Academic literature on the topic '190504 Performance and Installation Art'
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Journal articles on the topic "190504 Performance and Installation Art"
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Yang, Dong, Kun Yuan, and Xiao Dong Liu. "Thinking Development of Fiber Art due to Installation Art." Advanced Materials Research 332-334 (September 2011): 1223–26. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.1223.
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Although installation art and fiber art are two different modern art categories, as they are both based on sculpt of materials instead of portray, they are usually connected together. With consideration on design, existence form and material concept of installation art, this paper discusses the expansion and performance of these methods in fiber art creation.
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John Charles Ryan. "Plant-Art: The Virtual and the Vegetal in Contemporary Performance and Installation Art." Resilience: A Journal of the Environmental Humanities 2, no. 3 (2015): 40. http://dx.doi.org/10.5250/resilience.2.3.0040.
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Giunta, Andrea. "Archives, Performance, and Resistance in Uruguayan Art Under Dictatorship." Representations 136, no. 1 (2016): 36–53. http://dx.doi.org/10.1525/rep.2016.136.1.36.
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ARFARA, KATIA. "Denaturalizing Time: On Kris Verdonck's Performative Installation End." Theatre Research International 39, no. 1 (February 10, 2014): 47–56. http://dx.doi.org/10.1017/s0307883313000540.
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Originating from the avant-garde's attempt to supplant the structural limitations of perspective which ‘bound the spectator to a single point of view’, installation art emerged during the 1960s and the 1970s as a critique of the pure, self-referential work of art. Belgian artist Kris Verdonck integrates that modernist debate into his hybrid practice of performative installation. Trained in visual arts, architecture and theatre, Verdonck uses sophisticated technological devices in order to blur binary distinctions such as time- and space-art, inanimate and animate figures, and immateriality and materiality. This study focuses on End (Brussels 2008), which shows the possible final stages of a human society in ten scenes. I analyse End as an echo of the Futurists’ performance tactics, which prefigured a broadening of the formal aesthetic boundaries of performance art under the major influence of Henri Bergson's theory of time.
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Hartblay, Cassandra. "This is not thick description: Conceptual art installation as ethnographic process." Ethnography 19, no. 2 (August 21, 2017): 153–82. http://dx.doi.org/10.1177/1466138117726191.
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What happens when an ethnographer takes up the idiom of contemporary art installation to explore an ethnographic problem? Building on performance ethnography as developed by Dwight Conquergood and D. Soyini Madison, in which the research process itself is cultural performance, this article describes a methodological innovation that encourages a rethinking of ethnographic outputs. Contemporary art installation is generative as well as representational, and challenges ethnographers to think by doing. This article describes one such project to show that while a minimalist installation aesthetic does not on the surface constitute ‘thick description’ in the Geertzian sense, it can be a generative part of a dialogic practice of ethnographic knowledge production. Integrating the interpretive tradition with feminist disability studies, my argument is that art installation offers a possible mode for ethnographers to work through ideas, solicit participation from academic audiences and research participants, create semiotic relationships, and come to know by doing.
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Mitchell, Thomas, Joseph Hyde, Philip Tew, and David R. Glowacki. "danceroom Spectroscopy: At the Frontiers of Physics, Performance, Interactive Art and Technology." Leonardo 49, no. 2 (April 2016): 138–47. http://dx.doi.org/10.1162/leon_a_00924.
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danceroom Spectroscopy is an interactive audiovisual art installation and performance system driven by rigorous algorithms commonly used to simulate and analyze nanoscale atomic dynamics. danceroom Spectroscopy interprets humans as “energy landscapes,” resulting in an interactive system in which human energy fields are embedded within a simulation of thousands of atoms. Users are able to sculpt the atomic dynamics using their movements and experience their interactions visually and sonically in real time. danceroom Spectroscopy has so far been deployed as both an interactive sci-art installation and as the platform for a dance performance called Hidden Fields.
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Cuan, Catie, Erin Berl, and Amy LaViers. "Time to compile: A performance installation as human-robot interaction study examining self-evaluation and perceived control." Paladyn, Journal of Behavioral Robotics 10, no. 1 (August 28, 2019): 267–85. http://dx.doi.org/10.1515/pjbr-2019-0024.
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AbstractEmbodied art installations embed interactive elements within theatrical contexts and allow participating audience members to experience art in an active, kinesthetic manner. These experiences can exemplify, probe, or question how humans think about objects, each other, and themselves. This paper presents work using installations to explore human perceptions of robot and human capabilities. The paper documents an installation, developed over several months and activated at distinct venues, where user studies were conducted in parallel to a robotic art installation. A set of best practices for successful collection of data over the course of these trials is developed. Results of the studies are presented, giving insight into human opinions of a variety of natural and artificial systems. In particular, after experiencing the art installation, participants were more likely to attribute action of distinct system elements to non-human entities. Post treatment survey responses revealed a direct relationship between predicted difficulty and perceived success. Qualitative responses give insight into viewers’ experiences watching human performers alongside technologies. This work lays a framework for measuring human perceptions of humanoid systems – and factors that influence the perception of whether a natural or artificial agent is controlling a given movement behavior – inside robotic art installations.
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Zemel, Carol. "In the Mosaic: Jewish Identities in Canadian Performance and Installation Art." Canadian Theatre Review 153 (January 2013): 13–19. http://dx.doi.org/10.3138/ctr.153.003.
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Zemel, Carol. "In the Mosaic: Jewish Identities in Canadian Performance and Installation Art." Canadian Theatre Review 153, no. 1 (2013): 13–19. http://dx.doi.org/10.1353/ctr.2013.0008.
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Schneemann, Carolee. "Aphrodite Speaks: on the Recent Performance Art of Carolee Schneemann." New Theatre Quarterly 16, no. 2 (May 2000): 155–62. http://dx.doi.org/10.1017/s0266464x00013671.
