Academic literature on the topic 'Performance and Installation Art'
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Journal articles on the topic "Performance and Installation Art"
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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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Yang, Dong, Kun Yuan, and Xiao Dong Liu. "Thinking Development of Fiber Art due to Installation Art." Advanced Materials Research 332-334 (September 2011): 1223–26. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.1223.
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Although installation art and fiber art are two different modern art categories, as they are both based on sculpt of materials instead of portray, they are usually connected together. With consideration on design, existence form and material concept of installation art, this paper discusses the expansion and performance of these methods in fiber art creation.
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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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John Charles Ryan. "Plant-Art: The Virtual and the Vegetal in Contemporary Performance and Installation Art." Resilience: A Journal of the Environmental Humanities 2, no. 3 (2015): 40. http://dx.doi.org/10.5250/resilience.2.3.0040.
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REBELO, PEDRO. "Performing space." Organised Sound 8, no. 2 (August 2003): 181–86. http://dx.doi.org/10.1017/s1355771803000086.
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This article discusses how the notion of performance provides impetus for the design of interactive digital environments. These environments can ultimately be regarded as user-spaces; a condition which replaces the ‘fixed’ art-object with a configuration of interactions. Our understanding of space, as suggested by Lefevbre (2001), defines the ‘inhabitant’ as a full participant, a user, a performer of space. What is at play when the installation artist designs environments that invite performative exploration? The issue of improvised performance in the inhabiting of installation spaces is exposed. Two interactive installations by the author and works by others in the field provide a context for discussion and analysis.
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ARFARA, KATIA. "Denaturalizing Time: On Kris Verdonck's Performative Installation End." Theatre Research International 39, no. 1 (February 10, 2014): 47–56. http://dx.doi.org/10.1017/s0307883313000540.
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Originating from the avant-garde's attempt to supplant the structural limitations of perspective which ‘bound the spectator to a single point of view’, installation art emerged during the 1960s and the 1970s as a critique of the pure, self-referential work of art. Belgian artist Kris Verdonck integrates that modernist debate into his hybrid practice of performative installation. Trained in visual arts, architecture and theatre, Verdonck uses sophisticated technological devices in order to blur binary distinctions such as time- and space-art, inanimate and animate figures, and immateriality and materiality. This study focuses on End (Brussels 2008), which shows the possible final stages of a human society in ten scenes. I analyse End as an echo of the Futurists’ performance tactics, which prefigured a broadening of the formal aesthetic boundaries of performance art under the major influence of Henri Bergson's theory of time.
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Giunta, Andrea. "Archives, Performance, and Resistance in Uruguayan Art Under Dictatorship." Representations 136, no. 1 (2016): 36–53. http://dx.doi.org/10.1525/rep.2016.136.1.36.
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Hartblay, Cassandra. "This is not thick description: Conceptual art installation as ethnographic process." Ethnography 19, no. 2 (August 21, 2017): 153–82. http://dx.doi.org/10.1177/1466138117726191.
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What happens when an ethnographer takes up the idiom of contemporary art installation to explore an ethnographic problem? Building on performance ethnography as developed by Dwight Conquergood and D. Soyini Madison, in which the research process itself is cultural performance, this article describes a methodological innovation that encourages a rethinking of ethnographic outputs. Contemporary art installation is generative as well as representational, and challenges ethnographers to think by doing. This article describes one such project to show that while a minimalist installation aesthetic does not on the surface constitute ‘thick description’ in the Geertzian sense, it can be a generative part of a dialogic practice of ethnographic knowledge production. Integrating the interpretive tradition with feminist disability studies, my argument is that art installation offers a possible mode for ethnographers to work through ideas, solicit participation from academic audiences and research participants, create semiotic relationships, and come to know by doing.
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Zemel, Carol. "In the Mosaic: Jewish Identities in Canadian Performance and Installation Art." Canadian Theatre Review 153 (January 2013): 13–19. http://dx.doi.org/10.3138/ctr.153.003.
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Zemel, Carol. "In the Mosaic: Jewish Identities in Canadian Performance and Installation Art." Canadian Theatre Review 153, no. 1 (2013): 13–19. http://dx.doi.org/10.1353/ctr.2013.0008.
Full textDissertations / Theses on the topic "Performance and Installation Art"
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Bacon, Julie. "La performance-installation et les relations d'acte-archivage." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2001. http://theses.uqac.ca.
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Lough, Alex Joseph. "Sonic Activation: a Multimedia Performance-Installation." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2632.
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Sonic Activation is a multimedia performance-installation featuring sound sculptures, video projections, and performance with live electronics for solo and mixed ensembles. The work aims to unpack the nature in which we hear and interact with sound, space, and gesture. It is a project that recontextualizes the typical practice of performance and installation modes of music and art. The event uses 12 loudspeakers spaced around a gallery to create a densely layered sonic atmosphere that gently fluctuates and slowly evolves. Throughout the event, the audience is encouraged to freely navigate the gallery and experience the subtle changes in sound as they manifest in the space.
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Leong, Sau Mun Dawn-joy. "Scheherazade's sea: a mixed media, multi-sensory installation and performance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B47295909.
