Hart, Charles J. "Architecture of light and sound." Thesis, This resource online, 1997. http://scholar.lib.vt.edu/theses/available/etd-09092008-063818/.
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Smith, Bernadette. "Translucent Potentialities: From Art Activism to Pure Aesthetics." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21967.
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This project begins by researching how art can change individual and collective behaviour regarding life support systems, using water conservation as a lens through which to examine wider environmental concerns. Examining the role and nature of art as an effective communicative tool has involved a journey from art activism to pure aesthetics and back again to explore the performativity of images. My hybridised practice first investigates how photography and video through performative actions, installation and social media can be activated to engage onlookers during environmental protests and beyond to support the movement for water sustainability. Art strategies were developed to raise public awareness of water by producing eye-catching visual aids such as water themed activist clothing and situating meaningful art interventions both during public campaigns and elsewhere. As well as engaging with socio-political art forms presented outside of gallery contexts my practice approaches New Materialist concerns with the primacy of matter in the age of the Anthropocene. Counteracting a dominant anthropocentric view of the universe my art practice explores the viscerality of matter to emphasise non-human agency. While photographing aquatic environments I used an extreme macro lens to closely observe the way light interacts within different states of water such as condensation and flowing water. This contributed to my growing interest in the optical effects of light refractions then a rupture caused a new awareness of my studio window pane prompting further study of the science behind light interacting with translucent materials. These discoveries on my art journey have augmented an appreciation of the complexity of the non-human world and generated more visually compelling ways to create and present activist art for environmental sustainability.
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Thompson, Andrew. "Light Sensitive." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/245.
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I am an excremental artist. I do not mean an artist who works with feces or is interested in manure but one whose artwork is expelled through the results of process. As a photographer, I am not as interested in indexing a location, a person or a moment as I am dissolving the structure of photography through the manipulation of photographic materials. I typically photograph landscapes that catch my attention for a myriad of reasons. The commonality between these images is anonymity of place. Hints of location are always present but never accentuated, instead their purpose is akin to a forging slug: raw blank material from which my artwork will be created. My photographic slugs are then entered into various processing systems that I have devised over the years. Common processing techniques that I incorporate include hand and machine stitching, chemically altering photographic paper and the integration of open-source electronics. These and other processes are mixed, matched and blended to form the corpus of my work.
The body of my work is not complete without my head, heart and hands. My intellectual interests are constantly feeding the physical processes described above. I have an extended engagement with photography’s rich history along with a critical commitment to philosophy. My intuition is permitted to work in concert with my intellect despite stark contrasts between the two. My intellect looks for structures and speaks in logical thought while my intuition arrives in waves of unarticulated emotions and ‘gut feelings’. The heart’s language is often more difficult to translate than intellectual headband but both are equally valuable in my process. Finally, my hands play a vital role in creating my art. They transcribe the conversation between the head and the heart and physically complete the processes defined prior.
My artwork is not conceived and the built into a structure, instead it is a result of the passing through a system. I consume copious amounts of stimuli (intellectually, visually, emotionally) and digest it through my creative process and the result is my artwork.
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Wylde, Clarissa Eileen Kenney, and Clarissa Eileen Kenney Wylde. "The Art of Optical Aberrations." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/624090.
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Art and optics are inseparable. Though seemingly opposite disciplines, the combination of art and optics has significantly impacted both culture and science as they are now known. As history has run its course, in the sciences, arts, and their fruitful combinations, optical aberrations have proved to be a problematic hindrance to progress. In an effort to eradicate aberrations the simple beauty of these aberrational forms has been labeled as undesirable and discarded. Here, rather than approach aberrations as erroneous, these beautiful forms are elevated to be the photographic subject in a new body of work, On the Bright Side. Though many recording methods could be utilized, this work was composed on classic, medium-format, photographic film using white-light, Michelson interferometry. The resulting images are both a representation of the true light rays that interacted on the distorted mirror surfaces (data) and the artist’s compositional eye for what parts of the interferogram are chosen and displayed. A detailed description of the captivating interdisciplinary procedure is documented and presented alongside the final artwork, CCD digital reference images, and deformable mirror contour maps. This alluring marriage between the arts and sciences opens up a heretofore minimally explored aspect of the inextricable art-optics connection. It additionally provides a fascinating new conversation on the importance of light and optics in photographic composition.
