Artículos de revistas: "Light in art"

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Hutchinson, John. "Art Projects: Light Matters". Circa, n.º 70 (1994): 36. http://dx.doi.org/10.2307/25562736.

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2

Hecht, Jeff. "How light saved art". New Scientist 224, n.º 2995 (noviembre de 2014): 50. http://dx.doi.org/10.1016/s0262-4079(14)62199-0.

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3

Asmus, John F. "Light for Art Conservation". Interdisciplinary Science Reviews 12, n.º 2 (junio de 1987): 171–79. http://dx.doi.org/10.1179/isr.1987.12.2.171.

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4

Csinos, David M. "Light Art, Street Art, and the Art of Preaching: Sound-and-Light Shows as Public Proclamation". International Journal of Homiletics 4, n.º 1 (1 de octubre de 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, n.º 3 (19 de diciembre de 2018): 99–103. http://dx.doi.org/10.19062/1842-9238.2018.16.3.12.

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6

Lee, Jeehee. "Using Shadow in Light Art". CONTENTS PLUS 13, n.º 4 (30 de junio de 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, n.º 2 (marzo de 1986): 6–15. http://dx.doi.org/10.1109/mcd.1986.6311800.

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8

Harris, Jack. "Art and the electric light". Interdisciplinary Science Reviews 24, n.º 1 (enero de 1999): 1–13. http://dx.doi.org/10.1179/isr.1999.24.1.1.

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9

Edensor, Tim. "Light Art, Perception, and Sensation". Senses and Society 10, n.º 2 (4 de mayo de 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, n.º 4 (30 de diciembre de 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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11

김재원. "A Research for Figurative Language of Media Technology Art Using Light - Focusing on Light Art -". Journal of Korea Design Forum ll, n.º 24 (agosto de 2009): 53–66. http://dx.doi.org/10.21326/ksdt.2009..24.005.

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Sookkaew, Jirawat, Nakarin Chaikaew y Pheeraphon Changjaikla. "Interactive Light Art: The Illumination of Art and Technology Merging". International Journal of Engineering Trends and Technology 71, n.º 12 (6 de diciembre de 2023): 308–23. http://dx.doi.org/10.14445/22315381/ijett-v71i12p229.

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13

Giese, Francine. "Eastern Light". Manazir Journal 3 (7 de marzo de 2022): 93–109. http://dx.doi.org/10.36950/manazir.2021.3.7.

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Islamic colored glass windows (qamarīyāt) have long been disregarded by scholarship despite their popularity with nineteenth-century travelers. Their vibrant light and bright colors have sparked the enthusiasm of artists, architects, and collectors who depicted, recreated, and displayed this fragile art form. By focusing on the British architect James William Wild, the eccentric traveler and art collector Karl von Urach, and the iconic American artist Louis Comfort Tiffany, this contribution will highlight the artistic and cultural significance of qamarīyāt as an expression of the intense colors of the East.

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Заваркина, Марина y Антон Храмых. "MOTIF OF LIGHT IN “AUTUMN LIGHT” BY B. ZAYTSEV". Проблемы исторической поэтики 13 (2015): 647–61. http://dx.doi.org/10.15393/j9.art.2015.3442.

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15

James, Liz. "Light and Colour in Byzantine Art". Journal of Aesthetics and Art Criticism 57, n.º 4 (1999): 487. http://dx.doi.org/10.2307/432168.

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Сапенько, Роман. "Art in the Light of Posthumanism". Artistic Culture. Topical Issues, n.º 15(1) (29 de mayo de 2019): 28–33. http://dx.doi.org/10.31500/1992-5514.15(1).2019.168976.

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17

Balter, M. "New Light on the Oldest Art". Science 283, n.º 5404 (12 de febrero de 1999): 920–22. http://dx.doi.org/10.1126/science.283.5404.920a.

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18

Weber, Sally, Bruce Campbell y Francesca Samsel. "Sally Weber: Making Art from Light". IEEE Computer Graphics and Applications 38, n.º 3 (mayo de 2018): 8–12. http://dx.doi.org/10.1109/mcg.2018.032421648.

