Relevant bibliographies by topics / Tiles Exhibitions History

Academic literature on the topic 'Tiles Exhibitions History'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Tiles Exhibitions History"

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Pletneva, Ludmila M., Praskovya E. Bardina, Svetlana V. Berezovskaya, and Alexandra Yu Tsurikova. "THE HISTORY OF THE LOCAL HISTORY EXPOSITION “ALONG THE RIVER OF TIME” IN THE MUSEUM OF SEVERSK." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 248–64. http://dx.doi.org/10.17223/22220836/41/22.

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The Exhibition Hall Museum of Seversk was opened on December 24, 1987 as an exhibition hall. In the first years of its existence, it hosted temporary exhibitions from abroad, central museums of the Soviet Union, as well as exhibitions of local artists and the Children’s Art School. In the early 1990s, the government ceased to financially support traveling exhibitions. The museum faced the problem of how to fill its space. The archaeological excavations conducted by the Tomsk State University and the Seversk Archaeological Inspectorate, which were well known to the Seversk Administration, suggested the idea of creating a Department of Archeology and Ethnography at the museum. This Department was created in 1993. PhD of History P.E. Bardina, E.A. Vasilyev and L.M. Pletneva, came to the Department from the Tomsk State University. From the very beginning, they made it their goal to open a local history exhibition in a few years. In order to create its own collection, the museum needed to undertake archaeological and ethnographic expeditions. It developed a clear plan to excavate already known monuments and, with significant financial support from the Seversk Administration (then known as the City Council of People’s Deputies), brought this plan to life. The museum actively collected ethnographic materials in the surrounding villages. After each year of work, it presented exhibitions. At the same time, the museum developed a Scientific Concept and a Thematic Exposition Plan. In 1997, both documents were approved by the Scientific and Methodological Council of the museum. The Thematic Exposition Plan consisted of three sections: archeology, history of the first Russian settlement on the site of the future city, and ethnography. The exposition as a whole covers the ancient history, the Middle Ages, modern and contemporary times. The archaeological section presents exhibits dating back to the Stone, Bronze, Early Iron, and Middle Ages. The historical section demonstrates documents from archives on the history of the Virgin MaryAlekseevsky Monastery, religious items, photographs of churches from the surrounding villages and priests, a copy of a fragment of the S.U. Remezov’s map. A model of a Russian log cabin with three walls, a front corner and a Russian stove is the central part of the ethnographic exposition. Agricultural and haymaking tools, tools for handicrafts, such as cooperage and blacksmithing, as well as for women's handicrafts, are presented on the outer wall of the log cabin. At a certain distance from the log cabin, there is a hunting hut with tools for hunting, fishing and pine nut harvesting. The exposition is continually updated and supplemented. A particularly large update took place in 2009. In subsequent years, considerable attention was paid to the introduction of innovative technological developments into the exposition. Using the exposition, the museum provides guided tours, classes for schoolchildren and senior kindergarten groups on the basis of museum research and educational programs.
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Barkaszi, Zoltán, Oleksandr Kovalchuk, and Anastasiia Maliuk. "Interpretation of evolution as part of science popularization in natural history museums." GEO&BIO 2021, no. 21 (December 30, 2021): 13–24. http://dx.doi.org/10.15407/gb2104.

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The paper presents a brief review of the scientific and educational role of natural history museums, particular-ly in the field of interpretation of organic evolution. The scientific and social value of collections that are stored at natural history museums are highlighted. The history of interpretation and popularization of basic ideas of the theory of evolution are considered, as well as the perception of evolution by the society and vari-ous categories of museum visitors. Analysed are the main tools of interpretation available in natural history museums as well as basic principles of display of palaeontological specimens, particularly in dioramas as pe-culiar museum tools for interpretation. The main approaches to the interpretation of evolution are considered in the context of selection of interpretation methods and tools and in regard to the specifics of various groups of museum visitors. Minimum professional skills of interpreters who take part in exhibiting and educational ac-tivities of natural history museums are discussed. The possibilities of interpretation of evolution are shown on the example of the palaeontological exhibition of the National Museum of Natural History at the National Academy of Sciences of Ukraine (Kyiv, Ukraine). A brief description of the palaeontological display is given, particularly on the general principles of its structure and on examples of exhibited specimens that demonstrate the evolution of various groups of vertebrates (e.g. fishes and mammals). Dioramas of the palaeontological exhibition are presented, which are especially valuable visual tools of interpretation of evolution in the muse-um. The main issues of further existence and development of natural history museums are discussed in the context of their role as powerful research and educational centres, maintaining a high level of attendance by visitors, and involvement of the public in the activities of these museums in times of high competition of lei-sure offers by various entertaining facilities. The need for the modernization of earlier exhibitions using mod-ern interactive tools and visualization techniques in underlined in order to increase public interest and expand the pool of visitors.
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Senior, David. "Page as alternative space redux: artists’ magazines in the 21 st century." Art Libraries Journal 38, no. 3 (2013): 10–17. http://dx.doi.org/10.1017/s0307472200018630.

