Academic literature on the topic 'Arte Veneta'
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Journal articles on the topic "Arte Veneta"
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Ellwanger, Giovana. "Bienal de Veneza/Neves." Revista Visuais 3, no. 4 (June 22, 2017): 19–34. http://dx.doi.org/10.20396/visuais.v3i4.12189.
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As ações de Paulo Nazareth em suas participações nas Bienais de Veneza (2013 e 2015) e nas Bienais de Veneza / Neves – os dois últimos, eventos concomitantes desenvolvidos pelo artista – constituem importantes espaços de reflexão. As propostas representam não somente transgressões próprias da arte contemporânea, mas o desenvolvimento de um espaço crítico frente às instituições artísticas e suas legitimações. O objeto de análise do presente artigo – as exposições mencionadas – é estudado sob a luz de autores que abordam a arte contemporânea e as relações entre arte, política e crítica institucional. Adicionalmente, avalia-se as repercussões dos eventos junto a seu público.
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De Girolami Cheney, Liana. "Giulio Bodon. Heroum Imagines: La Sala dei Giganti a Padova. Un monumento della tradizione classica e della cultura antiquaria. Studi di arte veneta 16. Venice: Istituto Veneto di Scienze, Lettere ed Arti, 2009. 16 color pls. index. append. illus. bibl. 荤48. ISBN: 978–88–95996–06–6." Renaissance Quarterly 63, no. 2 (2010): 604–6. http://dx.doi.org/10.1086/655270.
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Montinaro, Chiara. "L’apporto degli slavismi croati, serbi e sloveni all’italiano del nord-est." SPONDE 2, no. 1 (December 28, 2022): 79–92. http://dx.doi.org/10.15291/sponde.4090.
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L’obiettivo di questo lavoro è quello di identificare il contributo degli slavismi croati, serbi e sloveni penetrati in italiano, partendo dall’etimologia connessa alle tre lingue slave appartenenti al gruppo meridionale oggetto di indagine (oltre che dall’origine genericamente slava riportata dai dizionari). In un secondo tempo, l’attenzione è focalizzata sui prestiti che si affermano come regionalismi (in particolare quelli del nord-est), in cui si definisce il passaggio dall’italiano regionale all’italiano standard. Il corpus, ricavato in prevalenza dallo spoglio del GRADIT (2007) e dello Zingarelli (2021), si rivela cospicuo e, dal punto di vista quantitativo, i dati relativi all’influsso serbo e croato sono senza dubbio quelli più numerosi: si tratta di 48 lemmi nel solo GRADIT, etichettati in prevalenza come tecnicismi. Tra le aree geografiche maggiormente influenti, il contributo friulano e veneto occupa un posto di primo piano. Così, se l’influsso serbo e croato appare più marcato nell’area legata alla terminologia storica e politica (si tratta soprattutto di tecnicismi), le interferenze slovene, che si realizzano principalmente nel friulano, forniscono in primo luogo gastronimi (ma non solo); l’area veneta, invece, si contraddistingue per i contatti tra veneto e croato.
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Medina Amores, María, and Miguel Ángel Medina. "El arte NFT y su irrupción en el mercado del arte." Boletín de Arte, no. 43 (November 22, 2022): 207–20. http://dx.doi.org/10.24310/bolarte.2022.vi43.14377.
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Creado en 2017, el protocolo NFT ha revolucionado las prácticas artísticas y creativas digitales, al incluir la certificación de autoría y propiedad, así como las condiciones de compra-venta. En 2021 se ha producido la irrupción masiva del arte NFT en el mercado. Partiendo del análisis del problema de la falta de «aura» del arte digital pre-NFT, este trabajo analiza qué aporta el protocolo NFT al arte digital y revisa críticamente algunos de los autores y obras que han contribuido de forma destacada a esta irrupción del arte NFT en el mercado del arte.
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Rackham, Neil. "To Increase Sales, Change the Way You Sell: The Future of Sales." IESE Insight, no. 22 (September 15, 2014): 48–55. http://dx.doi.org/10.15581/002.art-2595.
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Di Paoli Paulovich, David. "Musica e canti d’espressione popolare di area latino-veneta in Istria e a Zara. Generi vocali e bibliografia." Histria : the Istrian Historical Society review 2, no. 2 (2012): 173–203. http://dx.doi.org/10.32728/h2012.07.
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Il presente contributo traccia un quadro delle ricerche e degli studi compiuti negli ultimi due secoli sul canto popolare di matrice istro-veneta, diffuso sulla costa adriatica orientale (Istria e Zara), evidenziando i principali studiosi e i maggiori risultati conseguiti. Propone quindi una distinzione dei generi o forme vocali in cui tale repertorio si manifesta (villotte, bassi, bitinade, arie notturne o da nuòto, stornelli, inni corali, canti a contenuto politico, canti dell’esodo, canti religiosi) cogliendo lo stato attuale delle ricerche e degli aspetti esecutivi di tale canto nei vari contesti di riferimento. Degli studi e delle ricerche inerenti al canto popolare istro-veneto si propone, infine, anche una bibliografia aggiornata. La costa adriatica orientale denota una vivacità musicale ricca e diversificata, che, partendo dagli albori aquileiesi tocca profondamente gli aspetti folclorici popolari, riunisce un repertorio dai tratti originali e che, soprattutto, riferendomi agli aspetti musicali sacri (canto patriarchino) e profani (canto popolare), ha consentito il formarsi nei secoli di una sensibilità musicale ad ogni livello, tale da contribuire essa stessa al sentimento d’appartenenza ad una civiltà peculiare ed unica: nelle sue componenti istriana, quarnerina, fiumana e dalmata. Compito, certamente arduo, di una musicologia istriana dovrebbe essere oggi anche quello di trarre in salvo le ultime testimonianze della musica vocale popolare di derivazione istro-veneta e non soltanto quelle di derivazione croata o slovena, essendo tale musica vocale l’anima fondante dell’essenza istriana insieme con le altre anime etno-musicali della nostra penisola.
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Hall, Crystal. "Galileo, Poetry, and Patronage: Giulio Strozzi’s Venetia edificata and the Place of Galileo in Seventeenth-Century Italian Poetry*." Renaissance Quarterly 66, no. 4 (2013): 1296–331. http://dx.doi.org/10.1086/675093.
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AbstractThe Venetian poet and librettist Giulio Strozzi (1583–1652) spent much of his career glorifying the Serenissima through a series of theatrical pieces. His only epic poem, the Venetia edificata (1621, 1624), while ostensibly a celebration of the republic, shows a level of commitment to Galileo Galilei (1564–1643) and to Galileo’s science that is unique among poets of the time, Venetian or otherwise. It is the apex of Strozzi’s artistic project to incorporate Galileo’s discoveries and texts into poetic works. The Venetia edificata also represents the culmination of a fifteen-year effort to gain patronage from the Medici Grand Dukes in Florence. While the first, incomplete version is dedicated to the Venetian Doge, the second, finished version is dedicated to Grand Duke Ferdinando II de’ Medici of Florence. More than a decade after Galileo’s departure from the Veneto to Florence, Strozzi cites from Galileo’s early works, creates a character inspired by Galileo, incorporates the principles of Galileo’s science into the organizing structure of the poem, and answers one of Galileo’s loudest complaints about Torquato Tasso’s Jerusalem Delivered (1581). Strozzi’s strategies both in writing the Venetia edificata and in seeking patronage for it underscore the ambivalent response to Galileo in contemporary poetry.
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Caldas, Pedro Spinola Pereira. "Arte como forma da moral." Pandaemonium Germanicum 22, no. 37 (February 22, 2019): 102–28. http://dx.doi.org/10.11606/1982-88372237102.
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Este artigo pretende compreender como, para Thomas Mann, a arte é uma forma da moral, e não um instrumento moral. Esta afirmação adquire sentido a partir de seu contexto específico, isto é, a partir do diálogo tenso entre Thomas Mann e seu irmão, Heinrich Mann. Explorando uma possibilidade de análise não feita no estudo de Helmut Koopmann sobre os dois irmãos, pretende-se, neste artigo, comparar O anjo azul com A Morte em Veneza, uma vez que ambas as obras, sendo a primeira uma sátira e a segunda, uma tragédia, têm no problema da forma um elemento central de seu argumento. Neste sentido, a caracterização de Aschenbach como “herói da fraqueza” se distinguirá da caracterização de Unrat como “tirano” a partir da estrutura temporal subjacente à caracterização de ambos os personagens.
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Castrillón Vizcarra, Alfonso. "LERNER, SHARON. (Editor) ARTE CONTEMPORÁNEO. COLECCIÓN MUSEO DE ARTE DE LIMA. LIMA: MUSEO DE ARTE DE LIMA, 2013, 384 PP. KUSUNOKI, RICARDO (Editor) ARTE MODERNO. COLECCIÓN MUSEO DE ARTE DE LIMA. LIMA: MUSEO DE ARTE DE LIMA, 2014, 388 PP." Illapa Mana Tukukuq, no. 12 (February 20, 2019): 110–12. http://dx.doi.org/10.31381/illapa.v0i12.1927.
