Thematische Bibliographien / Light in art

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Light in art“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 1. August 2024

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Zeitschriftenartikel zum Thema "Light in art"

1

Hutchinson, John. „Art Projects: Light Matters“. Circa, Nr. 70 (1994): 36. http://dx.doi.org/10.2307/25562736.

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Hecht, Jeff. „How light saved art“. New Scientist 224, Nr. 2995 (November 2014): 50. http://dx.doi.org/10.1016/s0262-4079(14)62199-0.

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Asmus, John F. „Light for Art Conservation“. Interdisciplinary Science Reviews 12, Nr. 2 (Juni 1987): 171–79. http://dx.doi.org/10.1179/isr.1987.12.2.171.

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Csinos, David M. „Light Art, Street Art, and the Art of Preaching: Sound-and-Light Shows as Public Proclamation“. International Journal of Homiletics 4, Nr. 1 (01.10.2020): 74–87. http://dx.doi.org/10.21827/ijh.2020.39506.

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This article examines how the phenomenon of sound-and-light shows fulfills the purposes of preaching and, as such, can be perceived as a form of public proclamation. Originating in France but now offered all over the world, these shows use large-scale video projection to display images on the facades of historic buildings, many of which are religious in nature, set to sound effects and music. The author begins by addressing three purposes of preaching that arise within homiletical discourse: testimony of God’s story, empowering transformation, and engendering encounters with God. Drawing from recent qualitative research into spectators’ experiences at sound-and-light shows, the author then examines how three specific shows serve as case studies that demonstrate that, while not sermons, they can indeed fulfill each of the purposes of preaching. As such, these spectacles can be seen as a vibrant form of proclamation amidst contemporary public settings.
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LESENCIUC, Adrian. „AMERICAN ART EDUCATION IN THE LIGHT OF GLOCALIST APPROACH“. Review of the Air Force Academy 16, Nr. 3 (19.12.2018): 99–103. http://dx.doi.org/10.19062/1842-9238.2018.16.3.12.

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Lee, Jeehee. „Using Shadow in Light Art“. CONTENTS PLUS 13, Nr. 4 (30.06.2015): 23–36. http://dx.doi.org/10.14728/kcp.2015.13.04.023.

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Asmus, John E. „More light for art conservation“. IEEE Circuits and Devices Magazine 2, Nr. 2 (März 1986): 6–15. http://dx.doi.org/10.1109/mcd.1986.6311800.

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Harris, Jack. „Art and the electric light“. Interdisciplinary Science Reviews 24, Nr. 1 (Januar 1999): 1–13. http://dx.doi.org/10.1179/isr.1999.24.1.1.

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Edensor, Tim. „Light Art, Perception, and Sensation“. Senses and Society 10, Nr. 2 (04.05.2015): 138–57. http://dx.doi.org/10.1080/17458927.2015.1042228.

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Spiridonova, Anna M. „LIGHT IN THE WORKS OF GIACOMO BALLA IN THE PERSPECTIVE OF LIGHT ART GENESIS“. Russian Studies in Culture and Society 7, Nr. 4 (30.12.2023): 144–63. http://dx.doi.org/10.12731/2576-9782-2023-4-144-163.

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The article is devoted tо the specific question in Russian art history – to the problem of light in the works of J. Balla from the perspective of Light art genesis. The insufficiently researched genesis of light art .in Modernism and Italian Futurism is followed by the incomplete understanding of phenomenon. This circumstance requires an appeal to the historical roots of Light art, particularly, to the period when artists started including artificial light into the practice of fine art and started using it as a medium. As a result of the research in the art of J. Balla the genesis of Light art has been revealed. The article examines the consistent change in the approach to light in the main futuristic manifestos and works of art. In Balla’s paintings of the 1910s, light was used as an image and element of art, while in plastic complexes and scenography of the theatrical production “Fireworks” it was used as a material (medium). The ballet “Fireworks” is proposed to be considered as prototypical work of light art. The results of the study can be used in the art historical research and cultural analysis of the history and modernity of light art. The research methodology is based on the art historical analysis of texts and works of art, as well as on the comparative method.
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Dissertationen zum Thema "Light in art"

1

Csinos, David M. „Light Art, Street Art, and the Art of Preaching: Sound-and-Light Shows as Public Proclamation“. Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72283.

