Bibliografías temáticas / Frank Stella

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Literatura académica sobre el tema "Frank Stella"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 5 de marzo de 2023

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Artículos de revistas sobre el tema "Frank Stella"

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BULDUK, Bülent. "FRANK STELLA VEÜÇ BOYUTLU NESNELERİ". ATLAS JOURNAL 4, n.º 10 (1 de enero de 2018): 751–56. http://dx.doi.org/10.31568/atlas.143.

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GOUGH, MARIA. "“Frank Stella is a Constructivist”". October 119 (enero de 2007): 94–120. http://dx.doi.org/10.1162/octo.2007.119.1.94.

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Allen, J. P. "On Club Onyx by Frank Stella". Hopkins Review 10, n.º 3 (2017): 331. http://dx.doi.org/10.1353/thr.2017.0070.

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Dimock, Wai Chee. "Epic Relays: C. L. R. James, Herman Melville, Frank Stella". Comparatist 38, n.º 1 (2014): 148–57. http://dx.doi.org/10.1353/com.2014.0012.

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WALKER, JOHN A. "FRANK STELLA 1958 BY HARRY COOPER AND MEGAN R LUKE". Art Book 13, n.º 4 (noviembre de 2006): 46–47. http://dx.doi.org/10.1111/j.1467-8357.2006.00734.x.

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Rejniak-Majewska, Agnieszka. "Idiomy uniwersalizmu i imiona własne. Frank Stella a amerykański formalizm". Teksty Drugie 4 (2017): 55–70. http://dx.doi.org/10.18318/td.2017.4.4.

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Santos, Guilherme Moreira. "A MINIMAL ART COMO PROJETO POLÍTICO: O CASO DA 8ª BIENAL DE SÃO PAULO / Minimal Art as a political project: the case of the 8th São Paulo Biennial". arte e ensaios 26, n.º 40 (2 de diciembre de 2020): 233–45. http://dx.doi.org/10.37235/ae.n40.16.

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Este trabalho apresenta a dimensão política da Minimal Art estadunidense a partir da presença de obras preambulares deste movimento artístico na 8ª Bienal Internacional de São Paulo. Deste modo, o presente artigo analisa o projeto político em que consistiu a vinda de obras de Donald Judd, Frank Stella, Robert Irwin e Larry Bell para a 8ª Bienal, em 1965, considerado a estratégia estadunidense de Diplomacia Cultural, cujo escopo ensejou a presença de obras abstratas no certame brasileiro, no contexto da Guerra Fria.Palavras-chave: Minimal Art; 8ª Bienal Internacional de São Paulo; Diplomacia cultural; Anos 1960.AbstractThis paper discusses the political dimension of the Minimal Art movement from the presence of preambular minimalist artworks in the 8th International São Paulo Biennial, in 1965. Thus, the following paper analises the political project that constituted the arrival of artworks of artists such as Donald Judd, Frank Stella, Robert Irwin and Larry Bell to the 8th Biennial, 1965, considering US’ politics of Cultural Diplomacy whose scope gave rise to the presence of abstract artworks at the Brazilian event within the context of the Cold War.Keywords: Minimal Art; 8th International São Paulo Biennial; Cultural diplomacy; 1960’s.
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Steinberg, Ronit. "Alois Breyer, El Lissitzky, Frank Stella—Wooden Synagogues, written by Batsheva Goldman-Ida". Images 8, n.º 1 (4 de diciembre de 2014): 107–11. http://dx.doi.org/10.1163/18718000-12340041.

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Melian, Dámari, Jose Luis Saorin, Jorge de La Torre-Cantero y Drago Diaz. "Tangible 3D Printed Workshop for introducing Art and Creativity in Engineering Drawing Subject". Interaction Design and Architecture(s), n.º 34 (20 de septiembre de 2017): 30–42. http://dx.doi.org/10.55612/s-5002-034-002.

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In studies of engineering, creative competence is becoming more and more important. In order to develop this ability, a three-dimensional modelling workshop called STELLA 3D was designed in collaboration with teachers from fine arts studies, based on the pictorial work of Frank Stella. In this article, a tangible version of this workshop is presented, printed in 3D, which was tested during the 2016-2017 academic year by 31 students in the First Year of Engineering at the University of La Laguna. The data obtained from the experimental group show that the students have increased their creativity values in comparison with the Pre-test, going from a score of 93,8 to 132,0. The resource developed in this work includes QR codes, which enable digital files of the pieces for 3D printing to be downloaded, and makes it possible to replace them in case of loss or breakage.
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Zaytoun, Constance. "Enough Already!: It's Deborah Kass's Turn to Take the Stage". TDR/The Drama Review 55, n.º 3 (septiembre de 2011): 110–23. http://dx.doi.org/10.1162/dram_a_00101.

