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Dissertations / Theses on the topic 'Aesthetic Light'
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1
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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Powell, Zachary Michael. "Iron kills the stars: the commune of eternal light." Thesis, Kansas State University, 2012. http://hdl.handle.net/2097/13776.
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Master of ArtsDepartment of English
Daniel A. Hoyt
This project is the opening chapters of a novel in which two brothers, Txanton and Riddley, are split from each other in post-apocalyptic Kansas. The Commune of Eternal Light has been their family’s peaceful home for more than a hundred years but is crushed by a fascist army that considers killing the only way to survive in civilization’s aftermath. In this destruction, Txanton sees his father’s murder, while Riddley watches his mother’s death. After the separation, Txanton, along with several other boys from the Commune, becomes part of the very army that destroyed his family, and he is visited by the ghost of his great-great grandfather who begins telling his personal story along with the tale of the downfall of the world. Riddley, meanwhile, wanders a picaresque path in which he sees cannibals, zombies, witches, a cowboy, and other ghosts. Both boys struggle with the brutality of the wasteland they are thrust into and try to cope with the memories of their peaceful home and the deaths of their family and friends. Told in chapters that jump back-and-forth between the two brothers, the novel parallels their challenges in a close third-person narrative.
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Collings, Rebecca. "Shedding light on dark comedy : humour and aesthetics in British dark comedy television." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/59450/.
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The term ‘dark comedy’ is used by audiences, producers and academics with reference to an array of disparate texts, yet attempts to actually define it perpetuate a sense of confusion and contradiction. This suggests that although there is a kind of comedy that is common enough to be widely noted, and different enough from other types to require separation, how and why this difference can be perceived could be better understood. Accordingly, I investigate what is enabling the recognition and distinction in respect of British dark comedy programmes, and use this as a basis for considering how this type of comedy works. I argue that the programmes may be distinguished primarily by aesthetic features, placing their rise on British television in a broader context of aesthetic trends towards a display of visual detail, spectacle, and excess that puts the private and the taboo on greater show. Using the theories of Freud, Bakhtin, and Bergson about taboo, the uncanny, the grotesque, and the appearance of mechanical actions in humans, I examine in detail examples of British comedy television programmes that are typically referred to as ‘dark’, demonstrating their consistent depiction of subjects that are often repressed or avoided, particularly those around which taboo restrictions and prohibitions have evolved (such as violence and death, illness, and transgressive sexuality). These areas are strongly linked with the body and physicality, and are also ones which occasion negative feelings of unease and denial that are connected to concerns about mental and corporeal fragility and fallibility. I conclude therefore that dark comedies provide a space where viewers may confront and ultimately minimise fears surrounding the human condition, enabling a ‘safe’ exploration of them that can be enjoyed as humorous.
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Tan, Joseph Tsun Daw. "Hypothetical Etiology and Competitive Assessment of Terahertz Light Induced Rhytide Improvement." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1327511578.
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Kovacek, Tena. "Principles of Designing an Experiential Lighting Showroom : Finding the Balance between Demonstrating the Experiential and the Technical-Aesthetical Qualities of Luminaires." Thesis, KTH, Ljusdesign, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-231870.
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An analysis of existing showrooms showed that absence of atmosphere makes it hard for clients to imagine effects in a context, and that lack of guidance by the light makes the experience of the showroom overwhelming or static. Also, clients often prioritize luminaires' design over light effect, even in architectural lighting where design should be negligible. This thesis investigates whether it is possible by prioritizing light effect, to optimize the showroom experience and to direct clients' focus on the light, while minimizing the influence of design on the impression and eventually choice of luminaire. In order to achieve these goals, three main concepts are suggested – guiding light, contrasting atmospheres and sequence of presenting light effects first and luminaires afterwards. These enable good communication about light which is essential for clients to focus on the atmosphere created by the light, rather than price and design. Experiments were conducted in the basement of a Croatian company's office, where the exhibits were not the luminaires, but their light. Visitors' priorities before and after going through the installation changed significantly, which might mean that the light effect made an impact and influenced examinees to base their choice of luminaire more on light effect, than design. It is concluded that the used concepts contributed to putting more focus on the light itself. Instead of focusing solely on light experience or product, a balance between the two was achieved by prioritizing and showing the light effect first, and only afterwards joining it with the product, thus offering visitors a more complete experience of the luminaire.
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Gan, Yuhong. "The involvement of nature : a study of the response and interaction between architecture and its surroundings in rural dwelling spaces." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902491.
