Darkness & Light is a narrative body of work that reflects upon recent changes in my life. The series begins dark and abstract and becomes lighter and more refined with each artwork, functioning as a visual timeline. The chosen color palettes of each artwork are symbolic of my emotional experiences. Darkness & Light is an up-close, very small facet of the much larger work that is taking place within my community. I am inspired by my life and by others who share my philosophy. Throughout the creation of this body of work, I collaborated with various individuals within my community to create a collective design that viewers might find inspiring. The involvement of community within my work has changed the way I view art education.

Kalba neatsiejamais saitais susijusi su žmogaus mąstymu. Ji padeda atkurti pasaulio vaizdą, esantį žmogaus sąmonėje. Pasaulio suvokimas, arba objektyvios realybės daiktų ir reiškinių samprata, paliekanti pėdsakus kalboje, vadinama kalbos pasaulėvaizdžiu. Kiekviena kalba pasaulio suvokimą nuspalvina skirtingu atspalviu, nes tautų istorija, geografinės sąlygos, gyvenimo būdas, kultūra, aksiologija yra skirtingos. Kalbos pasaulėvaizdį kuria visi, kalbantys ta kalba. Tiriant žodžių vartojimą tekstuose, galima atskleisti kalboje užfiksuotus pasaulėvaizdžio pėdsakus. Tyrimo medžiaga paimta iš tekstynų donelaitis.lt, ruscorpora.ru (национальный корпус русского языка). Tekstynuose ieškota dažniausiai pasitaikančių metaforinių pasakymų ir įvardijimų, kurie būtų motyvuoti esmine metaforine sąvoka. Tuo remiantis ir buvo nustatytos konceptualiosios metaforos, kurios būdingos konceptui tamsa lietuvių ir rusų kalbos pasaulėvaizdyje. Darbo tikslas aptarti prototipines tamsos koncepto reikšmes (naktis, šviesos nebuvimas, kultūros ar išsilavinimo stoka) , į kurias remiasi nemažai metaforinių reikšmių. Pagal metaforinius pasakymus nustatyti, kokie vaizdiniai slypi už tamsos konceptus reprezentuojančių žodžių ir išskirti abiem kalboms bendras ir skirtingas tamsos metaforines reikšmes. Tamsos koncepto metaforiškas suvokimas lietuvių ir rusų kalbose apima šias sferas:1) mirtis – mirusiųjų šalis, užgesęs gyvenimas; 2) šaltis – ledynų tamsa, stingdanti tamsa, 3)... [toliau žr. visą tekstą] / The language in its integral links is related to human intelligence. It helps to restore the picture of the world of the human mind. The perception of the world, or the objective reality of things and effects that leaves the marks in speech, is so called the worldview of the language. Each language has its own perception of the world conected to the nation's history, geographic conditions, lifestyle, culture and so on. The worldview of the language is step by step composed by all who speak that language. Using the investigation method and analysing the usage of the words in texts helps to record and denote the features of the worldview of the language. The research materials are the Corpus of Lithuanian language – Donelaitis and the corpus of Russian language - ruscorpora.ru (национальный корпус русского языка). The data of the analysis of the concept darkness in both languages showed that prototypically darkness is understood in the same way in Lithuanian and Russian languages. The research of the samples was done to denote the most common figurative expressions and conceptual metaphors that are specific to the concepts of darkness in Lithuanian and Russian languages. The aim of the present master‘s thesis “ Darkness in the Lithuanian/Russian Worldview ” focuses on the analysis of theoretical issues of the term concept, and the empirical part focuses on the investigation of concepts of darkness as prototypical meanings (lack of light at night... [to full text]

