Relevant bibliographies by topics / Aesthetic Light

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Aesthetic Light'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Aesthetic Light"

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Krane, Natalie, Jeffrey Markey, Lauren Moneta, and Michael Kim. "Aesthetics of the Nasal Dorsum: Proportions, Light, and Shadow." Facial Plastic Surgery 33, no. 02 (April 2017): 120–24. http://dx.doi.org/10.1055/s-0037-1598626.

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AbstractDue to its central location, the nose plays a prominent role in facial aesthetics. As tastes have shifted and techniques have advanced, the accepted “ideal” appearance and proportions of the nose have evolved over time. By assessing the aesthetics of the nasal dorsum through the use of lines and angles, one can more precisely elucidate a goal for the patient's postoperative nasal shape, which should, in turn, guide the surgeon to execute specific operative maneuvers needed to achieve that contour. In assessing the aesthetics of the nasal dorsum, practitioners calculate and observe aspects such as the paired dorsal aesthetic lines, the nasofrontal angle, and the nasofacial angle. There is also additional consideration given to nasal tip position as this must fit harmoniously with the shape of the dorsum. In contrast to the established aesthetic lines and angles, using nasal geometric polygons for the aesthetic evaluation and development of operative goals in rhinoplasty has recently been described in the literature. Constructed ideals, in the form of proportions, lines, and angles, should be used with caution, as there are many factors to consider in the aesthetic analysis of the nasal dorsum, including ethnic differences, and subjective and changing views of beauty.
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Galanter, Philip. "XEPA - Autonomous Intelligent Light and Sound Sculptures That Improvise Group Performances." Leonardo 47, no. 4 (August 2014): 386–93. http://dx.doi.org/10.1162/leon_a_00844.

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XEPA anticipates a future where machines form their own societies. Going beyond mere generative art, machines will exhibit artistic creativity with the addition of artistic judgment via computational aesthetic evaluation. In such a future our notions of aesthetics will undergo a radical translation. The XEPA intelligent sculptures create animated light and sound sequences. Each sculpture “watches” the others and modifies its own aesthetic behavior to create a collaborative, improvisational performance. No coordination information or commands are used. Each XEPA independently evaluates the aesthetics of the other sculptures, infers a theme or mood being attempted, and then modifies its own aesthetics to better reinforce that theme. Each performance is unique and widely varied. XEPA is an ever-evolving artwork, intended as a platform for ongoing experiments in computational aesthetic evaluation.
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Negishi, Kei, and Kayoko Matsunaga. "Intense Pulsed Light Therapy in Aesthetic Dermatology." Nippon Laser Igakkaishi 31, no. 1 (2009): 53–60. http://dx.doi.org/10.2530/jslsm.31.53.

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Berliner, Todd. "Hollywood Aesthetic." Projections 14, no. 2 (June 1, 2020): 48–55. http://dx.doi.org/10.3167/proj.2020.140204.

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Hollywood Aesthetic: Pleasure in American Cinema investigates the Hollywood film industry’s chief artistic accomplishment: providing aesthetic pleasure to mass audiences. Grounded in film history and supported by research in psychology and philosophical aesthetics, the book explains (1) the intrinsic properties characteristic of Hollywood cinema that induce aesthetic pleasure; (2) the cognitive and affective processes, sparked by Hollywood movies, that become engaged during aesthetic pleasure; and (3) the exhilarated aesthetic experiences afforded by an array of persistently entertaining Hollywood movies. Hollywood Aesthetic addresses four fundamental components of Hollywood’s aesthetic design—narrative, style, ideology, and genre—aiming for a comprehensive appraisal of Hollywood cinema’s capacity to excite aesthetic pleasure. This article outlines the book’s main points and themes. As a précis, it is heavy on ideas and light on evidence, which is to be found in the book itself.
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Popovic, Una. "The problem of aesthetic judgment: Perspectives of aesthetics." Filozofija i drustvo 24, no. 3 (2013): 5–22. http://dx.doi.org/10.2298/fid1303005p.