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Contemporary painter Deborah Kass appropriates the forms of post-war masters such as Andy Warhol, Jackson Pollock, and Frank Stella in her work, but her subject choices are often conscious manifestations of her nostalgic identifications with middlebrow Jewish artists and Broadway musicals. Her radical take on nostalgia draws from lyrics, idiomatic sayings, and iconic Jewish figures to promote a progressive rather than conservative agenda. Kass's performative interventions insert her feminist-Jewish-lesbian self squarely at the center of visual culture's frame and on the stage of art's history.
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Tesis sobre el tema "Frank Stella"

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Obrist, Johann Markus. ""What you see is painting" : Studien zum Werk von Frank Stella /". Zürich : [s.n.], 1996. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.

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Guldner, Stella [Verfasser] y Frank [Akademischer Betreuer] Krüger. "Psychological and neurophysiological correlates of social vocal control / Stella Guldner ; Betreuer: Frank Krüger". Mannheim : Universitätsbibliothek Mannheim, 2021. http://d-nb.info/1233967134/34.

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Möhrle, Stella [Verfasser], Andreas [Akademischer Betreuer] Oberweis y Frank [Akademischer Betreuer] Schultmann. "Case-Based Decision Support for Disaster Management / Stella Möhrle ; Andreas Oberweis, Frank Schultmann". Karlsruhe : KIT Scientific Publishing, 2020. http://d-nb.info/1212583752/34.

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Rosenthal, Stephanie. "Die Farben Schwarz in der New York School Robert Rauschenberg, Ad Reinhardt, Frank Stella und Mark Rothko /". [S.l. : s.n.], 2003. http://kups.ub.uni-koeln.de/volltexte/2005/1465/.

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Rahtz, Dominic. "The rhetoric of literalism : readings in American minimal art 1959-1966". Thesis, University of Surrey, 2001. http://epubs.surrey.ac.uk/931/.

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Phelan, Richard Kempf Jean. "Le questionnement du cadre par la peinture américaine depuis 1945". Lyon : Université Lumière Lyon 2, 2006. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2006/phelan_r.

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Mackenzie, Jewel y n/a. "The Fabric of Art: Investigating the Relationships of Power Between Fabric & Fine Art Through Frank Stella's 'Black Paintings' (1958-1960)". Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060802.144424.

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There are two inter-related parts to the hypothesis explored in this research. The first is that it is significant to employ fabric as a medium in a fine art context, and the second aspect argues that female artists who choose fabric as their medium should be recognised as 'artists' rather than as crafts practitioners. I propose that in choosing fabric as a medium and sewing as my method of making art, I am working within the framework of contemporary fine art practice. In his essay 'To Cut is to Think' Germano Celant succinctly described the 'cut' made by artists who choose cutting as their process: The cut of the scissor is like the click of a camera or the whirr of a movie camera, like a stroke of the pencil or paintbrush: all these acts decisively isolate a form or representation, marking a surface that generates a reality. The cut puts an end to the traditional representation of the image, dissolving it and then restoring it as a testimony to the artist's vision and understanding. In this light, the cut confers meaning, and its use unites artists, photographers, designers and tailors, who cut their visions from the magma of their materials, whether these be colour or bronze, fabric or film, metal or wool, wood or canvas (1996, p. 31). My own use of the cut, as the bespoke tailor, reinterpreted fabric as paint and utilized pinstriped fabric as a visual metaphor for relationships of power, pink satin as a symbol of the female inclusion and Frank Stella's Black Paintings as a tool to position my work. Therefore, I would claim that I am working towards a conceptual repositioning of fabric as a medium in fine art.
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Mackenzie, Jewel. "The Fabric of Art: Investigating the Relationships of Power Between Fabric & Fine Art Through Frank Stella's 'Black Paintings' (1958-1960)". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/365967.