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In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.
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Lutz, Barbara. "Von der documenta lernen? Über die kulturelle Dringlichkeit im Ursprung der Ausstellungsreihe und ihre transkulturellen Implikationen für das kuratorische Konzept der documenta 14." Kulturwissenschaftliche Zeitschrift 2, no. 1 (December 20, 2017): 76–87. http://dx.doi.org/10.2478/kwg-2017-0004.

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Abstract With the guiding principle „Learning from Athens“ the 14th edition of documenta took place in 2017 both in the Greek metropolis of Athens and the German city of Kassel. As such, documenta 14 did not appear as a touring exhibition but as two single and at the same time correlated exhibitions in two different countries located in the middle of Europe and on its outskirts. With this curatorial approach, Artistic Director Adam Szymczyk goes counter the basic parameters of the well-established Western exhibition institution, which was founded in 1955 and, since then, is implemented as a periodical exhibition with a one hundred-day duration at its venue in Kassel. Taking a transcultural perspective, this article considers how the curatorial concept of documenta 14 challenges not only the institutional history, structure and status of documenta but also how it resumes and transforms its initial understanding of an ethics of cultural connectivity in times of crisis and traumatic historical ruptures for today. Moreover, it critically scrutinizes, how far the curatorially initiated „terms of invitation“ and „forms of collaboration“ for the exhibition between Kassel and Athens can be acknowledged as a shared cultural practice.
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Tateishi, Momoko. "The Edo-Tokyo Museum Library." Art Libraries Journal 38, no. 2 (2013): 21–25. http://dx.doi.org/10.1017/s0307472200017995.

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The Edo-Tokyo Museum Library is the specialist library of a museum that opened in 1993, and that has a particular focus on the history and culture of Tokyo (known in pre-modern times as Edo). It houses a collection of books, documents, secondary materials and microfilms covering history, performing arts, customs and traditions, architecture, literature and much else. The Library’s holdings are a part of the Museum’s collections; we record them and store them, making them available for public consultation on the understanding that they are objects to be treated with care, preserved for future generations, and may also be used in the museum exhibitions. At the same time, we also make a point of collecting art exhibition catalogues, and we have characteristics of an art library. On the eve of our 20th anniversary our operations are due for a review, but here I will concentrate on giving a brief summary of our activities.
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Martins, Luciana. "Skin, paper, tiles: A cross-cultural history of Kadiwéu art." Journal of Material Culture 23, no. 3 (June 26, 2018): 344–67. http://dx.doi.org/10.1177/1359183518782713.

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This article focuses on the global traffic in images relating to Kadiwéu culture in South America, analysing the extent to which they are entangled in the group’s continuing sense of presence. It begins with Kadiwéu designs as they appeared in the sketchbook of the artist–explorer Guido Boggiani in the late 19th century. It then explores the mapping of Kadiwéu territory and the practices and protocols informing a politics of land rights, cultural property and economic survival, looking in particular at the commissioning of Kadiwéu designs for a housing estate and an associated exhibition in Berlin early in the 21st century. By developing a cross-cultural history of Kadiwéu art that considers the transnational networks across different times and spaces, including the case of a transcultural history of copyright, the article seeks to contribute to the ongoing re-thinking of the colonial visual archive and its afterlife.
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Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (July 1, 2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
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Hodder, Peter. "Science as theatre: a New Zealand history of performances and exhibitions." Journal of Science Communication 10, no. 02 (May 13, 2011): A01. http://dx.doi.org/10.22323/2.10020201.

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In colonial times in New Zealand the portrayal of science to the public had a sense of theatre, with nineteenth and early twentieth century grand exhibitions of a new nation’s resources and its technological achievements complemented by spectacular public lectures and demonstrations by visitors from overseas and scientific ‘showmen’. However, from 1926 to the mid-1990s there were few public displays of scientific research and its applications, corresponding to an inward-looking science regime presided over by the Government science agency, the Department of Scientific and Industrial Research. The subsequent development of science centres with their emphasis on visitor participation has led to an increase in the audience for science and a revival of theatricality in presentation of exhibitions, demonstration lectures, café scientifiques, and science-related activities.
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Deronne, Emmanuel. "De la « pudeur d’un malade » (La Foire) à la « gouaille » du Printemps des éclopés : Robert Reus, mon père, et ses autobiographies romancées." Dialogues francophones 18, no. 1 (March 1, 2012): 69–89. http://dx.doi.org/10.1515/difra-2015-0025.

