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The refraction of light through different media essay

UCSD Visual Arts Graduate Department Reflection, Refraction, Projection How can the essential phenomenal aspects of being- such as the body moving through space, intentionality as it relates to perceiving objects and the relationship between image and imagination be presented in a radically new way? Although much scholarly research and discourse has been produced around these topics, how these paradigms are problematized within the field of media art and visual representation remains a nascent endeavor.

I assert the same can be said for the image, the screen and the ontology of the object. How are phenomena mediated through consciousness and media? How can we theorize and present the image as actual not representativethe world as faceted screens spatialized image and recognize intangible appearances as interfaces for perception? In my exhibition, Reflection, Refraction, Projection, I use the prism form as a lens. This lens is a central device to explore visual perception and ontology. As the prism form transmutates through three light installation works, theses of possible ways of being are presented.

The first installation Refraction, an exploded prism-lens, is a materialization of the decentralized character of the object—the expanded, fragmented and faceted object that transverses through channels of media and consciousness.

The second installation, Reflection, gives one the sense of being inside the prism-lens. The installation relates the subject to spatiality. Adumbrations of movements from multiple vantage points form a reflected environment of the self projecting through physical space and consequently the self becoming the spatial environment. Reflection and Refraction posit a model of Being-in-the-world as a constellation comprised of subject and object nodes.

  1. If such a world existed, I could not viably be there physically, yet I could be there in imagination. Camera view relates back to the idea of singular vantage point.
  2. Reflection is an installation using 3 suspended holographic mylar panels that capture reflections of a figure dancing and walking in space.
  3. In the installation the moment loops in a vibrating jitter, an everlasting now… the actual horizon of the earth is orthogonal to the world seen through the prism.
  4. In this causality paradigm of accordion adumbrations the table object both travels from physical to intangible and is present in multiple locations simultaneously.
  5. Projection is a video projection of a triangle in the corner of the room. Presenting the prism as an interlocutor to an imagined way of being—a literal window into an altered sense of time and space.

In this matrix, both the subject and object project their image outward. Intersubjectivity is visible in both the connecting vectors and the transparent superimposition of projected images. The final installation, Projection is a conception of looking through the prism-lens. Presenting the prism as an interlocutor to an imagined way of being—a literal window into an altered sense of time and space. During their involvement in the Experiments in Art and Technology Program, Irwin and Turrell built artistic practices challenging the limitations and conceptual implications of visual perception.

Their efforts provided a groundwork for contemporary works that hypothesize, perhaps there is more than we are currently seeing, both literally and figuratively.

Of course most artists are presenting some form to be regarded in a different manner, but the rigorous investigation of perceptual phenomena within the Light and Space movement is noteworthy. Phenomenological texts are also an influential theoretical component to my artistic practice.

Is a determinate horizon available for us to see? How can we trust our cognitive the refraction of light through different media essay to perceive what is outside of the self accurately?

What is the role of the image and imagination in perceiving existence? How are appearances related to actuality?

How can we truly know the object, the self and the world? What methodologies are most effective in our ontological investigations? I favor the phenomenological study of objects and being in terms of space and time. It seems relevant as the essential conditions of being are spatial and temporal.

In my practice and research, I consider the object and being spatially in terms of dimensionality, the ambiguity or inversion of positive and negative space and permeating space. Temporality manifests in terms of potentiality and the trajectory from consciousness to form. As much of continental philosophy suggests, the full spectrum of the object remains up for debate. To provoke a conversation regarding appearances as actual, I brought a digital Smart Object a component of Adobe Photoshop.

During the course, I deduced some common themes and misconceptions within ontological analysis. Objects that exist in mind, intangible objects and objects that exist in the natural world far from our reach, become excluded from our lexicon of beings. To look at objects in relation to how well they fit in hand; their tactile qualities and employment as tools is a two-fold assumption, only objects that are tactilely sensible and function as tools for us to use for our own ends are actual objects.

Yet, all this does not mean that things reveal themselves, only our investments in them.

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When the object becomes a literary symbol, we lose its dimensional character and intrinsic essence. Narrative is of course constructed by the fiber of semiotics. In so doing, we diminish its power. When approaching each object in the context of the class, respondents always touched upon the origin of the object. I noticed when the origin of the object was unknown, students would quickly look up more information regarding the object via the Internet. The Internet becomes an epistemological tool to look deeper into the taxonomy of the object.

Yet, the Internet is merely a digital emanation of our collective consciousness. The origin of the object as sourced via the Internet, becomes an object that is born from our collective consciousness.

The digital object informs the physical object. Look at the paradigm of looking at a physical object and then referencing it online. It is the modern eidos, an object that travels from ideal form to the physical world, to consciousness, into the digital world, back through the individual consciousness and then back to the physical object. If a physical table was not present to spark the google inquiry, it would be passing through memory.