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There are two inter-related parts to the hypothesis explored in this research. The first is that it is significant to employ fabric as a medium in a fine art context, and the second aspect argues that female artists who choose fabric as their medium should be recognised as 'artists' rather than as crafts practitioners. I propose that in choosing fabric as a medium and sewing as my method of making art, I am working within the framework of contemporary fine art practice. In his essay 'To Cut is to Think' Germano Celant succinctly described the 'cut' made by artists who choose cutting as their process: The cut of the scissor is like the click of a camera or the whirr of a movie camera, like a stroke of the pencil or paintbrush: all these acts decisively isolate a form or representation, marking a surface that generates a reality. The cut puts an end to the traditional representation of the image, dissolving it and then restoring it as a testimony to the artist's vision and understanding. In this light, the cut confers meaning, and its use unites artists, photographers, designers and tailors, who cut their visions from the magma of their materials, whether these be colour or bronze, fabric or film, metal or wool, wood or canvas (1996, p. 31). My own use of the cut, as the bespoke tailor, reinterpreted fabric as paint and utilized pinstriped fabric as a visual metaphor for relationships of power, pink satin as a symbol of the female inclusion and Frank Stella's Black Paintings as a tool to position my work. Therefore, I would claim that I am working towards a conceptual repositioning of fabric as a medium in fine art.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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BACH, CHRISTINA ELIZA. "HOW TO EXPLAIN ART TO DEAD HARES? STRATEGIES OF ART OF THE SECOND POSTWAR: TONY SMITH, FRANK STELLA, DONALD JUDD, FLUXUS GROUP, JOSEPH BEUYS AND ANDY WARHOL". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8277@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
O trabalho examina a especificidade das relações culturais e das intermediações sociais instauradas pelas obras de Tony Smith, Frank Stella e Donald Judd, pelos eventos performáticos do Grupo Fluxus, pelas Aktionen de Joseph Beuys, e pela Pop Art de Andy Warhol. O texto é conduzido pela hipótese de que tais poéticas foram fundamentais para uma renovação estatutária da arte, obtida, principalmente, via sucessivas inaugurações de modos inéditos de trocas públicas. Os anos seguintes ao fim da Segunda Guerra Mundial exigiram sérias reavaliações e respondem até hoje pelos mais díspares comportamentos. A seleção pressupõe, em segundo plano, a incidência de um significativo ápice poético estimulado pelas urgências morais. As obras de arte resultantes desse aperto existencial distinguem-se, dentre outras tantas inovações estéticas, por uma extravagante apresentação e uma controvertida índole: fermentaram a contracultura do final da década de 1960, encaminharam os movimentos da seguinte e alimentaram os debates pós-modernistas dos últimos vinte anos.
The present work examines the specificity of the cultural relations and social intermediations established by Tony Smith's, Frank Stella and Donald Judd works, by Fluxus's Grup performatic events, by Joseph Beuys's Aktionen, and by Andy Warhol's Pop Art. The text is driven by the hypothesis that such poetics were fundamental for a statutory renewal of the art, obtained, mainly through successive inaugurations of completely new ways of public exchanges. The following years after the end of the World War II demanded serious revaluations which answers until today to the most disparate behaviors. This present selection of works and authors presupposes, in a second plan, the incidence of a significant poetic apex stimulated by moral urgencies. The resulting works of art of this existential configuration stand out, among other so many aesthetic innovations, by an extravagant presentation and a controverted disposition: they fermented the counterculture of the end of the decade of 1960, guided the movements of the following years and fed the post-modernists debates of the last twenty years.
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Speight, Amanda Gaye. "Op writing : text ornamenting vision". Queensland University of Technology, 2008. http://eprints.qut.edu.au/16611/.

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The decorative and the textual have a complex and uneasy entanglement within the history and practice of modernist art. Sometimes celebrated as critical modernist strategies, sometimes denigrated or repressed as the opposite of Art, the decorative and the textual were understood as "foreign" forms that variously endangered, or, in turn, invigorated the power of art. My creative practice, which includes installation, painting, photography, text and an exhibition catalogue, exploits and explores this decorative and textual instability within modernist art practice. In my work, (visual) codes conventionally associated with the fields of writing and pattern, are re-examined and problematised by placing them within the context of visual art. When writing and pattern become the subject of painting there is an intriguing oscillation, complication and dialogue between the spaces and codes of reading and seeing, writing and pattern, the decorative and the abstract. The thesis also explores the decorative and textual instability within modernism by analysing some key contradictory moments in aesthetic thought and arts practice. In the writings of Clement Greenberg, a "decorative" painting is deemed the highest achievement of modernist abstract painting but to arrive at this goal, the decorative must be used against itself. In Frank Stella's early abstract paintings, decorative patterns structure the work, and yet the artist and his commentators only see the work as a kind of pure, abstract painting. In Lawrence Weiner's statement-sculptures, the terse, laconic text, that nominates materials and processes, is thought to be a "direct" form of art information that would remain unchanged even in reproduction. But as Weiner's work is reproduced in journals and magazines, this "direct" form of art is complicated through a variety of reproductive forms - documentary photographs, transcription errors and differences in the visual format and typography of the text. In these key moments of contradiction, concepts such as the decorative and the textual, that have often been regarded as peripheral to visual art, will be shown to have central significance in analysing its specific qualities.
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Libros sobre el tema "Frank Stella"