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Abstract Some of the published or unpublished works of my father, Voltaire Deronne alias Robert Reus (1909-1988), display a strong autobiographical character. Robert Reus thus adopted several attitudes towards the treatment, modest or immodest, reserved or “exhibitionist,” of important elements in his life (his first marriage in 1943, his wife’s death in 1953, and other deaths in his family between 1945 and 1948). This article describes the writer’s strategies, ranging from silence to exhibitionism. His practices (or his conscious choices) as well as his theoretical aesthetic positions send us back to the writer’s personal history and to the way in which he reconstructs or reinvents it several times, in an opaque manner that suits him and which can be deciphered only by a family member exegete-editor.
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Zhirnova, Lidia S. "Russia as a Significant Other in Latvian Regional Museums: New Mental Borders and Cultural Exclusion." Journal of Frontier Studies 7, no. 2 (May 30, 2022): 61–76. http://dx.doi.org/10.46539/jfs.v7i2.391.

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The collapse of the Soviet Union brought about a massive redefining of borders, formal as well as mental. Latvia was among those countries that needed to reshape their identity, and its elite opted for distancing the country from Russia and the Soviet past. The article studies how this approach is reflected in 32 local history museums around Latvia. Many of their collections were formed in the Soviet times, and now museums have to redescribe them in accordance with the new ideological framework of “two occupations”. The study presents an initial classification of museums according to their scope. The article highlights the underrepresentation of the Russian language in the texts of exhibitions despite a considerable share of the Russian-speaking population. The main connotations with Russia are singled out, the most emotional of them being the narrative of the “Soviet occupation” and deportations, that was excluded from the public discourse in the Soviet times, and now is re-actualized. Three strategies of dealing with the Soviet past within the framework of museums are described: leaving Soviet items without a consistent narrative, pushing this topic to the margins of the exhibition and rewriting the Soviet discourse in complete accordance with the new ideological framework.
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Dissertations / Theses on the topic "Tiles Exhibitions History"

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Cork, Kevin James, of Western Sydney Nepean University, and Faculty of Humanities and Social Sciences. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales." THESIS_FHSS_XXX_Cork_K.xml, 1994. http://handle.uws.edu.au:8081/1959.7/684.

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Little research into historical, architectural and social significance of the picture theatre in pre-television rural Australian society has been undertaken. Taking a New South Wales country area (to represent a microcosm), this thesis records the picture venues and qualitative research material from past patrons and theatre staff. The study 1/. establishes the environment created by a picture theatre 2/. shows that New South Wales was typical of Australia in film attendance before the 1960s 3/. introduces the Central-West subject area, and describes how data was gathered from available records 4/. shows the development of the picture venues within the subject areas 5/. gives 'life' to the occasion formerly associated with going to the pictures 6/. suggests the success ot the rural picture shows was a happy co-incidence: the exhibitors' desire to make money and the patrons' desire for a social experience (and entertainment). A recommendation is made that one of the venues discovered during the course of research should be investigated for heritage listing. It is important that we should acknowledge the vital part that going to the pictures once played in pre-television days, especially in rural areas
Master of Arts (Hons)
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Cork, Kevin James. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales /." View thesis, 1994. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.125146/index.html.

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Books on the topic "Tiles Exhibitions History"

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Franco, Siron. Arte & indústria: Siron 800 vezes. Edited by Marques Lucimar Mothé Vianna and Museu Nacional de Belas Artes (Brazil). Rio de Janeiro: Museu Nacional de Belas Artes, 2000.

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Patte, Florence. Le sourire du chat: Les carreaux de Florence Patte : azulejos et zelliges = The cat's grin : the tiles of Florence Patte : azulejos and zelliges. [Versailles]: Artlys, 2008.

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Kloet, Willem van der. Os Azulejos de Willem Van der Kloet em Portugal =: Willem Van der Kloet tile pictures in Portugal. Lisboa: Lisboa 94, 1994.

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Dominican Republic) Trienal Internacional del Tile Cerámico (2nd 2002 Santo Domingo. Elit-tile 02/03: II Trienal Internacional del Tile Cerámico. Santo Domingo, República Dominicana: Museo de la Cerámica Contemporánea, 2002.

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Hakubutsukan, Fukushima Kenritsu. Mutsu no kogawara: Kawara ga kataru Fukushima no kodaishi : kikakuten. Aizuwakamatsu-shi: Fukushima Kenritsu Hakubutsukan, 1988.

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Brentjens, Yvonne. Rozenburg, plateel uit Haagse kringen (1883-1917). Zwolle: Waanders Uitgevers, 2007.

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Triennale Design Museum (Milan, Italy). Talent for tiles: Prima edizione del concorso internazionale sugli utilizzi innovativi della ceramica = first edition of the international competition for innovative uses of ceramics. Bologna: Compositori, 2011.

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Müzesi, Sadberk Hanım, and Vehbi Koç Vakfı, eds. Dance of fire: Iznik tiles and ceramics in the Sadberk Hanım Museum and Ömer M. Koç collections. Istanbul: Vehbi Koç Foundation, 2009.

