Thematische Bibliographien / Art material

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Auswahl der wissenschaftlichen Literatur zum Thema „Art material“

Autor: Grafiati

Veröffentlicht am 30. Juni 2021

Zuletzt aktualisiert am 1. Februar 2022

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Zeitschriftenartikel zum Thema "Art material"

Zetina Ocaña, Sandra, Elsa Minerva Arroyo Lemus, Tatiana Falcón Álvarez und Eumelia Hernández Vázquez. „La dimensión material del arte novohispano“. Intervención Revista Internacional de Conservación Restauración y Museología 1, Nr. 1 (01.05.2010): 17–29. http://dx.doi.org/10.30763/intervencion.2014.10.120.

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Schmidt, Filipp. „The Art of Shaping Materials“. Art and Perception 8, Nr. 3-4 (28.10.2019): 407–33. http://dx.doi.org/10.1163/22134913-20191116.

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Material perception — the visual perception of stuff — is an emerging field in vision research. We recognize materials from shape, color and texture features. This paper is a selective review and discussion of how artists have been using shape features to evoke vivid impressions of specific materials and material properties. A number of examples are presented in which visual artists render materials or their transformations, such as soft human skin, runny or viscous fluids, or wrinkled cloth. They achieve this by expressing the telltale shape features of these materials and transformations, often by carving them from a single block of marble or wood. Vision research has just begun to investigate these very shape features, making material perception a prime example of how art can inform science.

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Grigorova, Yana. „Art and “non-material labour»“. Bulletin of PNRPU. Culture. History. Philosophy. Law, Nr. 4 (2017): 69–73. http://dx.doi.org/10.15593/perm.kipf/2017.4.08.

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Brett, David. „Art and Society: Material Evidence“. Circa, Nr. 62 (1992): 20. http://dx.doi.org/10.2307/25557713.

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Gudeman, Stephen. „Epilogue: Art and Material Culture“. Museum Anthropology 16, Nr. 3 (Oktober 1992): 58–61. http://dx.doi.org/10.1525/mua.1992.16.3.58.

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Krispinsson, Charolotta. „Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn“. Artium Quaestiones, Nr. 29 (07.05.2019): 5–23. http://dx.doi.org/10.14746/aq.2018.29.1.

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Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history: the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance.

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Hainge, Greg. „Art Matters: Philosophy, Art History and Art’s Material Presence“. Culture, Theory and Critique 57, Nr. 2 (03.05.2016): 137–41. http://dx.doi.org/10.1080/14735784.2016.1161903.

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Dahlia W. Zaidel. „Art in Early Human Evolution: Socially Driven Art Forms versus Material Art“. Evolutionary Studies in Imaginative Culture 1, Nr. 1 (2017): 149. http://dx.doi.org/10.26613/esic.1.1.22.

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Zaidel, Dahlia W. „Art in Early Human Evolution: Socially Driven Art Forms versus Material Art“. Evolutionary Studies in Imaginative Culture 1, Nr. 1 (31.07.2017): 149–58. http://dx.doi.org/10.26613/esic/1.1.22.

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Li, Ming Juan. „On the Discussion of Abstract Form and Art Empathy of the Ramie Materials in Modern Fiber Art“. Applied Mechanics and Materials 644-650 (September 2014): 4844–47. http://dx.doi.org/10.4028/www.scientific.net/amm.644-650.4844.

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form and Art Empathy of the Ramie Materials in Modern Fiber ArtLi Mingjuan,FangZhi Road, Wuhan City, Hubei Province, China, Art and Design College of Wuhan Textile University78207664@QQ.comKeywords: Modern fiber art, Ramie fiber, Abstract form, Empathy manifestationAbstract. Fiber art is both a traditional art and modern art, while the material is the first language for fiber art,since the material is the basis of fiber art, which is also the carrier of fiber art and the external materialized result of fiber language.With the development of modern fiber materials are becoming increasingly rich, the new materials bring the fiber art new opportunities for its development. This paper is based on the importance of the materials on fiber art, taking it as the cutting point, using the double-sided description of ramie fiber material, discussing the performance of empathy and abstract form of ramie fiber material, so as to provide references for the creation of textile fiber art .

