Relevant bibliographies by topics / Abramovitz

Academic literature on the topic 'Abramovitz'

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Published: 14 March 2023

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Journal articles on the topic "Abramovitz"

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Bardill, D. Ray. "Response to Dr. Abramovitz." Journal of Social Work Education 29, no. 1 (January 1993): 11–13. http://dx.doi.org/10.1080/10437797.1993.10779174.

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Lange, Alexandra. "Review: The Troubled Search: The Work of Max Abramovitz by Max Abramovitz." Journal of the Society of Architectural Historians 64, no. 4 (December 1, 2005): 554–56. http://dx.doi.org/10.2307/25068205.

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David, Paul, and Gavin Wright. "IN MEMORIAM MOSES ABRAMOVITZ 1912–2000." Journal of Economic History 61, no. 1 (March 2001): 190–96. http://dx.doi.org/10.1017/s0022050701003163.

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Davies, Benjamin K. "Joan Guinjoan concertos." Tempo 59, no. 234 (September 21, 2005): 56–57. http://dx.doi.org/10.1017/s0040298205220326.

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JOAN GUINJOAN: Concerto for clarinet and orchestra; Concerto for piano and orchestra; Música per a violoncel i orquestra. Joan Enric Lluna (cl), David Abramovitz (pno), Lluís Claret (vlc). Orquestra Simfònica de Barcelona i Nacional de Catalunya, c. Ernest Martínez Izquierdo. Harmonia Mundi HMI 987056.
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Syrquin, Moshe. "Thinking about Growth and Other Essays on Economic Growth and Welfare. Moses Abramovitz." Economic Development and Cultural Change 40, no. 4 (July 1992): 887–92. http://dx.doi.org/10.1086/451983.

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Kemal, A. R. "Skill Development in Pakistan ( The Presidential Address)." Pakistan Development Review 44, no. 4I (December 1, 2005): 349–57. http://dx.doi.org/10.30541/v44i4ipp.349-357.

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Human resource development particularly improved skills impact rather significantly economic growth and the productivity levels. Whereas research on productivity following Abramovitz (1956) and Solow (1957), seminal articles on sources of growth, highlighted the importance of human resource development,1 the endogenous theory of economic growth has brought human capital at the centre stage of the growth process [Romer (1990, 1993)].2 While the contribution of productivity towards growth rate of GDP in Pakistan has been one-third, the increase in total factor productivity has more to do with catching up than the improvement in human resource development, major source of sustained growth [see Kemal, Din, and Qadir ( 2002)].
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Jones, Linda E. "Regulating the Lives of Women: Social Welfare Policy from Colonial Times to the Present. Mimi Abramovitz." Social Service Review 63, no. 3 (September 1989): 489–91. http://dx.doi.org/10.1086/603719.

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Muhammad, Ali, Abiodun Egbetokun, and Manzoor Hussain Memon. "Human Capital and Economic Growth: The Role of Governance." Pakistan Development Review 54, no. 4I-II (December 1, 2015): 529–49. http://dx.doi.org/10.30541/v54i4i-iipp.529-549.

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Economists agree that human capital is an important determinant of economic growth [Arrow (1962); Aghion and Howitt (1992)]. Human capital-led growth generally concludes the positive impact of the two with the help of existing developed theories and empirical evidences. Nonetheless, the standard empirical result of a direct relationship between human capital (however measured) and economic growth, has been criticised on several fronts. First, the impact of other growth-related factors like quality of education, health of the labour force, inflation, corruption, unemployment, rule of law, etc. should not be ignored. These endogenous characteristics of a country are included in Becker‘s (1993) definition of human capital. In addition, as noted by Abramovitz (1986), social capabilities are important in the adoption and diffusion of technologies but countries differ in social capabilities. Therefore, to the extent to which human capital contributes to economic growth through innovation, its effect is conditioned by the country‘s social capabilities which include factors like quality of institutions and governance.
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HANEL, RICARDO A., LUIZ E. MADALOZZO, JOÃO CÂNDIDO ARAÚJO, MARCELO A. RODRIGUES, and LUCIANO V. R. TRUITE. "Pseudoaneurisma de artéria ilíaca comum como complicação de cirurgia para hérnia discal lombar: relato de caso." Arquivos de Neuro-Psiquiatria 57, no. 3B (September 1999): 890–94. http://dx.doi.org/10.1590/s0004-282x1999000500028.

