Relevant bibliographies by topics / Brown University. Department of Art

Academic literature on the topic 'Brown University. Department of Art'

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Published: 27 July 2024
Last updated: 29 July 2024

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Journal articles on the topic "Brown University. Department of Art"

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Godfrey, Peter D., Francis P. Larkins, and John M. Swan. "Ronald Drayton Brown 1927 - 2008." Historical Records of Australian Science 21, no. 2 (2010): 191. http://dx.doi.org/10.1071/hr10010.

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Ronald Drayton Brown AM, FAA (1927?2008) was born in Melbourne and had a distinguished scientific career spanning more than sixty years. He was an outstanding, internationally respected researcher in the fields of theoretical chemistry, microwave spectroscopy and galactochemistry, publishing more than 300 scientific papers, three books and three patents. He had the unique distinction of being the first professor appointed to the newly established Monash University in 1959. As Foundation Professor of Chemistry and Head of Department he had the vision, leadership skills and commitment to establish a Department that was to become one of the finest in Australia. He was a mentor to many staff and students. His legacy will shape the direction of Monash chemistry for many years.
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Kling, J. W., Donald S. Blough, and Russell M. Church. "THE HUNTER LABORATORY OF PSYCHOLOGY AFTER 50 YEARS." American Journal of Psychology 122, no. 2 (July 1, 2009): 259–66. http://dx.doi.org/10.2307/27784396.

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Abstract After a half century of use by the Brown University Psychology Department, the Walter S. Hunter Laboratory of Psychology has been scheduled for renovation for another use, and a new building for the department is on the drawing board. Hunter Lab was specifically designed to house an experimental psychology department. Here we comment on the changes and adaptations necessary over the years as teaching and laboratory technology changed and as the department and the university grew larger, and we suggest considerations to others who are planning new or renovated buildings with similar purposes.
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Brown, John Russell. "Performance, Theatre Training, and Research." New Theatre Quarterly 12, no. 47 (August 1996): 207–15. http://dx.doi.org/10.1017/s0266464x00010204.

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John Russell Brown, who was a founder member and first Head of the University of Birmingham's Department of Drama and Theatre Arts, and subsequently an Associate Director of the National Theatre in London, here responds to the article by NTQ co-editor Clive Barker in our May 1995 issue, ‘What Training – for What Theatre’, taking as further text an editorial by Richard Schechner in the Summer 1995 issue of TDR. Currently, as a Professor of Theatre at the University of Michigan, John Russell Brown is teaching a production-based undergraduate acting course, and is also an advisor for Theatre Studies at the University of Singapore and a consultant to the School of Drama at Middlesex University. He draws upon this wide range of past and present experience to explore the issues raised by Barker and Schechner – and to suggest some possible ways forward.
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T'ien Duffly, Catherine Ming. "Campus Protests, Casting, and Institutionalized Violence: The Unique Role of the Theatre Department in Institutions of Higher Education." Theatre Survey 57, no. 3 (August 10, 2016): 395–97. http://dx.doi.org/10.1017/s0040557416000363.

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In looking forward to the important issues of this coming decade, we need only turn to the events of the past year for a sense of what is at stake for theatre, performance, and performance pedagogy. Last year, student activists protested racism on college and university campuses across the United States. At Yale, students protested the hostile racial climate on campus following several incidents, including a professor's dismissal of concerns about racist Halloween costumes, numerous swastika graffiti, and the explicit exclusion of black women from fraternity events. At the University of Missouri, the student group Concerned Student 1950—named for the year the first black students were admitted to the university—called for the resignation of university president, Tim Wolfe, citing the administration's inaction in the face of numerous racist incidents on campus. At Ithaca College, Claremont McKenna University, the University of Kansas, and many other colleges and universities across the United States, students held rallies, performed die-ins, and signed petitions in support of students at the University of Missouri and Yale and to call attention to inequality on their own campuses. Set against the backdrop of Ferguson and an increased awareness of institutionalized violence against black and brown bodies, these events remind us that colleges and universities have always been sites where racial discrimination and inequality have been both perpetuated and protested.
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Rogerson, Margaret. "‘Everybody Got Their Brown Dress‘: Mystery Plays for the Millennium." New Theatre Quarterly 17, no. 2 (May 2001): 123–40. http://dx.doi.org/10.1017/s0266464x00014548.

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The year 2000 prompted a review of the past millennium that took various forms – and lent a special significance to revivals of the medieval mystery plays for the celebrations in Coventry and York. Margaret Rogerson here argues that, no less than their local medieval counterparts, revivals can function as both community theatre and religious celebration – their appeal in a secular modern world raising fewer questions than versions of the Christian story adapted for the commercial or institutional theatre. She demonstrates how special efforts were made in the millennium revivals to reach out to the community; both local and global, and how through associated educational programmes and the inclusion of a wide range of participants, they introduced innovations into local traditions and built on the past to contribute to a continuing theatrical heritage. Margaret Rogerson is a Senior Lecturer in the Department of English at the University of Sydney who is currently researching the mystery play revival traditions in York from 1951 to 2000.
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Rauca, Adrian, Luminița Ghervase, Antonia Berdie, and Matei Agachi. "Unveiling the Secrets of an Artwork through Non-Invasive Investigations—Case Study of a 19th-Century Female Portrait." Minerals 13, no. 9 (September 11, 2023): 1193. http://dx.doi.org/10.3390/min13091193.

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This article aims to present the results of the investigations performed on a 19th-century oil painting on canvas belonging to the Conservation and Restoration Department of the University of Art and Design in Cluj-Napoca, Romania. The artwork depicting the portrait of a lady originating from an important Irish noble family (Judith Bunbury, 1785–1861) has been investigated using only non-invasive methods. The investigation protocol included digital photography in different light sources at different wavelengths, which was used to document the current condition of the painting, UV fluorescence, which highlighted the previous improper retouches and the presence of a varnish coat, Infrared reflectography, which brought to light the underdrawing made by the artist and X-ray Fluorescence (XRF) spectroscopy, an elemental analysis technique which indicated the chemical composition of the pigments, suggesting the use of lead white, a barium white pigment, yellow and red ochre, vermilion, cobalt blue, and a manganese-based brown pigment. The results of this entirely non-invasive investigation approach helped in choosing the most appropriate conservation and restoration methodology for the artwork.
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Brown, Ian, and Rob Brannen. "When Theatre was for All: the Cork Report, after Ten Years." New Theatre Quarterly 12, no. 48 (November 1996): 367–83. http://dx.doi.org/10.1017/s0266464x00010551.

