Academic literature on the topic 'Installations (Art) Australia Exhibitions'
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Journal articles on the topic "Installations (Art) Australia Exhibitions"
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bandt, ros. "designing sound in public space in australia: a comparative study based on the australian sound design project's online gallery and database." Organised Sound 10, no. 2 (August 2005): 129–40. http://dx.doi.org/10.1017/s1355771805000774.
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the purpose of this paper is to articulate some of the ways in which australian sound practitioners are already designing sound in the public domain so that current trends and practices can be examined, compared and contrasted. this paper interrogates the new hybrid art form, public sound art, and the design processes associated with it as it occurs in public space in australia. the right to quiet has been defined as a public commons (franklin 1993). public space in australia is becoming increasingly sound designed. this article investigates the variety of approaches by sound artists and practitioners who have installed in public space through a representative sample of works drawn from the australian sound design project's online gallery and article, http://www.sounddesign.unimelb.edu.au, a site dedicated to the multimedia publishing of diverse sound designs installed in public space in australia, as well as its international outreach hearing place. works include permanent public and ephemeral sculptures, time-dense computerised sound installations, museum designs, exhibits in airports, art galleries, car parks, digital and interactive media exhibitions, and real-time virtual habitats on and off the web. the degree of interactivity in the sound-designed artworks varies greatly from work to work. stylistic features and design processes are identified in each work and compared and contrasted as a basis for examining the characteristics of the genre as a whole and its impact on the soundscape now and in the future.
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Batchen, Geoffrey. "Installation View: Photography Exhibitions in Australia 1848–2020." History of Photography 45, no. 1 (January 2, 2021): 101–3. http://dx.doi.org/10.1080/03087298.2021.2020476.
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Hottman, Tara. "Alexander Kluge’s Installations." New German Critique 47, no. 1 (February 1, 2020): 57–80. http://dx.doi.org/10.1215/0094033x-7908378.
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Abstract Analysis of recent exhibitions featuring Alexander Kluge’s earlier films and televisual work in dialogue with work by other artists demonstrates how the aesthetics of installation art and modes of exhibiting moving images in art museums and galleries have allowed Kluge to continue developing but also revise practices he first engaged in other media. The so-called white-cube exhibition space presents Kluge’s earlier works in terms of remediation and provides him with an opportunity to employ and reconceptualize his approach to montage techniques and reception aesthetics. With their deployment in the white cube, his earlier works become emphatically transmedial, their content and forms no longer bound to one primary medium. This article proposes that the white cube might be better suited for actively and collectively engaging with Kluge’s work in the twenty-first century than the black box of the cinema, the late-night television screen, or the internet.
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Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.
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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.
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Rorimer, Anne. "Remembering Michael Asher at the Art Institute of Chicago, 1982." October 149 (July 2014): 192–98. http://dx.doi.org/10.1162/octo_a_00190.
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The groundbreaking career of Michael Asher, in all of its visual and conceptual diversity, following his death in October 2012, will have to be studied and remembered henceforth by means of published and unpublished documentation. Permanent works by Asher are few, and the installations he realized over a period of more than four decades were, with the occasional fortuitous exception, mainly conceived for temporary exhibitions. In all practicality and in light of ever-shifting institutional circumstances, it is difficult to foresee any re-creation of these exhibitions. Because of each work's attention to and interconnection with the specific circumstances of its site at any one time, the reconstruction of an exhibition remains unlikely.
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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.
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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
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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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Jacob, Christian J., Gerald Hushlak, Jeffrey E. Boyd, Paul Nuytten, Maxwell Sayles, and Marcin Pilat. "SwarmArt: Interactive Art from Swarm Intelligence." Leonardo 40, no. 3 (June 2007): 248–54. http://dx.doi.org/10.1162/leon.2007.40.3.248.