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A cirurgia para tratamento da doença discal lombo-sacra pode cursar com complicações severas, iatrogênicas incluindo-se as neurológicas, vasculares, entéricas, ureterais e disfunção sexual podendo levar o paciente à morte dependendo da extensão da lesão. Abramovitz relata que as complicações vasculares do acesso posterior para o tratamento hérnia discal lombo-sacra ocorrem em menos de 0,1% dos casos As lesões vasculares podem manifestar-se de maneira imediata como hemorragia arterial levando a choque hipovolêmico no per ou pós-operatório imediato, devendo ser diagnosticadas e tratadas prontamente. Sinais precoces de hemorragia retroperitoneal se manifestam na vigência de lesões traumáticas, sendo os pseudoaneurismas e as fístulas arteriovenosas diagnosticados tardiamente, semanas ou mesmo após anos. Descrevemos o caso de uma paciente de 39 anos que foi submetida a tratamento cirúrgico de hérnia discal no espaço L4-L5, à direita, em outro serviço. Devido ao fato de persistirem os sintomas dolorosos, foi encaminhada ao nosso serviço. Na investigação a ressonância magnética mostrou lesão paravertebral sugestiva de abscesso. A angiografia aorto-ilíaca revelou a presença de pseudoaneurisma na artéria ilíaca comum esquerda, o qual foi reparado cirurgicamente com sucesso. Discutimos os mecanismos das lesões vasculares e as precauções para evitá-las.
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Andersson, Martin, and Andrés Palacio. "Catch up growth and social capability in developing countries: A conceptual and measurement proposal." OASIS, no. 26 (December 11, 2017): 7–23. http://dx.doi.org/10.18601/16577558.n26.02.

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While the income per capita in the developing world since the turn of the Millennium has grown faster than that of the developed world, the question whether there is an ongoing process of catching up between countries remains. The notion of income convergence has provided many insights into the sources for long-run growth but has largely neglected the role of social capabilities in economic development. By social capabilities we mean the qualification of the ‘theory of convergence’ which asserts that productivity growth rates between countries tend to vary inversely with regard to productivity levels. The social capabilities approach holds that a country’s potential for rapid growth is strong when “it is technologically backward but socially advanced” (see Abramovitz, 1986:388). This means that the potential to catch up under globalization is strongest for countries in which social capabilities are developed to allow successful use of technologies and where institutional arrangements are conducive to economic progress. Yet there is no clear agreement in the literature on the main components of social capabilities or how to measure them. Our framework argues that the role of capabilities in catching up needs to understand them in terms of structural transformation, economic and social inclusion, state´s autonomy and accountability. Without progress in these dimensions within-country inequality may increase and might in turn lead to stagnating growth and slim prospects for global income convergence.
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Dissertations / Theses on the topic "Abramovitz"

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Sanin, A. "Roman Abramovich." Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40446.

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Parry, Caroline. "The Abramović Method: The Performance Art of Marina Abramović, 2010 to Present." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19296.