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By the mid 'eighties, the Thatcher government's public funding restrictions had taken a firm hold, leading to a now familiar position of crisis theatre management. In 1985, under pressure from the profession, the Arts Council of Great Britain commissioned an independent enquiry, the first for sixteen years, to evaluate the needs of the publicly funded theatre and to determine funding priorities. Although the resulting Cork Enquiry was seen by many at the time as a cost-cutting exercise, eight months intensive research and evidence-taking led to a carefully constructed case for a funding increase against an estimated shortfall of up to £13.4 million – and also produced a broad vision of the nature of theatre in England. It is now ten years since the Cork Enquiry delivered its report, with the aim of ensuring the healthy development of an art form placed under severe financial constraint. Here lan Brown and Rob Brannen, Secretary and Assistant Secretary to the Enquiry, provide insight into the Enquiry's setting-up, its process, and formulation of recommendations. In the light of recent consultation exercises, they examine the nature and function of such reports alongside the long-term impact of the Cork Enquiry. lan Brown was Drama Director of the Arts Council of Great Britain from 1986 to 1994, and is now Professor and Head of the Drama Department at Queen Margaret College, Edinburgh. Rob Brannen is a Senior Lecturer in Drama at De Montfort University, Bedford.
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Brown, John. "Tomorrow's Theatre – and How to Get There from Today's." New Theatre Quarterly 18, no. 4 (November 2002): 334–42. http://dx.doi.org/10.1017/s0266464x02000441.

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Taking a wide-ranging look at the aesthetics and economics of theatre on both sides of the Atlantic, and highlighting the increasing interest in learning about theatre in the educational sphere at a time when institutional theatre appears to be floundering, John Russell Brown here draws on his own visits over the past decade to traditional and contemporary theatres in China, India, Japan, Korea, and Indonesia to suggest how new approaches to and locations for theatre might build on forms which continue to draw audiences worldwide. John Russell Brown founded the Department of Drama and Theatre Arts at Birmingham University, and for fifteen years was an Associate Director of the Royal National Theatre. His New Sites for Shakespeare: Theatre, the Audience, and Asia was published by Routledge in 1999. His articles on Asian theatres and their influence in Europe and America have appeared in recent years in New Theatre Quarterly and several Indian journals. He edited and contributed to The Oxford Illustrated History of Theatre (1995) and has been General Editor of the ‘Theatre Production Studies’ and ‘Theatre Concepts’ series, both for Routledge. This article is based upon his inaugural lecture at Middlesex University, where he is currently Visiting Professor.
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Hudson-Miles, Richard, and Andy Broadey. "‘Messy Democracy’: Democratic pedagogy and its discontents." Research in Education 104, no. 1 (April 16, 2019): 56–76. http://dx.doi.org/10.1177/0034523719842296.

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This paper reflects on a recent participatory installation by the artists’ collective @.ac, entitled Messy Democracy, as a case study to raise questions concerning the ‘distribution of the sensible’ within the neoliberal art school. The project set up a quasi-autonomous artists’ space within Hanover Project gallery 9 April–3 May, 2018 at University of Central Lancashire, Preston. This exhibition functioned as a space of collective pedagogy, co-labour and ‘dissensus’ situated in relation to the wider operation of the department of Fine Art. It also sought to operate as a critical alternative to contemporary models of the art school, rooted in notions of usefulness and romantic self-realisation, but re-structured in the service of ‘commodification’ and ‘financialisation’ in wake of the Browne Report (2010). Most importantly, Messy Democracy represented a ‘theatocractic’ ‘undercommons’ for alternate and counter-hegemonic subjectivities to emerge. However, hierarchical logics, resulting from the hegemonic ‘distribution of the sensible’ stubbornly persisted even within this nascent pedagogic democracy.
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Lumbantoruan, Jagar, Elsina Sihombing, and Liyus Waruwu. "The Effectiveness of Direct Instruction Model in Teaching Solfeggio for Beginners." International Journal of Religion 5, no. 7 (May 11, 2024): 692–713. http://dx.doi.org/10.61707/75x53a03.

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The background of this study was rooting down from the students music learning circumstances, of which they have low skill and knowledge of solfeggio, low ability of transferring solfeggio automatically into a new context although they have learned it, unavailability of learning material, syllabus, and lesson plan, standardized method and media of learning. Based on the problems stated above, it is very important to design a research dealing with learning solfeggio which lasting and producing a complete, practical, reliable and valid curricula of solfeggio. The basis model of development is using ADDIE theory. This research belongs to R & D research. The subject of the research is the students of art and music department, FBS Padang State University. The instrumentation of data gathering was using interview, questionnaire, tryout, performance-test. To analyze the raw data to see the level of reliability and practicality the researcher used the formula of Rho Spearman Brown, and the result is that r-obtain 1.2 exceeds r-table within significance level of 95% (0.05) it is 0.349 or by (0,01) it is 0.449. To prove the effectiveness of the product of this research ( the model of learning solfeggio ), the writer distinguish the data of pre-test to post-test by accumulating the scores the students obtained by using match t-test, and the result is that t-obtain 9.311 exceeds t-table 1.697. It means that, the model of learning solfeggio as the product of this research is much more effective significantly since the result of the match t-test is so high exceeding the number of the t-tab. It can be concluded that this model is very useful for the lecturers and the students as well in learning solfeggio at the music department of FBS Padang State University.
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Dissertations / Theses on the topic "Brown University. Department of Art"

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Cline, Abrahams Cheryl L. "Art knowledge and the social role of the university art department in the aftermath of postmodernism." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28658.

