Thematische Bibliographien / Installation art

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Installation art“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 5. Oktober 2024

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Zeitschriftenartikel zum Thema "Installation art"

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MANRESA, GEMMA ARGÜELLO, und ELISA CALDAROLA. „Installation Art“. Journal of Aesthetics and Art Criticism 78, Nr. 3 (Juni 2020): 331–32. http://dx.doi.org/10.1111/jaac.12747.

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Bestor, Charles. „Installation art“. ACM SIGGRAPH Computer Graphics 37, Nr. 1 (Februar 2003): 16–18. http://dx.doi.org/10.1145/763993.763994.

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Vickery, Jonathan. „INSTALLATION ART“. Art History 29, Nr. 5 (November 2006): 957–63. http://dx.doi.org/10.1111/j.1467-8365.2006.00528_7.x.

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Rios, Patricia, und Aquiles Negrete. „The object of art in science: science communication via art installation“. Journal of Science Communication 12, Nr. 03 (11.12.2013): A04. http://dx.doi.org/10.22323/2.12030204.

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Science is part of our everyday live; so is art. Some art installations that link the two require the active presence of the spectator. Thereby they help to raise the awareness, promote understanding, and generate an emotional response from the public. This project rests on the public participation model that seeks to explore the connection between art installations and science communication through experiential learning. In order to test the effectiveness of an art installation communicating science two groups were contrasted. The first was exposed to a list of scientific facts; the second participated in the creation of an art installation. The results of this research suggest that art installations do promote long-term fact retention. Therefore, the use of art installations can be considered an interesting method of conveying science in an attractive, reliable, and memorable way.
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Petrenko, Dmitry. „INSTALLATION ART IN THEUKRAINIAN VISUAL CULTUREOF THE BEGINNING OF THE ХХІ CENTURY“. Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", Nr. 66 (28.12.2022): 16–22. http://dx.doi.org/10.26565/2306-6687-2022-66-02.

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The article considers Ukrainian installation art. Artistic practices of installation represent one of the most interesting trends in world visual culture, which actively developed during the second half of the ХХ century and at the beginning of the ХХІ century. Installation is a relevant form of modern art, as it is focused on space and thus corresponds to an important guideline of modern culture — the spatial turn. It is proposed to consider the theory of installation by C. Bishop, according to which four types of installation can be distinguished: a phenomenological installation, de-subjectivizing installation, political installation, as well as a semiotic dream installation. According to Bishop's classification, the majority of Ukrainian art projects created in the installation technique are close to the semiotic dream installation. Ukrainian installation artists bring work with cultural meanings to the fore, rather than perceptual experience or anthropological experiments. There are several central figures in the Ukrainian art scene who create installations and present various artistic strategies in their projects. Through installation art, artist M. Kadan addresses the understanding of the Soviet past and its presence in the current experience of Ukrainian culture. Art meets research here. The artist refers to the cultural layers of the past to make sense of them outside the ideologemes of Soviet propaganda and reveal the “paresis of things” to the audience. The works by artist S. Petliuk develop the trend of media installation. Media technologies are actively used in the works of this trend. In his media installations, Petliuk deconstructs social and political ideologues, conducts “archaeological” explorations of modern urban space, addresses the question of comprehending war traumas, etc. Special attention is paid to the influence of the video installation on modern Ukrainian cinematography. The work of artist and film director I. Podolchak, who integrates the artistic principles of installation into his cinematographic works, is considered. An important trend of Ukrainian installation art is represented by the work of artist P. Makov. Makov's projects balance on the border between the culture of meaning and the culture of presence by filling his installation projects with deep cultural and political senses. It is determined that Ukrainian installation art combines the traditions of Ukrainian visual culture and innovative artistic practices and is an important component of the world artistic culture of the beginning of the ХХІ century.
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Chemberzhi, Daria. „The importance of installation art for the development of contemporary art in the world and Ukraine“. Bulletin of Lviv National Academy of Arts, Nr. 39 (2019): 278–87. http://dx.doi.org/10.37131/2524-0943-2019-39-19.

