Relevant bibliographies by topics / Performing arts, n.e.c

Academic literature on the topic 'Performing arts, n.e.c'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Performing arts, n.e.c"

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Stoner, Joyce Hill. "The N. C. Wyeth Studio." American Art 19, no. 1 (March 2005): 22–25. http://dx.doi.org/10.1086/429971.

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Nemerov, Alexander. "N. C. Wyeth's Theater of Illustration." American Art 6, no. 2 (April 1992): 37–57. http://dx.doi.org/10.1086/424149.

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DeLue, Rachael Ziady. "Response: Seeing and Reading N. C. Wyeth and Robert Louis Stevenson." Art Bulletin 88, no. 1 (March 2006): 33–42. http://dx.doi.org/10.1080/00043079.2006.10786275.

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Barker, Clive. "Charles W. Meister Chekhov BibliographyJefferson, N. C: Macfarland, 1985. 184 p. £29.95. ISBN 0-89950-154-0." New Theatre Quarterly 5, no. 18 (May 1989): 200. http://dx.doi.org/10.1017/s0266464x00003134.

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Nemerov, Alexander. "The Boy in Bed: The Scene of Reading in N. C. Wyeth'sWreck of the “Covenant”." Art Bulletin 88, no. 1 (March 2006): 7–27. http://dx.doi.org/10.1080/00043079.2006.10786273.

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Murray, Jacqueline. "Religion and Devotion in Europe, c. 1215-c. 1515.R. N. Swanson." Speculum 73, no. 2 (April 1998): 603–5. http://dx.doi.org/10.2307/2887249.

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Fell, John. ": The Erotic Dream Machine: Interviews with Alain Robbe-Grillet on His Films . Anthony N. Fragola, Roch C. Smith, Alain Robbe-Grillet." Film Quarterly 46, no. 4 (July 1993): 62. http://dx.doi.org/10.1525/fq.1993.46.4.04a00400.

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Matlaw, Myron. "Mary C. Henderson, Theater in America. 200 Years of Plays, Players, and Productions. New York: Harry N. Abrams, 1986. 327 pp. $45.00." Theatre Survey 28, no. 1 (May 1987): 85–86. http://dx.doi.org/10.1017/s0040557400009005.

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Fell, John. "Review: The Erotic Dream Machine: Interviews with Alain Robbe-Grillet on His Films by Anthony N. Fragola, Roch C. Smith, Alain Robbe-Grillet." Film Quarterly 46, no. 4 (1993): 62. http://dx.doi.org/10.2307/1213179.

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Armstrong, Gordon S. "American Voices. By Esther Harriott, Jefferson, N. C.: McFarland & Co., Inc., 1988, Pp. 189." Theatre Research International 14, no. 3 (1989): 309–11. http://dx.doi.org/10.1017/s0307883300009135.

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Dissertations / Theses on the topic "Performing arts, n.e.c"

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Huang, Ya-hui. "Performing Shakespeare in contemporary Taiwan." Thesis, University of Central Lancashire, 2012. http://clok.uclan.ac.uk/5333/.

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Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare. In recognising this, the core of this thesis rests on how Shakespeare plays speak insightfully to Taiwan society across historical, geographical, and cultural boundaries. Many Shakespeare plays powerfully echo the political turmoil of contemporary Taiwan society, but it is the negotiation of the political and cultural dependency that constitutes a distinct Taiwanese Shakespeare identity that is different from Chinese Shakespeare. This study therefore focuses on Shakespeare performances in contemporary Taiwan between 1986 and 2003, emphasising political context as key factor in adaptation, as Taiwan society transited from a military age to post-millennium democracy after martial law was lifted in 1987.
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Hattingh, Mareli. "Kontemporêre woordkuns as teatergenre : 'n ondersoek na die aard van die vorm van die werke van enkele Stellenbosche woordkunstenaars /." Link to the online version, 2005. http://hdl.handle.net/10019/1675.

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De, Villiers Jacobi. "Kabaret as moontlike teatervorm vir sangers met 'n klassieke sangorientasie." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/21737.