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This thesis examines the performance art of Serbian artist Marina Abramović from 2010 to today following her emergence into mainstream media with the success of her performance The Artist Is Present (2010). This thesis investigates Abramović’s approach to performance and how the roles of artist and viewer change in face of increased fame, documentation, and age. The thesis argues that as Abramović ages, she is becoming increasingly preoccupied with her fame and with securing her legacy and that this concern is reflected by her increased documentation and self-promotion, as well as her interest in transitioning into the role of teacher rather than artist. This thesis ends with an optimistic look at the opening of The Marina Abramović Institute in late 2015 as a new type of institute in which Abramović's presence and legacy will be mediated not through the static and limited representation of photographs and relics but by the experiences and actions of the visitors themselves.
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Chen, Luciana. "Marina Abramović: modos de presença e seus sentidos." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19567.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present work commits to the enunciation display applied by Marina Abramović, analyzing how it produces presence modes and meaning effects. With a corpus of 100 works by the artist, from the 1970s to 2015 and enunciations that provide mediatic visibility to her from 2010 to 2016, the study aims to map the enunciative devices that trigger aesthesic and pathemic meanings and to unveil the problem of how these promote the presence modes of her public to the point of changing them from observer to part of the artistic action. It takes as a first hypothesis that through the feedback of information about Abramović and her actions, her mediatic visibility strategy diversifies her audience at the same time that promotes the doing with the body and the feeling by reactive adjustment. The second one implies that Abramović Method effectiveness, developed by herself, occurs by contagion of the presences of her very audience, proponing the retaking of the body in virtual communication era, being these ones the devices applied to seduce and modalize the addressee so that it participates. Fomented by the gaps found in art history, centered on the artist process, on the artistic object and/or on the production context, this investigation is based on discursive semiotics, which considers the communicative and communicational relations between performance and audience, the interaction regimes between audience and art and the sensible lived experience. Algirdas Julian Greimas, Eric Landowski, Ana Claudia de Oliveira and Eugênio Trivinho stand out among the authors that substantiate the investigation. The methodology comprises corpus analysis based on the meaning generative process, the mapping of Abramović’s visibility strategies and the analysis on the Method. The results point out: the self-conscience thematic and the immaterial and material values predominance, the emphasis on the body figure of the participants with Abramović Method; the effectiveness of the artist’s communicational strategy and the triggering of actions against her procedure, all of them feeding back her figure and proving the first hypothesis right; the communicative effectiveness of the Method through the presences contagion, which can be mediated by electronic devices, making feel simultaneously to the Method spread, which presents itself as condition of modalizing enunciation of alterity’s being and doing; the feeling of our time happens through reactive adjustment mediated by electronic devices and reveals itself as one more product in bunkerization era
O presente trabalho se debruça sobre o aparato da enunciação empregado por Marina Abramović, analisando como produz os modos de presença e efeitos de sentido. Com o corpus de 100 trabalhos da artista da década de 1970 a 2015 e enunciados que lhe dão visibilidade mediática de 2010 a 2016, o estudo objetiva mapear os mecanismos enunciativos desencadeadores de sentidos estésicos e patêmicos e desvelar o problema de como promovem os modos de presença de seu público a ponto de transformá-lo de observador a parte da ação artística. Toma como hipótese primeira, que a estratégia de visibilidade mediática de Abramović com a retroalimentação de informações sobre ela e suas ações diversifica seu público ao mesmo tempo que promove o fazer com o corpo e o sentir pelo ajustamento reativo. A segunda é de que a eficácia comunicativa do Método Abramović por ela desenvolvido ocorre pelo contágio das presenças do próprio público, propondo a retomada do corpo na era da comunicação virtual, sendo esses os mecanismos empregados para a sedução e modalização do destinatário para que ele participe. Fomentada pelas lacunas encontradas na história da arte, centrada no processo do artista, no objeto artístico e/ou no contexto de produção, essa investigação fundamenta-se na semiótica discursiva, que considera as relações comunicativas e comunicacionais entre a performance e público, os regimes de interação entre público e arte e a experiência sensível vivida. Dentre os autores que alicerçam a investigação, destacam-se Algirdas Julian Greimas, Eric Landowski, Ana Claudia de Oliveira e Eugênio Trivinho. A metodologia compreende a análise do corpus com base no percurso gerativo do sentido, o mapeamento das estratégias de visibilidade de Abramović e a análise do Método. Os resultados apontam: o predomínio da temática da autoconsciência, dos valores imaterial e material e a ênfase na figura do corpo dos participantes com o Método Abramović; a eficácia da estratégia comunicacional da artista e o desencadeamento de ações contrárias ao procedimento dela, todos retroalimentadores de sua figura provando a primeira hipótese; a eficácia comunicativa do Método por meio do contágio das presenças, podendo ser mediado por dispositivos eletrônicos, fazendo sentir simultaneamente à propagação do Método, que apresenta-se como condição de enunciação modalizadora do ser e do fazer da alteridade; o sentir do nosso tempo se dá por meio do ajustamento reativo mediado pelos dispositivos eletrônicos e revela-se como mais um produto na era da bunkerização
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Polat, Faruk. "On The Generalizations And Properties Of Abramovich-wickstead Spaces." Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12610166/index.pdf.

