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When is military force justified? Sample Solution classed as a (Phenomenological Reduction). It could be argued that Turrell’s work acts as a tool to facilitate…

When is military force justified?
Sample Solution

classed as a (Phenomenological Reduction). It could be argued that Turrell’s work acts as a tool to facilitate this phenomenological reduction, upon realising the fallacy in perception (that the cube of light is in fact a two-dimensional plane of light) the spectator has transcended the natural attitude, focusing solely on their own perception of perceiving light, as stated by Turrell: “[to] see yourself seeing” (Guggenheim, 2013). Turrell has proved that light is separable from its historical context and symbolic connotations. Hence being able to show that light is capable of imparting more philosophical and sensory experiences, as opposed to the theatrical and narrative driven experience. Turrell, in turn has shown that even the simplest presentation of light can cause a multitude of perceptual experiences. Conclusion The way we have seen light has changed throughout history. From religion and science to art and technology, light has always taken on a new culturally learned signs. Whether it is the prestige of light throughout history symbolised by the divine, the authoritarian and modernity of civilisation. This universal face of light is what makes it such an important medium to experiment with. It takes on multiple forms and simultaneously can be seen as an authoritative power, such as the gas lighting of 17th century Paris, or as a product of enjoyment in such festivities like baroque bonfires. In this essay we have explored the symbolic meanings of light in contrast to historical context and the way that they are presented. Through examining early pioneers such Thomas Wilfred who had brought a new theatrical aspect of light to culture. Providing imaginative explorations of space through, immersing the spectator within the environment of the artwork. His speeches of introducing the artwork, although questionably interfere with the spectator’s personal perceptions, nevertheless they could provide a more specialised paradigm for them to explore the phenomena of light. Conversely, this highlights the presentation of light in the works of James Turrell’s. His ability to transcend light’s intrinsically symbolic associations, communicating a direct experience of light to the spectator. This communication of the introspective, phenomenological attitude towards light. Both of theses artists have provided a new way of looking at light as a medium, for creative exploration>

classed as a (Phenomenological Reduction). It could be argued that Turrell’s work acts as a tool to facilitate this phenomenological reduction, upon realising the fallacy in perception (that the cube of light is in fact a two-dimensional plane of light) the spectator has transcended the natural attitude, focusing solely on their own perception of perceiving light, as stated by Turrell: “[to] see yourself seeing” (Guggenheim, 2013). Turrell has proved that light is separable from its historical context and symbolic connotations. Hence being able to show that light is capable of imparting more philosophical and sensory experiences, as opposed to the theatrical and narrative driven experience. Turrell, in turn has shown that even the simplest presentation of light can cause a multitude of perceptual experiences. Conclusion The way we have seen light has changed throughout history. From religion and science to art and technology, light has always taken on a new culturally learned signs. Whether it is the prestige of light throughout history symbolised by the divine, the authoritarian and modernity of civilisation. This universal face of light is what makes it such an important medium to experiment with. It takes on multiple forms and simultaneously can be seen as an authoritative power, such as the gas lighting of 17th century Paris, or as a product of enjoyment in such festivities like baroque bonfires. In this essay we have explored the symbolic meanings of light in contrast to historical context and the way that they are presented. Through examining early pioneers such Thomas Wilfred who had brought a new theatrical aspect of light to culture. Providing imaginative explorations of space through, immersing the spectator within the environment of the artwork. His speeches of introducing the artwork, although questionably interfere with the spectator’s personal perceptions, nevertheless they could provide a more specialised paradigm for them to explore the phenomena of light. Conversely, this highlights the presentation of light in the works of James Turrell’s. His ability to transcend light’s intrinsically symbolic associations, communicating a direct experience of light to the spectator. This communication of the introspective, phenomenological attitude towards light. Both of theses artists have provided a new way of looking at light as a medium, for creative exploration>
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