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The involvement of nature happens at the edge of architecture, influencing the space of man from the outside and the inside. This design is intended to open man's space to his surroundings, and for establishing a new relationship between man and nature.Peter Noever writes in Architecture in Transition: "In order to become an autonomous subject, man distances himself from nature. This process of distance helps men to learn increasingly to control himself and nature. However, this origin of subjectivity becomes hybrid and turns against man himself: he falls prey to his natural need to dominate, and the dominator of nature becomes the prey of nature."The idea of dominating nature is strongly reflected in the American rural dwellings. Like an "icon of individualism," "operating objectively in their relationship to the landscape,"2 the houses appear isolated from the surroundings. Man might control himself by building this isolated relationship with his surroundings, but it does not have to be like this. Because man not only needs to control himself but also needs to live healthily. The energy of the natural world is an essential part of a healthy human life. Especially in the living environment, natural elements-(defined as "a creative and controlling force in the universe")--are indispensable. For a healthy life, in balance with nature, man should be receptive to his surroundings.The Involvement of Nature is a study of dwelling space, using the language of architecture to improve and cultivate a harmonious relationship between man and nature. This project will focus on the connection between the dwelling space and its natural surroundings. It will create a contextual connection by the interactions between human perceptions of space inside the dwelling and the natural or cultural landscapes which is the outdoor environmental phenomena and features; the sun, the wind and the changing landscape.Department of Architecture
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Grothage, Alexander. "Design of an automotive lighting system : Development of an overall solution for roof mounted LED light bars." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-69608.
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For a long time, auxiliary lights utilizing halogen or xenon light sources has been fitted in front of the car’s front grille when needing an improved high beam performance. The bigger the auxiliary light, the better its light performance has been. Today’s LED (Light Emitting Diode) technology, where several small light sources are used, has enabled a new market of auxiliary lights, smaller in size and more flexible in shape but with performance able to both match and outperform the traditional auxiliary lights. This master thesis focuses on developing an overall solution for mounting the type of LED auxiliary light commonly referred to as LED light bars on the roof of a car and aims to broaden an existing market. LED light bars are characterized by its oblong and cuboid-like shape. High-performance light bars are theft-desirable by nature as they have a high price and lack of theft security in themselves. In today’s market, there is no given solution for the attachment of roof mounted light bars without harming the car. As a result, mountings of this kind are mostly seen neither aerodynamic nor aesthetically appealing. The project has been performed according to the CDIO (Conceive, Design, Implement, Operate) phases. During the conceive phase, a comprehensive pre-study was carried out in which car, relevant theories, LED light bars, competitors and expert observations were investigated. In the design phase, ideas were developed using a number of creative methods implemented individually, in groups and in the form of a workshop. Ideas were clustered into categories and were screened prior to the implement phase. In the following phase, the ideas were combined into a concept that was defined in details. A prototype was manufactured and evaluated, after which the concept was iterated into a final solution. During the last phase, operate, all deliverables were produced at the same time as a manufacturing process was initiated. Together with Vparts, a company dedicated entirely to Volvo owners, an overall solution has been developed to enable a good-looking, anti-theft-proof, model specific and aerodynamic mounting of LED light bars onto the roofs of cars. The concept consists of a double curved light bar in combination with lockable and adjustable mounts having an aerodynamic shape. The solution is modular and includes two different versions of the mounts, which together cover 9 Volvo models, each variant consisting of four different components per side of the light bar.
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Popescu, Viorica Anamaria. "Beyond Modernism: A reassessment of modern architectural metaphysics in light of Martin Heidegger’s “The Age of the World View”." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1250703837.
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Roger, Mathias. "De l’imaginaire nocturne aux musiques de la nuit. L’exemple de la France autour de 1900." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040272/document.
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La nuit n’est pas seulement un phénomène astronomique mais elle nourrit aussi son imaginaire de nombreux fantasmes et inquiétudes. Pour cette raison, elle reste une source d’inspiration féconde pour les artistes, particulièrement en France autour de 1900. Cette thèse se propose donc de retrouver les traces du phénomène nocturne dans les musiques de la nuit de cette période et au-delà. Que retiennent les musiques nocturnes de cette expérience singulière de la nuit ? À partir d’une méthodologie inspirée des sciences de l’imaginaire et d’une analyse musicale approfondie d’une dizaine de pièces de cette époque, ce travail interroge les notions d’ombre et de lumière, de la nuit comme masque de la mort ou encore de la temporalité et de la spatialité nocturnes. Il aboutit ainsi à la compréhension de certaines formes d’analogies entre la nuit et ses représentations musicalesFor human being, night is not only an astronomic phenomenon but it also nourishes its imagination of many fantasies and fears. For this reason, it remains a great source of inspiration for the artists, particularly in France around 1900, and the purpose of this thesis is then to find the traces of nocturnal phenomenon is night’s music of this period and beyond. What do night’s music keep of this peculiar night experience ? From a methodology inspired by the sciences of imaginary and a musical analysis of a dozen score of this period, this work examine notions such as shade and light, night in his relation to death or to the dimensions of time and space. It leads so to the understanding of certain analogies between night and his musical forms
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Dunleavy, Berge Sara. "Grasping at Modernism in 1932: Alternative Readings of Das Blaue Licht, a Collaboration of Leni Riefenstahl and Béla Balázs." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/301.