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Röcke, Matthias, Josef Erhardt, and Agnes Menacher. Heiss gebrannt und unverwüstlich: 140 Jahre Fliesen aus Sinzig. Edited by HeimatMuseum Schloss Sinzig. Sinzig: Arbeitskreis Keramik im HeimatMuseum Schloss Sinzig, 2011.

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Lozas y azulejos de Triana: Colección Carranza. Sevilla: Instituto de la Cultura y las Artes de Sevilla, 2011.

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Book chapters on the topic "Tiles Exhibitions History"

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Olibet, Ylenia, and Alanna Thain. "Vidéo de Femmes Dans le Parc: Feminist Rhythms and Festival Times Under Covid." In Rethinking Film Festivals in the Pandemic Era and After, 155–75. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_8.

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AbstractVidéo de Femmes dans le Parc (VFP) (Women’s Videos in the Park) is a summertime open-air screening of independent short videos, held annually since 1991 at Park La Fontaine in Montreal, Canada, by Groupe Intervention Vidéo (GIV), an independent feminist/queer distribution company. In this essay, we explore VFP’s historical use of public space and its reimagination under Covid’s urgent sanitary crisis and chronic social inequities. Within the media ecology of Montreal’s outdoor cinemas, we see GIV’s creative decision to move VFP online during Covid as part of a longer history of alternative media’s unconventional exhibition modes that address social inequalities. As such, we first situate VFP within GIV’s wider mandate of dissemination of video work by women. We then analyze VFP’s “visual architecture” under Covid, stressing the organizers’ original strategies to reproduce a sense of eventness even through online exhibition. We conclude with questions of embodied and affective labor, including audiences’ wellbeing, artist renumeration, and self-care, that the shift online entails for the organizers of VFP.
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Pozzi, Laura. "China, the Maritime Silk Road, and the Memory of Colonialism in the Asia Region." In Regions of Memory, 139–60. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93705-8_6.

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AbstractThis chapter analyzes how the city museums of Shanghai, Hong Kong, and Galle Fort deal with the memory and legacy of colonialism in the framework of the expanding economic and political power of the People’s Republic of China (PRC) in Asia. In the PRC, the historical memory of the country’s colonial past has been shaped by the Chinese Communist Party (CCP). In contrast to the transnational nature of the communist ideology, the CCP’s interpretation of history is strongly nationalist. China’s political expansion in the ex-British colony of Hong Kong and its economic ties to other Asian countries such as Sri Lanka open space for a discussion about its power to influence these countries’ understanding of their own history. How is the expansion of China, defined by many as a neo-colonial power, changing the way other countries in Asia understand the colonial past? Is China able to exports its own vision of colonialism and post-colonial order outside its own borders? This chapter answers these questions through an analysis of the permanent exhibitions of three city museums: The Shanghai History Museum; the Hong Kong Museum of History, and the Galle Fort Museum in Sri Lanka, part of the “One Belt, One Road” project.
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Priem, Karin, and Ian Grosvenor. "Future Pasts: Web Archives and Public History as Challenges for Historians of Education in Times of COVID-19." In Exhibiting the Past, 177–96. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110719871-009.

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Sylvester, Christine. "The Smithsonian Curates America’s Wars in Vietnam and Iraq." In Curating and Re-Curating the American Wars in Vietnam and Iraq, 73–101. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190840556.003.0004.

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This chapter explores the evolution of the Smithsonian museums, including failed attempts to establish a national war museum, before focusing on one exhibition at its National Museum of American History. The Price of Freedom: Americans at War is a permanent display of objects related to every war Americans fought from colonial times to the 2003 war in Iraq. At issue is how that exhibition depicts the American wars in Vietnam and Iraq. Ten years before Price of Freedom opened, the Smithsonian Air and Space Museum planned an exhibition on the American bombing of Hiroshima that collapsed from controversy over whose war and which victims should be shown. The Price of Freedom cautiously focuses only on the American side of each war. The Vietnam rooms offer impressive American technologies while rooms dedicated to the American war in Iraq are remarkably absent of objects and seem barely curated.
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Kurchenko, Tetiana. "Maintainance of personal documents of outstanding Ukrainians in the project and exhibition activity of the state regional archives of Ukraine." In Historical and cultural heritage: preservation, access, use. National Aviation University, 2021. http://dx.doi.org/10.18372/53278.

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Archives play an important role in today’s society due to collecting, keeping, processing and popularizing the historical heritage of the Ukrainian people. Currently, attention is paid to promotion of “microhistory”, regional content of the archive funds, personification of history, which is a powerful educational tool that facilitates formation of the strong ties between the archive institutions and the local society. In the context of Ukraine’s growing independence amid the Russian hybrid aggression, it is utmost important to disclose and popularize the documented evidence of the prominent figures contributing to the Ukrainian statehood, the real gems in the Ukrainian science, education and culture who have inspired the citizens with their own examples of life hardships and creative achievements. This article is focused on popularizing the personal documents kept on file in the archives in the oblasts of Ukraine. It has been established that to raise awareness regarding the personal documents, the regional state archive institutions use both the traditional and the modern tool and methods, among which online exhibitions and inter-institutional projects rank first. The author of this article, having summarized the work experience of the Ukrainian state regional archive institutions in popularization of the personal documents of national and regional significance, concludes about relevance and efficiency of the project and exhibition activity for the abovementioned purpose. The author pays tribute to popularization of experience of the state regional archives of Ukraine by means of dissemination of the personal documents among the large archive community and employees of other media and social memory institutions
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Bush, Rebecca. "“Like a Family” or “A Committee of Half-Starved Human Beings”." In Where Are the Workers?, 80–97. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044397.003.0005.