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This paper deals with the interpretation of Kant?s Critique of Judgment from the perspective of aesthetics. Our aim here is to show the immanent relationship between the two main motifs of this work: the analysis of traditional aesthetic problems, such as beauty and taste, on the one hand, and the systematical thinking, philosophy, and Kant?s critical project, on the other. This interpretation is developed in consideration of the prob?lem of aesthetics as a philosophical discipline, within which, for each of the motifs of Kant?s third critique it is shown how it redefines aesthetic into philosophical thought. Finally, the character of critical positioning of aesthetic problems in Kant is shown in light of the opening of the perspective of subjective universality as a theme that connects the two motifs of third critique, but also allows a different view in the domain of intersubjectivity.
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Rashof, Sascha. "Review: Peter Sloterdijk, Der Ästhetische Imperativ – Schriften zur Kunst." Theory, Culture & Society 33, no. 7-8 (October 31, 2016): 367–74. http://dx.doi.org/10.1177/0263276416672537.

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Peter Sloterdijk’s Der Ästhetische Imperativ – Schriften zur Kunst is a collection of essays addressing a range of topics in the aesthetic realm, including sound, light, product design, cities and architecture, the human (artificial) condition, museums, action cinema and the art system. Via a ‘media’-anthropological, historico-philosophical approach, he critiques the ‘aesthetic imperative’ of (post-)modern design civilizations by re-evaluating the analogy between universal ethics and aesthetics after Kant. In this way, Sloterdijk argues for a more singular, intensive, socially and environmentally responsible aesthetic experience.
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Lobo, Carlos. "Relativity of Taste without Relativism. An Introduction to Phenomenology of Aesthetic Experience." Miscellanea Anthropologica et Sociologica 20, no. 1 (May 25, 2019): 46–81. http://dx.doi.org/10.26881/maes.2019.1.03.

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The author explores Ingarden’s aesthetics taking as a leading thread his repeated attempts at a refutation of the common locus of relativity of taste. Ingarden’s position is summarized in four theses: (1) values do exist as the proper correlates of aesthetic experience, (2) aesthetic values must be distinguished from artistic values, (3) artistic and aesthetic values are founded in other ontic strata, and finally (4) acts of valuation in aesthetic experience are presupposed by value judgements. In the light of the philosophical and phenomenological interpretation of the physical theory of relativity (special and general) by authors such as Weyl or Geiger, Ingarden’s refutation of the relativity of taste appears as incomplete. The phenomenology of aesthetic experience formulated by Geiger and Husserl and their own refutations of relativism in general and aesthetic relativism in particular suggest a more fruitful approach, which is undermined by Ingarden: the transcendental phenomenology of intersubjective aesthetic experience.
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Kranjec, Alexander, and Martin Skov. "Visualizing Aesthetics Across Two Centuries." Empirical Studies of the Arts 39, no. 1 (February 13, 2020): 78–100. http://dx.doi.org/10.1177/0276237420905308.

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Empirical aesthetics is associated with two research questions: How the mind generally assigns value to sensory stimuli and how it responds specifically to art objects. Researchers have debated whether these phenomena share enough to warrant being collapsed into a single field. To ask how these particular questions came to be associated with aesthetics, we conducted Google Ngram analyses over a corpus of books spanning two centuries. Analyses trace the frequency of “big questions” about art and beauty, and how the term aesthetic appears relative to other concepts. Results indicate the 19th century was dominated by notions of beauty and an aesthetic sense. Questions about art and aesthetic experience become more frequent during the 20th century. Results are interpreted with respect to associated affective and evaluative concepts, art movements, and scientific debates. Understanding how aesthetics is used over time can cast light on the ways current work is being conceived and pursued.
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Loc Tho, Dang. "INNOVATION OF AESTHETIC EDUCATION IN KINDERGARTEN IN THE LIGHT OF CHILD-CENTERED APPROACH." Journal of Science, Educational Science 62, no. 6 (2017): 176–84. http://dx.doi.org/10.18173/2354-1075.2017-0142.

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Pudaruth, Santosh Kumar. "A Reflection on the Aesthetics of Indian Music, With Special Reference to Hindustani Raga-Sangita." SAGE Open 6, no. 4 (October 2016): 215824401667451. http://dx.doi.org/10.1177/2158244016674512.