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Dissertationen zum Thema "Art material"

Strom, Yuri A. „The Art Material Girl--A Guide to Save and Find Funding for Art Materials“. Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/66.

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The current economic situation in the U.S. has demanded budget cuts in all areas of American life, including education. Faced with these unprecedented cuts, many arts programs are losing their funding. Many art educators are finding it a challenge to provide art education without compromising the quality of the curriculum and program. Through a comparative analysis of materials and fundraisers and a document analysis of money saving tips, strategies are suggested for art teachers to save and find money.

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Langille, Nicole. „Of Measure and Material“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956.

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Freeman, Julie. „Defining data as an art material“. Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/31793.

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Digital technology, and speci cally digital data, forms the backbone of nearly all our communications including machine to machine, human to machine, and, increasingly, human to human. It is unsurprising that one of the most prevalent materials of our time is used by artists to create work. This thesis defines data as an art material. It investigates the variety of manifestations of data when used in art, through the review of existing artwork and the development of new artworks and visualisations that use a dataset collected for this research. Through the lens of conceptualising data as an art material, a definition and manifesto of data art is put forward (Chapter 2). In addition, a taxonomy for describing data as an art material is proposed and its usage explored by applying it to a number of data art descriptions and by analysing a database of data artworks tagged with relevant terms (Chapter 3). Temporal, biological, and real-time, terms from the taxonomy, are particularly relevant to the way in which digital technology mediates our connection to nature. To explore these forms of data within artwork, a collaboration with Dr Chris Faulkes, Reader in Evolutionary Ecology, facilitated the design and implementation of an electronic system to collect data from a colony of animals. Chapter 4 describes the tracking system which resulted in a real-time stream of biological temporal data. Translations of this data are explored in more detail through the practical application of various computational techniques including scientific analysis (Chapter 5), animation, sonification, data visualisation (Chapter 6) and soft robotic objects (Chapter 7). The thesis demonstrates that an inanimate object, animated through the translation of data, can have a body language through which to effectively convey characteristics of living things (Chapter 8). Finally, public engagement events are presented in Chapter 9, with reflections, contributions and future work concluded in Chapter 10.

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Greening, Daniel John. „Art, landscape and material : subject into media“. Thesis, University of Wolverhampton, 2010. http://hdl.handle.net/2436/299209.

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A research investigation that illustrates the development of the European landscape tradition as an unbroken interactive and material movement, through discussion of artists from Annibale Carracci (1560-1609) to Richard Long (1945 –). The contribution of each artist within their respective epoch will be used to propose that the subject of landscape has become an actual creative medium, integral to and consistent with the external Plein-Air technique. Thus, presenting a ‘creative narrative’ from the observed into the articulated that will demonstrate how the examination and representation of actual landscapes have become physically used within creative presentations. The study uses key artworks that have been inspired by landscape to show the shift from documentation into interaction with the reality of the natural world. This entails the chronology of the investigation and commences with the concept of Ideal Landscape, established by Carracci, within the late 16th century, through the development of the Plein-Air tradition and culminating with particular emphasis on European landscape artists’ and movements since 1945 that have interacted with actual sites and natural materials: from the ideal to the actual. Furthermore, the European transfer and diffusion of interactive and material based landscape methods, including drawing and painting outside, the collection of organic items and photography, passed and developed from one generation to the next, informs a body of personal creative work. This is a 50/50 co-dependent strand used to illustrate the practical and creative discourses between practitioner and landscape, involving the articulation of actual land materials, found objects and Plein-Air excursions to the drawing locations of previous practitioners’, sketchbooks and journals. The insights provided, by the personal practice and associated theoretical position, aid the evaluation, analysis and description of the evolution of the creative methods inherent in the development of subject into media, but not presently described in historical accounts, therefore, presenting a Material Chronology and thus the original contribution of knowledge for this investigation.

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Voegelin, Salome. „Practising timespace-collage : art as material complex“. Thesis, Goldsmiths College (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419777.

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Grace, Claire Robbin. „Group Material and the 1980s: A Materialist Postmodernism“. Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11662.