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This chapter offers an overview of interpretive techniques employed in museums to discuss southern labor activism. With Columbus, Georgia, as a case study, the benefits of utilizing multiple perspectives are examined in museum exhibitions that addressed textile strikes, child labor, rural migration to mill towns, and race relations. It argues for using photographs such as Lewis Wickes Hine's work and other labor-focused historical or contemporary artwork to present labor history through interdisciplinary interpretation. Finally, the chapter suggests ways to navigate the introduction of potentially controversial topics when institutional donors may be reluctant to do so because of family ties, political beliefs, or a desire to maintain the status quo.
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Koobak, Redi, and Margaret Tali. "Rendering Race Through a Paranoid Postsocialist Lens Activist Curating and Public Engagement in the Postcolonial Debate in Eastern Europe." In Postcolonial Publics: Art and Citizen Media in Europe. Venice: Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-677-0/011.

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This chapter engages with the heated public debate on racial representation and colonial history that arose around Kumu Art Museum’s exhibition Rendering Race (2021) in Estonia. As an academic activist intervention, it proposed an important shift by changing racist titles of artworks from the twentieth century and thereby for the first time in the museum’s practice considered minority groups as its publics. The chapter analyses the curatorial strategies used and the key points of contention in the public debate to consider what it revealed and obscured about Eastern Europe’s relationship to the aftermath of European colonialism.
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Scholte, Tatja. "Conclusion and Further Discussion." In The Perpetuation of Site-Specific Installation Artworks in Museums. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763_ch07.

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The readers of this book have taken note of the history of site-specific installation art and were offered an analytical model for examining the perpetuation of the artworks in a museum context. As the term suggests, site-specific installations are physically tied to the surrounding space and would, strictly speaking, have no afterlives after their initial manifestation. However, as demonstrated with many examples, site-specific installations can have extended lives and are frequently relocated to different contexts and times. Hence, rather than defining site specificity as a “fixed” characteristic, this study took a broader perspective by looking into the biographies of the artworks in relation to the exhibition site, ongoing institutional engagement, the locations of production, and the visitors’ interaction in the here and now.
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Haduch, Bartosz. "Biblioteka Wyspiańskiego." In O miejsce książki w historii sztuki. Część III: Sztuka książki około 1900. W 150. rocznicę urodzin Stanisława Wyspiańskiego, 217–24. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381386548.15.

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The exhibition entitled Wyspiański Unknown, opened at the beginning of 2019 to celebrate the 150th anniversary of the birth of the artist is both a supplement to the earlier Wyspiański exhibition and its culmination. The last hall houses a two-level library holding nearly 600 titles from Stanisław Wyspiański’s book collection. The smooth lines of the walls of this ‘library’ are a spatial continuation of the pastel drawing Apollo (System Copernicus) hanging along the main axis. The colours used in the two joined interiors, blue and yellow, are another allusion to the design of the famous stained-glass window topping the composition. The formal inspirations for this space included Renaissance and Baroque masterpieces, but also more modern edifices. In the blue and yellow room with Wyspiański’s books, the designers wanted to make visitors feel surrounded by the books and the pictures placed within a ‘ribbon’ going across the walls at the eye level. The ‘organic’ interior of the library is arranged in a cuboidal block filled with various display cases and single windows that allow seeing the interior from different levels. In the centre of the mezzanine there is a cosy area arranged to display one artefact – a diary. This last journal written by Wyspiański, placed inside a double glass showcase, seems to be levitating above the floor. The spaces enclosing the library are arranged in a more synthetic way, which continues the minimalist convention of the previous part of the exhibition and is in line with the neutral character of the white cube gallery model. On the white walls the visitors can see paintings and pastels loaned from other museums or private collections. Some of them were shown to the public for the first time at the Wyspiański Unknown exhibition. The vision of ‘Wyspiański’s library’ presented here is a combination of the historical library canons (both architectural and theoretical ones) and the contemporary aesthetics. It is an attempt to dress space with words.
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Nisha and Deepika. "Spices." In Ethnopharmacological Investigation of Indian Spices, 36–51. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2524-1.ch003.

