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Relevant bibliographies by topics / Installations (Art)

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Academic literature on the topic 'Installations (Art)'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 October 2024

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Journal articles on the topic "Installations (Art)"

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Rios, Patricia, and Aquiles Negrete. "The object of art in science: science communication via art installation." Journal of Science Communication 12, no. 03 (December 11, 2013): A04. http://dx.doi.org/10.22323/2.12030204.

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Science is part of our everyday live; so is art. Some art installations that link the two require the active presence of the spectator. Thereby they help to raise the awareness, promote understanding, and generate an emotional response from the public. This project rests on the public participation model that seeks to explore the connection between art installations and science communication through experiential learning. In order to test the effectiveness of an art installation communicating science two groups were contrasted. The first was exposed to a list of scientific facts; the second participated in the creation of an art installation. The results of this research suggest that art installations do promote long-term fact retention. Therefore, the use of art installations can be considered an interesting method of conveying science in an attractive, reliable, and memorable way.

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Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies, no. 12 (April 15, 2017): 55. http://dx.doi.org/10.25038/am.v0i12.167.

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The subject of this research is the art installation, a spatial creativity that arises in relation between art and architecture. In a more narrow definition, the subject of the research is installations created in the formative period of the 60s and 70s up to the present. As a ‘critical spatial practice’ art installations are conceived in the form of alternative proposals for settlements which enter the field of architectural design. Ideas concerning new sets of relations between the subject and a spatial order indicate the potential of the use of the concept of art installations in architectural design. The initial hypothesis is that art installations represent the articulation of a place of dialogue between art and architecture, which opens up a new field of research in architectural design. The aim of the research is to show the position of art installations as architectural projects. The applied methodological procedures approach architectural design in a manner of synthesizing the architecture and art in a new form of visual culture. The paper deals with the study of artistic concepts in terms of design, which emphasizes the importance of an interdisciplinary approach to research and the importance of integrating the principles of art in the field of architectural design. The main contribution of this paper is reflected in the expansion of the problem and thematic framework of research on architectural design, contemporary art and their relation. Article received: December 21, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies 12 (2017): 55-70

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Cuan, Catie, Erin Berl, and Amy LaViers. "Time to compile: A performance installation as human-robot interaction study examining self-evaluation and perceived control." Paladyn, Journal of Behavioral Robotics 10, no. 1 (August 28, 2019): 267–85. http://dx.doi.org/10.1515/pjbr-2019-0024.

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AbstractEmbodied art installations embed interactive elements within theatrical contexts and allow participating audience members to experience art in an active, kinesthetic manner. These experiences can exemplify, probe, or question how humans think about objects, each other, and themselves. This paper presents work using installations to explore human perceptions of robot and human capabilities. The paper documents an installation, developed over several months and activated at distinct venues, where user studies were conducted in parallel to a robotic art installation. A set of best practices for successful collection of data over the course of these trials is developed. Results of the studies are presented, giving insight into human opinions of a variety of natural and artificial systems. In particular, after experiencing the art installation, participants were more likely to attribute action of distinct system elements to non-human entities. Post treatment survey responses revealed a direct relationship between predicted difficulty and perceived success. Qualitative responses give insight into viewers’ experiences watching human performers alongside technologies. This work lays a framework for measuring human perceptions of humanoid systems – and factors that influence the perception of whether a natural or artificial agent is controlling a given movement behavior – inside robotic art installations.

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Ehninger, Eva. "Die Land Art als Film." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 55, no. 1 (2010): 109–27. http://dx.doi.org/10.28937/1000106160.