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Scheherazade’s Sea is an interdisciplinary creative work, which brings together
music, visual art, literary text, digital media, and performance art. Interdisciplinary
creativity has existed for centuries in history. In fact, the ancients of different
civilisations viewed the disciplines of science and art as inseparable. The late
nineteenth century and early twentieth century saw a resurgence of interdisciplinary
interest in the form of artistic collaborations among proponents of the different arts
forms, mainly music, visual art, theatre and dance. Today, this coalescence now
includes digital and electronic media. However, such works focus mainly on the
more dominant distal senses of sight and sound and fail to consider the
multimodality of natural sensory perception in the experience of art, and many of
these works are performed in settings where artists are separated from audience by
physical and psychological barriers. In Scheherazade’s Sea, I shall address the
limitations of prevalent approaches, by including the proximal senses, removing the
traditional physical barriers and encouraging audience participation.
On another level, Scheherazade’s Sea serves as a vehicle for exploration and
reflection of the inherent sensory and cognitive peculiarities associated with
Asperger’s Syndrome, and their possible influences upon creativity and artistic
expression. Sensory and cognitive idiosyncrasy is a common feature in Asperger’s
Syndrome. Individuals suffer from extremes of either heightened sensitivity or low
arousal to external sensory stimuli, and their innate cognitive patterns differ from that
of the typical majority. As a result, the sensory and cognitive world of a person with
Autistic Spectrum Disorder can be fragmented, disjointed and confusing. While there
exists substantial literature about famous artists with Asperger’s Syndrome and
various aspects of their creativity, there is, to date, limited documentation from the
perspective of the artist with Asperger’s Syndrome, using an original
interdisciplinary work to illustrate the possible ways in which sensory and cognitive
differences may affect and influence creative choices and outcomes. By charting and
examining the features and various processes in the creation of Scheherazade’s Sea, I
hope to discover and contribute more insights into this area of interdisciplinary study.
The purpose of this examination is not to add to the already vast body of
programmes aimed at social rehabilitation and adaptation to the neurotypical world,
but rather to open more avenues for the identification and development of innate
abilities in autistic individuals. My intention is not to ‘fix what is broken’, but to
discover and empower beauty in the unusual and the different.published_or_final_version
Music
Master
Master of Philosophy
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Sadeghi, Seyedeh Tara. "De la violence dans l'art contemporain à partir des oeuvres de Valie Export, Marie-Jo Lafontaine, Ana Mendieta et quelques autres." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0670.
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A partir des réflexions plastiques, cette recherche vise à étudier des liens entre la violence et l’art contemporain. La violence s’inscrit dans différentes perspectives. Elle est d’abord une force physique qui génère un certain nombre d’effets tangibles. Ensuite elle est un concept qui permet aux philosophes, psychologues, écrivains et artistes d'explorer un vaste champ de recherche dans leurs domaines. La première partie va étudier l’histoire de l’art visuel du XIe siècle à nos jours et ensuite porte un regard sur l'art figuratif en Iran, La deuxième partie vise à étudier l’usage du corps dans l’art contemporain, notamment dans l'installation, en tant que sujet de violence physique, en nous basant sur les faits historiques et psychologiques. La troisième partie, consacrée à la performance, permettra d’analyser des représentations d’actes violents dans les œuvres d’artistes femmes en particulier, et révèlera le rôle essentiel de la violence sur nos concepts visuels. Ensuite, dans la dernière partie, qui traite de l'art vidéographique, nous examinerons les vidéos dont la violence est vue comme une action permanente qui, de plus, portent une réflexion sur les artistes et nous permet de s’intéresser à des œuvres plus récentesFrom the plastic reflections, this research aims to study links between violence and contemporary art. Violence has different perspectives. It is primarily a physical force that generates numbers of tangible effects. Then it is a concept that allows philosophers, psychologists, writers and artists to explore a vast field of research in their domain.The first part is going to study the history of visual art from the XIth century to our days and then take a look at the figurative art in Iran. The second part aims to study the use of the body in contemporary art, especially in installation, as the subject of physical violence based on historical and psychological facts. The tird part, dedicated to performance, will analyze representations of violent acts in artistical works and reveals the essential role of violence on our visual concepts. Then, in the last part, which speak about video art, we will examine videos where the violence is a permanent action that, moreover, reflect on the artists and allows us to take an interest in more recent works
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Tanoai, Tuafale. "Story telling as koha consolidating community memories : [an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design, 2009] /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/783.
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This project will explore a fusion of Tangata Whenua and Pacific perspectives within a performance installation framework. I intend to juxtapose community narratives within a video art form. I will explore the recording and transmitting of indigenous stories and will create contemporary narratives linking the past to the present. Working within my communities, (Tangata Whenua1, Pacific2, artists from different disciplines, LGBT3, and extensive friends networks), this project will investigate aspects of performance installation using live sets amid recordings of conversations and develop an interviewing practice. The performances are temporary and the devices ad-hoc.
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Haute, Lucile. "Performer dans les environnements mixtes : Actualisation de l'espace programmé." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2197/document.