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Thesis (MA)--Stellenbosch University, 2008.
ENGLISH ABSTRACT: This study was initiated to gain insight into cabaret as a form of theatre for the migration of singers with a classical singing orientation. It researches a form of music theatre known as entertainment cabaret, which is individual by nature, as it is not bound by convention. The study entails a discussion of the nature of cabaret as a diverse form of theatre. It illustrates the role of the artist and the genre’s music style in researching structure, to determine differences and similarities in the frameworks of cabaret and opera, with specific reference to classical singing. Currently there is an abundance of musical theatre genres, and cabaret is not differentiated as an individual genre. This leads to problems in the definitive classifying of cabaret, as well as the bridging of a singer with a classical singing orientation migrating to cabaret. The study researches the concept of, and reasons for, this migration in South Africa. The qualitative research method, which makes use of in-depth interviews to gain insight, generated a wealth of information about the realities in South Africa. This method introduces a new method of acquiring information, where the changes of the last few years had a tremendous impact on the careers of performing artists in South Africa. For this reason, artists with a classical singing orientation must have a choice to take action; to generate their own opportunities. The main findings and the need for multi-talented artists to adapt to the different styles of genres were analysed in the theoretical section, followed by a discussion of the respondents’ feedback selected to contribute to this study. The gap in skills between the cabaret artist and the classical singer is identified to showcase and define the possibility of cabaret as a form of theatre for classical singers. New categories are generated in which ideas of how development can be adapted are laid out.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om insig te verkry in kabaret as moontlike teatervorm vir die migrasie van sangers met ’n klassieke sangoriëntasie. Dit ondersoek die vermaaklikheidsvorm kabaret, ’n eiesoortige vorm van musiekteater deurdat dit nie deur konvensies begrens word nie. Die studie behels ’n bespreking van die aard van kabaret as diverse teatervorm, en illustreer die rol en vaardighede van die kabarettis asook die genre se musiekstyl om die ooreenkomste en verskille in die raamwerk van kabaret en opera, met betrekking tot klassieke sangoriëntasie, te ondersoek. Tans oorvloei die musiekteatergenres, en word kabaret nie as eiesoortige genre onderskei nie. Dit maak die onderskeid van kabaret, asook die oorbrugging van ’n klassieke sanger wat na kabaret migreer, uiters problematies. Die studie stel ondersoek in na die konsep van en redes vir die migrasie van sangers met ’n klassieke sangoriëntasie na kabaret in Suid-Afrika. Die kwalitatiewe metode, wat met behulp van diepte-onderhoude insig verkry, het ’n magdom inligting oor die werklikhede in Suid-Afrika opgelewer. Hierdie metodologie is ’n nuwe manier om inligting in te samel, veral in die lig van veranderinge in die laaste paar jaar in die land, wat ’n geweldige impak op die loopbaan van Suid-Afrikaanse uitvoerende kunstenaars gehad het. Kunstenaars met ‘n klassieke sangoriëntasie moet kan kies om tot aksie oor te gaan; om hulle eie geleenthede te genereer. Die hoofbevindinge en die behoefte dat veelsydige kunstenaars by verskillende genrestyle moet kan aanpas word in die teoretiese afdeling ondersoek, gevolg deur ’n bespreking van die respondentterugvoering wat vir die doel van die studie geselekteer is. Die gaping tussen die vaardighede van die kabarettis en klassieke sanger word geïdentifiseer om sodoende die moontlikheid van kabaret as teatervorm vir klassieke sangers te definieer. Nuwe kategorieë word geskep waarin idees vir die moontlike aanpassing van ontwikkeling neergelê word.
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Dunlop, Anne Elizabeth. "Advocata nostra : central Italian paintings of Mary as the Second Eve, c.1335-c.1445." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/2889/.

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This thesis is a close examination and analysis of the creation and reception of a group of eighteen Central Italian paintings of the Madonna with Eve presented reclining at her feet, images which draw on one of the fundamental themes of Mary's cult, her role as the Second Eve. Modern writers have sometimes been taken aback by these panels; in recent studies of women in history, Mary and Eve are often assumed to have been defining stereotypes of positive and negative feminine behaviour, and these works make a blatant juxtaposition of the two. Yet this imagery was obviously attractive to Trecento and Quattrocento patrons: this paradox lies at the heart of this thesis, which seeks to determine what these paintings might have meant to those who commissioned them and who first worshipped before them. To do so, this thesis begins by introducing the questions raised by the works; it then discusses textual and oral traditions linking Mary and Eve for Trecento and Quattrocento viewers, in order to suggest a range of possible associations for the imagery. There are then four case studies, intended to particularise the general themes of the pairing through specific images and contexts. The first focuses on Ambrogio Lorenzetti's frescoes at the former Cistercian abbey of S. Galgano, which were created, it is suggested here, by a member of that community in Mary's honour. The next chapter looks at the political and eschatological implications of images of Mary's rule as the Second Eve in the Papal States, discussing frescoes in S. Agostino, Montefalco, S. Gregorio Maggiore, Spoleto, and the Camposanto in Pisa, as well as a panel attributed to Carlo da Camerion, now in Cleveland, Ohio.
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Eaton, Natasha Jane. "Imaging Empire : the trafficking of art and aesthetics in British India c.1772 to c.1795." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/34755/.