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19

Fischer, Martin. "Shedding new light on old art". Physics World 26, n.º 12 (diciembre de 2013): 19–23. http://dx.doi.org/10.1088/2058-7058/26/12/30.

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20

Marsden, Kevin y James J. Robinson. "Light Metals — State of-the-Art". JOM 38, n.º 11 (noviembre de 1986): 39–41. http://dx.doi.org/10.1007/bf03257620.

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21

Biemel, Walter. "Art in the light of phenomenology". Human Studies 18, n.º 4 (octubre de 1995): 337–50. http://dx.doi.org/10.1007/bf01318615.

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22

Erel, Yael, Foteini Kyriakidou y Rodrigo Eduardo Muro Avendano. "Urban Illuminations – Light Art Activating The Public Realm". IOP Conference Series: Earth and Environmental Science 1320, n.º 1 (1 de marzo de 2024): 012012. http://dx.doi.org/10.1088/1755-1315/1320/1/012012.

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Abstract How can contemporary light art installations impact the sensorial perception of the urban context to modify and reinterpret urban space? In Robert Irwin’s words, how can they provide “…an extended way of looking at the world”? In this paper, we examine how temporary light installations may impact the public realm by modifying citizens’ perceptions of moments in the city: a habitual urban passage is interrupted with a temporal experience, changing the way the urban space is experienced. We explore how site-specific light installations create unique intersections of audience and spatial perception through the artists’ intent of creating new urban atmospheres through an experiential layer added onto the urban fabric during light festivals. To do so we analyze and discuss two light installations that we designed and executed, which were shortlisted for the 2022 [d]arc awards. Both projects took part in larger urban light festivals and were located within urban passages. “Reflecting on Troy” [Author 1 - Troy Glow Light Festival] created a temporal light graffiti in an urban alley, while “Riddle 102” [Authors 2,3 - Nobel Week Lights], a dynamic lighting installation in a 231m pedestrian tunnel, created an immersive environment that alters the perception of the tunnel’s physical dimensions. Through reflections, as well as visitor and curator reviews, we unpack the intent and impact of the works on the perception of the urban context. We discuss and analyze the similarities and differences between the two urban settings, identify the design processes and principles pertinent to site-specific light installations [materials, lighting fixtures, testing] and address the impact darkness and over-lit spaces have over spatial perception. Lastly we discuss the impact a temporary light installation may have on the collective memory of the city, perceived in person or online.

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23

Crickmay, Chris. "Light-Dark-Light-Heavy: Reflections on an art–dance collaboration". Journal of Dance & Somatic Practices 7, n.º 1 (1 de junio de 2015): 143–54. http://dx.doi.org/10.1386/jdsp.7.1.143_1.

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Kim, Dong-jo. "Implementation of Light Art Work Utilizing the Afterimage of Light". Journal of Next-generation Convergence Information Services Technology 5, n.º 1 (30 de junio de 2016): 27–34. http://dx.doi.org/10.29056/jncist.2016.06.04.

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Dutton, Zachary, Naomi S. Ginsberg, Christopher Slowe y Lene Vestergaard Hau. "The art of taming light: ultra-slow and stopped light". Europhysics News 35, n.º 2 (marzo de 2004): 33–39. http://dx.doi.org/10.1051/epn:2004201.

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Castellano Arroyo, M. "The doctor-patient relationship in the light of telemedicine". ANALES RANM 138, n.º 138(02) (31 de agosto de 2021): 143–49. http://dx.doi.org/10.32440/ar.2021.138.02.rev04.

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The doctor-patient relationship was the origin of Medicine and after more than 40 centuries, the medical act, with its important changes, is still the centre of this Medicine that is, more than ever, science and art. Knowing these changes allows us to maintain the quality of the doctor-patient relationship and optimal health care. XXI century´s Medicine uses all the technological advances taking benefits for the medical act; the best example has been the introduction of Telemedicine. Bringing technology, computing and digitalization to a purely human relationship is not exempt from risks; it will be necessary to identify them and eliminate the disadvantages that all this may mean as an element contrary to humanity that must always characterize the medical act and health care. Objectives of Medicine science-and-art must become one in the use of Telemedicine at each personalized medical act.