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Group Material's seventeen-year collaboration began in New York in 1979 through the artists' shared interests in collective, politicized practices and their immersion in a localized network of countercultural activities. While GM's cadre of participants shifted over time (from the dozen who launched its first year to a smaller core comprising Doug Ashford, Julie Ault, Mundy McLaughlin, Félix González-Torres, and Tim Rollins), its practice developed a consistent aesthetic vocabulary in dialogue with major figures of 1980s art and with an eye to 1960s conceptualism and the Soviet avant-garde. GM threw open the class coordinates of art's public and introduced a distinct set of responses to the central problematics of 1980s art: the debates over representation, appropriation, painting, public space, and activism.
History of Art and Architecture

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Gordon, Rebecca Alison. „Rethinking material significance and authenticity in contemporary art“. Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3041/.

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The traditional notion of material authenticity as being the physical and aesthetic evidence of the artist’s hand in the ‘original’ materials is outmoded. With the changed nature of art must come a rethinking of the concept of authenticity. Authenticity was and is often discussed in relation to attribution, and is traditionally linked with the artwork’s material presence. This thesis questions that assumption, drawing on the literature of philosophy that describes authenticity as someone’s ‘true essence’ in order to propose the significance of the interrelation of the artwork’s multiple attributes to the work’s identity. The artist’s voice has been a crucial source in this re-evaluation, with the voices of Scottish artists, or artists represented by a Scottish gallery or collection, building a picture of the way practitioners think about the significance of materials to their work. These contemporary primary sources have been contextualised with artists’ voices from published compendiums and international case studies. They have revealed the general pragmatism of artists’ approaches, particularly in relation to their creative processes. Therefore, this thesis has based its discussion around seemingly incongruous approaches: a conceptual framework and artists’ practices. However, these poles are reconciled by rooting the investigation at the point of the artwork’s creation. This has meant placing weight on the artist’s intentions for the work and his or her decision-making process, rather than the subsequent interpretations of curators and conservators that inevitably inform the artwork’s institutional afterlife. Doing so has led to a greater understanding of artists’ conceptions of material significance and their thoughts on the identity of their works. This inevitably bears implications for the preservation and display of contemporary art.

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Lymer, Kenneth J. „Animals, art and society : rock art and material culture in ancient Central Asia“. Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400540.

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Hornbuckle, Rosie. „Design and the material cycle : an investigation into secondary material use in design practice“. Thesis, Kingston University, 2010. http://eprints.kingston.ac.uk/21839/.

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Since the UK government's Waste Strategy was introduced in 2000 there has been sustained emphasis on the diversion of waste material from landfill and it has been acknowledged that stable markets for secondary materials must be developed to ensure that the resources used to recover them are not expended needlessly. This thesis looks at the issues surrounding a designer's ability to select secondary materials for the production of new artefacts and proposes a new framework for supporting that activity. While in the past recycled materials have mainly been used either for highly visible 'one-offs' or hidden components the stance taken here is that both creative design and volume production are essential for stable markets in the short term and effective materials cycles in the future. Therefore product and industrial design was the initial focus of this research. The investigation involved three empirical enquiries: Enquiry 1 employed a survey method to explore the design scenario of product and industrial designers and its influence on their ability to select secondary materials. Enquiries 2 & 3 looked at the issues involved in recovering and using secondary materials (focusing on plastic in London), and the tools currently available to support designers. The primary research suggests that the scenario of product and industrial design consultants is not generally conducive to the consideration and use of secondary materials. Specifications for two tools that could improve the situation are proposed: 1) to build knowledge and awareness of secondary materials, and; 2) to improve materials information for design. However the issues with using secondary materials in design practice are manifold and so the research concludes with a framework identifying five central considerations for supporting the use of secondary materials in design practice. This thesis contributes original knowledge in the field of design research by: • proposing specifications for new tools to support the use of secondary materials in design practice; • presenting a range of approaches to sourcing and using secondary materials in design practice; • furthering understanding of the design scenario and how it may inhibit or enable designers to act in specific ways; • challenging existing approaches to material information provision for designers with a new emphasis on dialogue with specialists and the important role of materials librarians.

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Long, T. J. „Material thinking in art : subject, object and the subjectile“. Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1364563/.

