As the darkness progressed, the water splashing from our dipping paddles erupted in a shower of
glowing phosphorescence.
Not exact matches
Heat and light, being modes of motion, «
phosphorescence» and «incandescence» are phenomena to which consciousness has been likened by the production - theory: «As one sees a metallic rod, placed in a
glowing furnace, gradually heat itself, and — as the undulations of the caloric grow more and more frequent — pass successively from the shades of bright red to dark red (sic), to white, and develope, as its temperature rises, heat and light, — so the living sensitive cells, in presence of the incitations that solicit them, exalt themselves progressively as to their most interior sensibility, enter into a phase of erethism, and at a certain number of vibrations, set free (dégagent) pain as a physiological expression of this same sensibility superheated to a red - white.»
Phosphorescence is encountered by many on a daily basis — ranging from
glow - in - the - dark dials on watches to t - shirt lettering.
This cast phosphorescent polyurethane sculpture, which transforms from gentle ivory to vivid
glow - in - the - dark green, reflects Benglis» lifelong fascination with natural
phosphorescence, as well as her intrinsic ability to bring ephemeral natural phenomena and sensations into physical permanence through her art.
Referencing the body and the natural world, she later began using polyurethane to create larger volumes that rise from the floor and cantilever off the wall, which she describes as «frozen gestures» — some containing
phosphorescence that
glows in the dark.
Benglis, who created her first phosphorescent piece in 1971, has long been intrigued by natural
phosphorescence, whether found in bioluminescent waters and phosphorescent caves or in the
glow of fireflies.