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"Parallel zu ihren monumentalen Außenrauminstallationen, die während der späten 1960er und frühen 1970er Jahre im Westen und Südwesten der USA realisiert wurden, haben einige Vertreter der amerikanischen Land Art auch Arbeiten im filmischen Medium produziert. Die Frage nach dem Stellenwert dieser Filmbeiträge für das jeweilige Œuvre ist in der Forschung ein Streitpunkt. Dieser Artikel bewertet weniger ihren Status als eigenständige Werke oder Dokumentationen, sondern widmet sich einem Thema, das Installationen und filmische Arbeiten gemein haben: die Kritik am klassischen Raumverständnis. Anhand zweier Werkgruppen der Künstler Walter De Maria und Robert Smithson wird die Neuverhandlung der konventionellen Regeln räumlicher Ordnung und perspektivischer Darstellung in beiden Medien diskutiert. Aus den Werkanalysen lässt sich ableiten, daß die filmischen Werke nicht lediglich die veränderte Raumwahrnehmung in den Land Art-Installationen abbilden, sondern eine vergleichbare Kritik am klassischen Raumverständnis mit filmspezifischen Mitteln vollziehen.<br><br>In parallel to their monumental installations, which were built in the Western and South- western deserts of the U.S. in the late 1960s and early 1970s, a number of representatives of American Land Art have also produced works on film. Researchers have held divergent views about the importance of these films for the understanding of the installations and about their character as either independent works or mere documentations. This article takes a different approach and analyses an element common to both installations and films: the critique of conventional constructions of illusionistic space. The repudiation of conventional spatial structures and of the representation of perspective is discussed on the basis of works by Walter De Maria and Robert Smithson. A formal analysis demonstrates that the films go beyond merely showing the conception of space in Land Art installations. Instead, they perform a similar critique of conventional ideas of space with decidedly cinematic techniques."

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Lilin, You. "The Feminist Installation Art in Modern China." Vestnik of Saint Petersburg State University of Culture, no. 1 (58) (2024): 129–35. http://dx.doi.org/10.30725/2619-0303-2024-1-129-135.

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Feminist installation art in contemporary China is one of the most dynamic and controversial trends in Chinese contemporary art. It reflects the complex processes of social, political and cultural transformation that have been taking place in China in recent decades. Feminist installations express critical attitudes towards traditional gender roles, national identity, environmental issues and globalization. However, feminist installation art in contemporary China has not received sufficient scholarly coverage and analysis in domestic and foreign literature. Existing studies are often limited to describing individual works or female artists without considering the historical, cultural, and social contexts in which this trend is formed and developed. In addition, many feminist installations have a complex semiotic structure that requires a deep and multidimensional interpretive approach. The expected outcome of the article is a comprehensive and multilevel study of feminist installation art in contemporary China, which will allow for a better understanding and appreciation of its significance.

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Erel, Yael, Foteini Kyriakidou, and Rodrigo Eduardo Muro Avendano. "Urban Illuminations – Light Art Activating The Public Realm." IOP Conference Series: Earth and Environmental Science 1320, no. 1 (March 1, 2024): 012012. http://dx.doi.org/10.1088/1755-1315/1320/1/012012.

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Abstract How can contemporary light art installations impact the sensorial perception of the urban context to modify and reinterpret urban space? In Robert Irwin’s words, how can they provide “…an extended way of looking at the world”? In this paper, we examine how temporary light installations may impact the public realm by modifying citizens’ perceptions of moments in the city: a habitual urban passage is interrupted with a temporal experience, changing the way the urban space is experienced. We explore how site-specific light installations create unique intersections of audience and spatial perception through the artists’ intent of creating new urban atmospheres through an experiential layer added onto the urban fabric during light festivals. To do so we analyze and discuss two light installations that we designed and executed, which were shortlisted for the 2022 [d]arc awards. Both projects took part in larger urban light festivals and were located within urban passages. “Reflecting on Troy” [Author 1 - Troy Glow Light Festival] created a temporal light graffiti in an urban alley, while “Riddle 102” [Authors 2,3 - Nobel Week Lights], a dynamic lighting installation in a 231m pedestrian tunnel, created an immersive environment that alters the perception of the tunnel’s physical dimensions. Through reflections, as well as visitor and curator reviews, we unpack the intent and impact of the works on the perception of the urban context. We discuss and analyze the similarities and differences between the two urban settings, identify the design processes and principles pertinent to site-specific light installations [materials, lighting fixtures, testing] and address the impact darkness and over-lit spaces have over spatial perception. Lastly we discuss the impact a temporary light installation may have on the collective memory of the city, perceived in person or online.