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Like in any other heteronomous art-forms, the practitioners of Indian music and dance ( Bharatiya Sangita) aim at expressing emotions and creating the aesthetic or the “beautiful.” Indian thinkers and musicologists have gone a step further in declaring that Indian classical music ( Raga-Sangita) is the most appropriate means for attaining aesthetic experience and delight, and the most suitable pathway, if not, downright, short-cut, toward self-realization or realization of the Ultimate Reality or Truth. Thus, aesthetics and spirituality make up the very woof and warp of the Indian arts, in general, and Raga-Sangita, in particular. Raga-Sangita is, thus, considered a spiritual exercise ( nada sadhana) to attain salvation ( moksha) through sound. This conceptual article reflects upon and sheds light on the Theory of Rasa, as propounded in Indian Aesthetics, and attempts to make an assessment of it in relation to Hindustani Raga-Sangita. Through this theory, the author examines and explains the different causes leading to an aesthetic experience, referred to as “out-of-this-world” ( alaukika). In doing so, he also brings to light the possible pitfalls which both the performer and the listener should avoid.
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Dissertations / Theses on the topic "Aesthetic Light"

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Hurst, Andrew. "Dynamic light structures : the aesthetic and performative qualities of solid light scenography for performance and installation." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/65202/.

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This practice as research thesis centres on the use of light projected through theatrical haze as a method of creating tangible, volumetric objects within a performance or installation space. The practice seeks to define light as a physical object, not simply an illuminating force but as a material in its own right, and in doing so examines the relationships built between that physically perceived light and the performer, the installation participant, the audience and the choreographer. The term Dynamic Light Structure has been coined here as a way to identify light perceived as a solid object, and to describe a sense of movement, reconfiguration and agency. Although the use of theatrical haze for performance lighting design is an accepted and ubiquitous technique used in the pursuit of conditioning a stage space, the resultant volumetric forms that appear when light is introduced to that conditioned space have not been examined in terms other than those relating to design methodology. This thesis moves beyond discourse that explores light as a design tool by placing the Dynamic Light Structure at the heart of the performance and installation experience. The research establishes the relationships that are built between Dynamic Light Structures and audience members, installation visitors and choreographers. In examining participant reception and practitioner process, the research defines how Dynamic Light Structures are perceived as autonomous stage objects in dialogue with a live performer, as manipulable objects used to redefine an environment and as process tools that can shape the trajectory of performance making.
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Subramani, Vijaya. ""Aesthetic non-dualism " in text and practice : contemporary arts in the light of the Rasagaṅgādhara." Thesis, Lancaster University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654449.

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How does Rasasvada (Aesthetic-taste) communicate Brallmasvada (Brahmantaste), and how do the spiritual/religious and the aesthetic correspond in the theory of Rasa? In this thesis, first I respond to these queries, through a critical study of the Indian theory of Rasa with reference to the Rasagmigadltara of Panditraj Jagannatha (17th Century AD). Thereafter, I analyze reports of Rasa experiences within the context of aesthetic and artistic lives of some select contemporary Indian artists/artistes, grounded in the Indian artistic/aesthetic tradition of Rasa. Thus, in my thesis, I take partly ethnographic methodology and partly follow the analytical and critical method of literary/art criticism to highlight the pragmatists thrust of the theory of Rasa. Jagannatha offers an Advaitic reading of Rasa, claiming it to be transcending of subject-object duality and the end of primal misunderstanding (avidya). Consequently, he claims it to be redemptive and revelation of RasalBrahman. He derives this equation of Rasa and Brahman from the earlier writers and from the oft-quoted passage of the TaittarTya Upani~ad, which equates these two as "Raso Vai sal) (Rasa is That)." What is remarkable about the concept of Rasa is that it has not only stimulated the interest of aestheticians, philosophers, literary critics, poets, artistes and connoisseurs for the past 2000 years or so; this non-dualistic notion of the theory has moved out of the canonical treatises and has captured the minds and hearts of many living traditions of Indian Arts and aesthetics. The sophisticated Sanskrit treatises on dramaturgy, poetics, music and dance bear witness to Rasa's development and Rasa continues to be a living ideal and is discussed even today within Indian and trans-Indian aesthetic studies. My thesis will demonstrate that Rasa as a praxio-logical theory is embedded in the life-praxis of artistic culture of the Indian creative minds and is an excellent model of "pragmatist aesthetics."
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Valle, Julio del. "La dignidad de la imaginación. Alexander Baumgarten y el contexto denacimiento de la Estética." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2011. http://repositorio.pucp.edu.pe/index/handle/123456789/113063.