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In this thesis, we study two problems. The first problem is to introduce the general version of Abramovich-Wickstead type spaces and investigate its order properties. In particular, we study the ideals, order bounded sets, disjointness properties, Dedekind completion and the norm properties of this Riesz space. We also define a new concrete example of Riesz space-valued uniformly continuous functions, denoted by CDr0 which generalizes the original Abramovich-Wickstead space. It is also shown that similar spaces CD0 and CDw introduced earlier by Alpay and Ercan are decomposable lattice-normed spaces. The second problem is related to analytic representations of different classes of dominated operators on these spaces. Our main representation theorems say that regular linear operators on CDr0 or linear dominated operators on CD0 may be represented as the sum of integration with respect to operator-valued measure and summation operation. In the case when the operator is order continuous or bo-continuous, then these representations reduce to discrete parts.
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Radonjic, Vladimir. "Aspects of Lev Abramovich Mazel' thinspace's theory of integrated analysis." Thesis, University of Ottawa (Canada), 1992. http://hdl.handle.net/10393/7462.

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In this thesis several aspects of the theory of integrated analysis of musical works of Lev Abramovich Mazel' (1907-) are presented and explicated. These aspects are dimensions of thematic structures, dynamics, timbre and texture, and melody. Mazel' segments his theory into different elements of music, presenting conceptions of each element in light of his integrated analytical method. The examination of these aspects affords a good cross-section of the entire theory of integrated analysis. The aspect of dimensions of thematic structures, in some ways the most original, reflects the structural and analytical tendencies of the theory of integrated analysis. Mazel' thinspace's discussion of dynamics, timbre, and texture is mainly concerned with perception and reflects those tendencies in the theory which examine the very nature of music as one of the arts. The treatment of melody combines both speculative and analytical tendencies. For Mazel' melody represents one of the most important elements of music. Integrated analysis represents an important achievement of Soviet theoretical thought in music. This thesis puts Mazel's theory of integrated analysis into historical perspective, indicating its origins, its context in Soviet music theory, and its place in Mazel' thinspace's overall output. Mazel' thinspace's formulation of the theory of integrated analysis represents only one of his contributions to Soviet musicological-theoretical thought. He is perhaps the most important living Soviet music theorist, and this makes a study of his works in the West all the more relevant.
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Kozo, Abramovic Dunja [Verfasser]. "Role of age in epithelial ovarian cancer / Dunja Kozo Abramovic." Berlin : Medizinische Fakultät Charité - Universitätsmedizin Berlin, 2014. http://d-nb.info/1062536436/34.

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Lacis, Indra K. "Fame, Celebrity and Performance: Marina Abramović--Contemporary Art Star." Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1396625700.

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Vigeland, Anne. "Marina Abramović på Moderna Museet : En fenomenologisk analys av re-performance som utställningsmetod." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-151830.