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Pacquement, Alfred. Frank Stella. Paris: Flammarion, 1988.

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Rubin, William Stanley. Frank Stella. New York: Museum of Modern Art, 1987.

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Carmen, Alborch Bataller, Goldman Judith y Museo Nacional Centro de Arte Reina Sofia., eds. Frank Stella. [Madrid]: Museo Nacional Centro de Arte Reina Sofía, 1995.

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Stella, Frank. Frank Stella. Knokke, Belgium: Casino Knokke, 1991.

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Rubin. Frank Stella. New York: Museum of Modern Art, 1985.

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1946-, Verspohl Franz-Joachim, ed. The writings of Frank Stella =: Die Schriften Frank Stellas. Jena: König, 2001.

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Cooper, Harry. Frank Stella 1958. New Haven, CT: Yale University Press, 2006.

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1977-, Luke Megan R., Stella Frank, Arthur M. Sackler Museum, Menil Collection (Houston, Tex.) y Wexner Center for the Arts., eds. Frank Stella 1958. New Haven: Yale University Press, 2006.

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Cooper, Harry. Frank Stella 1958. New Haven: Yale University Press, 2006.

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Stella, Frank. Frank Stella, imaginary places. Mt. Kisco, N.Y: Tyler Graphics Ltd., 1995.

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Capítulos de libros sobre el tema "Frank Stella"

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Neumann, Bernd. "Ein „asiatischer“ Mozart bei Weiss und bei Kafka". En Umrisse einer Dritten Kultur im interdisziplinären Zusammenspiel zwischen Literatur und Naturwissenschaft, 191–99. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-63204-8_13.

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ZusammenfassungAn dieser Stelle muss man zunächst Philologisch-Biografisches rekapitulieren: Franz Kafka hat drei Romane geschrieben. Deren erster rührte noch aus frühen Jünglingstagen, und vermutlich sogar vor der Jahrhundertwende, her. Wurde dann im Sommer/Herbst des Weltkriegsausbruchs 1914 abgeschlossen, nach intensiver Arbeit an diesem Text auch noch im Jahr 1913.
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Rodemeier, Susanne y Edith Franke. "Digitale Inventarisierung". En Edition Museum, 183–98. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839457900-011.

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Susanne Rodemeier und Edith Franke widmen sich in ihrem Beitrag der Frage, inwiefern mit der Digitalisierung von Sammlungsbeständen Informationsgewinn oder Wissensverlust einhergeht. Anhand einer anthropomorphen Figur der Religionskundlichen Sammlung der Philipps-Universität Marburg verdeutlichen sie die Fehleranfälligkeit bei der Übertragung von einem Inventarisierungsformat in ein anderes. Diese Problematik wird dann besonders augenfällig, wenn Provenienzforschung durchgeführt wird. Die Autorinnen illustrieren dies am Beispiel eines Objekts, das ein Missionar während der niederländischen Kolonialzeit aus Indonesien nach Marburg brachte. Sie zeigen auf, welchen Herausforderungen und Revisionen sich (digitale) Inventarisierungsprogramme stellen müssen, um den Anforderungen einer umfassenden Provenienzforschung in Sammlungen und Museen gerecht zu werden.
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"Frank Stella: A Way to Go". En The Collected Essays of Robert Creeley, 393–98. De Gruyter, 1989. http://dx.doi.org/10.1515/9783112658024-112.

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"Re-framing Photographic Subjectivity: Hollis Frampton’s The Secret World of Frank Stella (2011)". En Hollis Frampton. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/14371.003.0015.