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Diamant, Hirsh. "Burning in the light art in education and human development /." Full text available online (restricted access), 1998. http://images.lib.monash.edu.au/ts/theses/Diamant.pdf.
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Handran, Christopher. "Looking into the light : reinventing the apparatus in contemporary art." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63634/1/Christopher_Handran_Thesis.pdf.
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Technical images such as photography, film and video, are dependent on apparatuses for their production and dissemination, yet the apparatus itself is often hidden or obscured in the experience of the work and the discourse that surrounds it. This practice-led research identifies key practice strategies to foreground the apparatus both in the production of work and in its presentation. It therefore develops critical and generative strategies to explore and interrogate the workings of the 'apparatus-audience complex,' and the particular modes of spectatorship that this entails.
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Zhao, Mengzhong. "An Exploration of the Essence of Art at the Light of the Contemporary Situation of Art." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN034.
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Cette thèse cherche à répondre à une question fondamentale de la philosophie de l'art: qu'est-ce que l'art? Après avoir examiné les réponses des plusieurs théories de l’art, il propose que la définition de l’art proposée par Arthur Danto soit celle qui se conforme le plus à la réalité de l’art, bien qu’elle souffre de certaines imperfections et insuffisances. Sur la base de cette conclusion critique ainsi que d'une analyse minutieuse de ce qui est considéré actuellement comme un art, il tente de modifier la définition de Danto et de la transformer en une nouvelle définition, capable de mieux se conformer à la réalité des phénomènes artistiques. La thèse d’abord présente la situation actuelle de l’art et les théories de l’art existantes qui n’ont pas réussi à rendre suffisamment justice à la totalité de ce qui est considéré comme artistique. Par un regards critique de ces théories, la thèse tente de montrer que les conditions pour être l’art qu’elles proposent sont soit insuffisantes, soit pas nécessaires. La thèse tente aussi de lever les obstacles à la possibilité de définir l'art créés par des théoriciens anti-essentialistes, et de montrer en conséquence que la définition de l'art sous la forme de conditions nécessaires et suffisantes est encore possible.La thèse en suite offre une présentation complète de la définition de l’art de Danto. À travers plusieurs comparaisons, Danto propose que la spécificité de l’œuvre d’art corresponde à une représentation avec une ellipse métaphorique, alors que l’objet non artistique n’est pas représentatif et la représentation schématique n’est pas métaphorique. Il affirme aussi que l'œuvre d'art est une représentation dotée de style. Il introduit également le concept d '«Artworld» sous la forme d’un «style matrix» constitué de tous les prédicats artistiques existants qu'une œuvre d'art peut choisir de manifester ou de rejeter pour chacun d’entre eux afin de se situer dans l'évolution historique de l'art. Les critiques principales contre la théorie de Danto sont examinées: certaines de ces critiques sont jugées injustes et par conséquent rejetées pour défendre la validité de plusieurs aspects essentiels de la théorie de Danto; d'autres sont considérés raisonnables. En outre, la thèse confronte la théorie de Danto à la réalité de la scène artistique actuelle et formule des critiques supplémentaires qui n’ont pas été proposées jusqu'à présent. Dans le dernier chapitre, la thèse s'attache à élaborer les éléments essentiels d'une nouvelle définition de l'art basée sur les parties acceptables de la définition de Danto. La définition proposée par la thèse considère l'essence de l'art comme une propriété qui réside dans l'intention artistique de l'action. L'œuvre d'art possède cette propriété de manière dérivée étant le résultat de l’action artistique. Ce résultat est parfois le produit transitif de ces actions, parfois ces actions elles-mêmes. Une action artistique est analysée comme une action tentant à représenter métaphoriquement quelque chose. L'analyse de différents exemples montre que les œuvres d'art sont artistiques à des degrés divers: certaines sont plus artistiques que d'autres. Cette gradation résulte de la possibilité que l’intention artistique d’une