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El Museo de Arte de Lima (MALI) ha publicado en estos últimos años dos volúmenes dedicados a la puesta en valor de sus colecciones: “Arte Contemporáneo” (2013) y “Arte Moderno” (2014)”. Pocos saben la ardua labor que significa adquirir, conservar, inventariar y mostrar al públicolas colecciones de un museo interdisciplinario como el MALI, pero nos consta que es un trabajo moroso y difícil, hecho por expertos. Si por algotenemos que alegrarnos sobre la vida y peripecias de los museos en el Perú, es constatar la presencia de una generación de jóvenes (hombres ymujeres) dedicados a las tareas museales en tres especialidades importantes: la conservación de especímenes, la investigación de sus coleccionesy la organización de programas para el público asistente. Y en este sentido el MALI ha avanzado a pasos agigantados. Desde que un objeto de arte se ofrece en venta o donación al museo, un equipo de conservadores e investigadores comienza a estudiar la pieza, rastrea su historia y presenta los resultados en fichas minuciosamente redactadas. Sólo lo más selecto e indispensable, para ir armando la historia del arte peruano, entra en sus depósitos.
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Wedekin, Luana M. "Descobrindo Giandomenico Tiepolo: história da arte no balanço de Pulcinella." Palíndromo 13, no. 30 (May 1, 2021): 148–68. http://dx.doi.org/10.5965/2175234613302021148.
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Giandomenico Tiepolo (1727-1804) realizou entre 1759 a 1797 uma série de afrescos em sua residência campestre, a Villa Tiepolo, em Zianigo. Trasladados para o Ca’Rezzonico, em Veneza, fornecem ao visitante contemporâneo um intrigante conjunto, no qual se pode ver exemplares da produção de pintura de gênero do artista, como observador da vida contemporânea e dos tipos sociais, mas também sua dimensão imaginativa, especialmente na sala dos Pulcinella. Focaliza-se alguns destes afrescos, relacionando-os com outras obras e artistas de Veneza do século XVIII, e também colocando-os em diálogo com pesquisadores da Commedia dell’Arte, com relatos de viagem à Itália de J.W. Goethe e o Divertimento per li regazzi, de Giorgio Agamben. Por fim, toma-se as obras estudadas para pensar as motivações para a pesquisa na história da arte, traduzidas no desafio warburguiano de “buscar a nossa ignorância e afugentá-la”. O que Tiepolo não permitiu ver, a misteriosa e inapreensível figura do Pulcinella fazem pensar no fazer história da arte como balanço permanente cujo impulso inicial é sempre um não saber.
Dissertations / Theses on the topic "Arte Veneta"
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Daminato, Federica <1988>. "TURISMO CULTURALE E TERRITORIO. LUOGHI E ARTE NELL'ALTA PIANURA VENETA TRA BRENTA E SILE." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4008.
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Sokolova, Iana. "Pittura veneta a San Pietroburgo sotto i regni di Elisabetta e Caterina II (1741-1796)." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3423318.
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Il presente lavoro pone la lente d’ingrandimento sui rapporti artistici e culturali intercorsi tra la Repubblica di Venezia e l’Impero Russo nel XVIII secolo, dando rilievo alla presenza della pittura veneta a San Pietroburgo. Il consolidamento dei legami con Venezia, avviato nell’epoca di Pietro il Grande, aveva permesso alla pittura veneta di ‘espandersi’ fino alle sponde della città sul fiume Neva. Negli anni venti del Settecento il primo pittore veneto ad arrivare in Russia è Bartolomeo Tarsia, mentre bisogna aspettare il regno di Elisabetta Petrovna, figlia dello zar Pietro, per vedere all’opera contemporaneamente un gran numero di artisti veneti: Giuseppe Valeriani, Antonio Peresinotti, Pietro e Francesco Gradizzi, Francesco Fontebasso, Pietro Rotari, Andrea Urbani e Carlo Zucchi.
In primo luogo, sono state indagate le condizioni di vita e di lavoro dei pittori veneti a San Pietroburgo con un’attenzione particolare agli ingaggi, ai privilegi e ai rapporti relazionali. Successivamente si sono prese in esame da una parte l’attività decorativa all’interno delle fastose residenze imperiali, come i Palazzi d’Inverno, i Palazzi d’Estate, il palazzo di Caterina a Tsarskoe Selo e quello di Peterhof, dall’altra l’insegnamento nelle più grandi istituzioni di formazione artistica della Russia dell’epoca.
Sono stati poi delineati i profili biografici di Diego Bodissoni, Giuseppe Dall’Oglio e Pano Maruzzi, attivi come intermediari e commercianti d’arte, i quali hanno il merito di aver favorito l’approdo di dipinti della scuola veneta a San Pietroburgo.The present work places the magnifying glass on the artistic and cultural relations between the Republic of Venice and the Russian Empire in the eighteenth century, highlighting the presence of Venetian painting in St. Petersburg. The consolidation of ties with Venice, initiated in the era of Peter the Great, had allowed Venetian painting to 'expand' to the banks of the city on the Neva river. In the 1720s the first Venetian painter to arrive in Russia was Bartolomeo Tarsia, while it was necessary to wait for the reign of Elisabetta Petrovna, daughter of Tsar Pietro, to see a large number of Venetian artists at work at the same time: Giuseppe Valeriani, Antonio Peresinotti, Pietro and Francesco Gradizzi, Francesco Fontebasso, Pietro Rotari, Andrea Urbani and Carlo Zucchi. First of all, the living and working conditions of Venetian painters in St. Petersburg were investigated, with particular attention paid to engagements, privileges and interpersonal relations. Subsequently, the decorative activity within the sumptuous imperial residences, such as the Winter Palaces, the Summer Palaces, the Catherine Palace in Tsarskoe Selo and the Peterhof Palace, were examined on one hand, while on the other hand, the teaching in the largest institutions of artistic education in Russia at the time. The biographical profiles of Diego Bodissoni, Giuseppe Dall'Oglio and Pano Maruzzi were also outlined, active as intermediaries and art dealers, who have the merit of having favoured the arrival of paintings of the Venetian school in St. Petersburg.
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Ciocci, Margherita <1990>. "Takashi Murakami: arte in vendita." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6170.
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Pierantoni, Lisa <1989>. "Fra arte e politica: Francesco Galvagna (1773-1860), presidente dell'Accademia di Belle Arti a Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6400.
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L'elaborato ha lo scopo di chiarire molti aspetti della figura di un uomo vissuto nel diciannovesimo secolo, il barone Francesco di Galvagna, attraverso la ricostruzione della sua biografia e del suo operato durante la Presidenza dell'Accademia di Belle Arti a Venezia.
La formulazione della biografia cosi come l'attività svolta presso l'Accademia sono fondate su testi del XIX secolo e su documenti d'archivio provenienti da diversi istituti.
Il primo capitolo dell'elaborato è un'introduzione che tratta della personalità del Galvagna, ne descrive sommariamente i ruoli professionali, la situazione familiare, gli edifici in cui visse ed infine la collezione che conservò all'interno del Palazzo Savorgna.
I capitoli seguenti invece trattano dell'operato di Francesco di Galvagna nelle vesti di Presidente dell'Accademia, nominato Presidente nel 1839 conservò il suo ruolo fino al 1851.
Durante questi undici anni di presidenza cercò di risolvere i problemi di primaria importanza per l'Accademia. Si occupò in primo luogo dell'emanazione di un nuovo Statuto e Regolamento, organizzò e seguì con estrema attenzione la progettazione di una nuova ala dell'istituto ed infine curò gli aspetti amministrativi dell'erezione del monumento in onore a Tiziano nella Chiesa dei Frari a Venezia.
A meno di due secoli dalla sua morte, Francesco di Galvagna meriterebbe la giusta attenzione riguardo alla sua attività sia per i suoi meriti ottenuti nella politica che per quelli legati all'ambito artistico.
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Villalonga, Fermín José. "El comercio electrónico de la venta de arte." Bachelor's thesis, Universidad Nacional de Cuyo. Facultad de Ciencias Económicas, 2013. http://bdigital.uncu.edu.ar/5623.
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Desde la aparición de Internet como medio de comunicación masivo, los gustos y
patrones de compra han cambiado notablemente.
En la actualidad, se opta por comprar productos y contratar servicios utilizando
medios electrónicos. Estos operan a toda hora y pueden ser visitados desde casi cualquier punto del planeta.
De esta manera los clientes encuentran al instante y desde la comodidad de sus
hogares:
Información exacta y oportuna de cada producto o servicio.