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Les environnements mixtes sont des dispositifs, des mises en scène, des installations, hybridant tangible et numérique, espace physique et espace informationnel ou fictionnel. Ces environnements permettent à leurs expérimentateurs d’être simultanément ici et maintenant et liés à un ailleurs ou une autre temporalité. Ils peuvent emprunter à la magie du spectacle autant qu’aux technologies de l’ingénieur. Ils rejoignent la performance lorsqu’ils permettent de créer ou de donner accès à d’autres mondes. Ces mondes peuvent être des plateformes 3D ou des fictions. Les environnements mixtes relèvent d’enjeux moins spectaculaires que performatifs, fictionnels et plastiques. Les dimensions techniques, qu’il s’agisse de technologies numériques, de mise en forme cérémonielle ou scénographique, rejoignent les enjeux plastiques. Faire performance dans de tels environnements, c’est rechercher, permettre ou provoquer des états de corps conjoncturels, relatifs au contexte spécifique d’une démonstration. Cette thèse a également pour objet de rendre compte, en dehors du temps de leur présentation publique, de ces formes invitant à des expérimentations multiples et singulières et également des différentes explorations, celles de performers et d’expérimentateursMixed environments are devices, stagings, installations, which hybridize what is tangible and what is digital, physical space and informational or fictional space. These environments allow for their experimenters to be here and now, but also simultaneously linked to an elsewhere or to another temporality. They borrow as much from the magic of the spectacle as from the engineer’s technologies. When they allow to create or to give access to other worlds, they join with performance. These worlds can be 3D platforms or fictions. Mixed environments are defined less by spectacular issues than by performative, fictional and plastic ones. The technical dimensions, be they digital technologies, the ceremonial formatting or stage design, join with the plastic dimensions. To perform in these environments is to search for, allow or provoke temporary states of the body that are related to the specific context of a demonstration. Aside from their public presentation, this dissertation work will also address these forms, which invite to multiple and singular experimentations, as well as the different ways they are explored, by the performers or by the experimenters
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pettersson, pontus. "an ecology of things/thinking." Thesis, Konstfack, Institutionen för Konst (K), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6254.
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An ecology of things/thinking is a textual work, a document of my thinking and the things Ihave created during my master studies in fine arts at Konstfack. As the title and word suggests‘ecology’, it is a material practice. I have called it a choreographic step entering thiseducation. With several motives and desires and with a ten-year background in dance andchoreography, the main thread has been to look into the object and installation work I havebeen doing. in which objects, clothes and larger sculptures have been ways for me tounderstand choreography not only entangled in dance but in everything. Concepts/words likehospitality, temporality and context are reoccurring topics of my inquiries, as I understand thehuman with great plastic qualities and potential. In my work I always need to consider thecontext, pre-conditions and conditions for a dance to emerge.I see the body as both reading and writing machine, we cannot only producetext, dance and objects, but we also read and write the movement in between things, the largerchoreography and the interwoven parts. Doing dance and choreography, my artistic practiceblends these notions in both making objects or exhibitions, dancing for others or myself,writing poetry and curating events. For my master studies I needed to leave the morespectacle-like parts of dance and performance out of my palette of expressions. I wanted to letthe objects and installation work have more agency, still working with choreography. Thesituation/context – Konstfack became my field of study and from where I could speak/createfrom.
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Oen, Karin Grace. "Admonition and the academy : installation, video, and performance art in Reform Era China." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77871.
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Thesis (Ph. D. in History, Theory, and Criticism of Art and Architecture)--Massachusetts Institute of Technology, Dept. of Architecture, 2012.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 201-214).
China's Reform Era (1978-present) has seen the reinvigoration of academic, and artistic practice, and a rapprochement between the Chinese Communist Party and the intellectual elite. At its beginnings in the early- to mid-1980s the new availability of foreign texts and media led to Culture Fever, a widespread phenomenon throughout the intellectual and artistic spheres characterized by enthusiasm for the philosophy, literature, and art of the West and pre-Communist China and the simultaneous uptake of discrete Western and Confucian philosophies. These discussions often addressed modernity and modernism in China, a crucial homology to early twentieth century Chinese negotiations in literature and the arts and the development of an amalgamated "Chinese modernism" comprised of elements of both Confucian and Western philosophy and aesthetics. As this dissertation argues, key early experimental works of the Reform Era by Zhang Peili, Wu Shanzhuan, and Zhang Huan reveal a proclivity for subtle and indirect admonitory messages about China's socio-political climate - a contemporary inhabitation of the traditional elite scholar-artist and his obligation to criticize immoral or unjust policies or actions. This admonitory practice was built by artists educated in elite academies (specifically, the Central Academy of Fine Art in Beijing and the Zhejiang Academy of Fine Art in Hangzhou) yet utilized completely new and non-academic media. What this thesis terms as an "art of admonition" utilized traditional tropes, including direct remonstrations of officials, withdrawal from official life in protest, and the concept of the "middle hermit" - a scholar who admonishes official policy subtly and indirectly. The experimental practices of artists after their graduation from elite academies stemmed from the extra-curricular resources made available to them, especially the schools' libraries. The connection of these unofficial works to the official academies, their validation by art market success, and the subsequent official endorsement accorded to these and other artists in the later Reform Era blurs the distinctions between official and unofficial artistic practice in China, suggesting a strong endorsement of the dissident artist's role as "middle hermit."
by Karin Grace Oen.
Ph.D.in History, Theory, and Criticism of Art and Architecture
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Hindman, Julie Lynn. "Shadow of a Memory." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1317.
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I have gained control over a whole space through the use of video projections, soundscaping and various other materials including some interactive media, enabling me to give the audience a fuller sensual experience. Multiâ€media has made it possible for artists such as myself to create artworks that require more than a visual conversation with the viewer. The manipulation of memory by time became a physical manifestation in the environments that I create with the use of multiâ€media installations.
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Holtsclaw, Anita. "To see and be seen : cinematic constructions of gender and spectatorship in contemporary screen-based art." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/76536/1/Anita_Holtsclaw_Thesis.pdf.
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To See and Be Seen: Cinematic Constructions of Gender and Spectatorship in Contemporary Screen-Based Art addresses how gendered representation can be structured within visual art practice through a series of creative moving-image works. Using the aesthetic language of French New Wave cinema as its primary point of departure, this research project investigates how gendered representations are constructed by cinematic language. In doing this, it proposes latent possibilities present within the dominant gaze created by patriarchal relations of power. This project, in a series of creative works, demonstrates how the 'masculine' authorial gaze is learnt culturally, and by examining the gendered syntax of film, reveals how this can be recontextualised by the female artist.