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This article examines how the phenomenon of sound-and-light shows fulfills the purposes of preaching and, as such, can be perceived as a form of public proclamation. Originating in France but now offered all over the world, these shows use large-scale video projection to display images on the facades of historic buildings, many of which are religious in nature, set to sound effects and music. The author begins by addressing three purposes of preaching that arise within homiletical discourse: testimony of God’s story, empowering transformation, and engendering encounters with God. Drawing from recent qualitative research into spectators’ experiences at sound-and-light shows, the author then examines how three specific shows serve as case studies that demonstrate that, while not sermons, they can indeed fulfill each of the purposes of preaching. As such, these spectacles can be seen as a vibrant form of proclamation amidst contemporary public settings.
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2

Dracoulis, Wendy Fay, und wdracoulis@gmail com. „Coloured light“. RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080102.093428.

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This project involves the examination of abstract, geometric paintings, kinetic sculptures, electronic art and installations that use opticality, perspectival space and colour relationships that destabilise compositional cohesion. Works made between 1964 and 1980, particularly those by Victor Vasarely and Bridget Riley are referenced in the determination of how geometric forms, colour transitions, interactions and juxtapositions have been used to suggest movement. This enquiry includes a review of the usage of planar space and the creation of optical effects. Artworks such as Bridget Riley's Chant 2, (1967) inform new works in which available digital technological processes are utilised. These new works consist mainly of compositions of line and coloured forms and are created in response to the outcomes of the research into the selected works. For example, static works that create movement through the use of colour and geometric form inform the creation of new w ork in media that uses motion. The artworks produced are installation-based works. The works include digital projections and static images that use painting processes as well as digital media. The objective of the project is to produce artworks that reference painting processes and extend explorations into colour usage designed to maximise optical effects and spatial disorientation. The artworks are intended to reflect elements researched whilst maximising the potential for using new media.
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Kotze, Willem Riaan. „Art Workshop : contextual architecture in light“. Diss., Pretoria : [S.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11272008-000720.

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Dutro, Anna R. „An Art-Light Mosaic Light Distraction for the Pediatric Healthcare Environment“. Diss., Virginia Tech, 2016. http://hdl.handle.net/10919/73543.

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In his classic book, Experiencing Architecture, Rasmussen (1959) noted that architects inspired by addressing problems in built environments created buildings with a special spirit: a distinctive stamp. Recent problems in healthcare facilities, specifically those related to reducing stress and anxiety, have inspired designers to create positive, uplifting distractions to redirect a patient's attention from a sterile environment and/or noxious event. In doing so, healthcare facilities have become special environments with a caring spirit. This study examined a specific aspect of creating a caring environment: determining whether or not a positive distraction, a child's art-light mosaic movie developed by the researcher, would lower pain and distress in children 4, 5, and 6 years old during an immunization procedure. The researcher conducted a randomized controlled study in two locations using a child's self-report pain scale, heart rate, parent/guardian report, and nurse report measures. After collecting and analyzing data from 76 well-participants receiving one to five immunizations, the researcher found no statistically significant difference between the conditions for any of the measures. Thus, the null hypothesis, the art-light mosaic image would not assist in lowering pain and distress in pediatric patients, 4 to 6 years old, during an immunization procedure, was not rejected. From these results, the researcher recommended future studies incorporate training the parent and child on how to use the distraction, combine the distraction with a topical analgesic, provide a clear understanding of pain and distress from the child's point of view, and develop more sensitive self-report measures of pain for children.
Ph. D.
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Edmonds, Anne, University of Western Sydney, of Arts Education and Social Sciences College und School of Contemporary Arts. „Light as surface and intensity“. THESIS_CAESS_CAR_Edmonds_A.xml, 2003. http://handle.uws.edu.au:8081/1959.7/561.

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Light Intensity and Surface is the title of this PhD art exhibition where I explore through paintings, the world of my own encounter with the radiant light of the Linear Accelerator used in treatment of women with breast cancer. This engagement with the world of light technology encompasses oncologists, physicists and women who extended their personal experience to inform my artwork and contribute to the theoretical connections made in this thesis. The contribution of this thesis lies in how the lecture The Origin of the Work of Art by philosopher Martin Heidegger can be applied to a reading of great artworks that are separated in time, space and culture but connected in their subject: Light. It was his philosophy that helped shape the connections between where art originates and what springs from the artwork itself. The concept of light in the title of this thesis refers to Heidegger’s notion of the clearing seins Lichtung-the lighting centre- the medium that holds one being to another from where the idea for an artwork springs in the artist. Surface relates to the attunement of artists throughout history to the new particularly in the science of controlling light which influences the way artists achieve the material appearance of their artwork. Intensity refers to the level of openness to the mystery of light in both physicists and artists to create and control some thing that stabilises a community and remains a source of wonder. This thesis demonstrated how artists have responded to the new light technology with a way of seeing that created a depth dimension that bridges cultural worlds to unearth the breath of something often most effectively communicated by being silent
Doctor of Philosophy(PhD)
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Lindholm, Kevin R. „Looking For Light“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276670352.