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The Dignity of Imagination. Alexander Baumgarten and the Context ofthe Birth of Aesthetics”. The paper deals with the role of imagination in the disciplinaryconstitution of Aesthetics. For this purpose it is divided into three sections:the first one focuses on showing how imagination acquires a certain dignity at aspecific moment in the history of western thought; the second section shows howthis new status will allow, within the special historical context of Enlightenment,the birth of aesthetic reflection lead by Alexander Baumgarten. The third sectionof this paper focuses on showing how the aesthetic perspective implies decidedlychoosing to give reflexive sensitivity a significant spot within the comprehensionthat man has of himself and of the world in which he is immersed.
El artículo trata del rol de la imaginación en la constitución disciplinariade la Estética. Presenta tres partes: la primera se concentra en mostrar de quémanera la imaginación adquiere dignidad en determinado momento de la historiadel pensamiento occidental; la segunda parte muestra cómo este nuevo estatuspermitirá, dentro de un contexto histórico especial, la Ilustración, el nacimientode la reflexión estética de la mano de Alexander Baumgarten. La tercera parte seconcentra en mostrar cómo la perspectiva estética implica una decidida opción pordarle a la sensibilidad reflexiva un significativo lugar dentro de la comprensiónque tiene el hombre de sí mismo y del mundo en el que está inmerso.
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Blixt, Christofer. "Put the Light Where it is Needed." Thesis, KTH, Ljusdesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280026.

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In this thesis I have analyzed how the phenomenon level of contrast, a consequence of the relation between level of light and distribution of light, works within urban green areas. For this particular site, the too high level of contrast is a result of the high level of light distributed 1) in the direction of oncoming pedestrians and 2) in a single zone of light and 3) on a too condensed surface area and 4) in a space with multiple vertical elements (in a dark space with low reflectance values). Being in the only lighted area surrounded by trees (vertical elements absorbing or reflecting light), with eyes adapted to its level of light, consequently, makes it impossible to see beyond the path. This since our eyes always adapt to the brightest spot in our field of view, which in all directions is a spot very close to the user. And since adapting to the emitted and reflected light our eyes cannot also adapt to the darkness beyond this enclosed space. Another perspective on this, also related to the very basics of our vision has to do with the task oriented lighting solutions. We humans have two different types of vision - central and peripheral. The central vision is approximately 2% of our field of view, it is the small spot where our gaze focus, the rest is peripheral vision. The strange thing is that modern urban lighting design have focused almost solely on task lighting and the central vision, and left the peripheral vision literally disorientated. Because, in order for the peripheral vision to help us navigate and collect spatial information, it needs variable lightning with multiple zones of light, creating differences in shade, revealing form and depth. The main contribution of this thesis, beyond defining knowledge regarding how light acts in these specific situations, is the development of a lighting design method specifically for urban green areas from a practice based design perspective (see figure 16). And that I have started the work of creating practical knowledge and answers to the question: How can the method be used in practice?
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Young, Eleanor Dawn, and ellie@goldstreetstudios com au. "Mechanisms of Controlling Colour and Aesthetic Appearance of the Photographic Salt Print." RMIT University. Applied Science, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080901.142948.

