Articles de revues sur le sujet « Film-Installation »
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Alter, Nora M. « Translating the Essay into Film and Installation ». Journal of Visual Culture 6, no 1 (avril 2007) : 44–57. http://dx.doi.org/10.1177/1470412907075068.
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Yang, Taiwei, Hanhua Zhu, Shidong Fan, Jie Wu, Junlang Yuan et Liangyan Zheng. « Research on Lubrication Characteristics of Ship Stern Bearings Considering Bearing Installation Errors ». Lubricants 11, no 11 (6 novembre 2023) : 478. http://dx.doi.org/10.3390/lubricants11110478.
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The installation quality of a propulsion shaft system directly affects the lubrication statuses of the bearings. The quality of the shaft system installation not only affects the progress of ship construction, but also the safety, stability, and reliability of the shaft system. This article takes sliding bearings in ship shafting as the research object and establishes a hydrodynamic lubrication model of sliding bearings while considering installation errors to address the issue of installation errors of ship stern bearings. The finite difference method and super-relaxation iteration method are used to solve the problem, and the influences of bearing installation errors on bearing lubrication characteristic parameters are explored. An installation error of the stern bearing can lead to an increase in the film pressure at both ends of the stern bearing in the axial direction, leading to a decrease in the lubrication status of the bearing. Poor lubrication and wear faults of the stern bearing are prone to occur at both ends of the stern bearing. As the installation error of the stern bearing increases, the minimum film thickness of the stern bearing decreases and the maximum film pressure increases, and as the installation error increases, the sensitivity of the aft stern bearing to the vertical installation error is greater than that of the lateral installation error, and the sensitivity of the fore stern bearing to the lateral installation error is greater than that of the vertical installation error. The sensitivity of the lateral and vertical film forces at both ends of the aft stern bearing and the fore stern bearing is greater than that of the middle part; the installation error of bearings has a significant impact on the lubrication characteristics of bearings.
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Deng, Jinjun, Linwei Zhang, Liuan Hui, Xinhang Jin et Binghe Ma. « Indium Tin Oxide Thin-Film Thermocouple Probe Based on Sapphire Microrod ». Sensors 20, no 5 (27 février 2020) : 1289. http://dx.doi.org/10.3390/s20051289.
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Indium tin oxide (ITO) thin-film thermocouples monitor the temperature of hot section components in gas turbines. As an in situ measuring technology, the main challenge of a thin-film thermocouple is its installation on complex geometric surfaces. In this study, an ITO thin-film thermocouple probe based on a sapphire microrod was used to access narrow areas. The performance of the probe, i.e., the thermoelectricity and stability, was analyzed. This novel sensor resolves the installation difficulties of thin-film devices.
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Ji, Zhenwei, Yishu Shi, Xinming Da, Jingwei Cao, Qijun Gong, Zhengwei Wang et Xingxing Huang. « Influence of Installation Deviation of Thrust Bearing on Oil Film Flow of 1000 MW Hydraulic Turbine Unit ». Water 15, no 9 (23 avril 2023) : 1649. http://dx.doi.org/10.3390/w15091649.
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The thrust bearing, as the only part bearing the axial load, is extremely important in vertical hydroelectric generating units. Its working condition directly affects the safe and reliable operation of the hydroelectric generating unit. However, during operation, the oil film is easily damaged under the influence of complex factors. Installation deviation is a key point that can cause temperature and pressure changes in the oil film, affecting the force on the bearing. This article takes the thrust bearing model of the 1000 MW Francis turbine unit of the Baihetan Power Station as the research object. Based on the fluid–solid coupling theory and CFD technology, the oil film characteristics of thrust bearings are analyzed, and the influence of inclination angles and installation deviation on the oil film flow performance of thrust bearings is discussed. The results show that as the inclination angle changes from 0.0030° to 0.0048°, the axial force changes from 856 t to 368 t, and there is an approximate linear correlation between them. The radial installation deviation has an effect on the axial force. Under the optimal working condition of an inclination angle of 0.0039°, when the radial deviation of the pad changes from 0 mm to 1 mm, the axial force changes from 1573 t to 1275 t. In the process of unit installation, it is necessary to pay attention to the installation deviation of the pad. The results provide guidance for the installation of the bearing, which helps to ensure the safe and stable operation of the station.
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Rahmawati, Linda, Herry Iswahyudi et Baimy Alexander. « Hydroponic Installation Nutrient Film Technique (NFT) System in Politeknik Hasnur ». Agrisains : Jurnal Budidaya Tanaman Perkebunan Politeknik Hasnur 6, no 01 (9 juin 2020) : 8–12. http://dx.doi.org/10.46365/agrs.v6i01.371.
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The development of aquaculture with a hydroponic system is now more and more chosen by the community because of the increasingly limited land, but also comparable to the increasing demand for water. Hydroponics with the Nutrient Film Technique (NFT) system can be used as a solution to the water needs needed in the cultivation of hydroponics plants. This study aims to design the hydroponic installation of the NFT system and grow plants in the NFT system. The study was conducted with the stages of making the hut, making the installation, seeding, making nutritional solutions and transferring seed to the installation. The research will be conducted for five months. Descriptive research with qualitative data obtained is the way of making the NFT system, plant growth speed and the amount of water needed. Making the installation begin with the construction of the hut and shade then arranges the installation. For lettuce, the harvest time is 38 days dan tomatoes 50 days after the plants are moved to the plant. The need for water in the NFT hydroponic system is 190 liters.
