Auswahl der wissenschaftlichen Literatur zum Thema „Performance art – france“
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Zeitschriftenartikel zum Thema "Performance art – france"
Valls-Russell, Janice. „Footsbarn“. Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, Nr. 1 (05.04.2018): 117–30. http://dx.doi.org/10.1177/0184767818767542.
Der volle Inhalt der QuelleHAINES, JOHN. „Living troubadours and other recent uses for medieval music“. Popular Music 23, Nr. 2 (Mai 2004): 133–53. http://dx.doi.org/10.1017/s0261143004000133.
Der volle Inhalt der QuelleJärvinen, Hanna. „Historical materiality of performance: On the costumes ofThe Rite of Spring(1913)“. Studies in Costume & Performance 5, Nr. 2 (01.12.2020): 153–73. http://dx.doi.org/10.1386/scp_00023_1.
Der volle Inhalt der QuelleRadzetskaya, Olga Vladimirovna. „Viola in french music of the first half of the 20th century: performance and pedagogy“. Culture. Art. Education, Nr. 1 (26.12.2022): 72–79. http://dx.doi.org/10.37816/2949-1762-2022-1-1-72-79.
Der volle Inhalt der QuelleMarks, Laura U. „Calligraphic Animation: Documenting the Invisible“. Animation 6, Nr. 3 (21.09.2011): 307–23. http://dx.doi.org/10.1177/1746847711417930.
Der volle Inhalt der QuelleDzivaltivskyi, Maksym. „CHORAL GENRE AND STYLE IN THE CONTEXT OF THE MODERN ART STUDIES“. 1 1, Nr. 1 (September 2020): 50–57. http://dx.doi.org/10.34142/27091805.2020.1.01.08.
Der volle Inhalt der QuelleAl-Shamma’a, Abdullrahman A., Hammed O. Omotoso, Fahd A. Alturki, Hassan M. H. Farh, Abdulaziz Alkuhayli, Khalil Alsharabi und Abdullah M. Noman. „Parameter Estimation of Photovoltaic Cell/Modules Using Bonobo Optimizer“. Energies 15, Nr. 1 (26.12.2021): 140. http://dx.doi.org/10.3390/en15010140.
Der volle Inhalt der QuelleM, Paithane Pradip. „Effective Forecasting of Key Features in Hospital Emergency Department“. Advances in Robotic Technology 2, Nr. 1 (14.03.2024): 1–3. http://dx.doi.org/10.23880/art-16000113.
Der volle Inhalt der QuelleProust, Serge. „Portrait of the Theatre Director as an Artist“. Cultural Sociology 13, Nr. 3 (08.04.2019): 338–53. http://dx.doi.org/10.1177/1749975519837400.
Der volle Inhalt der QuelleFeruglio, Valérie, Camille Bourdier, Marc Delluc, Pascal Mora, Norbert Aujoulat und Jacques Jaubert. „Rock art, performance and Palaeolithic cognitive systems. The example of the Grand Panel palimpsest of Cussac Cave, Dordogne, France“. Journal of Anthropological Archaeology 56 (Dezember 2019): 101104. http://dx.doi.org/10.1016/j.jaa.2019.101104.
Der volle Inhalt der QuelleDissertationen zum Thema "Performance art – france"
Lemée, Jean-Philippe. „Actions, happenings, évènements, performances : l'art de l'action en France de 1960 à 1975“. Rennes 2, 1986. http://www.theses.fr/1986REN20018.