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Article is devoted to a research of a role and the place of art installation in the modern world. At the same time the retrospective analysis of a role of art installation in the past and comparative characteristic with the present is carried out. The Ukrainian context of development of art installation is also revealed. At the same time it is found out that installation is not only an important component of modern art, but also an integral part of historical discourse. Due to its visual functions, the installation actively influences the viewer. For the most part, installations are not just an object in space, it is what is the very space - how much the installation work has the ability to fill the space, integrate into it organically and holistically. At the same time, the main factor in the creation and existence of an installation in the exhibition space, as well as in other relevant arts, is its relationship with the viewer. In this study, the socio-cultural aspect of the installation is important, understanding of the significance of this form of contemporary artistic practices for a common worldview system. Such problems as the assimilation of new experience from the point of view of global processes, on the one hand, and the preservation of the national cultural identity in contemporary art, on the other – actualize the pattern of the process of perception of a new culture. In article it is found out that graphic schools are based on existence of certain art and educational institutions where graphic artists who carry out the teaching activity and own creativity a high mission of formation of new generation of masters create. Not less important factor is acceptance of experience of teachers and its further development in creativity of pupils and followers. Art of installation is an integral part of the modern fine arts of Ukraine. Emergence and development of this art form in the national cultural environment became possible under conditions of intensive creative activity of artists which reached the high level of mastery in connection with deeply philosophical judgment of problems of the present. At the end of XX – the beginning of ХХІ century, looking for new ways of development, the Ukrainian artists addressed installation which as it is possible better answered esthetic inquiries of an era and became a symbol of spiritual updating of the personality. Installation turns into a key factor of development of different spheres of culture, thereby playing a noticeable role in development of national culture. Installation in the modern art helps to be focused and inform of the idea and understanding of global problems to adherents of different genres of art, the audience of different age categories and social groups. Since declaration of independence development of the independent state and formation of own cultural policy aimed at providing free development of national culture and preservation of cultural inheritance begins. The state forms the legislative base which can provide cultural development and an open entry of all citizens to its achievements. In 1992 the Verkhovna Rada of Ukraine accepts "Principles of the legislation of Ukraine about culture" where the basic principles of public policy in the sphere of culture directed to revival and development of the Ukrainian national culture, ensuring freedom of creativity, free development of cultural and art processes, realization of the rights of citizens to access to cultural values, creation of material and financial conditions of cultural development were declared. It is found out that installation is an art equipment which uses the three-dimensional objects intended for change of perception of space by the person. The term "installation" in English appeared long ago – in the XV century. It means process of construction, collecting, drawing up something (now use it also for establishment definition, for example, of the software). With the advent of different technologies – videos, and later and the computer – arose also different types of installations which now peacefully coexist with other arts, for example, painting or a sculpture, without being inferior to them. Hardly somebody will be able to designate exact date of emergence of installations and their judgment as art form. Now installation represents the certain room according to the decision of the author transformed to art space. It is filled with a number of objects to which the symbolical value is often provided. Harmonious connection of things, their arrangement indoors is also art. Installations can be the constant objects exposed in the museums or be created temporarily in public and private spaces. The space of installation can include different types of the things and images circulating in our civilization: pictures, drawings, photos, texts, video, movies, tape recordings, virtual reality, Internet, etc. Installations are regularly presented at the international exhibitions of the modern art, such as Venetian the biennial. The most prestigious art museums and art galleries of the world give to installation art the best platforms from time to time. At the same time, the research of this form of art lags behind the progressing shaping a little. The phenomenon of installation is considered as a part of a performance that is entirely logical. But install processes, especially the last decades, proved what is absolutely self-sufficient the cultural phenomena which need serious scientific approach and judgment, require attention to a research of characteristics install the practician, activity of certain artists, a tipologization and the scientific analysis of modern processes
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Lilin, You. „The Feminist Installation Art in Modern China“. Vestnik of Saint Petersburg State University of Culture, Nr. 1 (58) (2024): 129–35. http://dx.doi.org/10.30725/2619-0303-2024-1-129-135.