action est gênée par d’autres intentions non artistiques, ainsi que des conditions contextuelles supplémentaires, par exemple, le manque d’habileté à réaliser pleinement l’intention artistique. Cette définition de l'art basée sur l'action fournit une nouvelle perspective sur l'ensemble de la recherche artistique en transformant les problèmes de l'art en types spécifiques de problèmes de l'action. Enfin, la thèse rompt avec Danto en défendant l'idée qu'une définition de l'art doit toujours suivre l'évolution de l'art ce qui n'est pas encore terminée, même si elle a atteint une phase relativement stable<br>This thesis seeks to answer a basic question of the philosophy of art: What is art? After examining the answers provided to this question by several art theories, it proposes that the definition of art offered by Arthur Danto is the one that most conforms to the reality of art, although it suffers from certain imperfections and insufficiencies. On the basis of this critical conclusion and through a careful analysis of what is categorized as art in the present time, it attempts to modify Danto’s definition and to transfigure it into a new one, capable of better conforming to the reality of art. It firstly introduces the contemporary situation of art and the existing art theories which didn’t successfully do sufficient justice to the totality of what is considered as artistic. Through a critical examination of these theories, it tries to show that the sufficient and necessary conditions for being art that they propose are either not sufficient or not necessary. It then tries to clear up the obstacles to the possibility to define art that have been put forward by the anti-essentialists, who claim that art cannot be defined in a classical way, and accordingly tries to show that a definition of art in the form of necessary and sufficient conditions is still possible. The thesis then provides a comprehensive presentation of Danto’s definition of art. Through several comparisons, Danto proposes that the specificity of artwork consists in being a representation with a metaphorical ellipsis, while the non-artistic object fails to be representational and the diagrammatic representation fails to be metaphorical. Furthermore, he claims that an artwork is a representation endowed with style. He also introduces the concept of “Artworld” in the form of a “style matrix”, which consists of all the existing artistic predicates that for each one of them an artwork can choose to manifest or reject in order to locate itself in the historical evolution of art. The main criticisms proposed against Danto’s definition of art are also examined. Some of these criticisms are judged to be unfair and are consequently rejected, leading to a defence of the validity of several key aspects of Danto’s theory; others are considered as reasonable. In addition, the thesis confronts Danto’s theory with the reality of the present art scene and formulates additional criticisms that have not been put forward in the Danto scholarship.In the last chapter, the thesis endeavors to elaborate a new definition of art based on the acceptable parts of Danto’s definition. The definition proposed by the thesis considers the essence of art as a property which lies in the artistic intention of action. The artwork possesses this property in a derived way, being the outcome of an artistic type of action. This outcome is sometimes the transitive product of these actions, and sometimes is these actions themselves. An artistic action is analysed as an action intending to metaphorically represent something. Through the study of different examples, it is shown that artworks are artistic in varying degrees: some works are more artistic than others. This gradation is the result of the possibility that the specific intention of an artistic action is interfered with by other non-artistic intentions, as well as additional conditions, such as the lack of skill to fully realize one’s artistic intention. This action-based definition of art provides a new perspective to the entire field of art research by transforming the art-related problems into specific types of action-related problems. Finally, the thesis breaks away from Danto by claiming that a definition of art should always keep up with the evolution of art which is still not over, even though it has reached a fairly stable phase
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Elliott, Benjamin Wing. "An object under light : the metaphysical strength of light as revealed in Saint Augustine's Confessions." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/23928.