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This study presents a sociology of art knowledge. It explores relationships between art knowledge and institutional structures, making visible how and why certain conceptions of art are hierarchized and generalized so as to be considered essential to the nature of all art. It renders problematic the existing situation in which the art traditionally taught in schools and universities is, for the most part, insular and culturally singular in basis, and examines why this cultural singularity persists in a society which is culturally pluralistic. The thesis is that the university art department has the monopoly on defining, legitimating, and perpetuating this insular and culturally singular art knowledge for transmission through the school' system to all cultural and social groups. The ways in which the university effects art knowledge are discussed in terms of ' the university's curricular structuring and disciplinary ties; its social role as patron, producer, definer, legitimator, and socializer in the arts; and in terms of its ability to neutralize "avant-garde" attacks, including the postmodernist incursion of popular culture into the realm of "sacred" culture. The theoretical framework of this critical analysis is a sociology of knowledge, and the materials for analysis were obtained by reviewing public documents on art programs, policy on the arts in postsecondary education, and a cross-disciplinary selection of literature in social theory, educational theory, aesthetics, and art history. The institutional structures and norms described throughout the study present significant resistance to the postmodernist commitment to challenge conceptual parameters and hierarchies of art knowledge that hinder a broadening of the cultural base of art. The study makes imperative the need to seriously consider this resistance if educational systems are to embrace the artistic activities of a diverse population and if art is to move into a more vital and relevant role in society. It makes imperative for sociological study of art systems (which in the past has concentrated almost exclusively on the role of museums, galleries, critics, dealers, and artists' "lofts") to take into account the role of the university art department as a primary institutional basis of art knowledge, and as a definer of cultural knowledge about art.
Graduate and Postdoctoral Studies
Graduate
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Sarrafi, Aroosha. "Promotional materials for the Central Connecticut State University. Department of Design (Graphic/Information)." View abstract, 1999. http://library.ctstateu.edu/ccsu%5Ftheses/1559.html.

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Thesis (M.S.)--Central Connecticut State University, 1999.
Thesis advisor: Sue Vial. " ... in partial fulfillment of the requirements for the degree of Master of Science in Art education." Includes bibliographical references (leaf [9]).
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Pridemore, David H. "Interactive CD-ROM computer tour of the Ball State University Department of Art." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/961564.

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For my creative thesis project I authored an interactive tour of the Ball State Department of Art. Many underlying factors go into this project. My desire to learn multimedia design, the departments desire to develop a new information tool and having the necessary hardware and software to do such a project were all key to its sucess.In the summer of 1994 I came to Ball State to learn multimedia authoring while getting a master's degree in art. Unknown to me at that time, the department had set a goal of increasing visibility both within and beyond the Ball State community. Faculty members Professor Phil Repp and Professor Christine Paul were collaborating on a promotional identity campaign. From these collaborations grew the idea of a departmental publication to promote the mission and programs of the Department of Art. With the rapid advancement of technology, it seemed appropriate to use computers as part of this promotional campaign.As Professors Paul and Repp researched the possible ways in which computers could be incorporated into this project, many questions remained. Exactly what form should a project like this take and who could do it? Careful discussion and planning also followed over what physical form the project should take (i.e. video tape, a computer disk, or printed material). Eventually the decision was made that an interactive tour of the Department of Art on CD-ROM was the most appropriate solution. For the amount of information that needed to be included and to engage the end user in a dynamic, interactive way, this medium was also the most logical.My decision to return to school coincides perfectly with the departments needs. Professor Paul’s and Professor Repp’s collaboration led to the conclusion that a third person would be needed. Someone who was already literate in advanced computer graphics and had the desire for such an undertaking. Therefore, my goals of advancing my understanding of Macintosh based digital imagery learning multimedia are significant on two levels; my career as a teacher and a professional artist would realize significant gains and this project is an outstanding addition to my portfolio.For the past several years, the primary area of artistic study for me has been in the area of computer graphics and I came to Ball State last summer with some very specific goals. One of them being to learn Macromedia Director (the authoring package I used to create the project). Director is nationally recognized by professionals in this field as the top program for this type of work. Therefore, this was both an opportunity to reach personal goals and to create a thesis project that could be used as an important part of the Department of Arts identity campaign. My thesis project is the result of my own goals and the Department of Arts goals to utilize cutting edge technology for designing innovative computer programs.I’m sure at the onset of this project that I did not understand the full magnitude of an undertaking such as this. However, it is very rewarding to look back and see both how far I’ve come personally and how the piece has progressed into a dynamic information tool.
Department of Art
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Sonter, Sharyn Louise. "The museum and the department store." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030911.113738/index.html.

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Wouk, Edward H. "In Memoriam : the Legacy of Rush Christopher Hawkins and the Annmary Brown Memorial /." Website "Works of art collected by Rush C. Hawkins for the Annmary Brown Memorial", 2002. http://128.148.7.229:591/amb/.

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Thesis (B.A.)--Brown University, 2002.
Extends the author's work (together with Suzanne Karr '01 and Miguel Santos-Neves '01) on the database included in the website "Works of art collected by Rush C. Hawkins for the Annmary Brown Memorial"; see introduction, leaves 7-8; also appendix A, "Paintings in the Annmary Brown Memorial collection", leaves 136-139. Thesis advisor: Kermit Champa. Includes bibliographical references (leaves [127]-134).
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Sonter, Sharyn Louise. "The museum and the department store." Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/553.

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This research aims to show the relationships between the museum and the department store and the visitor who engages with both institutions. The visitor to these spaces is the focus for the development of meaning, and reaction, to the objects on display in both spaces. The methods of interior and exterior design, planning and circulation, and object display, are discussed in relation to the vital context of the viewer, and the consequent construction of meaning and value. Value itself, becomes a recurring theme in these discussions since design and display within both institutions can perpetuate value, desire, and fetishism for the object. These concepts are further related to the appropriation of Minimalist aesthetics in boutiques. This analysis is applied to the critique of two exhibitions: 'Islands: Contemporay Installations' at the National Gallery of Australia, and, 'The Second Asia-Pacific Triennial of Contemporary Art' at the Queensland Art Gallery. These exhibitions which predominantly involve installation art are discussed as examples relating to the phenomena of viewing, and the impact of design and display
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Haxton, Robert Peter. "Refusal and rupture as a postdramatic revolt : an analysis of selected South African contemporary devised performances with particular focus on works by First Physical Theatre Company and the Rhodes University Drama Department." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015671.