Der volle Inhalt der QuelleThis thesis is about artistic acts realized in front of the public or with the active participation of the audience, about ephemeral works where the living moment is an integral part and an instrument. To date, no one has sought to treat the diverse manifestations as a whole. Some limits though have been imposed on the study. The chosen period is particularly rich: on one side, the beginning of the sixties sees a real explosion of art of action; on the other side, around nineteen seventy five starts what seems to be a new story, the story of "performance or of a less disturbing, more official zed or even academic art of action. It also seemed to be necessary to limit oneself to a territory, to focus on France. Proving the existence of a strong art of action, contributing to a better comprehension of the arts of the sixties in France turned out to be among the essential concerns of the present study. The method is simple, the thesis is divided in two parts: the first part is a theoretical reflection on the general subject, the other one presents a "catalogue" including accounts of the actions classified by artists or by groups, accompanied by critical articles. The priorities of the synthetically work are to define criteria for art of action, to define French art of action during the chosen period and to propose one or several methods of reading this form of art. The aims in the catalogue are to describe as many actions as possible and to propose a portrait with commentaries and references
Bégoc, Janig Poinsot Jean-Marc. „L'art corporel et sa réception en France chronique 1968-1979 /“. Rennes : Université Rennes 2, 2009. http://theses.scdbases.uhb.fr:8000/theseBegoc.pdf.
Der volle Inhalt der QuelleMonnier, Ariane. „La reconstitution des faits dans le procès d'assises : anthropologie d'une performance“. Paris, EHESS, 2014. http://www.theses.fr/2014EHES0631.
Der volle Inhalt der QuelleBased on ethnographic fieldwork carried out in France in 2011 and 2012 in the setting of three criminal trials related to criminal facts which occured between 1998 and 2008 in Ajaccio, Béziers and Castelnau-Le-Lez, the thesis analyses the crime scene reconstruction in these cases from the perspective of a performance. The notion of performance is explored in a double meaning: in the sense of an exploit - a successful exploitation of the data - as well as in the sense of an unpredictable show. The information used by the judicial reconstruction is considered as the scattered remains after an explosion, of which a more or less significant part has been lost, and further misplaced by the judicial proceeding. The thesis attempts to resolve the following interrogation: at the cost of what sort of discrepancies and absences are these remains set up together and put on display? At first a spectator and a witness to the hearing, the anthropologist goes back in time through the trial, and becomes a stage director with hindsight, running against the flow of the situations observed and the situations reported. The facts are considered successively from the perspective of the narratives and images they entail just after being discovered; from the perspective of the speeches by which they attempt to be elucidated; from the the perspective of the spectacle of words, bodies and objects in which they result. The visual, discursive and scenographic acts of force all along the proceedings are described in relation to an omnipresnet missing part - the source of other dangers
Boivineau, Pauline. „Danse contemporaine, genre et féminisme en France (1968-2015)“. Thesis, Angers, 2015. http://www.theses.fr/2015ANGE0034/document.
Der volle Inhalt der QuelleThis thesis analyses a complex question linkingcontemporary dance, gender and feminism in Francefrom 1968 to 2015. Dance shares the concerns offeminist activists regarding issues of identity, sexuality, emancipation, the deconstruction of gender andbinarisms, of universalist research and femaleness. Thisstudy examines how feminism informed artists who,whatever the era, had difficulty admitting that they werefeminists or seeing their art as an expression of theircommitment. Considering the subversive potential ofdance implies an analysis of its relationship with gender,in particular the female gender, as well as the real andsymbolic place of women. Preconceived ideas andstereotypes thus confront reality. The year 1968 markeda turning point for society and for dance, including froma political point of view. Dance came into its own at thesame time that second-wave feminism came to the fore.The reconfiguration of the relationships between danceand feminism that occurred over this 50-year periodallows one to assess reciprocal influences and topostulate the existence of a feminist dance. Comparingfemale choreographers' modes of expression with thoseof men, facilitates the understanding of genderedconstructions and their potential for challengingheteronormativity and androcentrism. How do the majorpolitical changes (establishment of the NCCs,management changes, parity, etc.), feminists(appearance of a third wave, etc.), aesthetics andmediatisation nurture dance as a means of expressionof gender and feminism? The generalisation of nudityand the queerisation of dance suggest the passage fromthe transgression of gender to its subversion. Thisthesis aims to understand how third-wave feminism,more open to cultural and intersectional dimensions,enabled dance to be feminist
Chevalier, Fleur. „Formater pour mieux régner : vidéastes et performers à l’épreuve de la télédistribution en France, 1975-1998“. Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080045.