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Swarms of bees, colonies of ants, schools of fish, flocks of birds, and fireflies flashing synchronously are all examples of highly coordinated behaviors that emerge from collective, decentralized intelligence. Local interactions among a multitude of agents or “swarmettes” lead to a variety of dynamic patterns that may seem like choreographed movements of a meta-organism. This paper describes SwarmArt, a collaborative project between several computer scientists and an artist, which resulted in interactive installations that explore and incorporate basic mechanisms of swarm intelligence. The authors describe the scientific context of the artwork, how user interaction is provided through video surveillance technology, and how the swarm-based simulations were implemented at exhibitions and galleries.
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Boaden, Sue. "Art information networks in Asia and the Pacific." Art Libraries Journal 11, no. 4 (1986): 4–7. http://dx.doi.org/10.1017/s0307472200004855.
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As former colonial links and reliance on a technologically-developed ‘West’ recede into the past, Asian and Pacific countries, including Australia, are becoming increasingly aware of one another as neighbours. Circulation of exhibitions, artists’ visits, cultural festivals, government and UNESCO activities, and art publishing, provide a network for sharing art and art information between countries in this region. Among art libraries, those in Australia and New Zealand participate in the network represented by ARLIS/ANZ; the IFLA Section of Art Libraries and its global role offers scope for further developments. An Asian/Pacific ‘ARLIS’ is proposed.
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Fisher, Laura, and Gay McDonald. "From fluent to Culture Warriors: Curatorial trajectories for Indigenous Australian art overseas." Media International Australia 158, no. 1 (January 11, 2016): 69–79. http://dx.doi.org/10.1177/1329878x15622080.
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In recent decades, Indigenous artists have been strongly represented in exhibitions of Australian art offshore. This article explores two such exhibitions: fluent, staged at the Venice Biennale in 1997, and Culture Warriors, shown at the Katzen Arts Center at the American University in Washington, DC, in 2009. These exhibitions took place during an era in which issues around Indigenous rights and recognition were frequently the subject of domestic public debate and policy turmoil. They have also been significant staging posts on Indigenous Australian art’s trajectory towards contemporary fine art status – something that, while no longer questioned in Australia, continues to be precarious overseas. By considering how both political and aesthetic concerns were addressed by Indigenous curators Hetti Perkins and Brenda L. Croft, this discussion sheds light on the ways in which emergent political meanings associated with Indigeneity have driven new kinds of institutional practice and international cultural brokerage.
Dissertations / Theses on the topic "Installations (Art) Australia Exhibitions"
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Yamani, Jamil Art College of Fine Arts UNSW. "The glittering city: moving the moving image." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/40468.
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The project aims to produce an immersive video installation titled 'The Glittering City???. This project investigates contemporary cultural issues within the context of critical/specific geographical sites. These locations are the Australian coastal border, and a refugee camp near the Kenyan/Sudanese border, known as Kakuma. 'The Glittering City'is an installation that incorporates elements of video, sculpture, sound and electronics in a kinetic 2 channel immersive video and (multi-channel) audio installation. The key aims for the project are to raise awareness of the issues facing refugees and asylum seekers in relation to their sense of home. In order to accomplish this aim the research will extend upon prior research into embedded video sculptures. A subset of the key aim is to seek funding for the project. The installation is the third and final work from a trilogy of works that explores the themes journey, arrival and departure, respectively. The Glittering City is contextualised within four key areas inherent within the research practice. These key elements are 1. hybrid documentary art, 2. expanded cinema, 3. Technology and art, 4. culture and identity. Key outcomes of the research are the production and installation of The Glittering City at Campbelltown Arts Centre, May 2007. An educational program also took place at the Centre to raise awareness of the themes the installation poses. The production of a catalogue for The Glittering City is an important device for disseminating the core concepts. For the costs of making the multi-channel production, the project successfully sought grant funding from Arts NSW. This resulted in a grant through their Western Sydney I Artists' Fellowship program. The Glittering City used further funding from the Campbelltown Arts Centre to cover catalogue production, invitation design, mail out and installation costs.
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Martin, Jacques. "Lieu commun." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1991. http://theses.uqac.ca.