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The work of Carolee Schneemann, who celebrated her sixtieth birthday last year, has from the first challenged suppressive sexual and other taboos, and placed her own body as an artist into a fluent relationship with her art. She both pioneered and in her new work continues to energize forms of what we now call performance art. The retrospective of her works from 1963 to 1996, recently seen at the New Museum of Contemporary Art, New York, affirmed her recognition as a major artist – yet threatened also to ‘fix’ her art, which remains very much ‘in progress’. The exhibition included the installation Mortal Coils (1993–94), in which a slide projection system is combined with motorized ropes, flour, and sand to explore taboos of death and loss; Up to and Including Her Limits (1979), a video installation depicting the actions which produced surrounding wall drawings; and Video Rocks (1989), in which a hundred hand-sculptured rocks merge into a wall of seven monitors on which feet walk back and forth over virtual rocks. Vulva's Morphia (1995), a colour grid of photographs with text and motorized components, was exhibited at the Pompidou Centre in 1995, and her multi-media installation Known/Unknown – Plague Column (1996), was seen in New York and Montreal in 1996. Schneemann's published books include Parts of a Body: House Book (1972); Cézanne, She Was a Great Painter (1976); ABC: We Print Anything – in the Cards (1977); Video Burn (1992); and More Than Meat Joy: Performance Works and Selected Writings (1997). Her Body Politics: Notes and Essays of Carolee Schneemann is forthcoming from MIT Press, and a selection of her letters from Johns Hopkins University Press. Alison Oddey, Professor of Drama at Loughborough University, interviewed Carolee Schneemann on 29 August 1997 in her Manhattan loft in New York, and what follows is an edited version of that interview, which focuses on her more recent performative work.
Dissertations / Theses on the topic "190504 Performance and Installation Art"
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Seevinck, Jennifer. "Emergence in interactive art." Thesis, University of Technology, Sydney, 2011.
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This thesis is concerned with creating and evaluating interactive art systems that facilitate emergent participant experiences. For the purposes of this research, interactive art is the computer based arts involving physical participation from the audience, while emergence is when a new form or concept appears that was not directly implied by the context from which it arose. This emergent ‘whole’ is more than a simple sum of its parts. The research aims to develop understanding of the nature of emergent experiences that might arise during participant interaction with interactive art systems. It also aims to understand the design issues surrounding the creation of these systems.
The approach used is Practice-based, integrating practice, evaluation and theoretical research.
Practice used methods from Reflection-in-action and Iterative design to create two interactive art systems: Glass Pond and +-now. Creation of +-now resulted in a novel method for instantiating emergent shapes. Both art works were also evaluated in exploratory studies. In addition, a main study with 30 participants was conducted on participant interaction with +-now. These sessions were video recorded and participants were interviewed about their experience. Recordings were transcribed and analysed using Grounded theory methods. Emergent participant experiences were identified and classified using a taxonomy of emergence in interactive art. This taxonomy draws on theoretical research.
The outcomes of this Practice-based research are summarised as follows. Two interactive art systems, where the second work clearly facilitates emergent interaction, were created. Their creation involved the development of a novel method for instantiating emergent shapes and it informed aesthetic and design issues surrounding interactive art systems for emergence. A taxonomy of emergence in interactive art was also created. Other outcomes are the evaluation findings about participant experiences, including different types of emergence experienced and the coding schemes produced during data analysis.
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Demers, Louis-Philippe. "Machine performers : Agents in a multiple ontological states." Thesis, University of Plymouth, 2015. https://eprints.qut.edu.au/128366/1/2015Demers374080PhD.pdf_sequence%3D3%26isAllowed%3Dy.
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In this thesis, the author explores and develops new attributes for machine performers and merges the trans-disciplinary fields of the performing arts and artificial intelligence. The main aim is to redefine the term “embodiment” for robots on the stage and to demonstrate that this term requires broadening in various fields of research. This redefining has required a multifaceted theoretical analysis of embodiment in the field of artificial intelligence (e.g. the uncanny valley), as well as the construction of new robots for the stage by the author. It is hoped that these practical experimental examples will generate more research by others in similar fields. Even though the historical lineage of robotics is engraved with theatrical strategies and dramaturgy, further application of constructive principles from the performing arts and evidence from psychology and neurology can shift the perception of robotic agents both on stage and in other cultural environments. In this light, the relation between representation, movement and behaviour of bodies has been further explored to establish links between constructed bodies (as in artificial intelligence) and perceived bodies (as performers on the theatrical stage). In the course of this research, several practical works have been designed and built, and subsequently presented to live audiences and research communities. Audience reactions have been analysed with surveys and discussions. Interviews have also been conducted with choreographers, curators and scientists about the value of machine performers. The main conclusions from this study are that fakery and mystification can be used as persuasive elements to enhance agency. Morphologies can also be applied that tightly couple brain and sensorimotor actions and lead to a stronger stage presence. In fact, if this lack of presence is left out of human replicants, it causes an “uncanny” lack of agency. Furthermore, the addition of stage presence leads to stronger identification from audiences, even for bodies dissimilar to their own. The author demonstrates that audience reactions are enhanced by building these effects into © Demers 2014 iv machine body structures: rather than identification through mimicry, this causes them to have more unambiguously biological associations. Alongside these traits, atmospheres such as those created by a cast of machine performers tend to cause even more intensely visceral responses. In this thesis, “embodiment” has emerged as a paradigm shift – as well as within this shift – and morphological computing has been explored as a method to deepen this visceral immersion. Therefore, this dissertation considers and builds machine performers as “true” performers for the stage, rather than mere objects with an aura. Their singular and customized embodiment can enable the development of non-anthropocentric performances that encompass the abstract and conceptual patterns in motion and generate – as from human performers – empathy, identification and experiential reactions in live audiences
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Bacon, Julie. "La performance-installation et les relations d'acte-archivage." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2001. http://theses.uqac.ca.