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This dissertation explores the complex entanglements of an artistic traffic between two distinct 'visual economies' in eastern India, c.1772-c.1795. Both late Mughal and early colonial cultures were undergoing transformation, to the extent that during this era the nascent colonial artistic diaspora collapsed. Three inter-related areas will be interrogated: the prestation and commercial circulation of imagery between London, Calcutta and Murshidabad, the dichotomies of political and aesthetic spheres, and colonial representations of late Mughal culture as embroiled by such frameworks. Chapter one examines India-painted subjects in a metropolitan aesthetic sphere, thus acting as crucial juxtaposition for the refiguration of British art in Calcutta, which is the subject of the following section. Hastings' regime wielded British art as part of an intensely spectacular colonial governmentality, but his successor Cornwallis, took a tougher line with devastating effect. A diversity of competing, derivative idioms ousted professional colonial painting forever; its artistic schema penetrated to 'grass-roots' level through the creation of a 'Company School' which transposed the practice of the patua caste. Chapters five to seven investigate nawabi perceptions of British imagery. Hastings introduced the gifting of large-scale portraits; artefacts ill-suited to Indian interiors and aesthetic interiority - perhaps not even viewed as 'art'. The final chapter, through representations of the nawabs of Murshidabad and Lucknow, traces the evolution of British pictures as accoutrements of Mughal sovereignty. By 1795 both courts possessed permanent if 'hybrid' expositions of colonial imagery which transgressed established Indian and British classifications, as well as indicating more profound redefinitions of Indian comportment, consumption and taste. The intersection of 'visual economies' by way of an exploration of diverse zones of transculturation and processes of translation, provides a vital lens for recovering Indian and British agency - both elite and subaltern, in the oft-uneasy formation of a colonial aesthetic forum.
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Graham, Deborah Jane. "The manifestation of national identities in late eighteenth-century Scottish art, c.1750-1800." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/110988/.

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This dissertation seeks to explore how national identities were manifest in eighteenth-century Scottish art. Understanding national identity to be a cultural and political phenomena, it considers symbols of national identity and examines in aesthetic and economic terms how the fine arts were both implicated in, and capable of expressing, the significant changes in national identity apparent in Scotland following the ’Forty-Five. The first chapter concerns itself with the issue of art and identity in Scotland between cl750 and 1800, and surveys the relevant literature, before introducing other significant issues pertinent to this research: the Enlightenment and Improvement. Chapter two recognises that previous studies of Highland portraits have examined them from an ‘external’ perspective. It investigates the implications of this for the viewer, and proceeds to analyse them from an ‘internal’ perspective intended to reveal the sitters’ motivations, to conclude that they are aristocratic images of authority, and its loss. The construction of the myth of the Highlands is thus expounded visually. If these symbols offer little evidence for an identity in flux, it is questionable whether individuals’ portraits can express national identity. Yet such a claim, it will be argued in chapter three, can be made through the desire to collect and order portraits by nation, and its relation to the Enlightenment discourse of the role of the individual in forming civil society. In this context, in chapter four, the aesthetic qualities of Allan Ramsay’s 1753-4 portraits will be argued as having been of particular significance to their Scottish sitters, being formed by Ramsay’s participation in Enlightenment Edinburgh society. Evidence for this position will be adduced through his paintings and writings, though the influence of physical setting is also considered. Finally, in chapter five, a study of Edinburgh art markets in comparison with those of English provincial cities addresses the question of whether Scotland was a nation, or province of England. The synthesis of existing literature and an original survey of art-related newspaper advertising reveals the Edinburgh market to be distinctive, though increasingly reliant upon London. The co-existence of local and national culture is found to be an important dialectic in the market, just as the dialectic between Scottish and British culture was found to be so generally in this dissertation. In conclusion, chapter six argues that while Scottish art must be considered as part of the history of British art, the desire amongst Scots to be part of a British nation was a significant force in shaping Scottish visual culture.
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Rozier, Emily Jane. "The galaunt tradition in England, c.1380–c.1550 : the form and function of a satirical youth figure." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6656/.

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The subject of this doctoral study is the satirical figure known as the ‘galaunt’, as depicted in English literature and visual art c.1380–c.1550. It combines close textual analysis with investigation of established youth tropes, contemporaneous material culture, and socio-political concerns. It begins by establishing the breadth of the galaunt corpus and the figure’s significance, before tracing the etymology of galaunt and the cultural antecedents of the late medieval tradition in order to establish its hitherto unidentified Classical origins. The study goes on to explore the fundamental aspects of the galaunt’s semiotic makeup: youth; licentiousness; sartorial extravagance; and problematic masculinity. Despite the cultural significance of the late medieval galaunt, it has received little scholarly attention and the true significance of the figure’s role as Wayward Youth is yet to be established. This doctoral thesis moves away from previous scholarship, which has interpreted the figure as an instance of social-mobility discourse, and instead unravels the tradition’s complex conflation of established youth stereotypes and socio-political concerns to reposition the galaunt as a Vice figure symbolising errant youth. The thesis argues for a reappraisal of the significance of youth to late medieval social discourses, particularly in regard to questions of masculinity and status.
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Hattingh, Mareli. "Kontemporere woordkuns as teatergenre : 'n ondersoek na die aard van die vorm van die werke van enkele Stellenbosche woordkunstenaars." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2226.