Books on the topic "Performance and Installation Art"
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Factory, Mattress, ed. Mattress Factory--installation and performance, 1982-1989. Pittsburgh, Pa: The Factory, 1991.
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Schmidt, Johann-Karl. Joan Jonas: Performance video installation, 1968-2000. Stuttgart: Galerie der Stadt Stuttgart, 2001.
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Nicky, Childs, and Walwin Jeni, eds. A split second of paradise: Live art, installation and performance. London: Rivers Oram Press, 1998.
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Celant, Germano. Marina Abramović: Public body : installation and objects, 1965-2001. Milano: Charta, 2001.
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Digital performance: A history of new media in theater, dance, performance art, and installation. Cambridge, Mass: MIT Press, 2007.
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Jochen Gerz: La chasse = The strip : Installation : 1986 Kunstraum München. München: Der Kunstraum, 1986.
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artist, Löbbert Maik 1958, Löbbert Dirk 1960 artist, and H2--Zentrum für Gegenwartskunst im Glaspalast, eds. Sculpture garden: Maik + Dirk Löbbert. Augsburg: H2 - Zentrum für Gegenwartskunst im Glaspalast, Kunstsammlungen und Museen Augsburg, 2013.
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Charette, Luc. Champ feutre = Field of velvet. Edited by Graff Terry, Clermont Ghislain, and Confederation Centre Art Gallery and Museum. Charlottetown, P.E.I: Confederation Centre Art Gallery & Museum, 1992.
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Tunga. [Caixa Tunga. São Paulo, SP: Cosac Naify, 2007.
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Mendes, Paulo. Vogue: The best of--. Porto: Mimesis, 2002.
Find full textBook chapters on the topic "Performance and Installation Art"
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Brost, Amy. "Reconciling Authenticity and Reenactment." In Cultural Inquiry, 183–92. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_19.
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Locating authenticity in artworks that are remade (all or in part) or re-performed over time presents a unique challenge for art conservators, whose activities have traditionally been oriented toward caring for the material aspects of art objects. The paper offers a brief overview of perspectives on authenticity and discusses various theoretical models that have been developed to conceptualize how media, installation, and performance artworks are displayed and cared for over time. These include the score/performance model, the concepts of autographicity and allographicity, the concept of iteration, and authenticity as a practice. The author proposes a theoretical model based on the ritual aspects of presenting artworks, arguing that authenticity, repetition, and community participation can be reconciled within a ritual context.
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Sokolove, Deborah. "Installation Art." In Encyclopedia of Sciences and Religions, 1060. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-1-4020-8265-8_200368.
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Bjørn, Pernille, Maria Menendez-Blanco, and Valeria Borsotti. "GRACE: Designing Sociomaterial Assemblages Unpacking Gender Equity in Computing." In Diversity in Computer Science, 57–76. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13314-5_6.
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AbstractThis chapter introduces GRACE, a FemTech sociomaterial assemblage that performs concerns related to equity in computing. GRACE is an interactive installation combining IoT, origami paper, and the history of computing performed at three events in Denmark, the USA, and France. Each event was designed to unpack equity in computing through different types of sociomaterial performances, while allowing us to collect data about the lived experiences of equity in computing. GRACE is both reconfigurable and relational. It is reconfigurable because GRACE is malleable and can take different forms (reaching out to people who are committed to the agenda as well as to people who are within the domain but not necessarily committed to the agenda) – even though its core remains the same. GRACE is relational because the nature of the installation emerges in use and thus is shaped by the relational connections created through specific use and people enacting the artefact. Through sociomaterial manifestations, GRACE seamlessly integrates the performance of equity in computing with data collection on equity in computing. We argue that designing GRACE as a sociomaterial assemblage allowed for long-term engagement with a gender-equity agenda across multiple diverse encounters and over several years.
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Hunter, Lynette. "Installation, Constellation." In Performance Studies, 141–55. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-46315-9_17.
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Vesanen, Teemu, Jari Shemeikka, Kostas Tsatsakis, Brian O’Regan, Andriy Hryshchenko, Eoin O’Leidhin, and Dominic O’Sullivan. "Digital Tools for HVAC-Design, Operation and Efficiency Management." In Innovative Tools and Methods Using BIM for an Efficient Renovation in Buildings, 63–73. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04670-4_5.
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AbstractThe project BIM4EEB aims also to develop digital tools to support the design, procurement, installation, post-renovation operation, user feedback and profiling of building automation systems for HVAC. This helps supporting decision making, interaction with tenants and owners during the design, construction, and post-renovation operation phases. The development of the tools will be underpinned by a sound methodological approach. Work will include considerations of interoperability with Smart City technology of automation systems for HVAC. Specific objectives will be related to the development of the following software tools: A software component supporting the automatic generation of the layout for control systems emphasising on user preferences and including constraint checking of BAC-topologies against selected building codes. Data and information stored in BIM models are used to generate the initial recommendations and constraints and to deliver the final installation instructions. A software component allowing the seamless specification and evaluation of user comfort and systems performance. The underpinning information model will merge data sources from BIM (dimensional data) and BAC (factual data). An energy-refurbishment assessment tool, for bridging the gap between commercial simulators and the BIM management system. A user-profiling component allowing to compare expectations of tenants and owners regarding comfort and systems’ performance against monitored parameters. The results of this software component can be used in the pre- and post-renovation phases to update the content of BIM systems and thus to improve their accuracy and to reduce efforts for data acquisition and verification.