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Feminist installation art in contemporary China is one of the most dynamic and controversial trends in Chinese contemporary art. It reflects the complex processes of social, political and cultural transformation that have been taking place in China in recent decades. Feminist installations express critical attitudes towards traditional gender roles, national identity, environmental issues and globalization. However, feminist installation art in contemporary China has not received sufficient scholarly coverage and analysis in domestic and foreign literature. Existing studies are often limited to describing individual works or female artists without considering the historical, cultural, and social contexts in which this trend is formed and developed. In addition, many feminist installations have a complex semiotic structure that requires a deep and multidimensional interpretive approach. The expected outcome of the article is a comprehensive and multilevel study of feminist installation art in contemporary China, which will allow for a better understanding and appreciation of its significance.
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Zečević, Marija. „Installation: Between the Artistic and Architectural Project“. AM Journal of Art and Media Studies, Nr. 12 (15.04.2017): 55. http://dx.doi.org/10.25038/am.v0i12.167.

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The subject of this research is the art installation, a spatial creativity that arises in relation between art and architecture. In a more narrow definition, the subject of the research is installations created in the formative period of the 60s and 70s up to the present. As a ‘critical spatial practice’ art installations are conceived in the form of alternative proposals for settlements which enter the field of architectural design. Ideas concerning new sets of relations between the subject and a spatial order indicate the potential of the use of the concept of art installations in architectural design. The initial hypothesis is that art installations represent the articulation of a place of dialogue between art and architecture, which opens up a new field of research in architectural design. The aim of the research is to show the position of art installations as architectural projects. The applied methodological procedures approach architectural design in a manner of synthesizing the architecture and art in a new form of visual culture. The paper deals with the study of artistic concepts in terms of design, which emphasizes the importance of an interdisciplinary approach to research and the importance of integrating the principles of art in the field of architectural design. The main contribution of this paper is reflected in the expansion of the problem and thematic framework of research on architectural design, contemporary art and their relation. Article received: December 21, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies 12 (2017): 55-70
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Paul, Christiane. „Renderings of Digital Art“. Leonardo 35, Nr. 5 (Oktober 2002): 471–84. http://dx.doi.org/10.1162/002409402320774303.

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This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.
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CALDAROLA, ELISA. „On Experiencing Installation Art“. Journal of Aesthetics and Art Criticism 78, Nr. 3 (Juni 2020): 339–44. http://dx.doi.org/10.1111/jaac.12734.

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Dissertationen zum Thema "Installation art"

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Bernardini, Elena. „Interrogating installation art from India“. Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664613.

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Larocque, Marie-Claire. „Installation architectonique : trilogie "topophonique"“. Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1996. http://theses.uqac.ca.

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Stansbie, Lisa. „Zeppelinbend : Multiplicity, encyclopaedic strategies and nonlinear methodologies for a visual practice“. Thesis, Leeds Beckett University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533350.

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Longo, Sheila A. (Sheila Ann). „Construction and installation of public comfort art : "Art as sanctuary"“. Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/32952.

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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2005.
Includes bibliographical references (leaf 29).
This paper illustrates the construction and installation of a public piece of art, hidden within which is an enclosed and private meditation space. In making the piece, the artist was influenced by the works of others as well as by her own previous works and personal experiences. The theory of deep touch pressure can be extrapolated to associate encapsulation within small, enclosed spaces with relaxation and the relief of anxiety. Through the fluid process of aesthetic development, the work evolved towards completion and fulfillment of the piece's goals. The result was a basket-like structure containing a close and comfortable space for decompression. Geared towards the MIT community, the piece also explored the effects of isolation and connectivity. Viewer interaction, made possible by a period of public display, remains a critical component of this artwork. There are various directions in which to move forward with the investigation, one of which is to explore the dynamics of multiple pieces in a single location.
by Sheila A. Longo.
S.B.
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Shepley, W. A. „Installation art practice and the 'fluctuating frame'“. Thesis, Manchester Metropolitan University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325422.

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Bishop, Claire. „The subject of installation art : a typology“. Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395950.

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Ouzounian, Gascia. „Sound art and spatial practices situating sound installation art since 1958 /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
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LIU, Nga Ying. „Red-white-blue and Hong Kong Installation Art“. Digital Commons @ Lingnan University, 2011. https://commons.ln.edu.hk/vs_etd/2.