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Moments before the Weimar Republic succumbed National Socialism, and their paths sharply diverged as a result, Leni Riefenstahl and Béla Balázs collaborated to make Das Blaue Licht. Within a year of their collaboration Riefenstahl was working closely with Hitler on plans for Triumph of the Will, and Balázs, a Hungarian Jew, had fled to Moscow without credit or payment for Das Blaue Licht, which he co-wrote and co-directed. This thesis explores multiple readings of Das Blaue Licht, as a modern text, a fascist text, and ultimately, one that exists in a complex gray zone.
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Asveld, Jip. "Domestic Lighting of the Future - How interactive lighting for the home can be innovated & utilized." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22880.
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Innovative and interactive lighting has big opportunities to move from the classical switch to more tangible and embodied ways of interaction, types of interaction that have much more richness and expressivity to them. This will not be of any use if the output would still be just an on/off type of lamp; however, new mediums or output in the form of LED light provide much more flexibility in intensity, colour, multiple sources of light (that work together), etc. Therefore they need more rich ways of input than a switch can provide. This richness of and mapping between input and output should be designed in an adequate way, to create a pleasing and meaningful user experience. The knowledge contribution that is expected through this thesis will be specifically aimed at the area where lighting, aesthetics of interaction and tangible & embodied interaction meet. A framework will be developed that can help designers who want to design innovative and interactive lighting for the home environment in the future. The framework can assist with creating an aesthetic interactive experience with lighting in a more tangible or embodied way (than e.g. just pressing a button or rotating a dimmer). The framework will be exemplified by a lighting design prototype that shows how the framework can be used.
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Unver, Ahmet. "People&." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12610450/index.pdf.
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This thesis aims to create new perspectives in urban lighting design by discovering people’
s preferences in urban lighting through an exploratory research on people&
#8217
s perceptive experience of urban space at night. In this study, I aim to analyze the common approaches and methods of urban lighting design and make their critique through my research results. Primary research objectives include the evaluation of what people perceive from the urban lighting design and how they feel about the design outcomes. In order to explore people&
#8217
s experience of lit urban space at night, my research comprises a survey that aims to discover people&
#8217
s opinions on certain lit urbanscenes collected from the city of Ankara. Urban lighting design is a discipline that emerged to improve the aesthetic quality of urban space. It has significant effects on people and consequently on urban life. However, in this discipline, exploration of people&
#8217
s needs and preference is a neglected phenomenon. Therefore, this study suggests that it is necessary to review the designer-centered perspective on urban lighting design and question whether existing approach to this discipline has preferable outcomes for people. Through this research I aim to test whether it is appropriate to pursue and carry out the existing type of lighting design, and propose new perspectives to urban lighting.
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Purdie, Christopher Dennis. "Embedded." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339443969.
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Rowley, Neville. "Pittura di luce. La manière claire dans la peinture du Quattrocento." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040197/document.
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La présente thèse a pour point de départ une exposition florentine organisée en 1990 et intitulée « Pittura di luce ». Ses organisateurs entendaient désigner ainsi un courant de la peinture florentine du milieu du XVe siècle fondé sur la lumière et la couleur claire. Comme l’avait bien compris l’exposition, cette « peinture de lumière » est d’abord identifiable dans la « manière colorée » portée par Fra Angelico et Domenico Veneziano, mais elle doit aussi être élargie à une manière plus « blanche », qui va de Masaccio aux premières œuvres d’Andrea del Verrocchio, au début des années 1470. Les implications techniques et symboliques d’un tel style méritent également d’être étudiées car elles renforcent le sens et la cohérence d’un mouvement publiquement soutenu par les Médicis et dont l’ambition majeure fut de « faire surgir » les peintures religieuses de la pénombre des églises (I). L’étude du développement géographique vaste mais discontinu de la pittura di luce approfondit les hypothèses proposées dans le cas florentin : tout autant qu’une façon moderne et proprement « renaissante » de peindre, la « manière claire » est aussi fondée sur une lumière théologique, associée en partie à la religiosité franciscaine. Piero della Francesca est assurément le grand protagoniste de ce double rayonnement, dans les cours et dans les campagnes (II). C’est également Piero qui sera au cœur de la redécouverte d’une peinture que les XIXe et XXe siècles ont réappris à voir grâce aux historiens de l’art et aux artistes, mais également en raison du changement des conditions de vision des œuvres d’art. En ce sens, la pittura di luce constitue un chapitre important de l’histoire du regard, que l’on propose de rapprocher d’autres redécouvertes picturales elles aussi fondées sur la notion d’apparition (III)This thesis starts from an 1990 Florentine exhibition called “Pittura di luce” which intended to identify a trend in the mid-15th-century Florentine painting. This “painting of light” is not only, as was said at the time, a “coloured style” led by Fra Angelico and Domenico Veneziano, but it should be extended to a more “white manner”, from Masaccio to the first works of Andrea del Verrocchio, in the early 1470s. The technical and symbolical meanings of this style are to be studied as they reinforce the sense and the coherence of a trend publicly sustained by the Medici. The major aim of the “pittura di luce” is to make “emerge” religious paintings from the darkness of the churches (I). The study of the vast but also discontinuous geographical development of this “bright style” amplifies the hypotheses of the Florentine case: as much as a modern way of painting, it has very often a more archaic connotation of divine light. Piero della Francesca is surely the major figure of this ambivalent development (II). He is also one of the most significant examples of the way in which the “pittura di luce” was forgotten, and then rediscovered during the 19th and 20th centuries, thanks to art historians and artists, but also to the changes of the conditions of vision of the works of art. In this sense, the “pittura di luce” is an important chapter of the history of look, that we propose to compare with other rediscoveries of similar “paintings of apparition” (III)
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Burr, Benjamin J. "Intertextuality in the Fiction of Cormac McCarthy." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1374.pdf.