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Uppsatsens ämne berör re-performance som utställningsmetod och den fysiska kroppen som utställningsobjekt. Materialet består av Marina Abramovićs retrospektiva utställningen The Cleaner (2017) på Moderna Museet och tre re-performanceverk som framförs av tränade aktörer inne på utställningsområdet. Uppsatsens syfte och frågeställningar består av att undersöka vilka egenskaper re-performance som utställningsmetod har och hur det upplevs att betrakta fysiska kroppar som utställningsobjekt. För att besvara detta används Maurice Merleau-Pontys Phenomenology of Perception (1945) och hans fenomenologiska syn på ett förkroppsligat varande. Varje re-performanceverk analyseras utifrån några utvalda fenomenologiska verktyg presenterade av Merleau-Ponty och utvecklas med hjälp av tidigare forskning som berör relationen mellan fenomenologi och performancekonst. Ur de fenomenologiska verksanalyserna framträder resultat som jag anser är talande för betraktandet av fysiska kroppar som utställningsobjekt och performance i stort, som exempelvis en förståelse av performance som ett sätt iscensätta fenomenologi genom praktik och handling. Betraktandet av performance är beroende av ett performativt assemblage som bildas, samt av empati och intersubjektivitet. Resultatet visar även att re- performance inte enbart kan benämnas som en form av konstdokumentation, utan att betraktandet av dessa även innebär ett betraktande av självständiga performanceverk.
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Goulart, José Ricardo. "A artista (ainda) está presente? : performance e aura, reprodutibilidade e reperformance em Marina Abramovic." Universidade do Estado de Santa Catarina, 2016. http://tede.udesc.br/handle/handle/2573.

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The notion of reperformance is established and passed with the Marina Abramović’s exhibition The Artist is Present, in 2010. Five years earlier, however, the serbian artist had resubmitted works by other performers. This practice calls into question the relationship of artistic work with the here and now of the context in which is (re) presented, once the performance has emerged as ephemeral and unrepeatable art. The German philosopher Walter Benjamin diagnosed in the 30s, the decline of the artwork aura due to its mechanical reproduction. Taking such exhibition as a starting point, and 7 Easy Pieces (2005) and Terra Comunal (2015), I intend to investigate in this work the relationships arise between the terms performance, reperformance, reproducibility and aura.
A noção de reperformance se instaura e encontra repercussão com a exposição A Artista está Presente, de Marina Abramovic, em 2010. Cinco anos antes, porém, a artista sérvia já havia reapresentado obras de outros performers. Esta prática coloca em questão a relação da obra artística com o aqui e o agora do contexto em que é (re)apresentada, uma vez que a performance tenha surgido como arte efêmera e não repetível. O filósofo alemão Walter Benjamin diagnosticou, no anos 30, o declínio da aura da obra de arte em decorrência de sua reprodutibilidade técnica. Tomando como ponto de partida a referida exposição, além de Sete Peças Fáceis (2005) e Terra Comunal (2015), pretendo investigar, neste trabalho, as consequências decorrentes das relações que emergem entre os termos reperformance, reprodutibilidade e aura.
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Orr, Meital. "God and the Devil in the Human Heart: The Dialogic Vision of Abramovitch and Dostoevsky." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10091.

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Scholarship on the founder of modern Jewish literature, Sholem Abramovitch (1836-1917), is a rich field of study, yet it has been largely abandoned today, and the author has hardly been studied at all in nineteenth-century comparative European context. This study uses an unprecedented comparison between Abramovitch and his contemporary, Fyodor Dostoevsky (1821-1881), to reveal the complexity with which Abramovitch pioneered the integration of European and Russian literary trends into Jewish literature. These writers came from very different cultures and literary situations; however, they also shared many of the same influences due to their shared location in Tsarist Russia in the mid nineteenth century. During this time, the cultural sources and social preoccupations of their intelligentsias increasingly converged, producing a shared zeitgeist which – in combination with their similar early experiences and tendencies for dialogism (contradictory duality) – led to their many literary intersections. A comparison of their oeuvres reveals similar replacements of Gogol’s condescension toward poor protagonists with compassion, subversions of the feuilleton in the service of social critique, unprecedented uses of the “dialogic word,” new variations on the European theme of the “fantastic city,” applications of contemporary concepts such as “necessary egoism” and “free will” to the psyche of the downtrodden, enlistments of the Devil to warn against the dangers of Utilitarianism, and literary efforts to bridge the gap between the classes which include a convergence between romanticism and religion. Though Abramovitch has been designated as a satirist and realist, this study shows how he also pioneered the integration of romanticism into Jewish literature through, psychological penetration of the poor, and themes such as: the truth inherent in emotion, the subconscious and folklore, the transcendent wisdom of the people, and the divine meaning of nature. Abramovitch has been compared on isolated themes with other Russian writers, such as Turgenev, Shchedrin and Gogol; however, only a comparison with Dostoevsky can reveal the nuance and complexity of his many formal and thematic achievements.
Near Eastern Languages and Civilizations
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Books on the topic "Abramovitz"