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"Hat sich der syntaktische Expressionismus der Moderne erschöpft? Frank Stella und die Wiederkehr der Mimesis". En Beuysianismus, 127–49. Wilhelm Fink Verlag, 2011. http://dx.doi.org/10.30965/9783846751701_007.

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"4. Aporia of the Sensible—Art, Objecthood, and Anthropomorphism: Michael Fried, Frank Stella, and Minimalism". En Against Voluptuous Bodies, 117–43. Stanford University Press, 2006. http://dx.doi.org/10.1515/9781503624474-007.

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"Shape als Form. Frank Stellas Irregular Polygons". En Michael Frieds 'Shape as Form' und die Kritik der Form von 1800 bis zur Gegenwart, 23–48. Wilhelm Fink Verlag, 2018. http://dx.doi.org/10.30965/9783846762790_003.

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"Graphisches Beiwerk. Zur Werklogik von Frank Stellas früher Druckgraphik". En Michael Frieds 'Shape as Form' und die Kritik der Form von 1800 bis zur Gegenwart, 123–41. Wilhelm Fink Verlag, 2018. http://dx.doi.org/10.30965/9783846762790_008.

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Sharr, Adam. "2. Iron and steel". En Modern Architecture: A Very Short Introduction, 12–47. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780198783442.003.0002.

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‘Iron and steel’ explains how the Iron Bridge in Shropshire, UK, completed in 1779, illustrates the industrial cultures where modern architecture started to form. It indicates the beginnings of a shift in global culture, over two centuries, from artisan manufacturing towards mass production. The association of technology with progress became inseparable from modernity. Engineers such as Gustave Eiffel and Joseph Paxton reimagined iron as structural framing that could define the spaces of buildings. The development of less brittle steel resulted in new steel frameworks allowing walls—no longer loadbearing—to become separated conceptually from the building’s structure. The work of influential architects Frank Lloyd Wright and Ludwig Mies van der Rohe is also discussed.
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Rogers, Susan Fox. "Interlude". En Learning the Birds, 155–66. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501762246.003.0012.

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This chapter looks at Nathan Leopold, a birder who was famous for teaming up with Richard Loeb to commit the crime of the century by murdering fourteen-year-old Bobby Franks. Leopold was not a casual birder. His fascination with birds had a scientific inquisitiveness, and he was perhaps headed toward a career as an ornithologist. Leopold spent a brief stint of his college years at the University of Michigan, where he studied birds under Norman Asa Wood, famous for finding the first nest of a Kirtland's Warbler. In 1922, Leopold embarked on a trip to find a Kirtland's nest. What becomes clear in reading the article he published in 1924, “The Kirtland's Warbler in Its Summer Home,” is that the qualities of a good birder or ornithologist—keen careful observation and a steely patience—are the same qualities needed to plot a murder.
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Actas de conferencias sobre el tema "Frank Stella"

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Yang, Shuwen. "Spatial Attitudes: The Recreation of Space in the Works of Frank Stella". En The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.008.

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Huber, Daniel. "Precision Stellar Astrophysics in the Kepler Era". En Frank N. Bash Symposium 2015. Trieste, Italy: Sissa Medialab, 2016. http://dx.doi.org/10.22323/1.261.0007.

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Gosnell, Natalie. "Blue Straggler Stars: A Window Into Alternative Pathway Stellar Products". En Frank N. Bash Symposium 2015. Trieste, Italy: Sissa Medialab, 2016. http://dx.doi.org/10.22323/1.261.0005.

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Chonis, Taylor S., David Martinez-Delgado, R. Jay Gabany, Steven R. Majewski, Gary J. Hill y Ignacio Trujillo. "Photometry of the Stellar Tidal Stream in the Halo of Messier 63". En Frank N. Bash Symposium 2011: New Horizons in Astronomy. Trieste, Italy: Sissa Medialab, 2012. http://dx.doi.org/10.22323/1.149.0023.

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Calañas Continente, José Antonio. "Mehrsprachige Autoren und Selbstübersetzung: ein erfahrungsbericht". En La Traducción y sus meandros: diversas aproximaciones en el par de lenguas alemán-español. Ediciones Universidad de Salamanca, 2022. http://dx.doi.org/10.14201/0aq0320139150.