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Abstract The salt print is an important part of photography, both in its historic value and in the tonal range it can provide. This tonal range is greater than any other photographic printing process available to date attributed to the inherent masking ability of the metallic silver. However the intrinsic production problems have made it a 'forgotten' process. There are five key problems. 1. The difficulties in achieving the potential extensive tonal range. 2. The varying colour of the print. 3. Staining that appears in the print, during and after processing. 4. Instability and longevity of the salt print. 5. Contradictory and inaccurate information in material published on the salt print. Although the emphasis of the research is on exploring and controlling the colour and tonal range, the staining problems and stability of the print are also addressed. The materials used for contact negatives today vary in both capture and output, from analogue film processed in the traditional wet darkroom to a variety of transparent film printed from digital files. Inadequate density and tonal range can affect all types of negatives. To provide sufficient exposure time for the salt prints extended tonal range adjustments to the negative were necessary. These long exposures then converted sufficient silver salts to the image making metallic silver, utilising the intrinsic self-masking process. Ultimately this research has uncovered ways to control colour and tonal range and certain aesthetic qualities of the salt print, while simultaneously resolving some of the conflicts in published information. Accurate and consistent methods of processing eliminate staining, providing some stability to the print. The activities and steps carried out to make a salt print are manual; precise duplication is therefore almost unattainable. Nevertheless, although tests on a densitometer may display numeric differences, visual differences are barely noticeable.
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Albé, Marta. "Images of light and emotions - a photographic research about individual and collective emotional sensibility towards lighting atmospheres." Thesis, KTH, Ljusdesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280053.

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How do we humans feel the light? Is there a correspondance between our inner feelings and emotions and the outer space that surrounds us? Are we aware/conscious of it? Which personal meanings-values and emotions arise in us and how we consequently link them to a certain light-environment Atmosphere (indoor and outdoor) lit by natural or artificial light? Driven by these questions, this thesis will investigate via a visual qualitative experiment driven among photography amateurs, how their emotional sensibility is deeply bonded with light and how this emotional atmosphere is felt and portrayed throughout the day. A collection of two pictures per day, for one week, in the morning and in the evening will be firstly analyzed under the lens of each singular participant’s emotional sensibility, and then collectively grouped into common lighting Atmospheres. The wide and colorful spectrum of the possible combinations between light and emotions investigated in this research shows the richness and the complexity of the human sensibility towards light, and raise awareness in consider these intangible human factors as essential in the lighting process.
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Krishnan, Srivatsava. "Mechanoluminescent and Phosphorescent Paint Systems for Automotive and Naval Applications." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437262259.

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Maila, Reetta. "Sustainable Lighting - Designed Considering Emotional Aspects." Thesis, University of Kalmar, School of Communication and Design, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-459.

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Global warming challenges designers to pay attention to environmental effects of manufacturing when designing new products. This examination project was a personal challenge to uphold ethical responsibility as a designer and consider emotional aspects of design while aiming to create a pleasurable lighting for the home environment.

The underpinning idea for the project was to promote the use of recycled materials and an environmentally friendly light source aiming to create a sustainable everyday commonplace product that it is possible to manufacture. High power LED-technology was chosen because of its energy efficiency, flexibility and a particularly long life-cycle. Recycled plastic and fibre cardboard were chosen to be applied as the shades of the lamps. Both these recycled materials can be broken down and recycled again after use.

Emotional design aspect was the leading theory in the design process. The intention was to consider different levels of emotional aspects when defining the main characteristics of the lamp to create pleasurable lighting: Among usability and aesthetics the concentration was on the semiotics of the product and its usage context. It was designed with the aim of evoking pleasurable feelings in users who desire to lead an active and urban life-style but who are simultaneously worried about global warming.

Both of the lighting designs are for a dining context. They are supposed to create a pleasurable atmosphere around a dining table while separating the party around the table from the rest of the space. Other lights can be dimmed or switched off when it is time to gather around the table to accentuate the illumination and feeling of togetherness.

Inspiration for the project came from sustainability, contemporary thoughts and trends embodied into maps. The products turned out to be silent statements of today’s global world; Antarctica refers to glacial retreat while Town symbolises the importance of people’s own origin in this globalised world.

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Gleave, Michaela Ruth Art College of Fine Arts UNSW. "Constructing space: experiments in light." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43093.