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Thesis (MDram (Drama))—University of Stellenbosch, 2005.
Oral Art (Woordkuns) as a performing art form is a burgeoning independent theatre genre that has developed especially over the last decade with the rise of the national arts festivals. By investigating the literary term word art, the eclectic nature of oral art as a theatre genre, the oral art text and the role of the visual within an oral art performance, we are able to give a paraphrase or definition of oral art as a theatre genre. Oral art as a performing art form can firstly be defined with reference to the origins of the oral art text, namely an existing work(s) that originated as a non-dramatic literary work(s) and that is revisited within a new context; secondly a shift in the dramatic presentation from physical action to the spoken word. The eclectic nature of oral art is a further characteristic of this theatre genre. Oral art has the ability to change in form and function and not only can it be biographical or autobiographical, but it can also be socio-politically intended. The hybrid nature of oral art – oral art texts combine in many cases works from different genres – also shows many similarities with other theatre genres like cabaret and black political protest theatre. Three possible structures are identified within the oral art text, namely an episodic structure, a developing story line or argument and a compilation consisting of a number of short stories or narratives. The oral art text can be compiled from a number of literary genres and the choice of material is determined by the overarching theme and the format of the performance. Visual elements support the oration within an oral art performance. The different types of texts used in the compilation of an oral art program determine the presentation style and stage composition. Physical action is representational rather than realistic. The use of décor, props, costumes and lighting are minimal and multi-functional.
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Michael, Georgia. "Imaging divinity : the 'invisible' Godhead in early Christian art c.300-c.730." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7318/.

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Representations of the Holy Trinity have increasingly come under scrutiny, exposing two competing paradigms at opposite ends of the theological spectrum: the legitimacy and the illegitimacy of imaging the Triune God with focus on the invisible Father who was imaged as an individual from Late Antiquity and beyond. An overview of these two conflicting views has unveiled a number of inconsistencies in how the Early Christian iconography of God the Father and the Trinity has been interpreted. This thesis provides a unique re-evaluation of the surviving Trinitarian visual material between c.300 to c.730. Primarily, this study collates pictorial evidence preserved in the mediums of sarcophagi, catacomb frescoes, mosaics, illuminated manuscripts and an icon that depicts Divinity. It proceeds to critique modern misconceptions of the identity, form, meaning, function and reception of the depictions. The thesis traces the visual shift amid overt and covert images of Divinity by decoding important artworks such as the Ashburnham Pentateuch and the Codex Amiatinus; Christians visualised explicitly the ' invisibility' of God but created an unprecedented invention, the depiction of the Father through Christ's image. The innovative depiction heralded future visual formulas of Divinity echoing the complexities of Trinitarian material culture of the Mediterranean world.
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Spooner, Rosemary Gall. "Close encounters : international exhibitions and the material culture of the British Empire, c.1880-1940." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7386/.

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Apparitions of empire and imperial ideologies were deeply embedded in the International Exhibition, a distinct exhibitionary paradigm that came to prominence in the mid-nineteenth century. Exhibitions were platforms for the display of objects, the movement of people, and the dissemination of ideas across and between regions of the British Empire, thereby facilitating contact between its different cultures and societies. This thesis aims to disrupt a dominant understanding of International Exhibitions, which forwards the notion that all exhibitions, irrespective of when or where they were staged, upheld a singular imperial discourse (i.e. Greenhalgh 1988, Rydell 1984). Rather, this thesis suggests International Exhibitions responded to and reflected the unique social, political and economic circumstances in which they took place, functioning as cultural environments in which pressing concerns of the day were worked through. Understood thus, the International Exhibition becomes a space for self-presentation, serving as a stage from which a multitude of interests and identities were constructed, performed and projected. This thesis looks to the visual and material culture of the International Exhibition in order to uncover this more nuanced history, and foregrounds an analysis of the intersections between practices of exhibition-making and identity-making. The primary focus is a set of exhibitions held in Glasgow in the late-1880s and early-1900s, which extends the geographic and temporal boundaries of the existing scholarship. What is more, it looks at representations of Canada at these events, another party whose involvement in the International Exhibition tradition has gone largely unnoticed. Consequently, this thesis is a thematic investigation of the links between a municipality routinely deemed the ‘Second City of the Empire’ and a Dominion settler colony, two types of geographic setting rarely brought into dialogue. It analyses three key elements of the exhibition-making process, exploring how iconographies of ‘quasi-nationhood’ were expressed through an exhibition’s planning and negotiation, its architecture and its displays. This original research framework deliberately cuts across strata that continue to define conceptions of the British Empire, and pushes beyond a conceptual model defined by metropole and colony. Through examining International Exhibitions held in Glasgow in the late-Victorian and Edwardian periods, and visions of Canada in evidence at these events, the goal is to offer a novel intervention into the existing literature concerning the cultural history of empire, one that emphasises fluidity rather than fixity and which muddles the boundaries between centre and periphery.
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Books on the topic "Performing arts, n.e.c"

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Weyn, Suzanne. The N-C zone. New York, NY: Macmillan McGraw-Hill, 1998.

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Amy, Villarejo, ed. Quee n Christina. London: British Film Institute, 1995.

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Steve, Prevesk, Bell Melinda, and Kaplan Todd, eds. 'N side 'N Sync: The ultimate official album / by 'N Sync ; with Steve Prevesk & Melinda Bell ; original photography by Todd Kaplan. New York, NY: Universe, 1999.