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Lee, Fang-Ching Ching. "The smooth + the striated the home as a locale of cyberspace : This exegesis is submitted to Auckland University of Technology for the degree of Master of Arts (Art and Design), 2007." The smooth + the striated: the home as a locale of cyberspace, 2006. http://repositoryaut.lconz.ac.nz/theses/1382/.
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Exegesis (MA--Art and Design) -- AUT University, 2007.<br>Includes bibliographical references. Also held in print (61 p. : ill. ; 21 x 30 cm. + Archive (75 leaves : ill. ; 21 x 30 cm.)), together in 1 container (23 x 31 cm.). Held in City Campus Collection (T 701.8 LEE)
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Edwards, Deborah Lenore. "LUMINAL–KINETICS AUSTRALIAN MODERNISM: ARTIFICIAL LIGHT IN AUSTRALIAN ART an interpretive history." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23537.
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The work of Australian artists who have incorporated artificial light into their works, (in ‘luminal-kinetics’), is the subject of this thesis. The term does not refer to the ‘technological spaces’ of light, as elaborated in photography or electronic screen devices, but to artists who have dealt with ‘embodied light’ by incorporating artificial light (and in one instance, natural light), into artworks, under the belief that illumination and motion are central themes of modern life. And in the twenty-first century, Indigenous artist Jonathan Jones has claimed the territories of (Western) modernism and light under an Indigenous politic to re-present bi-cultural encounters and histories. This constitutes a radically under-analysed area of Australian artistic practice, with thematics that both traverse expansive terrains, and include commonalities - such as a concern with utopian ideals, with synaesthesia, and with interdisciplinarity. Nonetheless the thesis does not mount an argument for luminal-kinetics as constituting a movement, style, or credo within Australian art. The claim it does make however, is that the medium of light, as a material, energy and a concept, has been a generative agent for the artists studied: that in light they recognised intrinsic qualities or some affective agency which enabled them to move into larger artistic arenas. I will argue that this phenomenon rests on the particular capacity of light to ‘seep’ between categories, media, artforms, and between cultural and social formations. This capacity, along with light’s symbolic potency, has amplified artistic practices, and enabled Jonathan Jones to position light as a central element in his de-colonising and Indigenising of Western visualisations, in order to re-configure the relationship which has existed between modernism and colonialism. The thesis argues that luminal-kinetics is an artistic form in which concepts concerning the material and immaterial, technological and metaphysical, and static and kinetic, take precedence over modernism’s traditional binaries, and thus it calls for alternative frameworks through which to analyse and theorise Australian modernism.
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Stiles, Mary. "The art of light : a reflection on a piece for orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq48230.pdf.
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Kent, Neil. "Light and nature in late 19th century nordic art and literature /." Uppsala : Universitätet, 1990. http://catalogue.bnf.fr/ark:/12148/cb35408280q.
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Kern, Ulrike Inge Sabine. "Light and shadow in Netherlandish art 1600-1725 : Theory and practice." Thesis, University of London, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536777.
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Holaday, Troy A. "Transcending inaccessibility : reassessing the Action Painters in the light of rhetorical theory." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1237767.
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This interdisciplinary thesis investigates the Action Painting movement using rhetorical theories and models with the intent of producing a higher level of understanding of the paintings and increasing their approachability. A brief history of nonobjective painting, the technique of automatism, and the Action Painting movement is given. Following this, the semiotic character of the visual elements within Action Paintings is discussed and their behavior catalogued through descriptive analysis, using Kenneth Pike's theory of tagmemics. The work culminates in a comparison of painted gestures to conversational implicatures and guidelines are given for establishing meaningful and relevant dialogues with the paintings, presupposing the importance of an intangible context as defined by the reconstruction of authorial intent and anticipated readership.<br>Department of English
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Smith, William Walter 1946. "HESYCHASM AND THE ORIGINS OF RAYONISM." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275250.