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Lough, Alex Joseph. "Sonic Activation: a Multimedia Performance-Installation." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2632.
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Sonic Activation is a multimedia performance-installation featuring sound sculptures, video projections, and performance with live electronics for solo and mixed ensembles. The work aims to unpack the nature in which we hear and interact with sound, space, and gesture. It is a project that recontextualizes the typical practice of performance and installation modes of music and art. The event uses 12 loudspeakers spaced around a gallery to create a densely layered sonic atmosphere that gently fluctuates and slowly evolves. Throughout the event, the audience is encouraged to freely navigate the gallery and experience the subtle changes in sound as they manifest in the space.
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Leong, Sau Mun Dawn-joy. "Scheherazade's sea: a mixed media, multi-sensory installation and performance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B47295909.
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Scheherazade’s Sea is an interdisciplinary creative work, which brings together
music, visual art, literary text, digital media, and performance art. Interdisciplinary
creativity has existed for centuries in history. In fact, the ancients of different
civilisations viewed the disciplines of science and art as inseparable. The late
nineteenth century and early twentieth century saw a resurgence of interdisciplinary
interest in the form of artistic collaborations among proponents of the different arts
forms, mainly music, visual art, theatre and dance. Today, this coalescence now
includes digital and electronic media. However, such works focus mainly on the
more dominant distal senses of sight and sound and fail to consider the
multimodality of natural sensory perception in the experience of art, and many of
these works are performed in settings where artists are separated from audience by
physical and psychological barriers. In Scheherazade’s Sea, I shall address the
limitations of prevalent approaches, by including the proximal senses, removing the
traditional physical barriers and encouraging audience participation.
On another level, Scheherazade’s Sea serves as a vehicle for exploration and
reflection of the inherent sensory and cognitive peculiarities associated with
Asperger’s Syndrome, and their possible influences upon creativity and artistic
expression. Sensory and cognitive idiosyncrasy is a common feature in Asperger’s
Syndrome. Individuals suffer from extremes of either heightened sensitivity or low
arousal to external sensory stimuli, and their innate cognitive patterns differ from that
of the typical majority. As a result, the sensory and cognitive world of a person with
Autistic Spectrum Disorder can be fragmented, disjointed and confusing. While there
exists substantial literature about famous artists with Asperger’s Syndrome and
various aspects of their creativity, there is, to date, limited documentation from the
perspective of the artist with Asperger’s Syndrome, using an original
interdisciplinary work to illustrate the possible ways in which sensory and cognitive
differences may affect and influence creative choices and outcomes. By charting and
examining the features and various processes in the creation of Scheherazade’s Sea, I
hope to discover and contribute more insights into this area of interdisciplinary study.
The purpose of this examination is not to add to the already vast body of
programmes aimed at social rehabilitation and adaptation to the neurotypical world,
but rather to open more avenues for the identification and development of innate
abilities in autistic individuals. My intention is not to ‘fix what is broken’, but to
discover and empower beauty in the unusual and the different.published_or_final_version
Music
Master
Master of Philosophy
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Armstrong, Keith M. "Towards an Ecosophical Praxis of New Media Space design." Thesis, QUT, 2003. https://eprints.qut.edu.au/9073/1/PHDTHESISKMAsmall.pdf.
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This study is an investigation in and through media arts practice. It set out to
develop a novel type of new media artistic praxis built upon concepts drawn from
the disciplines of scientific and cultural ecology. The rationale for this research was
based upon my observation as a practising new media artist that existing praxis in
the new media domain appeared to operate largely without awareness of the
ecological implications of those practices.
The thesis begins by explaining key concepts of ecology, spanning the arts and the
sciences. It then outlines the thinking of contemporary theorists who propose that
the problem of ecology is a critical issue for the 21st century, suggesting that our
well-documented ecological crisis is indicative of a more general crisis of human
subjectivity. It then records an investigation into particular strategies for artistic
praxis which might instigate an active engagement with this problem of ecology.
The study employed a methodology based in action research to focus upon the
development and analysis of three new artistic works, '#14', 'Public Relations' and
'transit_lounge'. These were used to explore diverse theories of ecology and to
hone a series of pointers towards Ecosophical arts/new media praxis. This journey
constitutes an emergent theory for new media space design.
The thesis concludes with a toolkit of tactics and approaches that other arts/new
media practitioners might employ to begin working on the problem of ecology.
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Oen, Karin Grace. "Admonition and the academy : installation, video, and performance art in Reform Era China." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77871.
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Thesis (Ph. D. in History, Theory, and Criticism of Art and Architecture)--Massachusetts Institute of Technology, Dept. of Architecture, 2012.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 201-214).
China's Reform Era (1978-present) has seen the reinvigoration of academic, and artistic practice, and a rapprochement between the Chinese Communist Party and the intellectual elite. At its beginnings in the early- to mid-1980s the new availability of foreign texts and media led to Culture Fever, a widespread phenomenon throughout the intellectual and artistic spheres characterized by enthusiasm for the philosophy, literature, and art of the West and pre-Communist China and the simultaneous uptake of discrete Western and Confucian philosophies. These discussions often addressed modernity and modernism in China, a crucial homology to early twentieth century Chinese negotiations in literature and the arts and the development of an amalgamated "Chinese modernism" comprised of elements of both Confucian and Western philosophy and aesthetics. As this dissertation argues, key early experimental works of the Reform Era by Zhang Peili, Wu Shanzhuan, and Zhang Huan reveal a proclivity for subtle and indirect admonitory messages about China's socio-political climate - a contemporary inhabitation of the traditional elite scholar-artist and his obligation to criticize immoral or unjust policies or actions. This admonitory practice was built by artists educated in elite academies (specifically, the Central Academy of Fine Art in Beijing and the Zhejiang Academy of Fine Art in Hangzhou) yet utilized completely new and non-academic media. What this thesis terms as an "art of admonition" utilized traditional tropes, including direct remonstrations of officials, withdrawal from official life in protest, and the concept of the "middle hermit" - a scholar who admonishes official policy subtly and indirectly. The experimental practices of artists after their graduation from elite academies stemmed from the extra-curricular resources made available to them, especially the schools' libraries. The connection of these unofficial works to the official academies, their validation by art market success, and the subsequent official endorsement accorded to these and other artists in the later Reform Era blurs the distinctions between official and unofficial artistic practice in China, suggesting a strong endorsement of the dissident artist's role as "middle hermit."
by Karin Grace Oen.
