Let us look at light used in art from the perspective of art history. Light is important in the methods used for displaying reality and the formation of different styles in painting. During the middle ages painters sought not only to display the real behaviour of light in the world but used light to view transcendental elements. Magister Theodoricus for example seemingly placed the light source inside the volume of figures of saints, and thus strengthened their spiritual presence in the area of the chapel in Karlštejn castle. The master of the Wittingau altar used a shadow to amplify the mystery of the scene, like the Dutch masters from the early 15th century in their night scenes. By using sfumato, Leonardo forced the viewer to start actively looking at indistinct contours of his characters and thus intensified their vividness. Caravaggio from before 1600 put emphasis on the contrasts of light and darkness, thus his chiaroscuro figures sharply emenate into light. The light carves objects out of the surrounding darkness and facilitates composing images. During this time, Galileo through his telescope and his art of drawing identified "spots" of the Moon as craters. Simultaneously, Annibale Carracci, and before him Jan van Eyck and after him Velásquez and many others used mirror optics for various pictorial representations of reality. Together, relations between light phenomena, optics and painting are rich in their complexity. and Ladislav Daniel.
This article discusses light propagation in an optical fibre from the point of view of both geometrical and wave optics. We describe the fibre eigenmodes and their wavefronts, evolution of a general state of light along the fibre, and the modes of a bent fibre. Numerous figures are used to illustrate the presented priciples., Tomáš Tyc., and Obsahuje seznam literatury
Zlaté sedmeré světlo, vůkol planoucí, duši ti dává směsice barev..., Light was the symbol of the Enlightenment or the Age of Light. The physics of light was widely studied and popularised at that time. The theoretical description of light inspired Maupertuis and Euler to formulate the Principle of the Least Action., Jiří Langer., and Obsahuje seznam literatury
This article looks at the marginalization of the Roma from the perspective of socio-psychological dynamics of society. The author takes the specific case of Roma settlements in Slovakia, where he has conducted anthropological research, to illustrate how the mechanism of marginalisation functions. Drawing on the work of Tzvetan Todorov and Peter L. Berger, he argues that at the heart of human sociability - the ability and necessity to live among others - is the constant human need for attention and recognition from others. This basic human need affects the socio-psychological dynamics of society, including the marginalisation as well as integration of some of its groups. This need for attention and recognition leads to the emergence of complex 'counterworlds' or 'counter-societies', with their alternative value systems. The Roma settlements and urban ghettoes represent such counter-worlds that provide their inhabitants with attention, recognition, positive self-interpretation, and confirmation of their values. If the inhabitants of these counter-worlds are unable to fulfil this need anywhere else, then their integration into wider society cannot be achieved.