In this causality paradigm of accordion adumbrations the table object both travels from physical to intangible and is present in multiple locations simultaneously. This paradigm of Google as intermediary is not evident in my exhibition but the process of moving from 2D form to consciousness to 3D form to 2D is explored and will be discussed later within the essay.

Kant positions the reality of objects as relative to the perceptual comportment of the subject. He equates perceivedness with being. If you can see something, for example of a shadow of a man shaped by trees5, in that moment of perceiving; the man is actual for you. Both Kant and Husserl touch upon objects comprised of appearances due to the inability to see the whole picture, this is illusionary Nomena, Phenomena, Kant or a literal one-sided perspective Husserl.

I posit the physical object as one appearance of a multi-modal object. These are all cells the refraction of light through different media essay the object organism.

  • Anne Friedberg writes on perspective within screens and windows;
  • Images and light refract around the room.

The object is the synthesis of presence and appearance. This is a pure unveiling of the object, by its many simultaneous ways of existing wherein the object continually transcends itself with its intelligent capacity to fragment through our attention economy6.

The object has the power to transverse through our consciousness into mutable forms. Each time we see or recall an image of the object, we are seeing just one apparition of an overall elemental force. Each object has the power to act in the way water or oxygen performs in the natural world.

When I breathe air, it travels through me and remains part of the atmosphere. How can the object have several spatial modalities simultaneously? The primacy of digital ontology is increasingly relevant to the issue. For example, in the context of the course everyone regarded my digital smart object image as virtual, synthetic, fake; a copy, sign or symbol of a physical object, not an actual object in and of itself.

Despite our world being apprehended by a synthesis of spatial and pictorial visual perception, we continue to delineate between spatial objects and pictures. Spatial objects take shape, creating actual forms that can be representational but are always actual.

Each object is a multi-modal being of many emanations. But it could never be seen in two places at the same time. When the camera reproduces a painting, it destroys the uniqueness of its image.

As a result, its meaning changes. Or, more exactly, its meaning multiplies and fragments into many meanings.

This is vividly illustrated by what happens when a painting is shown on a television screen. Regardless of the shift in meaning, the object is described as one object that has a decentralized character and travels to reveal itself. Just as the the refraction of light through different media essay travels through electrical cables, to emit from a TV or computer screen, the object also travels through our consciousness from one person to another, until it garners more and more attention: The idea object has a spatial character, as it occupies space in mind.

It is akin to the digital object in its intangibility. It is both visible and invisible. You can pass the image to others via language, yet, it remains malleable and shifts form based on interpretations and desires. This can be described temporally, in the way the object travels via consciousness and tele-technology, from dream space to imagination, through language to form. The object enacts a different temporal sequence in each scenario. An imaginary object stays one and the same through many imaginings of it.

There is a manifold with an identity at its core even in imagination. We can take things we have hardly perceived and enroll them into imaginary scenarios, and the things remain the same; or we can fabricate purely imaginary things and put them into an imaginary routine and they remain the same throughout.

Reflection and refraction experiment essay

The thing can always be presented in more ways than we already know; the thing will always hold more appearances in reserve.

In this paradigm the object does indeed transcend itself. If the object has the ability to transcend its objectness, what does it become? Could it be regarded as a subject? Perhaps the object is part of an intersubjective exchange?

To be a subject that responds to other subjects, the object would have to contain some form of consciousness or intelligence. By immediately making the assumption all objects are inanimate unthinking objects, we miss the opportunity to not only truly see the object, but to work with the object.

Smart objects smart phones, autofill, websites that learn your preferences, webcams and spaces controlled by sensors embody this model of co-creation.

  • In the same way, the multiple selves in Reflection, are meant to conceptually expand temporally while literally collapsing spatially the aspects of self;
  • I could be there and not there;
  • For this reason, the exhibition has light objects and materials that reflect the viewer or encourage the viewer to move in different directions creating an interactive exchange via analog means;
  • For instance learning about mirror neurons, that spark when you see another being engaging in a specific behavior, leads me to think that the self comports or transports to others in seeing their image in the physical world or in a photographic image;
  • To look at objects in relation to how well they fit in hand; their tactile qualities and employment as tools is a two-fold assumption, only objects that are tactilely sensible and function as tools for us to use for our own ends are actual objects.

They have an acute awareness or intelligence of our behaviors and desires. With this role reversal the object becomes the subject. Some of my previous work uses interactive media to evoke this conscious object theory. Yet, I would argue that all analog objects have the same capacity. For this reason, the exhibition has light objects and materials that reflect the viewer or encourage the viewer to move in different directions creating an interactive exchange via analog means.

In addition to the aforementioned ability to travel through consciousness garnering attention, every object we come into contact with whether physical or intangible is an interface into an intersubjective conversation.