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My thesis examines work by Antonin Artaud, Henry Darger, Marcel Duchamp, and Pablo Picasso, with the intention of subjecting specific works by these artists to critical tests employing the idea proposed by Antonin Artaud's subjectile, that is a paradoxical fusion of both subject and object. As a critical device the subjectile is useful both for discussing art and making it, enabling me to explore my own practice, which seeks to articulate problematic aspects of subjective status and the end limits of the subject. Artaud describes in his writing and depicts in his drawing how his body is in a state of fusion with objects. Or, he adopts a creative process that presents subjective integrity as if it overlaps and is contiguous with objects. The first, rational and empirical direction determines there is no sensation and no animation in objects, so they do not retain in their material mass any attributes of subjectivity. The second direction proposes that objects are hybrid and metamorphic: sensation, and attributes of the subject are contiguous with the material properties of objects. The poetics of corporeality Artaud develops in his works maintains a consistent attitude to extension, proposing that sensation and substantial material qualities of the human body are discovered in objects, especially in art. I argue that the subjectile deploys paranoid devices to understand subjective difficulties. I discuss paranoia and the subjectile in relation to Deleuze and Guattari's understanding of Artaud's 'Body without Organs', and Derrida's essay 'Maddening the Subjectile'. I also draw upon Melanie Klein's object relations theory, which discusses split up parts of the subject that are ambivalent, projected and expelled, enabling discussion of subjectiles as partial attributes of the subject that form part of a broader culture, through the engagement of aesthetic, formal, and historical registers in art.

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Bücher zum Thema "Art material"

Rodgers, Margaret. Material support. Herausgegeben von Eccles Jane 1949- und Visual Arts Centre of Clarington. Bowmanville, ON: Visual Arts Centre of Clarington, 2000.

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Prown, Jules David. Art as evidence: Writings on art and material culture. New Haven, CT: Yale University Press, 2001.

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Fox, Howard N. Glass: Material matters. Los Angeles, CA: Los Angeles County Museum of Art, 2006.

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C, Nichols Sarah, und Los Angeles County Museum of Art., Hrsg. Glass: Material matters. Los Angeles, CA: Los Angeles County Museum of Art, 2006.

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Montgomery Museum of Fine Arts. Material transformations. Montgomery, Alabama: Montgomery Museum of Fine Arts, 2013.

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Westküste, Museum Kunst der, Hrsg. Handarbeit: Material und Symbolik. Alkersum: Museum Kunst der Westküste, 2013.

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(Gallery), Tate Modern, Hamburger Kunsthalle und National Gallery of Canada, Hrsg. Pop life: Art in a material world. London: Tate Pub., 2009.

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(Gallery), Tate Modern, Hamburger Kunsthalle und National Gallery of Canada, Hrsg. Pop life: Art in a material world. London: Tate Pub., 2009.

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Ryall, Jeanette. Junk art. New York: Windmill Books, 2013.

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Junk art. New York: Windmill Books, 2013.

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Buchteile zum Thema "Art material"

Anguissola, Anna. „Art and material“. In Pliny the Elder and the Matter of Memory, 13–30. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429329159-3.

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Hughes, Rolf, und Rachel Armstrong. „Material knowledge“. In The Art of Experiment, 7–16. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781351065504-2.

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Wengrow, David. „Art and Material Culture“. In A Companion to Ancient Near Eastern Art, 23–48. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118336779.ch2.

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Grollemond, Larisa. „A Material Legacy“. In Hybridity in Early Modern Art, 80–98. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429345203-7.

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Lynch, Michael. „Material play and artistic renderings“. In Practicing Art/Science, 80–100. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315175881-5.

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Silverman, Helaine, und William H. Isbell. „From Art to Material Culture“. In Andean Archaeology II, 3–20. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0597-6_1.

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„Preliminary Material“. In Public Art, 1–7. Verlag Ferdinand Schöningh, 2018. http://dx.doi.org/10.30965/9783657793556_001.

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„Preliminary Material“. In Witty Art, 1–6. Wilhelm Fink Verlag, 2015. http://dx.doi.org/10.30965/9783846757024_001.

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Ihlein, Lucas. „Blogging as Art, Art as Research“. In Material Inventions. I.B.Tauris, 2014. http://dx.doi.org/10.5040/9780755603695.ch-002.

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„Preliminary Material“. In Politics of Art, i—x. BRILL, 2014. http://dx.doi.org/10.1163/9789004281783_001.

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Konferenzberichte zum Thema "Art material"

Kurumisawa, Jun. „Non-material construction #1“. In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312499.