Ph.D.in History, Theory, and Criticism of Art and Architecture
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pettersson, pontus. "an ecology of things/thinking." Thesis, Konstfack, Institutionen för Konst (K), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6254.
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An ecology of things/thinking is a textual work, a document of my thinking and the things Ihave created during my master studies in fine arts at Konstfack. As the title and word suggests‘ecology’, it is a material practice. I have called it a choreographic step entering thiseducation. With several motives and desires and with a ten-year background in dance andchoreography, the main thread has been to look into the object and installation work I havebeen doing. in which objects, clothes and larger sculptures have been ways for me tounderstand choreography not only entangled in dance but in everything. Concepts/words likehospitality, temporality and context are reoccurring topics of my inquiries, as I understand thehuman with great plastic qualities and potential. In my work I always need to consider thecontext, pre-conditions and conditions for a dance to emerge.I see the body as both reading and writing machine, we cannot only producetext, dance and objects, but we also read and write the movement in between things, the largerchoreography and the interwoven parts. Doing dance and choreography, my artistic practiceblends these notions in both making objects or exhibitions, dancing for others or myself,writing poetry and curating events. For my master studies I needed to leave the morespectacle-like parts of dance and performance out of my palette of expressions. I wanted to letthe objects and installation work have more agency, still working with choreography. Thesituation/context – Konstfack became my field of study and from where I could speak/createfrom.
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Haute, Lucile. "Performer dans les environnements mixtes : Actualisation de l'espace programmé." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2197/document.
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Les environnements mixtes sont des dispositifs, des mises en scène, des installations, hybridant tangible et numérique, espace physique et espace informationnel ou fictionnel. Ces environnements permettent à leurs expérimentateurs d’être simultanément ici et maintenant et liés à un ailleurs ou une autre temporalité. Ils peuvent emprunter à la magie du spectacle autant qu’aux technologies de l’ingénieur. Ils rejoignent la performance lorsqu’ils permettent de créer ou de donner accès à d’autres mondes. Ces mondes peuvent être des plateformes 3D ou des fictions. Les environnements mixtes relèvent d’enjeux moins spectaculaires que performatifs, fictionnels et plastiques. Les dimensions techniques, qu’il s’agisse de technologies numériques, de mise en forme cérémonielle ou scénographique, rejoignent les enjeux plastiques. Faire performance dans de tels environnements, c’est rechercher, permettre ou provoquer des états de corps conjoncturels, relatifs au contexte spécifique d’une démonstration. Cette thèse a également pour objet de rendre compte, en dehors du temps de leur présentation publique, de ces formes invitant à des expérimentations multiples et singulières et également des différentes explorations, celles de performers et d’expérimentateursMixed environments are devices, stagings, installations, which hybridize what is tangible and what is digital, physical space and informational or fictional space. These environments allow for their experimenters to be here and now, but also simultaneously linked to an elsewhere or to another temporality. They borrow as much from the magic of the spectacle as from the engineer’s technologies. When they allow to create or to give access to other worlds, they join with performance. These worlds can be 3D platforms or fictions. Mixed environments are defined less by spectacular issues than by performative, fictional and plastic ones. The technical dimensions, be they digital technologies, the ceremonial formatting or stage design, join with the plastic dimensions. To perform in these environments is to search for, allow or provoke temporary states of the body that are related to the specific context of a demonstration. Aside from their public presentation, this dissertation work will also address these forms, which invite to multiple and singular experimentations, as well as the different ways they are explored, by the performers or by the experimenters
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Hindman, Julie Lynn. "Shadow of a Memory." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1317.
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I have gained control over a whole space through the use of video projections, soundscaping and various other materials including some interactive media, enabling me to give the audience a fuller sensual experience. Multiâ€media has made it possible for artists such as myself to create artworks that require more than a visual conversation with the viewer. The manipulation of memory by time became a physical manifestation in the environments that I create with the use of multiâ€media installations.
Books on the topic "190504 Performance and Installation Art"
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Factory, Mattress, ed. Mattress Factory--installation and performance, 1982-1989. Pittsburgh, Pa: The Factory, 1991.
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Schmidt, Johann-Karl. Joan Jonas: Performance video installation, 1968-2000. Stuttgart: Galerie der Stadt Stuttgart, 2001.
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Celant, Germano. Marina Abramović: Public body : installation and objects, 1965-2001. Milano: Charta, 2001.
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Nicky, Childs, and Walwin Jeni, eds. A split second of paradise: Live art, installation and performance. London: Rivers Oram Press, 1998.
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Jochen Gerz: La chasse = The strip : Installation : 1986 Kunstraum München. München: Der Kunstraum, 1986.
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Digital performance: A history of new media in theater, dance, performance art, and installation. Cambridge, Mass: MIT Press, 2007.
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R, Lippard Lucy, Nakane Kazuko, Corwin Nancy A, and Helen Foresman Spencer Museum of Art., eds. Roger Shimomura, delayed reactions: Paintings, prints, performance and installation art from 1973 to 1996. Lawrence, Kan: Spencer Museum of Art, University of Kansas, 1995.
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Davids, Yael. No object. Edited by Mihaylova Snejanka 1978- and Wallroth Tanja. Amsterdam: Artimo, 2002.