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Rieser, Martin, Pia Tikka, Anna Dumitriu et Nina Yankowitz. « The Third Woman ». Leonardo 43, no 5 (octobre 2010) : 494–95. http://dx.doi.org/10.1162/leon_a_00049.
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Linuo, Zhao. « What’s Metaverse Film ? Sci-fi, DAO or Digital installation ? » Revista FAMECOS 29, no 1 (13 juillet 2022) : e43354. http://dx.doi.org/10.15448/1980-3729.2022.1.43354.
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“Metaverse” has been gaining popularity since 2021 and the term has observably inextricable relation with cinema. But the implication of Metaverse film should be far more than a sci-fi subgenre. Following Deleuze and Manovich’s discourse of intermediality analysis, this paper discusses how Metaverse influences cinema with its connotation, cultural principles as well as its technologies, argues that it may bring about a fundamental change to cinema, especially when it is integrated with video installations, which will change cinema in all aspects of its aesthetics, narrative and distribution, and explores these revolutions from both the aesthetic and material perspectives of cinema.
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ROGERS, HOLLY. « Acoustic Architecture : Music and Space in the Video Installations of Bill Viola ». Twentieth-Century Music 2, no 2 (septembre 2005) : 197–219. http://dx.doi.org/10.1017/s1478572206000260.
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Video installation art is a collaboration of sound, image, and space, with a closer relationship to music and art than to cinema. Accordingly, those working in this genre are often both artist and musician, a double role that represents a radical departure from the artist/musician divide of many other audio-visual genres. Because it is single authored, video installation can invert many elements of the filmmaking process: while it is common procedure to add a soundtrack to film during post-production, for instance, many video artists use sound as their starting point, often basing whole works on a musical structure. While such an inversion invites reconsideration of musical audibility and film narrative, video work, when installed, also challenges the notions of screen space and realism. An audience is no longer offered the single-point perspective of film, but is instead enveloped within a three-dimensional space. And as image expands beyond the four sides of the cinema screen – a space occupied previously by music alone – important questions are raised: what happens to music when film breaks from the containment of the screen? when it destroys its own boundaries? Focusing on the work of Bill Viola, this paper explores the ways in which video installation art confronts methods of film exhibition and audience engagement, and investigates how such confrontation redefines the roles of music and image in film.
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Papatheodorou, Theodoros, et Jessica Wolpert. « Lights ! Dance ! Freeze ! » Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, no 2 (12 août 2023) : 1–8. http://dx.doi.org/10.1145/3597620.
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Conventionally, spectators enjoy films passively. This paper describes an interactive film installation that invites participants to use their entire body as a query to search and explore a large corpus of musical films in a novel way. Using an RGB camera, ML-based skeleton tracking technology and a unique pose and film indexing system, this installation tracks a participant's movements and mirrors them in real-time by finding matching poses among hundreds of thousands from well-known musicals. When the participant freezes in a pose, the installation instantly plays back the short film clip that begins with that pose, immersing them in the music and dance from musicals of different eras. This approach explores themes of tangible interfaces and the new possibilities that emerge from employing embodied interaction to traverse the dance pose space, which is traditionally difficult to index and interact with in real time. The pose indexing system and whole-body interaction we propose in this paper open new pathways for cultural participation, as they lend themselves to different datasets and require no technical skills from participants.
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Negara, Hendra Kusuma, Rd Kusumanto et Abu Hasan. « Effects of Direct Window Film Installation on Photovoltaic Solar Panel ». Journal of Physics : Conference Series 1167 (février 2019) : 012029. http://dx.doi.org/10.1088/1742-6596/1167/1/012029.
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Leggett, Mike. « Generative Systems and the Cinematic Spaces of Film and Installation Art ». Leonardo 40, no 2 (avril 2007) : 123–28. http://dx.doi.org/10.1162/leon.2007.40.2.123.
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The author's informal research in the 1970s explored iterative and generative systems using motion-picture film. His approach was practice-based and occurred in the context of artists studying the structure and materiality of the film experience. Based on historical and contemporary notes he accumulated about his film Red+Green+Blue, the author evaluates the generative art that emerged using this analogue-based medium in the light of recent discussion of digital and binary-based interactive installations.
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Orlov, A. O., A. A. Gurulev et S. V. Tsyrenzhapov. « A method of measuring transmittance of radiation from the film of ice 0 in the IR wave band deposited on a dielectric plate ». IOP Conference Series : Earth and Environmental Science 962, no 1 (1 janvier 2022) : 012027. http://dx.doi.org/10.1088/1755-1315/962/1/012027.
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Abstract A method of measuring transmittance of radiation from the film of ice 0 in the infrared wave band is described. Ice 0 is formed from supercooled water at the temperature below –23°C. This ice is ferroelectric and forms a highly conductive layer of the nanometric order of thickness at the boundary with dielectric. The complexity of the experiment consisted in the necessity of using low intensities of the probing signal and considering radiation of the cooled parts of the installation. In order to obtain a thin film of ice, the method of depositing water vapor on a substrate cooled in nitrogen was used. The method rules out formation of condensate in cooling. Deposition of water vapor is possible only in heating, when delivery of cold nitrogen vapor into the chamber with the sample is excluded. To ensure exposure of the film to IR radiation, two sources of infrared radiation were considered: a halogen lamp with a broad radiation spectrum (on the surface of heated glass) and a CO2 laser with the radiation wavelength of 10.6 µm. In the first case, spectral measurements are possible when filters are used. In the installation based on a CO2 laser, an intense signal is emitted, requiring consideration of sample heating. Components of the installation have been elaborated and investigated, on which transmittance of radiation from the film of ice 0 is planned to be measured.
