Academic literature on the topic 'Performance art – france'
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Journal articles on the topic "Performance art – france"
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Valls-Russell, Janice. "Footsbarn." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (April 5, 2018): 117–30. http://dx.doi.org/10.1177/0184767818767542.
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This article takes as its starting point the Footsbarn Travelling Theatre’s move from Britain to France in the early 1980s. It argues that this relocated Footsbarn in a political, geocultural and linguistic context that reinforced their idiosyncratic approach to Shakespeare and Molière. Focusing on performances in southern France and drawing on textual and visual archives as well as interviews and spectator-responses, the article offers insights into the ways exposure to non-Anglophone audiences enriched the company’s art forms through exchanges with different cultures, enabling it to elaborate a language of performance that also relocates Shakespeare.
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HAINES, JOHN. "Living troubadours and other recent uses for medieval music." Popular Music 23, no. 2 (May 2004): 133–53. http://dx.doi.org/10.1017/s0261143004000133.
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This essay aims to expand on existing narratives of medieval music performance by exploring recent interpretations of the troubadours. Recent advances in the field of ethnomusicology, popular music and medieval music reception suggest the need to view medieval music performance in ways other than the conventional narrative of early music performance. This article focuses on the troubadours, originally song-makers in the late medieval Midi, or South of France. Based on my interviews with recent ‘living troubadours’ in the United States and France, I present evidence for multifarious musical interpretations of the art de trobar, or medieval troubadour art. Living troubadours under consideration here include Eco-Troubadour Stan Slaughter from Missouri and Occitan rap group Massilia Sound System from Marseille. The latter claim a special distinction as living descendants of the original troubadours; the former views himself as more remotely related to medieval music. And while all the different musicians considered here offer widely contrasting interpretations of the medieval art de trobar, they do have in common certain recent musical influences, along with a view of folk music as an open-ended, and musically flexible category. All of these artists are also united in their belief that the essence of folk song is an urgent message which, though it may range from recycling to anti-centralist politics, consistently controls the musical medium. What the groups considered here have in common with traditional early music groups is their creative use of contemporary influences to evoke for their audience the Middle Ages.
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Järvinen, Hanna. "Historical materiality of performance: On the costumes ofThe Rite of Spring(1913)." Studies in Costume & Performance 5, no. 2 (December 1, 2020): 153–73. http://dx.doi.org/10.1386/scp_00023_1.
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By focusing on surviving costumes of the 1913 production ofThe Rite of Spring, this article asks how a close examination of costumes and their role in historical performance practice can change our understanding of a canonical work of art. It argues for methodological pluralism in examining material remains together with manuscript annotations, images and reviews of the production rarely considered in previous research and, consequentially, for a critical examination of all previous claims, including the so-called reconstruction (1987) ofThe Rite of Spring. Compared with designs and costumes of other productions by the Ballets Russes company, those of the 1913 production explain much of the contradictory ways in which the work figured in discourses relating to art and modernism in France and Russia at the time. Most importantly, the costumes exemplify a particular tradition of making theatre that has been obscured by the prevailing Orientalist view of the Ballets Russes company that is hegemonic in what is claimed to be ‘known’ aboutThe Rite of Springand its reception.
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Radzetskaya, Olga Vladimirovna. "Viola in french music of the first half of the 20th century: performance and pedagogy." Culture. Art. Education, no. 1 (December 26, 2022): 72–79. http://dx.doi.org/10.37816/2949-1762-2022-1-1-72-79.
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The article presents the history of viola performance in the musical art of France in the late XIX –early XX centuries, associated with the formation of the national pedagogical school and the appearance of several famous works of chamber and ensemble repertoire. T. Laforge, P. Monte, A. Kazadezus, L. Bailly, P.-L. Neubert, M. Vieux, in many respects were the initiators of this process, which reflected technical and artistic merits of the instrument in the light of bright cultural transformations of the era, in the variety of ideas and meanings, their realization in the works of modern French composers.
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Marks, Laura U. "Calligraphic Animation: Documenting the Invisible." Animation 6, no. 3 (September 21, 2011): 307–23. http://dx.doi.org/10.1177/1746847711417930.
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Calligraphic animation shifts the locus of documentation from representation to performance, from index to moving trace. Animation is an ideal playing field for the transformative and performative qualities that Arabic writing, especially in the context of Islamic art, has explored for centuries. In Islamic traditions, writing sometimes appears as a document or a manifestation of the invisible. Philosophical and theological implications of text and writing in various Islamic traditions, including mystic sciences of letters, the concept of latency associated with Shi‘a thought, and the performative or talismanic quality of writing, come to inform contemporary artworks. A historical detour shows that Arabic animation arose not directly from Islamic art but from Western-style art education and the privileging of text in Western modern art – which itself was inspired by Islamic art. A number of artists from the Muslim and Arab world, such as Mounir Fatmi (Morocco/France), Kutlug Ataman (Turkey), and Paula Abood (Australia) bring writing across the boundary from religious to secular conceptions of the invisible. Moreover, the rich Arabic and Islamic tradition of text-based art is relevant for all who practice and study text-based animation.
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Dzivaltivskyi, Maksym. "CHORAL GENRE AND STYLE IN THE CONTEXT OF THE MODERN ART STUDIES." 1 1, no. 1 (September 2020): 50–57. http://dx.doi.org/10.34142/27091805.2020.1.01.08.
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Object. The purpose of this article is to systematize art schools in relation to the definitions of choral genre and choral style. Methods. Traditional research methods: comparative analysis of scientific and musicological literature, analytical, historical, retrospective have been used. Results. Choral performance, as a part of the professional musical art, has evolved with the general principles of the development of the professional art in general. For many centuries certain norms have been developed in the choral performance practice. They corresponded to aesthetic ideas about the vocal sound quality. Approaches to the performance manner have been improved, the basic principles of professional training of choral singers have been approved. Of course, each national choral school has its own features in the performance style which reflects the temperament of the people, their character, traditions and other qualities. These subtle nuances that characterize the performance style are primarily associated with the peculiarities of the language of different peoples, its phonetics. For example, stable vocal traditions have been developed in the musical cultures of Italy, France, Germany, Bulgaria, Hungary, Poland, Ukraine, Russia and other countries. However, in the XXth century, the trend towards eclecticism, the synthesis of cultural traditions, their interaction were so strong that the features which previously sharply distinguished one national school from another largely smoothed out. Therefore, the basic principles of vocal skills, which are to develop proper singing breathing, sound production, sound production and other vocal techniques, remain common to any choir. Conclusions. The great artistic possibilities of a unique musical “instrument” – a choir have been in the center of composers’ attention for several centuries. In addition, the great variety of forms of the professional choral performance has made it one of the most common types of musical art.
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Al-Shamma’a, Abdullrahman A., Hammed O. Omotoso, Fahd A. Alturki, Hassan M. H. Farh, Abdulaziz Alkuhayli, Khalil Alsharabi, and Abdullah M. Noman. "Parameter Estimation of Photovoltaic Cell/Modules Using Bonobo Optimizer." Energies 15, no. 1 (December 26, 2021): 140. http://dx.doi.org/10.3390/en15010140.
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In this paper, a new application of Bonobo (BO) metaheuristic optimizer is presented for PV parameter extraction. Its processes depict a reproductive approach and the social conduct of Bonobos. The BO algorithm is employed to extract the parameters of both the single diode and double diode model. The good performance of the BO is experimentally investigated on three commercial PV modules (STM6-40 and STP6-120/36) and an R.T.C. France silicon solar cell under various operating circumstances. The algorithm is easy to implement with less computational time. BO is extensively compared to other state of the art algorithms, manta ray foraging optimization (MRFO), artificial bee colony (ABO), particle swarm optimization (PSO), flower pollination algorithm (FPA), and supply-demand-based optimization (SDO) algorithms. Throughout the 50 runs, the BO algorithm has the best performance in terms of minimal simulation time for the R.T.C. France silicon, STM6-40/36 and STP6-120/36 modules. The fitness results obtained through root mean square (RMSE), standard deviation (SD), and consistency of solution demonstrate the robustness of BO.
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M, Paithane Pradip. "Effective Forecasting of Key Features in Hospital Emergency Department." Advances in Robotic Technology 2, no. 1 (March 14, 2024): 1–3. http://dx.doi.org/10.23880/art-16000113.
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Efficiently forecasting the demands within a hospital’s Emergency Department (ED) is critical for optimal resource allocation and patient care management. This study focuses on leveraging deep learning techniques to predict various types of ED patient flows, facilitating informed decision-making by ED managers. The rising success of deep learning networks in modeling timeseries data makes them a compelling choice for patient flow forecasting. In this context, we investigate and compare seven deep learning models-Deep Belief Network (DBN), Restricted Boltzmann Machines (RBM), Long Short-Term Memory (LSTM), Gated Recurrent Unit (GRU), combined GRU and Convolutional Neural Networks (CNN-GRU), LSTM-CNN, and Generative Adversarial Network based on Recurrent Neural Networks (GAN-RNN)—to accurately forecast patient flow within a hospital’s emergency department. To enable traffic flow forecasting, a forecaster layer is introduced for each model. Real-world patient flow data spanning different ED services (biology, radiology, scanner, and echography) at Lille regional hospital in France serve as a case study to evaluate these models. Four effectiveness metrics are employed to assess and compare the forecasting methods. The outcomes demonstrate the superior performance of deep learning models in predicting ED patient flows compared to conventional shallow approaches like ridge regression and support vector regression. Significantly, the Deep Belief Network (DBN) stands out, achieving an averaged mean absolute percentage error of approximately 4.097.
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Proust, Serge. "Portrait of the Theatre Director as an Artist." Cultural Sociology 13, no. 3 (April 8, 2019): 338–53. http://dx.doi.org/10.1177/1749975519837400.