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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1991.Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU
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Dulude, Marc. "Fantasme de calvitie." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.
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Collins, Curtis J. 1962. "Sites of Aboriginal difference : a perspective on installation art in Canada." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38172.
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This dissertation traces the presence of installation-based practices among artists of Aboriginal ancestry via selected exhibitions across Canada. It begins with a methodological perspective on Canadian art history, federal law, and human science, as a means of establishing a contextual backdrop for the art under consideration. The rise of an Indian empowerment movement during the twentieth century is then shown to take on an international voice which had cultural ramifications at the 1967 Canadian International and Universal Exhibition. Nascent signs of a multi-mediatic aesthetic are distinguished in selected works in Canadian Indian Art '74, as well as through Native-run visual arts programs. First Nations art history is charted via new Canadian art narratives starting in the early 1970s, followed by the development of spatial productions and hybrid discourses in New Work By a New Generation in 1982, and Stardusters in 1986. The final chapter opens with a history of installation art since the Second World War, as related to the pronounced presence of multi-mediactic works in Beyond History in 1989. Post-colonial and postmodern theories are deployed to conclusively situate both the artistic and political concerns featured throughout this study, and lead into the analysis of selected installations at Indigena: Contemporary Native Perspectives and Land, Spirit, Power: First Nations at the National Gallery of Canada. These 1992 shows in the national capital region ultimately confirm the maturation of a particular socio-political aesthetic that tested issues of Canadian identity, while signifying Aboriginal sites of difference.
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Espezel, Amanda. "Working from the body : subjectivity and the artistic process." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2011, 2011. http://hdl.handle.net/10133/3246.
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This paper is about the subjectivity of the body, and what this means in terms of my artistic practice. Composed in two sections, the first section addresses issues of personal history as content, the use of language in relationship to visual art, and experimental language as a tool to communicate visceral knowledge. I discuss the feminist critique of cultural, artistic and academic hierarchies, and explore how these themes inform my work.
The second section examines the body of work I have developed within the MFA program. I explain the artists who have influenced my development, and give specific examples, whenever possible, of formal and conceptual influences. I use images of my own paintings, studio, and exhibitions to illustrate the progression of my practice. In conclusion, I contemplate the upcoming thesis exhibition, and explain my intentions regarding its completion.vi, 56 leaves : col. ill. ; 29 cm
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Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.
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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.
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Wise, Gianni Ian Media Arts College of Fine Arts UNSW. "Scenario House." Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.
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Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.
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Croft, Pamela Joy, and n/a. "ARTSongs: The Soul Beneath My Skin." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030807.124830.
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This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.
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Harris, Jennifer Anne. "The formation of the Japanese Art Collection at the Art Gallery of South Australia 1904-1940 : tangible evidence of Bunmei Kaika." Thesis, 2012. http://hdl.handle.net/2440/84054.