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Massey, Ivor Nikolas. "Awakening The Muse: A Museum for the Fisher Family Art Collection." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/36034.
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This thesis is a proposal for a large contemporary art museum on the Presidio Parade Grounds in San Francisco, California. The site is small and historic, thus my solution was to build primarily underground. Through my exploration of designing a subterranean art museum I addressed the challenges of natural lighting, circulation, and curation. The following images document the result of my studies.<br>Master of Architecture
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Delgado, Ramos Monica Fabiola. "Art in a new light design and assessment of illuminants to reduce photochemical degradation of works of art /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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Upchurch, Diane M. (Diane Marie). "Nineteenth Century Light and Color Theory: Rainbow Science in the Art of Frederic Edwin Church." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500448/.
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The purpose of this study was to investigate the depiction of rainbows in the art of Frederic Church in relation to mid-nineteenth century scientific developments in order to determine Church's reliance on contemporary concerns with light and color. An examination of four Church paintings with rainbows, three oil sketches, and nearly a dozen pencil drawings shows that Church's rainbow art represents a response to mid-century cultural values connecting science and art. Changes within Church's rainbow depictions occurred as the artist explored the visual representations of light, synthesizing the scientific knowledge of light and color available to him, and reconciling that information with the requirements of art.
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Foah, Robert L. "Luce e Ombre - Light and Shadows." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/71.
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This thesis focuses on the oppositional and complimentary forces of light and shadows in the culture of Naples, Italy. Demonstrating, through photographs and the analysis of these photographs, how the light of Naples, a ‘northern’ light, and its resultant shadows echo (metaphorically and in reality) the light and shadows of the society, culture and history of Naples, Italy.
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Salmons, John Andrew. "Adopting an Orphaned Collection." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64789.
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"Architecture itself is linked not only to other arts but also to the broader context of life; it is only on that scale that we may understand its specific contribution to the formation of the communicative space of culture."*
- Dailbor Vesely 2004
Architects have explored Art Galleries as a medium throughout the ages. In 2014, the Corcoran was sold, dismantled and divided between the National Gallery of Art and George Washington University signaling the end of an era of art display in the Nation's Capital. This transformation of a major DC art collection was the impetus for this thesis: to mark the end of an era and to create a new home for the Corcoran Collection. To house this orphaned collection, I have studied similar elements that earlier architects have studied such as light, shadow, and reflection, taking into account the dawn of the next generation of art galleries. The role of this museum is to educate and facilitate information about the collection and the art. Contemporary art galleries that have been built recently included additional areas of services that were originally not part of the Corcoran Museum's building program, such as the role of conservation of historical objects including paintings and works on paper. Another area of my research was the relationship between the viewer and the building. The Corcoran has an extensive collection of American art and art directly from D.C. and it is important to allow direct access for the community and accommodate enough wall space to give context to the art.
With the setting of the contemporary art gallery framed, we return back to the research to really question how each of those elements were thought about moving forward. We need light to see, but what had been seen and depicted on great Master's canvases should be protected from light. Should natural light be brought into the gallery spaces even though it damages works on canvas and paper? Can gallery spaces change over time to mirror the objects that they hold? Can the building reflect the area around the gallery but also act as a space of meditation and self-reflection?
To adopt means to take another's child, but it can also mean to embrace an idea. In this case we are adopting the collection of William Corcoran and combining it with newer elements found in modern museums. On further evaluation of the gallery it has strong ties to historic D.C. because of its collection and its community outreach however its weakness was due in part of turning its back on the same community that made it strong. I propose moving the collection into the heart of Washington D.C. and combining it with newer ideas of light and gallery services. This process will allow the Corcoran to continue its evolution as a great American collection.
*Dailbor Vesely, "Architecture in the Age of Divided Representation." (Cambridge: The MIT Press, 2004), 88-89.<br>Master of Architecture
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Stock, Ute Birgit Cosima. "The ethics of the poet : Marina Tsvetaeva's art in the light of conscience." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620023.