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Reinhard, Erik. „Image-based material editing“. In the ACM SIGGRAPH 05 electronic art and animation catalog. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1086057.1086187.

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„Microscopic Material Forms--The Abstractive Use of Comprehensive Material in Art Creation“. In 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.058.

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He, Yuanyuan. „Research on Material Design of Decoration Art Glass“. In 2016 International Conference on Advances in Management, Arts and Humanities Science (AMAHS 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/amahs-16.2016.60.

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Otto, David J., und John L. Hanley. „From Art to Science: A New Acoustic Baffle Material“. In SAE Noise and Vibration Conference and Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1995. http://dx.doi.org/10.4271/951245.

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Lem, Nolan. „BDSMR: Velcro as a Sensory Material and Erotic Interface“. In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.27.

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Hines, Megan K., David Kadish und Maja Fagerberg Ranten. „Sound as Material for Eco-technogenesis“. In RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/resound19.30.

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Deng, Yishan, und Weihai Zhang. „The Study of Application of Microscopic Material Form in Comprehensive Material Painting“. In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.60.

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van Dijk, Martien H. H., und Paul Bant. „The physics of laser material processing from art to technology“. In ICALEO® 2002: 21st International Congress on Laser Materials Processing and Laser Microfabrication. Laser Institute of America, 2002. http://dx.doi.org/10.2351/1.5065590.

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Hu, Juan, und Yali Zhu. „A Study of Material Design Methodology of Environmental Art Design“. In 2018 2nd International Conference on Education Science and Economic Management (ICESEM 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icesem-18.2018.185.

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Berichte der Organisationen zum Thema "Art material"

Donovan, Jordan. Understanding state-of-the-art material classification through deep visualization. Engineer Research and Development Center (U.S.), Juli 2020. http://dx.doi.org/10.21079/11681/37618.

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Gschwander, Stefan, Ana Lazaro, Monica Delgado, Christoph Rathgeber, Michael Brütting, Stephan Höhlein, Melissa Obermeyer et al. Summary of Work On development and characterization of improved Materials. IEA SHC Task 58, Juni 2021. http://dx.doi.org/10.18777/ieashc-task58-2021-0003.

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As the material development is done at different institution the objective of the work was to collect the materials which are under research and development to get an overview on the most relevant properties of these materials and application which are addressed.

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Berkowitz, Jacob F., Christine M. VanZomeren, Jaybus J. Price und Anthony M. Priestas. Incorporating Color Change Propensity into Dredged Material Management to Increase Beneficial Use Opportunities. Engineer Research and Development Center (U.S.), Dezember 2020. http://dx.doi.org/10.21079/11681/39261.

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Dredged materials provide a number of beneficial use opportunities, including beach nourishment, habitat creation and restoration, and other activities. In situ sediment color is important for determining aesthetic and habitat suitability, for beach nourishment, and for other projects. However, dredged materials must meet locally established color compatibility requirements (for example, material cannot be too dark). Often, potential sediment sources are close to meeting specified color thresholds, and previous observations suggest that sediments lighten over time. In response to these observations, this study quantified sediment color change potential in a dredged m aterial management context. Results indicate that dredged material sediment color responded to changes in secondary color components, sediment mixing, and photolytic bleaching improving the sediment color for beneficial use application. Findings allowed for development of a conceptual color change capacity framework and supported development of tools for resource managers to incorporate color change dynamic into planning and operations activities.The following report provides a framework for determining the color change capacity of dredged materials using (1) a comprehensive laboratory approach and (2) a semiquantitative index based on source material and placement location conditions. These tools allow practitioners to incorporate dredged-material color change into resource management decisions, thus increasing beneficial use opportunities.

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Forster, Aaron M. Materials Testing Standards for Additive Manufacturing of Polymer Materials: State of the Art and Standards Applicability. National Institute of Standards and Technology, Mai 2015. http://dx.doi.org/10.6028/nist.ir.8059.

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Kennedy, Alan, Jonathon Brame, Taylor Rycroft, Matthew Wood, Valerie Zemba, Charles Weiss, Matthew Hull, Cary Hill, Charles Geraci und Igor Linkov. A definition and categorization system for advanced materials : the foundation for risk-informed environmental health and safety testing. Engineer Research and Development Center (U.S.), September 2021. http://dx.doi.org/10.21079/11681/41803.