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Zhang, Yipeng, Lidong He, Jianjiang Yang, Fangteng Wan et Jinji Gao. « Vibration Control of an Unbalanced Single-Side Cantilevered Rotor System with a Novel Integral Squeeze Film Bearing Damper ». Applied Sciences 9, no 20 (16 octobre 2019) : 4371. http://dx.doi.org/10.3390/app9204371.
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In this paper, vibration control of an unbalanced single-side cantilevered rotor system using a novel integral squeeze film bearing damper in terms of stability, energy distribution, and vibration control is analyzed. A finite element model of such a system with an integral squeeze film bearing damper (ISFBD) is developed. The stability, energy distribution, and vibration control of the unbalanced single-side cantilevered rotor system are calculated and analyzed based on the finite element model. The stiffness of the integral squeeze film bearing damper is designed using theoretical calculation and finite element model (FEM) simulation. The influence of installation position and quantity of integral squeeze film bearing dampers on the vibration control of the unbalanced cantilevered rotor system is discussed. An experimental platform is developed to validate the vibration control effect. The results show that the installation position and quantity of the integral squeeze film bearing dampers have different effects on the stability, energy distribution, and vibration control of the unbalanced cantilevered rotor system. When ISFBDs are installed at both bearing housings, the vibration control is best, and the vibration components of the time and frequency domains have good vibration control effects in four working conditions.
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Sinnige, Sanne Fleur. « The allegorical re-presentation of colonial cinema in Sammy Baloji’s Pungulume (2016) ». Moving Image Review & ; Art Journal (MIRAJ), The 12, no 1 (1 avril 2023) : 23–42. http://dx.doi.org/10.1386/miraj_00104_1.
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This article analyses artist Sammy Baloji’s video installation Pungulume (2016) with a focus on its recycling of film clips extracted from an archival colonial film from 1912. Inspired by art historian Georges Didi-Huberman’s anachronic approach to art history, and through a sketch of the history and present-day social and political context in the Congolese Katanga region, this essay contends that these archival clips speak primarily about the present and contain a topical significance. As the author demonstrates, this topical significance can solely be assessed when the viewer is knowledgeable about current political and social debates taking place in the former Katanga province. Additionally, this present-day relevance of the archival film clips also exists in terms of the video installation’s reception – the archival film clips reflect dynamics occurring in the spaces in which the video installation was conceived and continues to be exhibited. Through this reading that ultimately causes the ‘re-presentation’ of the anachronic archival film clips (while acknowledging its indebtment to Congolese popular painting), the author recalls the necessity of considering the historical production context in scholarly analyses of artworks – even when artworks reuse archival documents that stem, for example, from colonial cinema.
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Khater, Akram, et Jeffrey Culang. « EDITORIAL FOREWORD ». International Journal of Middle East Studies 47, no 3 (28 juillet 2015) : 421–23. http://dx.doi.org/10.1017/s0020743815000471.
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The cover image for this issue, from Moroccan artist Mounir Fatmi's installation Modern Times, depicts architectural structures and the cogs of a machine filled in with Arabic calligraphy, representing rapid architectural development and industrialization across the modern and contemporary Middle East. The title derives from the eponymous 1936 Charlie Chaplin film in which Chaplin's character Little Tramp is a factory worker during the Great Depression who, trying to keep up with the acceleration of the assembly line, is quickly overcome and succumbs to a nervous breakdown. Like the film, Fatmi's installation critiques unbridled development and draws attention to its human toll. It also explores two related features of the modern epoch: ceaseless motion and the acceleration of time.
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Boyle, Deirdre. « Exile, Within and Without : New Work in Two Modes from Rithy Panh ». Film Quarterly 71, no 1 (2017) : 10–17. http://dx.doi.org/10.1525/fq.2017.71.1.10.
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Franco-Cambodian filmmaker Rithy Panh has two new works titled Exil (Exile). His 2016 poetic film is a sepia-toned meditation on time, memory, revolution, and resistance that materializes dreams, fantasies, and nightmares with the mundane realities of his childhood survival of genocide. This survival is juxtaposed with a complex, disembodied narration on being-in-exile. Inspired by this original film, Panh's 2017 immersive multimedia installation embraces the current global refugee crisis, combining photographs, archival film footage, selected objects, and an audio track all designed to elicit understanding and compassion for people fleeing war, oppression, and catastrophe. Both film and installation are intellectually rigorous and aesthetically compelling, and both share visual motifs, but each stakes out a different perspective—the former offers an introspective vision of one man's experience of exile while the latter documents the plight of millions of stateless people. Together they represent the latest achievements of a major artist who is driven to remember and to affirm his own humanity and the humanity of Others.