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Shore, Sandi C. Sandi C. Shore's secrets to stand-up success: A complete step-by-step workbook. Cincinnati, OH: Emmis Books, 2004.

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Rock 'n' roll dances of the 1950s. Santa Barbara, Calif: Greenwood, 2011.

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Vampilov, Aleksandr. Farewell in June: Comedy in two acts. Amsterdam: Harwood Academic, 1996.

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Simpson, Robert Wilfred Levick. Beethoven symphonies. [London]: Ariel Music, BBC publications, 1986., 1986.

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Fairbanks, Tasha. Pulp. Amsterdam, The Netherlands: Harwood Academic, 1996.

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Elaine, Aston, and Griffin Gabriele, eds. Curfew. Amsterdam: Harwood Academic, 1996.

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Emmet, Kennedy, ed. Theatre, opera, and audiences in revolutionary Paris: Analysis and repertory. Westport, Conn: Greenwood Press, 1996.

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Book chapters on the topic "Performing arts, n.e.c"

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Logsdon, Gene. "N. C. Wyeth." In The Mother of All Arts, 31–38. University Press of Kentucky, 2007. http://dx.doi.org/10.5810/kentucky/9780813124438.003.0004.

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"( ™ ) nœ nœ ™ #œ ™ & ‡ ‡ ∆ #œ nJœ ∞ ∆ ‡ ‡ ‡ #œ J -. n ∞ J œ -œ f f nœ j˙ j j." In Diasporas and Interculturalism in Asian Performing Arts, 203–9. Routledge, 2004. http://dx.doi.org/10.4324/9780203641903-15.

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Roberts, Ann. "The armless artist and the lightning cartoonist: performing popular culture at the Crystal Palace c.1900." In After 1851, edited by Kate Nichols and Sarah Victoria Turner. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719096495.003.0004.

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Discussions of art at the Crystal Palace have largely focussed on sculpture and architecture from the past contained in its Fine Arts Courts. This chapter explores the role of art via a different trajectory using the paper trail of popular culture contained in the Daily Programme of events and the Crystal Palace’s own magazine, to reveal its connections to two artists who worked at the Palace around 1900. Drawing on contemporary popular journalism of the period, this chapter engages with representations of the artists Bertram Hiles and Herbert Beecroft as part of commercialised forms of leisure available at the Crystal Palace. The case studies of these two artists temporarily working in residence at Sydenham brings into focus the role of the Crystal Palace in modern consumer practices that in turn embraced the visual pleasures of gazing and looking. Far from the high moral tone of the original Hyde Park enterprise, the work of Hiles and Beecroft fused the visual pleasures offered by art with popular entertainment.
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"A Story Cloth of Curriculum Making: Narratively S-t-i-t-c-h-i-n-g Understandings through Arts-Informed Work." In Perspectives on Arts Education Research in Canada, Volume 1, 92–110. Brill | Sense, 2019. http://dx.doi.org/10.1163/9789004405202_007.

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"Performing Arts Center, Flintridge Preparatory School La Cañada-Flintridge, California, USA AC Martin Partners, Inc. Design partner: David C. Martin, FAIA." In International Architecture Yearbook: No. 8, 174–75. Taylor & Francis, 2014. http://dx.doi.org/10.4324/9781315012629-47.

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Ødegaard, Hallvard, Harsha Ratnaweera, and Bru Rusten. "Instrumentation, control and automation (ICA) of MBBR plants for nutrient removal in wastewater: ICA of MBBR plants." In Celebrating passion for Water, Science and Technology, 1–16. IWA Publishing, 2022. http://dx.doi.org/10.2166/9781789063370_0001.