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Novel materials with unique or enhanced properties relative to conventional materials are being developed at an increasing rate. These materials are often referred to as advanced materials (AdMs) and they enable technological innovations that can benefit society. Despite their benefits, however, the unique characteristics of many AdMs, including many nanomaterials, are poorly understood and may pose environmental safety and occupational health (ESOH) risks that are not readily determined by traditional risk assessment methods. To assess these risks while keeping up with the pace of development, technology developers and risk assessors frequently employ risk-screening methods that depend on a clear definition for the materials that are to be assessed (e.g., engineered nanomaterial) as well as a method for binning materials into categories for ESOH risk prioritization. In this study, we aim to establish a practitioner-driven definition for AdMs and a practitioner-validated framework for categorizing AdMs into conceptual groupings based on material characteristics. The definition and categorization framework established here serve as a first step in determining if and when there is a need for specific ESOH and regulatory screening for an AdM as well as the type and extent of risk-related information that should be collected or generated for AdMs and AdM-enabled technologies.

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Ricker, Neil Lawrence, und Benjamin B. Cipiti. Advancing the state of the art in materials accountancy through Safeguards Performance Modeling. Office of Scientific and Technical Information (OSTI), August 2008. http://dx.doi.org/10.2172/939846.

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Watts, Alden. Towards understanding material characteristics through the additive manufacturing arc. Office of Scientific and Technical Information (OSTI), Juli 2019. http://dx.doi.org/10.2172/1593314.

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Roesler, Jeffery, Sachindra Dahal, Dan Zollinger und W. Jason Weiss. Summary Findings of Re-engineered Continuously Reinforced Concrete Pavement: Volume 1. Illinois Center for Transportation, Mai 2021. http://dx.doi.org/10.36501/0197-9191/21-011.

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This research project conducted laboratory testing on the design and impact of internal curing on concrete paving mixtures with supplementary cementitious materials and evaluated field test sections for the performance of crack properties and CRCP structure under environmental and FWD loading. Three experimental CRCP sections on Illinois Route 390 near Itasca, IL and two continuously reinforced concrete beams at UIUC ATREL test facilities were constructed and monitored. Erodibility testing was performed on foundation materials to determine the likelihood of certain combinations of materials as suitable base/subbase layers. A new post-tensioning system for CRCP was also evaluated for increased performance and cost-effectiveness. This report volume summarizes the three year research effort evaluating design, material, and construction features that have the potential for reducing the initial cost of CRCP without compromising its long-term performance.

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Kennedy, Alan, Mark Ballentine, Andrew McQueen, Christopher Griggs, Arit Das und Michael Bortner. Environmental applications of 3D printing polymer composites for dredging operations. Engineer Research and Development Center (U.S.), Januar 2021. http://dx.doi.org/10.21079/11681/39341.

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This Dredging Operations Environmental Research (DOER) technical note disseminates novel methods to monitor and reduce contaminant mobility and bioavailability in water, sediments, and soils. These method advancements are enabled by additive manufacturing (i.e., three-dimensional [3D] printing) to deploy and retrieve materials that adsorb contaminants that are traditionally applied as unbound powders. Examples of sorbents added as amendments for remediation of contaminated sediments include activated carbon, biochar, biopolymers, zeolite, and sand caps. Figure 1 provides examples of sorbent and photocatalytic particles successfully compounded and 3D printed using polylactic acid as a binder. Additional adsorptive materials may be applicable and photocatalytic materials (Friedmann et al. 2019) may be applied to degrade contaminants of concern into less hazardous forms. This technical note further describes opportunities for U.S. Army Corps of Engineers (USACE) project managers and the water and sediment resource management community to apply 3D printing of polymers containing adsorptive filler materials as a prototyping tool and as an on-site, on-demand manufacturing capability to remediate and monitor contaminants in the environment. This research was funded by DOER project 19-13, titled “3D Printed Design for Remediation and Monitoring of Dredged Material.”

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Kim, Alexander. Osteological studies of Archaeological Materials from Bohai Sites in Russia. A State of the Art. Edicions de la Universitat de Lleida, 2017. http://dx.doi.org/10.21001/itma.2017.11.03.

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