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This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.
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Hakiem, Rafif. "Developing a more creative pedagogical approach to teacher training : a critical investigation into the teacher-training programme of the Department of Curriculum and Instruction at King Saud University through the lens of the Art Education Branch." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/61741/.

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‘Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else’. This famous line from Charles Dickens’s Hard Times reflects an attitude that, it seems, still appears in some education programmes in Saudi Arabia. This thesis reports on a critical investigation into a teacher-training programme; the research broadening from solely investigating the programme at Department of Curriculum and Instruction at King Saud University, to a two strand examination, also considering the low status of art and art education in Saudi schools and society. The study particularly examined the effect of academic recognition on the programme by the Centre for Quality Assurance in International Education granted according to the standards of the American National Council of Teacher Education. Much of my research adopted participatory arts based methods, inviting participants’ expression of ideas through sets of activities during six months of fieldwork, using semistructured interviews, focus groups, and observation of some of the participants. The research is responsive to multiple stakeholder perspectives: students, student-teachers, faculty members, NCATE committees, Deanship of Quality and myself as researcher. Arts based participatory activities were used to examine the current situation of the teachertraining programme post-CQAIE recognition; connecting art education to individual development, changing perceptions, and general attitudes to art and art education, working towards improving society through art. It appears that the programme remains a conventional vocational course; objectives driven and operating largely along a 'banking concept of education' as described by Freire, with little consideration given to developing skill and students’ voices in the context of the teacher-training programme. Finally, this thesis posits a more progressive, holistic approach within the teacher-training programme, developing students’ skills and abilities and perhaps improving the perception of art and art education in the broader world beyond the institution.
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Chen, Liang-Yin, and 陳亮吟. "The Use of Digital Art Resources among Students at the Department of Applied Arts, Fu-Jen Catholic University." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/57706532691097686195.

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碩士
輔仁大學
圖書資訊學系
97
In recent years, library and information science has placed increased emphasis on support of users’ information needs in various areas, such as art and design domains. Information needs and information behaviors among art designers are addressed in this research. The availability and the use of various design tools and Internet technology for creation and access of digital art become a new trend. However, art designers might have unique need and search behaviors for information. To further address these points, various issues were discussed in review of literature, including: art information, digital art resources, application of virtual interaction technology, and information needs and information seeking behaviors among art-design professionals. Eleven students who majored in the Department of Applied Arts at Fu-Jen Catholic University were interviewed. Data collected from interview covered various issues: information need, information seeking behaviors, barriers of information seeking, and use of library digital art resources. Following conclusions were drawn from research results: (1) emphasis on the visual information in computer-assisted design courses and actual design practice; (2) needs of knowledge about art works and related information about maestros in art design; (3) use of Internet as an important resource for searching information and creating digital arts; (4). use of various ways to acquire useful information (including taking pictures and collecting objects); (5) barriers for information seeking including: tremendous unnecessary resources and problems with using libraries. Recommendations are provided in the study, including: (1) setting up websites for providing resources needed for art-design; (1) development of image databases using vocabulary control and indexing of image collections; (3) development of personalized service of image database, and (4) enhancement of index function of the websites for exhibiting students’ art works.
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CHU-CHIN-HSIANG and 朱錦祥. "A Study on Courses Relevant to Display Art in Interior Design Department of Taiwan's University/college from The Perspective of Industry Development." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/03657928652147764016.

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碩士
中國科技大學
室內設計系
103
As the rapid development of economy and social groups' increasing emphasis on the quality of living space and thus the aesthetic factors in living space, interior design industry gets booming in both Taiwan and mainland China in recent years. For this reason, as a part of interior design and living art, display art has its potential for development. Taiwan's display art industry is leveraging the experience of Taiwan and mainland China as well as international experience, and encounters many opportunities in the real estate market of Taiwan and mainland China. However, Taiwan's display art education for interior design and display art's market position are not clearly defined. It's necessary to make an in-depth exploration into the problem. This study analyzes the connotation of display art within the development of industry and display art's influence on relevant courses of interior design in Taiwan's college/university, explores the deficiency of aesthetic quality in Taiwan's current courses and industry, and finds out and organizes courses about display art to constitute a major. The data and findings collected and organized are provided as a reference for relevant departments of college/university. The study is conducted by using literature review, experts’ interview, and questionnaire survey. Purposive sampling method is applied in selecting interview objects. The content topics in questionnaire are obtained from the organized data of interview. Educationalists of relevant courses from domestic colleges/universities, and experts from industry are invited to receive in-depth interviews. Research and analysis find out that display artists in Taiwan are driven by a number of professional groups, and the Interior Design Department of China University of Technology places display and home decoration in the third teaching module. Experts and scholars interviewed believe that display art is a professional subject, its relevant courses must be integrated effectively, and the education materials and teaching staff shall be effectively strengthened. Three points as below are concluded through analyzing the findings and viewpoints obtained by reviewing literature about display art industry, the operation mode of the industry, experts’ interviews, and the content of questionnaire: 1. The development of interior design in Taiwan and mainland China has not exerted influence on the academic circle. The key reason for this is that the notion about the connotation of display art, market demand and practicing ability are still not popularized. 2. Display art is a part of living art, so the course about living art in liberal education shall be included in curriculum, and the education materials for display art and professional teacher team shall be enhanced. 3. The teaching goal of general college/university is different from that of vocational school. So it is advised to adjust the proportion of courses freely for the module of display art education. As limited by researcher's time and space, the conclusions above serves as a reference only for the interior design departments of Taiwan's college/university and the future research, hoping to make a contribution for the pluralistic development of Taiwan's interior design.
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Books on the topic "Brown University. Department of Art"

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Brown University. Dept. of Art. and David Winton Bell Gallery (Brown University), eds. Survival of the Gods: Classical mythology in medieval art : an exhibition by the Department of Art, Brown University, Bell Gallery, List Art Center, Brown University, Providence, Rhode Island, February 28-March 29, 1987. Providence, R.I: The Department, 1987.