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Prisco, Brianna. "Living Art: An Exploration of Interactive Art Installations." Art Education 69, no. 5 (August 15, 2016): 49–57. http://dx.doi.org/10.1080/00043125.2016.1202078.

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Paul, Christiane. "Renderings of Digital Art." Leonardo 35, no. 5 (October 2002): 471–84. http://dx.doi.org/10.1162/002409402320774303.

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This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.

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Bouzguenda, Ghada. "Eco-Public Installation Through Landscape Architecture for Sustainability in the Urban Space." International Journal of Architecture, Arts and Applications 10, no. 2 (June 29, 2024): 60–68. http://dx.doi.org/10.11648/j.ijaaa.20241002.14.

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Sustainable art in landscape architecture encompasses activities like installing works of art that are durable, functional, decorative, iconographic, interpretative, integrated, ephemeral, or temporary. Projects of sustainable installation in landscape architecture have highlighted the contributions of public arts in social, cultural, and economic aspects. Studying the environmental impacts of public art in cities is still lacking. The purpose of this article is to highlight the contribution of eco-art in urban space to the development of sustainable cities, through the exam of a selection of sustainable installation from the word. Therefore, peer-reviewed articles and online resources were used to analyze sustainability, awareness, and environmental values associated with eco-public art and sustainable installations in order to inspire other directions, such as a dialogue between art and the public, landscape architecture, and environmental sustainability through public art. Despite landscape architecture studies are often focused on sustainability; however, there is little research on how to create durable installations through the synergy between art, design, and architecture. Based on the analysis of selected projects using a combination between art, design, and architecture concepts, to create an eco-installation in the urban space, it was highlighted that, during the early phases of promoting the green city concept, Eco-Public Art promotes visual support, tools, and the form of knowledge. All the analyzed sustainable projects were developed to demonstrate the best approach to public art because of their attitude and behavior toward the major issues.

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Chemberzhi, Daria. "The importance of installation art for the development of contemporary art in the world and Ukraine." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 278–87. http://dx.doi.org/10.37131/2524-0943-2019-39-19.

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Article is devoted to a research of a role and the place of art installation in the modern world. At the same time the retrospective analysis of a role of art installation in the past and comparative characteristic with the present is carried out. The Ukrainian context of development of art installation is also revealed. At the same time it is found out that installation is not only an important component of modern art, but also an integral part of historical discourse. Due to its visual functions, the installation actively influences the viewer. For the most part, installations are not just an object in space, it is what is the very space - how much the installation work has the ability to fill the space, integrate into it organically and holistically. At the same time, the main factor in the creation and existence of an installation in the exhibition space, as well as in other relevant arts, is its relationship with the viewer. In this study, the socio-cultural aspect of the installation is important, understanding of the significance of this form of contemporary artistic practices for a common worldview system. Such problems as the assimilation of new experience from the point of view of global processes, on the one hand, and the preservation of the national cultural identity in contemporary art, on the other – actualize the pattern of the process of perception of a new culture. In article it is found out that graphic schools are based on existence of certain art and educational institutions where graphic artists who carry out the teaching activity and own creativity a high mission of formation of new generation of masters create. Not less important factor is acceptance of experience of teachers and its further development in creativity of pupils and followers. Art of installation is an integral part of the modern fine arts of Ukraine. Emergence and development of this art form in the national cultural environment became possible under conditions of intensive creative activity of artists which reached the high level of mastery in connection with deeply philosophical judgment of problems of the present. At the end of XX – the beginning of ХХІ century, looking for new ways of development, the Ukrainian artists addressed installation which as it is possible better answered esthetic inquiries of an era and became a symbol of spiritual updating of the personality. Installation turns into a key factor of development of different spheres of culture, thereby playing a noticeable role in development of national culture. Installation in the modern art helps to be focused and inform of the idea and understanding of global problems to adherents of different genres of art, the audience of different age categories and social groups. Since declaration of independence development of the independent state and formation of own cultural policy aimed at providing free development of national culture and preservation of cultural inheritance begins. The state forms the legislative base which can provide cultural development and an open entry of all citizens to its achievements. In 1992 the Verkhovna Rada of Ukraine accepts "Principles of the legislation of Ukraine about culture" where the basic principles of public policy in the sphere of culture directed to revival and development of the Ukrainian national culture, ensuring freedom of creativity, free development of cultural and art processes, realization of the rights of citizens to access to cultural values, creation of material and financial conditions of cultural development were declared. It is found out that installation is an art equipment which uses the three-dimensional objects intended for change of perception of space by the person. The term "installation" in English appeared long ago – in the XV century. It means process of construction, collecting, drawing up something (now use it also for establishment definition, for example, of the software). With the advent of different technologies – videos, and later and the computer – arose also different types of installations which now peacefully coexist with other arts, for example, painting or a sculpture, without being inferior to them. Hardly somebody will be able to designate exact date of emergence of installations and their judgment as art form. Now installation represents the certain room according to the decision of the author transformed to art space. It is filled with a number of objects to which the symbolical value is often provided. Harmonious connection of things, their arrangement indoors is also art. Installations can be the constant objects exposed in the museums or be created temporarily in public and private spaces. The space of installation can include different types of the things and images circulating in our civilization: pictures, drawings, photos, texts, video, movies, tape recordings, virtual reality, Internet, etc. Installations are regularly presented at the international exhibitions of the modern art, such as Venetian the biennial. The most prestigious art museums and art galleries of the world give to installation art the best platforms from time to time. At the same time, the research of this form of art lags behind the progressing shaping a little. The phenomenon of installation is considered as a part of a performance that is entirely logical. But install processes, especially the last decades, proved what is absolutely self-sufficient the cultural phenomena which need serious scientific approach and judgment, require attention to a research of characteristics install the practician, activity of certain artists, a tipologization and the scientific analysis of modern processes