Elevada oferta de productos de todas partes del mundo.
Precios y planes de pago muy convenientes.
Una logística de envío pensada para cada necesidad.
No es motivo de este trabajo demostrar los gustos y preferencias actuales. Pero es
de vital importancia comprender que, estos cambios producidos en gran parte por los
avances tecnológicos, conducen indudablemente a reformar la manera clásica de ofrecer los productos y servicios que se pretenden comercializar.
Motivado por esta situación fue que se decidió abordar una investigación orientada a
desarrollar un negocio que logre sacar provecho de esta novedosa y exitosa variante del mercado.
Se escogió el mercado del arte para llevar a cabo el estudio, por ser ampliamente
conocido por el autor y su familia. Además, la idea de llevar el convencional y clásico
mercado de obras de arte a un plano moderno y poco habitual, se presentó desde el
principio como un interesante desafío.Fil: Villalonga, Fermín José. Universidad Nacional de Cuyo. Facultad de Ciencias Económicas.
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Fornasiero, Alice <1989>. "Influenze venete nella pittura boema. Dipinti di Jacopo Tintoretto nel castello di Praga, artisti boemi a Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3109.
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Il soggetto della presente tesi magistrale è stato concepito durante il mio soggiorno a Praga, dove sono rimasta particolarmente colpita dai dipinti veneti presenti nella galleria del castello di Praga.
Ho voluto concentrare la mia ricerca in particolare sui dipinti di Jacopo Tintoretto che sono passati nelle collezioni del castello di Praga: da quelli direttamente commissionati all’artista da Rodolfo II, a quelli che vi sono arrivati successivamente con l’acquisto della collezione dei duca di Buckingham da parte dell’arciduca d’Austria Leopoldo Guglielmo dopo il 1649.
Il risultato è un nucleo totale di circa tredici dipinti eseguiti da Jacopo Tintoretto di cui oggi soltanto tre sono rimasti nel castello: la Flagellazione di Cristo, l’Adorazione dei pastori e il Cristo e l’Adultera.
Basandomi principalmente sulla Guida del Castello di Praga di J. Neumann, ho cercato di ricostruire il percorso dei singoli dipinti definendo il periodo in cui sarebbero rimasti nel castello di Praga e quindi avrebbero potuto essere visti da altri artisti come Karel Škreta e Petr Brandl.
Nei capitoli successivi spazio è dedicato ai rapporti intercorsi tra Rodolfo II e i pittori veneti, nonché a ribadire l’assoluto apprezzamento della pittura veneta da parte dell’imperatore, in particolare facendo riferimento alle sue commissioni a Paolo Veronese e probabilmente a Jacopo Tintoretto e alla cospicua presenza di pittori veneti nelle sue collezioni.
Nei capitoli successivi si è approfondita l’influenza della pittura veneziana su artisti del Barocco boemo, in particolare di Karel Škreta. Già noto era il viaggio dell’artista in Italia, di conseguenza ho rivolto la mia attenzione sul suo soggiorno a Venezia e sui suoi rapporti con i dipinti veneziani presenti nella galleria del castello di Praga dove pare avesse accesso e dove si sarebbe personalmente occupato del restauro di un dipinto di Jacopo Tintoretto.
Anche Petr Brandl è stato oggetto della mia indagine. Nonostante sia ormai certo che Brandl non uscì mai dai confini della Boemia, sono percettibili nella sua pittura elementi di influenza italiana. In particolare ho cercato di rintracciare i mezzi attraverso i quali Brandl avrebbe potuto venire a contatto con l’arte italiana, nello specifico veneziana. Sicuramente una spiegazione è da ritrovarsi nel suo primo insegnante, Christian Schröder che in Italia aveva soggiornato quattro anni, viaggiando a Roma e a Venezia. Schröder aveva libero accesso alla galleria del castello di Praga in qualità di guardiano e lì aveva copiato una serie di 43 dipinti commissionati da Gundakar Dietrichstein per il castello di Libochovice circa negli stessi anni in cui Brandl era suo allievo. Quindi anche Brandl avrebbe potuto avere accesso alla galleria e copiare i grandi maestri. Ancora da indagare è il ruolo che Brandl avrebbe avuto nella realizzazione della serie di copie per Libochovice tra le quali la maggior parte erano dipinti di artisti veneti come Veronese, Tintoretto, Bassano.
Nell’ultima parte della tesi spazio è dedicato alla figura di Christian Schröder e alla sua attività di copista in particolare per il castello di Lobochovice, ipotizzando un suo ruolo più importante nella formazione del giovane Brandl. Un capitolo che apre interessanti prospettive anche per quanto riguarda i dipinti originali che furono copiati. Confrontando l’originale nel castello di Praga con la copia di Schröder, ho già avuto modo di scoprire che la Flagellazione di Cristo di Jacopo Tintoretto è in realtà un frammento, probabilmente tagliato nel corso del XVIII secolo. Una ricerca più approfondita rivelerebbe certamente interessanti particolari, qui in appendice ci si è limitati a darne alcuni assaggi.
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Da, Re Elena <1995>. "L'innovativa arte di esporre: Harald Szeemann a Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17663.
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L’elaborato consiste in un’analisi del cambiamento della figura curatoriale nel corso dei secoli. Da figura poco nota legata al sistema museale, il curatore è divenuto nel corso dei secoli una figura professionale sempre più indipendente e apprezzata nel sistema artistico.
Harald Szeemann è stato un importante critico d’arte e curatore svizzero che ha innovato e rivoluzionato la pratica curatoriale nel dopo guerra attraverso le famose mostre in Svizzera e Germania.
L’interazione fra artista, curatore e pubblico diventa la caratteristica delle nuove esposizioni contemporanee. Harald Szeemann ha potuto lasciare la sua impronta anche in Italia nel 1980 quando è stato chiamato insieme ad Achille Bonito Oliva, importante curatore italiano, a curare una sezione della Biennale denominata “Aperto ‘80”, spazio dedicato ai giovani artisti emergenti. Szeemann ha inoltre curato due importanti edizioni della Biennale: “dAPERTutto” nel 1999 e successivamente “Platea dell’umanità” nel 2001.
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Lorenzin, Ruggero. "Francesco Zorzi Veneto - De harmonia mundi totius cantica tria (Venezia, 1525) - Teorie musicali e kabbalah." Doctoral thesis, Università degli studi di Padova, 2013. http://hdl.handle.net/11577/3425263.
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The work presents the results of the research project whose aim is to investigate the connection between the Renaissance music theory and the mathematical science; it takes into particular account the testimonies produced and collected in Veneto. In particular, the focus of the research is the link between the harmonic proportions, the numerology and the cabalistic symbolism contained in the treaty “Deh armonia mundi totius” by Francesco Zorzi, published in Venice, in 1525.
The first section is focused on the work of Zorzi and on its musical sources, which have been identified through the perusing of “De harmonia mundi totius”. The analysis allowed to highlight a number of similarities and differences, which existed in the Venetian area in the16th Century, between the numerological system used by the traditional theory of music proportions and the Kabbalah. It has been verified how the numbers, used by the western culture to describe the tones and the tunes, can find symbolic and religious confirmations in the esoteric and mystical Hebraic teachings. So strong are these connections that they might provide the explanation for the universal order – in the duplex dimension of microcosm and macrocosm – and, therefore, stress the relation between music and the creative power of God. The passages of the treaty in which music is considered under this perspective are gathered in a specific appendix in which they are given both in Latin – the original language – and in Italian.
The second section analyses the massive quantity of musical references, which can be found in “De harmonia mundi totius”, and which were examined by musicologists, but never with systematic criteria. Since Zorzi developed the theory of universal harmony from a philosophical, scientific and musical point of view, it has been of vital importance to determine the analogy with the Platonic and Pythagorean tradition. Particular attention has been paid to the fact that the position of the planets, the balance between the four elements (fire, water, air and earth), the numerical series, the geometrical figures and the bond between microcosm and macrocosm, appear to be following the same musical proportions. Moreover, the section describes the changes from the traditional musical theory to a new musical scale that followed a peculiar system of numerical series. Such is the originality of the relation between the cabalistic numerology and the musical proportions that the thesis analyses the connection established by the Kabbalah between every letter or word and the numerology.
From the musicological point of view, De harmonia mundi totius is important because it offers many references to exoteric works such as Corpus Hemeticus, by Ermete Trismegito, De vita, by Ficino, and other texts connected with the cabalistic literature or the Bible tradition. As far as it is concerned, the iconographic elements from the Medieval tradition, such as the comparison between the mythological figures of the Muses and the Cherubs and Seraphs, can be studied following a new point of view. The investigation of the planets through musical scales, as far as the description of the “City of Light” through the musical concept of Apocalypse, were common at that time. Zorzi, though, crossed the boundaries and to explain these phenomena through a set of precise proportions connected one more time with the Kabbalah.