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Puigarnau, Torelló Alfons. "Imago Dei y Lux Mundi en el siglo XII: La recepción de la teología de la luz en la iconografía del Pantocrátor en Cataluña." Doctoral thesis, Universitat Pompeu Fabra, 1999. http://hdl.handle.net/10803/7481.
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En el contexto del siglo XII europeo, se impone la iconografía del Cristo Luz aureolado por una almendra mística, sosteniendo un libro abierto con inscripciones alusivas a una teología de la luz. La proliferación de la iconografía de la Maiestas Domini se produce en el contexto histórico de la reforma litúrgica canóniga agustiniana, cuyo origen se encuentra en san Rufo de Avignon y san Víctor de Marsella. Cataluña, se hace depositaria de la Regla se san Agustín, que propugna un ideal renovado de belleza mística neoplatónica.
La llegada al Principado de manuscritos de la Homilía al Prólogo de Juan, escrita por Juan Escoto Eriúgena, es una prueba, en pleno siglo XII, de la relación entre una iconografía teológica de la luz y una tradición neoplatónica originada en el siglo IX en la corte carolingia.
El texto de la Vox spiritualis aquilae representa la recepción de la teología de la luz en la iconografía de la Maiestas Domini y, con ella, una nueva forma de representar a Dios, al hombre y al mundo en el arte.
In the 12th century European context, predominates the iconography of Christ placed in a light mystic mandorla holding an open book containing inscriptions concerning a special theology of light.
The Maiestas Domini iconography strongly arises together with the historical fact of the agustinian liturgical movement. The so called agustinian canonigas were originally born in saint Ruph of Avignon and saint Victor of Marseille holding the spirituality of the Rule written by saint Agustin himself and later moved into Cataluña renewing his original idea of neoplatonic mystical beauty.
The arrival of collections of manuscripts into Catalonia containing the Homily to the Prologus of saint John by Scotus Eriugena is enough to proof the relationship between the theology of light iconography and the neoplatonic traditions originated in the 9th century Carolingian Court.
The text of the Vox Spiritualis Aquilae involves a reception of the Theology of light within the Maiestas Domini iconography. It is a new way of representing God, man and world in art.
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Wu, Pei-Ying, and 吳沛穎. "Light Design Interpreted under the Machine Aesthetic." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/01869197589136761304.
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碩士國立交通大學
應用藝術研究所
103
The Industrial Revolution in the 18th century is the transition to new manufacturing processes. Machinery-made products have become common necessities in daily life. In the meantime, machines replacing hand production results in new connotations of the word “machine” in psychology and sociology. The idea of “machine” is no longer limited in technology only. Consequently a discourse on "machine aesthetics" has been initiated since then. At first, machine aesthetics is derived from spirits of science and reason, which claims that the functions of products should have a logical connection with the forms and materials. However, with advances in technologies and changes of lifestyles, machine aesthetics has developed into different interpretations accordingly. The series of works contains three reading lamps. The main concept is based on the fundamental definition of machinery. Movable parts and simple devices such as a pulley and a lever are applied to convert traditional one-touch on-off switch into various operation modes. The affordance theory is also applied to guide users how to use the lamps according to their own needs under certain circumstances. Additionally, ready-made industrial materials such as insulators and hand wheels are used to enhance the impression of machine aesthetics. Machine aesthetics doesn’t belong to any schools of art or design, but is deduced from industrialized civilization. This research offers a different perspective to interpret machine aesthetics. The series emphasizes interaction between users and the product with mechanical movable parts. Utilization of recycled materials is to criticize current phenomena of wastefulness and alienation of daily life.