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In France, the theatrical field is split between a commercial pole and a public pole. Within the latter, theatre directors occupy a central position. They monopolize public subsidies, run theatre-related institutions and receive most of the symbolic rewards. As a result of their efforts, theatre direction has gained recognition as a work of art, but at the cost of conflicts with actors and playwrights. Furthermore, thanks to government intervention, they have neutralized the need to adjust to private demand. However, their success is still limited by several factors. Theatre directors are subjected to several types of axiological criticism revolving around their excessive integration into the state apparatus. Artification is largely dependent on state intervention, and above all, the immaterial and temporary nature of a theatrical performance contradicts the western conception of the work of art, which is understood as something enduring (as with paintings and books).
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Feruglio, Valérie, Camille Bourdier, Marc Delluc, Pascal Mora, Norbert Aujoulat, and Jacques Jaubert. "Rock art, performance and Palaeolithic cognitive systems. The example of the Grand Panel palimpsest of Cussac Cave, Dordogne, France." Journal of Anthropological Archaeology 56 (December 2019): 101104. http://dx.doi.org/10.1016/j.jaa.2019.101104.
Full textDissertations / Theses on the topic "Performance art – france"
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Lemée, Jean-Philippe. "Actions, happenings, évènements, performances : l'art de l'action en France de 1960 à 1975." Rennes 2, 1986. http://www.theses.fr/1986REN20018.
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Cette thèse porte sur des gestes artistiques réalisés en direct, face au public ou avec la participation active de celui-ci, sur des "oeuvres" éphémères ou le vécu entre comme élément indispensable, comme outil artistique en somme. Jamais jusqu'à présent ces gestes n'ont été regroupés, jamais il n'y a eu volonté de les traiter comme un tout, jamais il n'y a eu d'étude globale de "l'art de l'action". Nous tentons cette étude dans certaines limites toutefois. La période choisie est privilégiée : d'un côté, le début des années soixante voit une véritable explosion de l'action ; de l'autre, autour de dix neuf cent soixante quinze commence pour nous une histoire assez différente, celle de la "performance" ou d'un art de l'action moins perturbateur, plus officialisé si ce n'est académique. Il a paru nécessaire d'autre part de se limiter à un territoire, de se concentrer sur la France. Prouver l'existence d'un solide art de l'action, contribuer étant donne le nombre important d'artistes et de mouvements concernés à une meilleure compréhension de l'art en France dans les années soixante, se sont avérées être parmi nos préoccupations principales. La méthode d'ensemble est simple, le travail est divisé en deux parties, l'une portant sur une réflexion théorique et synthétique globale, l'autre se présentant sous forme de "catalogue" général comprenant les récits des actions par artiste ou par groupe, accompagnés d'articles critiques personnalisés. Cerner le domaine de l'action, définir mieux l'art français de l'action entre dix neuf cent soixante et dix neuf cent soixante quinze, proposer enfin une ou des méthodes de lecture de cette forme d'art, telles sont les priorités du travail de synthèse. Décrire le plus grand nombre d'actions (actions spectacles, action non art, action didactique, optique, corporelle, sociologique. . . ), proposer un portrait commenté accompagné de références documentaires multiples, telles sont les visées du catalogueThis thesis is about artistic acts realized in front of the public or with the active participation of the audience, about ephemeral works where the living moment is an integral part and an instrument. To date, no one has sought to treat the diverse manifestations as a whole. Some limits though have been imposed on the study. The chosen period is particularly rich: on one side, the beginning of the sixties sees a real explosion of art of action; on the other side, around nineteen seventy five starts what seems to be a new story, the story of "performance or of a less disturbing, more official zed or even academic art of action. It also seemed to be necessary to limit oneself to a territory, to focus on France. Proving the existence of a strong art of action, contributing to a better comprehension of the arts of the sixties in France turned out to be among the essential concerns of the present study. The method is simple, the thesis is divided in two parts: the first part is a theoretical reflection on the general subject, the other one presents a "catalogue" including accounts of the actions classified by artists or by groups, accompanied by critical articles. The priorities of the synthetically work are to define criteria for art of action, to define French art of action during the chosen period and to propose one or several methods of reading this form of art. The aims in the catalogue are to describe as many actions as possible and to propose a portrait with commentaries and references
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Bégoc, Janig Poinsot Jean-Marc. "L'art corporel et sa réception en France chronique 1968-1979 /." Rennes : Université Rennes 2, 2009. http://theses.scdbases.uhb.fr:8000/theseBegoc.pdf.
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Monnier, Ariane. "La reconstitution des faits dans le procès d'assises : anthropologie d'une performance." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0631.
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Fondée sur un travail de terrain réalisé en France en 2011 et en 2012 autour de trois procès d'assises, concernant des faits criminels survenus entre 1998 et 2008 à Ajaccio, Béziers et Castelnau-Le-Lez, la thèse analyse la reconstitution des faits dans le procès sous l'angle d'une performance. La notion de performance est explorée dans un sens double : dans le sens d'un exploit - une manière particulière d'exploiter les faits - autant que dans le sens d'un spectacle au cours imprévisible. Les éléments exploités par le procès sont envisagés comme les restes d'un éclatement dont une part plus ou moins importante a été perdue, égarée davantage par la mise en mouvement de l'action judiciaire La thèse tente de comprendre au prix de quels écarts et de quelles absences ces restes sont montés et montrés. D'abord spectateur et témoin de l'audience, l'anthropologue remonte le cours du procès et devient, à son tour, metteur en scène après-coup et à contre courant de situations observées et de situations rapportées. Les faits sont considérés successivement sous l'angle des récits et des images auxquels ils donnent lieu après leur découverte, sous l'angle des discours par lesquels ils tentent d'être élucidés, sous l'angle du spectacle de mots, de corps et d'objets auxquels ils aboutissent. Les coups de force visuels, discursifs, scénographiques par lesuqels la reconstitution judiciaire assure sa cohérence tout au long de la procédure sont décrits en rapport à l'omniprésence de parts manquantes, sources d'autres dangersBased on ethnographic fieldwork carried out in France in 2011 and 2012 in the setting of three criminal trials related to criminal facts which occured between 1998 and 2008 in Ajaccio, Béziers and Castelnau-Le-Lez, the thesis analyses the crime scene reconstruction in these cases from the perspective of a performance. The notion of performance is explored in a double meaning: in the sense of an exploit - a successful exploitation of the data - as well as in the sense of an unpredictable show. The information used by the judicial reconstruction is considered as the scattered remains after an explosion, of which a more or less significant part has been lost, and further misplaced by the judicial proceeding. The thesis attempts to resolve the following interrogation: at the cost of what sort of discrepancies and absences are these remains set up together and put on display? At first a spectator and a witness to the hearing, the anthropologist goes back in time through the trial, and becomes a stage director with hindsight, running against the flow of the situations observed and the situations reported. The facts are considered successively from the perspective of the narratives and images they entail just after being discovered; from the perspective of the speeches by which they attempt to be elucidated; from the the perspective of the spectacle of words, bodies and objects in which they result. The visual, discursive and scenographic acts of force all along the proceedings are described in relation to an omnipresnet missing part - the source of other dangers
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Boivineau, Pauline. "Danse contemporaine, genre et féminisme en France (1968-2015)." Thesis, Angers, 2015. http://www.theses.fr/2015ANGE0034/document.
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Cette thèse porte sur un objet complexe liant danse contemporaine, genre et féminisme dans l’espace français de 1968 à 2015. La danse partage les préoccupations des militantes féministes à l’égard des problématiques d’identité, de sexualité, d’émancipation,de déconstruction du genre et des binarismes, de recherche universaliste ou de féminitude. Nous analysons comment le féminisme informe les artistes qui, quelle que soit l’époque, peinent à se dire féministes ou à penser leur art comme l’expression de leur engagement. Considérer le potentiel subversif de la danse implique une analyse de son rapport au genre et en particulier au genre féminin, doublée par celle de la place réelle et symbolique des femmes. Les idées reçues et les stéréotypes se confrontent à la réalité.L’année 1968 marque un tournant social qui concorde avec celui de la danse, y compris d’un point de vue politique. L’art chorégraphique prend son essor au moment où la seconde vague féministe arrive sur le devant de la scène. En 50 ans les rapports qu’entretiennent la danse et le féminisme sont reconfigurés, ce qui permet d’évaluer les influences réciproques et de postuler l’existence d’une danse féministe. La confrontation aux langages des chorégraphes hommes permet de comprendre les constructions genrées et leur potentiel de remise en cause du système hétéronormé et androcentré.Comment les grandes mutations politiques (mise en place des CCN, turn-over des directions, parité, etc.),féministes (apparition d’une troisième vague, etc.),esthétiques et médiatiques nourrissent-elles la danse en tant que moyen d’expression du genre et du féminisme ? La généralisation de la nudité et la queerisation de la danse soulèvent l’enjeu du passage de la transgression du genre à sa subversion. Il s’agit de comprendre comment la troisième vague féministe, plus ouverte à la dimension culturelle et intersectionnelle, permet à la danse d’être féministeThis thesis analyses a complex question linkingcontemporary dance, gender and feminism in Francefrom 1968 to 2015. Dance shares the concerns offeminist activists regarding issues of identity, sexuality, emancipation, the deconstruction of gender andbinarisms, of universalist research and femaleness. Thisstudy examines how feminism informed artists who,whatever the era, had difficulty admitting that they werefeminists or seeing their art as an expression of theircommitment. Considering the subversive potential ofdance implies an analysis of its relationship with gender,in particular the female gender, as well as the real andsymbolic place of women. Preconceived ideas andstereotypes thus confront reality. The year 1968 markeda turning point for society and for dance, including froma political point of view. Dance came into its own at thesame time that second-wave feminism came to the fore.The reconfiguration of the relationships between danceand feminism that occurred over this 50-year periodallows one to assess reciprocal influences and topostulate the existence of a feminist dance. Comparingfemale choreographers' modes of expression with thoseof men, facilitates the understanding of genderedconstructions and their potential for challengingheteronormativity and androcentrism. How do the majorpolitical changes (establishment of the NCCs,management changes, parity, etc.), feminists(appearance of a third wave, etc.), aesthetics andmediatisation nurture dance as a means of expressionof gender and feminism? The generalisation of nudityand the queerisation of dance suggest the passage fromthe transgression of gender to its subversion. Thisthesis aims to understand how third-wave feminism,more open to cultural and intersectional dimensions,enabled dance to be feminist
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Chevalier, Fleur. "Formater pour mieux régner : vidéastes et performers à l’épreuve de la télédistribution en France, 1975-1998." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080045.