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Brown University. Department of Art. From the permanent collection: European etchings of the nineteenth century : an exhibition selected from the collection of the Department of Art, November 16 to December 15, 1985, Bell Gallery, List Art Center, Brown University, Providence, Rhode Island. Providence, R.I: Bell Gallery, 1985.

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David Winton Bell Gallery (Brown University). From the permanent collection: European etchings of the nineteenth century : an exhibition selected from the collection of the Department of Art, November 16 to December 15, 1985, Bell Gallery, List Art Center, Brown University, Providence, Rhode Island. Providence, R.I: David Winton Bell Gallery, 1985.

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Brown University. Department of Art. and Bell Gallery, eds. Ladies of Shalott: A Victorian masterpiece and its contexts : an exhibition by the Department of Art, Brown University [at the] Bell Gallery, List Art Center, Brown University, Providence, Rhode Island, 23 February through 23 March 1985. Providence, R.I: Department of Art, Brown University, 1985.

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Smith, Joseph Lindon. Joseph Lindon Smith: Paintings from Egypt : an exhibition in celebration of the 50th anniversary of the Department of Egyptology, Brown University, October 8-November 21, 1998. Edited by Lesko Barbara S, Larkin Diana Wolfe, Lesko Leonard H, and Brown University. Dept. of Egyptology. Providence, R.I: Dept. of Egyptology, Brown University, 1998.

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Rolf, Winkes, Hackens Tony 1939-, Brown University. Center for Old-World Archaeology and Art., Brown University. Dept. of Art., and David Winton Bell Gallery (Brown University), eds. Love for antiquity: Selections from the Joukowsky collection : an exhibition organized on behalf of the Center for Old World Archaeology and Art, with the cooperation of the Department of Art, Brown University by Rolf Winkes, and presented at the Bell Gallery, List Art Center, Brown University, October 12 through November 8, 1985. Louvain-la-Neuve, Belgium: Institut supérieur d'archéologie et d'histoire de l'art, Collège Erasme, 1985.

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Rhode Island School of Design. Museum of Art., Brown University. Dept. of History of Art and Architecture., and David Winton Bell Gallery (Brown University), eds. The Crawford bequest: Chinese objects in the collection of the Museum of Art, Rhode Island School of Design : an exhibition by the Department of History of Art and Architecture, Brown University, February 6 through March 14, 1993 at the David Winton Bell Gallery, List Art Center, Brown University, Rhode Island. [Providence, R.I: Brown University], 1993.

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1939-, Hackens Tony, Université catholique de Louvain (1970- ). Institut supérieur d'archéologie et d'histoire de l'art, Brown University. Center for Old-World Archaeology and Art, and David Winton Bell Gallery (Brown University), eds. Love for antiquity: Selections from the Joukowsky Collection : an exhibition organized on behalf of the Center for Old World Archaeology and Art, with the cooperation of the Department of Art, Brown University : and presented at the Bell Gallery, List Art Center, Brown University, October 12 through November 8, 1985. Louvain-la-Neuve, Belgium: Institut supérieur d'archéologie et d'histoire de l'art, Collège Erasme, 1985.

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Rolf, Winkes, Hackens Tony, Université Catholique de Louvain. Institut Supérieur d'Archéologie et d'Histoire de l'Art., and Brown University. Center for Old World Archaeology and Art., eds. Love for antiquity: Selections from the Joukowsky Collection : an exhibition organized on behalf of the Center for Old World Archaeology andArt with the cooperation of the Department of Art, Brown University. Providence, R.I: Center for Old World Archaeology and Art, Brown University, 1985.

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Miami University (Oxford, Ohio). Art Museum, ed. Miami University Department of Art faculty exhibition. Oxford, Ohio: Miami University Art Museum, 1985.

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Book chapters on the topic "Brown University. Department of Art"

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Krause, Virginia. "Refugees and Forced Migration: An Engaged Humanities Course in French and Francophone Studies." In Migration, Displacement, and Higher Education, 61–71. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12350-4_5.

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AbstractThis chapter recounts the development of a community-engaged course on refugees and displacement with a broad Humanities orientation offered in the Department of French and Francophone Studies at Brown University. It relates the overall structure of the course as well as the forging of a partnership with Women’s Refugee Care, an NGO supporting refugees from Central Africa living in Providence. Finally, the chapter explores the connections between the literary and theoretical texts on the course syllabus and the projects that students undertook in collaboration with the Women’s Refugee Care community.
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Thelwell, Ekwueme Michael. "The Professor and the Activists: A Memoir of Sterling Brown." In After Winter, 255–72. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195365795.003.0021.

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Abstract A couple of years ago I attended a conference on Sterling Brown, organized by the English Department at Howard University. The event was part of the ongoing campaign being conducted by the estimable Eleanor Traylor, the department’s relentlessly resourceful chair and intellectual leader, to amass the wherewithal to endow a chair in literature in the poet’s name.
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Brown, Jeannette E. "Chemists Who Work in Academia." In African American Women Chemists in the Modern Era. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190615178.003.0007.