The final section focuses on the correspondence between Zorzi’s theory and those of the distinguished Renaissance theorists, Franchino Garuffio and Gioseffo Zarlino. In particular, the section describes the analogies and the variances in treating the concepts of harmony and proportion.
The research has been conducted through the constant consultation of the vast bibliography dedicated to Zorzi’s treaty and, from a musicological point of view, it has privileged the aspects concerning the musical repertoire and the executive praxis that characterised the period between the 15th and the 16th Century. As far as the connection between musical numerology and Kabbalah is concerned, the work aims to decode the complex system of calculations and iconographic correspondences, full of wisdom and even magical references, which represent the cornerstone of Francesco Zorzi’s theoretical system. The achieved results lead to the reevaluation of Zorzi’s figure as a music theorist. In fact, even though, from a certain point of view, De harmonia mundi totius aligns with the ancient and Medieval theories on consonances, it is evident that the author will is that of laying the foundations for the experimentation on the polyphonic language.La tesi raccoglie i risultati del progetto di ricerca che ha avuto come obiettivo l’indagare i rapporti esistenti tra la teoria musicale rinascimentale e le scienze matematiche, considerando soprattutto le testimonianze prodotte in area veneta. In particolare, la riflessione si è concentrata sulle relazioni tra le proporzioni armoniche, la numerologia e la simbologia cabalistica contenute nel trattato di Francesco Zorzi De harmonia mundi totius, pubblicato a Venezia nel 1525. La prima sezione della tesi è dedicata all’opera dello Zorzi e alle sue fonti, specialmente a quelle di natura musicale che sono state individuate attraverso un’indagine analitica conseguente alla lettura e allo studio integrale del trattato De harmonia mundi totius. È stato così possibile enucleare una serie di analogie e divergenze presenti in area veneta nel secolo XVI tra il sistema numerologico utilizzato dalla teoria tradizionale delle proporzioni musicali e quello della kabbalah. In pratica, è stato verificato in quale misura i numeri utilizzati dalla cultura occidentale per descrivere gli intervalli e le consonanze musicali possano trovare precisi riscontri di ordine simbolico e religioso negli insegnamenti esoterici e mistici propri dell’ebraismo, fino a spiegare l’ordine dell’universo (nella duplice dimensione di macrocosmo e microcosmo) e, quindi, evidenziare sotto una nuova luce lo stretto rapporto che si voleva esistesse tra l’opera creatrice di Dio e la musica. In un’apposita appendice sono stati trascritti tutti i passi del trattato di Francesco Zorzi nei quali si parla di musica secondo questa prospettiva. Essi sono stati ordinati nell’originaria versione in lingua latina e nella traduzione in quella italiana, indicando per ognuno le fonti relative. La seconda sezione della tesi è dedicata all’analisi della ragguardevole quantità di riferimenti musicali disseminati nel trattato De harmonia mundi totius, ripetutamente presi in esame dai musicologi, mai però con criteri sistematici. Poiché lo Zorzi sviluppa la teoria dell’armonia universale da un punto di vista filosofico, scientifico e musicale che privilegia il linguaggio delle proporzioni, è stato prioritario stabilire i punti in comune con la tradizione platonica e pitagorica, con particolare riguardo per: l’utilizzo del linguaggio delle proporzioni musicali nella definizione della disposizione dei pianeti; il rapporto tra gli elementi naturali (terra, aria, acqua e fuoco), le serie numeriche e le figure geometriche; il legame del macrocosmo con il microcosmo, che si corrispondono secondo le medesime proporzioni musicali. Inoltre sono state illustrate le novità proposte dallo Zorzi rispetto alla teoria musicale tradizionale, in particolare il suo sistema di suddivisione della scala musicale e la sua rielaborazione del sistema delle serie numeriche. Risultando originale, per vari aspetti, anche l’accostamento che lo Zorzi propone tra la numerologia cabalistica e il linguaggio delle proporzioni musicali, si è cercato quindi di individuare e analizzare la natura del rapporto posto tra il valore numerico assegnato dalla kabbalah ad ogni lettera o parola e la numerologia delle serie musicali. Dal punto di vista musicologico, il trattato De harmonia mundi totius è importante anche per i numerosi riferimenti musicali ed organologici, che sono stati analizzati con attenzione per gli aspetti riconducibili in primo luogo a testi esoterici come il Corpus hermeticum di Ermete Trismegisto, alla letteratura cabalistica come il De vita del Ficino o, ancora, alla tradizione ebraica dei testi biblici. Considerati in questo contesto, assumono nuovi significati gli stessi elementi iconografici e organologici derivati dalla tradizione medievale, come l’accostamento delle figure mitologiche delle Muse a quelle delle schiere dei Cherubini o dei Serafini. Era consueto anche indagare i pianeti per mezzo degli intervalli musicali, come pure illustrare la «Città della luce» attraverso la visione musicale dell’Apocalisse, ma lo Zorzi si spinge oltre fino a descriverne le dimensioni attraverso precise proporzioni legate, ancora una volta, alla simbologia numerica della kabbalah. Considerato l’interesse che il trattato De harmonia mundi totius riserva alla teoria musicale e all’organologia, nella sezione conclusiva della tesi sono state indagate le corrispondenze esistenti tra le teorie dello Zorzi e quelle di alcuni tra i più autorevoli trattatisti del Rinascimento attivi in area veneta, quali Franchino Gaffurio e Gioseffo Zarlino. In particolare, sono stati verificati quali siano i punti in comune e le divergenze che intercorrono tra i vari teorici nella discussione dei concetti di armonia e proporzione, nell’interpretazione delle fonti iconografiche e nell’utilizzo delle testimonianze organologiche. La ricerca è stata sviluppata attraverso un costante confronto con l’ampia bibliografia dedicata al trattato di Francesco Zorzi e che, dal punto di vista musicologico, ha privilegiato gli aspetti che presentano un interesse prevalente per lo studio dei repertori musicali e la conoscenza della prassi esecutiva tra i secoli XV e XVI. Concentrandosi, invece, sul rapporto scarsamente indagato tra la numerologia della teoria musicale e quella cabbalitica, si è pervenuti a una decodificazione dei complessi calcoli numerici e delle corrispondenze simboliche e iconografiche, ricchi di rinvii sapienziali se non addirittura magici, che sono alla base del sistema teorico di Francesco Zorzi. È stata messa a fuoco l’originale rielaborazione della teoria delle proporzioni elaborata dal religioso veneziano attraverso un’abile combinazione di elementi matematici, costituiti dalla serie geometriche, aritmetiche e armoniche, e calcolo cabbalistico, fondato sulla permutazione, la duplicazione e il notariqon. I risultati ottenuti inducono a riconsiderare la figura di Francesco Zorzi come teorico musicale, superando gli schemi di lettura fin qui adottati. Infatti, se per certi aspetti il De harmonia mundi rimane in linea con la trattatistica antica e medievale, ora risulta alquanto evidente il proposito del suo autore di superare i limiti delle speculazioni tradizionali sulle consonanze e, più in generale, sull’armonia, nel tentativo di garantire delle basi scientifiche certe e aggiornate alle sperimentazioni del linguaggio polifonico.
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Checchin, Alessandra <1964>. "Bibliografia della pittura veneta dell'800." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/2415.
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La stesura di una "Bibliografia della pittura veneta dell'800" si propone di offrire uno strumento di supporto allo studio della pittura e degli artisti veneti del diciannovesimo secolo.
Il lavoro comprende oltre 1100 schede bibliografiche ottenute prevalentemete attraverso la consultazione in internet dei cataloghi di varie biblioteche. Le schede consentono di creare dei report delle informazioni raccolte, ordinati secondo criteri diversi. La bibliografia è suddivisa in quattro parti:
1. Pubblicazioni ordinate per anno di edizione;
2. Pubblicazioni ordinate per ordine alfabetico dell'autore;
3. Titoli suddivisi per "livello bibliografico" (repertori, opere generali, monografie, cataloghi di collezioni, cataloghi di mostre, articoli o saggi brevi, tesi di laurea);
4. elenco degli studi suddivisi per ordine alfabetico degli artisti a cui si riferiscono.
La bibliografia da spunto per alcuni approfondimenti , ad esempio quali artisti, quali periodi e quali luoghi sono stati maggiormente studiati. L'obiettivo a cui ambisce questo lavoro è di raccogliere il maggior numero possibile di notizie bibliografiche su tutto ciò che è stato scritto e pubblicato sui pittori, i movimenti artistici e i luoghi d'arte del Veneto nell'800.
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Cometto, Chiara <1985>. "Il progetto: un teatro per il Veneto. La riscoperta e la messa in scena degli autori veneti della prima met`a del Novecento." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5085.