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Ono, Yoko. Yoko Ono: Horizontal memories. Edited by Kvaran Gunnar B, Årbu Grete, Ueland Hanne Beate, and Astrup Fearnley museet for moderne kunst. Oslo: Astrup Fearnley Museum of Modern Art, 2005.
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Ono, Yoko. Yoko Ono: Have you seen the horizon lately? Oxford [England]: Museum of Modern Art, 1997.
Find full textBook chapters on the topic "190504 Performance and Installation Art"
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Flach, Sabine. "Moving is in Every Direction." In Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.
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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.
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Brost, Amy. "Reconciling Authenticity and Reenactment." In Cultural Inquiry, 183–92. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_19.
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Locating authenticity in artworks that are remade (all or in part) or re-performed over time presents a unique challenge for art conservators, whose activities have traditionally been oriented toward caring for the material aspects of art objects. The paper offers a brief overview of perspectives on authenticity and discusses various theoretical models that have been developed to conceptualize how media, installation, and performance artworks are displayed and cared for over time. These include the score/performance model, the concepts of autographicity and allographicity, the concept of iteration, and authenticity as a practice. The author proposes a theoretical model based on the ritual aspects of presenting artworks, arguing that authenticity, repetition, and community participation can be reconciled within a ritual context.
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Irvin, Sherri. "Installation Art and Performance: A Shared Ontology." In Art and Abstract Objects, 242–62. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199691494.003.0012.
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Kukrić, Irena. "Performance Installation as a Haunted Landscape." In Space Oddity: Exercises in Art and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-675-6/011.
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As humans today so often relate to people who are not physically present and to media governed by code, this essay proposes that in a performance without humans acting, the audience might find more sensory connection than with the human actor at the centre of it. Looking into what is left once the human actor is not present, this study will focus on the notion of hauntology and landscape and how the two might be entangled. It explores how past, present, and future come together in the space of a performance, as well as the notion of landscape as a model to organise our thoughts and performance setting. These notions are difficult to grasp. Perhaps only through practice, can we rehearse and come to further understanding.
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Irwin, Kathleen. "11. Exhibiting Madness in The Weyburn Project: Situating Performance/Installation in an Abandoned Mental Asylum." In Public Art in Canada. Toronto: University of Toronto Press, 2009. http://dx.doi.org/10.3138/9781442697522-014.
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Gopinath, Sumanth. "The Ringtone and Its Aesthetic Subgenres in Contemporary Classical Music and Media Performance/Installation Art." In The Ringtone Dialectic, 101–28. The MIT Press, 2013. http://dx.doi.org/10.7551/mitpress/9780262019156.003.0004.
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Davies, Joshua. "The language of gesture: Untimely bodies and contemporary performance." In Visions and ruins. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526125934.003.0005.
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This chapter explores the medieval interests of two twenty-first century pieces of art: Elizabeth Price’s immersive video installation, The Woolworths Choir of 1979 (2012), and Michael Landy’s Saints Alive (2013). Both of these works turn to medieval culture in order to examine the untimeliness of the body and this chapter traces their sources and explores how their work speaks with, and to, medieval representations of the body. It contextualises Price and Landy’s work with explorations of medieval effigies and the Middle English poem St Erkenwald. The methodology of this chapter is informed by Aby Warburg’s work on gesture in early modern art and interrogates moments of contact and communication across time.
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Rocamora, Isabel. "Performance, Moving Image, Installation: The Making of Body of War and Faith." In Cinematic Intermediality, 176–84. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474446341.003.0013.
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In this chapter, moving image artist Isabel Rocamora reflects on the thematic, aesthetic and philosophical concerns that drive her intermedial art practice. The essay traces the ways in which core elements of her performance work – gesture, place, temporality and presence – in turn inform and are transformed by her film and video installations. A discussion of the ethical dilemmas that motivate Body of War (2010) and Faith (2015) – namely, military violence and ethnic segregation – opens up problems of identity and alterity as well as questions of form, structure and register. To address these, Rocamora places the illuminating philosophies of Martin Heidegger and Emmanuel Levinas into dialogue with her own directorial approach to casting, location, performance, cinematography, sound design and exhibition architecture. The aim of her moving images, she explains, is to draw out the personal from the collective in mise en scènes that dislodge performative action to expose ontological presence. The creative means, the essay concludes, emerge from the productive strife between the media.
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Bala, Sruti. "Delicate gestures of participation." In The gestures of participatory art, 115–35. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100771.003.0006.
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Chapter V examines an installation-based project titled Nomad City Passage (2005-2009) by the German scenographic and visual artists Rebekka Reich and Oliver Gather, in which visitors are invited to spend a night in a tent in an unconventional urban site, such as the top floor of a high-rise building or inside a shopping mall. The analysis focuses on how common-sense assumptions around audience participation in theatre and performance theory are called into question by the artwork’s foregrounding of sleep as a mode of participation. The delicacy of this is evidenced in the ambivalence of sleep in a scenically prepared setting, oscillating between being an intense, active, dynamic experience on the one side, and a non-performance, an absence of activity on the other. The chapter suggests that audience participation in the artwork and in the artwork’s participation in urban spaces differ in significant ways from sociological and political concepts of participation. Where social theory conceives of civic participation in terms of being a part of a social unit, the aesthetics of Nomad City Passage emphasizes participation in a counterintuitive way: it becomes possible to participate precisely because of not being a part of some shared community ideal.
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Balzert, Silke, Thomas Burkhart, Dirk Werth, Michal Laclavík, Martin Šeleng, Nikolay Mehandjiev, Martin Carpenter, and Iain Duncan Stalker. "State of the Art Solutions in Enterprise Interoperability." In Business Information Systems, 2134–62. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-61520-969-9.ch130.
