<?xml version="1.0" encoding="UTF-8"?><?xml-stylesheet type="text/xsl" href="static/style.xsl"?><OAI-PMH xmlns="http://www.openarchives.org/OAI/2.0/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/ http://www.openarchives.org/OAI/2.0/OAI-PMH.xsd"><responseDate>2026-09-20T07:15:01Z</responseDate><request verb="GetRecord" identifier="oai:dspace.mit.edu:1721.1/67415" metadataPrefix="dim">https://dspace.mit.edu/server/oai/request</request><GetRecord><record><header><identifier>oai:dspace.mit.edu:1721.1/67415</identifier><datestamp>2022-01-13T07:54:12Z</datestamp><setSpec>com_1721.1_7582</setSpec><setSpec>com_1721.1_7581</setSpec><setSpec>col_1721.1_131023</setSpec></header><metadata><dim:dim xmlns:dim="http://www.dspace.org/xmlns/dspace/dim" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:doc="http://www.lyncode.com/xoai" xsi:schemaLocation="http://www.dspace.org/xmlns/dspace/dim http://www.dspace.org/schema/dim.xsd">
   <dim:field mdschema="dc" element="contributor" qualifier="advisor" lang="en_US">Otto Piene.</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="author" lang="en_US">Kim, Sue-Mie</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="other" lang="en_US">Massachusetts Institute of Technology. Dept. of Architecture.</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="department">Massachusetts Institute of Technology. Department of Architecture</dim:field>
   <dim:field mdschema="dc" element="date" qualifier="accessioned">2011-12-05T19:51:25Z</dim:field>
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   <dim:field mdschema="dc" element="date" qualifier="copyright" lang="en_US">1993</dim:field>
   <dim:field mdschema="dc" element="date" qualifier="issued" lang="en_US">1993</dim:field>
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   <dim:field mdschema="dc" element="identifier" qualifier="oclc" lang="en_US">28734866</dim:field>
   <dim:field mdschema="dc" element="description" lang="en_US">Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1993.</dim:field>
   <dim:field mdschema="dc" element="description" lang="en_US">Includes bibliographical references (leaves 61-63).</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="abstract" lang="en_US">A line, the simplest way to express an artist's feelings or interpretation of an object, has its own emotions that an artist can employ for her purpose. Laser light, the most self-concentrated, self-sustained and directed, has its unique characteristics that no other medium can imitate. When a line and laser light are combined, the result is a knife-cut clean laser line that catches the viewers breath. Artists, who have chosen the laser as their tool, need to make laser line images more attractive than laser light itself. In other words, artists must find the beauty of laser lines. Otherwise, the tool of the work dominates the artist's work itself. In this thesis, I having already chosen the laser as my tool, tried to find the beauty of laser lines by first learning the technical aspects and the characteristics of lasers. Then I examined previous works done by other laser artists, before working with lasers myself. I designed four laser projects in order to find "the beauty of laser lines," and the details of my works will be presented in this thesis.</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="statementofresponsibility" lang="en_US">by Sue-Mie Kim.</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="degree" lang="en_US">M.S.V.S.</dim:field>
   <dim:field mdschema="dc" element="format" qualifier="extent" lang="en_US">71 leaves</dim:field>
   <dim:field mdschema="dc" element="language" qualifier="iso" lang="en_US">eng</dim:field>
   <dim:field mdschema="dc" element="publisher" lang="en_US">Massachusetts Institute of Technology</dim:field>
   <dim:field mdschema="dc" element="rights" lang="en_US">M.I.T. theses are protected by 
copyright. They may be viewed from this source for any purpose, but 
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   <dim:field mdschema="dc" element="rights" qualifier="uri" lang="en_US">http://dspace.mit.edu/handle/1721.1/7582</dim:field>
   <dim:field mdschema="dc" element="subject" lang="en_US">Architecture.</dim:field>
   <dim:field mdschema="dc" element="title" lang="en_US">The beauty of laser lines</dim:field>
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   	&lt;Title>The beauty of laser lines&lt;/Title>
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   	&lt;PublicationDate>1993&lt;/PublicationDate>
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        	&lt;DisplayName>Kim, Sue-Mie&lt;/DisplayName>
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    &lt;Keyword>Architecture.&lt;/Keyword>
   	&lt;Abstract>A line, the simplest way to express an artist&amp;apos;s feelings or interpretation of an object, has its own emotions that an artist can employ for her purpose. Laser light, the most self-concentrated, self-sustained and directed, has its unique characteristics that no other medium can imitate. When a line and laser light are combined, the result is a knife-cut clean laser line that catches the viewers breath. Artists, who have chosen the laser as their tool, need to make laser line images more attractive than laser light itself. In other words, artists must find the beauty of laser lines. Otherwise, the tool of the work dominates the artist&amp;apos;s work itself. In this thesis, I having already chosen the laser as my tool, tried to find the beauty of laser lines by first learning the technical aspects and the characteristics of lasers. Then I examined previous works done by other laser artists, before working with lasers myself. I designed four laser projects in order to find &amp;quot;the beauty of laser lines,&amp;quot; and the details of my works will be presented in this thesis.&lt;/Abstract>
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