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Nikolic, Bojana. „Light art in Contemporary Architectural Lighting Design“. Thesis, KTH, Ljusdesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-208660.

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This research focuses on understanding the relationship betweenlight art and architectural lighting design and determining towhat extent can aspects of light art be used when designingfunctional lighting for architecture.The first part of this paper looks into the historical applicationof light as a material. Light has been an important element inart even prior to the introduction of artificial light sources, butthe exploration of light as an independent material throughinstallation art only developed in the last century. Similarly inarchitecture, the impact of light on creating and shaping spaceshas been recognized since ancient times, yet it was much longerbefore the development of lighting design as an autonomousdiscipline.In recent years there is an increased need for creative expressionfrom lighting designers who are pushing the boundaries ofcommunication through light. In order to understand the extentto which successful innovative lighting schemes can drawinspiration from artwork, this research further analyses keyvisual and emotional properties of light art, as well as potentialconstraints of functional spaces. Distinction of roles of the artistand designer as well as the conditions in which they work withthe medium of light pose a challenge in relating these twodisciplines.Findings from first two parts of this research are further used toanalyse an example of an architectural lighting project, to drawconclusions about light art’s applicability to functional lighting.
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Villalobos, Hitos Yéssica Montsserrat. „Shedding Light on Droughts: Light in Art Installations as an Awareness Tool“. Thesis, KTH, Ljusdesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280084.

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The master thesis studies the value of light art installations as a tool to raise awareness, communicate messages,inspire people and create social engagement to take action and deal with important issues. Additionally, it researchesthe lighting characteristics that have to be considered in order to create a high emotional response. Three case studieson light art installations tackling environmental issues were selected to understand the tools that makes themsuccessful. The final result of the thesis is the design proposal for a site specific light art installation to raise awarenesson droughts and its effects - following the CLUE competition 2019 guidelines - and create social engagement to fightthis major crisis. Specifically, the installation uses daylight in combination with shadows and reflections, in order toachieve the purpose of the installation. In the interest of creating a strong emotional response from the visitors,brightness, color, dynamics, contrast and direction of the perceived light were used to change the visitor’s perception ofthe space. The thesis concludes with the discussion of the evaluation of the installation to prove how effective thedesign is to achieve its purpose on raising awareness on droughts and the presence of the 7 light characteristics inorder to create an emotional response from the visitors.
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Manninen, Mateus. „The Roles of Light: Artificial Light as a Resource in Public Art“. Thesis, KTH, Ljusdesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-289198.

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In this paper, I will explore the role of artificial light in public art through a case study project. With the word role, I mean the visual and conceptual hierarchy of materials and resources in artwork. Light is a significant resource in public art. The artwork needs highlighting, especially in Northern countries where the winter’s darkness is inevitable. Light is not only a highlighter, it also tells a story of its own. 
First, I’m going to open up the concepts of public space, public art, light in public art and light art, to place the study in context. The literature review in the first part of the study allows better insight into the relation of light, public art, and light art.
The second part introduces the selected case study project, which is a concept design of a landscape artwork competition, for Tramway art in Tampere, Finland. Richard Kelly’s perceptual theory will be used to discuss the observations from the case study. Kelly’s theory consists of three fundamental elements of visual design: ambient luminescence, focal glow and play of brilliants.
The researcher’s subjective experience in the case study discusses with the documentations and observations of the project, to explore the circumstances and to examine the boundary conditions of the case study project. 
The role of artificial light in public art can be functional and make the space visible; it can be a highlighter and drag the focus into the artwork; or it can be the artwork itself. With the findings of the case study, I will divide the roles of artificial light in public art in functional, supporting and leading.
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Merritt, Zachary. „Oscillations of the Unadorned Light Bulb“. Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400072401.

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Bücher zum Thema "Light in art"

1

Barzel, Amnon. Light art: Targetti Light Art Collection. Milano: Skira, 2006.

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Schober, Helmut. Helmut Schober: Light = licht. Milan: Electa, 1998.

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Perkowitz, S. Empire of light: A history of discovery in science and art. New York: Henry Holt, 1996.