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The research undertaken during this project has resulted in an investigation of atmospheric phenomena within constructed space, using light, space and water as primary materials to explore the peripheries of human perception. The project examines the extremities of human sensory experience as a means of navigating and further understanding the finite nature of our experience of 'reality'. We construct and apprehend a cohesive idea of our surroundings based on the information given to us by the senses, which are inherently limited in their capabilities. This thesis explores ways of deconstructing the processes involved in the creation of our contemporary understanding of reality, physiologically via the senses and externally through the active and conscious construction of our surroundings. The illusive and intangible nature of atmospheric phenomena is utilised in the practical component of this project for its ability to remain perceptually just out of reach; the distances in the sky cannot be judged, the air around us cannot be felt, and water in its forms of cloud, mist, ice, rain and snow hovers around the perimeters of materiality. In isolating phenomena such as these within fabricated environments the project aims to bridge the conceptual gap that exists between the highly constructed nature of our increasingly urbanised existence and the natural world.
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Reddy, Emma Elizabeth. "Modernist aesthetics and the artificial light of Paris, 1900 to 1939." Thesis, University of Leicester, 2017. http://hdl.handle.net/2381/39847.

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In this project the fields of modernist studies and science converge on the topic of lighting. My research illuminates a previously neglected area of modernism: the impact of artificial lighting on American modernist literature written in Paris between 1900 and 1939. Throughout that period, Paris maintained its position as an artistic centre and emerged as a stage for innovative public lighting. For many, the streets of Paris provided the first demonstration of electricity’s potential. Indeed, my research has shown that Paris was both the location of international expositions promoting electric light, as well as a city whose world-class experiments in lighting and public lighting displays were widely admired. Therefore, I have selected texts with a deep connection to Paris. While significant scholarship exists in relation to Parisian artificial lighting in fine art, a thorough assessment of the impact of lighting on the modern movement is absent from recent critical analysis. As such, this thesis seeks to account for literary modernism in relation to developments in public and private lighting. My research analyses a comprehensive range of evocations of gas and electric light to better understand the relationship between artificial light and modernist literary aesthetics. This work is illuminating for what it reveals about the place of light in the modern imagination, its unique symbolic and metaphorical richness, as well as the modern subject’s adaptability to technological change more broadly. This account of modernism considers artificial lighting in fiction and poetry and culminates in a final chapter on electrically illuminated literary epiphanies. The implications of technologized lighting for form and content are fused in that particular device. This thesis confirms that the dissemination of artificial modes of lighting coincided with, shaped and contributed to literary experiments that span a number of modernist characteristics: fragmentation, stream of consciousness, spatial representation, literary epiphany, formal self-awareness and imagism. Tracing the history of lighting technology and its aesthetic dimensions unearths parallels between lighting and writing which justify my claim that modern lighting was a symbol for and constituent part of the direction and execution, content and form of American modernist literary innovation.
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Books on the topic "Aesthetic Light"

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Monica, Elman, Ullmann Yehuda, and SpringerLink (Online service), eds. Aesthetic Applications of Intense Pulsed Light. London: Springer-Verlag London Limited, 2011.

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Fodor, Lucian, Yehuda Ullman, and Monica Elman. Aesthetic Applications of Intense Pulsed Light. London: Springer London, 2011. http://dx.doi.org/10.1007/978-1-84996-456-2.

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Fodor, Lucian, and Yehuda Ullmann, eds. Aesthetic Applications of Intense Pulsed Light. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-22829-3.

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Fleming, Bruce E. Disappointment or the light of common day. Lanham, Md: University Press of America, 2006.

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Sedlmayr, Hans. La luce nelle sue manifestazioni artistiche. [Palermo]: Centro internazionale studi di estetica, 1985.

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Skweres, Artur. McLuhan’s Galaxies: Science Fiction Film Aesthetics in Light of Marshall McLuhan’s Thought. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04104-5.

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Disappointment, or, The light of common day. Lanham, MD: University Press of America, 2006.

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Light moving in time: Studies in the visual aesthetics of avant-garde film. Berkeley: University of California Press, 1992.

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M, Jacobs James. A piercing light: Beauty, faith, and human transcendence. Washington, DC: American Maritain Association, 2015.