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The momentous signing of the Treaty of Kanagawa in 1854 marked the turning point to end Japan’s long seclusion from the West. Its subsequent ‘opening’ unveiled the refreshingly different aesthetic canon of Japanese art which was enthusiastically hailed by nineteenth century Western artists and designers. As a much sought after commodity, Japanese art was collected in unprecedented quantities throughout Europe, the British Empire and the United States. The mania for things Japanese also reached the far-flung colonies in Australia and New Zealand. This phenomenon, referred to in the English-speaking world as ‘Mikado Mania’ or the ‘Cult of Japan’, coincided with the establishment of public museums, the proliferation of international exhibitions and ease of global travel. These innovations fostered and facilitated the formation of Japanese art collections internationally. A survey of Australian and New Zealand collections and a particular examination of the Art Gallery of South Australia’s collection formed between the years 1904-1940 reveal the circumstances and personalities that shaped the nature and content of the collections. It is argued in this thesis that while nascent colonial public museums and private collectors such as those in South Australia were guided by British tastes, the genesis of which predated the nineteenth century ‘opening’ of Japan, the collecting of Japanese art in nineteenth-century Australia and New Zealand served as a signifier of international discourse and modernity. For Japan, its art became a tool to fend off foreign hegemony. Driven by the slogan bunmei kaika ‘civilisation and enlightenment’, Japan throughout the Meiji era (1868-1912) exploited the mania for its art in order to achieve status and recognition as a world power. It will be further argued that the spirit of bunmei kaika also encapsulated the cultural aspirations of the fledgling colonies in Australia and New Zealand which, by the late nineteenth century, were endeavouring to articulate their own ‘civilisation and enlightenment’ within the British Empire. Through their efforts to advance onto the world stage, the Australian colonies played a significant, though unrecognised role in Japan’s experimentation and investment in its self-promotion as a civilised country. The cause and effect of measures undertaken by the Japanese government to achieve bunmei kaika through the applied arts of ceramics, metalware, ivories and lacquer can be directly demonstrated through the very objects collected in South Australia and the other colonies. A study of their intrinsic qualities and provenance provides tangible evidence of Japan’s strategic efforts to advance its national identity through art. It also serves to shed light on the curatorial expertise and connoisseurship being exercised at the time by colonial museums and collectors. Japanese objects acquired during the formative period of Australian and New Zealand museums have long been ignored or dismissed as hybridised and inauthentic. Recently their technological ingenuity and cross-cultural aesthetic have been more generously acknowledged. They are the beacons of Japan’s quest for ‘civilisation and enlightenment’.Thesis (Ph.D.) -- University of Adelaide, School of History & Politics, 2012
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Compagnoni, Melissa. "Shifting the boundaries between science and art : a case study of an exhibition of science and art." Thesis, 2000. http://hdl.handle.net/1885/147931.
Full textBooks on the topic "Installations (Art) Australia Exhibitions"
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1950-, Desmond Michael, and National Gallery of Australia, eds. Islands: Contemporary installations from Australia, Asia, Europe and America. Canberra: National Gallery of Australia, 1996.
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Jubelin, Narelle. Narelle Jubelin: Soft shoulder : the Renaissance Society at the University of Chicago, May 4, 1994-June 26, 1994, Grey Art Gallery & Study Center, New York University, January 20, 1995-February 28, 1995. [Chicago]: Renaissance Society at the University of Chicago, 1994.
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Daniels, Dolly Nampijinpa. Ngurra (camp/home/country): Dolly Nampijinpa Daniels and Anne Mosey : University of South Australia Art Museum, 24 February-26 March 1994. Underdale, SA: The Museum, 1994.
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Lynn, Victoria. Double take: Anne Landa Award for video & new media arts 2009. Edited by Art Gallery of New South Wales. Sydney: Art Gallery of New South Wales, 2009.
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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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Monika, Szewczyk, and Kalmár Stefan, eds. Meaning Liam Gillick. Cambridge, MA: MIT Press, 2009.
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(Gallery), Tate Modern, Collection Lambert (Avignon France), and Whitney Museum of American Art., eds. Roni Horn aka Roni Horn: Catalogue. New York: Whitney Museum of American Art, 2009.
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Susana, Solano. Susana Solano: Muecas : dibuixos, escultures, fotografies, install̃acions. Barcelona: Museu d'Art Contemporani de Barcelona, 1999.
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Upton, Barbara London. Video spaces: Eight installations. New York: Museum of Modern Art, 1995.
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Tatham, Joanne. Herion kills. Glasgow: Tramway, 2003.
Find full textBook chapters on the topic "Installations (Art) Australia Exhibitions"
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Gorchakova, Valentina. "Event Portfolios and Cultural Exhibitions in Canberra and Melbourne." In Event Portfolio Management. Goodfellow Publishers, 2019. http://dx.doi.org/10.23912/978-1-911396-91-8-4204.