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Flach, Sabine. "Moving is in Every Direction." In Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.
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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.
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Earnshaw, Rae. "Installation ArtWorks." In Art, Design and Technology: Collaboration and Implementation, 31–36. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58121-7_4.
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Caldarola, Elisa. "Improvisation and Installation Art." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 617–30. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-48.
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Sheldon, Julie. "Picturing the Installation Shot." In A Companion to Modern Art, 125–43. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118639948.ch7.
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Nathanson, Alex. "Sculpture and Installation." In A History of Solar Power Art and Design, 156–87. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003030683-8.
Full textConference papers on the topic "Performance and Installation Art"
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Ghahary, Amir, Mark Nazemi, and Diane Gromala. "Mount Qaf: A Multimedia Performance Installation Infusing Electronic Art and The Sonic and Visual A." In SA '11: SIGGRAPH Asia 2011. New York, NY, USA: ACM, 2011. http://dx.doi.org/10.1145/2077355.2425795.
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Hellum, Vidar, Anders Vaalandsmyr, Thomas Schonlau, Anette Heimdal, and Jawk Meijer. "Performance of PA6C Plastic Sheaves Used for Mooring Line Installation." In ASME 2022 41st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/omae2022-79057.
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Abstract Mooring lines are important components in floating offshore energy installations such as wind turbines and oil and gas vessels. Efficient installation of the mooring lines is important to reduce costly and energy consuming offshore operations. In the present paper investigations have been performed on the performance of sheaves made from Lamigamid® 319, which is a specific type of PA6C plastic. The sheaves are intended for subsea pull-in operations of mooring lines during mooring line installation. The sheaves are a vital component of a proposed installation system which could limit the time spent on subsea operations. Additionally, the low density of the material, the possibility of using it without bearings and using highly stressed sheaves makes it possible to reduce the necessary material for temporary equipment to a minimum. Initial Finite Element Analyses based on material models from tension tests showed that the designed sheaves would suffer large deformations when subject to the design loads. A full-scale test was performed to corroborate these results but during this test almost no permanent deformation was recorded on the sheave. Further, a test series with compression tests of different shaped samples were initiated. The first results from this test series showed a remarkable strength of the material in compression and raised several questions regarding models for predicting the behavior of Lamigamid® 319 during loading. Hence, further tests were done and modelling techniques for finding structural capacity are discussed.
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Rogers, A. J. "Non-Linear Methods for High Performance Distributed Optical-Fibre Sensing." In The European Conference on Lasers and Electro-Optics. Washington, D.C.: Optica Publishing Group, 1998. http://dx.doi.org/10.1364/cleo_europe.1998.cfd1.
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Optical fibres offer very special advantages for distributed sensing. They comprise a flexible, insulating, dielectric, minimally-intrusive, one-dimensional measurement medium for installation into critical structures. Examples of such structures are dams, bridges, pressure vessels, oil rigs, aerospace vehicles, mining installations and power system equipment.
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Morello, Sam, Thomas J. Dionise, and Thomas L. Mank. "Installation, startup and performance of a static var compensator for an electric arc furnace upgrade." In 2015 IEEE Industry Applications Society Annual Meeting. IEEE, 2015. http://dx.doi.org/10.1109/ias.2015.7356881.
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Etter, Robert J. "State of the Art - Cavitation Test Facilities and Experimental Methods." In SNAME 26th American Towing Tank Conference. SNAME, 2001. http://dx.doi.org/10.5957/attc-2001-016.
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Cavitation tunnels have played a critical role in the development of ships and other naval vehicles and the associated research applicable to the engineering of these vehicles. Particularly important has been the use of cavitation tunnels in the development of propulsion systems. The paper reviews some aspects of the historical development of the modern cavitation tunnel. It includes aspects of tunnel design such as size, speed, pressure range, acoustics, and materials. Model construction, installation, and instrumentation are discussed. Initially, the most innovative development occurred in 1895 with the invention of the cavitation tunnel by Sir Charles Parsons. More than 100 years later, the cavitation tunnel is still the key test facility used for cavitation research, test and evaluation. Technologies currently used for performance evaluation have changed greatly over those used only a decade or two ago. This has been in part due to incredible innovations in the area of instrumentation and digital electronics as well as the need to characterize modern propulsors in ways not previously required. The evolution of cavitation tunnel capabilities and the use of the tunnel in a large marine research, development, and design organization is largely reviewed by considering the various cavitation tunnels which have been constructed and utilized at the David Taylor Model Basin over several decades.
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Tang, Catherine, Ye Lin, Wei Jian Yeap, M. Zin Zulkifli, Suzanna Juyanty Bt M Jeffry, Nur’ain Minggu, Alvin, Zhi Siang Chin, Randy, Zheng Chen Kong, et al. "Holistic Performance Review of Through-Tubing Sand Screen as Remedial Sand Control: Best Practices and Lesson Learnt from Past Installations in Offshore East Malaysia Oil Fields." In ADIPEC. SPE, 2022. http://dx.doi.org/10.2118/211317-ms.