Full textAbstract:
La tesi analizza gli spettacoli realizzati da tre soggetti regionali, precisamente: Teatro Stabile del Veneto Carlo Goldoni, Teatri e Umanesimo Latino S.p.A e Arteven.
In questo studio vengono prese in considerazione le fasi di progettazione, produzione e messa in opera di lavori teatrali scritti da autori veneti della prima metà del Novecento. L’analisi si è incentrata principalmente sulle dinamiche e i rapporti dei vari soggetti coinvolti che, con le loro risorse e competenze, hanno contribuito a rivalutare un repertorio teatrale apparentemente ‘minore’, ma fondamentale per la valorizzazione culturale del territorio veneto anche attraverso il teatro.
Per dare maggiore completezza, nella prima parte del lavoro, viene presentato un sintetico excursus sulle modalità di produzione teatrale in Italia e, successivamente, una rapida panoramica sulla storia del teatro in Italia, ma soprattutto in Veneto.
Books on the topic "Arte Veneta"
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Gennaro, Toscano, and Valcanover Francesco, eds. Da Bellini a Veronese: Temi di arte veneta. Venezia: Istituto veneto di scienze, lettere ed arti, 2004.
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Caterina, Limentani Virdis, Banzato D, Palazzo della ragione (Bergamo, Italy), Padua (Italy). Assessorato alla cultura e beni culturali., and Musei agli Eremitani, eds. Fiamminghi: Arte fiamminga e olandese del Seicento nella Repubblica Veneta. Milano: Electa, 1990.
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Note in arte: La "Musica" nell'arte veneta da Paolo Veneziano ai Tiepolo. Padova: Armelin musica, 2011.
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Villa Vecelli Cavriani: Storia e arte di una villa veneta ritornata all'antico splendore. Mozzecane (Verona): Libera, 2004.
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Sergio, Bettini, ed. Arte in Veneto. Milano: Electa, 1987.
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Antonio, Padoan, ed. Ville venete: Catalogo e atlante del Veneto. [Italy]: Istituto regionale per le ville venete, 1996.
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author, Palminteri Flaminia, ed. Ville venete: Arte, storia, cultura, territorio. Milano (Italy): Archideos, libri & cd, 2015.
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Pittura veneta. Milano: 24 ore cultura, 2010.
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Sergio, Marinelli, Mazzariol Giuseppe, and Mazzocca Fernando, eds. Il Veneto e l'Austria: Vita e cultura artistica nelle città venete, 1814-1866. Milano: Electa, 1989.
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Sancta Venera: Arte contemporanea e archeologia a Paestum. Naples]: Arte'm, 2016.
Find full textBook chapters on the topic "Arte Veneta"
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Smith, Wendy Ligon. "Conjuring Venetian Costume." In The Enduring Legacy of Venetian Renaissance Art, 156–68. 2016. | Series: Visual culture in early modernity: Routledge, 2017. http://dx.doi.org/10.4324/9781315086705-11.
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Schneider, Lindsey. "“A Good Friend of Our Venetian Maniera”." In The Enduring Legacy of Venetian Renaissance Art, 72–88. 2016. | Series: Visual culture in early modernity: Routledge, 2017. http://dx.doi.org/10.4324/9781315086705-6.
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Banta, Andaleeb Badiee, and Lindsey Schneider. "Introduction." In The Enduring Legacy of Venetian Renaissance Art, 1–9. 2016. | Series: Visual culture in early modernity: Routledge, 2017. http://dx.doi.org/10.4324/9781315086705-1.
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Prosperetti, Leopoldine. "The Long Shadows of Titian’s Trees." In The Enduring Legacy of Venetian Renaissance Art, 139–55. 2016. | Series: Visual culture in early modernity: Routledge, 2017. http://dx.doi.org/10.4324/9781315086705-10.
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Cranston, Jodi. "Afterword." In The Enduring Legacy of Venetian Renaissance Art, 169–77. 2016. | Series: Visual culture in early modernity: Routledge, 2017. http://dx.doi.org/10.4324/9781315086705-12.
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Zarrillo, Taryn Marie. "The Neurosis of Visual Legacy." In The Enduring Legacy of Venetian Renaissance Art, 11–24. 2016. | Series: Visual culture in early modernity: Routledge, 2017. http://dx.doi.org/10.4324/9781315086705-2.
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Banta, Andaleeb Badiee. "“Il Prete Genovese”." In The Enduring Legacy of Venetian Renaissance Art, 25–39. 2016. | Series: Visual culture in early modernity: Routledge, 2017. http://dx.doi.org/10.4324/9781315086705-3.
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Sherman, Allison. "Titian and Tintoretto in the Sacristy of Santa Maria della Salute." In The Enduring Legacy of Venetian Renaissance Art, 40–60. 2016. | Series: Visual culture in early modernity: Routledge, 2017. http://dx.doi.org/10.4324/9781315086705-4.
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Georgievska-Shine, Aneta. "“A Beautiful Woman Should Break Her Mirror Early”." In The Enduring Legacy of Venetian Renaissance Art, 61–71. 2016. | Series: Visual culture in early modernity: Routledge, 2017. http://dx.doi.org/10.4324/9781315086705-5.
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Borean, Linda. "Paolo Veronese Revisited." In The Enduring Legacy of Venetian Renaissance Art, 89–101. 2016. | Series: Visual culture in early modernity: Routledge, 2017. http://dx.doi.org/10.4324/9781315086705-7.
Full textConference papers on the topic "Arte Veneta"
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Alom, Nur, and Ujjwal K. Saha. "Determining the Optimal Location of Vent Augmenters in an Elliptical-Bladed Savonius Rotor." In ASME 2019 Gas Turbine India Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/gtindia2019-2344.
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Abstract The Savonius wind turbine rotor, or simply Savonius rotor is gaining importance throughout the globe as a device to produce electric power without donating much to global warming. Although this type of conventional rotor suffers from lower efficiency, it has many important rewards like simplicity, easier manufacturability, and lower maintenance cost. This has attracted the researcher’s attention towards improving its design further. To improve the Savonius rotor performance, several blade profiles/shapes and augmentation techniques have been evolved. In this study, an effort has been made to investigate the performance of a novel elliptical blade profile by incorporating the vent-augmentation technique. The prime objective is to decrease the negative thrust of the rotor by locating the vents optimally on the blade concave surface. In view of this, the vents are created at three different positions on the blade concave surfaces. Two-dimensional (2D) unsteady simulations are performed around the vented blade profiles of the Savonius rotor using SST k-ω turbulence model by FVM based solver ANSYS Fluent. The torque and power coefficients (CT and CP) are calculated at the revolving environments. The total pressure and velocity contours are obtained and analyzed. For a direct judgement, the results are also generated for the blade profiles without vent-augmenters. The study reveals an enhancement in performance of the vent-augmented elliptical blade profile of the Savonius rotor.
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Parramon Arimany, Ramon. "El arte como visibilizador de complejidades sociales / la complejidad social como invisibilizadora del arte." 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.2019.8935.
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Algunas de las prácticas artísticas contemporáneas se caracterizan por una tendencia a la desmaterialización y a la concepción de la obra-como-proceso, que dificultan su presencia y notoriedad en un contexto marcado por la hipervisibilidad y la inmediatez. Aquí se plantea que ante la necesidad de hacer inteligible la complejidad social, en un contexto de sobrexposición, el arte puede ser una forma de acción que contribuya a visibilizar la realidad como sistema complejo. Pero el arte también puede quedar socialmente excluido de esta labor, si no consigue regenerar y pluralizar sus mecanismos de producción. La producción artística, entendida desde una perspectiva sistémica, debe afrontar la gestión de la complejidad como esencia, a la vez que conectarse a otros ámbitos, disciplinas o formas de ver-entender el mundo, que comparten el objetivo de descifrar investigando para trazar futuros posibles. Desde lo productivo, el arte se inscribe en un ecosistema propio compuesto por ámbitos que conviven de forma ocasionalmente interconectada. Uno de ellos es el mercado del arte, enraizado en una economía pre-fordista, que consiste en la producción no seriada y la venta de productos “exclusivos” a clientes “exclusivos”, poseedores de excedente de capital. Otro es el modelo promovido por la acción de los poderes públicos, con el objetivo de impulsar la democratización, difusión y creación cultural. Un planteamiento de tradición malrauxista, en el que las instituciones públicas dotan a la cultura un papel vinculante y una partida económica en la tarea de contribuir a modernizar socialmente el país. Un tercer modelo de carácter híbrido y experimental, estaría caracterizado por el ensamblaje de estrategias productivas diversas, desde la autogestión, a la incursión en economías colaborativas, la creación conectada a espacios intersticiales entre el espacio artístico y el social, o la mezcla de todo ello con la financiación pública. Desde esta tercera vía se exploran elementos relacionados con su visibilidad e invisibilidad.