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27

Kirkland, Alessia H. "Optics & Art". Optics and Photonics News 33, n.º 7 (1 de julio de 2022): 30. http://dx.doi.org/10.1364/opn.33.7.000030.

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28

Godshaw, Reid. "The Art and Science of Light Painting". STEAM 2, n.º 2 (noviembre de 2016): 1–3. http://dx.doi.org/10.5642/steam.20160202.23.

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29

Lim, Yeonjung. "Light-color and the play of art". Studies in Philosophy East-West ll, n.º 84 (junio de 2017): 263–88. http://dx.doi.org/10.15841/kspew..84.201706.263.

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30

Scott, Heather Gilderdale. "Art of Light: German Renaissance Stained Glass". Renaissance Studies 22, n.º 4 (septiembre de 2008): 576–83. http://dx.doi.org/10.1111/j.1477-4658.2008.00496.x.

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31

Grallert, Margot. "Catching the Light: “Doing Art” and Education". Leonardo 42, n.º 2 (abril de 2009): 138–44. http://dx.doi.org/10.1162/leon.2009.42.2.138.

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Drawing upon the author's experience as a painter and visual art consultant in a public elementary school, this paper describes how “doing art” applies to the artistic thought process. The artwork of Joseph Beuys provides an historical perspective. The author shows how Beuys' use of three-dimensional form parallels her own work with color; like Beuys, she identifies an educational value behind “doing art.” She also reviews cognitive-science literature in light of her experience. She hopes that this paper will encourage scientists to design research projects to explore the artistic thought process and ultimately demonstrate the relevance of how we learn to what we learn.

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32

Wu, Jiangmei. "Folding helical triangle tessellations into light art". Journal of Mathematics and the Arts 12, n.º 1 (27 de octubre de 2017): 19–33. http://dx.doi.org/10.1080/17513472.2017.1388941.

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De Ambrogi, Marco. "Art is a wound turned into light". Lancet Child & Adolescent Health 4, n.º 1 (enero de 2020): 22. http://dx.doi.org/10.1016/s2352-4642(19)30394-3.

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34

Swanger, David. "Discipline-Based Art Education: Heat and Light". Educational Theory 40, n.º 4 (septiembre de 1990): 437–42. http://dx.doi.org/10.1111/j.1741-5446.1990.00437.x.

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35

Holub, H. W., M. Hutter y G. Tappeiner. "Light and shadow in art price computation". Journal of Cultural Economics 17, n.º 1 (junio de 1993): 49–69. http://dx.doi.org/10.1007/bf00820767.

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36

Buscatto, Marie y Clara Lévy. "Art worlds in light of identity labeling". L'Année sociologique Vol. 74, n.º 1 (5 de marzo de 2024): e7-e16. http://dx.doi.org/10.3917/anso.241.e0007.

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Gilewski, Marian. "The state of art in the horticulture lighting". Photonics Letters of Poland 12, n.º 4 (17 de diciembre de 2020): 100. http://dx.doi.org/10.4302/plp.v12i4.1068.