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Etta Gravely (Fig. 3.1) is a retired professor of chemistry and former head of the Department of Chemistry at North Carolina A&T State University at Greensboro (North Carolina A&T). Etta was born on August 30, 1939, in Alamance County, NC. Now the town of Green Level, it was then a rural community near Burlington. Most of the people there farmed, raising tobacco. Everyone had private gardens and Etta’s grandmother canned their food. The area where she went to school is still very rural; the school building is now the town hall. Etta’s mother was Kate Lee McBroom and her father Rufus Leith. Her mother, a homemaker, did general house cleaning for families. Her father had a high school degree, had served in the army during World War II, and worked as an orderly in a hospital. Etta is the only child of her mother, but her father had a son named Frederick Leith. Her brother went to Graham Central high school and upon graduation went into the army and subsequently died. Etta did not go to kindergarten because there was none. She started school in the first grade in a four-room school that had classes for grades one and two, three and four, five and six, and seven and eight. The principal was Mrs. Mary Holne, and there were three other teachers, each teaching two grades. Since Etta loved to read and liked to do school work, she skipped fourth grade and went on to fifth grade: fourth and third grade were taught in the same room, and when she completed her third- grade work she would do fourth-grade work. Her teachers probably had bachelor’s or master’s degrees in their subjects. Both Etta’s school and community were segregated; she went to school in 1945, before the Brown vs. Board of Education act, which was Supreme Court decision. When Etta graduated from the country school, she was bused to Pleasant Grove High School—for African American students, five miles from the high school for white students. The school taught grades one through twelve; the curriculum was the usual reading, writing, and arithmetic.
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Tracy, Steven C. "A Conversation with John H. Bracey, Esther Terry, and Mike Thelwell." In After Winter, 397–428. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195365795.003.0028.

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Abstract When I first arrived at the W.E.B. Du Bois Department of Afro-American Studies at the University of Massachusetts Amherst over a dozen years ago for a job interview, one of the first things I noticed was a large portrait of Sterling A. Brown in the office of department head Esther Terry. It sat on a table, propped up against the wall, directly across from Professor Terry’s desk, a reminder, perhaps, both that Brown was watching the proceedings with an expert and exacting eye and that he was there as a resource and for support in case (read: when) the road got rocky. Professor Terry always spoke in glowing terms about the experiences she and her husband had had with Professor Brown—those memories resided on hallowed ground. She smiled spontaneously when his name arose, with the pride of someone whose mentor was a hero of epic expansiveness, albeit unsung in the literary mainstream at the time.
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Decker, Emy N. "University Art School and Classics Department Collaboration to Build an Image Database." In Mergers and Alliances: The Operational View and Cases, 49–58. Emerald Group Publishing Limited, 2013. http://dx.doi.org/10.1108/s0065-2830(2013)0000037006.

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Molotiu, Andrei. "Permanent Ink: Comic Book and Comic Strip Art as Aesthetic Object." In Comic Art in Museums, 33–62. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0005.

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Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, explores the formal characteristics of comic art and the fragmentation caused by showing framed pages that were originally created for publication and separated from their indigenous context, wondering if this separation is ultimately an act of creativity or an act of violence. This chapter explains white-out, margin notations, and how the eye is drawn to different things in an image when it’s isolated on the wall. In this 2006 essay, he focuses on the art of Jack Kirby, Ivan Brunetti’s Schizo 4, Metamorpho, Joe Palooka, Archie, Josie, Tom and Jerry, and "Sooper Hippie.” In this 2018 update to his 2006 essay, Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, returns to his analysis of the formal characteristics of original comic art as seen in exhibitions, exhibit catalogs, and high-end artist’s editions that faithfully reproduce full size comics originals, such as the IDW Artist’s edition of David Mazzucchelli’s and Frank Miller’s Daredevil: Born Again (images). Molotiu briefly discusses the proliferation of comic art exhibits and contrasts the experience of reading a full issue of Jack Kirby’s Kamandi on the wall at the Comic Book Apocalypse show at CSU Northridge and in print in an artist’s edition.
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Barnes, Linda L. "Teaching the History of Chinese Healing Traditions." In Teaching Religion and Healing, 95–110. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195176438.003.0006.

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Abstract Nothing in my formal training prepared me to teach about the history of Chinese healing traditions. As a religion scholar I had, to be sure, studied the history of Chinese religions and, as an anthropologist, had explored the entry of Chinese healing practices into the United States, particularly in Boston, but it was not the same thing. Still, I had friends and colleagues who were historians of Chinese medicine. When offered the chance to design a course of my choice for my spring semester as visiting faculty in the Religion Department at Brown University in 1999, it seemed like a good time to fill in this rather substantial hole in my own background.
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Armitage, Simon. "Modelling the Universe: Poetry, Science, and the Art of Metaphor." In Contemporary Poetry and Contemporary Science, 110–22. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199258123.003.0012.

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Abstract Housman might have been wrong about the number of planets or he might have been anticipating the debate over the actual status of Pluto, but he did have something to say about imitation, and I’ll come back to that ‘mimic heaven’ later in the day. At the University where I once taught Creative Writing, the Physics Department offered a course known in the common room as Astronomy for Poets. Being somewhat interested in both subjects, I got very curious when I heard about Astronomy for Poets, and phoned up the admissions secretary, who sent me a glossy full-colour brochure, much of it written in Day-Glo yellow, like the wording on the packet of an improved biological washing powder.
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Willetts, David. "Robbins and After." In A University Education. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198767268.003.0007.

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The early 1960s saw the biggest transformation of English higher education of the past hundred years. It is only matched by the break-up of the Oxbridge monopoly and the early Victorian reforms. It will be forever associated with the name of Lionel Robbins, whose great report came out in November 1963: he is for universities what Beveridge is for social security. His report exuded such authority and was associated with such a surge in the number of universities and of students that Robbins has given his name to key decisions which had already been taken even before he put pen to paper. In the 1950s Britain’s twenty-five universities received their funding from fees, endowments (invested in Government bonds which had largely lost their value because of inflation since the First World War), and ‘deficit funding’ from the University Grants Committee, which was a polite name for subsidies covering their losses. The UGC had been established in 1919 and was the responsibility not of the Education Department but the Treasury, which was proud to fund these great national institutions directly. Like museums and art galleries, higher education was rarefied cultural preservation for a small elite. Public spending on higher education was less than the subsidy for the price of eggs. By 1962 there were 118,000 full-time university students together with 55,000 in teacher training and 43,000 in further education colleges. This total of 216,000 full-time higher education students broadly matches the number of academics now. Young men did not go off to university—they were conscripted into the army. The annual university intake of around 50,000 young people a year was substantially less than the 150,000 a year doing National Service. The last conscript left the army in the year Robbins was published. Reversing the balance between those two very different routes to adulthood was to change Britain. It is one of the many profound differences between the baby boomers and the generation that came before them. Just over half of students were ‘county scholars’ receiving scholarships for fees and living costs from their own local authority on terms decided by each council.
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Danelon, Nevio, and Maurizio Forte. "Teaching Archaeology in VR." In Handbook of Research on Teaching With Virtual Environments and AI, 518–38. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7638-0.ch022.