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Dissertations / Theses on the topic "Installations (Art)"

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Stansbie, Lisa. "Zeppelinbend : Multiplicity, encyclopaedic strategies and nonlinear methodologies for a visual practice." Thesis, Leeds Beckett University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533350.

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Fortin-Desbiens, Patrick. "Pour un art universel : le défi de Babel /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.

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Shaffer, Michael J. "Dan Graham's Video-Installations of the 1970s." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/56.

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This dissertation examines the video-installations created by American artist Dan Graham in the 1970s. It investigates the artist's relationship to Minimalism by analyzing themes Graham highlights in his own writings and in interviews. In particular, I explore how the artist's understanding of Herbert Marcuse, Walter Benjamin, and R.D. Laing informed his post-Minimalist work and how concepts gleaned from these sources are manifest in his video-installations. Also undertaken are discussions of the artist's interest in aestheticized play, the just-past present, the debate between Behaviourism and phenomenology, surveillance, and Modern architecture. In addition, I investigate Graham's position in Conceptual art, use of site-specificity, and the practice of institutional critique. At the outset, I provide an in-depth analysis of two of Graham's magazine pieces, Schema (March 1966) and Homes For America, that ties together the artist's reading of Marcuse and his rejection of Minimalist phenomenology. Next, I give an account of the artist's connection to early video art and his use of time-delay in works such as Present Continuous Past(s) and Two Viewing Rooms as a means to highlight the just-past present. Finally, I examine Graham's architectural video-installations Yesterday/Today, Video Piece for Showcase Windows in a Shopping Arcade, and Video Piece for Two Glass Office Buildings as instances of site-specific art and as part of the artist's practice of institutional critique. I also explore his references to the notions of art-as-window and art-as-mirror as an expansion of his engagement with Minimalism. Throughout, my discussion includes comparisons between Graham's work and that of other artists like Vito Acconci, Bruce Nauman, and Hans Haacke. In sum, this study offers an expanded understanding of how Graham employed video and installation in his art as a means to move beyond Minimalism and to interrogate contemporary American society.

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Bernardini, Elena. "Interrogating installation art from India." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664613.

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Veber, Hélène. "Toi et moi aller-retour : l'installation vidéo comme reflet de l'humain /." Thèse, Chicoutimi : Montréal : Université du Québec à Chicoutimi ;. Université du Québec à Montréal, 2003. http://theses.uqac.ca.