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Gross, Hinrich. Hinrich Gross: Ereignis Licht = Incident light. Bielefeld: Kerber Verlag, 2015.

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Achim, Lipp, Zec Peter und Hamburger Kunsthalle, Hrsg. Mehr Licht: Künstlerhologramme und Lichtobjekte = More light. Hamburg: Fielmann, 1985.

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Peter, Weibel, Jansen Gregor 1965- und Museum für Neue Kunst (Karlsruhe, Germany), Hrsg. Light art from artificial light: Light as a medium in 20th and 21st century art = Licht Kunst aus Kunst Licht : Licht als Medium der Kunst im 20. und 21. Jahrhundert. Ostfildern: Hatje Cantz, 2006.

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Figes, Eva. Light. London: Pallas Athene, 2007.

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Elder, David. Art of William Light. Adelaide, S. Aust: Corp. of the City of Adelaide in association with Wakefield Press, 1987.

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Joerg, Miedza, und Rossbach G. (Gerhard), Hrsg. Painting With Light: Light Art Performance Photography. Santa Barbara, CA: Rocky Nook, 2011.

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Monem, Nadine Käthe. Light show. London ; Köln: first published by Hayward Publishing in association with Koenig Books, 2013.

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Buchteile zum Thema "Light in art"

1

Rossing, Thomas D., und Christopher J. Chiaverina. „Symmetry in Art and Nature“. In Light Science, 281–302. New York, NY: Springer New York, 1999. http://dx.doi.org/10.1007/978-0-387-21698-0_13.

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Lozano, Jorge Sebastián. „Infused with Light“. In Religion and Contemporary Art, 207–26. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003326809-17.

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Milliner, Matthew J. „Cities of Light“. In Religion and Contemporary Art, 281–91. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003326809-23.

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Pirrie, Anne. „Travelling light“. In Virtue and the Quiet Art of Scholarship, 64–81. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Routledge research in higher education: Routledge, 2018. http://dx.doi.org/10.4324/9781351044356-5.

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Ranald, Lawrence. „‘Drawn from the light’“. In The Victorian Art School, 84–119. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003020288-4.

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Murry, Natalie. „Light on the Face“. In Digital Forensic Art Techniques, 125–30. Boca Raton, FL : CRC Press, [2018]: CRC Press, 2018. http://dx.doi.org/10.4324/9781351047166-8.

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Ratledge, David. „Overcoming Light Pollution“. In The Art and Science of CCD Astronomy, 111–21. London: Springer London, 1997. http://dx.doi.org/10.1007/978-1-4471-0633-3_10.

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Clover, Darlene E., und Emily Stone. „Casting Light and Shadow“. In Adult Education, Museums and Art Galleries, 191–201. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-687-3_16.

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Johnson, Linda. „Conclusion: Darkness to Light“. In Art, Ethics and the Human-Animal Relationship, 287–98. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78833-9_8.

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Pelss, A., J. Morscheiser, S. Radwitz, J. Kremer und A. Gilles. „Benchmark and Practical Application of State of the Art Hydrogen Monitoring“. In Light Metals 2020, 944–50. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36408-3_127.

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Konferenzberichte zum Thema "Light in art"

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Wu, Jiangmei (Mei). „Zushiki light art“. In SIGGRAPH '16: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2929464.2956557.

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Temkin, Daniel. „Light pattern“. In ACM SIGGRAPH Art Papers. New York, New York, USA: ACM Press, 2015. http://dx.doi.org/10.1145/2810177.2810184.

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Jinsil, Seo, und Corness Greg. „Light strings“. In SIGGRAPH Asia 2012 Art Gallery. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2413076.2413091.

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Sauter, Daniel. „Light Attack“. In ACM SIGGRAPH 2006 Art gallery. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178977.1179087.

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Vázquez Navarrete, Edith G., Karen P. Volke Sepúlveda und Gerardo García Luna Martínez. „Design of immersive scenarios and pieces of light art“. In Light in Nature IX, herausgegeben von Joseph A. Shaw, Katherine Creath und Vasudevan Lakshminarayanan. SPIE, 2022. http://dx.doi.org/10.1117/12.2631893.

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Hardie, Peter. „Light on Water“. In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1186001.

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Jha, Pranav Kumar, Neha Mishra und D. Sriram Kumar. „Challenges and potentials for visible light communications: State of the art“. In LET THERE BE LIGHT: Reflections of a Congress on Light. Author(s), 2017. http://dx.doi.org/10.1063/1.4984154.