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Abstract Low oil prices, coupled with operational challenges in offshore environment due to COVID-19 restrictions, have driven oil and gas operators to implement low-cost technological solutions to optimize fields’ production. For mature oil fields in offshore East Malaysia, sand production has become one of the onerous challenges that requires this approach. Sand production is known to adversely affect the well deliverability and it also contributes to safety concerns due to surface flowline leak and equipment failure. Hence, it is of upmost importance for operators to address the sand production downhole. To achieve this, through-tubing sand screens (TTSS) installation is opted due to its ease of installation and low-cost slickline operation. Although there have been many TTSS installations to date, there is still limited understanding of the factors that affect TTSS lifespan, and this has led to frequent TTSS changeout. Based on the operator's experience, TTSS lifespan can vary significantly across different wells ranging from just a few days to years of production. To improve the understanding of TTSS performance with the aim to increase TTSS longevity, a comprehensive study on potential contributing factors has been conducted by analyzing the past TTSS installations. Over the years, there were more than 75 TTSS installations performed in oil fields offshore East Malaysia. Lookback analysis was conducted to evaluate the effectiveness of TTSS as remedial downhole sand control and investigate the factors affecting TTSS performance such as TTSS type, well production rates, TTSS deployment method, installation depth relative to perforation interval and well interruption frequency. Several criteria identified as the key performance indicators have been investigated to evaluate the performance of each TTSS installation, including the well flowing parameters, production uptime and sand production trend. Thorough study across different TTSS installations has concluded that TTSS lifespan varies according to well properties and well operating parameters. This paper presents best practices and lessons learnt from past installations to predict and improve the mean time between failures (MTBF) for TTSS. Case studies for several wells have been scrutinized to highlight the learnings for further enhancement of TTSS lifespan. Additionally, recommendations for further research and development of erosion resistant TTSS technology are also discussed.
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Poplin, James P., and Frank G. Bercha. "Arctic Offshore Escape, Evacuation, and Rescue Standards and Guidelines." In SNAME 9th International Conference and Exhibition on Performance of Ships and Structures in Ice. SNAME, 2010. http://dx.doi.org/10.5957/icetech-2010-108.
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Arctic Escape, Evacuation, and Rescue (EER) is receiving more attention with the current resurgence of interest in Arctic offshore hydrocarbon reserves, marine tourism and shortening marine transportation routes. Since 2000, Transport Canada supported the Arctic EER research project for which the second author’s company has been the lead contractor. The research conducted under this program resulted in the development of Canadian performance-based standards for offshore petroleum installations and a computer model capable of assessing the reliability and performance of EER processes. The ISO, under Working Group 8, developed a Final Draft International Standard addressing Arctic Offshore Structures which is expected to be published in late-2010. The Standard addresses design requirements and assessments for Arctic offshore structures used by the petroleum and natural gas industries worldwide to help ensure that appropriate reliability levels are achieved for manned and unmanned offshore structures, regardless of the type of structure. The EER provisions of the Standard are intended to promote the successful escape from the incident, subsequent evacuation from the installation (emergency or precautionary evacuation), and the ultimate rescue of installation personnel. The EER provisions are performance-based. The Standard specifies design requirements and also provides background to and guidance on the use of the document.
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Lim, Haw Keat, Bruce Hogg, Alberto Gil, Yong Wee Lee, Onur Ozen, Pontus Loviken, and Josselin Kherroubi. "Novel Deployment of Noninvasive Sensing Technology Improves Wellhead Installation." In SPE Annual Technical Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/210296-ms.
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Abstract Correct installation of the wellhead is crucial to drilling operations. As drilling activities come to involve increasingly critical and challenging operations, the demand for improved reliability, performance, and safety continues togrow. Hanger and packoff installations during well construction can be negatively affected by debris, misalignment, and stuck casing, either independently or in combination,leading to costly downtime. Currently, these installations are verified using manual methods (markings, visual inspections, and weight indications), posing a high potential risk for errorsas a result of human factors. The wellhead installation digital position sensing solution removes the human factor and provides assurance that the equipment is properly landed as designed. The wellhead installation digital position sensing solution is the industry’s first digital installation advisor that provides real-time feedback to improve the reliability of wellhead equipment installation. The core technology is a set of ultrasonic transducers working in pulse-echo mode that is mechanically mounted on the wellhead housing exterior. The ultrasonic pulses sent into the housing reflect against the internal components, providing a unique signature of the internal state of the housing using anonintrusive method. The reflected signals are digitally recorded and analyzed using a binary classification network that was trained through machine learning to confirm correct installations. The technology and algorithm were developed using extensive data collected through full-size prototype laboratory testing. A test fixture simulating a wellhead system was constructed to collect digitalsignatures of various scenarios of hanger landings and packoff settings at carefully controlled offsets from proper installations. The collected signatures were then used to train the binary classification network. The first field trial was performed on a modular compact wellhead system in collaboration with an operator in the Middle East. The digital position sensing solution performed robustly in the field with 93.5% accuracy during the hanger landing operation. The hardware prototype was deployed on two different rigs and successfully detected and confirmed the correct landing of wellhead components during all operations. The digital position sensing solution provides cost savings to operators by reducing equipment installation time, decreasing unplanned downtime, and reducing the potential for human error. It also provides operators and field service teams with greater confidence that the wellhead equipment has been properly installed.
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Tinnea, J. S. "Field Performance of Sprayed Zinc Cathodic Protection Anodes." In ITSC 1998, edited by Christian Coddet. ASM International, 1998. http://dx.doi.org/10.31399/asm.cp.itsc1998p0037.