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Abstract Cold and dilute wastewater is a major challenge for N-removal at wastewater treatment plants. The moving-bed biofilm reactor process in combination with chemical coagulation/precipitation has proven suitable for nutrient removal under these conditions. Several full-scale plants based on combined pre- and post-denitrification for nitrogen removal and chemical coagulation/precipitation for phosphorous removal have been in operation for more than 20 years. These plants are still performing well, even at above design loads and at low temperatures (<10°C). The success of this process configuration can largely be attributed to its flexibility of operation and control. In this paper the key instrumentation, control and automation elements are discussed and recommendations regarding process choice, reactor configuration and design are given.
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"te a c ri hanbiiq li ues draw on many aspects of recorded past cast skill is that the statistical techniques generally cao ss r o re cliaattie ty d w in i th thEeNS cl O im . aItne system, not just those perform poorly in northern spring, with cross­ forecasts o , nanaunmd be mruo lt fipo le ad li dnieta io r n to simple linear validated anomaly correlations <0.6 for forecasts even operational use. These ttohoelrssitn at c i sti rceagl re to ss oilosn -a braes ed just one season ahead and <0.3 for forecasts two antianalogs (Livezey lude analogs an idnd se aam so pnesdapheerasd is . te S n im ce p l ( eapceorm sis btiennacte io onfo th fepeSrS si Tss te , nocrethaenidrCClain mate Normals ( OaC nd N ) B a ( r H ns utaonng 19 e8t8a ), l . O1p9 ti 9m4a ) l , tcilm im eao to fltohgeyy ), easrh . ow just as much, or more, skill at this l P in re eio se n n ic d al Correlation Analysis (CCA) (Barnett and Even if the statistically based SST forecasts were War adrda is ocrrfiemr in 1a9n8t7a ) n , a ly asnids (M eig a e ry novnecatnodrSatnoarleyy si s19a8n5d , p th earn fe -c pte , rf heocwtreevlear ti , o n th sh e ip hsisbteotrw ic eaelnrS ec SoTrda no sh moaw li sesla es nsd -d beav se e d lo ponndnFeoulrlaalndne1 tw 99 o 1). More complex methods precipitation even for regions with a strong ENSO skill scor eedso (e f . g o . p , er Lao ti nognaertksal. ha1v9e also recently been influence. In such regions, precipitation anomalies these tools has been mar lgpirneacl ip in it 9a7 ti ) o . nIn fo general, the typically show a consistent ENSO relationship in 75-much more skilful in parts of the t h tr eopeixc tr raetcrao sts using 80 per cent of the ENSO episodes this century. How­ et al. 1993). In the extratropics, statist s ic a (e l .g p . i , cWsba ut ever, even the best performing statistical SST pre­ offer little encouragement for more reliable m dr e o th uogd rd s b di e c tw tio enen sc ohbes mes have ht Pacific SST oefrv0e .8 d -0 a .9 ndcp ro re sds-ivca te li for two se d d ate aso t n ro dspa ic caolr re e la atsitoen rn s p cu re r d re ic nttiosn ta steexocfepEtNwShOenoursw ed it h in EcNoS nj Ounfcotrieocnasw ts i th (e . tgh . e , n co orrrtehleartn io nsuomfm th er e through fall. Thus if th hee ad an ionmtahleysB ta atrin st sitcoanldarnodu gh Stmp it rhe di 1c9 ti 9o6n ) . t ha Wter el nao te w s to fo cEuNsSoOn , m th ieghotbr served SST igs iv 0 e . n8irnegs io tr noanlgpE re N ci SpO ita tyieoanrsw , w ith e a in ndpatrh ti ecuplraerd . iction of central and eastern Pacific SST pitation eawsio th na abn ly o m ex a p ly ecctotrorem la atk io e such year nps re odfi0 ct . i6o -n 0 s . 7ofdpurreicnig ­ icsorcro el nastiisosn -o i v .e e . r , a in ll aybeo ar ustwhialllfboefsau ll byse ta a n rs t . iaT ll hyeleasvse ; rtahgies tent with experience (Barnston and Smith." In Droughts, 59. Routledge, 2016. http://dx.doi.org/10.4324/9781315830896-41.

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Conference papers on the topic "Performing arts, n.e.c"

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Albu, Doru. "MODERN EXPRESSION ELEMENTS �N ARCHAIC LINEAGE MUSIC REFLECTED IN IPOSTAZE FOR CLARINET AND PIANO BY VIOREL MUNTEANU." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.043.

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Karkina, Svetlana. "THE WORKS OF N. HARNONCOURT: THE DYNAMICS OF STYLE ON THE EXAMPLE OF PERFORMANCES OF MOZART'S OPERA "LA CLEMENZA DI TITO" PERIOD OF THE LATE XX C. AN." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s13.018.

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McGill, Robert O., Kari L. Den Herder, Daniel B. Patten, and Steven P. Queen. "Recent Applications of ASME Code Case N-513 for Evaluation of Nonplanar Leaking Flaws." In ASME 2008 Pressure Vessels and Piping Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/pvp2008-61639.

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ASME Code Case N-513, Evaluation Criteria for Temporary Acceptance of Flaws in Moderate Energy Class 2 or 3 Piping, provides evaluation rules for the temporary acceptance of flaws, including through-wall flaws, in moderate energy Class 2 or 3 piping without performing repair/replacement activities. The Code Case has gone through three revisions with the latest approved by ASME Section XI being N-513-2. The Code Case allows for evaluation of both planar and nonplanar flaws. The planar flaw evaluation uses the rules in Appendix C of ASME Section XI. The nonplanar flaw evaluation uses the procedure provided in Code Case N-480. This Code Case has been used widely in the nuclear industry ever since it was published. Its use is expected to grow with plant aging and especially since Revision 2 was recently endorsed by the NRC in Regulatory Guide 1.147 without condition. The paper describes three specific applications of the Code Case to accept leaking flaws in piping components for continued operation till the end of the operating cycle when repairs could be performed. The use of this Code Case thus avoided costly and unnecessary shutdown of the plants in these cases. The evaluation procedures using this Code Case for these instances are described in the paper.
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Kosaraju, Satyanarayana, Anil Kalluri, Swadesh Kumar Singh, and Ahsan ul Haq. "Evaluation and Characterization of ASS316L at Sub-Zero Temperature." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-12102.