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The purpose of this study is to analyse the interaction between art and contested notions of Hong Kong identity by examining recent installations that employ the red, white and blue-striped plastic fabric, locally known in Hong Kong as red-white-blue (紅白藍). The red-white-blue fabric has, in recent years, become a signifier of the collective identity of Hong Kong people and of the ‘Hong Kong spirit’, with specific reference to the traits of the working class in the 1960s. The repeated articulations of this material in artworks show that there are certain qualities in this material with which local people identify. This study examines how installation works that employ this material question and revise notions of Hong Kong identity, and suggest its plurality and mutability. Works of local artists including Stanley Wong (a.k.a. Anothermountainman), Kith Tsang, Doris Wong, Siu King Chung and Tim Li are discussed in detail. Accounts of installations that employ red-white-blue often offer a limited interpretation of such works, paying insufficient attention to formal qualities and assuming a fixed and unitary notion of Hong Kong identity. The thesis argues that this paradigmatic cliché about Hong Kong identity is also expressed in the red-white-blue works of Stanley Wong to the extent that they evoke nostalgia and neglect contemporary social reality. The prevalence of such readings of red-white-blue-inspired works of art has veiled the complexity of works that interrogate Hong Kong identity from a diversity of perspectives. The contribution of this thesis is to remedy that situation, and provide a comprehensive account of key red-white-blue installation works.
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DEGRAAF, NATHAN MARK. „MILIEU, MEANING AND ARCHITECTURE: CONTEMPORARY INSTALLATION ART GALLERY DESIGN“. University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148191782.

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Giguère, Danielle. „EMMA. Installation sonore“. Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24277/24277.pdf.

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Bücher zum Thema "Installation art"

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Nicola, Oxley, Petry Michael und Archer Michael, Hrsg. Installation art. London: Thames and Hudson, 1996.

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Shaoqiang, Wang. Installation art. Berkeley, CA: Gingko Press, 2010.

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Nicola, Oxley, Petry Michael und Archer Michael, Hrsg. Installation art. London: Thames and Hudson, 1994.

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Nicola, Oxley, Petry Michael und Archer Michael 1954-, Hrsg. Installation art. [Washington, D.C.]: Smithsonian Institution Press, 1994.

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Minard, Robin. Sound installation art. Graz, Austria: Institut für elektronische Musik, Hochschule für darstellende Kunst, 1996.

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George, Fifield, Ketner Joseph D, Donath Judith und Milwaukee Art Museum, Hrsg. Act/react: Interactive installation art. Milwaukee, WI: Milwaukee Art Museum, 2008.

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Gallery, Tate, Hrsg. Performance art and video installation. Millbank, London: Tate Gallery, 1985.

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Kabakov, Ilʹi͡a Iosifovich. Über die "totale" Installation =: O "totalʹnoi"̮ installi͡at͡sii = On the "total" installation. Ostfildern: Cantz, 1995.

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Rantzer, Philip. Lo lo lo al tishaʼru oti kan levad. Tel-Aviv: Muzeʼon Tel Aviv le-omanut, 2002.

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Statom, Therman. River myths: An installation. Tampa, Fla: Tampa Museum of Art, 2002.

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Buchteile zum Thema "Installation art"

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Sokolove, Deborah. „Installation Art“. In Encyclopedia of Sciences and Religions, 1060. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-1-4020-8265-8_200368.

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Caldarola, Elisa. „Improvisation and Installation Art“. In The Routledge Handbook of Philosophy and Improvisation in the Arts, 617–30. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-48.

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Earnshaw, Rae. „Installation ArtWorks“. In Art, Design and Technology: Collaboration and Implementation, 31–36. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58121-7_4.

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Sheldon, Julie. „Picturing the Installation Shot“. In A Companion to Modern Art, 125–43. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118639948.ch7.

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Zhu, Guanyu, und Shui Jin. „Analysis on the Installation Art“. In Wireless Technology, Intelligent Network Technologies, Smart Services and Applications, 275–84. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5168-7_34.

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Nathanson, Alex. „Sculpture and Installation“. In A History of Solar Power Art and Design, 156–87. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003030683-8.

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Finn, Christine. „Home: An Installation for Living In“. In Art and Archaeology, 115–27. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-8990-0_9.