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Mercado, Nicholas. "A framework for site informed light art installations." Kansas State University, 2015. http://hdl.handle.net/2097/19162.

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Master of Landscape Architecture
Landscape Architecture/Regional and Community Planning
Mary C. Kingery-Page
The purpose of this study is to investigate and design public light art installations. The investigation consisted of evaluating select examples of public light installations in order to develop a typology, and designing two site-specific light art installations: one in Wichita, Kansas, and the other, in Denver, Colorado. Though public light art is found in most cities, its potential is often lost or unrecognized. In certain cases, public light art can be ‘plop art,’ which is plopped senselessly without much regard to context or experiential qualities. This project seeks to explore the different types of public light art and to find what approach or qualities should be considered when designing public light art. My approach can be described as artistic research. The methods include an apprenticeship to an artist, a precedent study, development of a light typology, an analysis of site and context, establishing a design matrix for two design projects, and an iterative process of making. Each of these methods were undertaken in order to effectively address my research question: What type of public light art is most appropriate for a specific site and how does it relate to creative placemaking? This project overlaps with a collective project group entitled Creative Place-Making, which is comprised of other fifth-year master of landscape architecture students with an underlying interest in art and design as place-making tools. Each student in the group addressed the site in Wichita, Kansas in a unique way. I addressed this site as a temporary landscape, creating an interactive light installation intended to be in place up to five years. In contrast, I addressed the Denver, Colorado site as a long term landscape, and designed a sculptural illuminating gateway. Each of these light art installations were informed by a particular set of characteristics that make each design site-specific.

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Stanforth, Gregory Owen. "Turret envy /." Online version of thesis, 1991. http://hdl.handle.net/1850/11954.

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Bouchard, Michèle. "Objets et sons dans l'installation sculpturale : portrait d'une cacophonie humaine /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2006. http://theses.uqac.ca.

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King, Donald V. "(Frame) /-bridge-\ !bang! ((spill)) *sparkle* (mapping Mogadore) /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1216759724.

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Thesis (M.F.A.)--Kent State University, 2008.
Title from PDF t.p. (viewed Oct. 19, 2009). Advisor: Paul O'Keeffe. Keywords: Sculpture, Installation Art, Video Art. Includes bibliographical references (p. 25).

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Ouzounian, Gascia. "Sound art and spatial practices situating sound installation art since 1958 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.

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Books on the topic "Installations (Art)"

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Kira, Perov, Böhm Dorothee, Herzogenrath Wulf, Luckow Dirk, and Deichtorhallen Hamburg, eds. Bill Viola: Installationen = Installations. Köln: Snoeck Verlagsgesellschaft mbH, 2017.

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Flaig, Ulrike. Ulrike Flaig, Soundcheck: Installationen = Installations. Ostfildern: Hatje Cantz, 2000.

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Fahlström, Öyvind. Öyvind Fahlström: Die Installationen = the installations. Ostfildern: Cantz, 1995.

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Majerus, Michel. Michel Majerus: Installationen 92-02 = installations 92-02. Köln: König, 2005.

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Adcock, Craig E. Dispossessed installations. Edited by Lindbloom Terri, Rutkovsky Paul, and Florida State University Gallery & Museum. Tallahassee: Florida State University Gallery & Museum Press, 1992.

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Shaoqiang, Wang. Installation art. Berkeley, CA: Gingko Press, 2010.

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Morellet, François. François Morellet, Installations: Catalogue raisonné seiner Installationen = Catalogue raisonné de ses installations. Stuttgart: Daco-Verlag Günter Bläse, 1994.

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Bierwirth, Maria Anna. Big picture: (Orte/Projektionen = (Locations/projections) : Zwölf Kinematografische Installationen = Twelve cinimatographic installations. Düsseldorf: Kunstammlung Nordrhein-Westfalen, 2011.

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1949-, Aschenbrenner Michael, Kardon Janet, Princenthal Nancy, and American Craft Museum (New York, N.Y.), eds. Glass installations. New York (40 W. 53rd St., New York 10019): American Craft Museum, 1993.