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Knoe, Victor M. "Art in the light of knowing a cognitive approach to the creative process." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/451.
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Art can be an elusive concept. Neither an outsider nor a professional artist is immune to abstractions in the attempt to describe it. Every individual must necessarily come from their own, unique perspective. The obstacles that we experience in defining the essence of art can be better understood if we see them as a gauge for our historical period. Given the limits of our contemporary conditions, it seems impossible that we may ever overcome the vast chasms that imprison us. We are discouraged to build bridges, at almost every turn, by the suggestive hopelessness of the abysmal distances between us. The series of work that I have developed for this thesis is a reflection on limitations. Whether we find them in the creative process or within the simple contemplations of our life experiences, thinking on our limits can lead us to a heightened cognition where we may find a lofty expression of human freedom. If art is to have a proper role in human culture, human individuals must begin to solve the problems of our limitations through the freedom that cognition affords us. We can begin by thinking imaginatively. Although difficult, it is quite possible to imagine reality. Beyond the mere production of beautiful objects, art is the very current that warms human beings to the reality that surrounds us. Artists can become involved by attempting to immerse their life in a new light of knowledge. With this sentiment, inspiration can begin offering us flight towards unreachable heights. The path that leads us, then, to an authentic concept of art will also take us into the world of another just as elusive: spirit.<br>B.F.A.<br>Bachelors<br>Arts and Humanities<br>Fine Art
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Caldwell, Andrew E. "Daylighting and exhibition at the High Museum of Art." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/23971.
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Burgio, Lucia. "Analysis of pigments on art objects by Raman microscopy and other techniques." Thesis, University College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369123.
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Ciciliani-Stiglmayer, Marko. "Dirty light : the application of musical principles to the organisation of light as an extension of musical expression into the non-figurative visual realm." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5075.
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This thesis describes a number of compositions in which the objective was to investigate whether, and how far, the organisation of light can function as an extension of musical expression in the non-figurative visual realm. I explore the extent to which sound and light are compatible as media, in the sense of both being able to communicate a common set of ideas. The thesis begins by placing the discussion in a historical context, with an overview of the history of analogies between sound and light from Antiquity to the 19th century, as well as the history of Light Art. The second part of the thesis describes synaesthesia as a historically developed aesthetic concept and as a field of research that reveals interesting facts about the neuronal processing of stimulations from the senses. The third part forms the core of the research. It leads from a general historic discussion to more specific problems that emerged in my own work with sound and light. Light is a medium strongly characterised by purity; at first, light therefore seemed an inappropriate medium in which to offer plausible translations of different degrees of sonic noise. However, because of the importance that the inclusion of noise has taken in music since the 20th century, this would have meant a severe handicap in looking for a homological relationship between sound and light in artistic contexts. From a discussion of the broad implications the idea of dirt has in social and cultural contexts, the focus is eventually reduced to the aesthetic problem at hand. By means of a classification of three different sorts of noise, a more differentiated understanding becomes possible of the various functions that noise can have. Corresponding forms of ‘dirty light’ eventually become conceivable and artistically applicable. In the fourth part, six compositions and one audiovisual installation are discussed. Each of these works explores different relationships between the visual and sonic component. When appropriate, the various concepts of ‘dirty light’ that have been derived in the third part are reflected in the form of concrete examples. After discussing each work individually, certain practical problems are addressed that surfaced repeatedly under different performance circumstances. In the fifth part I pose the question of how far events that are conceived to be musical have to be based on sonic events. Common definitions of music that describe sonic events as its exclusive concern are questioned and a number of examples of music are discussed where the sonic outcome is hardly audible or even completely silent. I propose a notion that conceives music as a larger field of activity in which visual manifestations form an integral part. The seven audiovisual works form the practical component of this dissertation. As a result of this research a more differentiated understanding of the nature of the coupling of sound and light has emerged, alongside a comprehension of the at times strongly differing views on the general nature of cross-disciplinary works.