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The article presents an overview of currently used greenhouse lighting systems. It does not apply to traditional sodium lighting systems, but only to the most modern LEDs. The publication presents descriptions of lamp designs, both foreign and Polish. The aim of the work is not only to review solutions, but also to identify the reasons for the low transfer of scientific and technical solutions to business. There are several barriers to overcome, mainly subjective ones, so that new solutions can be implemented and developed. Full Text: PDF ReferencesS. Ki-Ho, J. Yu-Min, O. Myung-Min, "Application of supplementary white and pulsed light-emitting diodes to lettuce grown in a plant factory with artificial lighting", Springer 57(6), 561 (2016). CrossRef M. Gilewski, "The role of light in the plants world", Phot. Lett. Poland 11, 4 (2019). CrossRef K.J. McCree, Agricultural Meteorology (Elsevier Publishing Company 1972). CrossRef G. Trouwborst, J. Oosterkamp, S. Hogewoning, V. Ieperen, "The application of LEDs as assimilation light source in greenhouse horticulture: A simulation study", the 6th Int. Symposium on Light in Horticulture. Tsukuba. Japan, Nov. 2009. CrossRef K. Jaworski, A. Szmidt-Jaworska, J. Kopcewicz, " Two calcium dependent protein kinases are differently regulated by light and have different activity patterns during seedling growth in Pharbitis nil", Springerlink.com, Journal: 10725, Article: 9609, 2011. CrossRef Philips Lighting, Horticultural LED lighting applications, 2020: https://www.lighting.philips.com/main/products/horticulture. DirectLink E. de Beer, P.H. van Baar, 3 reasons why intercanopy lighting is effective for high-wire vegetables, 2020: www.lighting.philips.com. DirectLink HLG, Refurbished HLG 550, 2020, https://horticulture-lightinggroup.com/collections/lamps/products/refurbished-hlg-550-v1 DirectLink Neonica Polska, 2020, www.growy.eu CrossRef I. Fryc, T. Dimitrova-Grekow, "An automated system for evaluation of the quality of light sources", 6th IEEE Lighting Conference of the Visegrad Countries : LUMEN V4, Sept. 2016. CrossRef EconoLux Ind. Ltd., "What Light do Plants Need", Hong Kong, 2016, http://econoluxindustries.com/light-plants-need.html. DirectLink Heliospectra AB, heliospectra DYNA, 2020, https://www.heliospectra.com/led-grow-lights/dyna. DirectLink Plantlux, Horticulture LED SMD lamp Plantalux XX640W, 2020, https://plantalux.pl/en/plantalux-xx640w-en/. DirectLink M. Gilewski, "An Adaptive and Monoculture Oriented LEDs Lamp", 978-1-5386-7924-1/18/$31.00 ©2018 IEEE, 2018. CrossRef

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Somlyo, A. P. "Where Art Thou, Calcium?" Microscopy and Microanalysis 3, S2 (agosto de 1997): 913–14. http://dx.doi.org/10.1017/s1431927600011454.

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Ever since the recognition of calcium as a major intracellular messenger of signal transduction, its subcellular localization and intracellular movements have been intensively sought through electron and light optical methods. Electron probe microanalysis (EPMA), X-ray mapping, electron energy-loss spectroscopy (EELS) and energy-filtered imaging still provide the highest spatial resolution for measuring total calcium, whereas with light optical methods (fluorescent, luminescent and absorbance dyes) free [Ca2+]i can be measured with high sensitivity and time resolution. This presentation will summarize the relationship, whether collision or convergence, between the results of electron and light optical methods, with particular reference to mitochondrial Ca, and consider the potential for further improvements in detection sensitivity and spatial resolution.Sarcoplasmic and endoplasmic reticulum: Early attempts to quantitate Ca in cellular organelles with EPMA were directed at the sarcoplasmic reticulum (SR) of skeletal muscle, where EPMA could also address questions not amenable to studies of isolated SR.

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39

Nor Adzaman, May Tasneem, Mumtaz Mokhtar y Alif Haiqal Musa. "Integration Between Art and Science: An Art Appreciation of Nyawa Light Exhibition". Idealogy Journal 5, n.º 1 (9 de abril de 2020): 30–41. http://dx.doi.org/10.24191/idealogy.v5i1.185.

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40

Ra, Young Hwan. "The Characteristics of Protestant art in light of 17th century Dutch art". Journal of Historical Theology 42 (30 de junio de 2023): 118–55. http://dx.doi.org/10.26427/jht.42.4.

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41

Sosa, Rocío-Irene. "La Historia del Arte Argentino a la luz de los Estudios Decoloniales." Anduli, n.º 20 (2021): 201–17. http://dx.doi.org/10.12795/anduli.2021.i20.11.