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Fan, Yang, Johnny Yi und Minghe Ling. „“Carbon Neutral” Interactive Science Art Installation“. In Proceedings of the 2023 4th International Conference on Big Data and Informatization Education (ICBDIE 2023), 977–83. Dordrecht: Atlantis Press International BV, 2023. http://dx.doi.org/10.2991/978-94-6463-238-5_126.

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Solina, Franc, Gregor Majcen, Narvika Bovcon und Borut Batagelj. „Preservation of a Computer-Based Art Installation“. In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, 643–50. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-13695-0_65.

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Hu, Jun, Duy Le, Mathias Funk, Feng Wang und Matthias Rauterberg. „Attractiveness of an Interactive Public Art Installation“. In Distributed, Ambient, and Pervasive Interactions, 430–38. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39351-8_47.

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Konferenzberichte zum Thema "Installation art"

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Yang, Zuo-Yi, und Chi-Wen Hsieh. „Implementation of Embedded Systems for Light and Shadow Installation Art“. In 2024 International Conference on Consumer Electronics - Taiwan (ICCE-Taiwan), 675–76. IEEE, 2024. http://dx.doi.org/10.1109/icce-taiwan62264.2024.10674200.

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Xu, Tiantian. „Installation Design Based on the Relationship Between Artificial Intelligence and Art Development“. In 2024 4th International Conference on Machine Learning and Intelligent Systems Engineering (MLISE), 360–64. IEEE, 2024. http://dx.doi.org/10.1109/mlise62164.2024.10674076.

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Hsu, Chao-Chi, und Pey Chwen Lin. „Interactive installation art“. In ACM SIGGRAPH ASIA 2010 Posters. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1900354.1900380.

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Zheng, Ying, und Peng Zhang. „Interactive Video Installation Art Under New Media Art“. In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.018.

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Ferreira, Vinicius, Junia Anacleto und Andre Bueno. „Translating Art Installation into ICT“. In SIGDOC '14: The 32nd ACM International Conference on the Design of Communication. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2666216.2666226.

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Wakeland, R. G. „Eco-art installation: experiential nature“. In DESIGN AND NATURE 2012. Southampton, UK: WIT Press, 2012. http://dx.doi.org/10.2495/dn120111.

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Simó, Águeda. „The stereoscopic art installation eccentric spaces“. In SIGGRAPH '18: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3230744.3230802.

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Estadieu, Gérald, Filipa Martins de Abreu und Alvaro Barbosa. „3D Printing Objects as Installation Art“. In ARTECH2017: Eighth International Conference on Digital Arts. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3106548.3106588.

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Johnston, David Jhave, Jinsil Seo und Diane Gromala. „Proprioceptive sense in an art installation“. In SIGGRAPH07: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2007. http://dx.doi.org/10.1145/1280720.1280774.

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Benjamin, Jesse Josua, und Joseph Lindley. „Shadowplay: An Embodied AI Art Installation“. In TEI '24: Eighteenth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3623509.3635318.

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Berichte der Organisationen zum Thema "Installation art"

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Gauntt, Nathan E., Kevin Duvall Davis, Jason John Repik, James M. Brandt, Ann C. Gentile und Simon David Hammond. Design Installation and Operation of the Vortex ART Platform. Office of Scientific and Technical Information (OSTI), September 2019. http://dx.doi.org/10.2172/1562796.

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(Archived), Irina Ward, und Farah Abu Saleh. PR-473-144506-R01 State of the Art Alternatives to Steel Pipelines. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), Dezember 2017. http://dx.doi.org/10.55274/r0011459.

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This report is a literature review of several non-metallic material systems often used as alter-natives to steel pipelines. The pipeline systems reviewed are high density polyethylene (HDPE), fiberglass reinforced plastic (FRP), flexible composite and thermoplastic liners. This report is not intended to be a detailed guide or design manual on the use of the referenced materials for pipeline applications, rather an overall evaluation on the current state of these systems. Significant industry literature and documentation already exists on the design, manufacturing, installation, and operation of these pipelines. This information currently resides in pipe manufacturer's manuals and various industry standards and guides published by organizations such as ASTM International (ASTM), American Petroleum Institute (API) American Water Works Association (AWWA), and International Organization for Standardization (ISO). In Canada, the oil and gas industry pipeline code, CSA Z662-2015 (Canadian Standards Association, 2015). Users should frequently consult the manufacturers of the pipe products in use or under consideration for use for clarification and suggestions regarding the best practices, considerations and applications of the materials in question. In addition, pipeline operators should be aware of the applicable regulatory requirements in the jurisdictions they are operating within.
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Callaghan, Caitlin, Danielle Peterson, Timothy Cooke, Brandon Booker und Kathryn Trubac. Installation resilience in cold regions using energy storage systems. Engineer Research and Development Center (U.S.), Oktober 2021. http://dx.doi.org/10.21079/11681/42200.