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More than 99% of European enterprises are SMEs. While collaboration with other enterprises provides potential for improving business performance, enterprise interoperability research has yet to produce results which can be used by SMEs without the need for high start-up costs (e.g. learning, infrastructure and installation costs). Therefore the Commius project (funded by the European Union) aims towards the development of such a “zero costs of entry” interoperability solution for SMEs, allowing them to reuse existing and familiar applications for electronic communication. This chapter provides an overview of the research field “Enterprise Interoperability.” Based on a four layer interoperability framework, this chapter will examine which technical, process-based and semantic solutions for enterprise interoperability are available at the moment and which strategic motives drive or prevail SMEs to engage in E-business activities.
Conference papers on the topic "190504 Performance and Installation Art"
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Ghahary, Amir, Mark Nazemi, and Diane Gromala. "Mount Qaf: A Multimedia Performance Installation Infusing Electronic Art and The Sonic and Visual A." In SA '11: SIGGRAPH Asia 2011. New York, NY, USA: ACM, 2011. http://dx.doi.org/10.1145/2077355.2425795.
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Fernandez De Bobadilla, Fernando Ramos, Joe Nasal, Sid Sutherland, and Greg Noe. "Savings Achieved From Installation of an On-Line Performance Monitoring System at the Naco Nogales Combined Cycle Plant." In ASME Turbo Expo 2006: Power for Land, Sea, and Air. ASMEDC, 2006. http://dx.doi.org/10.1115/gt2006-90485.
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Union Fenosa began commercial operation of the 300 MW Naco Nogales combined cycle plant in October, 2003 under a power purchase agreement with Mexico’s Comision Federal de Electricidad, and is therefore in a financial risk-reward situation depending on the operational efficiency of the facility. As part of their effort to maximize the profitability of the plant, an on-line performance monitoring system was installed to alert and advise the operating and management staff of performance improvement opportunities. The Naco Nogales Plant consists of one 501G Siemens Westinghouse combustion turbine, a Mitsui Babcock HRSG, and a Siemens steam turbine. To readily identify equipment performance deficiencies, cycle isolation problems, or instrumentation problems in a timely manner, the plant installed an on-line performance monitoring system. The system monitors, archives process data and calculated results, and automatically reports on key performance indicators. A rigorous, first principles thermodynamic model validates the accuracy of measured data and provides off-line “What-If” optimization analyses to assist in operating and business decisions. Key to achieving improved operation was a unique combination of state-of-the-art software and technology transfer through training and mentoring for the plant operations team. This combination provided the information needed for improved information as well as a knowledgeable workforce that understood how to use the “new” information and tools to improve operations and business processes. This paper, written from the Plant’s perspective, describes some key features of the performance monitoring and optimization system, the technology transfer process and several examples of savings recognized by placing an emphasis on profit through a combination of workforce training and the latest software technologies.
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Etter, Robert J. "State of the Art - Cavitation Test Facilities and Experimental Methods." In SNAME 26th American Towing Tank Conference. SNAME, 2001. http://dx.doi.org/10.5957/attc-2001-016.
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Cavitation tunnels have played a critical role in the development of ships and other naval vehicles and the associated research applicable to the engineering of these vehicles. Particularly important has been the use of cavitation tunnels in the development of propulsion systems. The paper reviews some aspects of the historical development of the modern cavitation tunnel. It includes aspects of tunnel design such as size, speed, pressure range, acoustics, and materials. Model construction, installation, and instrumentation are discussed. Initially, the most innovative development occurred in 1895 with the invention of the cavitation tunnel by Sir Charles Parsons. More than 100 years later, the cavitation tunnel is still the key test facility used for cavitation research, test and evaluation. Technologies currently used for performance evaluation have changed greatly over those used only a decade or two ago. This has been in part due to incredible innovations in the area of instrumentation and digital electronics as well as the need to characterize modern propulsors in ways not previously required. The evolution of cavitation tunnel capabilities and the use of the tunnel in a large marine research, development, and design organization is largely reviewed by considering the various cavitation tunnels which have been constructed and utilized at the David Taylor Model Basin over several decades.
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Tawney, Rattan K., James A. Bonner, and Asem M. Elgawhary. "Economic and Performance Evaluation of Combined Cycle Repowering Options." In ASME Turbo Expo 2002: Power for Land, Sea, and Air. ASMEDC, 2002. http://dx.doi.org/10.1115/gt2002-30565.
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The majority of fossil units in many countries including the United States were built from 1950 through the 1970s, and these older plants are now approaching the end of their useful operating design life. Faced with continued demand growth and compliance with stringent emissions requirements, the power industry may choose building new replacement units, extending the operating life of existing units, or repowering these existing units. Repowering has been demonstrated to be an attractive alternative that incorporates state-of-the-art technologies into an existing unit to achieve higher performance and thermal efficiency, lower emissions, higher reliability and usefulness, and the potential for a shorter execution permitting schedule. Combined cycle technology has become desirable and has matured for the repowering existing plants because of its high thermal efficiency, low emissions, low installed and operation cost, short installation time, high reliability and availability, excellent cycling capability, and operating flexibility. Various options are available for repowering applications on existing plants with combined cycle technology. The options include hot windbox repowering, feedwater heater repowering, and combustion turbine (CT) with heat recovery steam generator (HRSG) repowering. This paper examines the performance benefits of these combined cycle repowering options and analyzes associated costs.
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Ellisor, Scott Patrick, Andrew John Grohmann, Justin Lee Rye, and Jim T. Kaculi. "Premium Anti-Rotation Casing Connector with Metal-to-Metal Seal Optimized for High Fatigue Performance to Meet Market Needs by Reducing OPEX and Risk Exposure." In Offshore Technology Conference. OTC, 2021. http://dx.doi.org/10.4043/31075-ms.