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Wang, Wei-Xuan, and 王蔚瑄. "A Study on Applying Color Aesthetic of Light to Dress Design." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/87164084994820328183.
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碩士國立成功大學
工業設計學系碩博士班
97
Color has played a significant factor to the message clothing carries. It produces interesting changes through different lights and angles. Under the influence of different light condition, the color of clothing appears differently. Because the color on the surface of clothing is changeable, it generates a diverse of visual effects to the viewers. The purpose of this study is to explore the variation between common colors in clothing and light by applying the Munsell Color System and the research induced from the related evaluation factors. The evaluation factor can be the common light, the different skin tone of Taiwanese women, popular hair color, and the most fashionable color in clothing in 2009 and etc. Then, using the Genetic Algorithm to create a new combination of colors, and applying Color Harmony, which initiated by Parry Moon & Domina in 1944, as the fitness function. Then we simulate the evaluation criterion to strengthen the function of empirical study. Though a statistical analysis, we are able to standardize the feedback on the evaluation criterion. In recent years, due to the influence of the Internet convenience and usage, many brands have engaged to the online market. Online shopping has become a formal and targeted platform for business. It offers customized order system, for instance, the composition of design and color of “Smart”, Benz serial vehicle; the combination of colors on a shoe’s brand like NIKE and VANS, and etc. However, the customized order system has failed to provide information on aesthetic and customer preferences. Therefore, this study is to research the relationship and influence between color combination on female clothing and the surrounding light in aesthetic. Furthermore, it will investigate deeply into the relationship in colors, products, consumers, and the perception by using the surrounding light, images, cultures, and consumer’s preference. This study also applies the optimization of Genetic Algorithm, which enables the users to select their favorite color combination on the products. In order to reach the customization purpose and improve the customer satisfaction, color combination in clothing is chosen to be an example in this experiment. We divide a clothing system into five factors: the color of hair, skin, shirt, skirt, and environmental light. Then applying the Genetic Algorithm and the wide search in finding the favorite color combination in clothing, then choose 10 combinations to match the color aesthetic. Finally, regionally experiment the 10 color combinations on the female consumers in Taiwan. Because most products (except the mono-color products) have shared a problem of finding the harmonious color, and different color combinations create different color image on visual, the results of this study is as the following: (1) Base on the aesthetic factors, subjects with different attributes (sex, age, education level and background) will generate a diverse reaction and aesthetic appreciation. For instance, women in Tai Chung who age 30-40 tend to prefer cold color as their harmonious color. Whereas women in Tainan prefer those high colors with chroma. (2) To harmonize color, color tone combination has a better result than hues combination. Statistic indicates that objects favor on warm tone and this result is related to the light aesthetic. (3) In harmonizing color with the gene selection, a combination of shirts and skirts with fashion color will cause a bad color aesthetic when the amount of color unit is low. The Colorimeter will be affected by the original coding which will also be affected by the amount of color units. The result has been proven by this research; all objects are impressed in applying the Genetic Algorithms to find out their fond clothing color combination.
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Tzung, Tien-Yi, and 宗天一. "Decision Factors in Patients Receiving Cutaneous Laser and Intense Pulsed Light Treatment for Aesthetic Purposes." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/93384603138631147950.
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碩士國立中山大學
高階經營碩士班
93
Cutaneous laser and intense pulsed light treatments are two of the most popular aesthetic treatment modalities. More and more physicians regardless of their training background are providing such profitable services because there is still no regulation on the cosmetic procedures a physician can perform. The purpose of the present study was to find out the relative strength and weakness of different medical specialties in providing laser and intense pulsed light treatment. Major decision factors for physician selection were extracted from 19 physician choice criteria with factor analysis. Using analytic hierarchy process, the relative weight of these factors and that of dermatologists, plastic surgeons and aesthetic practitioners in each factor were calculated. After reading the training curricula of dermatologists and plastic surgeons, respondents were asked to rate again the 3 medical specialties. Our results indicated that medical competence (0.3296) was the most important major decision factor followed by recommendation (0.2198), friendliness (0.1350), cost (0.1307), complete service (0.0984) and physical attribute of the physician (0.0865). Compared with plastic surgeons and aesthetic practitioners, dermatologists had an advantage in all factors except complete service, which was the strength of plastic surgeons. New patients, aged under 40, with a college degree and a monthly allowance less than 20000 NTD were more likely to change their rating in favor of dermatologists after reading the curriculum profile..
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WU, SHIH-HAN, and 吳詩涵. "The Improved Apparatus and Methods of Intense Pulsed Light Combined Multiple Spectrum Micro Meter Light Irradiated on Skin Tissue in Aesthetic Medicine." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/j6qcna.
