Thesis (Ed.D.)--Teachers College, Columbia University, 1971. / Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: William J. Mahoney. Includes bibliographical references.

What we do possess to-day as 'art' a faked music, filled with exotic and showcard effects, that every ten years or so concocted out of the form-wealth of millenia some new "style'' which is no style at all since everyone does as he pleases. A lying plastic that steals from Assyria, Egypt and Mexico indifferently. Yet this and only this, the taste of the "man of the world" can be accepted as the expression and sign of the age. Everything else, everything that sticks to old ideals is for provincial consumption. This is the year 1965 - nearly fifty years since Oswald Spengler published "The decline of the West" The paragraph I have quoted by way of justification for this dissertation is in turn a justiification of the fact that Spengler is as valid today as he was in 1918.

Light Intensity and Surface is the title of this PhD art exhibition where I explore through paintings, the world of my own encounter with the radiant light of the Linear Accelerator used in treatment of women with breast cancer. This engagement with the world of light technology encompasses oncologists, physicists and women who extended their personal experience to inform my artwork and contribute to the theoretical connections made in this thesis. The contribution of this thesis lies in how the lecture The Origin of the Work of Art by philosopher Martin Heidegger can be applied to a reading of great artworks that are separated in time, space and culture but connected in their subject: Light. It was his philosophy that helped shape the connections between where art originates and what springs from the artwork itself. The concept of light in the title of this thesis refers to Heidegger’s notion of the clearing seins Lichtung-the lighting centre- the medium that holds one being to another from where the idea for an artwork springs in the artist. Surface relates to the attunement of artists throughout history to the new particularly in the science of controlling light which influences the way artists achieve the material appearance of their artwork. Intensity refers to the level of openness to the mystery of light in both physicists and artists to create and control some thing that stabilises a community and remains a source of wonder. This thesis demonstrated how artists have responded to the new light technology with a way of seeing that created a depth dimension that bridges cultural worlds to unearth the breath of something often most effectively communicated by being silent / Doctor of Philosophy(PhD)

No description available.

Thesis (M.F.A.)--Rochester Institute of Technology, 1989. / "Selected bibliography": leaf 31.

Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references (leaf 49).

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1981. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references (leaves 50-51). / An environmental light sculpture with screen-like architectural units which interact with moving light and shadow to create a complex spatial environment. The environment involves movement and change and has many possibilities and configurations rather than one fixed view. It evolved from an installation to a performance in which the audience was invited to enter and move through the space. The written thesis has two sections: 1) An art historical section concerning spatial environments in painting, sculpture, and architecture, stressing those dealing with light and illusion. There is also a brief history of recent environmental uses of light. 2) A description and photographic documentation of the thesis project which records its evolution, installation, and performance, with conclusions regarding possible future directions. / by Beth Galston. / M.S.V.S.

Exegesis (MA--Art and Design) -- AUT University, 2007. / Includes bibliographical references. Also held in print (61 p. : ill. ; 21 x 30 cm. + Archive (75 leaves : ill. ; 21 x 30 cm.)), together in 1 container (23 x 31 cm.). Held in City Campus Collection (T 701.8 LEE)

Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript. Includes bibliographical references (leaf 20).

"Light, whose beauty within darkness is as jewels that one might cup in one's hands; light that hollowing out darkness and piercing our bodies, blows life into `space"'.'Tadao AndoThis thesis book documents the process and procedure of a two-year study of how daylight can be manipulated by design to enhance and elevate the experiential qualities of sacred space and then applies those characteristics to the design of an architectural thesis project.The exploration involved two major points of focus: one was the exploration to identify the principle qualities and characteristics of natural light and the other, to apply those principles of light into built form.This paper is presented in five processes: an introduction, three types of reflection, and a conclusion. Process I, presents the theoretical underpinning on the subject of light and identifies the key qualities and characteristics of light and the daylighting principles applied by Louis I. Kahn and Tadao Ando in the formulation of sacred space. Process II, presents the articulation of the necessary criteria to design a sacred space. Process III, applies the daylighting strategies to the design of a "one-volume" library for displaying Leonardo da Vinci's Codex. Process IV, presents an alternate scenario and an explanation of architecture as meaning. Process V, summerizes the meaning of the architecture and experience of the Library. 'Ando, Tadao, Complete Works, Phaidon Press Limited, London, (1997). / Department of Architecture