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Lindequist, S., J. E. Madsen, I. Christensen et B. Nielsen. « Film processing and the environment ». Acta Radiologica 39, no 3 (mai 1998) : 332–36. http://dx.doi.org/10.1080/02841859809172206.
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Purpose: X-ray film processing is associated with pollution from photo chemicals and from the water used to rinse the film. We tested a new processing system that was aimed at reducing both environmental pollution and costs through the use of solid photo chemicals and recirculation of the rinsing water Material and Methods: Before and after the installation of new mixers for the solid chemicals and a system for recirculating the rinsing water, we measured: water consumption, processor function quality, image quality, archivability, and the waste-silver content in the rinsing water Results: After the installation of a simple system for recirculating the rinsing water, there was an 88% reduction in water and film consumption as shown in the amount of water/m2film that was used. At the same time, the release of silver-contaminated rinsing water directly into the sewers was stopped. Image quality remained unchanged. Archivability was assessed at more than 100 years. The solid photo chemicals and specially designed mixers proved efficient and provided a stable image quality of high standard. It was thus possible to reduce the risk of pollution from the transportation, storage and handling of liquid chemicals Conclusion: A simple recirculation system for the rinsing water would significantly reduce water consumption and eliminate contamination of the environment by silver. The on-site preparation of photo chemicals proved viable and reduced the costs of film processing
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Yamada, Yutaka, Kazuma Isobe et Akihiko Horibe. « Droplet motion on a wrinkled PDMS surface with a gradient structural length scale shorter than the droplet diameter ». RSC Advances 12, no 22 (2022) : 13917–23. http://dx.doi.org/10.1039/d1ra09244h.
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Bakirov, Vil, et Dmytrii Petrenko. « Contemporary Ukrainian Visual Culture on the Way to the International Cultural Space ». Perspektywy Kultury 41, no 2/2 (29 juin 2023) : 91–110. http://dx.doi.org/10.35765/pk.2023.410202.08.
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The article is devoted to the visual culture of Ukraine since independence. It pays special attention to the trends and phenomena of contemporary Ukrainian visual culture that have entered the context of world culture through recognition on international cultural platforms (competitions, festivals, biennials, etc.). The considerations concern the development of various trends in contemporary Ukrainian art, which use various artistic media: photography, installation, performance and film. In particular, Ukrainian conceptual photography was the most interestingly represented by several generations of photographers of the Kharkiv School, who combined radical bodily imagery and social criticism. The Ukrainian installation is represented by the works of artists of the REP (Revolutionary Experimental Space) group, which is focused on the unity of art and politics and considers artistic creation as a political act. An interesting sub-direction of the installation is the video installation, which delivers an original combination of contemporary Ukrainian artists with site-specific art and artistic means of reflecting on the traumas inflicted on Ukrainian society by the war. The article pays special attention to the development of contemporary Ukrainian cinema. The author demonstrates the connection between the work of contemporary Ukrainian filmmakers and the traditions of Ukrainian poetic cinema. In addition, other trends in Ukrainian cinema are identified: the experimental search for a new film language, the development of documentary cinema, on top of the convergence of fiction and non-fiction artistic languages in the work of contemporary Ukrainian filmmakers. The dominant issues of contemporary Ukrainian films selected for screening at leading European film festivals are identified: inclusiveness, reflection on Ukrainian history, war trauma, psychological rehabilitation of combatants, etc.
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Cauchi, Mark. « Every Wholly Other : Postsecular Pluralism in Isabel Rocamora's Faith ». Film-Philosophy 28, no 2 (juin 2024) : 269–93. http://dx.doi.org/10.3366/film.2024.0269.
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In this article, I undertake a close reading of Isabel Rocamora's 2015 film installation Faith, which shows, on three separate screens, Jewish, Christian, and Muslim men simultaneously performing their morning prayers in three distinct, historically significant sites in the Judean desert. Setting the cinematic and installation properties of the work into dialogue with a number of philosophers (Levinas, Derrida, Cavell), film theorists (Bazin, Deleuze, Chion), and art theorists (Fried, Elkins), I argue that it adopts a postsecular approach to religious pluralism. That is, without being a religious artwork, Faith nevertheless deconstructs the conventional liberal secular approach of universalist neutrality towards inter-religious relations and instead configures the relations between the human figures in the work according to an alterity that requires not cognitive certainty but inter-human faith. The work is thereby consistent with Derrida's notion that tout autre est tout autre (every other is wholly other).
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Rejniak-Majewska, Agnieszka. « Film jako instalacja. Przestrzeń, narracja i afekt w ekspozycji Mieke Bal „Madame B". » Artium Quaestiones 31, no 1 (20 décembre 2020) : 39–66. http://dx.doi.org/10.14746/aq.2020.31.2.