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碩士元培醫事科技大學
醫學影像暨放射技術系碩士班
107
Far-infrared ray is usually defined as the electromagnetic radiation with wavelength ranging from 5.6 to 1000 μm, in which the radiation ranging between 4 and 14 μm commonly utilized by far-infrared medical instruments is also named as growth ray. The healing effects and mechanism of far-infrared radiation are still not clear to the public although many far-infrared medical instruments have been marketedpopularly. Therefore, we try to elucidate the physical properties, effects, acting mechanisms on cells and tissues, and clinical applications of far-infrared radiation. Molecules in organism may absorb infrared ray resulting in vibrational and rotational transitions, which cause heat and non-heat effects. These two effects employed in far-infrared ray remedy resulted from resonant far-infrared molecular absorption. Clinical applications include analgesia and skinning over of wounds, hypertension, strain relief,enhancing sleep quality, decreasing blood sugar, reducing fatigue, hyperthermia therapy for tumors, urine retention therapy for lying-in women and intestinal spasm therapy for children. Many emerging studies have explored diverse clinical applications of far-infrared ray, which not only make it prominent in preventive medicine but also provide another treatment for traditional medicine. The purpose of this paper is to develop a medical aesthetic health promotion method and instrument for human skin tissue by efficient use of integration of intense pulsed light and micron light spectrum apparatus. Pulsed light multi-spectrum, wavelength energy design can be fine-tuned, clinically, corresponding to different therapeutic photothermal modes, thermal condensation with green light 515nm, yellow-green light 590nm range as a choice of blood vessel and pigment treatment mode. The red light 695 nm and the infrared 755 nm are selected as the hair removal mode. As a beauty phototherapy mode, pulsed light uses 560 nm red light and 640 nm yellow light. The skin cells are activated by a combination of micron light with a wavelength of 10 µm to 100 µm. Multi-spectrum, controllable mode, safety, high-efficiency therapeutic function, pulsed light and micron-light integration of medical aesthetics technology. Simultaneous 3 to 4 weeks of treatment, its safety and effectiveness, while integrating the green light to far infrared skin tissue phototherapy and activation protection mode and regulation methods. Clinically, hundreds of users of integration of pulsed phototherapy and micron-light instruments on skin activation and protection have obvious functions that promote improvement.
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Seabra, Leonor de Brito Amaral da Cunha. "Do conflito estético de Meltzer à luz de William Turner." Master's thesis, 2016. http://hdl.handle.net/10400.12/5117.
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Dissertação de Mestrado apresentada ao ISPA - Instituto UniversitárioWilliam Turner foi um dos pintores da Época Romântica que revolucionou a história da arte e inspirou impressionistas e abstracionistas. Esta tese insere-se numa tentativa de compreensão do significado da representação da luz nas obras de William Turner, elemento recorrente nos quadros ao longo da sua carreira. Partimos do estudo das obras e após observação colocámos as seguintes hipóteses: a presença de luz nos quadros de William Turner é relacionada com o objeto primário. A relação materna para William Turner é objeto de questionamento permanente à volta de uma dualidade (conflito estético
ABSTRACT: William Turner was one of the painters of the Romantic Period who revolutionized history of art and inspired impressionists and abstractionists. This thesis is an attempt to understand the meaning of the light’s representation in William Turner’s works, recurrent element in his paintings throughout his career. We started from the study of his paintings and after observation we did the following hypothesis: the presence of the light in the paintings of William Turner is linked to the primary object. The maternal relationship to William Turner is a permanent questioning object around a duality (aesthetic conflict).
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Prozesky, Stellamarie Bartlette. "A small adjective attending light, the archangelic noun : Jessica Powers: a modern metaphysical poet." Thesis, 2013. http://hdl.handle.net/10500/11868.
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This thesis aims to establish Jessica Powers (1905 – 1988) as a metaphysical poet, to augment the composite definition of metaphysical poetry, and to add two emphases to Christian literary theory. A comprehensive library search on Powers reveals that no scholarly work has been written on her poetry since 2005. A meta-analysis of existing work on Powers demonstrates that the metaphysical aspect of her poetry has not yet been comprehensively examined. Though Powers wrote in a time commonly called ‘post-modern’, my contention is that it would be more accurate to describe her as a metaphysical poet in the traditional sense of that term, as used, for example, of George Herbert (1593 – 1633). I endorse the view that the central theme of all metaphysical poetry is the relation between body and soul (Tanenbaum 2002: 211). It will be seen that this relation is the central concern of Powers’ metaphysical poetry.
My close reading of Powers’ work as metaphysical is according to a Christian literary theory which agrees with Hass ‘that the study of the text and textual hermeneutics in the twenty-first century will continue because of a particular resurgence of religion’ (2007: 856). It is augmented by two emphases, a scientific (based on Gallagher’s 2009 study of the neurophysiology of attention), and a philosophical (based on Fromm’s 1976 analysis of the ‘being mode’, and on Buber’s 1947 analysis of attentiveness to the present moment). My study thereby contributes to Christian literary theory. There are one hundred and eighty two poems in The Selected Poetry of Jessica Powers. This thesis refers, to greater or lesser extents, to one hundred and seventy six of the poems, and comprehensive examination of their metaphysical aspect is the primary focus of the thesis.