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Abstract The oil and gas industry continues to face the need to reduce risk exposure and OPEX as a means to compensate for market volatility and lower oil prices. Typical casing connector designs and methods of running casing are becoming less viable as the industry struggles to lower installation costs and reduce HSE concerns. This dilemma leads manufactures to provide practical solutions to reduce the risk exposure while driving costs down by reducing installation time and required rig personnel. This paper outlines how this innovative and fully qualified technology lowers overall risk exposure while reducing OPEX during the installation of casing connectors. A new premium threaded connector named BADGeR™ has been designed and fully qualified and its features have been patented. State of the art verification techniques utilizing finite element analysis were used to fully simulate the combined load conditions during the qualification program that mimic field conditions and meet and exceed industry standard requirements. Special consideration was given to connector make-up and metal-to-metal sealing technology, superior fatigue performance, welding, coating, galling, surface finish, and lubrication. After a lengthy iterative design process, the final design was fully qualified following ISO 13679 / API 5C5 with additional fatigue performance testing. Details of the design features, analysis methodology and results, structural and sealability test results, and fatigue test results are presented. Advantages of this casing connector design relative to traditional industry casing connectors are highlighted. BADGeR includes an innovative hands-free anti-rotation mechanism that significantly reduces rig time and HSE risk exposure. The connector has automatic make-up with gas tight metal-to-metal seal performance that is not impacted by increased tension to the string. The fatigue performance of this connector exceeds the current market offerings. This combination of features incorporated into the connector has gained the attention of the industry and the opportunity to use this technology for critical service wells applications.
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Kovach, Forest, Gianni Moor, and Dominik Ortmann. "A state-of-the-art, flexible, easy-to-replace plug-type expansion joint for the Delaware Memorial Bridge." In IABSE Symposium, Prague 2022: Challenges for Existing and Oncoming Structures. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2022. http://dx.doi.org/10.2749/prague.2022.0250.
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<p>The modern flexible plug expansion joint, which uses a special polyurethane material rather than the asphaltic material traditionally used, has been developed to offer an optimal small-movement expansion joint solution, in many cases, to bridge construction and maintenance engineers. Its long- term performance is vastly superior to that of the asphaltic plug joint – thanks, for example, to its great strength and elasticity (with the material allowing 650% elongation before failure), its resistance to both very low and very high temperatures, and the special advantages it offers when used to replace old joints in existing structures with minimum impact on traffic. The expansion joint is described, in terms of properties, benefits and installation, with reference to an ongoing project to replace the expansion joints of the Delaware Memorial Bridge.</p>
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Nascimento, Suely. "Marlene's house." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.
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As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics, on modes of acting, on the construction and presentation of an artistic work, accompanied by a reflective text. Thus, the research is being built with a memorial that houses the reflective text and a work, consisting of an installation with photography-video-sound-writing, records of my mother's house. Along the way, I talk to researcher Priscila Arantes, from São Paulo, who writes: “expanded field photography incorporates [...] the idea of dialogue, contamination and intersections of the field of photography with other fields of language and know." I also talk to the American Rosalind Krauss, who studies three-dimensional work and its expanded field. As a personal methodology, I mentally create a garden mixed with my memories of the garden of the house where I lived, where I develop the installation and the memorial. A meditation in which there is the action of artistic making. And it is in this garden that I experiment, read, research, edit photography-video-sound-written, reflect on my life path and what touches me throughout it, and write the research texts. During classes, in practical-reflective studies, I have been building my poetics, experimenting with installations in the classroom. One of them related to the kitchen of the house where I lived. I tried, in two subjects, the coffee experience with classmates. A performance I talk to Renato Cohen about, when he says that this creative act touches the tenuous boundaries that separate life and art. Each layer of the installation is perceived in the creative process of the artwork. And, based on what I perceive in my poetics, I develop conversations with the history of art, and I have conceived texts, which I named the artist's writings. With the letters, words, sentences and reflections, I write down what I thought/think about geometry, dimensions, space, the room in the house and sharing around a dining table. The poetic layers built in the creative path are countless and, in the installation, I present traces that are in me, in the garden, in the bedroom, in the kitchen and in the backyard where I lived a life in my mother's house.
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Waitschat, Arne, Frank Thielecke, Peter Kloft, Christian Nisters, Robert M. Behr, and Ulrich Heise. "Compact Fluid-Borne Noise Silencers for Aviation Hydraulic Systems." In ASME/BATH 2015 Symposium on Fluid Power and Motion Control. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/fpmc2015-9517.
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The aviation environment holds challenging application constraints for efficient hydraulic system noise reduction devices. Besides obligatory strong limits on component weight and size, the high safety and reliability standards demand simple and maintenance-free silencer solutions. Hence, basic Helmholtz-Resonators and inline expansion chambers are state-of-the-art aboard commercial aircrafts in service. Unfortunately, they do not meet today’s noise attenuation performance aims regarding passenger comfort and equipment durability. Furthermore, production and installation costs have to be considered, plus particular aircraft operating conditions. Commercial aircrafts come with relatively high operating pressures of 210/350bar (3000/5000psi) and fluid-borne noise fundamental frequencies up to approximately 1200 Hz for some of the hydraulic pumps. This conference contribution discusses a new compact approach for an inline expansion chamber, named DiscSilencer that accounts for the mentioned aviation constraints. The silencer chamber is designed as smooth expansion in only one radial direction relative to the connected piping. The perpendicular radial dimension is kept identical to the piping diameter. This results in a flat rectangular cross area of the flow passageway instead of a circular shape, enabling new options for installation and further incremental development. In this paper, the modelling and experimental validation of such an unconventional hydraulic silencer are presented.
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Schumerth, Dennis J. "A Thirty Year Service Exam: Titanium Tubed Surface Condensers." In International Joint Power Generation Conference collocated with TurboExpo 2003. ASMEDC, 2003. http://dx.doi.org/10.1115/ijpgc2003-40066.