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Abstract The corrosion of steel in the global reinforced concrete infrastructure is at epidemic proportions. The resulting damage is seen in highway bridges, apartments, paper mills and aquariums. In North America reinforcement corrosion in concrete bridges and parking garages generates cost estimates that range from $325 million to $1 billion per year.1 One anode material gaining acceptance is zinc thermal spray (TS) coating. Since the first installation in 1983, zinc TSCP systems have been applied to reinforced concrete bridges, docks, parking garages and even aquariums. This paper discusses the performance of field applications of zinc thermal spray coating CP systems. The systems discussed have sprayed surface areas ranging from 280m2 to 24,000m2 The installations are on major concrete structures. The performance of both galvanic and impressed current systems are discussed.
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Kovach, Forest, Gianni Moor, and Dominik Ortmann. "A state-of-the-art, flexible, easy-to-replace plug-type expansion joint for the Delaware Memorial Bridge." In IABSE Symposium, Prague 2022: Challenges for Existing and Oncoming Structures. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2022. http://dx.doi.org/10.2749/prague.2022.0250.
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<p>The modern flexible plug expansion joint, which uses a special polyurethane material rather than the asphaltic material traditionally used, has been developed to offer an optimal small-movement expansion joint solution, in many cases, to bridge construction and maintenance engineers. Its long- term performance is vastly superior to that of the asphaltic plug joint – thanks, for example, to its great strength and elasticity (with the material allowing 650% elongation before failure), its resistance to both very low and very high temperatures, and the special advantages it offers when used to replace old joints in existing structures with minimum impact on traffic. The expansion joint is described, in terms of properties, benefits and installation, with reference to an ongoing project to replace the expansion joints of the Delaware Memorial Bridge.</p>
Reports on the topic "Performance and Installation Art"
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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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Miller, James, John Vavrin, and Samuel Stidwell IV. Study of maintenance of High Performance Sustainable Buildings (HPSB). Engineer Research and Development Center (U.S.), March 2021. http://dx.doi.org/10.21079/11681/40080.
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A study was performed by the Energy Branch of the US Army Engineer Research and Development Center, Construction Engineering Research Laboratory, on behalf of the US Army Installation Management Command under the Installation Technology Transition Program. The focus of the study was related to maintainability and operability issues associated with High Performance Sustainable Buildings (HPSBs). This study was conducted primarily based on information gleaned from telephone and web conference discussions with installation Directorate of Public Works personnel including Operation and Maintenance (O&M) Chiefs, energy managers, maintenance supervisors, and maintenance technicians. Experiences with HPSBs varied from installation to installation. For example, some installations had very positive experiences with photovoltaic (PV) arrays while other sites questioned their practicality due to maintainability problems. One site noted that PV technologies are changing so rapidly that procuring spare/repair parts becomes difficult or impossible when vendors discontinue supporting their older technologies or manufacturers go out of business. Based on discussions with the installation O&M personnel, a table of pro and con recommendations for 25 technologies, which are commonly implemented on HPSBs, was prepared and is included in this report.
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Quinn, Meghan. Geotechnical effects on fiber optic distributed acoustic sensing performance. Engineer Research and Development Center (U.S.), July 2021. http://dx.doi.org/10.21079/11681/41325.
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Distributed Acoustic Sensing (DAS) is a fiber optic sensing system that is used for vibration monitoring. At a minimum, DAS is composed of a fiber optic cable and an optic analyzer called an interrogator. The oil and gas industry has used DAS for over a decade to monitor infrastructure such as pipelines for leaks, and in recent years changes in DAS performance over time have been observed for DAS arrays that are buried in the ground. This dissertation investigates the effect that soil type, soil temperature, soil moisture, time in-situ, and vehicle loading have on DAS performance for fiber optic cables buried in soil. This was accomplished through a field testing program involving two newly installed DAS arrays. For the first installation, a new portion of DAS array was added to an existing DAS array installed a decade prior. The new portion of the DAS array was installed in four different soil types: native fill, sand, gravel, and an excavatable flowable fill. Soil moisture and temperature sensors were buried adjacent to the fiber optic cable to monitor seasonal environmental changes over time. Periodic impact testing was performed at set locations along the DAS array for over one year. A second, temporary DAS array was installed to test the effect of vehicle loading on DAS performance. Signal to Noise Ratio (SNR) of the DAS response was used for all the tests to evaluate the system performance. The results of the impact testing program indicated that the portions of the array in gravel performed more consistently over time. Changes in soil moisture or soil temperature did not appear to affect DAS performance. The results also indicated that time DAS performance does change somewhat over time. Performance variance increased in new portions of array in all material types through time. The SNR in portions of the DAS array in native silty sand material dropped slightly, while the SNR in portions of the array in sand fill and flowable fill material decreased significantly over time. This significant change in performance occurred while testing halted from March 2020 to August 2020 due to the Covid-19 pandemic. These significant changes in performance were observed in the new portion of test bed, while the performance of the prior installation remained consistent. It may be that, after some time in-situ, SNR in a DAS array will reach a steady state. Though it is unfortunate that testing was on pause while changes in DAS performance developed, the observed changes emphasize the potential of DAS to be used for infrastructure change-detection monitoring. In the temporary test bed, increasing vehicle loads were observed to increase DAS performance, although there was considerable variability in the measured SNR. The significant variation in DAS response is likely due to various industrial activities on-site and some disturbance to the array while on-boarding and off-boarding vehicles. The results of this experiment indicated that the presence of load on less than 10% of an array channel length may improve DAS performance. Overall, this dissertation provides guidance that can help inform the civil engineering community with respect to installation design recommendations related to DAS used for infrastructure monitoring.