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Hetrick, Todd M., Suzanne A. Smyth, Russell A. Ogle, and Juan C. Ramirez. "Evaluating the Potential for Flashing Discharge From Small Engine Fuel Tanks." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-39527.
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This paper explores an infrequently encountered hazard associated with liquid fuel tanks on gasoline-powered equipment using non-vented fuel caps. Depending on the location of fuel reserve tanks, waste heat from the engine or other vehicle systems can warm the fuel during operation. In the event that the fuel cap is not vented and if the fuel is sufficiently heated, the liquid fuel may become superheated and pose a splash hazard if the fuel cap is suddenly removed. Accident reports often describe the ejection of liquid from the fuel tank opening as a geyser. This geyser is a transient, two-phase flow, vertical jet of flashing liquid. This could create a fire hazard as the geyser could result in splashing flammable liquid onto any bystanders. Many fuel tank systems are vented to ambient through the fuel tank cap and, in addition, may incorporate other features that contribute to pressure relief. Venting of the pressurized vapor inhibits the vapor-liquid mixture in the fuel tank from achieving thermodynamic equilibrium, thus preventing the formation of a superheated liquid. It has been empirically determined that flashing two-phase flow can be prevented by keeping the fuel tank pressure below 1.5 psig. However, if the cap is not vented or vents at a lesser rate than the rate of liquid vaporization, pressure in the tank can rise and the flammable liquid can become superheated. This phenomenon is explored here to facilitate a better understanding of how the hazard is created. The nature of the hazard is explained using thermodynamic concepts. The differences in behavior between a closed system and an open system are discussed and then illustrated through experimental results obtained from two sources: experiments with externally heated fuel containers and operation of a gasoline-powered riding lawn mower. The role of the vented fuel cap in preventing the geyser phenomenon is demonstrated.
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Petersen, Brian J., Timothy G. Buzza, and Hyo S. Shim. "Design and Development of a Sidewall Vent System for Airflow Distribution and Decompression Protection in Commercial Aircraft." In ASME 1998 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/imece1998-0647.
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Abstract In existing commercial aircraft the air conditioning system delivers air to the cabin for temperature control and cabin pressurization. The conditioned air introduced into the passenger cabin flows down to the utility tunnels under the floor through the sidewall vents and to an outflow valve or valves located on the fuselage of the aircraft and eventually to the ambient pressure. The function of the vent system is to provide cabin air distribution flow control and also to provide decompression protection. In the event of a fuselage decompression the pressure differential between the upper and lower compartments must not exceed the structural limits of the cabin floor. The cabin vent system is designed to limit this pressure differential by increasing the flow area between the upper and lower compartments in the event of a rapid decompression. The differential pressure loads on the floors were analyzed using a rapid decompression computer code. Lab testing was performed to verify the differential pressure at which the mylar panel ruptures. This testing used a vacuum chamber test setup. The sidewall vent system was exposed to ambient air pressure on one side and quickly exposed to the vacuum system pressure on the other side. These test results were used in the rapid decompression analysis. There are multiple sidewall vents along the length of an aircraft cabin. Therefore aircraft testing was utilized to verify airflow distribution in the aircraft.
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Johnson, Derek, and April Covington. "Potential Reduction of Fugitive Methane Emissions at Compressor Stations and Storage Facilities Powered by Natural Gas Engines." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-38582.
Full textAbstract:
The American Gas Association (AGA) and the United States (US) Energy Information Administration (EIA) report that natural gas reserves, production, and consumption are increasing. Current estimates show over 100 years worth of recoverable reserves. As production increases, the natural gas pipeline interstate will grow or at least experience increased throughput. With the industry expanding at rapid rates and the high global warming potential of methane (21 over a 100 year period), it is important to identify potential sources for reductions in fugitive methane emissions. This research group conducted leak and loss audits at five natural gas compressor station and storage facilities. The majority of methane losses were associated with the operation of the lean-burn, natural gas engines (open crankcases, exhaust), compressor seal vents, and open liquid storage tanks. This paper focuses on the potential reduction in fugitive methane emissions of the discovered industry weaknesses through application of various proven technologies. As engines are not perfectly sealed, blow-by of intake air, fuel, and combustion gases occurs past the piston rings. In order to prevent a build-up of pressure within the crankcase, it must be vented. Diesel engines have lower hydrocarbon emissions from their crankcases due to the short duration of fuel addition after compression of the intake charge. Lean-burn, natural gas engines, like conventional gasoline engines, compress both the fuel and intake air during the compression stroke. During the 1960s, many passenger vehicles adopted positive crankcase ventilation (PCV) or closed crankcase ventilation (CCV) systems to reduce significantly hydrocarbon emissions from engines. Currently, some heavy-duty on-road engines still have open crankcase systems and most off-road engines have crankcases simply vented to the atmosphere. In this paper, researchers will examine the potential reduction in methane emissions that could be realized with the installation of retrofitted CCV systems at these locations. In addition to the reduction of methane losses from the crankcase, it is realized that with proper plumbing, flow control, and safety parameters, all of the losses typically vented to atmosphere could be ducted into the engine intake for combustion. Preliminary results show that applications of closed crankcase systems could reduce emissions from these sites by 1–11% while modifying these systems to include the losses from compressor seal vents and storage tanks could yield potential reductions in methane emissions by 10–57%.
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Hwang, Ju Ho, Jae Seok Lee, Young Hyun Kim, and Pan Young Kim. "Evaluation Method of Thermal Comfort in Excavator Cabin." In ASME 2013 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/imece2013-62887.
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The thermal comfort in the cabin of construction equipment has been becoming one of the important issues of cabin design. In this study, a performance index related to thermal comfort is proposed as a way to evaluate the effect of location of air-conditioning vents. As the first step, cooling performance at the position of operator in the cabin is calculated by using CFD. For more reliable analysis, the results of the simulation are compared with experimental data. The evaluation of the thermal comfort is then carried out considering the change of the location of air-conditioning vent with the same boundary conditions. Cooling performance for initial 1 minute after turn on the air-conditioning is predicted from the results of thermal comfort. All of the results are used to optimize the location of air-conditioning vent in the cabin to improve the thermal conditions for the operator.
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Oosthuizen, Patrick H. "A Numerical Study of the Effect of Inlet Vent Position and Size on the Velocity and Temperature Distributions in a Smaller Naturally Ventilated Theater in Canada." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-36781.
Full textAbstract:
Many smaller churches and similar buildings in Canada have been converted into small theaters. Such theatres are often not fitted with an air-conditioning system. For performances in the fall these theaters sometimes rely on buoyancy driven natural ventilation to moderate the indoor air temperature. Such ventilation systems usually involve near floor inlet vents and a roof level air discharge system. A preliminary numerical study of the effect of inlet vent position and size on the performance of such a system has been undertaken. A simple model of a typical theater building of the type considered has been used. The heat generated by the audience has been represented by a uniform heat flux distributed over the audience area. Inlet vents have been assumed to be located low on the side walls of the theater and the air-flow leaving the theatre has been assumed to be through vents at the top of a chimney system. The flow has been assumed to be steady and symmetrical about the vertical center-line through the building. The Boussinesq approach has been adopted. The standard k-epsilon turbulence model has been used. The solution has been obtained using the commercial CFD solver ANSYS FLUENT©.
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Ibrahim, Zakaria N. "Safety Relief Valve Vent Sizing Using Steam Flow Properties." In ASME 2005 Pressure Vessels and Piping Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/pvp2005-71009.
Full textAbstract:
Safety relief valve vents in power plants are typically sized by treating steam flow as a perfect gas flow. ANSI B31.1 [1] and an ASME paper by G. S. Liao [2] provided the power industry with the guidance for using this approximation. The perfect gas approximation of the steam flow furnished the engineers with the simple formulations currently available in References 1 and 2. Modern computational techniques allow the accuracy of vent sizing calculations to be improved by eliminating the perfect gas assumption. The following methodology uses ASME steam property tables [3] assuming adiabatic flow through one or more constant area pipe sections connected by reducers. Compressible flow Fanno-Line differential equations for continuity, momentum, energy, and state [4] are generalized to handle the steam thermodynamic properties. These equations are simultaneously solved numerically to determine the flow thermodynamic state at any location along the vent. The differential equations are integrated utilizing steam thermodynamic functions [3], in conjunction with the Math-Cad’s Runga-Kutta method [5]. Both choking and non-choking conditions are considered at the vent exit. Closed discharge backpressures and open discharge blowback are addressed. Amendment to the ASME ANSI B31.1 Power Piping Code [1], to include the differential equations formulation for the constant area adiabatic steam flow is also proposed.