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The term “spices” has been derived from the word “species,” which was connected to the group of exotic foods in medieval times. Spices and herbs have a long history of culinary use, medicinal properties, and as additives and thus have a distinct place in Ayurveda. Exhibiting the merits of spices by scientific methods still remains a challenge. This review investigates the anti-diabetic properties in preventing and managing diabetics and associated complications with commonly used spices. The bioactive compounds in these spices are additionally discussed. The major aim and object of the present work is to investigate the customary therapeutic usage of basic Indian spices and to corelate their observed pharmacological activities with the presence of explicit bioactive compounds present for the treatment or counteractive action of diabetes. This includes the basic underlying mechanism of their blood glucose lowering property including exploratory experimental evidence from proposed animal and human trials.
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Conference papers on the topic "Tiles Exhibitions History"

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Tanaka, Shusei, Dongjae Kam, Akhil Datta-Gupta, and Michael J. King. "Streamline-Based History Matching of Arrival Times and Bottomhole Pressure Data for Multicomponent Compositional Systems." In SPE Annual Technical Conference and Exhibition. Society of Petroleum Engineers, 2015. http://dx.doi.org/10.2118/174750-ms.

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Yousefnia, Ali Rad. "Provocation, Ultra-Resistance and Representation: A Case Study-Based Research Course & the Student Exhibition ‘Re- Presented’." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3993p1uq3.

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The core premise of the paper focuses on approaching a specific case study as the subject and the object of an architectural research heritage course, in this case, the UQ Union complex (UQU). During the summer semester 2020 – 2021, thirteen students in the M. Arch program at the University of Queensland (UQ) studied and interpreted the tangible and intangible heritages of the UQU. Once an award-winning project back in the 1960s, the entire complex faced the threat of demolition by the university’s proposed master plan in 2017. There is no doubt that the demolition proposal was an ‘Ultra’ decision. The process followed an ‘Ultra’ reaction in the form of a campaign for saving UQU, supported by hundreds of activists, UQ staff, students, and alumni. Therefore, an ‘Ultra’ synthesis emerged from this dialectic. Besides the pedagogical approaches of the course, the site’s rich history shaped an important section of the paper. Given the spirit of the recent period, the ‘ultra-temporal’ and uncertain times caused by the COVID-19 pandemic created an ambiguous situation, and there is a major pause for the demolition proposal. The new response from the UQ administration was also briefly discussed at the end of the paper. Within the course, the curiosity to have an in-depth understanding of a built environment transformed and evolved. Thus, the outcome was two exhibitions titled ‘re-Presented’ as a result of this collective work. The course created the opportunity for students to think critically about the role of the UQU Complex within the new master plan and re-image its position in the university’s future by their provocative proposals. These innovative and creative exhibition pieces went beyond conventional methods of documentation. The paper focuses on the students’ journey and how they unpacked the site’s history. It explains how their ideas re-presented a daily built environment that has dispatched from its past and alienated among its users. In summary, an ‘Ultra’ perspective, such as the one exemplified by the described course, comes back in a full circle.
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Hetz, Gill, Hyunmin Kim, Akhil Datta-Gupta, Michael J. King, Justyna K. Przybysz-Jarnut, Jorge L. Lopez, and Donald Vasco. "History Matching of Frequent Seismic Surveys Using Seismic Onset Times at the Peace River Field, Canada." In SPE Annual Technical Conference and Exhibition. Society of Petroleum Engineers, 2017. http://dx.doi.org/10.2118/187310-ms.

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Rodriguez-Torrado, Ruben, Alberto Pumar-Jimenez, Pablo Ruiz-Mataran, Mohammad Sarabian, Julian Togelius, Leonardo Toro Agudelo, Alexander Rueda, et al. "Geological Neural Network Methodology for Automatic History Match; Real Case for Rubiales Field." In SPE Annual Technical Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/210133-ms.

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Abstract Full history match models in subsurface systems are challenging due to the large number of reservoir simulations required, and the need to preserve geological realism in matched models. This drawback increases significantly in big real fields due to the high heterogeneity of the geological models, the reservoir simulation computational time (which increases superlinearly). In this work, we propose a novel framework based on artificial intelligence to address these shortcomings. Our workflow is based on two main components: The first is the new combination of model order reduction techniques (e.g., principle component analysis (PCA), kernel-PCA (k-PCA)) and artificial intelligence for parameterizing complex three-dimensional (3D) geomodels, called "Geo-Net". Our new approach is able to create complex high dimensional heterogeneous reservoirs in seconds, providing better correspondence with the underlying geomodels, hard-data constraints and geological plausibility. The second component is a derivative-free optimization framework to complete the automatic history matching (AHM). This new approach allows us to perform local changes in the reservoir at the same time as we conserve geological plausibility. We have examined our methodology in a real field in Colombia. The Rubiales Oil Field is located in the Llanos Basin with original oil in place of around 6 billion barrels. The key finding here is that the Geo-Net is able to recreate the full geological workflow obtaining the same high order of statistics as traditional geo-statistical techniques. Nonetheless, our Geo-Net allows us to control the full process with a low-dimensional vector and reproduces the full geological workflow 10,000 times faster than commercial geo-statistical packages. Finally, the full optimization workflow has been applied to AHM. Results show an improvement with respect to best practice of traditional history match workflows.
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Brusa, Enrica, and Chiara Stanga. "Architettura fortificata tra conservazione e riuso: i progetti di restauro novecenteschi del forte di Castelfranco a Finale Ligure." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11501.

