Between Yearning and Aversion: Visions of Europe in Hilde Spiel’s The Darkened Room

2016 ◽  
pp. 85-99
Author(s):  
Christoph Parry
Keyword(s):  
Darkened Room

Kinetic Painting: The Lumidyne System

Leonardo ◽  
2007 ◽  
Vol 40 (1) ◽  
pp. 81-90 ◽  
Author(s):  
Frank J. Malina
Keyword(s):  
Flat Surface ◽  
Point Of View ◽  
Years Of Experience ◽  
Basic Principles ◽  
Real Motion ◽  
Darkened Room ◽  
Artistic Medium ◽  
Guide Lines

The paper discusses briefly kinetic painting systems that have been devised for producing a pictorial composition on a transluscent flat surface that changes with time without resorting to the projection of light through film in a darkened room. The Lumidyne system developed by the author in 1956 is described in detail. Basic principles of its design, together with variations of the system, are given as well as the method of painting used by the author. Examples of several works are shown. The picture produced by the system is considered from the point of view of real motion and of change of transparent colour with time. The need for aesthetic guide lines for the kinetic painter is stressed. The author concludes that the Lumidyne system, after ten years of experience with it, as a practical, controllable and economical artistic medium.

Reflections from a darkened room

Antiquity ◽  
1992 ◽  
Vol 66 (251) ◽  
pp. 426-431
Author(s):  
Clive Gamble
Keyword(s):  
The Past ◽  
Darkened Room

A conference on Interpretive Archaeologies was held at Peterhouse College, Cambridge in September 1991. It sought to explore alternatives; to share rather than impose a programme for interpreting the past. Here is one reaction.

A Perplexing Puzzle Involving Perception of Straight Ahead

Perception ◽  
1996 ◽  
Vol 25 (1_suppl) ◽  
pp. 41-41
Author(s):  
J T Enright
Keyword(s):  
Internal Standard ◽  
Test Session ◽  
Image Motion ◽  
Visual Direction ◽  
Visual Environment ◽  
Visual Capture ◽  
Darkened Room ◽  
Standard Of Comparison ◽  
Retinal Information ◽  
Straight Ahead

Perception of visual direction was investigated by requiring subjects repeatedly to adjust a single small light, in an otherwise darkened room, to perceived ‘straight ahead’. This task presumably requires comparing concurrent extra-retinal information (either proprioception or an efference copy) with an internally stored ‘standard’ of comparison. Moment-to-moment precision in that performance is remarkably good, with median threshold (standard deviation) of 47 arc min. Nevertheless, the responses often involved a monotonic shift of direction over a few minutes during a test session in this reduced visual environment. These trends led to final settings that were immediately recognised as grossly erroneous when the room was relit, implying that the presumptive internal standard of comparison, while unstable, can be rapidly updated in a full visual environment. There are clear similarities between this phenomenon and the sudden ‘visual capture’ that occurs in a re-illuminated room, following distortions of visual direction that arose in a similarly reduced setting for subjects whose extraocular muscles were partially paralysed (Matin et al, 1982 Science216 198 – 201). In both cases, the visual stimuli that underlie rapid recalibration are unknown. Among the several possibilities that can be imagined, the strongest candidate hypothesis for this calibration of the straight-ahead direction is that, during fixation in a lit room, one utilises the directional distribution of image motion that arises because of microscale drift of the eye, as it moves toward its equilibrium orientation, much as a moving observer can use optic flow to evaluate ‘heading’ (the dynamic analogue of ‘straight ahead’).

X. An account of some experiments upon coloured shadows

1794 ◽  
Vol 84 ◽  
pp. 107-118 ◽  
Keyword(s):  
White Paper ◽  
The Other ◽  
Proper Position ◽  
Clear Sky ◽  
The North ◽  
Darkened Room ◽  
The One ◽  
Experimental Researches ◽  
To Receive ◽  
Opaque Body