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Pettersson, Elin, and Lina Svedestedt. "LJUSKONST : EN STUDIE OM LJUSKONSTENS VÄRDE FÖR LJUSDESIGN." Thesis, Tekniska Högskolan, Högskolan i Jönköping, JTH, Byggnadsteknik och belysningsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-30710.
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År 1947 förutspådde konstnären Thomas Wilfred att ljuskonst inom 20 år skulle bli en självklarhet inom konstvärlden. Nu, nästan 70 år senare är ljuskonst fortfarande inte en erkänd konstform eller ett definierat begrepp. Idag skapas ljuskonst av konstnärer runt om i världen med tilltagande entusiasm samtidigt som det råder en uppenbar kunskapslucka och förvirring kring ljuskonst vilket denna studie ämnar att stilla. Studien syftar till att belysa värdet och nyttan med ljuskonst som utvecklande faktor för ljusdesignsbranschen. Att konsumera konst är ett sätt att berika den inre repertoaren och inspirationskällan. De frågeställningar som undersökts är ”Vad är ljuskonst?”, ”Vad inom ljuskonst inspirerar ljusdesigners och andra som arbetar med ljus? och ”Vilka innovationer har gått från ljuskonst till ljusdesign?”. Arbetet är fokuserat till personer som arbetar med ljus och studiens definition av ljuskonst är konst som gestaltar eller skapas av ljus. Undersökningen har ett intensivt och kvalitativt upplägg och har genomförst med snöbollsmetoden i form av intervjuer via frågeformulär, som totalt besvarats av nära femtio personer. Kompletterande datainsamlingsmetoder består av massmail, telefonintervjuer och sociala medier. Primärdatan har analyserats genom sammanställning, kategorisering och sammanfattning. Det är mycket stor spridning i hur personer som arbetar med ljus beskriver ljuskonst och vad inom den de inspireras av. Vad som är ljuskonst bestäms av vem som är kreatören, var den är placerad, vad den består av och hur den upplevs. Ljuskonst har ett stort inspirationellt värde för personer som arbetar med ljus, som applicerar influenserna från ljuskonstens in i ljusdesign. Studiens slutsatser består i att ljuskonst kan skapas av både naturligt och artificiellt ljus, kan vara allt från en liten detalj till något stort och iögonfallande, skapas till en unik kontext, har ett budskap, en funktion och skiljer sig från ljusdesign i fråga om syfte och kontext. Det inom ljuskonsten som inspirerar personer som arbetar med ljus är projekt där dagsljus behandlas eller efterliknas, dess teknik och material, ljusfestivaler och andra ljusevent, verk där betraktaren kan påverka och bli en del av ljuskonsten, verk som skapar mönster, objekt med eller av ljus, scenljussättning och friheten som upplevs finnas i skapandet av ljuskonst. Studiens resultat pekar avslutningsvis mot att accentuerad arkitektur, färgat och dynamiskt ljus, ljusprojicerade mönster, neon och att placera armaturer med klassisk design för inomhusbruk i exteriöra miljöer, har gått från att betraktas som ljuskonst till ljusdesign.<br>In 1947 the artist Thomas Wilfred predicted that light art will become an obvious part of the art world in the next 20 years. Now, almost 70 years later, light art is still not acknowledged or defined - neither as a art form or as an expression. Artists today are creating light art all around the world with increasing enthuiaism but in point of fact there is nothing such as light art, according to the encyclopaedias. There is an obvious gap in knowledge and confusion surrounding the field of light art which this study intends to reduce. The study aims to highlight the value and benefit of light art as developing factor for the lighting design industry. Consuming art is one way of enriching the inner repertoire and inspiration. The examined issues are "What is Light art?", "What within Light art inspire Lighting designers and others who work with light?” and "Which innovations have gone from considered as Light Art to Lighting design?". The work is focused on people who work with light and the definition of light art in this study is: art that portrays or creates from light. The survey has a deep and qualitative approach and is accomplished with the snowball method throughout questionnaires, which all together were answered by nearly fifty persons. Complementary methods of collecting data consist of bulk mail, telephone interviews and the posting of the survey at social media. The primary data has been analyzed through compilation, categorization and summary. People who work with light describes light art, and also what within light art they find inspiring, in many widely different ways. In summary light art is defined by who the creator is, where it is located, what it consists of and how it is perceived. Light art inspire people working with light who apply their influences from the field of light art into the lighting