Der volle Inhalt der QuelleFrom the early 1960s, within the context of French television broadcasting, some artists seize opportunities to reach advanced technologies, allowing them to explore the aesthetic potential of the electronic image as well as to lead their own visual research. At the crossroads of experimental or activist cinema, avant-garde movements and kinetic art, all of these marginal practices tend to ignore the norm of the so-called realistic image and the deceptive verisimilitude which rule the audio-visual mainstream. How to find a place within a structure entirely devoted to the distribution of stereotyped products designed to attract the largest segment of TV consumers? How to infiltrate inside the gaps of an industry resolutely hostile to the slightest visual and ideological glitch? The diverse strategies of the artists who chose to work within the field of television broadcasting are highly influenced by the economic mutations that transformed the French audio-visual landscape, from the dismantling of the ORTF to the partial privatization of the TV network. Facing the rigidity of the standards dictated by the mass media, the concept of “détournement” – or “diversion” –quickly appears to be a solution to blend into the audio-visual environment while continuing to shape satirical “counter-images”. The wish to explore the cathode-ray image as a medium is then supplanted by the desire to hack into the media network and its rhetoric. Nevertheless, as soon as the image is regarded as a public space to colonize, it becomes difficult to escape the coercive economy of the entertainment world
Barbut, Clélia. „Corps à l'oeuvre, à l'ouvrage et à l'épreuve : sociohistorique des arts de la performance, années 1970“. Doctoral thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/25980.
Der volle Inhalt der QuelleTableau d’honneur de la Faculté des études supérieures et postdoctorales, 2015-2016
Entre les décennies 1960 et 1980 émergent les courants de l’« art de la performance », du « happening », du « body art », de l’« art corporel » ou encore de l’« art de l’action », qui désignent les démarches des nombreux plasticiens qui font directement intervenir le corps, souvent leur propre corps, dans leurs travaux. À travers les productions des acteurs qui soutiennent ces courants le corps est fabriqué comme un sujet légitime d’attention et de valeur. La thèse décrit l’émergence de ces courants artistiques pendant la décennie 1970 en soutenant qu’ils peuvent et doivent être interrogés comme des phénomènes sociaux. En effet, jamais auparavant autant d’acteurs des mondes de l’art visuel n’avaient décidé simultanément de se tourner vers le corps lui-même, et de le mettre à l’œuvre, à l’ouvrage, à l’épreuve. Interroger leurs productions du point de vue du corps peut permettre de dérouler de comprendre en profondeur la présence incisive et percutante du phénomène. Ces courants viennent poser des questions cruciales à l’anatomie du travail créateur : rapports sociaux de sexe, interactions avec les spectateurs, engagements politiques, marchandisation. L’étude, sociohistorique, focalise autour de trois scènes (France, côtes est et ouest des États-Unis) à partir d’un corpus d’archives documentaires (entretiens, critiques, essais, manifestes, notations, photographies). La thèse comprend un volet d’enquête qui mesure la reconnaissance de ces pratiques, un second volet d’histoire institutionnelle et intellectuelle qui décrit les savoir-faire et les modalités d’énonciation liés aux actions et aux événements et enfin, une topographie qui résume les modèles du corps produits par les gestes les raisonnements des artistes et de leurs commentateurs. Mots-clés : Histoire des corps, art de la performance, critique d’art, féminismes, documentation, sociologie historique.
« Performance art », « body art » and « happenings » appeared on the art scene between the 1960s and the 1980s. The human body was at the heart of these artistic movements, to the extent that many artists embodied their own works. Within such creative processes and productions, the body undeniably became a legitimate subject of attention and value. This dissertation describes the initial stages of the art movements aforementioned, and argues that they must be analyzed as sociological phenomena. Never before had such a larger of artists within the same time period decided to focus on the entity of the body itself, to use and misuse it so intensely. Observing their approaches through the lens of the body allows us to voice critical questions about the anatomy of a creative work - gender relations, interactions with the viewers, political commitments, and marketing. This sociohistorical research studies three landmark art scenes of the time (France, the east coast, and the west coast of the USA), by delving into a documentary material of archives (interviews, reviews, essays, manifestos, notations and photographs). The thesis begins with a sociological inquiry which measures the visibility of these artistic movements; it is followed by a history of the institutional and critical apparatus which described the atistic skills and statements at work within body actions and happenings; lastly, the dissertation presents a topography of the workings of the body, drawn from the artists’ performances and theoretical stances, as well as art critics’ viewpoints and analyses. Key Words : body art, avant-gardes, history of the body, feminisms, documentation, historical sociology.