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Electrical energy storage (EES) has emerged as a key enabler for access to electricity in remote environments and in those environments where other external factors challenge access to reliable electricity. In cold climates, energy storage technologies face challenging conditions that can inhibit their performance and utility to provide electricity. Use of available energy storage technologies has the potential to improve Army installation resilience by providing more consistent and reliable power to critical infrastructure and, potentially, to broader infrastructure and operations. Sustainable power, whether for long durations under normal operating conditions or for enhancing operational resilience, improves an installation’s ability to maintain continuity of operations for both on- and off-installation missions. Therefore, this work assesses the maturity of energy storage technologies to provide energy stability for Army installations in cold regions, especially to meet critical power demands. The information summarized in this technical report provides a reference for considering various energy storage technologies to support specific applications at Army installations, especially those installations in cold regions.
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Callaghan, Caitlin, Danielle Peterson, Timothy Cooke, Brandon Booker und Kathryn Trubac. Installation resilience in cold regions using energy storage systems. Engineer Research and Development Center (U.S.), Oktober 2021. http://dx.doi.org/10.21079/11681/42200.

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Electrical energy storage (EES) has emerged as a key enabler for access to electricity in remote environments and in those environments where other external factors challenge access to reliable electricity. In cold climates, energy storage technologies face challenging conditions that can inhibit their performance and utility to provide electricity. Use of available energy storage technologies has the potential to improve Army installation resilience by providing more consistent and reliable power to critical infrastructure and, potentially, to broader infrastructure and operations. Sustainable power, whether for long durations under normal operating conditions or for enhancing operational resilience, improves an installation’s ability to maintain continuity of operations for both on- and off-installation missions. Therefore, this work assesses the maturity of energy storage technologies to provide energy stability for Army installations in cold regions, especially to meet critical power demands. The information summarized in this technical report provides a reference for considering various energy storage technologies to support specific applications at Army installations, especially those installations in cold regions.
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Hibbert, Angela, und Begona Pérez Gómez. Documentation associated to the capacity building. EuroSea, 2023. http://dx.doi.org/10.3289/eurosea_d5.6.

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WP5’s Coastal Resilience and Operational Services demonstrator aimed to deliver capacity-building work in a developing country (Colombia) to enable local stakeholders to install a state-of-the-art sea level monitoring system independently. In practice, the WP5 team met this objective and has additionally delivered capacity-building work in tide gauge installation in 2 other countries (Spain and Italy), in order to support the longevity of the EuroSea tide gauge systems. As planned, training material was delivered in relation to the maintenance of these systems in all 3 locations. All installation procedures were fully-documented to support the tide gauge operators in case the systems are to be relocated, refurbished or decommissioned at a future data (for example, in the event of port redevelopment works). Training in the use of quality control software and the OSPAC (Operational Services at the Service of Ports and Cities) tool is planned (but pending) and this deliverable will be updated once that work is complete. (EuroSea Deliverable, D5.6)
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Urban, Angela, Susannah Davidson und Allison Young. Dining facility w/hole-building evaluation to reduce solid waste : opportunities and best practices for optimization and management of food waste. Engineer Research and Development Center (U.S.), September 2023. http://dx.doi.org/10.21079/11681/47560.