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The authors discuss their experience at Duke University and, more specifically, at the Dig@Lab, a core research unit of the CMAC (Computational Media Art and Culture) program in the Department of Art, Art History, and Visual Studies. This community of scholars and students represents a new branch of experimental teaching in digital humanities with the participation of students and faculty from the humanities, engineering, computer science, neuroscience, and visual media. In particular, the Dig@Lab studies the impact of virtual reality in cyberarchaeology and virtual museums.
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Conference papers on the topic "Brown University. Department of Art"

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Taugher, Colleen, and Delphine Keim-Campbell. "Moving data-chaos to a clarity of vision: Findings on information design from the University of Idaho Department of Art." In Electronic Imaging 2002, edited by Giordano B. Beretta and Raimondo Schettini. SPIE, 2001. http://dx.doi.org/10.1117/12.452669.

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Recka, Adriana. "Theoretical and Practical Training of Future Art Teachers in the Digital Environment." In Nauka, nastava, učenje u izmenjenom društvenom kontekstu. University of Kragujevac, Faculty of Education in Uzice, 2021. http://dx.doi.org/10.46793/nnu21.177r.

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The paper deals with the conditions of higher education during the COVID-19 pandemic, which was realized in the digital environment due to the measures. The online training of future art teachers has brought many negative as well as positive changes. The paper contains an analysis and interpretation of students’ opinions of the Department of Creative Arts and Art Education, Faculty of Education, Constantine the Philosopher University in Nitra in connection with the process of online education in the academic year 2020/2021.
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Kaplun, T. M. "MODERN HIGHER MUSICAL EDUCATION: REGARDING THE ACTIVITIES OF THE DEPARTMENT OF MUSICAL ART AND SOUND ENGINEERING OF THE INTERNATIONAL HUMANITARIAN UNIVERSITY." In АКТУАЛЬНІ ПРОБЛЕМИ РОЗВИТКУ УКРАЇНСЬКОГО ТА ЗАРУБІЖНОГО МИСТЕЦТВ: КУЛЬТУРОЛОГІЧНИЙ, МИСТЕЦТВОЗНАВЧИЙ, ПЕДАГОГІЧНИЙ АСПЕКТИ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-317-3-104.

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Nthejane, Lebogang. "REFLECTIVE OBSERVATIONS ON THE DESIGN AND STUDIO ART PROGRAMME AT A UNIVERSITY OF TECHNOLOGY." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end047.

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The Central University of Technology (CUT) in South Africa compels that all programmes without a Mathematics module to offer Numeracy to first-year students. Initially, the Department of Mathematical and Physical Sciences at CUT was requested to facilitate this module from 2014 within the first semester. However, Numeracy was offered in a general manner without considering the applicability to the Design and Studio Art programme. The aim of this study was to revise the current curriculum and modify it to be applicable to the Design and Studio Art programme. Thus, the objectives of this study were firstly, to identify the gap in the current curriculum, which related to mathematical concepts within the Numeracy module which seemed to be not applicable to this programme. Secondly, to identify the mathematical concepts within the Numeracy module that could possibly be applicable to this Programme and modify them, accordingly. These concepts were identified as geometry, ratios and proportions, scale drawings, grid system, units and conversions. The final objective of this study related to the teaching of these concepts into the programme. The purpose of this paper report on the reflective observations on the revision and modification of the curriculum, more specifically on the application of these concepts in the Drawing module of the Design and Studio Art programme. A qualitative research approach was employed through reflective observations by the lecturer in the drawing lesson of 38 students who were enrolled on this programme. An analysis was further done on students’ abilities to apply mathematical concepts in their drawing project and what they have learnt in the Numeracy module. Findings revealed students’ abilities to apply mathematical concepts with ease- this after the lecturer explained the relations amongst these concepts to drawing. It appeared as though this intervention benefited mostly the students who were struggling with drawing. A key recommendation is that the application of the stated mathematical concepts be practiced in other modules within the Design and Studio Art programme at CUT.
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"Research on Research on Implicit Group Teaching Model Based on Individual Differences of Students - Taking the "Operational Research" course of the Department of Transportation of Tibet University as an example." In 2018 1st International Conference on Education, Art, Management and Social Sciences. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/eamss.2018.063.

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Runtuwarouw, Jourike J. "Analysis of the Use of Japanese Jujudoushi no Tsukaikata by Students at Japan Language Department of Language and Art Faculty of Manado State University." In International Joint Conference on Arts and Humanities (IJCAH 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201201.135.

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Zhuo, Zhiyi, and Hexing Dong. "Research on Students' Satisfaction with the Teaching Quality of Foreign Teachers in Universities-Take the Department of Art of M University as an Example." In 2018 2nd International Conference on Education Science and Economic Management (ICESEM 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icesem-18.2018.3.

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Mokina, A. Y. "MASTER CLASS AND EXHIBITION ACTIVITIES AS AN INCREASE IN THE MOTIVATION OF STUDENTS ' TRAINING IN THE DIRECTION OF DECORATIVE AND APPLIED ARTS AND CRAFTS." In INNOVATIVE TECHNOLOGIES IN SCIENCE AND EDUCATION. DSTU-Print, 2020. http://dx.doi.org/10.23947/itno.2020.226-229.

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The article examines the issues of modern pedagogical science in the field of art education, namely, in the preparation of artists of decorative and applied arts. The actual issue of students ' motivation to the educational process and further creative professional activity is considered in the article through the formation and organization of the educational environment on the example of the Department of Decorative and applied arts of the Southern Federal University.
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Abramowicz, Witold, Tomasz Kaczmarek, and Marek Kowalkiewicz. "E-Collaboration System Designed to Improve Learning Processes." In 2003 Informing Science + IT Education Conference. Informing Science Institute, 2003. http://dx.doi.org/10.28945/2664.