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"A certain slant of light": Aesthetics of first-person narration in Gide and Cather. New York: Garland, 1985.

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Book chapters on the topic "Aesthetic Light"

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Lanier, Lee. "Emulating Specific Light Sources." In Aesthetic 3D Lighting, 71–94. New York : Routledge, Taylor & Francis Group, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315185279-4.

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Pendery, David. "The Taiwan Aesthetic." In Taiwan—A Light in the East, 127–40. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5604-3_5.

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Lanier, Lee. "The Importance of Light and Lighting." In Aesthetic 3D Lighting, 1–14. New York : Routledge, Taylor & Francis Group, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315185279-1.

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Freedman, Bruce M., and Toral P. Balakrishnan. "The Use of Intense Pulsed Light (IPL) in Aesthetic Medicine." In Aesthetic Medicine, 197–203. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-20113-4_17.

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Fodor, Lucian, Yehuda Ullmann, and Monica Elman. "Light Tissue Interactions." In Aesthetic Applications of Intense Pulsed Light, 11–20. London: Springer London, 2010. http://dx.doi.org/10.1007/978-1-84996-456-2_2.

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Fodor, Lucian, and Raluca Sobec. "Light Tissue Interactions." In Aesthetic Applications of Intense Pulsed Light, 13–23. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22829-3_2.

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Onesti, M. G., and P. Fioramonti. "Intense Pulsed Light Systems." In International Textbook of Aesthetic Surgery, 1123–31. Berlin, Heidelberg: Springer Berlin Heidelberg, 2016. http://dx.doi.org/10.1007/978-3-662-46599-8_77.

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Minotto, R., and L. Damiani. "Low-Level Light Therapy (LLLT) in Alopecia." In Minimally Invasive Aesthetic Procedures, 781–83. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-78265-2_110.

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Fodor, Lucian, Yehuda Ullmann, and Monica Elman. "Intense Pulsed Light Safety: Legal Issues." In Aesthetic Applications of Intense Pulsed Light, 21–26. London: Springer London, 2010. http://dx.doi.org/10.1007/978-1-84996-456-2_3.

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Deshpande, Ajay. "Intense Pulsed Light for Acne Vulgaris." In Aesthetic Applications of Intense Pulsed Light, 93–99. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22829-3_10.

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Conference papers on the topic "Aesthetic Light"

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Pytras, B., P. Drozdowski, K. Zub, and Leonardo Longo. "Intense Pulsed Light (IPL) in Aesthetic Dermatology." In ADVANCES IN LASEROLOGY - SELECTED PAPERS OF LASER FLORENCE 2010: The 50th Birthday of Laser Medicine World. AIP, 2011. http://dx.doi.org/10.1063/1.3626922.

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Zlokazova, Tatiana, and Ivan Burmistrov. "Perceived Legibility and Aesthetic Pleasingness of Light and Ultralight Fonts." In ECCE 2017: European Conference on Cognitive Ergonomics 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3121283.3121296.

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Hou, Guodong, and Ying Du. "Research on Mass Aesthetic Consciousness ---From the Perspective of Light Image Development." In 2018 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/saeme-18.2018.111.

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Hao, Guoxin. "The Aesthetic Choice and Style Tendency of Light Crimson Colored Porcelain Landscape Paintings." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.108.

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O’Hagan, John, and Marina Khazova. "Progress towards safety standards for intense light sources used in medical and aesthetic practice." In ILSC® 2009: Proceedings of the International Laser Safety Conference. Laser Institute of America, 2009. http://dx.doi.org/10.2351/1.5056672.

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Tamer, Gülay. "Demographic and Socio-Psychological Characteristics Affecting the Demand for Treatment and Care Services in Aesthetic and Beauty Sector." In International Conference on Eurasian Economies. Eurasian Economists Association, 2017. http://dx.doi.org/10.36880/c08.01834.