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Abstract Austenitic Stainless-Steel grade 316L is one among the significant ASS grades which is most commonly used in various industry sectors. It has excellent corrosion resistance in ordinary atmospheric and also in more arduous environments such as salt water and environments where resistance to chloride corrosion is required. Whilst performing well when exposed to relatively high temperatures, this grade of Austenitic Stainless steel also maintains its strength and toughness at sub-zero temperatures, making this an excellent choice for various applications in industries sectors such as Marine, general construction, and water treatment. Therefore, present study focused on evaluating the mechanical properties such as ultimate tensile strength (UTS), yield strength (YS) and strain hardening exponent (n) are evaluated based on the experimental data obtained from the uniaxial isothermal tensile tests performed at an interval of −25 °C from 0 °C to −50 °C and at three orientations (0, 45, 90) degrees to the rolling direction and cross head velocity (3, 5, 7) mm/min were chosen. A total of 27 experiments have been planned based on design of experiments to conduct experiments. A mathematical model for the prediction of ultimate tensile strength (UTS), yield strength (YS) and strain hardening exponent (n) was developed using process parameters such as temperature, orientation and cross head velocities. Results have shown that mechanical properties can be predicted with a reasonable accuracy within the range of process parameters considered in this study.
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Cheu, Darrell S., Thomas E. Adams, and Shripad T. Revankar. "Derivation of Critical Parameters of Betavoltaics." In 2018 26th International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/icone26-81109.

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Betavoltaic cells are nuclear batteries ideal for low-power applications for extended periods of time without maintenance or replacement. Betavoltaics function similarly to photovoltaic (solar) cells where instead of using sunlight, beta particles are used to generate electron-hole pairs within a semiconductor p-n junction to generate current. Even though there have been multiple demonstrations, betavoltaic performance has not been extensively studied. To accurately predict betavoltaic performance, which is important for a device in operation without maintenance for elongated periods, all parameters are required to predict potential fluctuations in cell performance, such as doping densities and resistances for semiconductor variation and absorption coefficients for beta-generated current. However, not all parameters are easily measured, especially when the p-n junction is constantly under irradiation and cannot be separated from the source. Critical parameters were characterized experimentally with the betavoltaic cell by performing capacitance-voltage to determine doping densities and performing current-voltage characterization tests to determine resistances on multiple NanoTritium™ cells, while absorption coefficients were determined from MCNP6 simulations. Experiments indicated that series resistance Rs was 1 × 106 Ω, while shunt resistance Rsh was 2 × 108 Ω from I-V characterization, while doping density ND was determined to be 1 × 1017 cm−3 from C-V characterization. Absorption coefficient α was found to vary with semiconductor material and incoming beta energy and used in conjunction with critical parameters from experimentation to accurately model betavoltaic cell performance similar to experimental results. Both implicit equations and explicit estimations were compared to model betavoltaic cell performance.
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Naim, Aziz Michel, and Kemper Lewis. "Modeling the Dynamics of Innovation in Engineered Systems." In ASME 2017 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/detc2017-68180.

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Innovation in engineering design remains a topic that lacks a formal and consistent framework. It is difficult developing a consistent definition of innovation since it is a phenomenon that is multidisciplinary in nature and present in every facet of our lives from engineering products to the performing and culinary arts. It is thus important to distinguish the general definition of innovation with its applicability in the engineering domain. Furthermore, the dynamic nature of innovation is oftentimes lost when designers try to model innovation in a complex system. The reality is that the perceived engineering innovation in a complex system can be influenced at various levels. It is thus important to provide a tool for designers that provides a clear understanding of the effects of technological progress on the overall performance capability of a complex system. This paper provides a framework to model engineering innovation in engineered systems by introducing an N-Dimensional Growth Model and applying it in the early stages of a design process in order to assist the designer in the selection of technologically innovative concepts.
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Iyer, D., A. Messinger, R. Crowder, Y. Zhang, O. Amster, S. Friedman, Y. Yang, and F. Stanke. "Measurement of Dielectric Constant and Doping Concentration of a Cross-Sectioned Device by Quantitative Scanning Microwave Impedance Microscopy." In ISTFA 2017. ASM International, 2017. http://dx.doi.org/10.31399/asm.cp.istfa2017p0613.

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Abstract Scanning microwave impedance microscopy (sMIM) is an emerging technique that can provide detailed information beyond that of conventional scanning capacitance microscopy (SCM), and other electrical scanning probe microscopy (SPM) techniques, for the investigation and failure analysis (FA) of semiconductor devices. Integration of new dielectric materials at lower levels of the device structure with the need for quantification of dielectric and dopants in semiconductor devices with sub-micron spatial resolution pushes the practical boundaries of typical atomic force microscopy (AFM) electrical modes. sMIM can measure both linear and non-linear materials (insulators and doped semiconductors, respectively) simultaneously. sMIM has a linear response to log k (dielectric number) and log N (doping concentration) making it an ideal method for providing quantitative measurements of semiconductor devices over a large range of values. This work demonstrates an example of a practical application of sMIM for quantitative measurement of the dopant concentration profile in production semiconductor devices. A planar dopant calibration sample is used to calibrate the sMIM prior to performing the measurements on an “unknown” production device. We utilize nanoscale C-V data to establish a calibration curve for both n- and p-type carriers and apply the calibration curve to an “unknown” device, presenting the measurements in units of doping concentration.
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Czichon, Cary, Robert W. Peterson, Erik Mettala, Jerry Speer, and Jeff Stahl. "Model-Based Coordination of Autonomous Vehicle Teams." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-81073.