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The sustainable development of an event portfolio requires a synergy between the different types of events included in it. The pool of events that are commonly used by city event planners and destination marketers usually revolve around major sport events, cultural festivals and celebrations, and world trade expositions. Some cities, however, also attract and stage international touring exhibitions that bring together a collection of rare art works, significant cultural objects, or memorabilia to tour a limited number of destinations. In this chapter, major events such as international touring exhibitions will be explored as key components of portfolios of events in Canberra and Melbourne. The chapter discusses the different ways event and tourism planners in Canberra and Melbourne have been approaching major touring exhibitions, and the specific roles these events can play in delivering a balanced and successful portfolio. It will be demonstrated that the decision making around events and event portfolio composition needs to be considered within a wider context, in the light of the city’s geography and demographics, as well as political, social and cultural factors. An exploratory qualitative research was conducted in Canberra and Melbourne, Australia. The primary data was collected from 12 semi-structured interviews with managers and executives in tourism and major events planning in both cities, as well as managers and curators of the cultural institutions that had hosted major touring exhibitions. The secondary data included a range of documents pertinent to the cities’ tourism and major events policy and strategy, existing research about touring exhibitions, and websites and articles in the mass media. In the chapter, examples of past major exhibitions are given.
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Davalos, Karen Mary. "Festival de las Calaveras and Somatic Emplacement in Minnesota." In Building Sustainable Worlds, 161–81. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044540.003.0010.
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This chapter examines El Festival de las Calaveras for its ability to create belonging in Minnesota. Produced by Tlalnepantla Arts, an arts collective lead by Deborah Ramos, El Festival de las Calaveras includes a community-wide commemoration, musical performances, and exhibitions with visual art and ofrenda-installations for the dead. These events enunciate Latina/o/x placemaking, a spatial reconstitution of belonging which I term emplacement, and offer a place in which Latinx residents feel in their bodies that they belong. Through the body, or soma, Latinx residences experience temporary but significant connections to each other and the places they call home. Using Chicana feminist autoethnography, the chapter documents the author’s somatic emplacement and emergent sense of latinidad in the Twin Cities, an urban environment in which Latinx residents lack demographic majority. Somatic emplacement offers sustainable methods of social belonging that preceded physical markers, territorial locations, or civic entrenchment. Creating a sense of belonging that is embodied and not dependent on the land mitigates settler colonial logics.
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Bruzelius, Caroline. "The Digital Revolution and Modeling Time and Change in Historic Buildings and Cities." In Digital Cities, 62–71. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190498900.003.0004.
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Digital technologies can transform the ways in which we can represent time and change in historical monuments as well as in cities. This chapter describes a collaborative, international, and multi-faceted initiative, Visualizing Venice, that was begun in 2010 as a joint venture between three universities: the department of Art, Art History and Visual Studies at Duke University, the department of architectural history at IUAV, Venice, and the department of architecture and engineering at the University of Padua. From the outset, our initiative has had three equally important components: representing growth and change in buildings and cities through three-dimensional modeling, mapping, and visualization, creating public-facing websites, installations and exhibitions, and training of students at all levels and recent post-docs with the capacities of new media for the exploration of fundamental questions that concern urban spaces and their monuments. As a consortium of individuals, institutions and disciplines that range from architectural design to new media and to urban and architectural history, Visualizing Venice explores the transformative potential of digital technologies for research on and analyses of cities, utilizing the rich archival documentation of the city of Venice as a point of departure for specific case studies. In particular, this chapter focuses on the capacities of digital technologies to model and represent process and time in the creation of historic spaces and the role of Visualizing Venice as a pioneer in collaborative work in these areas.
Conference papers on the topic "Installations (Art) Australia Exhibitions"
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Chun Wai, Wilson Yeung, and Estefanía Salas Llopis. "THE SPACE BETWEEN US." In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.
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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.
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Skoczylas, Paul. "Update of Field Experience with Hydraulically Regulated Progressing Cavity Pumps." In SPE Artificial Lift Conference and Exhibition - Americas. SPE, 2022. http://dx.doi.org/10.2118/209764-ms.