Parlati, Luigia. „Faire le slam : une ethnographie des pratiques poétiques collectives entre Paris et Marseille“. Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH169.
Der volle Inhalt der QuelleThis research focuses on poetry slam, a practice of poetic performance, born in the late 1980s in the United States and now widespread in several countries, including France. If the public success (in 2006) of artists such as Grand Corps Malade is the most recognizable form of this practice through its media coverage, there is a heterogeneity of "slam forms" that have become the subject of this thesis. Poetry slam is an open platform and it is organized according to different approaches, from competition to "open microphone" and in several kinds of places (bar, stages, libraries, public spaces). Anyone with a text to say (which can be written in advance or not) can therefore do it in front of an audience, without any injunction of style or content. This apparent simplicity of poetry slam actually questions several types of "boundaries" that make sense to some actors in the world of literary creation (written poetry/poetry readings), language education (literary/common language) and artistic creation (excellence/triviality). But the slammers I’ve met in my fieldwork between Paris and Marseille (as well as abroad), participate of another common world, where verbal, vocal and performative experimentation cohabit with the desire to freely share their words or being engaged in an artistic endeavor. Crossing the discourses of the actors with the doxa and literature on the subject, this thesis aims to propose some analysis based on this collective poetic practice, in order to account for its extreme readiness to accommodate any speech act aloud and in public. This research aims to at least elucidate the tensions and issues raised by poetry’s slam freedom to be empowered and be engaged
Marcel, Mathilde. „Arts de la rue : inventaire et nuancier 2010-2015 (France)“. Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30065/document.
Der volle Inhalt der QuelleSee, listen to, feel and constitute a sensitive corpus which reports the diversity and the multiplicity of the forms and the offers grouped under the naming of Street arts.This study leans on conversations with artists and professionals of the sector. This trip on the land of street arts sit the reader on the table where we think and writes the projects, takes him to see the repetitions, the public first performances, the reality of the creation.This thinking on Street arts takes for prism: the public place, the spectator and the process of creation. Having sketched a history, the geographical, political and esthetic situations of the spaces of representation are examined and questioned, just like the place and the function of the constantly requested spectator: put in movement, surprised in its everyday life, questioned, called to exchange, to participate, to accompany the artistic act from its beginning. Finally the report of the process of creation is the last part. In every show or every intervention, the artists question their know-how to try to renew their positioning in the public space and in front of spectators. They play with marks. The process of creation turns out to be an ideal space / time to observe Street performing arts in their perpetual motion
Férey, Norman. „La déconstruction du corps et des sexualités dans les performances artistiques en France de 1970 à 2000 : vers une prise en compte de la notion de genre“. Paris 8, 2014. http://octaviana.fr/document/182002225#?c=0&m=0&s=0&cv=0.
Der volle Inhalt der QuelleDuring the 90s, the concept of gender related to the cultural context of the body hardly had a place in the intellectual sphere. Did this concept spread itself more easily in the field of performance? From the 70s onward and right after the impulse given by 68 movements, the body took an important protest role in the creative process, in particular regarding gender deconstruction: that is the development of body art. Several artists tried through this medium to find a Body fundament which could bring an answer to cultural issues related to sexual differences. Later in the 80s, performance art became less subversive. The global political environment was changing and the body was more visible especially on screens. Two mains positions emerged among French artists: one focused more on words and an immaterial approach and the other using technology and media to explore the body. In both cases, the relationship between the artist and the deviant bodies that they used is far from clear. The “minority bodies” were more to be found in the militant and activist sphere. In the 90s, arguments about topics to do with secularism and the alarming raise of HIV would finally push the performers to reconsider the political dimension of gender and identity questions. Therefore, in this last decade, the concept of gender found its legitimacy in the artistic field even though the relationship between creative process and political activism still seems problematic and not that active
Bégoc, Janig. „L’art corporel et sa réception en France : chronique 1968-1979“. Rennes 2, 2008. http://www.bu.univ-rennes2.fr/system/files/theses/theseBegoc.pdf.