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At the end of the last century, colonial, postcolonial and decolonial studies set in motion a “detachment” from the dominant modes of knowledge acquisition in the social sciences and humanities. In the 1990s, Latin American intellectuals debated the colonial side of modernity and the cultural, theoretical and practical hegemony that the central countries maintained. In the field of art, this resulted in the problematization of the Eurocentric canons present in the artistic system and the lack of independent theoretical and visual thinking. In light of these problems, this article investigates one of the features of coloniality in force in the Histories of the Visual Arts “with capital letters” in Latin America and particularly in Argentina; that is, the neutralization of diversity in the construction of a national art. To this end, we have used the transdisciplinary qualitative methodology, which articulates different areas of knowledge (history, anthropology, philosophy, sociology, art history) from a decolonial interpretive perspective. In the theoretical analysis and historiographical reflection, a decentration is observed in the history of national art promoted by the Institute of Aesthetic Research (Faculty of Arts, National University of Tucumán), which interrupts the disciplinary canon favoring the emergence of the American, in both the folkloric and the ancestral.

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Kolganova, Olga V. "Wladimir Baranoff-Rossine’s and Grigory Gidoni’s Light and Color Projection Devices: 1920s–1930s". Art and Science of Television 17, n.º 4 (2021): 33–62. http://dx.doi.org/10.30628/1994-9529-2021-17.4-33-62.

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The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light and color invented by G. Gidoni (1895–1937). The achievements of the artists in the field of art synthesis are compared on several overlapping levels: concepts of new art forms they created; institutions they managed to partially implement, and projects of institutes they planned to realize; theoretical insights; light and color apparatus (optophone; light orchestra) and patents for the inventions. In her comparative analysis of the artists’ concepts, the author concludes that in their reference points, the ideas of Baranoff-Rossine and Gidoni were very close. The following provisions are common for the artists: contributing rhythm and dynamics to painting; bringing pictural art out of the plane onto a screen/transparent screen or into space; combining light and color with sound; bringing fine art closer to music. However, in their aspiration to bring light and color beyond the limits of pictural art (into time and space), they acted in different directions. In its operation principle, Baranoff-Rossine’s instrument was closer to cinematography (all colors and drawings were projected on the screen). Gidoni’s light and color device, which assumed no screen at all (the screen was implied to be transparent), was more of a theatrical thing. The artist dreamed of creating a light theater which would incorporate light music, light architecture, light declamation, and light choreography.

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Mao, Wenli y Bingyu Zhang. "The Use of Digital Image Art under Visual Sensing Technology for Art Education". Journal of Sensors 2021 (11 de noviembre de 2021): 1–9. http://dx.doi.org/10.1155/2021/4513577.

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The traditional art education model often cannot achieve good teaching results due to the development of digital technology. Art is integrated with technology based on three-dimensional (3D) panoramic vision sensing technology, so as to study the application of the combination of visual sensing technology and digital image art in the field of art education. With the application of projection virtual game “Whac-A-Mole” as an example, the integration of panoramic color volume structured light generation technology with single emission point and omnidirectional visual imaging technology with single view is proposed; the mathematical model of the active vision system is established, and the camera model, projector model, object surface illumination model, and their relationship are studied. On this basis, the mathematical relationship between the color of the projected light source and the color of the corresponding imaging point is proposed; a light source color correction algorithm based on the two-color reflection model is proposed. The object surface color is corrected by three-channel reflectance after the light source color correction algorithm is used for correction. The results suggest that the 3D panoramic vision sensing technology makes the current active stereo vision develop from the visual perception of surface structure to the visual perception of volume structure and reduces the error rate of recognition from 44% to 11%. Moreover, the algorithm does not need to know the coding method of the projected light source and the surface material of the object in advance. The scene teaching combined with technology overcomes the limitations of the teaching site and brings students into a completely realistic teaching situation. The presentation of digital image art using visual sensing technology can inspire children’s imagination, combine education and games, and perform edutainment. Thereby, the application research of digital image art based on 3D panoramic visual sensing technology has an irreplaceable development prospect in the field of art education.

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Kim, Byung-kyu. "A Study on Light Embodiment Method through Technology Analysis of Light Art". International Journal of Multimedia and Ubiquitous Engineering 9, n.º 7 (31 de julio de 2014): 237–46. http://dx.doi.org/10.14257/ijmue.2014.9.7.20.