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The article discusses the construction of space and the position of the viewer in the video installation Madame B. Explorations in Emotional Capitalism, presented at the turn of 2013 at the Museum of Art in Łódź. Directed and designed by Mieke Bal and Michelle Williams Gamaker, the installation was produced in parallel with a full feature film of the same title. Both the installation and the film constitute an intersemiotic translation of a literary work – Gustave Flaubert’sMadame Bovary. Part of the inspiration for this experiment was the proto-cinematic quality of Flaubert’s style (narrative simultaneity resembling parallel editing, the suppression of drama, dissolution of the time-flow). The museum installation, with its use of dark exhibition space and multiscreen projection, provided an innovative interpretation of the novel by bringing to the fore its acute audio-visuality: the non-verbal level of meaning found in the presentation of material surroundings, fashion, gesture, facial expressions, sound, tone, and tempo of action. In this respect, the exhibition had an advantage over the continuous version of the feature film, which tends to focus the viewer’s attention more directly on the plot. In the case of the museum installation, the narrative continuity was disregarded in favor of the affective resonance of selected scenes from Emma’s life. Walking through a series of episodes split across nineteen screens, the viewer had to choose his or her own way through a complex narrative (the whole comprised 450 min. of filmic material), so in a sense it was the viewer who “performed the piece”. The narrative of Madame B. partly diverged from Flaubert’s story to bring it closer to our times. The anachronistic intermingling of the 19th century and contemporary realities set it away from the conventions of costume movies and suggested the actuality of Emma’s story – its relevance for contemporary questions of “emotional capitalism”. These anachronisms and the spatialization of the narrative occasioned a specific position for the viewer, who, despite the immersive effect of the images, remained conscious of his or her participatory presence here and now. Thus, while attending to the scenes of Emma’s life, the viewer might also reflect on the emotional effects they raised in him/herself. This analytic outlook did not necessarily inhibit the viewer’s sympathetic engagement with the protagonists’ emotions and experiences, but gave it a more informed character. The spatial arrangement of images, as well as the situations performed in several episodes, also invited reflections on the social function of looking and being seen. In this sense, the installation may be counted as a part of Mieke Bal’s practice of visual culture analysis.
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Панахов, Т. М., А. А. Исаева, Н. М. Рафиев et А. Г. Гусейнов. « Магнитные термопары на основе пермаллоев Co-Fe и Ni-Fe ». Журнал технической физики 89, no 7 (2019) : 1047. http://dx.doi.org/10.21883/jtf.2019.07.47797.410-18.
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Co-Fe and Ni-Fe alloys obtained in a two-roll casting installation in the form of a flexible thin film with an amorphous structure in ordinary and magnetized states are suitable materials for the manufacture of magnetic thermocouples. The thin-film shape of the thermocouple branches in an alternating magnetic field minimizes errors in temperature measurements caused by heating due to induction currents.
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Nogueira, Patrícia. « Space On and Off Screen : The Détournement of Documentary into Video Installation ». Disegno 6, no 1 (2022) : 104–17. http://dx.doi.org/10.21096/disegno_2022_1pn.
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This essay proposes the détournement of the documentary film Displacement (Nogueira 2021) into a video installation, as a process to subvert the sequential documentary account of reality, as well as to interrogate space and movement on and off screen. Instead of editing and presenting the images and sounds in a continuous f low, the setup of the installation fragments the narrative and replaces the sequential format by a projected, sculptural, four-channel experience, composed of a prologue and three acts: (1) the family’s daily activities; (2) disruption of the quotidian routines; (3) the family’s displacement. While the installation projects the prologue onto clear white translucent plastic (like the ones used to cover construction sites) at the entrance to the darkroom, the three acts are projected on the three walls surrounding the audience in the darkroom. The result is an intersection of images and sounds: a juxtaposition and intertextuality of the content to offer an immersive view into family life. It also raises the question of embodiment in video installations, especially the notions of spectatorship, authorship, reality, performance, and, most importantly, what the boundaries of the screen are in the expanded practice of documentary film.
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Wei, Gui, et Hong Chang. « Design of Photocatalytic Reactor with Photocatalyst Film Loaded on Substrate ». Advanced Materials Research 823 (octobre 2013) : 214–17. http://dx.doi.org/10.4028/www.scientific.net/amr.823.214.
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After analytical studies of the characteristics of various slurry and supported photocatalytic reactors, a photocatalytic reactor with photocatalyst film loaded on substrate is designed in this paper. This reactor is characterized by the easy attachment and convenient installation & replacement of photocatalyst, higher light utilization, and complete photocatalytic reaction.
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Synenko, Joshua. « “Where Does This World End?” Space, Time and Image in Harun Farocki’s Parallel I-IV ». Imaginations : Journal of Cross-Cultural Image Studies 14, no 2 (18 décembre 2023) : 175–206. http://dx.doi.org/10.17742/image29693.
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Harun Farocki’s last completed installation film, Parallel I-IV, opens with a collection of video game landscapes grouped together by elements of earth, fire, water, and air, engaging a non-vococentric film essay style to reflect upon material transformations that occur through digital images. Farocki develops a unique curatorial approach to express both the power and the limits of digital image construction and the creative process, and emphasizes sharp historical perspectives. By challenging the dyad of realism and simulation and their associated narrative conventions, whether through film, video games, or art exhibits, Farocki’s brand of essay film provides critical insights into the affective and sociotechnical dimensions of the imaged world.
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Hye-Sook Jeon. « Gaze of Surveillance : The Film and Video Installation of Ann-Sofi Siden ». Journal of History of Modern Art ll, no 23 (juin 2008) : 141–68. http://dx.doi.org/10.17057/kahoma.2008..23.005.
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Syed, Alia. « The making of A Story Told — a film installation for the gallery ». Journal of Media Practice 9, no 1 (1 janvier 2008) : 67–71. http://dx.doi.org/10.1386/jmpr.9.1.67_3.