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Dès les années 1960, dans le contexte de la télédistribution française, des artistes profitent d’accéder à des équipements sophistiqués pour explorer le potentiel plastique de l’image électronique et mener leurs propres recherches visuelles. À la croisée du cinéma expérimental ou militant, des mouvements d’avant-garde et de l’art cinétique, ces pratiques marginales ne répondent pas aux normes du réalisme photographique ou de la vraisemblance illusionniste qui régissent la production audiovisuelle mainstream. Comment trouver sa place dans une structure vouée toute entière à la distribution de produits formatés conçus pour susciter l’adhésion du téléspectateur ? Comment s’infiltrer dans les brèches d’une industrie résolument hostile à tout écart optique et symbolique ? Les choix stratégiques des artistes qui œuvrent sur le territoire de la télédistribution découlent en grande partie des mutations économiques qui ont entraîné la transformation du paysage audiovisuel français, du démantèlement de l’ORTF à la privatisation partielle du réseau de télédiffusion. Face à la rigidité des standards imposés par les mass media, le détournement apparaît bien vite comme une solution pour se fondre dans l’environnement audiovisuel tout en façonnant des « contre-images » satiriques. Le désir d’explorer l’image cathodique se trouve alors supplanté par celui de pirater la rhétorique et l’espace médiatiques. Cependant, dès lors que l’image est perçue comme une agora à investir, il devient difficile de se soustraire à l’économie coercitive de « la société du spectacle »From the early 1960s, within the context of French television broadcasting, some artists seize opportunities to reach advanced technologies, allowing them to explore the aesthetic potential of the electronic image as well as to lead their own visual research. At the crossroads of experimental or activist cinema, avant-garde movements and kinetic art, all of these marginal practices tend to ignore the norm of the so-called realistic image and the deceptive verisimilitude which rule the audio-visual mainstream. How to find a place within a structure entirely devoted to the distribution of stereotyped products designed to attract the largest segment of TV consumers? How to infiltrate inside the gaps of an industry resolutely hostile to the slightest visual and ideological glitch? The diverse strategies of the artists who chose to work within the field of television broadcasting are highly influenced by the economic mutations that transformed the French audio-visual landscape, from the dismantling of the ORTF to the partial privatization of the TV network. Facing the rigidity of the standards dictated by the mass media, the concept of “détournement” – or “diversion” –quickly appears to be a solution to blend into the audio-visual environment while continuing to shape satirical “counter-images”. The wish to explore the cathode-ray image as a medium is then supplanted by the desire to hack into the media network and its rhetoric. Nevertheless, as soon as the image is regarded as a public space to colonize, it becomes difficult to escape the coercive economy of the entertainment world
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Barbut, Clélia. "Corps à l'oeuvre, à l'ouvrage et à l'épreuve : sociohistorique des arts de la performance, années 1970." Doctoral thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/25980.
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"Thèse en cotutelle Doctorat interuniversitaire en histoire de l’art Université Laval Québec, Canada, Philosophiae doctor (Ph.D.) et Université Sorbonne Nouvelle Paris 3, Paris, France, Docteure"Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2015-2016
Entre les décennies 1960 et 1980 émergent les courants de l’« art de la performance », du « happening », du « body art », de l’« art corporel » ou encore de l’« art de l’action », qui désignent les démarches des nombreux plasticiens qui font directement intervenir le corps, souvent leur propre corps, dans leurs travaux. À travers les productions des acteurs qui soutiennent ces courants le corps est fabriqué comme un sujet légitime d’attention et de valeur. La thèse décrit l’émergence de ces courants artistiques pendant la décennie 1970 en soutenant qu’ils peuvent et doivent être interrogés comme des phénomènes sociaux. En effet, jamais auparavant autant d’acteurs des mondes de l’art visuel n’avaient décidé simultanément de se tourner vers le corps lui-même, et de le mettre à l’œuvre, à l’ouvrage, à l’épreuve. Interroger leurs productions du point de vue du corps peut permettre de dérouler de comprendre en profondeur la présence incisive et percutante du phénomène. Ces courants viennent poser des questions cruciales à l’anatomie du travail créateur : rapports sociaux de sexe, interactions avec les spectateurs, engagements politiques, marchandisation. L’étude, sociohistorique, focalise autour de trois scènes (France, côtes est et ouest des États-Unis) à partir d’un corpus d’archives documentaires (entretiens, critiques, essais, manifestes, notations, photographies). La thèse comprend un volet d’enquête qui mesure la reconnaissance de ces pratiques, un second volet d’histoire institutionnelle et intellectuelle qui décrit les savoir-faire et les modalités d’énonciation liés aux actions et aux événements et enfin, une topographie qui résume les modèles du corps produits par les gestes les raisonnements des artistes et de leurs commentateurs. Mots-clés : Histoire des corps, art de la performance, critique d’art, féminismes, documentation, sociologie historique.
« Performance art », « body art » and « happenings » appeared on the art scene between the 1960s and the 1980s. The human body was at the heart of these artistic movements, to the extent that many artists embodied their own works. Within such creative processes and productions, the body undeniably became a legitimate subject of attention and value. This dissertation describes the initial stages of the art movements aforementioned, and argues that they must be analyzed as sociological phenomena. Never before had such a larger of artists within the same time period decided to focus on the entity of the body itself, to use and misuse it so intensely. Observing their approaches through the lens of the body allows us to voice critical questions about the anatomy of a creative work - gender relations, interactions with the viewers, political commitments, and marketing. This sociohistorical research studies three landmark art scenes of the time (France, the east coast, and the west coast of the USA), by delving into a documentary material of archives (interviews, reviews, essays, manifestos, notations and photographs). The thesis begins with a sociological inquiry which measures the visibility of these artistic movements; it is followed by a history of the institutional and critical apparatus which described the atistic skills and statements at work within body actions and happenings; lastly, the dissertation presents a topography of the workings of the body, drawn from the artists’ performances and theoretical stances, as well as art critics’ viewpoints and analyses. Key Words : body art, avant-gardes, history of the body, feminisms, documentation, historical sociology.
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Parlati, Luigia. "Faire le slam : une ethnographie des pratiques poétiques collectives entre Paris et Marseille." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH169.
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Cette recherche porte sur une pratique de création poétique, le slam, qui est née à la fin des années 1980 aux États-Unis et qui est aujourd’hui largement répandue dans plusieurs pays, notamment en France. Si le succès de public (en 2006) d’artistes comme Grand Corps Malade est la forme plus reconnaissable de cette pratique de par sa médiatisation, il existe une hétérogénéité de « formes slam » et de pratiques qui sont devenues l’objet de cette thèse. Un slam de poésie est un espace de parole ouvert à tous et il est organisé selon différents dispositifs, de la compétition au « micro ouvert » et dans plusieurs typologies de lieu (bar, salle de spectacle, bibliothèques, espaces publics). Toute personne ayant un texte à dire (qui peut être écrit au préalable ou pas) peut donc le faire devant un public, sans qu’on lui impose aucune contrainte de style ou de contenu. Cette simplicité apparente du fonctionnement du slam vient interroger en réalité plusieurs types de « frontières » qui font sens pour certains acteurs du monde de la création littéraire (poésie écrite/poésie à voix haute), de l’éducation linguistique (parler littéraire/parler ordinaire) et de la formation du goût artistique (excellence/banalité). Mais les slameurs et slameuses rencontré.e.s dans mes enquêtes entre Paris et Marseille (ainsi qu’à l’internationale), témoignent d’un autre monde commun, où l’expérimentation verbale, vocale et performative coexiste avec le désir de partager librement la parole ou de s’engager dans une démarche artistique. Croisant les discours des acteurs avec la doxa et la littérature sur le sujet, cette thèse a pour ambition de proposer des analyses situées de cette pratique poétique collective, afin de rendre compte de son extrême disponibilité à accueillir tout acte de parole dite à voix haute et en public. C’est une recherche qui se donne pour objectif d’au moins mettre à jour les nœuds, tensions et enjeux suscités par cette liberté du slam à être agencé et participéThis research focuses on poetry slam, a practice of poetic performance, born in the late 1980s in the United States and now widespread in several countries, including France. If the public success (in 2006) of artists such as Grand Corps Malade is the most recognizable form of this practice through its media coverage, there is a heterogeneity of "slam forms" that have become the subject of this thesis. Poetry slam is an open platform and it is organized according to different approaches, from competition to "open microphone" and in several kinds of places (bar, stages, libraries, public spaces). Anyone with a text to say (which can be written in advance or not) can therefore do it in front of an audience, without any injunction of style or content. This apparent simplicity of poetry slam actually questions several types of "boundaries" that make sense to some actors in the world of literary creation (written poetry/poetry readings), language education (literary/common language) and artistic creation (excellence/triviality). But the slammers I’ve met in my fieldwork between Paris and Marseille (as well as abroad), participate of another common world, where verbal, vocal and performative experimentation cohabit with the desire to freely share their words or being engaged in an artistic endeavor. Crossing the discourses of the actors with the doxa and literature on the subject, this thesis aims to propose some analysis based on this collective poetic practice, in order to account for its extreme readiness to accommodate any speech act aloud and in public. This research aims to at least elucidate the tensions and issues raised by poetry’s slam freedom to be empowered and be engaged
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Marcel, Mathilde. "Arts de la rue : inventaire et nuancier 2010-2015 (France)." Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30065/document.