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painter, Abramovich Pinchas 1909-1986, ed. Pinḥas Abramovits: Biṭui ha-ʻatsmi = Pinchas Abramovich : the expression of the self. [Haifa, Israel]: [Ron Shpigel], 2015.

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author, Postal Matthew A., ed. Springs Mills Building: 104 West 40th Street (aka 102-106 West 40th Street, 107-115 West 39th Street), Manhattan : built 1961-63, Harrison & Abramovitz, architects, Charles H. Abbe, chief designer. New York]: Landmarks Preservation Commission, 2010.

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Abramovic, Marina. Marina Abramović. Stuttgart: Edition Cantz, 1993.

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Richards, Mary. Marina Abramović. Second edition. | New York : Routledge, 2019. | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485718.

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Abramovic, Marina. Marina Abramovic. [Ferrara]: [SATE], 1993.

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Abramovic, Marina. Marina Abramovic. München: Museum Villa Stuck, 1996.

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Marina Abramovic. London: Routledge, 2009.

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Marina, Abramovic, S. Francesco (Church : Como, Italy), and Fondazione Antonio Ratti, eds. Marina Abramović. Milano: Charta, 2002.

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Abramovic, Marina. Marina Abramović: Biography. Ostfildern bei Stuttgart: Cantz, 1994.

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Marina, Abramović, ed. Marina Abramović: Estasi. Novate Milanese: Casa Testori associazione culturale, 2019.

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Book chapters on the topic "Abramovitz"

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Easterlin, Richard A. "Abramovitz, Moses (1912–2000)." In The New Palgrave Dictionary of Economics, 2–3. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_73.

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Easterlin, Richard A. "Abramovitz, Moses (Born 1912)." In The New Palgrave Dictionary of Economics, 1–2. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_73-1.

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Easterlin, Richard A. "Abramovitz, Moses (1912–2000)." In The New Palgrave Dictionary of Economics, 1–2. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/978-1-349-95121-5_73-2.

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Durlauf, Steven N., and Lawrence E. Blume. "The New Palgrave: Dictionary of Economics, Volume 1 Abramovitz — collusion." In The New Palgrave: Dictionary of Economics, 1–896. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1007/978-1-349-58802-2_1.

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Richards, Mary. "Biography and context." In Marina Abramović, 1–43. Second edition. | New York : Routledge, 2019. | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485718-1.

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Richards, Mary. "Writings, interviews and influences." In Marina Abramović, 44–92. Second edition. | New York : Routledge, 2019. | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485718-2.

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Richards, Mary. "Key works." In Marina Abramović, 93–135. Second edition. | New York : Routledge, 2019. | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485718-3.

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Richards, Mary. "Practical explorations and their origins." In Marina Abramović, 136–57. Second edition. | New York : Routledge, 2019. | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485718-4.

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Richards, Mary. "Abramović (1946–)." In The Routledge Companion to Performance Practitioners, 433–86. Abingdon, Oxon; New York, NY: Routledge, 2020. | Series: Routledge theatre and performance companions: Routledge, 2020. http://dx.doi.org/10.4324/9781315667201-10.

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Schimmrigk, Rolf, Steven Duplij, Antoine Van Proeyen, Władysław Marcinek, Gert Roepstorff, Władysław Marcinek, Władysław Marcinek, et al. "Golfand, Yuri Abramovich." In Concise Encyclopedia of Supersymmetry, 168. Dordrecht: Springer Netherlands, 2004. http://dx.doi.org/10.1007/1-4020-4522-0_219.

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Conference papers on the topic "Abramovitz"

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San Cristóbal, Úrsula. "Cuerpo, límites y autobiografía: Una aproximación a lo sonoro en la obra de Marina Abramović." In II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.12845.