My examination of the poems demonstrates that Powers’ poetry can justly be described as metaphysical, which definition of her work serves to highlight an important and hitherto neglected aspect of her work, that she is a metaphysical poet of the finest calibre, and that renewed attention to her work is timely.English Studies
D. Litt. et Phil. (English studies)
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Chang, Hyejung. "Mapping the web of landscape aesthetics a critical study of theoretical perspectives in light of environmental sustainability /." 2009. http://www.lib.ncsu.edu/theses/available/etd-03212009-161306/unrestricted/etd.pdf.
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Wang, Szu-Pin, and 王思蘋. "Human reality and aesthetic effect of Valle-Inclan: A study of Bohemian Lights and The Grotesque Farce of Mr. Punch the Cuckold." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/q25fah.
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碩士靜宜大學
西班牙語文學系研究所
94
Ramon Maria de Valle-Inclan (1866-1936) is considered as one of the most eminent and innovative Spanish playwrights in the twentieth century. His particular insight and his inventive genius has established Valle-Inclan’s absolute prestige on the contemporary literature stage and brought a great influence upon the later generation; above all, his aesthetic perception of the world. This dissertation concentrates on two famous dramas of Valle-Inclan in his period of esperpentos: Bohemian Lights (1920) and The Grotesque Farce of Mr. Punch the Cuckold (1925), which is one work in a trilogy (Shrove Tuesday). In brief, both of them focus on the problem of social reality, including remarks on some traditions of militarism, political corruption of the Primo de Rivera regime, social injustice and a series of the inevitable plight of humankind; Valle-Inclan expressed his sharp voice of dissent against that Spanish authority. For the same reason, most of his plays couldn’t be performed in Spain until the end of the Franco regime. In these works of the Esperpento, Valle-Inclan has changed his former creative style and presents his main idea with his harsh tone, a distorting burlesque technic. Through it, he expresses wholly his dissatisfaction for the monstrous society and starts by debunking the anguish and frustration of the human existence. Although the author has indicated that most of the characters of the works in this period were to be performed in the style of the puppet, with which he wants to satirize the absurd condition of humanity, we can discover that the image of the protagonist appears under a dual nature of man and marionette. The individual is confused with his own identity, his incapability and his insecure feelings in front of the reality; all of these produces the disconnection of the individual and the environment, and then will result in the catastrophe. This dissertation will concentrate on four hypotheses in order to analyze systematically the key meaning of these two dramas: (a) Can we observe the identity crisis of the individual during the performance of the esperpento? (b) How does the author present the absurdity of the human reality by way of some roles’ image dualism? (c)How does the author interpret the disappearance of the tragic feeling which exists in those characters, and what is its function? (d) How does the author interpret the meaning of esperpento in those characters and their unfortunate ending through his personal aesthetic attitude? Besides the introduction and the conclusion, this present dissertation is divided into four chapters. In the introduction, we bring up our motivation, the method of analyze, a review of literature, the above-mentioned hypotheses and research suggestions for opening new field on this topic. In Chapter one, we intend to introduce our playwright and the key process of his literary creation, furthermore, we classify the genre of those two dramas. In Chapter two, we describe a lot of characters in order to seize the intention of Valle-Inclán. In addition, we analyze the basic theatrical structure and the idea of time and space. Chapter three is the main part of the dissertation, we analyze the human reality through six themes: dignity, honor, death, dishonesty, auto-dramatization and auto-consciousness; all of them have a deep connection with the two dramas, and through them we try to investigate the profound meaning of the human reality. In Chapter four, we discuss the aesthetic effect through the different perspectives established by Valle-Inclan. Besides, we explain our judgment about the Esperpento as an artistic work. The final part contains the conclusions of the study in which we answer the initial questions provided in the dissertation. The study has reiterated the absolute connection between the writings and his aesthetic ideology; hence, we think that the author wants to transmit some inspired message through those works. In accordance with this issue, we hope that many other people may be interested in this writer and can further study his aesthetic views in others plays.
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Hsiao, Hui Hsin, and 蕭惠幸. "Mentor Ven. Hiu Wan and Mentor A Light of Zen art and aesthetics – The exposition of Hsiao, Hui Hsin’s creative painting and calligraphy." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/q6sh35.