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Abstract The patented hydraulically regulated progressing cavity pump (HRPCP) has been tested previously in the oilfield, but its range of application is being expanded. The HRPCP can be used in any well where a PCP would be installed and provides added protection in cases where significant free gas may be present. It is as effective as a standard PCP in pumping high viscosity fluids or fluids with high solids content, or both. It retains its effectiveness as a pump even when no gas is present, although its primary benefit is the increase in PCP run-life when there is free gas present at the pump intake. The present study is to evaluate the performance of the HRPCP in new applications around the world. Previous publications on the HRPCP have looked at installations in Argentina, Venezuela, and Kuwait. There are now installations in coal seam gas (CSG) in Queensland, Australia, gassy oil wells in Colombia, and heavy oil wells in the Lloydminster area of Canada, and in wells in the newer operations in the Clearwater formation near Slave Lake in Alberta, Canada. In Canada in particular, there have been 27 installations in thirteen fields by six oil companies at the time this paper was prepared. In Colombia, the HRPCPs were installed in new wells that were expected to produce high gas volumes while still producing some sand. In the Australian CSG wells, operators wanted to land the pumps higher in the well to avoid solids problems, knowing that this would result in higher gas volume fraction at the pump intake, so the HRPCP was chosen. In the Canadian heavy oil areas, there can be a higher GOR in many wells than there was in the past, so the gas fraction at the pump intake can now be a larger factor in PCP run-life than in the past. In some of the Canadian wells, the performance data of the previous installation is available for a direct comparison. Overall, the run-life of the HRPCP has been excellent in comparison to either expectations or to the run-life of previous PCPs in the same wells or fields. In one example well, the previous PCP suffered a significant drop in efficiency (from 60% to 10%) after 90 days. The HRPCP that followed it has been running at 70% efficiency for over 180 days (and still going). In Colombia, the operator saw reduced load on the pump due to the "gas lift" effect from the gas going through the pump and up the tubing, while exceeding expectations for run-life.
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Zhou, Jian. "Experience And Interaction - Application Of Audiovisual Synesthesia In Interactive Devices." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001939.
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Background: As material culture improves, people's need for spiritual culture becomes more and more urgent. Art exhibitions are an important way for the public to participate and absorb cultural and spiritual nutrients, and the interactive installation works in the exhibition are a favorable form of creation that can bring the audience closer to the works. However, the diversity of audiences and the varying degrees of professional inculcation have led to some audiences being turned away. This situation extent an obstacle to the dissemination and development of the arts.Aims: The interactive installation removes the distance between the audience and the artworks, enhances the interactivity and experience between the audience and the artworks, and diversifies the exhibition format and enriches the visual language.Method:Through the variety of exhibition displays, new forms of artistic expression are discussed. Specifically, the phenomenon of audiovisual association and the correlation characteristics that exist between audiovisual factors are studied, key influencing factors are extracted and applied to the creation of interactive installation artworks, opening up the way of perception for the audience to recognize the works through multiple channels.Consequence:Through the creation of the experimental works, it was found that there is a cross-correlation between the sound and the visual presentation in the interactive installation; secondly, the audience is transformed from a single spectator to a participant. Compared to static installations or sculptures, interactive installations with audio-visual associations have unparalleled advantages in terms of creative dimension and cognitive engagement with the work.Keywords: audiovisual synesthesia、 interactive artwork、 sound consciousness、experience、exhibition
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Gedge, Benjamin, Cao Binh, Trinh Vuong, Nguyen Hai, Norman Yaw, Jeff Mardon, Herbert Frohlich, Neil Gooding, and Helio Santos. "Complete MPD Rig: Time for Jack-Ups Now." In IADC/SPE Asia Pacific Drilling Technology Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/209890-ms.