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Zirkel-Hofer, Annie, Stephen Perry, Sven Fahr, Korbinian Kramer, Anna Heimsath, Stephan Scholl, and Werner Platzer. Improved in situ performance testing of line-concentrating solar collectors: Comprehensive uncertainty analysis for the selection of measurement instrumentation. IEA SHC Task 55, October 2016. http://dx.doi.org/10.18777/ieashc-task55-2016-0001.
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Accurate and complete performance evaluation is playing a major role in the further development of concentrating solar collectors. To ensure dependable test results, an appropriate testing and evaluation procedure is required. Moreover, the selection and installation of suitable measurement instrumentation are essential for obtaining reliable data for the performance evaluation. The quality of the measurement instrumentation greatly influences the representativeness of the test results. Details on the measurement instrumentation recommended for the testing of low-temperature solar collectors have already been provided in the testing standard EN ISO 9806:2013.
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Wei, Fulu, Ce Wang, Xiangxi Tian, Shuo Li, and Jie Shan. Investigation of Durability and Performance of High Friction Surface Treatment. Purdue University, 2021. http://dx.doi.org/10.5703/1288284317281.
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The Indiana Department of Transportation (INDOT) completed a total of 25 high friction surface treatment (HFST) projects across the state in 2018. This research study attempted to investigate the durability and performance of HFST in terms of its HFST-pavement system integrity and surface friction performance. Laboratory tests were conducted to determine the physical and mechanical properties of epoxy-bauxite mortar. Field inspections were carried out to identify site conditions and common early HFST distresses. Cyclic loading test and finite element method (FEM) analysis were performed to evaluate the bonding strength between HFST and existing pavement, in particular chip seal with different pretreatments such as vacuum sweeping, shotblasting, and scarification milling. Both surface friction and texture tests were undertaken periodically (generally once every 6 months) to evaluate the surface friction performance of HFST. Crash records over a 5-year period, i.e., 3 years before installation and 2 years after installation, were examined to determine the safety performance of HFST, crash modification factor (CMF) in particular. It was found that HFST epoxy-bauxite mortar has a coefficient of thermal expansion (CTE) significantly higher than those of hot mix asphalt (HMA) mixtures and Portland cement concrete (PCC), and good cracking resistance. The most common early HFST distresses in Indiana are reflective cracking, surface wrinkling, aggregate loss, and delamination. Vacuum sweeping is the optimal method for pretreating existing pavements, chip seal in particular. Chip seal in good condition is structurally capable of providing a sound base for HFST. On two-lane highway curves, HFST is capable of reducing the total vehicle crash by 30%, injury crash by 50%, and wet weather crash by 44%, and providing a CMF of 0.584 in Indiana. Great variability may arise in the results of friction tests on horizontal curves by the use of locked wheel skid tester (LWST) due both to the nature of vehicle dynamics and to the operation of test vehicle. Texture testing, however, is capable of providing continuous texture measurements that can be used to calculate a texture height parameter, i.e., mean profile depth (MPD), not only for evaluating friction performance but also implementing quality control (QC) and quality assurance (QA) plans for HFST.
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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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McDaniel, Rebecca S., Ayesha Shah, and Jusang Lee. Tack Coat Installation Performance Guidelines. Purdue University, March 2019. http://dx.doi.org/10.5703/1288284316790.
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Wilcoski, James. Seismic testing of a static power static transfer switch. Engineer Research and Development Center (U.S.), November 2021. http://dx.doi.org/10.21079/11681/42461.
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This test report documents seismic qualification testing of a Static Power Static Transfer Switch (STS). The STS is a mission-critical unit that will be installed at Eareckson Air Station (EAS), on the island of Shemya, Alaska. Two units were built, one of which was tested on the ERDC-CERL shake table on 10 November 2020, and the other delivered to EAS for installation. This report presents details on the STS configuration, seismic tests conducted, and the performance of the unit. The unit passed the final seismic test and can now confidently be installed at the EAS.
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Pevey, Jon M., William B. Rich, Christopher S. Williams, and Robert J. Frosch. Repair and Strengthening of Bridges in Indiana Using Fiber Reinforced Polymer Systems: Volume 1–Review of Current FRP Repair Systems and Application Methodologies. Purdue University, 2021. http://dx.doi.org/10.5703/1288284317309.
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For bridges that are experiencing deterioration, action is needed to ensure the structural performance is adequate for the demands imposed. Innovate repair and strengthening techniques can provide a cost-effective means to extend the service lives of bridges efficiently and safely. The use of fiber reinforced polymer (FRP) systems for the repair and strengthening of concrete bridges is increasing in popularity. Recognizing the potential benefits of the widespread use of FRP, a research project was initiated to determine the most appropriate applications of FRP in Indiana and provide recommendations for the use of FRP in the state for the repair and strengthening of bridges. The details of the research are presented in two volumes. Volume 1 provides the details of a study conducted to (1) summarize the state-of-the-art methods for the application of FRP to concrete bridges, (2) identify successful examples of FRP implementation for concrete bridges in the literature and examine past applications of FRP in Indiana through case studies, and (3) better understand FRP usage and installation procedures in the Midwest and Indiana through industry surveys. Volume 2 presents two experimental programs that were conducted to develop and evaluate various repair and strengthening methodologies used to restore the performance of deteriorated concrete bridge beams. The first program investigated FRP flexural strengthening methods, with a focus on adjacent box beam bridges. The second experimental program examined potential techniques for repairing deteriorated end regions of prestressed concrete bridge girders. Externally bonded FRP and near-surface-mounted (NSM) FRP were considered in both programs.