Der volle Inhalt der QuelleRestricted to a label (coined as the American phrase “Body art”) and converted into a theoretical object, “l’art corporel” has lost its history. This study aims at retrieving the facts that lead Gina Pane and Michel Journiac to use their body as art. It also examines the processes of socialization that enabled their work to face the critical assessment. On the basis of various sources and with a definite focus on the different forms of art facilitation, this chronicle highlights the modes of acknowledgment of “l’art corporel” in France, from its initial dismissal to its institutional admission in the Museum. The analysis of the discourses, confronted to the various aesthetic and ideological debates of the time, enables us to pin point the role of other personalities implied next to François Pluchart as defenders of this art. Thus it offers a new and widened understanding of the works embracing “l’art corporel”
Bücher zum Thema "Performance art – france"
Reilly, Diane. The Cistercian Reform and the Art of the Book in Twelfth-Century France. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462985940.
Der volle Inhalt der QuelleTrinchieri, Camiz Franca, und McIver Katherine A. 1949-, Hrsg. Art and music in the early modern period: Essays in honor of Franca Trinchieri Camiz. Aldershot, Hants, England: Ashgate, 2003.
Den vollen Inhalt der Quelle findenBoagno, Marina. Franco Corelli: I suoi personaggi. Parma: Azzali, 2002.
Den vollen Inhalt der Quelle findenBoagno, Marina. Franco Corelli: Un uomo, una voce. [Italy]: Azzali, 1990.
Den vollen Inhalt der Quelle findenNony, Anaïs. Performative Images. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463722827.
Der volle Inhalt der QuelleWilliam, Brooks, und Yarrow Philip John, Hrsg. The dramatic criticism of Elizabeth Charlotte, Duchesse D'Orleans: With an annotated chronology of performances of the popular and court theatres in France 1671-1722, reconstructed from her letters. Lewiston: E. Mellen Press, 1996.
Den vollen Inhalt der Quelle findenCarnal art: Orlan's refacing. Minneapolis: University of Minnesota Press, 2005.
Den vollen Inhalt der Quelle findenCarnal Art: Orlan's Refacing. University of Minnesota Press, 2005.
Den vollen Inhalt der Quelle findenMoran, Claire. Art of Theatre: Word, Image and Performance in France and Belgium, C. 1830-1910. Lang AG International Academic Publishers, Peter, 2013.
Den vollen Inhalt der Quelle findenMoran, Claire. Art of Theatre: Word, Image and Performance in France and Belgium, C. 1830-1910. Lang AG International Academic Publishers, Peter, 2013.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Performance art – france"
Ruoff, Cynthia. „Enchantment in Baroque Festive Court Performances in France: Les Plaisirs de L’Isle Enchantée“. In The Aesthetics of Enchantment in the Fine Arts, 305–20. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-3234-5_19.
Der volle Inhalt der QuelleBjørn, Pernille, Maria Menendez-Blanco und Valeria Borsotti. „GRACE: Designing Sociomaterial Assemblages Unpacking Gender Equity in Computing“. In Diversity in Computer Science, 57–76. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13314-5_6.
Der volle Inhalt der QuelleHardon, Anita. „Chemical Sexualities“. In Critical Studies in Risk and Uncertainty, 113–44. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57081-1_4.
Der volle Inhalt der QuelleFang, Xianming. „Chapter 4. Multimodality in refusals in English as a lingua franca“. In Multimodal Im/politeness, 101–29. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/pbns.333.04fan.