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Los elementos sonoros son una constante en el trabajo de Marina Abramović. No obstante, su presencia ha sido objeto de escuetos comentarios en la bibliografía especializada. Los pocos textos que se refieren al tema, abordan principalmente su obra temprana de la década de 1970. Autoras como Iles (1995) y Biesenbach (2010), solo se refieren al sonido como temporalidad en las instalaciones y performances realizadas en Belgrado. LaBelle (2006-2014) y Hegarty por su parte, se refieren de manera muy breve al uso de la voz en piezas de video performance como Freeing The Voice y Art Must Be Beautiful, sin aportar mayor información contextual al respecto. Pocos escritos abordan obras posteriores. Richards (2010) menciona la presencia de canciones populares en las obras de la década de 1990, pero las referencias suelen ser tan imprecisas que en ocasiones resulta imposible determinar qué músicas fueron empleadas. A la fecha no se ha realizado ningún estudio en profundidad sobre lo sonoro en la obra de Abramović. Cómo se relacionan el sonido, la escucha y el cuerpo, y qué rol cumple la música en el desarrollo conceptual de sus acciones, constituyen interrogantes aún por explorar. En esta ponencia intento ofrecer una panorámica general sobre el rol de lo sonoro en la obra en solitario de Marina Abramović. A través de un análisis comparado entre la serie Rhythm (1973-74) y las performances Delusional (1994) y Balkan Baroque (1997), intento poner en evidencia el paso del sonido a la música que opera en la artista y cómo ello llega a influir en su concepción de la performance. Bibliografía básica: Biesenbach, Klaus. 2010. «Marina Abramović. The Artist is present. The artist was present. The artist will be present». En Marina Abramović: The Artist is Present, 12-21. New York: Museum of Modern Art. ———. 2016. «The Fundamentals of Endurance: Marina Abramović on How She Learned to Refuse the Body’s Limits and Make Immortal Art». Artspace. 2016. Hegarty, Paul. 2015. Rumour and Radiation: Sound in Video Art. London & New York: Bloomsbury Publishing. Iles, Chrissie. 1995. «Cleaning The Mirror». En Marina Abramović: Objects, Performance, Video, Sound, 21-34. Oxford: Museum of Modern Art Oxford. LaBelle, Brandon. 2006. Background noise : perspectives on sound art. Continuum International. ———. 2014. Lexicon of the mouth : poetics and politics of voice and the oral imaginary. New York & London: Bloomsbury. Richards, Mary. 2010. Marina Abramović. New York: Rouletdge.
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Chen, Luciana. "Marina Abramović: presencia virtual en “Terra Comunal”." In Congreso Internacional de Investigación en Artes Visuales. ANIAV. Editorial Universitat Politècnica de València, 2015. http://dx.doi.org/10.4995/aniav.2015.1073.

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Korsten, Saskia Isabella Maria. "Partaker Agency: Entanglement of agencies in artworks by Bekirovic and Abramović." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.39.

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Gárgoles, María. "Aumentando la empatía en entornos virtuales artísticos: la presencia en la imagen esférica desde el avatar invisible." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9015.

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La imagen actual es tridimensional e interactiva, ahora el espectador se convierte en usuario y nos sitúa en el centro de una esfera. De este modo un nuevo mundo se hace visible a través de la realidad virtual. En el paradigma de la burbuja, nuestra relación con el entorno ha cambiado, estas imágenes envolventes nos permiten elegir el punto de vista haciendo única la experiencia. Es importante modificar nuestra relación con el entorno tanto en la propia experiencia como posteriormente. Desde la cognición corporal, nuestras relaciones con el entorno virtual nos permiten sentir con mayor intensidad lo que percibimos de ellos. Este trabajo investiga la relación del usuario en estos entornos virtuales y no virtuales así como la acción e interacción en entornos inmersivos artísticos. Para ello, utilizo el entorno creado por Marina Abramovic, dividiendo tres fases diferenciadas de la experiencia y la interacción con el avatar de Abramovic desde la ausencia de nuestro avatar en el mundo virtual, es decir, desde la invisibilidad corporal y ausencia de representación visual en el mundo inmersivo. Utilizando esas tres fases y desde la ausencia de nuestro avatar, es posible aumentar la presencia, la conciencia y la empatía por medio de otros mecanismos sensoriales de la experiencia, los elementos de la imagen y otras virtualidades.
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Kathirkamanathan, Lijithan, Adam Sadowski, Marc Seidel, and Benjamin Schafer. "Recommendations for Surface Imperfection Surveys for Thin-Walled Metal Wind Turbine Support Towers." In ASME 2022 4th International Offshore Wind Technical Conference. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/iowtc2022-98659.