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Odenbach, Marcel. Marcel Odenbach: Video-Arbeiten, Installationen,Zeichnungen, 1988-1993 = videos, installations, drawings. Stuttgart: Edition Cantz, 1993.

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Book chapters on the topic "Installations (Art)"

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Franke, Herbert W. "Installations and Methods." In Computer Graphics — Computer Art, 1–92. Berlin, Heidelberg: Springer Berlin Heidelberg, 1985. http://dx.doi.org/10.1007/978-3-642-70259-4_1.

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Zhang, Yu, Joep Frens, Mathias Funk, Jun Hu, and Matthias Rauterberg. "Scripting Interactive Art Installations in Public Spaces." In Lecture Notes in Computer Science, 157–66. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07233-3_15.

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Staniszewski, Mary Anne. "Aestheticized installations for modernism, ethnographic art and objects of everyday life [excerpt]." In Curating Art, 89–101. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315686943-16.

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Shanbaum, Phaedra. "Introduction." In The Digital Interface and New Media Art Installations, 1–13. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies | Based on the author’s thesis (doctoral–Goldsmiths’ College, 2017) under the title: The interface is obsolete.: Routledge, 2019. http://dx.doi.org/10.4324/9780429467899-1.

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Shanbaum, Phaedra. "The Aesthetic Interface." In The Digital Interface and New Media Art Installations, 14–37. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies | Based on the author’s thesis (doctoral–Goldsmiths’ College, 2017) under the title: The interface is obsolete.: Routledge, 2019. http://dx.doi.org/10.4324/9780429467899-2.

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Shanbaum, Phaedra. "The Embodied Interface." In The Digital Interface and New Media Art Installations, 38–57. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies | Based on the author’s thesis (doctoral–Goldsmiths’ College, 2017) under the title: The interface is obsolete.: Routledge, 2019. http://dx.doi.org/10.4324/9780429467899-3.

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Shanbaum, Phaedra. "The Agential Interface." In The Digital Interface and New Media Art Installations, 58–77. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies | Based on the author’s thesis (doctoral–Goldsmiths’ College, 2017) under the title: The interface is obsolete.: Routledge, 2019. http://dx.doi.org/10.4324/9780429467899-4.

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Shanbaum, Phaedra. "Instruction and the Interface." In The Digital Interface and New Media Art Installations, 78–104. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies | Based on the author’s thesis (doctoral–Goldsmiths’ College, 2017) under the title: The interface is obsolete.: Routledge, 2019. http://dx.doi.org/10.4324/9780429467899-5.

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Shanbaum, Phaedra. "The Ubiquitous Interface: Part I." In The Digital Interface and New Media Art Installations, 105–24. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies | Based on the author’s thesis (doctoral–Goldsmiths’ College, 2017) under the title: The interface is obsolete.: Routledge, 2019. http://dx.doi.org/10.4324/9780429467899-6.

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Shanbaum, Phaedra. "The Ubiquitous Interface: Part II." In The Digital Interface and New Media Art Installations, 125–45. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies | Based on the author’s thesis (doctoral–Goldsmiths’ College, 2017) under the title: The interface is obsolete.: Routledge, 2019. http://dx.doi.org/10.4324/9780429467899-7.

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Conference papers on the topic "Installations (Art)"

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Lu, Chen-Hua, Su-Chu Hsu, and Che-Rung Lee. "Visualizing Machine Intelligence as Art Installations for Popular Science by Crafting Convolutional Neural Networks." In 2024 International Conference on Consumer Electronics - Taiwan (ICCE-Taiwan), 297–98. IEEE, 2024. http://dx.doi.org/10.1109/icce-taiwan62264.2024.10673892.

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Yang, Zuo-Yi, and Chi-Wen Hsieh. "Implementation of Embedded Systems for Light and Shadow Installation Art." In 2024 International Conference on Consumer Electronics - Taiwan (ICCE-Taiwan), 675–76. IEEE, 2024. http://dx.doi.org/10.1109/icce-taiwan62264.2024.10674200.

