In the poem “I am Going to Start Living like a Mystic” Edward Hirsch describes his view of his natural surroundings as he walks around a park. A walk through the natural world could be like a pilgrimage as stated by Edward Hirsch. Looking at the trees, the sky, the snow, and all the beauty that nature has to offer, as a human one wonders and expands upon his or her idea of nature and its tangible limitations. However, at the same time one may lose focus and fall into delusion, as the human heart is naturally attracted by anything that is beautiful. It is a fine description by Edward Hirsch, as he expresses the natural world in words. “walking across the park in a dusky snowfall. The trees stand like twenty-seven prophets in a field, each a
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Turrell’s composition of light compliments the natural light and transforms the sky-space into a locale for experiencing beauty of natural world. Thomas De Monchaux says that it is a 118 foot-square earthwork with grassy bermed walls enclosing a near-cubical bench-lined atrium, 28 foot-square. The sky-space portrays how simply a change in the colour of light can cause human perception to change; thus, it can deceive them. The Twilight Epiphany deludes the viewer: “by meeting the outer world exactly as it meets the world within, the artwork stages a generous and startling inversion of public and private, sacred and profane, high and low. It 's a turning-inside-out that, all along that razor 's edge, somehow turns all the sky into a skylight” (Monchaux). According to Monchaux, Turrell’s work can be perceived as art rendered in the medium of architecture. The Twilight Epiphany is not only an amazing piece of light art, but also a teaching tool. The atrium walls have twelve invisibly embedded audio speakers for musical performances. However, to the viewer it appears to be only a work of light art. Moreover, it is solely upon the viewer’s perception of the work as to what they make out of it: “while interpretation of the Sky-space remains open to the audience, as is ultimately the case with any artwork, a framework for engaging with the installation is inscribed through the signage and architecture, …show more content…
The same account of experience applies to veridical and illusory experience” (Crane and French). This is best exemplified by James Turrell’s Light Inside, where it appears as if there is a canvas on display, but it’s actually a rectangular hole in the wall. This is also consistent with Turrell’s Twilight Epiphany, as change in colour causes change in the viewer’s perception of the sky. Perhaps an even better example is of the visible light. Visible light or white light is the part of the electromagnetic spectrum, which is visible to the human eye. It appears to be white, and is therefore perceived as white, but actually consists of all seven colours of the rainbow. Even though apparently it’s just white light but it is actually avowing the limits of the vision of the human
Turrell’s composition of light compliments the natural light and transforms the sky-space into a locale for experiencing beauty of natural world. Thomas De Monchaux says that it is a 118 foot-square earthwork with grassy bermed walls enclosing a near-cubical bench-lined atrium, 28 foot-square. The sky-space portrays how simply a change in the colour of light can cause human perception to change; thus, it can deceive them. The Twilight Epiphany deludes the viewer: “by meeting the outer world exactly as it meets the world within, the artwork stages a generous and startling inversion of public and private, sacred and profane, high and low. It 's a turning-inside-out that, all along that razor 's edge, somehow turns all the sky into a skylight” (Monchaux). According to Monchaux, Turrell’s work can be perceived as art rendered in the medium of architecture. The Twilight Epiphany is not only an amazing piece of light art, but also a teaching tool. The atrium walls have twelve invisibly embedded audio speakers for musical performances. However, to the viewer it appears to be only a work of light art. Moreover, it is solely upon the viewer’s perception of the work as to what they make out of it: “while interpretation of the Sky-space remains open to the audience, as is ultimately the case with any artwork, a framework for engaging with the installation is inscribed through the signage and architecture, …show more content…
The same account of experience applies to veridical and illusory experience” (Crane and French). This is best exemplified by James Turrell’s Light Inside, where it appears as if there is a canvas on display, but it’s actually a rectangular hole in the wall. This is also consistent with Turrell’s Twilight Epiphany, as change in colour causes change in the viewer’s perception of the sky. Perhaps an even better example is of the visible light. Visible light or white light is the part of the electromagnetic spectrum, which is visible to the human eye. It appears to be white, and is therefore perceived as white, but actually consists of all seven colours of the rainbow. Even though apparently it’s just white light but it is actually avowing the limits of the vision of the human