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Fortified architecture between preservation and reuse strategies: the twentieth century restoration projects of Castelfranco in Finale LigureThe town of Finale Ligure, situated on the western coast of Liguria, was the site of the Del Carretto Marquisate until the sixteenth century. After that, it was under the control of the Spanish Crown (seventeenth century) and it has been an independent territory of the Republic of Genoa for a long time. The three castles were built on the top of Finale hills and they were the symbol of its independence. Gavone castle, established on the top of the historical town, has been the site of the Marquisate since the twelfth century. S. Giovanni castle was built by the Spanish in order to improve the town defensive system in the second half of the seventeenth century. Castelfranco, built by the Genoese in the fourteenth century, was rehashed many times by the Spanish and in the nineteenth century by the Savoia family. The three castles still recall these historical events and are therefore witnesses of the Finale present and past history. They are the result of the different transformations occurred over the centuries. In recent times, Castelfranco has been opened to the public and today it houses art exhibitions and cultural events. The restoration of the castle is the last step of a long-lasting rehabilitation project history that has been developed since the 1900s, when the Municipality suggested to turn it into a hotel. The article analyses the restoration projects of Castelfranco that have been carried out in the first half of the twentieth century, which had different methodologies and approaches. Though this study the article highlights the perception that the town had about the castle, identifying the changes in the balance between reuse and conservation strategies after the first Italian preservation laws.
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Begley, Matthew R., Brian N. Cox, and Robert M. McMeeking. "Time Dependent Crack Initiation and Growth in Ceramic Matrix Composites." In ASME 1997 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/97-gt-275.

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Matrix cracking in ceramic matrix composites with fine grained fibers at high temperatures will be governed by fiber creep, as relaxation of the fibers eliminates crack tip shielding. Using a time dependent bridging law which describes the effect of creeping fibers bridging a crack in an elastic matrix, crack growth initiation and history have been modeled. For a stationary crack, crack tip stress intensity factors as a function of time are presented to predict incubation times before subcritical crack growth. Two crack growth studies are reviewed: a constant velocity approximation for small-scale bridging, and a complete velocity history analysis which can be used to predict crack length as a function of time. The predictions are summarized and discussed in terms of identifying various regimes of crack growth initiation, subcritical growth, and catastrophic matrix cracking.
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Schuller, Volker, Andras Zamolyi, Eirik Stueland, István Dunkl, Michael Kettermann, and Zsolt Schleder. "Fault Rock Property Prediction On Jurassic Clastics Of The Barents Sea/Norway." In SPE Annual Technical Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/206290-ms.

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Abstract We analysed the fault rocks of a compartmentalized field in the Barents Sea, in an area with several tectonic elements, which formed at different tectonic events. Standard Fault Seal Analysis (FSA) was conducted to predict the shale content of the fault rock (SGR). A static cellular model based on well data, seismic data and geological concepts served as input. The fault rock calibration workflow required various data acquired by different methods. We analysed the Mid-Triassic to Upper Jurassic clastic deposits to reconstruct the tectonic history. Apatite fission track and (U-Th)/He thermochronology were used to determine the maximum burial depths and exhumation history. The results of high-resolution shale ductility analysis (BIB-SEM), a compaction trend study, kinematic analysis and structural modelling (section balancing) served as additional input constraints for fault rock calibration. The evaluation of the results helped to reconstruct the following tectonic evolution: The orthogonal faults of the analysed area developed at an early stage, during Late Triassic to Early Jurassic times at relatively shallow depth, below 1000 m. Ongoing subsidence created accommodation space for Upper Jurassic to Cenozoic deposits with a maximum burial depth of 2000 m for the analysed Mid-Jurassic rocks. Exhumation of the area started around 10 Ma and continued through to Quaternary times. The calculated values for fault rock permeability show a wide range when using poorly constrained input for fault rock calibration: 10 to 1000 mD for SGR values around 0.08 at reservoir/reservoir juxtaposition. Fault rock calibration using above described results concluded in reliable values for fault rock permeability and ultimately, for transmissibility multipliers. The reason for the sensitivity of the fault rock calibration is a combination of multiple factors: highly permeable reservoir sandstone, shallow depth of initial faulting, maximum burial depth and low shale content at the primary reservoir level. The study shows that an accurate reconstruction of the geohistory provides essential parameters for fault rock calibration and fault rock permeability calculation. The range of values can widely scatter if preconditions are not acknowledged. Well-constrained fault rock calibration reduces the uncertainty on possible flow scenarios, increases the reliability on production forecasts and helps to determine the most efficient drainage strategy.
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Lisovetc, Irina. "The Modern Multi-Functional Cultural Center (Yeltsin Center) as a Platform for Dialogue Both Public & Private." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-11.