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Kirkman, Richard, Meredith Metzger, Mark Deaver, and Eric Pardyjak. "Sensitivity Analysis of a Three-Dimensional Wind Tunnel Design." In ASME 2006 2nd Joint U.S.-European Fluids Engineering Summer Meeting Collocated With the 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/fedsm2006-98322.
Full textAbstract:
The present paper describes the design of the TreadPort Adaptive Wind Tunnel (TPAWT), which is a wind tunnel retrofit to the University of Utah Treadport Virtual Environment (VE). The TPAWT integrates haptic wind sensation with the preexisting VE, which includes a large tilting treadmill and a cave-like frontal visual display. Desired flow patterns at the center of the TPAWT (where the VE user stands) are generated by appropriately steering the inlet airstream from two sets of vents embedded in the side walls of the facility. Hypothetically, the addition of haptic wind sensation in the virtual environment will improve the sense of immersion in the virtual reality. The present study focuses on quantifying the sensitivity of the flow field inside the TPAWT to perturbations in boundary conditions at the vents. Results from three-dimensional and two-dimensional numerical simulations are compared to laboratory experiments in a 1:4 scale model of the TPAWT. The stability of the flow near the VE user is shown to be highly sensitive to the angle of the mean flow at the vent boundary.
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Oosthuizen, Patrick H. "A Basic Numerical Study of the Effect of a Hot Air Vent on the Heat Transfer Rate From a Cold Window." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-12775.
Full textAbstract:
In colder climates hot air vents are often mounted below a cold window to improve thermal comfort of the occupants. The presence of the vent alters the rate of convective heat transfer to the window and changes the air-flow pattern near the window and this has here been numerically studied. The situation considered in this study is an approximate model of most real situations. The window is represented by a plane isothermal section recessed into the wall, this window section being colder than the room air far from the window. The vent is assumed to be placed against the wall and to have a uniform discharge velocity which is normal to the vent surface. The vent has been assumed to be centrally located below the window. The flow has been assumed to be steady and both laminar and turbulent flows have been considered. The fluid properties have been assumed constant except for the density change with temperature that gives rise to the buoyancy forces, this being dealt with using the Boussinesq approach. The governing equations have solved using the commercial cfd code FLUENT, the k-epsilon turbulence model with buoyancy force effects fully accounted for having been used in the turbulent flow calculations. The solution has the following parameters: the Rayleigh number, the Reynolds number based on the vent discharge velocity, the dimensionless depth that the window is recessed, the dimensionless window-to-undisturbed-air temperature difference, the Prandtl number, the dimensionless width of the window, the dimensionless depth and width of the hot air vent, and the dimensionless vent discharge temperature-to-undisturbed-air temperature difference. Results have only been obtained for a Prandtl number of 0.7. The effects of the other dimensionless variables on the window Nusselt number and on the flow pattern and air temperature distribution near the window have been numerically determined.
Reports on the topic "Arte Veneta"
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Dredge, L. A. Reconnaissance surficial geology, Joe Lake north, Nunavut, NTS 66-J north. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/329417.
Full textAbstract:
The northwest part of the Joe Lake North map area is dominated by glaciated granitic and gneissic bedrock, and small lake basins. The remainder of the area is gently rolling terrain consisting of a major north-trending drumlin field, four esker systems, and marine deposits that lie between the drumlins. Postglacial marine deposits occupy much of the terrain in the north part of the map area. The limit of postglacial marine submergence is at about 180 m a.s.l. in the southwest, and at about 170 m elsewhere, as determined by wave-washed trimlines on drumlins, and several ice-contact deltas on eskers. Well formed beaches are rare, but drumlins have been reworked to varying degrees. Those at higher elevations in the south have been only slightly modified by postglacial seas, whereas those at lower elevations in the north are covered by a veneer of marine deposits.
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Smith, I. R. Surficial geology, La Biche River northwest, Yukon-Northwest Territories, NTS 95-C/11, 12, 13, and 14. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/330591.
Full textAbstract:
This map is situated in the Hyland Plateau, west of the Mackenzie Mountains, southeast Yukon. The area was inundated by the Cordilleran Ice Sheet during the Late Wisconsinan glaciation. Ice advanced east to northeast across the rolling bedrock terrain, producing dense networks of sometimes cross-cutting bedrock flutings and drumlinoid ridges. During deglaciation, ice flow became increasingly topographically constrained, shifting to more northward flow along major valleys. Meltwater flowing north initially crossed the divide into the Nahanni River basin. Later, as ice retreated south and eastwards, ice-contact deltas and kame terraces formed along the retreating margins. The area is largely covered by till veneer, with bedrock exposed along most ridge crests and glacially-incised valley walls. Shale units within the Besa River and Mattson formations appear prone to failure, and large rotational landslides are common.
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Kerr, D. E. Reconnaissance surficial geology, Mara River, Nunavut, 76-K. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/329667.
Full textAbstract:
The Mara River map area consists of extensive glacially and meltwater scoured bedrock, deposits of hummocky till, fluted till blanket, and till veneer throughout the map area, glaciofluvial sediments within major river valleys, and postglacial marine sediments in coastal lowlands. The boundaries of many till deposits were eroded to bedrock by proglacial and subglacial meltwater, and locally northwest-trending corridors are defined by eskers. Glacially dammed lakes, associated with deltas between 450 m and 230 m elevation, occupied some river valleys where retreating or stagnant ice impeded drainage to the east and north. Striations and streamlined landforms indicate a north-northwestward regional ice flow in the eastern and northern regions, diverging to a west-southwestward flow in the western regions. A series of glaciomarine and marine deltas, and fine-grained sediments record the marine incursion up to 200 m elevation. Isostatic rebound caused marine regression, forming deltas between 200 m and 60 m, and raised beaches from 150 m elevation to current sea level.
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McKinnon, Mark, Craig Weinschenk, and Daniel Madrzykowski. Modeling Gas Burner Fires in Ranch and Colonial Style Structures. UL Firefighter Safety Research Institute, June 2020. http://dx.doi.org/10.54206/102376/mwje4818.
Full textAbstract:
The test scenarios ranged from fires in the structures with no exterior ventilation to room fires with flow paths that connected the fires with remote intake and exhaust vents. In the ranch, two replicate fires were conducted for each room of origin and each ventilation condition. Rooms of fire origin included the living room, bedroom, and kitchen. In the colonial, the focus was on varying the flow paths to examine the change in fire behavior and the resulting damage. No replicates were conducted in the colonial. After each fire scene was documented, the interior finish and furnishings were replaced in affected areas of the structure. Instrumentation was installed to measure gas temperature, gas pressure, and gas movement within the structures. In addition, oxygen sensors were installed to determine when a sufficient level of oxygen was available for flaming combustion. Standard video and firefighting IR cameras were also installed inside of the structures to capture information about the fire dynamics of the experiments. Video cameras were also positioned outside of the structures to monitor the flow of smoke, flames, and air at the exterior vents. Each of the fires were started from a small flaming source. The fires were allowed to develop until they self-extinguished due to a lack of oxygen or until the fire had transitioned through flashover. The times that fires burned post-flashover varied based on the damage occurring within the structure. The goal was have patterns remaining on the ceiling, walls, and floors post-test. In total, thirteen experiments were conducted in the ranch structure and eight experiments were conducted in the colonial structure. All experiments were conducted at UL's Large Fire Laboratory in Northbrook, IL. Increasing the ventilation available to the fire, in both the ranch and the colonial, resulted in additional burn time, additional fire growth, and a larger area of fire damage within the structures. These changes are consistent with fire dynamics based assessments and were repeatable. Fire patterns within the room of origin led to the area of origin when the ventilation of the structure was considered. Fire patterns generated pre-flashover, persisted post-flashover if the ventilation points were remote from the area of origin.
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Willits, Daniel H., Meir Teitel, Josef Tanny, Mary M. Peet, Shabtai Cohen, and Eli Matan. Comparing the performance of naturally ventilated and fan-ventilated greenhouses. United States Department of Agriculture, March 2006. http://dx.doi.org/10.32747/2006.7586542.bard.