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Voir, écouter, sentir et constituer un corpus sensible qui rend compte de la diversité et de la multiplicité des formes et des propositions regroupés sous l'appellation des Arts de la rue.Cette étude s'appuie sur de nombreux entretiens avec des artistes et des professionnels du secteur. C'est un voyage au cœur des Arts de la rue qui assied le lecteur à la table où l'on pense et écrit les projets, l'emmène assister aux répétitions, aux repérages ainsi qu'aux premières représentations publiques et lui laisse ainsi voir la réalité de la création.Cette réflexion sur les Arts de la rue prend pour prisme : l'espace public, le spectateur et le processus de création. Après avoir esquissé un historique, les situations géographiques, politiques et esthétiques des espaces de représentation sont examinées et interrogées, tout comme la place et la fonction du spectateur constamment sollicité : mis en mouvement, surpris dans son quotidien, interpellé, questionné, appelé à échanger, à participer, à accompagner l'acte artistique dès son commencement. Enfin le compte rendu du processus de création constitue la dernière partie. À chaque spectacle ou chaque intervention, les artistes mettent en question leur savoir-faire pour tenter de renouveler leur positionnement dans l'espace public et face aux spectateurs. Ils jouent avec les repères. Le processus de création se révèle être un espace/temps idéal pour observer les Arts de la rue dans leur mouvement perpétuelSee, listen to, feel and constitute a sensitive corpus which reports the diversity and the multiplicity of the forms and the offers grouped under the naming of Street arts.This study leans on conversations with artists and professionals of the sector. This trip on the land of street arts sit the reader on the table where we think and writes the projects, takes him to see the repetitions, the public first performances, the reality of the creation.This thinking on Street arts takes for prism: the public place, the spectator and the process of creation. Having sketched a history, the geographical, political and esthetic situations of the spaces of representation are examined and questioned, just like the place and the function of the constantly requested spectator: put in movement, surprised in its everyday life, questioned, called to exchange, to participate, to accompany the artistic act from its beginning. Finally the report of the process of creation is the last part. In every show or every intervention, the artists question their know-how to try to renew their positioning in the public space and in front of spectators. They play with marks. The process of creation turns out to be an ideal space / time to observe Street performing arts in their perpetual motion
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Férey, Norman. "La déconstruction du corps et des sexualités dans les performances artistiques en France de 1970 à 2000 : vers une prise en compte de la notion de genre." Paris 8, 2014. http://octaviana.fr/document/182002225#?c=0&m=0&s=0&cv=0.
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Au cours des années 1990, la notion de genre attachée au contexte culturel des corps s’est difficilement fait une place au sein de la sphère intellectuelle. Cette notion s’est-elle déployée plus facilement dans le champ de la performance ? Dès les années 1970, le corps tient une place contestataire importante dans la création notamment en matière de déconstruction des sexes : c’est le développement de l’art corporel. Plusieurs artistes recherchent dans cette perspective les fondamentaux du corps qui puissent résoudre les problèmes culturels liés à la différence sexuelle. Plus tard, dans les années 1980 la performance perd de son potentiel subversif. Le contexte politique global change et le corps se diffuse largement par les écrans. Deux positions se dessinent pour les artistes français : un intérêt plus prononcé pour l’immatériel que représente le verbe ou une exploitation et une recherche du corps à travers sa diffusion médiatique et technologique. Dans un cas comme dans l’autre le rapport entre les artistes et les corps « déviants » dont ils s’emparent est loin d’être évident. Les « corps minoritaires » se retrouvent plutôt dans la sphère militante et activiste. Dans les années 1990 l’arrivée de différents tels que la question des signes religieux visibles ou l’augmentation alarmante de l’épidémie de sida, vont finalement jouer pour les performeurs comme un catalyseur à une re-politisation des questions liées à la différence sexuelle et aux phénomènes identitaires. Cette dernière décennie marque donc une émergence de la notion de genre au sein de la sphère artistique même si le lien entre création et militantisme reste toujours problématique et peu actifDuring the 90s, the concept of gender related to the cultural context of the body hardly had a place in the intellectual sphere. Did this concept spread itself more easily in the field of performance? From the 70s onward and right after the impulse given by 68 movements, the body took an important protest role in the creative process, in particular regarding gender deconstruction: that is the development of body art. Several artists tried through this medium to find a Body fundament which could bring an answer to cultural issues related to sexual differences. Later in the 80s, performance art became less subversive. The global political environment was changing and the body was more visible especially on screens. Two mains positions emerged among French artists: one focused more on words and an immaterial approach and the other using technology and media to explore the body. In both cases, the relationship between the artist and the deviant bodies that they used is far from clear. The “minority bodies” were more to be found in the militant and activist sphere. In the 90s, arguments about topics to do with secularism and the alarming raise of HIV would finally push the performers to reconsider the political dimension of gender and identity questions. Therefore, in this last decade, the concept of gender found its legitimacy in the artistic field even though the relationship between creative process and political activism still seems problematic and not that active
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Bégoc, Janig. "L’art corporel et sa réception en France : chronique 1968-1979." Rennes 2, 2008. http://www.bu.univ-rennes2.fr/system/files/theses/theseBegoc.pdf.
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Réduit à une étiquette et converti en objet théorique, l’art corporel a perdu son histoire. Cette étude se propose de restituer les faits qui ont conduit Gina Pane et Michel Journiac à utiliser leur corps comme un médium artistique, et d’examiner les processus de socialisation grâce auxquels leurs travaux ont accédé à la confrontation critique. Menée à l’appui des sources et abordée sous l’angle de la médiation, cette chronique éclaire les modalités de la reconnaissance de l’art corporel en France, des premiers rejets à l’entrée au musée. L’analyse des discours à l’aune des débats esthétiques et idéologiques de l’époque permet d’associer aux défenseurs de cet art d’autres noms que celui de François Pluchart, et offre une nouvelle intelligibilité aux travaux et à l’histoire de l’art corporelRestricted to a label (coined as the American phrase “Body art”) and converted into a theoretical object, “l’art corporel” has lost its history. This study aims at retrieving the facts that lead Gina Pane and Michel Journiac to use their body as art. It also examines the processes of socialization that enabled their work to face the critical assessment. On the basis of various sources and with a definite focus on the different forms of art facilitation, this chronicle highlights the modes of acknowledgment of “l’art corporel” in France, from its initial dismissal to its institutional admission in the Museum. The analysis of the discourses, confronted to the various aesthetic and ideological debates of the time, enables us to pin point the role of other personalities implied next to François Pluchart as defenders of this art. Thus it offers a new and widened understanding of the works embracing “l’art corporel”
Books on the topic "Performance art – france"
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Reilly, Diane. The Cistercian Reform and the Art of the Book in Twelfth-Century France. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462985940.
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This book is a study of the programmatic oral performance of the written word and its impact on art and text. Communal singing and reading of the Latin texts that formed the core of Christian ritual and belief consumed many hours of the Benedictine monk's day. These texts-read and sung out loud, memorized, and copied into manuscripts-were often illustrated by the very same monks who participated in the choir liturgy. The meaning of these illustrations sometimes only becomes clear when they are read in the context of the texts these monks heard read. The earliest manuscripts of Cîteaux, copied and illuminated at the same time that the new monastery's liturgy was being reformed, demonstrate the transformation of aural experience to visual and textual legacy.
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Trinchieri, Camiz Franca, and McIver Katherine A. 1949-, eds. Art and music in the early modern period: Essays in honor of Franca Trinchieri Camiz. Aldershot, Hants, England: Ashgate, 2003.
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Boagno, Marina. Franco Corelli: I suoi personaggi. Parma: Azzali, 2002.
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Boagno, Marina. Franco Corelli: Un uomo, una voce. [Italy]: Azzali, 1990.
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Nony, Anaïs. Performative Images. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463722827.
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Performative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology. Video art and video activism are analysed together in the book to revaluate key concepts in media studies and foreground a performative approach to the theory of image technology. The book engages works in visual culture, performance studies, digital studies, critical race theory, and feminist methodologies to account for the changes brought about by video technology in social and psychic life. Performative Images is about art and activists’ engagement in video technology—an engagement that unsettles the hegemonic narrative of dominant media, as well as the apparently politically neutral dimension of communication technology. In this book, the author explores how video-image technology shapes our psychic and social environments from an art historiographical perspective. We know media technology is dramatically shaping our political and epistemological landscape: this book foregrounds the emergence of performative video images as a key factor in the revaluation of culture and politics.
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William, Brooks, and Yarrow Philip John, eds. The dramatic criticism of Elizabeth Charlotte, Duchesse D'Orleans: With an annotated chronology of performances of the popular and court theatres in France 1671-1722, reconstructed from her letters. Lewiston: E. Mellen Press, 1996.
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Carnal art: Orlan's refacing. Minneapolis: University of Minnesota Press, 2005.
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Carnal Art: Orlan's Refacing. University of Minnesota Press, 2005.
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Moran, Claire. Art of Theatre: Word, Image and Performance in France and Belgium, C. 1830-1910. Lang AG International Academic Publishers, Peter, 2013.
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Moran, Claire. Art of Theatre: Word, Image and Performance in France and Belgium, C. 1830-1910. Lang AG International Academic Publishers, Peter, 2013.
Find full textBook chapters on the topic "Performance art – france"
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Ruoff, Cynthia. "Enchantment in Baroque Festive Court Performances in France: Les Plaisirs de L’Isle Enchantée." In The Aesthetics of Enchantment in the Fine Arts, 305–20. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-3234-5_19.
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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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Hardon, Anita. "Chemical Sexualities." In Critical Studies in Risk and Uncertainty, 113–44. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57081-1_4.
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Abstract In this chapter, we present ethnographies from the Philippines, Indonesia, Ethiopia, and France that together show how young people use chemicals to shape their bodies, enhance their sexual pleasure, and foster their sexual hygiene. Through these intimate stories, we show how young people use chemicals to try out different sexual identities, connect with partners, enhance sexual experiences, and prevent unwanted pregnancies, as well as enhance their sexual performance. In this way, chemicals are used both as a way to relate to others and also to explore themselves. In Chemical Sexualities, we show how young people use chemicals to address their sexual needs and explore their sexual desires in four distinct ways: to shape their bodies, to enhance sexual performance, for sexual hygiene and STI prevention, and to abort unwanted pregnancies. Each of these “do-it-yourself” chemical sexualities involves various practices, which we compare and contrast across field sites to gain a better understanding of what is at stake in young people’s sexual lives.