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Shcherbina, M. E. « Installation for thin film testing with automatic recording of the tension diagram ». Measurement Techniques 32, no 5 (mai 1989) : 446–47. http://dx.doi.org/10.1007/bf00866224.
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Fiebig, Gerald, Uta Piereth et Sebastian Karnatz. « The Cadolzburg Experience : On the Use of Sound in a Historical Museum ». Leonardo Music Journal 27 (décembre 2017) : 67–70. http://dx.doi.org/10.1162/lmj_a_01021.
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The museum at Cadolzburg Castle in Germany, opened in 2017, uses a sound installation to present aspects of the building’s history that could not be materially reconstructed. In this article, the curators and the sound artist explain how the installation alternates between sound effects and musical signifiers to engage visitors with their environment and to spark reflection on the problems of “authenticity” in museums. While the musical thread offers quotes from musical styles representing the castle’s history, the sound thread gradually deconstructs a “castle soundscape” inspired by film soundtracks.
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Jacquin, Maud. « ‘A matter of skin’ : Chantal Akerman’s ‘porous narratives’ ». Moving Image Review & ; Art Journal (MIRAJ) 8, no 1 (1 septembre 2019) : 82–95. http://dx.doi.org/10.1386/miraj_00007_1.
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In 2004, Chantal Akerman created two works – a feature film Tomorrow We Move (Akerman, 2004) and a video installation To Walk Next to One’s Shoelaces in an Empty Fridge (Akerman, 2004) – which feature the diary that her Jewish maternal grandmother had kept before dying at Auschwitz. Prompted by the contradictions manifest in the installation (spontaneity vs control; uniqueness vs familiarity), I will argue for an intricate interrelation between the documentary video and the fiction film. In relation to the thematic content of both works, I will subsequently demonstrate that the ‘porous’ form of narrative that this assemblage generates allows Akerman to challenge and transform dominant conceptions of storytelling, identity, history and memory. In particular, through analysing the modes of writing she portrays in both films in relation to Virginia Woolf ’s work, I will contend that Akerman is deeply aware of the political implications of thinking porously.
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Shell, Hanna Rose. « Cinehistory and Experiments on Film ». Journal of Visual Culture 11, no 3 (décembre 2012) : 288–306. http://dx.doi.org/10.1177/1470412912455617.
Texte intégralRésumé :
This article considers what time-based audio-visual media can bring to historical scholarship in science and visual culture studies. The author argues that the history and critical analysis of cinematography and other time-based optical research methods used in the social, life and physical sciences, are productively accomplished through a simultaneously theory- and practice-bound model of multimedia history. She introduces the concept and term cinehistory through analysis of her own film and video installation work, focusing specifically on her Experiments on Film project (2004–2011), a series of multisensory, filmic histories of physiologist and inventor Étienne-Jules Marey’s development of underwater chronophotography in the 1890s.
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Feller, C., E. R. Landa, A. Toland et G. Wessolek. « Case studies of soil in art ». SOIL 1, no 2 (13 août 2015) : 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.
Texte intégralRésumé :
Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.
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Liu, Jian Hua. « Study on the Dynamic Lubrication Characteristics of Water Lubricated Rubber Bearing ». Advanced Materials Research 490-495 (mars 2012) : 3707–11. http://dx.doi.org/10.4028/www.scientific.net/amr.490-495.3707.
Texte intégralRésumé :
Adopted the coupling method and considered the elastic deformation，the paper did the numerical calculation for a water lubrication rubber bearing used horizontal installation. And by means of the finite element analysis software, the nonlinear contact was studied. The results of water film pressure, water film thickness, carrying capacity and deformation of rubber bush are analysed, and draw some useful conclusions. The results provide design basis and reference information for the dynamic calculation to rubber bearing.
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Mincu, Mariana, Maria Iuliana Marcus, Mihaela Andreea Mitiu et Natalia Simona Raischi. « Increasing the Efficiency of Pollutants Removal from Municipal Wastewater Using Biological Filters ». Revista de Chimie 69, no 12 (15 janvier 2019) : 3553–56. http://dx.doi.org/10.37358/rc.18.12.6790.
Texte intégralRésumé :
Biological filters are wastewater treatment systems that contain a granular filling material, which form an active biological film that contribute to the biooxidation of impurities from the wastewater. Recent research in the field aimed to improve the classical treatment facilities with aerobic fixed film by using inexpensive and easily accessible materials as filterable loading. Experiments have been carried out on biological filters loaded with volcanic tuff, with a diameter between 20-100 mm, supplied with municipal wastewater from primary settling. The biological filtration efficiency has been etablished throughout the continuous functioning of the experimental installation by physico-chemical water analysis. The analyzed indicators have been the ones stipulated by the legislation in force, namely: pH, chemical oxygen demand (COD), biochemical oxygen demand (BOD5), total suspended matter (TS), total nitrogen (TN), total phosphorus (TP), etc. The analysed wastewater samples have been average samples. The treatment efficiency have been calculated in various hypotheses, depending on the: installation capacity, hydraulic loading, organic loading.
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Jiang, Zhou, Song Zhang, Hao Jiang et Shiyuan Liu. « Calibration of Waveplate Retardance Fluctuation Due to Field-of-View Effect in Mueller Matrix Ellipsometer ». Photonics 10, no 9 (12 septembre 2023) : 1038. http://dx.doi.org/10.3390/photonics10091038.