Full textAbstract:
The objectives of this project were to predict the performance of naturally and fan-ventilated greenhouses as a function of climate, type of crop, evaporative cooling and greenhouse size, and to estimate the effects of the two cooling systems on yield, quality and disease development in the different crops under study. Background In the competitive field of greenhouse cultivation, growers and designers in both the US and Israel are repeatedly forced to choose between naturally ventilated (NV) and fan ventilated (FV) cooling systems as they expand their ranges in an effort to remain profitable. The known advantages and disadvantages of each system do not presently allow a clear decision. Whether essentially zero operating costs can offset the less dependable cooling of natural ventilation systems is question this report hopes to answer. Major Conclusions US It was concluded very early on that FV greenhouses without evaporative pad cooling are not competitive with NV greenhouses during hot weather. During the first year, the US team found that average air temperatures were always higher in the FV houses, compared to the NV houses, when evaporative pad cooling was not used, regardless of ventilation rate in the FV houses or the vent configuration in the NV houses. Canopy temperatures were also higher in the FV ventilated houses when three vents were used in the NV houses. A second major conclusion was that the US team found that low pressure fogging (4 atm) in NV houses does not completely offset the advantage of evaporative pad cooling in FV houses. High pressure fog (65 atm) is more effective, but considerably more expensive. Israel Experiments were done with roses in the years 2003-2005 and with tomatoes in 2005. Three modes of natural ventilation (roof, side and side + roof openings) were compared with a fan-ventilated (with evaporative cooling) house. It was shown that under common practice of fan ventilation, during summer, the ventilation rate is usually lower with NV than with FV. The microclimate under both NV and FV was not homogeneous. In both treatments there were strong gradients in temperature and humidity in the vertical direction. In addition, there were gradients that developed in horizontal planes in a direction parallel to the direction of the prevailing air velocity within the greenhouse. The gradients in the horizontal direction appear to be larger with FV than with NV. The ratio between sensible and latent heat fluxes (Bowen ratio) was found to be dependent considerably on whether NV or FV is applied. This ratio was generally negative in the naturally ventilated house (about -0.14) and positive in the fan ventilated one (about 0.19). Theoretical models based on Penman-Monteith equation were used to predict the interior air and crop temperatures and the transpiration rate with NV. Good agreement between the model and experimental results was obtained with regard to the air temperature and transpiration with side and side + roof ventilation. However, the agreement was poor with only roof ventilation. The yield (number of rose stems longer than 40 cm) was higher with FV
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Fuchs, Marcel, Ishaiah Segal, Ehude Dayan, and K. Jordan. Improving Greenhouse Microclimate Control with the Help of Plant Temperature Measurements. United States Department of Agriculture, May 1995. http://dx.doi.org/10.32747/1995.7604930.bard.
Full textAbstract:
A model of the energy balance of a transpiring crop in a greenhouse was developed in a format suitable for use in climate control algorithms aimed at dissipating excess heat during the warm periods. The model's parameters use external climatic variables as input. It incorporates radiation and convective transfer functions related to the operation of control devices like shading screens, vents, fans and enhanced evaporative cooling devices. The model identified the leaf boundary-layer resistance and the leaf stomatal and cuticular resistance as critical parameters regulating the temperature of the foliage. Special experiments evaluated these variables and established their relation to environmental factors. The research established that for heat load conditions in Mediterranean and arid climates transpiring crops maintained their foliage temperature within the range allowing high productivity. Results specify that a water supply ensuring minimum leaf resistance to remain below 100 s m-1, and a ventilation rate of 30 air exchanges per hour, are the conditions needed to achieve self cooling. Two vegetable crops, tomato and sweet pepper fulfilled maintained their leaf resistance within the prescribed range at maturity, i.e., during the critical warm season. The research evaluates the effects of additional cooling obtained from wet pad systems and spray wetting of foliage.
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Tweet, Justin S., Vincent L. Santucci, Kenneth Convery, Jonathan Hoffman, and Laura Kirn. Channel Islands National Park: Paleontological resource inventory (public version). National Park Service, September 2020. http://dx.doi.org/10.36967/nrr-2278664.
Full textAbstract:
Channel Island National Park (CHIS), incorporating five islands off the coast of southern California (Anacapa Island, San Miguel Island, Santa Barbara Island, Santa Cruz Island, and Santa Rosa Island), has an outstanding paleontological record. The park has significant fossils dating from the Late Cretaceous to the Holocene, representing organisms of the sea, the land, and the air. Highlights include: the famous pygmy mammoths that inhabited the conjoined northern islands during the late Pleistocene; the best fossil avifauna of any National Park Service (NPS) unit; intertwined paleontological and cultural records extending into the latest Pleistocene, including Arlington Man, the oldest well-dated human known from North America; calichified “fossil forests”; records of Miocene desmostylians and sirenians, unusual sea mammals; abundant Pleistocene mollusks illustrating changes in sea level and ocean temperature; one of the most thoroughly studied records of microfossils in the NPS; and type specimens for 23 fossil taxa. Paleontological research on the islands of CHIS began in the second half of the 19th century. The first discovery of a mammoth specimen was reported in 1873. Research can be divided into four periods: 1) the few early reports from the 19th century; 2) a sustained burst of activity in the 1920s and 1930s; 3) a second burst from the 1950s into the 1970s; and 4) the modern period of activity, symbolically opened with the 1994 discovery of a nearly complete pygmy mammoth skeleton on Santa Rosa Island. The work associated with this paleontological resource inventory may be considered the beginning of a fifth period. Fossils were specifically mentioned in the 1938 proclamation establishing what was then Channel Islands National Monument, making CHIS one of 18 NPS areas for which paleontological resources are referenced in the enabling legislation. Each of the five islands of CHIS has distinct paleontological and geological records, each has some kind of fossil resources, and almost all of the sedimentary formations on the islands are fossiliferous within CHIS. Anacapa Island and Santa Barbara Island, the two smallest islands, are primarily composed of Miocene volcanic rocks interfingered with small quantities of sedimentary rock and covered with a veneer of Quaternary sediments. Santa Barbara stands apart from Anacapa because it was never part of Santarosae, the landmass that existed at times in the Pleistocene when sea level was low enough that the four northern islands were connected. San Miguel Island, Santa Cruz Island, and Santa Rosa Island have more complex geologic histories. Of these three islands, San Miguel Island has relatively simple geologic structure and few formations. Santa Cruz Island has the most varied geology of the islands, as well as the longest rock record exposed at the surface, beginning with Jurassic metamorphic and intrusive igneous rocks. The Channel Islands have been uplifted and faulted in a complex 20-million-year-long geologic episode tied to the collision of the North American and Pacific Places, the initiation of the San Andreas fault system, and the 90° clockwise rotation of the Transverse Ranges, of which the northern Channel Islands are the westernmost part. Widespread volcanic activity from about 19 to 14 million years ago is evidenced by the igneous rocks found on each island.
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Stakes, Keith, and Joseph Willi. Study of the Fire Service Training Environment: Safety, Fidelity, and Exposure -- Acquired Structures. UL Firefighter Safety Research Institute, March 2019. http://dx.doi.org/10.54206/102376/ceci9490.
Full textAbstract:
Previous FSRI led research projects have focused on examining the fire environment with regards to current building construction methods, synthetic fuel loading, and best-practices in firefighting strategies and tactics. More than 50 experiments have been previously conducted utilizing furniture to produce vent-limited fire conditions, replicating the residential fire environment, and studying the methods of horizontal ventilation, vertical ventilation, and positive pressure attack. Tactical considerations generated from the research are intended to provide fire departments with information to evaluate their standard operating procedures and make improvements, if necessary, to increase the safety and effectiveness of firefighting crews. Unfortunately, there still exists a long standing disconnect between live-fire training and the fireground as evident by continued line of duty injury and death investigations that point directly to a lack of realistic yet safe training, which highlights a continued misunderstanding of fire dynamics within structures. The main objective of the Study of the Fire Service Training Environment: Safety, Fidelity, and Exposure is to evaluate training methods and fuel packages in several different structures commonly used across the fire service to provide and highlight considerations to increase both safety and fidelity. This report is focused on the evaluation of live-fire training in acquired structures. A full scale structure was constructed using a similar floor plan as in the research projects for horizontal ventilation, vertical ventilation, and positive pressure attack to provide a comparison between the modern fire environment and the training ground. The structure was instrumented which allowed for the quantification of fire behavior, the impact of various ventilation tactics, and provided the ability to directly compare these experiments with the previous research. Twelve full scale fire experiments were conducted within the test structure using two common training fuel packages: 1) pallets, and 2) pallets and oriented strand board (OSB). To compare the training fuels to modern furnishings, the experiments conducted were designed to replicate both fire and ventilation location as well as event timing to the previous research. Horizontal ventilation, vertical ventilation, and positive pressure attack methods were tested, examining the proximity of the vent location to the fire (near vs. far). Each ventilation configuration in this series was tested twice with one of the two training fuel loads. The quantification of the differences between modern furnishings and wood-based training fuel loads and the impact of different ventilation tactics is documented through a detailed comparison to the tactical fireground considerations from the previous research studies. The experiments were compared to identify how the type of fuel used in acquired structures impacts the safety and fidelity of live-fire training. The comparisons in this report characterized initial fire growth, the propensity for the fire to become ventilation limited, the fires response to ventilation, and peak thermal exposure to students and instructors. Comparisons examined components of both functional and physical fidelity. Video footage was used to assess the visual cues, a component of the fire environment that is often difficult to replicate in training due to fuel load restrictions. The thermal environment within the structure was compared between fuel packages with regards to the potential tenability for both students and instructors.