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Fang, Xianming. "Chapter 4. Multimodality in refusals in English as a lingua franca." In Multimodal Im/politeness, 101–29. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/pbns.333.04fan.
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This study investigates how multimodal cues are used for rapport management in refusals in the context of English as a lingua franca (ELF). Ten Chinese and ten Indonesian speakers were put in pairs and conducted role-plays in relation to requests and refusals. After the role-plays, they had immediate interviews to reflect on their own and their partners’ performance. The results suggest that body positions (standing/sitting), smiling voices and smiling facial expressions, and the long gaze aversion are used by ELF refusers to maintain rapport: controlling power relationships, mitigating the force of refusals, and conveying a non-engagement stance. The results show that mitigation in the ELF context is a multimodal achievement which can be intentionally realized through various multimodal cues.
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Çag̃layan, Mehmet Ufuk. "AI and Quality of Service Driven Attack Detection, Mitigation and Energy Optimization: A Review of Some EU Project Results." In Communications in Computer and Information Science, 1–12. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09357-9_1.
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AbstractThis article summarizes briefly the contributions presented in this EuroCyberSecurity Workshop 2021 which is organized as part of the series of International Symposia on Computer and Information Sciences (ISCIS), with the support of the European Commission funded IoTAC Project, that was held on November and in NIce, France, and sponsored by the Institute of Teoretical and Applied Informatics of the Polish Academy of Sciences. It also summarizes some of the research contributions of several EU Projects including NEMESYS, GHOST, KONFIDO, SDK4ED and IoTAC, primarily with a cybersecurity and Machine Learning orientation. Thus subjects covered include the cybersecurity of Mobile Networks and of the Internet of Things (IoT), the design of IoT Gateways and their performance, the security of networked health systems that provide health services to individuals across the EU Member states, as well as the issues of energy consumption by ICT which are becoming increasingly important, including in the cybersecurity perspective, as we focus increasingly on climate change and the needed transition towards highly reduced emissions. Many of the techniques and results discussed in this article are based either on Machine Learning (ML) methods, or on methods for the performance modeling and optimization of networked and distributed computer systems.
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Wilkie, Simeon, David Farrell, Nicola Lauder, and Ana Paula Arato Goncalves. "Performance Evaluation of Patch Repairs on Historic Concrete Structures (PEPS): Preliminary Results from Two English Case Studies." In RILEM Bookseries, 899–912. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-39450-8_73.
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AbstractThe development of reinforced concrete through the 20th century has resulted in a wealth of historically and culturally significant concrete structures around the world. However, the durability and deterioration mechanisms of this new material were not well understood and, as a result, many historic reinforced concrete structures require ongoing maintenance and repair. Patch repairs are common during repair campaigns. However, balancing traditional conservation principles, such as minimal intervention and retreatability, with the best practices of contemporary concrete repair and the need to provide repairs which do not affect the historic aesthetic of the structure can be challenging. Three institutions, the Getty Conservation Institute (GCI), Historic England (HE) and Laboratoire de Recherche des Monuments Historiques (LRMH) are collaborating on the research project, ‘the Performance Evaluation of Patch Repairs on Historic Concrete Structures (PEPS)’, which aims to provide guidance on this issue. Over the course of the project, historic structures in the USA, France and England, which have been repaired previously have been assessed. This paper presents a comparison of the preliminary results from two case studies from England and discusses the different repair approaches that were implemented.
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Boulesteix, I., L. Marguin, E. Rehben, B. Balvay, L. Journaux, R. Champy, E. Poisnel, G. Barthes, and C. Bertrand. "A new information system for beef performance recording in France." In Performance Recording of Animals - State of the Art, 2004, 127–32. Brill | Wageningen Academic, 2005. http://dx.doi.org/10.3920/9789086865369_021.
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Tiso, Elisabeth. "The Public Art of Jean Tinguely 1959–1991: Between Performance and Permanence." In France and the Visual Arts since 1945. Bloomsbury Visual Arts, 2019. http://dx.doi.org/10.5040/9781501341557.ch-010.
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Lecomte, C., S. Bazin, J. Delacroix, and J. P. Sigwald. "Milk recording for goats and dairy cattle in France: Individual qualification of the lactation." In Performance Recording of Animals - State of the Art, 2004, 103–7. Brill | Wageningen Academic, 2005. http://dx.doi.org/10.3920/9789086865369_017.
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Sasportes, Jose. "A Conflict of Interests." In Verdi in Performance, 110–12. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198167358.003.0014.
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Abstract Since the birth of melodramma in Italy and opera in France, the relationship of musical drama with the art of dance has been that of a conflict of interests: the poet and the composer complain that dance and dancers destroy the attention of the audience, who because of the intrusion of ballet become unable to follow the plot; choreographers and dancers fight to find an independent space for their art, if possible outside the framework of opera and opera houses. I believe that our subject, Verdi and the ballet, belongs to the story of this conflict.
Conference papers on the topic "Performance art – france"
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Perrin, Anne-Laure, Amal Chabli, Guillaume Razongles, and Olivier Doucet. "Uncertainty calculation of indoor and outdoor performance measurements for PV modules." In 19th International Congress of Metrology (CIM2019), edited by Sandrine Gazal. Les Ulis, France: EDP Sciences, 2019. http://dx.doi.org/10.1051/metrology/201908002.
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Since uncertainties are often overlooked, this analysis highlights why considering uncertainties on PV power or efficiency values is crucial in order to compare published values for different PV technologies. Following the International Energy Agency Report on “Uncertainties in PV System Yield predictions and Assessments” and European FP7 Sophia project, the state of the art of outdoor and indoor uncertainty calculations on PV modules performances is reviewed. Calculation tools are compared and discussed in order to identify the most relevant one. Indoor measurements are based on instantaneous measurements with a dedicated set up: a solar simulator, called “flash-test”. The simulated conditions are close to the standard tests conditions with a stable irradiance, AMG1.5 spectrum and at 25 °C ± 1 °C, which are more stable than outdoor tests. Outdoor measurements are taken performed on variable time periods. Variations over months are commonly observed within ± 5 % that is why averaging on long periods looks relevant to reduce the standard deviation down to 1.3 %. Outdoor measurements are performed close to Chambery in France, under a soft alpine climate, with current-voltage curve tracers. Indoor and outdoor values are finally compared and discussed.
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Ozanam, Odile, and Gerald Ouzounian. "I-Graphite Waste Management in France." In ASME 2009 12th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2009. http://dx.doi.org/10.1115/icem2009-16301.
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In France about 23,000 tons of irradiated graphite waste were generated mainly from 9 nuclear gas-cooled reactors (UNGG type). All these reactors are now shut down. In France, a final disposal route has been decided for i-graphite waste management by the French Parliament in 2006. The planning act of June 28, 2006 has provisioned that a research and investigation programme shall be established with a view to developing disposal options for graphite waste. The low specific activity of these wastes means shallow disposal facilities located in a geological layer with a low permeability. The main radionuclides that need specific attention for the long term safety are Chlorine 36 and Carbon 14. This establishes the main requirements for the graphite disposal. According to these requirements, underground disposal in a clay layer, at shallow depth, offers good performance in terms of the delay and the reduction of the radionuclide release; it also offers guarantees for the cover’s hydrodynamic and transport properties. The progress of the programme makes it now necessary for a site to be found. Based on a bibliographical study, a wide-spread call for applications took place during the second semester of 2008.
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Karjalainen-Roikonen, Paivi, Elisabeth Keim, Philippe Gilles, and Sébastien Blasset. "EC FP7 Structural Performance of MULTI-METAL Component: Project Overview." In ASME 2013 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/pvp2013-97574.
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The purpose of this paper is to introduce a new EUROATOM project focusing on the structural integrity assessment of dissimilar metal weld. The project started in February 2012 and will last 3 years. The project is coordinated by VTT with 10 partner organizations from Europe: Technical Research Centre of Finland, Finland (VTT) - Coordinator AREVA NP, France and Germany (ANP) Commissariat à l’Énergie Atomique et aux energies alternatives, France (CEA) Joint Research Centre of the European Commission, Belgium (JRC) EdF-Energy, United Kingdom (BE) Bay Zoltán Foundation for Applied Research, Hungary (BZF) Electricité de France, France (EDF) TECNATOM, Spain (TEC) Jožef Stefan Institute, Slovenia (JSI) Studsvik Nuclear AB, Sweden (STU). Within MULTIMETAL, the main objectives are: - Develop a codification for fracture resistance testing in multi-metal specimens. - Develop harmonized procedures for dissimilar metal welds integrity assessment. The underlying aim of the project is to provide recommendations for a good practice approach for the integrity assessment (especially testing) of dissimilar metal welds as part of overall integrity analyses including leak-before-break (LBB) procedures. The project will promote the development of a common understanding for structural integrity assessment of dissimilar metal welds (DMWs) in existing and future nuclear power plants (NPPs) in EU member states. It will provide the technical basis for the development of harmonized European codification for multi-metal components, which is currently non-existing. A trainee program will be finally developed and text book as well as learning materials will be issued. The project will interact with the European Network of Excellence NULIFE and NUGENIA.
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Périn, J., A. Dabas, P. H. Flamant, J. Pelon, C. Loth, O. Talagrand, and B. Carissimo. "Retrieval of Meso-Scale Wind Field: Simulation and Performance for Wind." In Coherent Laser Radar. Washington, D.C.: Optica Publishing Group, 1995. http://dx.doi.org/10.1364/clr.1995.tua4.
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Meso-scale meteorology received an increased interest in the past decade and prompts new studies supported by both experimental and modeling works. In the frame of this effort the scientific communities in France and Germany proposed to developed the WIND project (1) to fly an airborne Doppler lidar. Then, considering the deployment of a wind Doppler lidar in space around 2005, the objectives for WIND are twofold : to make a significant contribution to mesoscale meteorology, and act as a precursor for space borne projects as currently foreseen in Europe. The WIND project is developed in cooperation by CNRS and CNES in France and DLR-Munich in Germany. At the present. WIND is in phase B/C and technical flight are expected by the end of 96. During phase A an end-to-end instrumental model (2) has been developed to evaluate the performance and work out the trade-off among the various sub-systems.