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In der Regel geht man davon aus, ein literarischer Autor schreibe nur in der eigenen Muttersprache. Dieser Gedankengang verliert an Aussagekraft, wenn Autoren wie z.B. Franz Kafka, Anise Koltz oder Jorge Semprún in Betracht gezogen werden, denn sie haben entweder ausschließlich (Kafka) in der eigenen Kultursprache geschrieben, oder sie haben sich regelmäßig der jeweiligen Kultur- und Muttersprache bedient (Koltz, Semprún). In diesem Beitrag wird anhand eigener Texte gezeigt, wie Entscheidungen über den Übersetzungsprozess getroffen werden, wenn der Autor sich der Aufgabe stellt, die eigene Produktion für die Veröffentlichung in einer anderen Sprache vorzubereiten. Dabei wird auch darüber reflektiert, ob der Selbstübersetzungsprozess je nach Ausgangssprache variiert: syntaktische, lexikalische sowie rhetorische Abweichungen zwischen Sprachen werden aufgezeigt und erläutert. Als Fazit wird versucht, aufgrund der besprochenen Anmerkungen und Anregungen ein «Lastenheft» für die Übersetzung literarischer Texte zu präsentieren.
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Ancelet, Olivier, Thierry Lebarbe´, Sophie Dubiez-Le Goff, Dominique Bonne y Odile Ge´lineau. "Material Report in Support to RCC-MRx Code 2010: Stainless Steel Parts and Products". En ASME 2011 Pressure Vessels and Piping Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/pvp2011-57852.

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This paper presents the Material Report dedicated to stainless steels parts and products issued by AFCEN (Association Franc¸aise pour les re`gles de Conception et de Construction des Mate´riels des Chaudie`res Electro-Nucle´aires) in support to RCC-MRx 2010 Code. The RCC-MRx Code is the result of the merger of the RCC-MX 2008, developed in the context of the research reactor Jules Horowitz Reactor project, in the RCC-MR 2007, which set up rules applicable to the design of components operating at high temperature and to the Vacuum Vessel of ITER (a presentation of RCC-MRx 2010 Code is the subject of another paper proposed in this Congress; it explains in particular the status of this Code). This Material Report is part of a set of Criteria of RCC-MRx (this set of Criteria is under construction). The Criteria aim at explaining the design and construction rules of the Code. They cover analyses rules as well as part procurement, welding, methods of tests and examination and fabrication rules. The Material Report particularly provides justifications and explanations on requirements and features dealing with parts and products proposed in the Code. The Material Report contains the following information: Introduction of the grade(s): codes and standards and Reference Procurement Specifications covering parts and products, applications and experience gained, • Physical properties, • Mechanical properties used for design calculations (base metal and welds): basic mechanical properties, creep mechanical properties, irradiated mechanical properties, • Fabrication: experience gained, metallurgy, • Welding: weldability, experience gained during welding and repair procedure qualifications, • Non-destructive examination, • In-service behaviour. In the article, examples of data supplied in the Material Report dedicated to stainless steels will be exposed.
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Manjunath, G. L. y S. Surendran. "Dynamic Fracture Toughness of Coated Structural Components at Different Temperatures". En ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83224.

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Fracture toughness is a material property in the same sense that yield strength is a material property. The determination of fracture toughness for dynamic loading conditions is not very straightforward, as dynamic crack growth speed in supersonic speed and the speed range is 1 to 2 km/sec. The improvement of fracture toughness of metals plays a vital role in the design and manufacturing of structural components. To achieve this purpose, industries rely up on coatings which are an integral part of manufacturing. These coated samples are tested by Charpy V-notch impact testing for estimating dynamic fracture toughness. These coatings improve the wear and corrosion resistance of the materials and they tend to reduce the strength of the materials, because of the increased residual stresses due to the coating process. These defects cannot be precluded from these coated and treated components. The strength of those components in the presence of such defects can be analyzed by fracture mechanics approach. An attempt has been made to analyze the effect of coating methods like electroplating and PVD (Physical Vapour Deposition), coating thickness, heat treatment and the service temperature on the fracture behavior of metals. The experiments have been carried out on EN8 steel and aluminium for different temperatures. The specimen preparation and experimentations were carried out according to the ASTM standard E-23. The FRANC 2D (Fracture Analysis Code) has been relied upon for estimating the stress intensity factor at different crack length and temperature.
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8

Lang, Gerhard y Diana Pfeff. "Direct Pipe® as Alternative to HDD in Permeable Soil Conditions". En 2014 10th International Pipeline Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/ipc2014-33049.