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Mubarak, Oussama, David Bihanic, Pierre Cubaud, and Samuel Bianchini. "Art installations." In ARTECH2017: Eighth International Conference on Digital Arts. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3106548.3106593.

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Lazin, Linda Lauro. "Session details: Art installations." In SIGGRAPH03: Special Interest Group on Computer Graphics and Interactive Techniques. New York, NY, USA: ACM, 2003. http://dx.doi.org/10.1145/3248421.

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"Session details: Art installations and demonstrations." In IDC '18: Interaction Design and Children, edited by Marikken Høiseth, Gökçe Elif Baykal, Anders-Petter Andersson, and Babak Farshchian. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3247773.

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Ishii, Ayaka, Manaka Fukushima, Namiki Tanaka, Yasushi Matoba, Kaori Ikematsu, and Itiro Siio. "Electrolysis Bubble Display based Art Installations." In TEI '21: Fifteenth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3430524.3440632.

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Fragoso Castro, João, Paulo Bernardino Bastos, and Heitor Alvelos. "Emotional resonance at art interactive installations." In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3483529.3483710.

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Bluff, Andrew, and Andrew Johnston. "Remote Control of Complex Interactive Art Installations." In C&C '15: Creativity and Cognition. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2757226.2764553.

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Jacucci, Giulio, Mira Wagner, Ina Wagner, Elisa Giaccardi, Mauro Annunziato, Nell Breyer, Jonas Hansen, et al. "ParticipArt: Exploring participation in interactive art installations." In 2010 IEEE International Symposium on Mixed and Augmented Reality - Arts, Media, and Humanities (ISMAR-AMH). IEEE, 2010. http://dx.doi.org/10.1109/ismar-amh.2010.5643313.

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Hurtado, Enrique, Mikel Arce, and Josu Rekalde. "Simple interfaces for interactive and generative art installations." In Interacción '21: XXI International Conference on Human Computer Interaction. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3471391.3471417.

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Reports on the topic "Installations (Art)"

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Bucher, Ch, S. Chen, G. Adinolfi, R. Guerrero-Lemus, Y. Ogasawara, G. Heilscher, I. McGill, et al. Active Power Management of Photovoltaic Systems – State of the Art and Technical Solutions. IEA Photovoltaic Power Systems Programme (PVPS), 2024. http://dx.doi.org/10.69766/syrj8267.

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This report discusses different methods of PV power curtailment and their application in electric installations and power grids. It also presents the varying solutions used in different countries along with the applicable standards.

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Wright, A. L. Primary system fission product release and transport: A state-of-the-art report to the committee on the safety of nuclear installations. Office of Scientific and Technical Information (OSTI), June 1994. http://dx.doi.org/10.2172/10161670.

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Callaghan, Caitlin, Danielle Peterson, Timothy Cooke, Brandon Booker, and Kathryn Trubac. Installation resilience in cold regions using energy storage systems. Engineer Research and Development Center (U.S.), October 2021. http://dx.doi.org/10.21079/11681/42200.

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Electrical energy storage (EES) has emerged as a key enabler for access to electricity in remote environments and in those environments where other external factors challenge access to reliable electricity. In cold climates, energy storage technologies face challenging conditions that can inhibit their performance and utility to provide electricity. Use of available energy storage technologies has the potential to improve Army installation resilience by providing more consistent and reliable power to critical infrastructure and, potentially, to broader infrastructure and operations. Sustainable power, whether for long durations under normal operating conditions or for enhancing operational resilience, improves an installation’s ability to maintain continuity of operations for both on- and off-installation missions. Therefore, this work assesses the maturity of energy storage technologies to provide energy stability for Army installations in cold regions, especially to meet critical power demands. The information summarized in this technical report provides a reference for considering various energy storage technologies to support specific applications at Army installations, especially those installations in cold regions.

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Callaghan, Caitlin, Danielle Peterson, Timothy Cooke, Brandon Booker, and Kathryn Trubac. Installation resilience in cold regions using energy storage systems. Engineer Research and Development Center (U.S.), October 2021. http://dx.doi.org/10.21079/11681/42200.