design industry. The conclusions is that light art can be created by both natural and artificial light, from small details to big and eye-catching installations, has an unique context, a message, a function, and differs from lighting design in terms of purpose and context. The specific parts within light art that inspire people working with light are projects where daylight is involved, the technology and materials of the pieces, light festivals and other light events, light art pieces where the viewer can influence and become a part of it, works that create patterns or objects by light, stage lighting and the expressive freedom in the making of light art. The results indicates that accentuated architecture, colored and dynamic light, light patterns, neon and the placing of fixtures with classic design for indoor use in exterior environments, has gone from being considered as light art to lighting design.
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Demers, Claude Marie Helene. "The sanctuary of art : images in the assessment and design of light in architecture." Thesis, University of Cambridge, 1997. https://www.repository.cam.ac.uk/handle/1810/252316.
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This research proposes a design method that enables quantitative and qualitative assessments of light in space. The simplicity of the approach facilitates its integration into the architectural design process by using available technologies. The methodology concentrates on the early design stage since it expresses the architect's intention of a particular atmosphere that will govern further developments of the project. It takes into account the increasing interest in the utilisation of photography as an important part of the design process, and adds a quantifiable aspect to light as it offers the possibility to integrate numerical values when required. The visual representation of light as a pattern, instead of numerical values, facilitates the quantitative assessment and relates to existing techniques of lighting analysis, such as the isolux contours. The research emphasises and develops the possibilities offered by a partially computerised approach using calculation method and physical modelling. It combines the use of physical models, video camera, and computerised image analysis as main tools for the evaluation of light. The resulting data collection and visualisation of the lighting effects constitute a bank of images for the generation of space from lights. The combination of images creates spaces issued from the nature of light, allowing new ideas in the development of the initial design stages. The research defines the potential and limitations of the use of images in the composition of space according to the physical properties of light. The lighting pattern also constitutes the basis for a classification of lights which relates to the design method using images. It proposes a link between quantitative and qualitative aspects of light stemming from spatial components and apertures. The classification acknowledges the architect's intuitive approach to design.
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Shepherd, Neta-Grace Coleen. "Fluid Realities: A Light on Life's Journey." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3588.
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Images of nature and family comprise the gestural and abstracted interpretations of my life events. I use my photographs as inspiration for my work. I fuse layers of color, light, and line into glass and onto wood to suspend a personal memory. I want to capture those moments that flit by in life and envelop them in the media.
In my fused glass work, I manipulate color, light, and line. In these pieces, I layer frits and sheets of glass onto an abstract sculpted relief of fiberglass and fuse them into one thick slab. The sculpted relief creates a textured deflection of light. In each layer of glass, I encapsulate simple line drawings of my family, elements of the landscape, and organic shapes.
In my works on wood, I pour and layer transparent color using acrylic and a water-based polyurethane mixture. I do not fully cover the natural grain of the wood but allow it to contribute to the imagery. I repeat linear marks and create layers of texture using a palette knife, and attach mud and caulk to the natural surface. I further manipulate the surfaces by sanding and carving to express my emotions and memories. The layered media symbolically references layers of time in my personal journey.
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Garcia, Julie. "Beginning to see the light| posters in social and political revolutions." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589769.
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