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At the present time, number of aesthetic and health centers are rapidly increasing. In the light of this fact, in this study, the demographic and psychological profiles of the individuals who are getting service in these institutions will be discussed. The various parameters such as gender, age and marital status, which are affecting the types and processes of treatment will be examined. This study is aimed at to guide institutions to determine optimal customer profiles and encourage them to provide better service by offering them assistance for gathering information to make appropriate decisions regarding to future investments.
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Yan, Guirong, Scott Jemison, Qiuhua Duan, and Ruoqiang Feng. "Detection of Pretension Loss of Cable-Net Structures." In ASME 2015 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/smasis2015-8978.

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Due to aesthetic shapes, light weight and flexibility, cable-net structures have been widely used as roofs for venues where many people assemble, such as sports stadiums/arenas and gymnasiums. Failure of this type of structure may endanger the safety of many people. This type of structure consists of a separate grid of structural cables supporting a nonstructural weather shield. It is well known that the stiffness of this type of structure is established by pretension in the cables. Part of the pretension in the cables will be lost as time evolves. The detection of the pretension loss in cables of cable-stayed bridges has been widely studied. However, the detection of pretension loss in cables of cable-net structures has been lacking. In this study, the dynamic and static properties of cable-net structures will be investigated and the effectiveness of two damage detection approaches in detecting the pretension loss in cable-net structures will be investigated.
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Cheutet, V., J. P. Pernot, J. C. Le´on, B. Falcidieno, and F. Giannini. "Insertion of Planar Areas Into Free-Form Surfaces in Early Product Design." In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-85045.

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Surfaces, like planes, cylinders or spheres, are basic primitive surfaces not only for mechanical engineering but also for aesthetic design, world of free-form surfaces, where they are essentially used to answer some functional constraints, like assembling and manufacturing ones, or to achieve specific light effects. The early design steps are characterised by the uncertainty in the definition of the precise geometry and most of the time, product constraints are only partially available. Unfortunately, until now, the insertion of primitive surfaces requires precise curve and surface specifications together with trimming operations, thus imposing that the free-form geometry is recreated each time a modification occurs. In this paper we present a method for the insertion of planar surfaces suitable to handle the uncertainty in the first draft of a product. The approach does not provide effective precise primitive surfaces, but it is able to introduce regions resembling such a behaviour in a free-form surface, without requiring trimming operations, so allowing more efficient shape alternative evaluations.
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Dayem, Adam. "Translational Aesthetics." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intlp.2016.1.

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These drawings are part of ongoing design research exploring how computational drawing techniques can be used to create aestheticized spatial propositions. Operating in the abstracted two-dimensional realm of architectural representation, they are intended to create architectural ideas composed of form, light, and color. This research has been carried out in various design studios and visual studies classes over the past two years. The series drawings shown here is from one specific course – a first-year undergraduate visual studies course taught at Pratt Institute. The framework of a first-year course presents particular opportunities and limitations in relation to the research agenda.
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Wang, Kangjian, Peiwei Zhang, Jinxiang Chen, and Man Zhou. "Structure and Performance Characteristics of Curved Box Girders with Corrugated Steel Webs." In IABSE Conference, Kuala Lumpur 2018: Engineering the Developing World. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2018. http://dx.doi.org/10.2749/kualalumpur.2018.0081.

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<p>Many advantages of curved box girders with corrugated steel webs (CSWs) are given in this paper, they have a lot of advantages such as light weight, high efficiency, engineering economics, assembly construction and aesthetic appearance. This type of structure combines steel and concrete materi- als properly, which improves the structural strength, stability and utilization efficiency of materials, and can effectively resist earthquakes, and realize assembly. The unique structural features of CSWs in curved box girders are pointed out, that is, the difference between the inside and outside folded angles. Based on cosine theorem and sum of angles, formulas of two different angles are proposed. Moreover, mechanics characteristics are given, which include three types of shear buckling modes, section distortion and longitudinal warping. Thus, the design of CSWs dimensions can be carried out through the buckling of CSWs in curved box girders, and the arrangement of intermediate dia- phragms of curved box girders with CSWs should be considered. Additionally, the transverse char- acteristics regularities of curved box girders with CSWs under different cases and different radius of curvature are obtained, respectively. Among them, two kinds of cases are the most unfavorable.</p>
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Reports on the topic "Aesthetic Light"

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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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