Abstract
This article discusses the phenomenon of luminescence in the production and visualization of images from an art-practice standpoint. The theoretical argument is developed through an analysis of artistic work that explores, inserts, expands, articulates, and interrogates the internal contradictions of UV light and the transitivity of light-sensitive materials in installation contexts. This investigation explores complexities in the encounter of antagonistic concepts: the threshold phenomena between materiality and immateriality, visibility and invisibility, light and darkness, disclosure and concealment. It aims to articulate a new perspective on contemporary debates on physiological, psychological, and environmental effects of light and darkness, articulated through aesthetic experience and artistic practice. Methods for engaging in the sensation of light and darkness will be introduced and how it unfolds as experiential qualities within installation projects will be considered.
Highlights
IntroductionArtists such as James Turrell, Robert Irwin, Dan Flavin, Bruce Nauman, and Doug Wheeler demonstrated how the use of technical and industrial advances in lighting devices could expand the boundaries of art practice and stimulate heightened sensory awareness in the receptive viewer
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Summary
Artists such as James Turrell, Robert Irwin, Dan Flavin, Bruce Nauman, and Doug Wheeler demonstrated how the use of technical and industrial advances in lighting devices could expand the boundaries of art practice and stimulate heightened sensory awareness in the receptive viewer They applied mechanical and psychological effects of visual and haptic perception “whether by directing the flow of light, embedding artificial light within objects or architecture, or playing with light through the use of reflective, translucent, or transparent materials” Sources of blacklight may be specially designed fluorescent lamps (Figure 1), mercuryvapor lamps, light-emitting diodes (LEDs) (Figure 2), lasers, or incandescent lamps Such sources may have several practical applications, such as diagnostic and therapeutic uses in medicine; as disinfectant in water, food, and surface treatment because of its germicidal properties; in the observation of space; in UV curing for printing, coating, and decorating objects and surfaces; and in spatial lighting effects for theatre and other entertainment applications (Pachuau and Tiwari 2008; Ahmad 2017; Dunham 2018). Katzberg (2009) mentions three case studies of the use of this particular type of
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