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Electrical energy storage (EES) has emerged as a key enabler for access to electricity in remote environments and in those environments where other external factors challenge access to reliable electricity. In cold climates, energy storage technologies face challenging conditions that can inhibit their performance and utility to provide electricity. Use of available energy storage technologies has the potential to improve Army installation resilience by providing more consistent and reliable power to critical infrastructure and, potentially, to broader infrastructure and operations. Sustainable power, whether for long durations under normal operating conditions or for enhancing operational resilience, improves an installation’s ability to maintain continuity of operations for both on- and off-installation missions. Therefore, this work assesses the maturity of energy storage technologies to provide energy stability for Army installations in cold regions, especially to meet critical power demands. The information summarized in this technical report provides a reference for considering various energy storage technologies to support specific applications at Army installations, especially those installations in cold regions.

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Urban, Angela, Susannah Davidson, and Allison Young. Dining facility w/hole-building evaluation to reduce solid waste : opportunities and best practices for optimization and management of food waste. Engineer Research and Development Center (U.S.), September 2023. http://dx.doi.org/10.21079/11681/47560.

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On military installations, an average of 1.2 pounds in food waste is disposed per person per day, accounting for 68% of dining facility (DFAC) refuse and 46% of the total installation refuse stream, making food waste the heaviest portion of installation solid waste. At a single installation, this can contribute up to 1.5 million dollars lost yearly from food waste alone. Department of Defense Instruction (DoDI) 4715.23 (DoD 2016) establishes policy and prescribes procedures to implement waste management through waste prevention and recycling. The US Army Installation Management Commands (IMCOM) installations have limited resources and limited personnel to study which source reduction methods are optimal to reduce food waste given their unique mission requirements. This study identifies opportunities for optimization and management of solid waste across IMCOM installations. Recycling is not enough to significantly re-duce the economic or environmental costs to the DoD. Army installations pay over $100 million annually in disposal fees. Source reduction is emphasized in regulations but not prioritized in process modifications or technology solutions. Additionally, food waste contributes to excessive global greenhouse gas emissions, which affect global warming and climate change. A multitiered approach is necessary, placing more emphasis on source reduction advances and initiatives.

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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).

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Dumlao, Hernani. Army Transformation: Are Installations Ready? Fort Belvoir, VA: Defense Technical Information Center, January 2002. http://dx.doi.org/10.21236/ada404554.

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Gauntt, Nathan E., Kevin Duvall Davis, Jason John Repik, James M. Brandt, Ann C. Gentile, and Simon David Hammond. Design Installation and Operation of the Vortex ART Platform. Office of Scientific and Technical Information (OSTI), September 2019. http://dx.doi.org/10.2172/1562796.

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Choquette, Gary. PR000-22605-R01 Design Guideline for Retrofittable Inline Flow Measurement. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), February 2024. http://dx.doi.org/10.55274/r0000054.

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This report describes measurement devices suitable for the retrofit installation of inline flow measurements. Retrofit applications are defined as installations where minimal piping modifications are required and, preferably, the modifications can be done without taking the system out of service. The document includes recommendations and best practices that help minimize error as well as methods to perform in situ calibration of those measurement devices.

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Author, Unknown. L52287 Pre-Construction Drillability Assessment for Horizontal Directional Drilling in Rock. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), August 2008. http://dx.doi.org/10.55274/r0011760.

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Construction contractors often claim extra compensation associated with horizontally directionally drilled (HDD) pipeline installations is needed when drilling in rock. These claims result from HDD contractors' allegations that rock properties experienced during construction are significantly different from the properties on which the contractors' bids were based. This report provides information and recommendations that improve exploration and testing methods for assessing the drillability of rock to be encountered on HDD pipeline installations. These improvements will lead to a better understanding of rock drillability which will in turn lead to more accurate bid prices and more effective drilling plans. Pipeline installation costs will be reduced by reducing claims for extra work, improving contractor efficiency, and decreasing risk associated with HDD installations in rock. This report also addresses contractual considerations and alternate dispute resolution.

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