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In order to coordinate autonomous robotic vehicle teams as they perform tactical tasks, a task formalism incorporating graphical (but mathematically rigorous) process models is being used. This extendable formalism, associated modeling methodology, and integrated modeling and execution environment are being developed by a U.S. Army funded SBIR project (RDECOM Contract N61339-04-C-0005). Colored Petri Nets (CPNs) provide the mathematical rigor needed for task and composite (ensemble) behavior modeling, while being conceptually elegant and easily displayed. Higher level task models can contain more fundamental models, allowing hierarchical model composition. Typed places within CPNs can hold tokens representing robotic equipment performing specific roles in a mission comprised of one or more tactical tasks. Army Tactical Tasks (ARTs) are defined within the Army Universal Task List (AUTL), FM 7-15. CPN mechanics support task synchronization and process simulation. CPN-based models can be enhanced to incorporate adaptive reasoning and dynamic/summative evaluation capabilities. In this SBIR project, executable task models are encapsulated by task agents operating within agent clusters. These clusters control virtual robotic vehicles (existing within constructive simulators like OneSAF) while multi-stage tactical missions are being performed.
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Godovitsyn, Maxim, Julia Zhivchikova, Nickolay Starostin, and Anton Shtanyuk. "Algorithm for Implementing Logical Operations on Sets of Orthogonal Polygons." In 31th International Conference on Computer Graphics and Vision. Keldysh Institute of Applied Mathematics, 2021. http://dx.doi.org/10.20948/graphicon-2021-3027-1088-1097.

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As part of the development CAD for design rule checks (DRC), it is necessary to use logical operations on orthogonal polygons that form the layout of an integrated circuit. Such operations as union, intersection, subtraction are performed over layers that contain orthogonal polygons. These operations are subject to stringent execution time requirements. The traditional representation of polygons in the form of bitmaps does not provide a quasi-linear dependence of time on the processed data size and requires development of new algorithms and polygon representation approaches. This paper contains a description of a modified sweeping line obscuring algorithm that achieves O(N log N) time. The algorithm uses three properties of the polygon: the separation of inner region from outer region by the edge, the belonging of edges to the set of either vertical or horizontal edges, and dissection of the layer plane into rectangular fragments which belong to either inner or outer region of the polygon. Procedures of input polygon contour representations that are dissected into sets of vertical and horizontal edges are described. As a result of performing logical operations, polygon edges of the resulting layer are formed. These edges, in turn, are converted into contour representations. The results of a computational experiment confirming the nature of the time dependences determined theoretically are presented. We propose the structure of a software system for DRC, built with the use of programming languages C++ and Lua.
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Fabbrini, N., J. M. Walenga, D. Hoppensteadt, and J. Fareed. "LABORATORY EVALUATION OF A MULTICHANNEL VERTICAL PHOTOMETRIC ANALYZER FOR TEE TESTING OF CLOT, CHROMOGENIC AND ELISA BASED METHODS FOR HEMOSTATIC SYSTEM." In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1644605.

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Due to major developments in the molecular understanding of the hemostatic system, many newer tests to evaluate bleeding and clotting disorders have been developed. These newer tests are based on clotting, enzymatic and immunologic techniques. Since routine coagulation laboratories are not equipped with instruments capable of enzymatic or immunologic measurements, adaptation of these newer tests to the clinical laboratory has been rather limited. As these tests have a significant impact on the basic diagnostics of hemostatic disorders and the monitoring of antithrombotic therapy, the need for instruments capable of performing each of these tests is evident. We have evaluated a new multiprobe instrument, the FP-910 Coagulation Analyzer (Lab-Systems, Helsinki, Finland), for numerous clot-based, immunologic and amidolytic assays. This instrument has a programmable microprocessor controlled analyzer, mixer and incubator in a semi-automated system capable of hight throughput due to multiple processing. A unique vertical light path system allows quantification of even particulate reactions. It is compatible with most commercially available reagents for clot-based synthetic substrate and ELISA methodologies. Individual methods are preprogrammed in the instrument and additional methods can be programmed for all detection modes. For the clot-based assays (P.T, APTT, Heptest®) , excellent correlations were obtained with the BBL Fibrometer and General Diagnostics Coagamate X2 (n=50, r>0.95). The chromogenic assay kits from various suppliers (AT III, heparin, plasminogen, a-antiplasmin) also correlar-ted well (n=50, r>0.95). Similarly the ELISA based protein C assay also correlated well with the Dynatech® system (n=50, r>0.98). The instrument is easy to operate, has a high throughput in all modes (50-100/hr.), high reproducibility and is economically feasible for routine laboratories involved in multi-parametric testing of hemostasis.
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