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The first installation of Grade 2 titanium condenser tubing in a US powerplant occurred in the fall of 1971 as a partial retube of the then, PG&E Moss Landing Unit No. 7 generating station. At the time of this partial retube, “Mighty Moss” was the largest fossil powerplant in the USA generating 750 MWe. Conversely, the first complete titanium-tubed surface condenser installation occurred in 1972 at the 490 MWe ConEdison - Arthur Kill Unit #3. Following comparative testing of competing tube materials, a partial titanium retube, followed by a complete replacement of the remaining aluminum bronze (C608800) tubes, eliminated severe corrosion problems after only 17 months of operation. Thirty years later, both the Moss Landing Unit No. 7 (Duke Energy) and Arthur Kill Unit #3 (an NRG holding) remain fully operational units and a growing fleet of nearly 300 new, modularized and retubed titanium surface condensers have been installed worldwide. These units have provided powerplant operators with three decades of corrosion-free operation — indeed a new industry hallmark of availability and capability. Citing the outstanding performance of titanium over the past 30 years as historical precedent, this paper will provide a brief overview of prior art, investigate new and relevant data, highlight recent process improvements, predict future applications and of course, identify the inevitable cautionary notes.
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Scha¨fer, F., and D. H. Hellmann. "Optimization of Approach Flow Conditions of Vertical Pumping Systems by Physical Model Investigation." In ASME 2005 Fluids Engineering Division Summer Meeting. ASMEDC, 2005. http://dx.doi.org/10.1115/fedsm2005-77347.
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Circulating flow in front of open and covered intake systems in many cases is the initial point of free-surface vortex formation. Depending on the strength of the circulation air pulling vortex formation up to a coherent air core will appear starting at the surface leading directly to an installed pump inside the intake. Thus the mechanical load of the pump will increase and the hydraulic performance will be degraded. Furthermore, pre-rotation of the fluid close to the suction bell can be forced up to limits which are not in compliance to state of the art acceptance criteria. At least non-symmetric velocity distribution at the impeller will arise out of this flow conditions. Within physical model tests intakes together with pumps can be optimized for their best efficiency point of operation. Flow conditions can be achieved generating kinematical affinity at the suction bell which are close to the conditions of the acceptance test. The report shows application oriented solutions for the installation of cost effective flow guiding devices in open and covered intake systems to assure adequate pump performance. Test results of model investigations and experiences by modifying intake structures of existing plants will be presented. Concerning the sensitivity of high specific speed vertical pumps approach flow conditions especially at the intake structures have to be in accordance to state of the art acceptance criteria to assure adequate availability of the pumps. By today it is common practise and state of the art to test the behaviour of intake and outfall structures by physical model tests.
Reports on the topic "190504 Performance and Installation Art"
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Pevey, Jon M., William B. Rich, Christopher S. Williams, and Robert J. Frosch. Repair and Strengthening of Bridges in Indiana Using Fiber Reinforced Polymer Systems: Volume 1–Review of Current FRP Repair Systems and Application Methodologies. Purdue University, 2021. http://dx.doi.org/10.5703/1288284317309.
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For bridges that are experiencing deterioration, action is needed to ensure the structural performance is adequate for the demands imposed. Innovate repair and strengthening techniques can provide a cost-effective means to extend the service lives of bridges efficiently and safely. The use of fiber reinforced polymer (FRP) systems for the repair and strengthening of concrete bridges is increasing in popularity. Recognizing the potential benefits of the widespread use of FRP, a research project was initiated to determine the most appropriate applications of FRP in Indiana and provide recommendations for the use of FRP in the state for the repair and strengthening of bridges. The details of the research are presented in two volumes. Volume 1 provides the details of a study conducted to (1) summarize the state-of-the-art methods for the application of FRP to concrete bridges, (2) identify successful examples of FRP implementation for concrete bridges in the literature and examine past applications of FRP in Indiana through case studies, and (3) better understand FRP usage and installation procedures in the Midwest and Indiana through industry surveys. Volume 2 presents two experimental programs that were conducted to develop and evaluate various repair and strengthening methodologies used to restore the performance of deteriorated concrete bridge beams. The first program investigated FRP flexural strengthening methods, with a focus on adjacent box beam bridges. The second experimental program examined potential techniques for repairing deteriorated end regions of prestressed concrete bridge girders. Externally bonded FRP and near-surface-mounted (NSM) FRP were considered in both programs.
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Rich, William B., Robert R. Jacobs, Christopher S. Williams, and Robert J. Frosch. Repair and Strengthening of Bridges in Indiana Using Fiber Reinforced Polymer Systems: Volume 2–FRP Flexural Strengthening and End Region Repair Experimental Programs. Purdue University, 2021. http://dx.doi.org/10.5703/1288284317310.
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For bridges that are experiencing deterioration, action is needed to ensure the structural performance is adequate for the demands imposed. Innovate repair and strengthening techniques can provide a cost-effective means to efficiently and safely extend the service lives of bridges. The use of fiber reinforced polymer (FRP) systems for the repair and strengthening of concrete bridges is increasing in popularity. Recognizing the potential benefits of the widespread use of FRP, a research project was initiated to determine the most appropriate applications of FRP in Indiana and provide recommendations for the use of FRP in the state for the repair and strengthening of bridges. The details of the research are presented in two volumes. Volume 1 provides the details of a study conducted to (i) summarize the state-of-the-art for the application of FRP to concrete bridges, (ii) identify successful examples of FRP implementation for concrete bridges in the literature and examine past applications of FRP in Indiana through case studies, and (iii) better understand FRP usage and installation procedures in the Midwest and Indiana through industry surveys. Volume 2 presents two experimental programs that were conducted to develop and evaluate various repair and strengthening methodologies used to restore the performance of deteriorated concrete bridge beams. The first program investigated FRP flexural strengthening methods, with focus placed on adjacent box beam bridges. The second experimental program examined potential techniques for repairing deteriorated end regions of prestressed concrete bridge girders. Externally bonded FRP and near-surface-mounted (NSM) FRP were considered in both programs.