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碩士華梵大學
美術學系碩士班
102
In the 1960s, after western modernism removed restraints of the forms and media of Chinese painting and calligraphy, all forms of Chinese painting and calligraphy flourished. Moreover, postmodernism even deconstructed Chinese painting and calligraphy by way of pluralism. In the ambiance of revolution and pluralism, the aspects of Chinese painting and calligraphy in Taiwan were fully liberalized and expanded. In the fickle trend of the times, responding to the change of the times with ever-changing forms has been the inevitable characteristics of pluralism and multi-meaning of contemporary art. How to respond to the characteristics of the times and consider the essence and connotations of Chinese painting and calligraphy is a concerned issue for every art creator. This thesis is focused on Master Ven. Hiu-Wan’s Zen poems and paintings and Huang Chin-Ling’s Zen calligraphy and meditative mind. The author has sorted out some contexts and directions of their art of Chinese painting and calligraphy, influenced by Buddhism and Zenism, their study of poetry and Chinese painting and sublimation of their works in hopes of benefitting to the future researchers. The author also hopes that contemporary Chinese painting and calligraphy creators can transcend the external appearance and symbols of the symbolic form and put more efforts on the depth of cultural connotations and deposits. As to how to build the form of expression of the style of Chinese painting and calligraphy and simultaneously internalize the highly aesthetic conception of the artistic spirit of Chinese painting and calligraphy so as to make the special media of Chinese painting and calligraphy in modern art carry and maintain the Chinese people’s exclusive, cultural, aesthetic connotations, artists in the past had their unique thoughts and the wondrous treatise of “emptiness” and “existence” in Buddhist prajñā even directly affected the sublimation of artists’ soul. The Buddhist thought of emptiness and existence is full of sublime states. Therefore, in terms of religion’s influences on the development of Chinese art, what’s superior is the intangible state of prajñā. Prajñā’s thought of emptiness and existence is unique in the development of Zen wisdom in Chinese Buddhism. It enables people to understand the Buddhist symbols and helps them transcend life and death. Buddhism says, “Myriad dharmas return to the One.” The One here means one thought. Buddhism says “Myriad dharmas arise from the mind alone.” Thus, the more active the mind is, the richer the artistic state is. The thesis takes Master Ven. Hiu-Wan’s Zen poems and paintings and Huang Chin-Ling’s creation of Chinese painting and calligraphy as an example. The Zen conception, Buddhist classics connotations and the civilization and influence of the combination of Buddhism and art are unique styles and directions in the art of Chinese painting and calligraphy. During the process of writing the thesis, the focus on Buddhist scriptures, Zen poems and paintings has broadened the author’s horizons. Analyzing the theories and practicing Buddhism has not only changed the author’s life but also enlightened her wisdom. Writing the thesis has been a fruitful experience. Life opens up and becomes transparent as it strikes the author that she is not herself but a mortal. I hope the thesis can serve to encourage and inspire those who like Chinese painting and calligraphy.
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Burks, Marlo A. "DAS LICHT DER KÜNSTE: HUGO VON HOFMANNSTHALS DIE FRAU OHNE SCHATTEN MIT BLICK AUF WALTER PATERS THE RENAISSANCE." 2011. http://hdl.handle.net/10222/14252.
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Hugo von Hofmannsthal’s literary relation to Walter Pater has already been established in
the secondary literature; nevertheless, the Frau ohne Schatten has not been analysed with
respect to this relation. This project investigates the role of the arts (especially that of
architecture, painting, poetry, music and the carpet) in the story and connects this role
with the aesthetics that Pater sets out in The Renaissance. It will be shown that art in its
various forms is closely connected to the plot and action of the story. In the work of Pater
and Hofmannsthal, art even has a vivifying or animating function. Important
characteristics of art for Hofmannsthal and Pater are the relation of the arts to and
amongst one another, the idea that all things flow (following Heraclitus’ panta rhei, Gr.), and the concept of Anders-streben. The world of art and the world of reality
in its everyday sense will be shown through their ambiguous and even paradoxical
relation to one another. Hugo von Hofmannsthals literarisches Verhältnis zu Walter Pater ist in der
Sekundärliteratur schon belegt; trotzdem ist Die Frau ohne Schatten hinsichtlich dieses
Verhältnisses nie analysiert worden. Diese Arbeit untersucht die Rolle der Künste
(besonders der Architektur, Malerei, Dichtung, Musik und des Teppichs) in der
Erzählung und verbindet diese Rolle mit der Ästhetik, die Pater in The Renaissance
darlegte. Es wird gezeigt, dass die Kunst in ihrer verschiedenen Gestalten sehr eng mit
der Handlung der Erzählung verbunden ist. Bei Pater und Hofmannsthal hat die Kunst
sogar eine belebende Wirkung. Wichtige Merkmale der Kunst für Hofmannsthal und
Pater sind das Verhältnis der Künste untereinander, die Idee, dass alles fließt (nach
Heraklits panta rhei, Gr.), und das Konzept des Anders-strebens. Die Welt der
Kunst und die Welt der Wirklichkeit im alltäglichen Sinne werden durch ihre vieldeutige
und zumal paradoxe Beziehung zueinander gezeigt.