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This paper provides an overview of the multiple case histories of the Direct Pipe technology in the US and overseas, including a 42″/48″ casing pipe installation by Michels Directional Crossings. Thereby illustrating the benefits for the owner, engineer and contractor in comparison to HDD in permeable soil conditions. The Direct Pipe method has been first used in 2007 at the Rhine river crossing in Worms, Germany. Since then, more than 18 crossings have been installed in Europe and the US with great success. The longest installation so far had a total length of 4,600ft (1,400m) and a pipeline diameter of 48″. The peak performance during that installation was 756ft (232m) per day (24hrs). The first installation in the US was in August 2010, crossing HI 70 in Florida. In 2011 the first 42″ system has been used at a project in Corning, NY by Michels Directional Crossings, for the installation of a casing pipe for a 24″ HDD crossing. Laney Directional Drilling followed in early 2013 with the first 48″ Direct Pipe system being operated in North America at the Aquashicola crossing for Williams Pipelines in Monroe county, Pennsylvania. August 2013 Direct Pipe made its debut in Canada at the Beaver River Crossing for Inter Pipeline Fund north of Bonnyville, Alberta. The largest pipeline currently installed is a 56″ steel pipe in Preston, England with a total length of 2,820ft, serving as casing pipe for a post installed 36″ potable water pipeline (HDPE). The combination of the well established Microtunneling technique with the Pipe Thruster technology makes it ideal for difficult (permeable) soil conditions which pose a certain risk for frack-outs using the HDD method.
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Informes sobre el tema "Frank Stella"

1

Cichorowski, Georg. Städteforschung: Stadt als Gegenstand interdisziplinärer Forschung - nur ein einfacher Perspektivwechsel? Sonderforschungsgruppe Institutionenanalyse, 2011. http://dx.doi.org/10.46850/sofia.9783941627147.

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Die Darmstädter Städteforschung nimmt nicht den Blickwinkel ein, dass die Stadt ausschließlich eine Schaubühne allgemeiner gesellschaftlicher Prozesse sei, die aufgrund ihrer Verdichtung in der Stadt hier besonders augenfällig und besser zu analysieren seien, sondern stellt das Charakteristische einzelner Städte, ihre Individualität in den Mittelpunkt ihrer Untersuchungen (s. z.B. Berking/Löw 2008). Daraus könnte in einer weiteren Phase eine Systematik von Städte- ‚Charakteren‘ entstehen. Die aus Innen- wie Außensicht evidenten Differenzen zwischen Städten gehen zurück auf vielfältige lokal vorfindbare Prägungen materieller, sozialer und kultureller Art. Sie manifestieren sich im äußeren Erscheinungsbild, aber auch in Kultur und Mentalität der jeweiligen Stadt. „Städtische Eigenlogik bezeichnet die dauerhaften Dispositionen, die an die Sozialität und Materialität von Städten gebunden sind, und konstituiert sich in einem relationalen System globaler, lokaler und nationaler Bezüge“ (Löw 2008a: 49). Das Konzept zielt also auf die Frage, wie eine Stadt „tickt“, wie sie sich in ihren Wahrnehmungs- und Handlungsmustern von einer anderen Stadt unterscheidet (s.a. FGB 2010). Für die beteiligten Forscher stellt sich die Frage, wie die eigensinnige, lokal spezifische Wirklichkeit dieser Stadt im Unterschied zu jener Stadt theoretisch und empirisch erfasst werden kann. Als grundlegender Untersuchungsschritt bietet sich der Städtevergleich an, weil Unterschiede zwischen Städten hier am klarsten sichtbar und damit für die wissenschaftliche Erforschung operationalisierbar werden. „Das Eigene der Städte entwickelt sich sowohl aufgrund historisch motivierter Erzählungen und Erfahrungen als auch im relationalen Vergleich zu formgleichen Gebilden, das heißt zu anderen Städten. Städtische Eigenlogik betont sowohl die eigensinnige Entwicklung einer Stadt als auch deren daraus resultierende kreative Kraft der Strukturierung von Praxis“ (LÖW 2008a: 43). Die Logik einer Stadt wird also in anderen Städten mitgeformt, sie ist ein „ortsbezogener Prozess, der nicht nur an einem Ort stattfindet“ (Löw 2008b: 100) und erfordert daher ein komparatives Forschungsdesign, da das Eigene nur in der Differenz erkannt werden kann (Frank 2010: 14f)“FGB 2010.
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