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Keinänen, Heikki, Elisabeth Keim, Paivi Karjalainen-Roikonen, Sébastien Blasset, Philippe Gilles, and Tomas Nicak. "Results of EC FP7 Structural Performance of MULTI-METAL Component Project: Dissimilar Metal Welds Fracture Resistance Investigation." In ASME 2015 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/pvp2015-45145.
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The purpose of this paper is to disseminate the results of an EURATOM project MULTI-METAL focusing on the structural integrity assessment of dissimilar metal welds. The project started in February 2012 and ended in February 2015. The project is coordinated by VTT with 10 partner organizations from Europe : Technical Research Centre of Finland, Finland (VTT) – Coordinator, AREVA NP, France and Germany (ANP), Commissariat à l’Énergie Atomique et aux energies alternatives, France (CEA), Joint Research Centre of the European Commission, Belgium (JRC), EdF-Energy, United Kingdom (BE), Bay Zoltán Foundation for Applied Research, Hungary (BZF), Electricité de France, France (EDF), TECNATOM, Spain (TEC), Jožef Stefan Institute, Slovenia (JSI), Studsvik Nuclear AB, Sweden (STU). The underlying aim of the project is to provide recommendations for a good practice approach for the integrity assessment (especially testing) of tough dissimilar metal welds as part of overall ductile integrity analyses; this has been presented in the project overview [1]. Experience on typical DMWs concerning manufacturing, residual stresses, flaw assessment and testing have been reviewed. The specimens were taken from mock-ups of welded plates. Three DMWs design variants have been covered: narrow gap DMW with Ni-52, DMW with austenitic steel buttering and a DMW with Nienriched austenitic steel buttering. Mechanical characterization and fracture mechanics testing (CT, SEN(B) and SEN(T) specimens) have been performed. Interpretation of the test has required numerical analysis since the standard ASTM E1820 [2] (CT, SEN(B)) and guidelines dealing with SEN(T) [3][4] are not directly intended to cover DMW. The motivation of the project and its results are generally presented and discussed.
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Brock, James, Christopher Carlin, Hai Dong, Christopher Keith, Tsuneo Kageya, James Maxwell, Xiangdong Wei, et al. "Operational Performance of the CLAS12 Longitudinally Polarized Target for Run Group C." In International workshop on CLAS12 physics and future perspectives at JLab, 21-24 March 2023, Paris, France. US DOE, 2023. http://dx.doi.org/10.2172/1970744.
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dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.
Full textAbstract:
Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with experiments in 2019, in different spaces in the city of Santa Maria, state of Rio Grande do Sul - streets, museums, art galleries, university, school, social networks, radio wave space. Subsequently, as a result of the world scenario presented from 2020, with the COVID-19 pandemic, the poetic undergoes significant transformations. In addition to the artistic and communicational strategies undergoing changes in approach, the Santa Maria space moves to that of the Clube Naturista Colina do Sol (CNCS), a naturist community located in the municipality of Taquara, also in Rio Grande do Sul. Not urbanized and immersed with the wild environment the least interfered by human action, which provides other forms of listening and connection, in addition to the relationship with the body, communication and technology, such as the use of online virtual reality platforms to share the work carried out. To approach the construction of this research, studies on methodology by the researcher and artist Sandra Rey (1953) are used. As a theoretical foundation, reference is made to the idea of micropolitics, a concept that refers to philosophers Michel Foucault (1926-1984) and Gilles Deleuze (1925-1995) and to art critic Suely Rolnik (1948). Activist artistic practices are based on the experiences of Brazilian collectives from the 1990’s to the present, as seen under the historiography of Art Activism from the 1950’s, with Italian autonomist philosophers such as Giorgio Agamben (1942) and Franco Berardi (1949). To support the notion of Art and Communication, authors such as Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello and Giselle Beiguelman are based on. The concept of device emerges from theoretical research and mediates artistic practices, having as reference Agamben, Foucault, Vilém Flusser (1920-1991) and Gilbert Simondon (1924-1989). From performances, through installations, through audio, video and face-to-face interactivity experiments or via virtual networks, this research seeks to give visibility to everyday micropolitics, with their memories, affections, formalized or ephemeral life impulses in moments of encounters. And how the artistic works can unfold in different contexts, in front of different audiences and under challenging conditions in terms of a larger historical context.
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Altimemy, Muhannad, Justin Caspar, and Alparslan Oztekin. "Performance of Francis Turbine Operating at Excess Load Condition." In ASME 2020 Fluids Engineering Division Summer Meeting collocated with the ASME 2020 Heat Transfer Summer Conference and the ASME 2020 18th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/fedsm2020-20053.
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Abstract Computational fluid dynamics simulations are conducted to characterize the spatial and temporal characteristics of the flow field inside a Francis turbine operating in the excess load regime. A high-fidelity Large Eddy Simulation (LES) turbulence model is applied to investigate the flow-induced pressure fluctuations in the draft tube of a Francis Turbine. Probes placed alongside the wall and in the center of the draft tube measure the pressure signal in the draft tube, the pressure over the turbine blades, and the power generated to compare against previous studies featuring design point and partial load operating conditions. The excess load is seen during Francis turbines in order to satisfy a spike in the electrical demand. By characterizing the flow field during these conditions, we can find potential problems with running the turbine at excess load and inspire future studies regarding mitigation methods. Our studies found a robust low-pressure region on the edges of turbine blades, which could cause cavitation in the runner region, which would extend through the draft tube, and high magnitude of pressure fluctuations were observed in the center of the draft tube.
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Pukasiewicz, A. G. M., A. R. Capra, and R. S. C. Paredes. "Development of Arc Thermally Sprayed Fe-Mn-Cr-Si Coatings Against Cavitation Erosion." In ITSC2011, edited by B. R. Marple, A. Agarwal, M. M. Hyland, Y. C. Lau, C. J. Li, R. S. Lima, and A. McDonald. DVS Media GmbH, 2011. http://dx.doi.org/10.31399/asm.cp.itsc2011p0332.
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Abstract Cavitation erosion frequently occurs in hydraulic components such as turbines, valves, pumps, and ship propellers. Arc thermal spray processing has the possibility to be used for maintenance recovering of hydraulic blade runners. Fe-Cr-Mn-Si is a cavitation-resistant class of steel with a high concentration of oxidation elements—which can be important for arc thermally sprayed coatings—and a strain-induced phase transformation. The influence of chemical composition on oxide formation, microstructure, and cavitation resistance of Fe- Mn-Cr-Si thermally sprayed coatings was studied, and its field performance in a Francis type runner was evaluated. Microstructures and properties were investigated by XPS, XRD, optical microscopy, and ultrasonic cavitation testing. The best cavitation resistance was obtained in Fe-Mn-Cr-Si alloy with a nickel addition; this composition has lower oxide and splash droplets content and exhibits better splat wetting than Fe-Mn-Cr-Si without nickel. Strain-induced phase transformation occurred in arc thermally sprayed coatings during cavitation tests. Better performances for Fe-Mn-Cr-Si alloys, without nickel, were obtained in alloys with higher strain induced martensite contents after cavitation tests. In field tests, after 2000 operation hours, it was verified that the recovered areas presented only a small number of eroded areas, and cavitation erosion was reduced compared with uncoated areas.
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Agazar, Mohamed, Denis Perrillat, Hanane Saadeddine, Christophe Robert, Laurence Casteignau, and Dominique Fortune. "Study of non-invasive instruments for the measurement of pulsed X-ray high voltage tube." In 19th International Congress of Metrology (CIM2019), edited by Sandrine Gazal. Les Ulis, France: EDP Sciences, 2019. http://dx.doi.org/10.1051/metrology/201902002.
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Non-invasive instruments (kVp meters) are widely used in radiology with diagnostic and guidance systems. Placed in the x-ray beam, they combine detectors and filters, to determine X-ray tube voltage and exposure time, which are the most important quantities in radiology and diagnostic quality control. Calibration of these instruments were limited by reference bench capabilities. General Electric Medical System France and LNE (The national metrology institute in France) have developed a reference bench for the characterization of kVp meters. The set up includes a fast high voltage generator associated with its internal measuring systems and an X-ray tube. The measurements are compared with an invasive reference standard. The set-up is installed in a Faraday cage, precautions have been taken in order to carry out accurate measurements and special adaptations have been made to avoid stray capacitances, which affect the dynamic performance of the generator. Results have shown a good agreement with the internal measuring system of the generator but the kVp meters have shown both good and bad results depending the exposure time, the current and the positioning.
Reports on the topic "Performance art – france"
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Hachem-Vermette, Caroline, Kuljeet Singh Grewal, Gilles Desthieux, Javeriya Hasan, and Somil Yadav. Strategies for the Design of New and Existing High Energy Performance Solar Neighborhoods. Edited by Caroline Hachem-Vermette, Kuljeet Singh Grewal, and Maria Wall. IEA SHC Task 63, May 2024. http://dx.doi.org/10.18777/ieashc-task63-2024-0003.
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This report provides a comprehensive overview of solar neighborhoods, including their definition, applications, standards, and regulations. It also outlines the methodology and tools used to develop archetype designs and analyses solar strategies at both building and neighborhood levels. The report presents selected archetypes from Canada, France, Italy, Norway, Sweden, and Switzerland and provides a decision-making tool for solar strategies. The target audience for this report includes architects, urban planners, policymakers, and anyone interested in sustainable and energy-oriented developments.
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Welch, David, and Gregory Deierlein. Technical Background Report for Structural Analysis and Performance Assessment (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/yyqh3072.