Der volle Inhalt der QuelleÇag̃layan, Mehmet Ufuk. „AI and Quality of Service Driven Attack Detection, Mitigation and Energy Optimization: A Review of Some EU Project Results“. In Communications in Computer and Information Science, 1–12. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09357-9_1.
Der volle Inhalt der QuelleWilkie, Simeon, David Farrell, Nicola Lauder und Ana Paula Arato Goncalves. „Performance Evaluation of Patch Repairs on Historic Concrete Structures (PEPS): Preliminary Results from Two English Case Studies“. In RILEM Bookseries, 899–912. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-39450-8_73.
Der volle Inhalt der QuelleBoulesteix, I., L. Marguin, E. Rehben, B. Balvay, L. Journaux, R. Champy, E. Poisnel, G. Barthes und C. Bertrand. „A new information system for beef performance recording in France“. In Performance Recording of Animals - State of the Art, 2004, 127–32. Brill | Wageningen Academic, 2005. http://dx.doi.org/10.3920/9789086865369_021.
Der volle Inhalt der QuelleTiso, Elisabeth. „The Public Art of Jean Tinguely 1959–1991: Between Performance and Permanence“. In France and the Visual Arts since 1945. Bloomsbury Visual Arts, 2019. http://dx.doi.org/10.5040/9781501341557.ch-010.
Der volle Inhalt der QuelleLecomte, C., S. Bazin, J. Delacroix und J. P. Sigwald. „Milk recording for goats and dairy cattle in France: Individual qualification of the lactation“. In Performance Recording of Animals - State of the Art, 2004, 103–7. Brill | Wageningen Academic, 2005. http://dx.doi.org/10.3920/9789086865369_017.
Der volle Inhalt der QuelleSasportes, Jose. „A Conflict of Interests“. In Verdi in Performance, 110–12. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198167358.003.0014.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Performance art – france"
Perrin, Anne-Laure, Amal Chabli, Guillaume Razongles und Olivier Doucet. „Uncertainty calculation of indoor and outdoor performance measurements for PV modules“. In 19th International Congress of Metrology (CIM2019), herausgegeben von Sandrine Gazal. Les Ulis, France: EDP Sciences, 2019. http://dx.doi.org/10.1051/metrology/201908002.
Der volle Inhalt der QuelleOzanam, Odile, und Gerald Ouzounian. „I-Graphite Waste Management in France“. In ASME 2009 12th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2009. http://dx.doi.org/10.1115/icem2009-16301.
Der volle Inhalt der QuelleKarjalainen-Roikonen, Paivi, Elisabeth Keim, Philippe Gilles und Sébastien Blasset. „EC FP7 Structural Performance of MULTI-METAL Component: Project Overview“. In ASME 2013 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/pvp2013-97574.
Der volle Inhalt der QuellePérin, J., A. Dabas, P. H. Flamant, J. Pelon, C. Loth, O. Talagrand und B. Carissimo. „Retrieval of Meso-Scale Wind Field: Simulation and Performance for Wind“. In Coherent Laser Radar. Washington, D.C.: Optica Publishing Group, 1995. http://dx.doi.org/10.1364/clr.1995.tua4.
Der volle Inhalt der QuelleKeinänen, Heikki, Elisabeth Keim, Paivi Karjalainen-Roikonen, Sébastien Blasset, Philippe Gilles und Tomas Nicak. „Results of EC FP7 Structural Performance of MULTI-METAL Component Project: Dissimilar Metal Welds Fracture Resistance Investigation“. In ASME 2015 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/pvp2015-45145.
Der volle Inhalt der QuelleBrock, James, Christopher Carlin, Hai Dong, Christopher Keith, Tsuneo Kageya, James Maxwell, Xiangdong Wei et al. „Operational Performance of the CLAS12 Longitudinally Polarized Target for Run Group C“. In International workshop on CLAS12 physics and future perspectives at JLab, 21-24 March 2023, Paris, France. US DOE, 2023. http://dx.doi.org/10.2172/1970744.