Texte intégralRésumé :
Leveraging their unique phase modulation characteristics, birefringent waveplates have been widely used in various optical systems. With the development of material science and manufacturing techniques, the polarization properties of waveplates have become increasingly complex and diverse. Among these properties, the field-of-view effect of the waveplate caused due to manufacturing defects or improper installation procedures is extremely difficult to calibrate and seriously affects the precision and accuracy of the relevant optical systems. In this paper, a calibration method that can compensate for the field-of-view effect of waveplates installed in the instrument is proposed. Moreover, to approve the fidelity of the proposed calibration method, a series of film thickness measurement experiments are carried out. The results show that under different installation conditions of the waveplates, the precision and accuracy of the film thickness measured with the proposed method significantly improved. This method can be expected to reduce the assembly difficulty of such optical systems, while also improving their accuracy and stability.
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Peerapong, Prachuab, et Bundit Limmeechokchai. « Assessment of Electricity Generation on Different Inorganic and Metallic Embedded in Solar Photovoltaic Panels : Cases of Thailand ». Key Engineering Materials 658 (juillet 2015) : 101–5. http://dx.doi.org/10.4028/www.scientific.net/kem.658.101.
Texte intégralRésumé :
Photovoltaic (PV) has recently undergone impressive growth and substantial cost decreases. Basically wafer-based crystalline-Si PV technologies have the advantage of higher module efficiency as compared to thin-film PV, but thin-film PV has the advantage of lower production cost. The silicon-based solar PV needs light-induced charge separation at the p-n junction between two slices (wafers) of doped silicon in either single-crystal silicon (sc-Si) or polycrystalline (poly-Si). However until recently thin-film PV modules both amorphous silicon (a-Si) and non-silicon thin film technology have been advantageous developed. Metallic based modules such as cadmium telluride, CdTe and copper indium gallium diselenide, CIGS thin-film PV technologies have currently efficiencies of 16.1% and 15.7%, respectively. A high efficiency makes thin-film PV technologies more competitive with wafer-based crystalline-Si PV. This study investigates the electricity generation of both silicon based and non-silicon based solar PV modules. The implementation uses solar irradiation with average of higher than 18 MJ/m2.day in high solar radiation provinces in Thailand. A High solar radiation is observed in mostly in central and the east regions of the country. The result shows that the commercial amorphous PV module is appropriate for large scale installation while wafer-based crystalline-Si PV can be installed both in cases of solar rooftop and solar PV farm. Thin-film PV modules both silicon based (a-Si) and non-silicon based is basically appropriate for small installation such as solar rooftop and building integrated PV (BIPV). But in the near future the metallic based PV modules will be competitive with crystalline-Si PV in terms of both efficiency and with its lower cost.
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Luckett, Josslyn. « Digging and Bluing with Billy Woodberry ». Film Quarterly 70, no 4 (2017) : 67–76. http://dx.doi.org/10.1525/fq.2017.70.4.67.
Texte intégralRésumé :
A long-view interview with filmmaker Billy Woodberry conducted by screenwriter and scholar Josslyn Luckett gives the filmmaker his due and reflects on his prolific career as an independent filmmaker. The unfolding of Billy Woodberry's career—both his own new work and the recent critical revaluations of his classic work, such as the naming of Bless Their Little Hearts (1983) to the National Film Registry in 2013—makes words like “rebellion” or “revival” only marginally useful. Any research into the full range of his film work, including his multiple roles as film actor, film narrator, video installation artist, and film history and production professor at California Institute of the Arts (CalArts) since 1989, reveals a Woodberry who might be more properly termed an underground “renaissance” man than a rebel.
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Snezhkin, Yu F., Zh O. Petrova, V. M. Paziuk, Ye Ya Telnikov, V. M. Vyshnevskyi et N. V. Malaschyk. « ENERGY-EFFICIENT CHAMBER DRYER WITH THICK ALLOY HEATING ELEMENTS ». Energy Technologies & ; Resource Saving 75, no 2 (20 juin 2023) : 85–95. http://dx.doi.org/10.33070/etars.2.2023.07.
Texte intégralRésumé :
Drying is one of the main technological processes of plant raw materials processing in the production of dry food products and powders from them. Convective drying is the most widespread method of drying vegetable raw materials, which is accompanied by high energy costs for the process. Increasing the energy efficiency of drying colloidal capillary-porous materials in a 2-zone chamber dryer occurs due to the use of coolant recirculation between drying zones and the installation of thick-film heating electric elements. The proposed design of the thick-film heating element and its technical characteristics are presented. Studies of the drying kinetics of colloidal capillary-porous plant materials were carried out on the created energy-efficient 2-zone chamber dryer with installed thick-film heating elements. Reducing energy costs for the drying process is possible through the design and manufacture of a 2-zone chamber dryer with the installation of 2 sections of thick-film heating elements (21 pieces in each). Installing this heater in a chamber dryer allows you to save electricity consumption by up to 30 %. The study of the kinetics and energy efficiency of the drying process in a chamber dryer is carried out on colloidal capillary-porous materials, in particular potatoes and pumpkins. The intensity of drying is limited by the quality characteristics of the material, so drying is carried out at low temperatures. Material quality control is assessed by recoverability and organoleptic indicators after drying. The results of experimental studies in a chamber drying unit showed that energy costs for the drying process increase significantly at the end of the process when the intensity of moisture evaporation decreases. The energy consumption of heat per kilogram of evaporated moisture and the efficiency of the installation were analyzed in order to determine the optimal drying time. Energy consumption per kilogram of evaporated moisture in the created chamber dryer corresponds to the effective indicators of this type of convective dryers. Bibl. 20, Fig. 8.