Dear Sir, Since my last letter, being employed in the prosecution of my experiments upon light, I was struck with a very beautiful, and what to me appeared to be a new appearance. Desirous of comparing the intensity of the light of a clear sky, by day, with that of a common wax candle, I darkened my room, and letting the daylight from the north, coming through a hole near the top of the window-shutter, fall at an angle of about 70° upon a sheet of very fine white paper, I placed a burning wax candle in such a position that its rays fell upon the same paper, and as near as I could guess, in the line of reflection of the rays of daylight from without; when interposing a cylinder of wood, about half an inch in diameter, before the centre of the paper, and at the distance of about two inches from its surface, I was much surprised to find that the two shadows projected by the cylinder upon the paper, instead of being merely shades without colour, as I expected, the one of them, that which, corresponding with the beam of daylight, was illuminated by the candle, was yellow ; while the other, corresponding to the light of the candle, and consequently illuminated by the light of the heavens, was of the most beautiful blue that it is possible to imagine. This appearance, which was not only unexpected, but was really in itself in the highest degree striking and beautiful, I found, upon repeated trials, and after varying the experiment in every way I could think of, to be so perfectly permanent, that it is absolutely impossible to produce two shadows at the same time from the same body, the one answering to a beam of daylight, and the other to the light of a candle or lamp, without these shadows being coloured, the one yellow and the other blue . The experiment may very easily be made at any time by day, and almost in any place, and even by a person not in the least degree versed in experimental researches. Nothing more is necessary for that purpose than to take a burning candle into a darkened room in the day time, and open one of the window-shutters a little, about half or three quarters of an inch for instance; when the candle being placed upon a table or stand, or given to an assistant to hold, in such a situation that the rays from the candle may meet those of daylight from without, at an angle of about 40°, at the surface of a sheet of white paper, held in a proper position to receive them, any solid opaque body, a cylinder, or even a finger, held before the paper, at the distance of two or three inches, will project two shadows upon the paper, the one blue, and the other yellow.

scholarly journals Binding Matters

IDEA JOURNAL ◽  
2020 ◽  
Vol 17 (01) ◽  
pp. 94-106
Author(s):  
Isla Griffin
Keyword(s):  
New Zealand ◽  
Fine Art ◽  
The Body ◽  
Creative Arts ◽  
Research Project ◽  
Creative Research ◽  
The World ◽  
Darkened Room ◽  
Uniform Wall ◽  
Cadaver Studies

This visual essay introduces and critically reflects on a creative research project entitled ‘Spectra on the edge of embodiment,’ undertaken as part of my Master of Fine Art study in 2017 at the College of Creative Arts, Massey University, Wellington, New Zealand. The project was motivated by several questions and concerns: What is the being that is human? How does it interact with the space it occupies? Through a work of art, is it possible to convey to a viewer the metacognitive perceptions I have propagated in connecting to my interiority and how it interfaces with the world? The work took the form of an immersive spatial installation including multiple video projections accompanied by a sound loop. Occupying a darkened room within a gallery setting, it animated uniform wall surfaces and corner spaces. The video imagery originated from textural surfaces, detritus, fluids and other such flotsam and jetsam reminiscent of interior anatomies, compelling viewers to linger and wonder what the body might look like from the inside. Such a detailed imaginary view of the body’s interior environment stems from extensive cadaver studies that I undertook as part of my training as a physiotherapist.

scholarly journals Preferred skin reproduction centres for different skin groups

2020 ◽  
Vol 2020 (28) ◽  
pp. 109-113
Author(s):  
Rui Peng ◽  
Ming Ronnier Luo ◽  
Mingkai Cao ◽  
Yuechen Zhu ◽  
Xiaoxuan Liu ◽  
...  
Keyword(s):  
Ethnic Groups ◽  
South Asian ◽  
Skin Colour ◽  
Psychophysical Experiment ◽  
Colour Centre ◽  
Colour Space ◽  
Colour Centres ◽  
Darkened Room ◽  
Cielab Colour ◽  
Facial Images

Producing preferred skin colours is vital for the digital images on mobile phone manufacturers. Previous studies investigated the skin colours only in chromatic plane excluding lightness. A psychophysical experiment was conducted to determine preferred skin colour centres for different skin colour types on mobile displays in a darkened room. Ten facial images were selected for the experiment to cover different skin colour types (Caucasian, Oriental, South Asian and African). A set of 49 predetermined colour centres uniformly sampled within the skin colour ellipsoid in CIELAB colour space was used to morph skin colours of test images. Thirty observers from each of the 3 ethnic groups (Caucasian, Oriental and South Asian) participated in the experiment. The preferred skin colour centre and region in the form of ellipsoid for each skin group were reported. It was found that the preferred colour centres from different skin colour types were very similar except their lightness as expected, and were also quite similar between the observers from different ethnic groups.

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