Der volle Inhalt der Quelledos Santos, Camila, und Andreia Machado Oliveira. „Communication Action Zones in Art and Technology - ZACAT“. In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.
Der volle Inhalt der QuelleAltimemy, Muhannad, Justin Caspar und Alparslan Oztekin. „Performance of Francis Turbine Operating at Excess Load Condition“. In ASME 2020 Fluids Engineering Division Summer Meeting collocated with the ASME 2020 Heat Transfer Summer Conference and the ASME 2020 18th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/fedsm2020-20053.
Der volle Inhalt der QuellePukasiewicz, A. G. M., A. R. Capra und R. S. C. Paredes. „Development of Arc Thermally Sprayed Fe-Mn-Cr-Si Coatings Against Cavitation Erosion“. In ITSC2011, herausgegeben von B. R. Marple, A. Agarwal, M. M. Hyland, Y. C. Lau, C. J. Li, R. S. Lima und A. McDonald. DVS Media GmbH, 2011. http://dx.doi.org/10.31399/asm.cp.itsc2011p0332.
Der volle Inhalt der QuelleAgazar, Mohamed, Denis Perrillat, Hanane Saadeddine, Christophe Robert, Laurence Casteignau und Dominique Fortune. „Study of non-invasive instruments for the measurement of pulsed X-ray high voltage tube“. In 19th International Congress of Metrology (CIM2019), herausgegeben von Sandrine Gazal. Les Ulis, France: EDP Sciences, 2019. http://dx.doi.org/10.1051/metrology/201902002.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Performance art – france"
Hachem-Vermette, Caroline, Kuljeet Singh Grewal, Gilles Desthieux, Javeriya Hasan und Somil Yadav. Strategies for the Design of New and Existing High Energy Performance Solar Neighborhoods. Herausgegeben von Caroline Hachem-Vermette, Kuljeet Singh Grewal und Maria Wall. IEA SHC Task 63, Mai 2024. http://dx.doi.org/10.18777/ieashc-task63-2024-0003.
Der volle Inhalt der QuelleWelch, David, und Gregory Deierlein. Technical Background Report for Structural Analysis and Performance Assessment (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/yyqh3072.
Der volle Inhalt der QuelleReis, Evan. Seismic Performance of Single-Family Wood-Frame Houses: Comparing Analytical and Industry Catastrophe Models (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, Dezember 2020. http://dx.doi.org/10.55461/qmbu3779.
Der volle Inhalt der QuelleZareian, Farzin, und Joel Lanning. Development of Testing Protocol for Cripple Wall Components (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/olpv6741.
Der volle Inhalt der QuelleCobeen, Kelly, Vahid Mahdavifar, Tara Hutchinson, Brandon Schiller, David Welch, Grace Kang und Yousef Bozorgnia. Large-Component Seismic Testing for Existing and Retrofitted Single-Family Wood-Frame Dwellings (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/hxyx5257.
Der volle Inhalt der QuelleReis, Evan. Development of Index Buildings, (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/fudb2072.
Der volle Inhalt der QuelleReis, Evan, Yousef Bozorgnia, Henry Burton, Kelly Cobeen, Gregory Deierlein, Tara Hutchinson, Grace Kang et al. Project Technical Summary (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, Dezember 2020. http://dx.doi.org/10.55461/feis4651.
Der volle Inhalt der QuelleSchiller, Brandon, Tara Hutchinson und Kelly Cobeen. Cripple Wall Small-Component Test Program: Wet Specimens I (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/dqhf2112.
Der volle Inhalt der QuelleRoy, Camille, Dominique Derome und Caroline Frenette. Modelling hygrothermal performance of wood assemblies exposed to fungi growth. Department of the Built Environment, 2023. http://dx.doi.org/10.54337/aau541621854.
Der volle Inhalt der QuelleSchiller, Brandon, Tara Hutchinson und Kelly Cobeen. Cripple Wall Small-Component - Test Program: Comparisons (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/lohh5109.
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