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This report outlines the development of earthquake damage functions and comparative loss metrics for single-family wood-frame buildings with and without seismic retrofit of vulnerable cripple wall and stem wall conditions. The underlying goal of the study is to quantify the benefits of the seismic retrofit in terms of reduced earthquake damage and repair or reconstruction costs. The earthquake damage and economic losses are evaluated based on the FEMA P-58 methodology, which incorporates detailed building information and analyses to characterize the seismic hazard, structural response, earthquake damage, and repair/reconstruction costs. The analyses are informed by and include information from other working groups of the Project to: (1) summarize past research on performance of wood-frame houses; (2) identify construction features to characterize alternative variants of wood-frame houses; (3) characterize earthquake hazard and ground motions in California; (4) conduct laboratory tests of cripple wall panels, wood-frame wall subassemblies and sill anchorages; and (5) validate the component loss models with data from insurance claims adjustors. Damage functions are developed for a set of wood-frame building variants that are distinguished by the number of stories (one- versus two-story), era (age) of construction, interior wall and ceiling materials, exterior cladding material, and height of the cripple walls. The variant houses are evaluated using seismic hazard information and ground motions for several California locations, which were chosen to represent the range seismicity conditions and retrofit design classifications outlined in the FEMA P-1100 guidelines for seismic retrofit. The resulting loss models for the Index Building variants are expressed in terms of three outputs: Mean Loss Curves (damage functions), relating expected loss (repair cost) to ground-motion shaking intensity, Expected Annual Loss, describing the expected (mean) loss at a specific building location due to the risk of earthquake damage, calculated on an annualized basis, and Expected RC250 Loss, which is the cost of repairing damage due to earthquake ground shaking with a return period of 250 years (20% chance of exceedance in 50 years). The loss curves demonstrate the effect of seismic retrofit by comparing losses in the existing (unretrofitted) and retrofitted condition across a range of seismic intensities. The general findings and observations demonstrate: (1) cripple walls in houses with exterior wood siding are more vulnerable than ones with stucco siding to collapse and damage; (2) older pre-1945 houses with plaster on wood lath interior walls are more susceptible to damage and losses than more recent houses with gypsum wallboard interiors; (3) two-story houses are more vulnerable than one-story houses; (4) taller (e.g., 6-ft-tall) cripple walls are generally less vulnerable to damage and collapse than shorter (e.g., 2-ft-tall) cripple walls; (5) houses with deficient stem wall connections are generally observed to be less vulnerable to earthquake damage than equivalent unretrofitted cripple walls with the same superstructure; and (6) the overall risk of losses and the benefits of cripple wall retrofit are larger for sites with higher seismicity. As summarized in the report, seismic retrofit of unbraced cripple walls can significantly reduce the risk of earthquake damage and repair costs, with reductions in Expected RC250 Loss risk of up to 50% of the house replacement value for an older house with wood-frame siding at locations of high seismicity. In addition to the reduction in repair cost risk, the seismic retrofit has an important additional benefit to reduce the risk of major damage that can displace residents from their house for many months.
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Reis, Evan. Seismic Performance of Single-Family Wood-Frame Houses: Comparing Analytical and Industry Catastrophe Models (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, December 2020. http://dx.doi.org/10.55461/qmbu3779.
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This report is one of a series of reports documenting the methods and findings of a multi-year, multi-disciplinary project coordinated by the Pacific Earthquake Engineering Research Center (PEER and funded by the California Earthquake Authority (CEA). The overall project is titled “Quantifying the Performance of Retrofit of Cripple Walls and Sill Anchorage in Single-Family Wood-Frame Buildings,” henceforth referred to as the “PEER–CEA Project.” The overall objective of the PEER–CEA Project is to provide scientifically based information (e.g., testing, analysis, and resulting loss models) that measure and assess the effectiveness of seismic retrofit to reduce the risk of damage and associated losses (repair costs) of wood-frame houses with cripple wall and sill anchorage deficiencies as well as retrofitted conditions that address those deficiencies. Tasks that support and inform the loss-modeling effort are: (1) collecting and summarizing existing information and results of previous research on the performance of wood-frame houses; (2) identifying construction features to characterize alternative variants of wood-frame houses; (3) characterizing earthquake hazard and ground motions at representative sites in California; (4) developing cyclic loading protocols and conducting laboratory tests of cripple wall panels, wood-frame wall subassemblies, and sill anchorages to measure and document their response (strength and stiffness) under cyclic loading; and (5) the computer modeling, simulations, and the development of loss models as informed by a workshop with claims adjustors. This report is a product of Working Group (WG) 6: Catastrophe Modeler Comparisons and focuses on comparing damage functions developed by the PEER–CEA Project with those currently contained in modeling software developed by the three largest insurance catastrophe modelers: RMS, CoreLogic and AIR Worldwide. A semi-blind study was conducted in collaboration with the modeling companies to compare damage estimates for a selection of the Index Buildings developed in the PEER–CEA Project Study. The WG6 Project Team conducted several meetings with these modeling companies to gather feedback on the structure of and assumptions made by the PEER–CEA Project. The comparative results are evaluated and presented herein.
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Zareian, Farzin, and Joel Lanning. Development of Testing Protocol for Cripple Wall Components (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/olpv6741.
Full textAbstract:
This report is one of a series of reports documenting the methods and findings of a multi-year, multi-disciplinary project coordinated by the Pacific Earthquake Engineering Research Center (PEER) and funded by the California Earthquake Authority (CEA). The overall project is titled “Quantifying the Performance of Retrofit of Cripple Walls and Sill Anchorage in Single-Family Wood-Frame Buildings,” henceforth referred to as the “PEER–CEA Project.” The overall objective of the PEER–CEA project is to provide scientifically-based information (e.g., testing, analysis, and resulting loss models) that measure and assess the effectiveness of seismic retrofit to reduce the risk of damage and associated losses (repair costs) of wood-frame houses with cripple wall and sill anchorage deficiencies as well as retrofitted conditions that address those deficiencies. Tasks that support and inform the loss-modeling effort are: (1) collecting and summarizing existing information and results of previous research on the performance of wood-frame houses; (2) identifying construction features to characterize alternative variants of wood-frame houses; (3) characterizing earthquake hazard and ground motions at representative sites in California; (4) developing cyclic loading protocols and conducting laboratory tests of cripple wall panels, wood-frame wall subassemblies, and sill anchorages to measure and document their response (strength and stiffness) under cyclic loading; and (5) the computer modeling, simulations, and the development of loss models as informed by a workshop with claims adjustors. This report is a product of Working Group 3.2 and focuses on Loading Protocol Development for Component Testing. It presents the background, development process, and recommendations for a quasi-static loading protocol to be used for cyclic testing of cripple wall components of wood-frame structures. The recommended loading protocol was developed for component testing to support the development of experimentally informed analytical models for cripple wall components. These analytical models are utilized for the performance-based assessment of wood-frame structures in the context of the PEER–CEA Project. The recommended loading protocol was developed using nonlinear dynamic analysis of representative multi-degree-of-freedom (MDOF) systems subjected to sets of single-component ground motions that varied in location and hazard level. Cumulative damage of the cripple wall components of the MDOF systems was investigated. The result is a testing protocol that captures the loading history that a cripple wall may experience in various seismic regions in California.
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Cobeen, Kelly, Vahid Mahdavifar, Tara Hutchinson, Brandon Schiller, David Welch, Grace Kang, and Yousef Bozorgnia. Large-Component Seismic Testing for Existing and Retrofitted Single-Family Wood-Frame Dwellings (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/hxyx5257.
Full textAbstract:
This report is one of a series of reports documenting the methods and findings of a multi-year, multi-disciplinary project coordinated by the Pacific Earthquake Engineering Research Center (PEER and funded by the California Earthquake Authority (CEA). The overall project is titled “Quantifying the Performance of Retrofit of Cripple Walls and Sill Anchorage in Single-Family Wood-Frame Buildings,” henceforth referred to as the “PEER–CEA Project.” The overall objective of the PEER–CEA Project is to provide scientifically based information (e.g., testing, analysis, and resulting loss models) that measure and assess the effectiveness of seismic retrofit to reduce the risk of damage and associated losses (repair costs) of wood-frame houses with cripple wall and sill anchorage deficiencies as well as retrofitted conditions that address those deficiencies. Tasks that support and inform the loss-modeling effort are: (1) collecting and summarizing existing information and results of previous research on the performance of wood-frame houses; (2) identifying construction features to characterize alternative variants of wood-frame houses; (3) characterizing earthquake hazard and ground motions at representative sites in California; (4) developing cyclic loading protocols and conducting laboratory tests of cripple wall panels, wood-frame wall subassemblies, and sill anchorages to measure and document their response (strength and stiffness) under cyclic loading; and (5) the computer modeling, simulations, and the development of loss models as informed by a workshop with claims adjustors. Quantifying the difference of seismic performance of un-retrofitted and retrofitted single-family wood-frame houses has become increasingly important in California due to the high seismicity of the state. Inadequate lateral bracing of cripple walls and inadequate sill bolting are the primary reasons for damage to residential homes, even in the event of moderate earthquakes. Physical testing tasks were conducted by Working Group 4 (WG4), with testing carried out at the University of California San Diego (UCSD) and University of California Berkeley (UCB). The primary objectives of the testing were as follows: (1) development of descriptions of load-deflection behavior of components and connections for use by Working Group 5 in development of numerical modeling; and (2) collection of descriptions of damage at varying levels of peak transient drift for use by Working Group 6 in development of fragility functions. Both UCSD and UCB testing included companion specimens tested with and without retrofit. This report documents the portions of the WG4 testing conducted at UCB: two large-component cripple wall tests (Tests AL-1 and AL-2), one test of cripple wall load-path connections (Test B-1), and two tests of dwelling superstructure construction (Tests C-1 and C-2). Included in this report are details of specimen design and construction, instrumentation, loading protocols, test data, testing observations, discussion, and conclusions.
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Reis, Evan. Development of Index Buildings, (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/fudb2072.
