skip to content | Accessibility Information

Light Research @ MMU

FROM LIGHT TO DARK: DAYLIGHT ILLUMINATION AND GLOOM

FINALLY…. My book has now been published by Minnesota Press!! The contents provide in-depth analysis of many of the themes discussed on this blog within three distinct sections: daylight, illumination and darkness. More specifically, here is the chapter outline:

Part I. Light
1. Seeing with Landscape, Seeing with Light
2. Under the Dynamic Sky: Living and Creating with Light
Part II. Illumination
3. Electric Desire: Lighting the Vernacular and Illuminating Nostalgia
4. Caught in the Light: Power, Inequality, and Illumination
5. Festivals of Illumination: Painting and Playing with Light
6. Staging Atmosphere: Public Extravaganzas and Homely Designs
Part III. Dark
7. Nocturnes: Changing Meanings of Darkness
8. The Re-enchantment of Darkness: The Pleasures of Noir
Conclusion: The Novelty of Light and the Value of Darkness

The book can be accessed at http://www.combinedacademic.co.uk/from-light-to-dark

It’s reasonably priced!!

March 27th, 2017 - 03:40am

FIRE AND FASCINATION IN CARLTON GARDENS

For me, the Carlton Gardens offered the most exciting experiences of Melbourne’s White Night. The south-facing façade of the venerable Royal Exhibition Building provided a superb screen for the captivating projection Rhythms of the Night by Sydney based Artists in Motion. The Southern edge of the park hosted the enticing Sonic Light Bubble by Iness and Tim Newman’s ever-changing Pixel Tree. But I was particularly lured to the Melbourne Museum Plaza. Situated here was the wonderful Nebulous, a pulsing, kinetic sculpture designed by Alex Sanson, a.k.a. Metaform, a strange cyborgian entity that seems to be both organic and mechanical. The intricate frame of the spherical creature, formed from delicate steel spokes and large, shiny sequins, slowly expanded and contracted, offering a quiet, mesmerising counterpoint to the wild Pyrophone Juggernaut some 300 metres away.

The Pyrophone Juggernaut, a futuristic ship assembled from junkyard metal and plastic lay enigmatically quiescent as coloured light played across its strange form. Suddenly though, a giant flame shot skywards from the mast and six riotous crew members clambered aboard to bring it to life, producing an unearthly, cacophonous music and a whirl of movement. The large freight liner alloy wheels and gongs were percussively thrashed as the three steel pipe organs that formed the ship’s sails emitted deep, resonant moans. These primeval sounds were generated by fire, that most elemental of light sources, projected from propane torches and shooting out of the top of the tubes. Swathed in ever-shifting colours of projected light, swirling dry ice and surging flames, the juggernaut is an awesome, compelling spectacle that conjures up both a post-apocalyptic future and an ancient, tribal pre-history.

 

February 20th, 2017 - 04:38am

Melbourne’s giant bauble

Besides the vernacular endeavours featured in the entry below, Melbourne has also commemorated the festive season by installing a giant illuminated bauble in the city centre’s Federation Square. Like the huge Christmas lights in New York featured on this blog two years ago (http://www.lightresearch.mmu.ac.uk/the-seasonal-lights-of-manhattan/), the bauble reimagines and honours an ordinary domestic decoration, a familiar adornment on the Christmas tree in millions of homes, but defamiliarizes it by enlarging it to gigantic scale.

From a distance, it looks magical, especially with the façade of St Paul’s Cathedral in the background. This six meter high white bauble, however, has an entrance on two sides and invites visitors to enter into it, so they may be surrounded above and laterally by thousands of tiny, glittering lights, so that they may also engage with the installation at close quarters. This is a design devised for the selfie generation, and indeed, throughout the evening, numerous photographs are taken of groups and individuals both outside and inside the bauble, producing a sociable, interactive hubbub on the square.

 

December 29th, 2016 - 10:00am

Fabulous Melbourne Lightworks

An array of diverse and stimulating works that use light are scattered across central Melbourne. First of all, I revisited the wonderful work of Yandell Walton, who has reconfigured hedancer-2r melancholic work featured on this site two years ago at the city’s  Abbotsford Convent. At a site called Testing Grounds, a space at which artists of all kinds can experiment and display prototypes, Yandell’s work was situated in a container. The skeletal iron structure of the ceiling of the convent’s laundry is redeployed to serve as the backdrop of two different projections: on one wall, a dancer is projected against a surface of white bricks found at the site; on another wall of transparent fibreglass, external lights and the vague outlines of  people from outside meld with the projected shadows of figures moving across the surface.shadows1

At the city’s famous National Gallery of Victoria, a different kind of work makes use of the light from outside. Leonard French’s 40 year old stained glass ceiling, one of the largest in the world, is a vibrant kaleidoscope of intense colour. Visitors are solicited to lie on one of the soft bean bags to gaze upwards at the glowing, multicoloured array above them. Extending the art first initiated by the craftsmen working in medieval cathedrals, French’s masterpiece underlines the extraordinary potency of sunlight reflected through coloured glass. stained-glass-roof

Finally, two very different neon works offer very different effects. Situated in another room of the NGV, Tracey Emin’s ‘The Passion of your Smile’ is a synthesis of the answers provided in a questionnaire that the artist sent to Hollywood actor, George Clooney Rendered so as to mimic Emin’s own handwriting, the neon text vibrantly captures a variety of impressions: glamour, romance, urgency.passion

Danae Velenza’s work is sited in a very different location: a side street just off Melbourne’s busy Bourke Street. Like Lost Children we Live our Unfinished Adventures is literally rendered on a wall by eight neon sculptures in shorthand. The neglected but ubiquitous form of writing deployed to rapidly pin down meaning is honoured by being situated here in the CBD, echoing the endeavours of the city’s admin workers over decades.shorthand

 

 

 

 

 

November 29th, 2016 - 05:00am

Progress Illuminated in Blackpool

In current times, Blackpool is a seaside resort more typically associated with the past, perhaps through a nostalgic lens. However, two outstanding place-specific art works installed as part of the town’s Lightpool Festival (http://www.blackpool-illuminations.net/LightPoolWalk.htm) suggest how the town was once particularly future-oriented. In making works especially designed for the occasion, Mark Titchner reminds onlookers of how Blackpool was once a hotspot of modernism and forward thinking. plenty-and-progress

His Plenty and Progress and What Use is Life Without Progress recall that the motto of the town is PROGRESS. This was never an empty boast, and was underpinned by a range of historical developments: the construction of the remarkable Tower, the early use of electric light, the early adoption of a tram system, and the mechanical marvels and rides that still enthral visitors to the Pleasure Beach. Plenty and Progress is projected onto the façade of the Town Hall and these words are surrounded by a shifting myriad of animated light designs, foregrounding how the resort’s illuminations are also part of this modern thrust, and refuting contemporary prejudices that modernism was invariably austere and functional.  The inference is that Progress is productive of plenty, not just of food, commodities and work, but also plenty of pleasures too. The colourful embellishments also recall the beautiful neon illuminations that adorned the seafront in the 1920s and 30s, with their clear lines and curves, notably conjuring up the designs of Claudegan, whose designs on paper can presently be viewed in the Grundy Art Gallery. progress

Facing the seafront, the larger work, What Use is Life Without Progress, offers a bleaker, more insistent message, in which progress is conversely associated with compulsion and instrumentality. The very form of the display evokes an authoritarian form of propaganda issued by the state, urging citizens to strive for improvement. Two very satisfying and provocative works.

 

October 31st, 2016 - 11:55am

Categories

Tags

Contributors

Twitter