Full textAbstract:
Abstract Four years ago (IADC/SPE-191099) the move was clear on floating rigs​; to have them fully equipped with a Complete MPD package, the economic justification was very strong. Currently, there are around 20 floating rigs with a Complete MPD package, permanently installed. For Jack-Ups, however, the same move started only recently, with a few rigs now equipped with a Complete MPD package, using the same philosophy applied to a floating rig. The paper initially describes the success obtained by the Complete MPD​ floating rigs, not only from an economic, but also from a technical point of view, with operations in Australia, Brazil and the Gulf of Mexico. Having the MPD package permanently installed and ready to use, operators are now deploying MPD for the total well construction process, with a rig crew competent in running the MPD system, from spud to the T.D. of the well. This includes running casing/liner, cementing and, also, completions. The paper outlines the benefits and advantages for both the operators and drilling contractors, showing they are significant. Companies are taking advantage of having the MPD system on the rig and being able to maximise the full benefits. With all the success seen on floating rigs​, operators start​ed to realize the benefits of using the same approach for Jack-Ups, building on previous experience with temporary MPD installations on Jack-Ups, ​learning from what worked and what did not work. The paper de​scribes the recent Complete MPD Jack-Up installation in Norway ​(implemented under the new MPD NORSOK requirements, which made it even more challenging​), the success achieved with the first wells drilled, and how the economics will work for the Jack-Up market, in the same way it works for the floater market. The technical benefits are the same, as the system used on the Jack-Up is equivalent and has the same features of the systems used on the floating rigs. The paper finally addresses the Asia Pacific market, which is dominated by Jack-Up rigs over floaters. The economic, technical, HSE and logistical benefits make it an appealing proposition to have a Complete MPD Jack-Up rig, and they are all discussed in detail. An example is used with a Jack-Up operating in the region, clearly demonstrating its similarity to a floating rig when adopting the same Complete MPD Rig approach.
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Carragher, Paul, Jeff Fulks, and David Mason. "Status of Meltable Plug Technology Applications in the Drilling Process." In IADC/SPE International Drilling Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/208719-ms.
Full textAbstract:
Abstract Meltable plug technology has a range of potential applications in the drilling process and is being more widely used. With over 250 jobs done to date, a variety of applications are being identified and being applied. This paper seeks to update the main areas of application to date. Bismuth alloy technology is now becoming standard technology as over 250 installations demonstrate that this is very much field proven. From onshore to deepwater environments, from drilling to completions and interventions applications through to abandonment operations, from 2″ to 28″ diameter and from 4 degC to 150 degC plug setting depth conditions, in wellbores with deviations up to 83 degrees, the technology has a wide operating envelope. Different alloy compositions are used according to the downhole conditions. In drilling a well, problems can be encountered in achieving good cement isolation from production intervals or from gas pressure in annuli. Furthermore, casing leaks can emerge and pose well integrity problems. In completing and producing a well, particularly over time, packers can leak, water cuts can increase and zonal isolations be required. This can be particularly challenging in sand control completions. Abandonment operations can be simplified and reduced in time and cost using this system. Meltable plug technology, while not a panacea for all ills, nonetheless can remediate many of these challenges. Four operators in the US have run 63 thermally deformable annulus packers in wells, then – when gas pressure developed in an annulus, activated the bismuth alloy based thermally deformable annulus packer and immediately isolated the leak. Operators have remediated poor annular cement jobs with bismuth alloy plugs. Recently, one leaking packer has been remediated using this technology, more are planned in coming months. Zonal isolations in openhole gravel pack wells using bismuth alloy plug technology have been done in several deepwater wells with good production results and more are planned. A meltable plug successfully isolated a water producing interval in a slotted liner completion with a void annulus. Abandonments have been done in many wells, with a significant program of work in the Valhall field offshore Norway playing a key part in successfully abandoning 30 wells, reducing HSE risks, time and costs. A similar program in Australia abandoning 30 wells with 55 plugs has been similarly successful and more abandonments using these techniques are planned. In addition, some wells offshore California have been abandoned using these techniques. This paper will effectively provide an updated status on the technology across the lifecycle of a well and potential future usage areas.