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The article covers the modern multi-functional cultural centre as an institution of Russian culture of the 21st Century in the terms of the interaction of publicity and privacy. On the basis of the institutional approach in cultural theory and the philosophical and aesthetic analysis of the space of the cultural centre, the most important role of this institution in individual and personal assimilation of sociocultural values is substantiated. The objectives (programme) of such an institution, its chronotope and functionality are directed at the involvement of contemporaries into various forms and levels of the culture of the past, and its emotional-sensual assimilation via media-communication technologies. The ‘Yeltsin-Center’ in the city of Yekaterinburg was taken as the example not only for being orientated on the familiarisation of its visitors with the history of the Russian state and its culture of the late 20th century and the early 21st century, but also for the subjective experience of turning points of those times and the city where the personality and activities of the first Russian president were shaped and began. The calibre of the President’s personality, in this case, is diversely represented within the space of the Centre, and becomes crucial for understanding what was going on at that time. The ‘Yeltsin-Center’ is a principally new cultural complex, each component of which, and above all its central part - the Museum of the First President - is structured to show the turning point in Russian history as the President’s life journey and to encourage citizens to understand the past and present. The use of modern information technologies in this cultural complex, and primarily in its museum exhibition having been arranged as an artistic artefact, becomes crucial to the dialogue of publicity and privacy.
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Kumar, A., and D. Banerjee. "Pseudo-Aquifer Index: A New Concept for Estimating Transient Water Influx using Kumar-Ramey Average Pressure Equation." In SPE Annual Technical Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/210293-ms.

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Abstract This paper presents a new concept of Pseudo-Aquifer Index and a major departure from classical methods to estimate transient water influx using Kumar-Ramey equation employing reservoir average pressure obtained from transient tests for a central well in a constant pressure reservoir. The new method overcomes the two limitations of the conventional methods of van Everdingen-Hurst (1949), Carter-Tracy (1960), Fetkovich (1971), and similar other studies. These methods require apriori knowledge of (1) pressure history at the reservoir-aquifer boundary (oil-water contact or OWC) with time, and (2) aquifer characterization in terms of rock and fluid properties, depth, and geometric configuration. Such data for aquifer and OWC pressure history carry a high degree of uncertainty at the beginning of a newly discovered complex offshore or onshore reservoir development. Kumar-Ramey (1974) presented dimensionless water-influx (WeD) as a function of dimensionless average pressure and producing time which yields cumulative water-influx volumes as a fraction of cumulative reservoir withdrawal. Kumar (1977) also provided the dimensionless pressure at the reservoir aquifer boundary with time. Plots of dimensionless average pressure, dimensionless boundary pressures at the OWC, and cumulative water influx function (WeD) are presented as a function of producing times for the three cases of pseudo-aquifer-index of 0.25, 0.50, and 1.0. Some of this data is obtained from Kumar (1977) and is transformed into polynomial equations. Two examples show the applications, and compare transient water-influx results with those obtained from van Everdingen-Hurst method. A log-log type curve of dimensionless average pressure and time is included for determination of reservoir properties when average pressure is known A considerable advantage of the new method is its simplicity, generality, ease in use, and implementation in reservoir engineering software and simulation when compared to conventional methods. This study is also the first to provide a systemic characterization of transient boundary (OWC) pressures in closed and partial water drive reservoirs.
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Gbakon, Kaase, Joseph Ajienka, Joshua Gogo, and Omowumi Iledare. "Oil Production Forecasting Models and Oil End-Use Optimization Framework under Global Energy Transition Dynamics." In SPE Nigeria Annual International Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/211967-ms.

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Abstract This paper reviews oil (and gas) supply forecasting models and subsequently espouses atypical modeling approaches for the optimal allocation of crude oil production. This paper becomes imperative within the context of the global energy transition and the future of the oil and gas industry in Africa in general and Nigeria, in particular. A categorization framework has been utilized to classify oil supply forecasting models based on regional focus, modelling techniques, and outcomes. The log – log functional form is adopted in this paper to forecast oil production in Nigeria and subsequently optimize its allocation. A review of literature indicates that oil (and gas) supply forecasting has a long history and in recent times, there has been the tendency to rely on models that integrate engineering with economics. The models used to project oil and gas production to meet climate goals have now inputted environmental targets. This review of oil production forecast models is carried out against the backdrop of the need to optimally allocate Nigeria's future oil production to diverse uses. This will have impact on expected oil export earnings, domestic fuels’ imports, and the potential for petroleum products’ export earnings.
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Reports on the topic "Tiles Exhibitions History"

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Martin, Kathi, Nick Jushchyshyn, and Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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