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On military installations, an average of 1.2 pounds in food waste is disposed per person per day, accounting for 68% of dining facility (DFAC) refuse and 46% of the total installation refuse stream, making food waste the heaviest portion of installation solid waste. At a single installation, this can contribute up to 1.5 million dollars lost yearly from food waste alone. Department of Defense Instruction (DoDI) 4715.23 (DoD 2016) establishes policy and prescribes procedures to implement waste management through waste prevention and recycling. The US Army Installation Management Commands (IMCOM) installations have limited resources and limited personnel to study which source reduction methods are optimal to reduce food waste given their unique mission requirements. This study identifies opportunities for optimization and management of solid waste across IMCOM installations. Recycling is not enough to significantly re-duce the economic or environmental costs to the DoD. Army installations pay over $100 million annually in disposal fees. Source reduction is emphasized in regulations but not prioritized in process modifications or technology solutions. Additionally, food waste contributes to excessive global greenhouse gas emissions, which affect global warming and climate change. A multitiered approach is necessary, placing more emphasis on source reduction advances and initiatives.
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Miller, James, John Vavrin und Samuel Stidwell IV. Study of maintenance of High Performance Sustainable Buildings (HPSB). Engineer Research and Development Center (U.S.), März 2021. http://dx.doi.org/10.21079/11681/40080.

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A study was performed by the Energy Branch of the US Army Engineer Research and Development Center, Construction Engineering Research Laboratory, on behalf of the US Army Installation Management Command under the Installation Technology Transition Program. The focus of the study was related to maintainability and operability issues associated with High Performance Sustainable Buildings (HPSBs). This study was conducted primarily based on information gleaned from telephone and web conference discussions with installation Directorate of Public Works personnel including Operation and Maintenance (O&M) Chiefs, energy managers, maintenance supervisors, and maintenance technicians. Experiences with HPSBs varied from installation to installation. For example, some installations had very positive experiences with photovoltaic (PV) arrays while other sites questioned their practicality due to maintainability problems. One site noted that PV technologies are changing so rapidly that procuring spare/repair parts becomes difficult or impossible when vendors discontinue supporting their older technologies or manufacturers go out of business. Based on discussions with the installation O&M personnel, a table of pro and con recommendations for 25 technologies, which are commonly implemented on HPSBs, was prepared and is included in this report.
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Miller und Lane. L51669 Diverless Pipeline Repair Clamp-Phase II. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), April 1992. http://dx.doi.org/10.55274/r0010416.

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The general goal of the work described herein is to develop the capability to remotely repair minor leaks in pipelines residing in water depths beyond diver work depths. Wells are now being drilled and production facilities are being installed in these water depths at the time of this writing. A wide range of pipeline damage is conceivable. At the least severe end of the spectrum, leakage due to local corrosion or a latent weld defect is possible. More severe damage such as that caused by anchor snagging or mudslides would likely require a more extensive repair capability. This research is limited to addressing repair of minor leaks repairable by installation of a split repair clamp. This report summarizes the Phase II research effort and results. The objective of Phase I was to lay a foundation for eventual development of specific equipment and systems needed to implement the diverless repair clamp. Phase I may be characterized more as an investigation to broadly identify the state of the art in diverless operations and an effort to identify specific technology weaknesses for more detailed study. Another objective of Phase I was to develop generic mechanical concepts for the diverless repair clamp. The objective of Phase II has been to narrow the research focus to select a most favored concept for the mechanical arrangement of the clamp itself and to conceptually describe a preferred method for deploying the clamp. Specifically, the objectives of Phase II were: 1. Develop conceptual designs associated with two different repair philosophies; 2. Investigate and evaluate alternative fastening technologies and clamp-type sealing mechanisms; 3. Investigate installation-related issues such as pipe preparation, ROV capabilities, and ROV interfaces; and 4. Evaluate the two conceptual designs from both a technical and practical standpoint.
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Dumlao, Hernani. Army Transformation: Are Installations Ready? Fort Belvoir, VA: Defense Technical Information Center, Januar 2002. http://dx.doi.org/10.21236/ada404554.

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Choquette, Gary. PR000-22605-R01 Design Guideline for Retrofittable Inline Flow Measurement. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), Februar 2024. http://dx.doi.org/10.55274/r0000054.

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This report describes measurement devices suitable for the retrofit installation of inline flow measurements. Retrofit applications are defined as installations where minimal piping modifications are required and, preferably, the modifications can be done without taking the system out of service. The document includes recommendations and best practices that help minimize error as well as methods to perform in situ calibration of those measurement devices.
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