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Gedzelman, Stanley David. „The Sky in Science and Art“. In Light and Color in the Open Air. Washington, D.C.: Optica Publishing Group, 1990. http://dx.doi.org/10.1364/lcoa.1990.the1.

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The present sharp division lines drawn between the arts and sciences represent an historical anomaly. For centuries, artists were among the premier observers of nature and, as in the case of Leonardo da Vinci, were sometimes also scientists or engineers themselves. The range of artists' observations is impressive and includes the overall climatic environment, the colors of the sky, many of the atmospheric optical phenomena, cloud forms, and even indications of changing weather situations (Gedzelman, 1989). There are numerous cases in which artists depicted atmospheric phenomena long before they were identified by scientists.
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Pratt, Louis, und Nico Pietroni. „Bending the Light: Next generation anamorphic sculptures“. In SA Art Gallery '23: ACM SIGGRAPH Asia 2023 Art Gallery. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3610537.3622956.

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Spiridonova, Anna. „LIGHT EXPERIMENTS IN RUSSIAN AVANGARD ART“. In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s12.001.

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Berichte der Organisationen zum Thema "Light in art"

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Manuel, A. M. ARC Stray Light Mitigation. Office of Scientific and Technical Information (OSTI), Januar 2015. http://dx.doi.org/10.2172/1183552.

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Barnes, G. A. Light duty utility arm startup plan. Office of Scientific and Technical Information (OSTI), September 1998. http://dx.doi.org/10.2172/341309.

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Barnes, G. A. Light duty utility arm startup plan. Office of Scientific and Technical Information (OSTI), März 1998. http://dx.doi.org/10.2172/362546.

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Smalley, J. L. Light duty utility arm walkdown report. Office of Scientific and Technical Information (OSTI), September 1998. http://dx.doi.org/10.2172/362549.

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Siewert, Thomas A. Control of gas-metal-arc welding using arc-light sensing. Gaithersburg, MD: National Institute of Standards and Technology, 1995. http://dx.doi.org/10.6028/nist.ir.5037.

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Howden, G. F., R. B. Conrad und G. R. Kiebel. Light Duty Utility Arm System hot test. Office of Scientific and Technical Information (OSTI), Februar 1996. http://dx.doi.org/10.2172/483363.

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7

Kiebel, G. R. Light duty utility arm baseline system description. Office of Scientific and Technical Information (OSTI), Februar 1996. http://dx.doi.org/10.2172/493348.

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Kiebel, G. R. Light duty utility arm software requirements specification. Office of Scientific and Technical Information (OSTI), Dezember 1995. http://dx.doi.org/10.2172/434914.

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Kiebel, G. R. Light Duty Utility Arm Software Test Plan. Office of Scientific and Technical Information (OSTI), Dezember 1995. http://dx.doi.org/10.2172/434916.

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Clement, Timothy, und Brett Vaughan. Evaluation of a mobile learning platform for clinical supervision. University of Melbourne, 2021. http://dx.doi.org/10.46580/124369.

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Context: This report details a formative evaluation of the Clinical Supervision Online (CSO) course, a fee-paying, fully online ‘light touch’ program of study for clinical supervisors offered by the Melbourne Medical School, which was developed in conjunction with the University’s Mobile Learning Unit. The course requires between six to ten hours of self-directed study and is designed for any clinicians who teach. Methods: Evaluation of the course was guided by Rossi, Lipsey and Freeman’s (2004) approach to program evaluation, addressing the need for the course, its design, implementation, impact, and return on investment. Data were collected through interviews with key informants, document analysis, an embedded student survey, learning analytics data, financial data, and an audit against ‘best practice’ standards for online course design. Findings: The findings suggest that course development was driven by both a financial imperative and genuine concern to meet training needs of clinical supervisors. Two hundred and four students enrolled on the course in its first 18 months. This has been enough to cover its developmental costs. In relation to 64 quality standards for online course design, the level of performance was rated as ‘meets’ for 44 items; ‘exceeds’ for one item; ‘developing for 13 items’; and, ‘non-existent’ for six items. An additional 33 items were identified as ‘not applicable’ for the ‘light touch’ course design. Significance: From a learning design perspective there is much to like about the CSO course and the outcome of assessing it against the standards for ‘best practice’ online course design suggests that an evolutionary approach - making incremental changes - could improve the course whilst retaining its existing ‘light touch’ format. The CSO course on its own is unlikely to realise the depth of achievement implied in the course aims and learning outcomes. The CSO course may best be seen as an entrée into the art of clinical supervision.
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