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Leaf senescence is the final stage of leaf development, during which the leaf relocates most of itsvaluable nutrients to developing or storing parts of the plant. As this process progresses, leaves losetheir green color and their capacity to perform photosynthesis. Shade and darkness are well-knownas factors inducing leaf senescence and it has been proposed that senescence can be initiated byreductions in photosynthesis, photomorphogenesis and transpiration. However, despite the fact thatthe signaling mechanisms regulating each of these processes have been extensively described,particularly in seedlings, their contribution to the initiation of senescence in mature leaves stillremains unclear. Furthermore, the use of different experimental systems to study shade-inducedleaf senescence has yielded several divergent results, which altogether complicate the overallunderstanding of leaf senescence. To address this, darkened plants and individually darkened leaves, which show different rates of leafsenescence, were studied. Comparing the transcriptome and metabolome of these two darktreatmentsrevealed that they differed distinctly with regard to their metabolic strategies. Wholedarkened plants were severely carbohydrate-starved, accumulated amino acids and slowed downtheir metabolism. In contrast, individually darkened leaves showed continued active metabolismcoupled to senescence-associated degradation and relocation of amino acids. This knowledge was used to set up a new system to study how shade affects leaf senescence in themodel plant Arabidopsis thaliana. Use of this system revealed that different senescence-associatedhallmarks appeared in response to different intensities of shade. Some of these hallmarks werefurther shown to be part of both leaf senescence and photosynthetic acclimation to low light. Finally, using this system on phytochrome mutants revealed that loss of phytochrome A increasedthe loss of chlorophyll under shade, without increasing the expression of senescence-associatedgenes. Together, these findings suggest that shade-induced leaf senescence, which is generally perceived asa single process, is actually an intricate network of different processes that work together tomaintain an optimal distribution of nutrients within the plant.

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Remote photoelectric monitoring of the locomotion of four freshwater teleosts in an experimental tank established that all species described non-random locomotor patterns which were affected by light intensity. A partial analysis was made of some of the characteristics of these patterns with emphasis on the direction and degree of turning. / Thesis / Doctor of Philosophy (PhD)

Ambient lighting has emerged as a key atmospheric factor influencing how consumers process environmental cues and their behaviors. However, surprisingly little research has examined how people think and feel in the dark (lower than 15 lux). This is particularly relevant given that consumers routinely work, pay bills, relax, consume and make purchases in settings with little or no light. My dissertation addresses this gap by examining how consumers regulate their goals and process information when the light is off, and how that impacts their decision making in three substantive domains: risk-taking behavior, decision quality, and persuasion. In Essay 1, I propose darkness enables risk-taking behavior, and this effect happens through the calmness and relaxation induced in the dark. One caveat is that the decisions have to be made in a familiar setting. The effect was reflected in participants' decisions to invest in riskier yet lucrative stocks, to gamble with the riskier choice, to eat at a foreign restaurant, and to choose a supplement that has potential side effects in a field experiment and three lab experiments (pre-registered). In Essay 2, I propose that when the light is off, consumers are indeed induced to adopt an effortful processing mode. Across four experiments (one field experiment, two lab experiments, and one online experiment), darkness promotes higher quality decisions across consumption contexts (financial, food, and product choices) compared to higher luminous levels. Together, this dissertation explores the intriguing phenomenon of ambient darkness and extends current understandings on ambient lighting and consumer behavior. The essays also offer robust findings through field and lab experiments with tendency and incentive-compatible outcomes.

What are we without the darkness that lurks inside our hearts, our homes, our forests, our deep places where light does not touch? For some, the darkness is overwhelming, overt, obfuscating. For others, it remains a place of balance; there is no shadow without light, after all. In the stories that follow, strange and eerie things rise from the darkness, but none so frightening as loss. What do we do when grief threatens to overwhelm us? Do we tear our way back into the world of the living with tooth and nail? Do we pray for a miracle? Do we take a life to preserve another? What power loss gives us, a vacuum to fill with fear or love or rage. Dark at the Center is an invitation. It invites us, reader and author alike, to look inside at our own dimly-lit places, to stare into a dark mirror and not recoil from what we see. It invites us to search for gods in the rings of trees. It invites us to plumb the depths of oceans and look to the stars for answers. It invites us to laugh with demons and make friends with the ghosts of our pasts. It invites us to discover what we are capable of in times of crisis. How deep does the darkness go, and what long-forgotten things might we find in its expanse?

What falls into the realm of light and what it means to design and the human experience? Can light be material? How does light change space into place? / Master of Architecture