A Quote by Sarah Parcak
What these satellites do is they record light radiation that's reflected off the surface of the Earth in different parts of the light spectrum. We use false color imaging to try to tease out these very subtle differences on the ground.
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Satellites record data in different parts of the light spectrum that we can't see. And it's that information that allows satellites to be so powerful in terms of looking at things like vegetation health, finding different kinds of geology that may indicate an oil deposit or some kind of mineralogical deposit that can be mined.
What beauty. I saw clouds and their light shadows on the distant dear earth.... The water looked like darkish, slightly gleaming spots.... When I watched the horizon, I saw the abrupt, contrasting transition from the earth's light-colored surface to the absolutely black sky. I enjoyed the rich color spectrum of the earth. It is surrounded by a light blue aureole that gradually darkens, becoming turquiose, dark blue, violet, and finally coal black.
Think about what would happen if Indiana Jones and Google Earth had a love child. I use high-resolution and NASA satellites and look for subtle differences on the surface of the earth that locate buried ancient pyramids and towns and ancient tombs, which we then go and excavate.
Archaeologists use datasets from NASA and commercial satellites, processing the information using various off-the-shelf computer programs. These datasets allow us to see beyond the visible part of the light spectrum into the near, middle, and far infrared.
Since light is best expressed through differences in color quality, color should not be handled as a tonal gradation, to produce the effect of light.
In thinking of light, if we can think about what it can do, and what it is, by thinking about itself, not about what we wanted it to do for other things, because again we've used light as people might be used, in the sense that we use it to light paintings. We use it to light so that we can read. We don't really pay much attention to the light itself. And so turning that and letting light and sound speak for itself is that you figure out these different relationships and rules.
My works are about light in the sense that light is present and there; the work is made of light. It's not about light or a record of it, but it is light. Light is not so much something that reveals, as it is itself revelation.
It seems obvious that colors vary according to lights, because when any color is placed in the shade, it appears to be different from the same color which is located in light. Shade makes color dark, whereas light makes color bright where it strikes.
I believe I'm a caterpillar buried deep down under the ground. The entire earth is above me, crushing me and I begin to bore through the soil, making a passage to the surface so that I can penetrate the crust and issue into the light. It's hard work boring through the entire earth, but I'm able to be patient because I have a strong premonition that as soon as I do issue into the light I shall become a butterfly.
Consider paint a film of light reflecting/absorbing material, and a colored paint a material which gives a particular, characteristic transmission of light via differential absorption and reflection. Call this reflected quality 'luminance' and measure it in millilamberts. This measure is as real and present as height, breadth, depth; and I find the phenomenon equally sumptuous and convincing. . . . Painted light, not color, not form, not perspective, or line, not image, or words, or equations, is painting. I make paintings which do not represent light, they are light.
Greek architecture taught me that the column is where the light is not, and the space between is where the light is. It is a matter of no-light, light, no-light, light. A column and a column brings light between them. To make a column which grows out of the wall and which makes its own rhythm of no-light, light, no-light, light: that is the marvel of the artist.
My movies are very often violent and dark, but there's a spectrum of light, and that light is coming from the women.
No Difference Small as a peanut, Big as a giant, We're all the same size When we turn off the light. Rich as a sultan, Poor as a mite, We're all worth the same When we turn off the light. Red, black or orange, Yellow or white, We all look the same When we turn off the light. So maybe the way, To make everything right Is for god to just reach out And turn off the light!
Light and color are closely linked. The colors can make a crucial change in nature, if you switch from daylight to artificial light or just from strong to weak illumination. In addition, color perception is affected by the material structure. Even if a piece of textile can have the same color as a shiny enamel plate, then they will act completely different.
For example, some stars put out large amounts of energy in the infrared part of the spectrum, so that this can produce a different relative magnitude rating than using light energy from the middle of the spectrum.
All religions, all this singing, one song. The differences are just illusion and vanity. The sun’s light looks a little different on this wall than it does on that wall, and a lot different on this other one, but it’s still one light.
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