Full textAbstract:
This report is one of a series of reports documenting the methods and findings of a multi-year, multi-disciplinary project coordinated by the Pacific Earthquake Engineering Research Center (PEER and funded by the California Earthquake Authority (CEA). The overall project is titled “Quantifying the Performance of Retrofit of Cripple Walls and Sill Anchorage in Single-Family Wood-Frame Buildings,” henceforth referred to as the “PEER–CEA Project.” The overall objective of the PEER–CEA Project is to provide scientifically based information (e.g., testing, analysis, and resulting loss models) that measure and assess the effectiveness of seismic retrofit to reduce the risk of damage and associated losses (repair costs) of wood-frame houses with cripple wall and sill anchorage deficiencies as well as retrofitted conditions that address those deficiencies. Tasks that support and inform the loss-modeling effort are: (1) collecting and summarizing existing information and results of previous research on the performance of wood-frame houses; (2) identifying construction features to characterize alternative variants of wood-frame houses; (3) characterizing earthquake hazard and ground motions at representative sites in California; (4) developing cyclic loading protocols and conducting laboratory tests of cripple wall panels, wood-frame wall subassemblies, and sill anchorages to measure and document their response (strength and stiffness) under cyclic loading; and (5) the computer modeling, simulations, and the development of loss models as informed by a workshop with claims adjustors. This report is a product of Working Group 2: Development of Index Buildings and focuses on the identification of common variations and combinations of materials and construction characteristics of California single-family dwellings. These were used to develop “Index Buildings” that formed the basis of the PEER–CEA Project testing and analytical modeling programs (Working Groups 4 and 5). The loss modeling component of the Project (Working Group 6) quantified the damage-seismic hazard relationships for each of the Index Buildings.
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Reis, Evan, Yousef Bozorgnia, Henry Burton, Kelly Cobeen, Gregory Deierlein, Tara Hutchinson, Grace Kang, et al. Project Technical Summary (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, December 2020. http://dx.doi.org/10.55461/feis4651.
Full textAbstract:
This report is one of a series of reports documenting the methods and findings of a multi-year, multi-disciplinary project coordinated by the Pacific Earthquake Engineering Research Center (PEER) and funded by the California Earthquake Authority (CEA). The overall project is titled “Quantifying the Performance of Retrofit of Cripple Walls and Sill Anchorage in Single-Family Wood-Frame Buildings,” henceforth referred to as the “PEER-CEA Project.” The overall objective of the PEER–CEA project is to provide scientifically based information (e.g., testing, analysis, and resulting loss models) that measure and assess the effectiveness of seismic retrofit to reduce the risk of damage and associated losses (repair costs) of wood-frame houses with cripple wall and sill anchorage deficiencies as well as retrofitted conditions that address those deficiencies. Tasks that support and inform the loss-modeling effort are: (1) collecting and summarizing existing information and results of previous research on the performance of wood-frame houses; (2) identifying construction features to characterize alternative variants of wood-frame houses; (3) characterizing earthquake hazard and ground motions at representative sites in California; (4) developing cyclic loading protocols and conducting laboratory tests of cripple wall panels, wood-frame wall subassemblies, and sill anchorages to measure and document their response (strength and stiffness) under cyclic loading; and (5) the computer modeling, simulations, and the development of loss models as informed by a workshop with claims adjustors. This report is a product of Working Group 7: Reporting and is a summary of the PEER–CEA Project work performed by Working Groups 1–6. This report does not present new information apart from the rest of the project, and its purpose is to serve as a reference for researchers and catastrophe modelers wishing to understand the objectives and key findings of the project. The key overall findings of the PEER–CEA Project are summarized in Chapters 8 and 10, which describe the efforts of the WG5 and WG6 Working Groups. The reader is referred to the individual reports prepared by the Working Groups for comprehensive information on the tasks, methodologies, and results of each.
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Schiller, Brandon, Tara Hutchinson, and Kelly Cobeen. Cripple Wall Small-Component Test Program: Wet Specimens I (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/dqhf2112.
Full textAbstract:
This report is one of a series of reports documenting the methods and findings of a multi-year, multi-disciplinary project coordinated by the Pacific Earthquake Engineering Research Center (PEER and funded by the California Earthquake Authority (CEA). The overall project is titled “Quantifying the Performance of Retrofit of Cripple Walls and Sill Anchorage in Single-Family Wood-Frame Buildings,” henceforth referred to as the “PEER–CEA Project.” The overall objective of the PEER–CEA Project is to provide scientifically based information (e.g., testing, analysis, and resulting loss models) that measure and assess the effectiveness of seismic retrofit to reduce the risk of damage and associated losses (repair costs) of wood-frame houses with cripple wall and sill anchorage deficiencies as well as retrofitted conditions that address those deficiencies. Tasks that support and inform the loss-modeling effort are: (1) collecting and summarizing existing information and results of previous research on the performance of wood-frame houses; (2) identifying construction features to characterize alternative variants of wood-frame houses; (3) characterizing earthquake hazard and ground motions at representative sites in California; (4) developing cyclic loading protocols and conducting laboratory tests of cripple wall panels, wood-frame wall subassemblies, and sill anchorages to measure and document their response (strength and stiffness) under cyclic loading; and (5) the computer modeling, simulations, and the development of loss models as informed by a workshop with claims adjustors. This report is a product of Working Group 4: Testing and focuses on the first phase of an experimental investigation to study the seismic performance of retrofitted and existing cripple walls with sill anchorage. Paralleled by a large-component test program conducted at the University of California [Cobeen et al. 2020], the present study involves the first of multiple phases of small-component tests conducted at the UC San Diego. Details representative of era-specific construction, specifically the most vulnerable pre-1960s construction, are of predominant focus in the present effort. Parameters examined are cripple wall height, finish materials, gravity load, boundary conditions, anchorage, and deterioration. This report addresses the first phase of testing, which consisted of six specimens. Phase 1 including quasi-static reversed cyclic lateral load testing of six 12-ft-long, 2-ft high cripple walls. All specimens in this phase were finished on their exterior with stucco over horizontal sheathing (referred to as a “wet” finish), a finish noted to be common of dwellings built in California before 1945. Parameters addressed in this first phase include: boundary conditions on the top, bottom, and corners of the walls, attachment of the sill to the foundation, and the retrofitted condition. Details of the test specimens, testing protocol, instrumentation; and measured as well as physical observations are summarized in this report. In addition, this report discusses the rationale and scope of subsequent small-component test phases. Companion reports present these test phases considering, amongst other variables, the impacts of dry finishes and cripple wall height (Phases 2–4). Results from these experiments are intended to provide an experimental basis to support numerical modeling used to develop loss models, which are intended to quantify the reduction of loss achieved by applying state-of-practice retrofit methods as identified in FEMA P-1100, Vulnerability-Base Seismic Assessment and Retrofit of One- and Two-Family Dwellings.
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Roy, Camille, Dominique Derome, and Caroline Frenette. Modelling hygrothermal performance of wood assemblies exposed to fungi growth. Department of the Built Environment, 2023. http://dx.doi.org/10.54337/aau541621854.
Full textAbstract:
This research project aims to document the spread of the biodegradation in wood frame buildings and, more specifically, to investigate the aggravating impact of the presence of the rotting fungus Serpula lacrymans in wood-based materials on the hygrothermal performance of wood-framed wall and floor assemblies. The proposed methodology is to calibrate a hygrothermal model of wood contaminated by varying stages of S. lacrymans. The S. lacrymans has a particular ability compared to other fungi in that it can move its water source to seek nutrients. Hyphen cords have been seen on brick and concrete elements, as a bypass mean to reach wood. Thus, this fungus is modelled with two means: modified hygrothermal properties and addition of parallel paths for moisture transfer in the assemblies. To develop these, characterizing healthy and contaminated wood is necessary to be used as input in the models. The simulations are performed for residential building envelope assemblies under current and future climatic conditions.
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Schiller, Brandon, Tara Hutchinson, and Kelly Cobeen. Cripple Wall Small-Component - Test Program: Comparisons (PEER-CEA Project). Pacific Earthquake Engineering Research Center, University of California, Berkeley, CA, November 2020. http://dx.doi.org/10.55461/lohh5109.
Full textAbstract:
This report is one of a series of reports documenting the methods and findings of a multi-year, multi-disciplinary project coordinated by the Pacific Earthquake Engineering Research Center (PEER) and funded by the California Earthquake Authority (CEA). The overall project is titled “Quantifying the Performance of Retrofit of Cripple Walls and Sill Anchorage in Single-Family Wood-Frame Buildings,” henceforth referred to as the “PEER–CEA Project.” The overall objective of the PEER–CEA Project is to provide scientifically based information (e.g., testing, analysis, and resulting loss models) that measure and assess the effectiveness of seismic retrofit to reduce the risk of damage and associated losses (repair costs) of wood-frame houses with cripple wall and sill anchorage deficiencies as well as retrofitted conditions that address those deficiencies. Tasks that support and inform the loss-modeling effort are: (1) collecting and summarizing existing information and results of previous research on the performance of wood-frame houses; (2) identifying construction features to characterize alternative variants of wood-frame houses; (3) characterizing earthquake hazard and ground motions at representative sites in California; (4) developing cyclic loading protocols and conducting laboratory tests of cripple wall panels, wood-frame wall subassemblies, and sill anchorages to measure and document their response (strength and stiffness) under cyclic loading; and (5) the computer modeling, simulations, and the development of loss models as informed by a workshop with claims adjustors. This report is a product of Working Group 4 (WG4): Testing, whose central focus was to experimentally investigate the seismic performance of retrofit and existing cripple walls. Amongst the body of reports from WG4, in the present report, a suite of four small cripple wall test phases, in total 28 specimens, are cross compared with varied exterior finishes, namely stucco (wet) and non-stucco (dry) exterior finishes. Details representative of era specific construction, specifically the most vulnerable pre-1960s construction are of predominant focus in the present effort. Experiments involved imposition of combined vertical loading and quasi-static reversed cyclic lateral load onto cripple walls of 12 ft in length and 2 ft or 6 ft in height. All specimens in this report were constructed with the same boundary conditions and tested with the same vertical load. Parameters addressed in this report include: wet exterior finishes (stucco over framing, stucco over horizontal lumber sheathing, and stucco over diagonal lumber sheathing); and dry exterior finishes (horizontal siding, horizontal siding over diagonal sheathing, and T1-11 wood structural panels) with attention towards cripple wall height and the retrofit condition. The present report provides only a brief overview of the test program and setup; whereas a series of three prior reports present results of test groupings nominally by exterior finish type (wet versus dry). As such, herein the focus is to cross compare key measurements and observations of the in-plane seismic behavior of all 28 specimens.