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Nowadays, universities are challenged by changing students’ requirements, demanding labor market and fast pace environment. The evolution of communication technology allows us to deal with these problems. Advances in e collaboration are crucial to modern learning process, as it prepares students to work in groups over tasks. In this article we propose comprehensive basis for e collaboration platform which has been developed during successful implementation of e collaboration solution in Department of Management Information Systems at The Poznan University of Economics. The solution utilizes state-of-the-art web portal technology and digital assets management system to provide consistent, common platform for system users to work, communicate, and share knowledge. As opposed to e learning solutions, which are designed to provide environment for distant learning, e collaboration aims at sup-porting groupwork, communication, and is rather task oriented. Therefore it is well suited for specific didactic processes in the Department. The implementation took place during two-week summer apprenticeship of 23 students in July 2002.
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Schiavoni, Flávio Luiz, André Gomes, Avner De Paulo, Carlos De Souza, Fábio Carvalho, Frederico Resende, Gabriel Lopes Rocha, et al. "Alice: Arts Lab in Interfaces, Computers, and Everything Else - Research report (2019)." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10439.

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Located in the Computer Science Department of the Federal University of São João del-Rei, but not limited to just this space, ALICE has emerged as a research group focused on the development of software, art and technologies for the area of computer music and digital arts. Over the time, ALICE became the laboratory to develop technologies to an artistic group, called Orchidea, focused on the creation of digital art, encompassing students from diverse areas, such as Computer Science, Scenic Arts, Architecture and Music in a transdisciplinary context of art creation. In this way, this work aims to present the various initiatives and proposals carried out by the ALICE, addressing the development of technological products, through the tools implemented and the external tools used for teaching and for artistic creation. In addition, this work describes the current researches that are under development by the members of the groups, also highlighting the development of the digital performance titled “O Chaos das 5” and all the aspects and learning that we have obtained so far with this performance.
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Reports on the topic "Brown University. Department of Art"

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Johra, Hicham. Air permeameter for porous building materials: Aalborg University prototype 2023. Department of the Built Environment, 2023. http://dx.doi.org/10.54337/aau545266824.

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The aim of this lecture note is to present the first prototype of an air permeameter for porous building material built at Aalborg University, Department of the Built Environment. This air permeameter setup is primarily intended for porous insulation materials but could be used for all types of materials fitting the sample frame. This lecture note also provides guidelines to operate this air permeameter and perform a state-of-the-art measurement of the effective air permeability.
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Johra, Hicham. Measurement Capabilities and Equipment at the Building Material Characterization Laboratory of Aalborg University (2024). Department of the Built Environment, 2023. http://dx.doi.org/10.54337/aau580248093.

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The aim of this short communication report is to provide synthetic information concerning the measurement capabilities and equipment of the Building Material Characterization Laboratory of Aalborg University - Department of the Built Environment. This laboratory uses state-of-the-art equipment to determine the thermophysical properties and the heat-air-moisture transport characteristics of materials, especially construction materials.
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Motamed, Ramin, David McCallen, and Swasti Saxena. An International Workshop on Large-Scale Shake Table Testing for the Assessment of Soil-Foundation-Structure System Response for Seismic Safety of DOE Nuclear Facilities, A Virtual Workshop – 17-18 May 2021. Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, February 2024. http://dx.doi.org/10.55461/jjvo9762.

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Aging infrastructure within the US Department of Energy (DOE) and the National Nuclear Security Administration (NNSA) nuclear facilities poses a major challenge to their resiliency against natural phenomenon hazards. Examples of mission-critical facilities located in regions of high seismicity can be found at a number of NNSA sites including Lawrence Livermore National Laboratory, Los Alamos National Laboratory, and the Nevada National Security Site. Most of the nation’s currently operating nuclear facilities have already reached their operating lifetime, and most currently operating nuclear power plants (NPPs) have already reached the extent of their operating license period. While the domestic demand for electrical energy is expected to grow, if currently operating NPPs do not extend their operations and additional plants are not built quickly enough to replace them, the total fraction of electrical energy generated from carbon-free nuclear power will rapidly decline. The decision to extend operation is ultimately an economic one; however, economics can often be improved through technical advancements (McCarthy et al. 2015) and research and development (R&D) activities. Similarly, the operating lifetime of the current DOE- and NNSA-owned critical infrastructure can be extended using the Probabilistic Risk Assessment (PRA) framework to systematically identify the risk associated with designing and operating existing facilities and building new ones. Using this framework consists of several steps, including (1) system analysis considering the interaction between components, such as evaluating the soil-foundation-structure system response; and (2) assessment of areas of uncertainty. Both of these steps are essential to assessing and reducing risks to the DOE and NNSA nuclear facilities. While the risks to the DOE’s facilities are primarily due to natural hazard phenomena, data from large-scale tests of the soil-foundation-structural system response to seismic shaking is currently lacking. This workshop aimed to address these key areas by organizing an international workshop focused on advancing the seismic safety of nuclear facilities using large-scale shake table testing. As a result, this workshop, which was held virtually, brought together a select group of international experts in large-scale shake table testing from the U.S., Japan, and Europe to discuss state-of-the-art experimental techniques and emerging instrumentation technologies that can produce unique experimental data to advance knowledge in natural hazards that impact the safety of the DOE’s nuclear facilities. The generated experimental data followed by research and development activities will ultimately result in updates to ASCE 4-16, one of the primary design guides for DOE nuclear facilities per DOE-STD-1020-2016. The ultimate objective of the workshop was to develop a “road map” for the future experimental campaign and innovative instrumentations using the newly constructed DOE-funded large-scale shake table facility at the University of Nevada, Reno (UNR) as well as other large-scale shake table testing facilities. This new facility resulted from a collaborative project engagement between UNR and Lawrence Berkeley National Laboratory. (LBNL). This report summarizes the proceedings of the workshop and highlights the key outcomes from presentations and discussions.
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