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Kim, Byung-kyu. "A Study on Light Embodiment Method through Technology Analysis of Light Art". International Journal of Multimedia and Ubiquitous Engineering 9, n.º 7 (31 de julio de 2014): 237–46. http://dx.doi.org/10.14257/ijmue.2014.9.7.20237.

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Godley, L., R. Frasso, T. Igoe, Y. Erel y J. LeNoir. "The Use of Immersive Light-Based Art for Well-Being". IOP Conference Series: Earth and Environmental Science 1320, n.º 1 (1 de marzo de 2024): 012008. http://dx.doi.org/10.1088/1755-1315/1320/1/012008.

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Abstract This paper presents the findings of ‘Waiting Room - Immersive Art for Well-being,’ an exhibition of various dynamic light art installations that investigated the potential impact of this work on viewers’ sense of well-being in a mock healthcare setting. Research shows that exposure to art impacts human health, improving overall healthcare experiences, resulting in shortened hospital stays, improved recovery time, and reduced need for pain management. The purpose of this study was to determine if exposure to dynamic light art has an impact on overall well-being. Qualitative data were collected using electronic questionnaires associated with 11 different dynamic light art installations. Open-ended questions explored how participants perceived and valued the presence of and engagement with dynamic light art installations and captured their views on the potential benefit of exposure. Visitors took part in questionnaires to obtain feedback on user experience, the length of exposure/engagement, and the effect the experience had on them. Overwhelmingly, users reported a sense of “calm” and “peacefulness” after spending time with the dynamic light art. One hundred ninety-five responses were collected. This study allowed us to gain a better understanding of how dynamic light art may be used to ameliorate stress and anxiety in spaces where users are confined for periods, as well as identifying key areas for future research, such as particular aspects of the installations or sub-populations that may particularly benefit from this type of intervention. This investigation leads to further studies exploring how exposure to dynamic light art may impact patients, visitors, and family members in various healthcare settings to determine if the perceptions and experiences vary by type of installation. Additionally, this work will inform future explorations of adaptations to dynamic light art, i.e., dynamic and interactive technologies on viewer experience.

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Tylik, Artem Yur'evich. "RELATIONAL ASPECT OF STREET ART IN THE LIGHT OF BORIS ARVATOV’S ART HISTORIOSOPHY". Manuscript, n.º 9 (septiembre de 2019): 90–94. http://dx.doi.org/10.30853/manuscript.2019.9.18.

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Ouzman, Sven, D. S. Whitley y L. L. Loendorf. "New Light on Old Art: Recent Advances in Hunter-Gatherer Rock Art Research". South African Archaeological Bulletin 50, n.º 161 (junio de 1995): 89. http://dx.doi.org/10.2307/3889281.

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Syed Abu Bakar, Syed Alwi, Aznan Omar, Noor Enfendi Desa, Siti Humaini Said Ahmad @ Syed Ahmad, Rosmidahanim Razali y Sharifah Nursahilah Syed Omar. "Perjalananku: Penggunaan Medium Elektronik (Cahaya) Dalam Karya Seni Arca". Idealogy Journal 6, n.º 2 (1 de septiembre de 2021): 60–66. http://dx.doi.org/10.24191/idealogy.v6i2.300.

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Resumen

This research represents time using electronic medium through sculpture. An electronic media (light) is one of new medium in Malaysian visual arts. The use of electronic (light) as a medium, does bloom up medias in Malaysian visual arts. The exploration of this new medium, was inspired by Dan Flavin. The research includes element of light and social sharing. This research method practiced the studio base based on Wallas’ theory. This research project would benefit the societies, at the same time it would contribute to a process of creating an art works. The combination between electronic (light) and conventional medium will diverse the use of medium in producing art works.

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Rihner, Michael y Hugh Mcgrath. "Fluorescent light photosensitivity in patients with systemic lupus erythematosus". Arthritis & Rheumatism 35, n.º 8 (agosto de 1992): 949–52. http://dx.doi.org/10.1002/art.1780350816.

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Artículos de revistas sobre el tema "Light in art"

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