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Abstract A novel international initiative is underway to establish a purely computational database of synthetic buckling resistances on the basis of which the safety margin of metal wind turbine support towers can be calibrated within the Eurocode framework. This initiative has recently demonstrated that existing databases of laboratory-scale destructive buckling tests of cylindrical shell specimens are not an appropriate basis upon which to calibrate safety margins of full-scale civil engineering shells, and asserts that such a database based on laboratory testing alone is realistically unlikely ever to come into existence. A bolder approach based on high-quality nonlinear finite element buckling calculations of models generated with genuinely realistic imperfections obtained from the optical scanning of actual constructed towers is thought to be the only feasible path forward. By way of preparation for this difficult task, this paper presents a critical appraisal of the extensive surface geometric imperfection surveys of lab-scale cylindrical metal shell specimens reported on by Arbocz and Abramovich, an important reference dataset for modern work of this nature, as well as the results of a series of nonlinear buckling calculations on finite element models constructed to include these imperfections. Differences between the finite element predictions and original test results are inevitably found and an explanation offered. The paper ends with a set of recommendations on the minimum scanning resolution for surface geometric imperfection surveys if they are to hope to yield sufficient information to create finite element models of realistically imperfect wind turbine support towers and other thin-walled metal shell structures.
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Pérez García, Elías Miguel. "Un teatro de perros." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.6417.

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... y les sobrevino a los perros la capacidad de desdoblarse y representar con sus escuálidos cuerpos otros papeles y situaciones ajenos en principio a su condición. ..... y mediante la recreación de la pose y el sumatorio de performances estáticos, invocaron el sentido imposible de un teatro sin tiempo. Investigación práctica sobre medios, procesos y formatos expositivos de la escultura contemporánea mediante el modelado y la instalación. Esta investigación en arte propone una relectura de imágenes emblemáticas del arte y la cultura contemporánea, desde el enfoque desinhibido que acompaña los proyectos de stop motion y la ironía de un personaje ajeno a todo juego simbólico: la mirada de un perro, de cien perros dispuestos a emular mediante poses teatralizadas o performances congelados algunos de los momentos característicos del comportamiento social y cultural humanos. El formato final es una instalación compuesta por cien piezas autónomas, cien fotogramas tridimensionales de una misma obra sin principio de continuidad, con el galgo español como actor protagonista. Exponemos como se han definido los parámetros generales del proyecto, la importancia de referencias literarias de autores como Cervantes, Auster, Vila-matas, Savage o Martín Sánchez, y por que se ha elegido el perro y específicamente el galgo español como protagonista. Justificaremos el sentido de la conexión que establecemos entre el diseño de personajes y escenas para animación stop motion con la escultura y la instalación, así como las alusiones al teatro y al performance. Abordamos también la investigación realizada sobre nuevos materiales para el modelado físico y algunas de sus características mas relevantes. Continuamos con el análisis de algunas de las diferentes escenas que constituyen la instalación mediante representaciones humanizadas de violencia, sexo o aislamiento, con referencias a la escultura monumental y a obras de autores como Joseph Beuys, Maurizio Cattelan, Bruce Nauman, Barry Flanagan, Marina Abramović, Pierre Huyghe, etc.http://dx.doi.org/10.4995/ANIAV.2017.6417
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