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Makeev, M. O., A. S. Osipkov, V. I. Batshev, O. V. Polschikova, N. S. Ryshkov, V. V. Kochervinskii et G. Yu Yurkov. « Investigation of the phase delay of radiation by a transparent ferroelectric polymer film ». Journal of Physics : Conference Series 2127, no 1 (1 novembre 2021) : 012048. http://dx.doi.org/10.1088/1742-6596/2127/1/012048.
Texte intégralRésumé :
Abstract In this paper, we study samples of an optically transparent ferroelectric polymer film with deposited nanoscale electrically conductive coatings designed to modulate the transmitted electromagnetic radiation of the visible and near-infrared wavelengths. Such films can be used, for example, in interference devices for phase delay compensation or for the implementation of the Phase Shifting Interferometry, in adaptive optics, etc. To measure the phase delay of the radiation passing through the samples under study, an installation based on the Mach-Zehnder interferometer was used. In the illumination branch of the installation, a broadband radiation source and an acousto-optic tunable filter are installed; in one of the arms of the interferometer, the test sample is installed. The interference pattern was recorded on a matrix radiation receiver; the phase information was decoded by digital holography methods. The report presents the results of measurements and shows that a modulation of the passed optical radiation occurs under the influence of the electric field as a result of changes in the geometrical dimensions of the film.
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Morley, Megs, et Tom Flanagan. « The Question of Ireland (2013) and A History of Stone, Origin and Myth (2016) ». Radical History Review 2022, no 143 (1 mai 2022) : 195–203. http://dx.doi.org/10.1215/01636545-9566216.
Texte intégralRésumé :
Abstract Curated Spaces features two projects by the artists and filmmakers Megs Morley and Tom Flanagan. The Question of Ireland (2013) is a cross-disciplinary film installation that attempts to provoke the relationship between the language of politics, performance, and cinema. A History of Stone, Origin and Myth (2016) is a nonnarrative film essay that explores the space between individual memory and national history through the lens of political monuments found throughout Ireland that relate to Irish rebellion, the 1916 Rising, and the foundation of the state.
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Butler, A. « A deictic turn : space and location in contemporary gallery film and video installation ». Screen 51, no 4 (1 décembre 2010) : 305–23. http://dx.doi.org/10.1093/screen/hjq031.
Texte intégral
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O'Rawe, Des. « Plays and Fragments : Antigone, Film, Modernity ». Modernist Cultures 17, no 1 (février 2022) : 1–26. http://dx.doi.org/10.3366/mod.2022.0357.
Texte intégralRésumé :
Within the history of modernity, the tragic shape and ethical concerns of the Antigone myth have made it a touchstone for understanding contemporary cultural and political realities. This essay traces the modernist processes of adaptation, citation, displacement, and revision that have often characterised the relations between filmmakers and this phenomenon. Focussing in particular on those films that subvert the authority of narrative realism and the laws of conventional – ‘classical’ – film language, it traces how particular social contexts and commitments have inevitably constructed different images of Antigone – how the Antigones that emerge in early or ‘silent’ cinema, for example, compare with those from other film and media forms, including television, video and installation art works.
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Kim, Ji-Hoon. « Learning About Time : An Interview with Apichatpong Weerasethakul ». Film Quarterly 64, no 4 (2011) : 48–52. http://dx.doi.org/10.1525/fq.2011.64.4.48.
Texte intégralRésumé :
An interview with Thai director Apichatpong Weerasethakul, winner of the 2010 Cannes Palme d'Or for his haunting feature, Uncle Boonmee Who Can Recall His Past Lives, in which he discusses the relationship between the film and a 2009 installation, The Primitive, as well as the impact of digital technology on cinema.
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Haapio-Kirk, Laura, et Nat Nesvaderani. « Widening the Frame ». Cambridge Journal of Anthropology 42, no 1 (1 mars 2024) : 127–37. http://dx.doi.org/10.3167/cja.2024.420109.
Texte intégralRésumé :
Nora Wuttke's Hospital Echoes Installation, Lady David Gallery, SOAS, University of London (13 April–2 May 2023 Moreshin Allahyari, dir. 2020. She Who Knows the Unknown: Kabous, the Right Witness and the Left Witness. Virtual Reality/Digital. Nazlı Dinçel, dir. 2019. Instructions on How to Make a Film. 16 mm.
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Septina, Farihah, et Robbyn Reyvaldo. « Perbedaan kualitas hasil radiograf periapikal antara film konvensional dan film instan di Instalasi Radiologi FKG Universitas Brawijaya Malang ». Jurnal Radiologi Dentomaksilofasial Indonesia 4, no 1 (10 mai 2020) : 45. http://dx.doi.org/10.32793/jrdi.v4i1.447.
Texte intégralRésumé :
Objectives: This study is aimed to look at the distribution of the quality of periapical radiographs produced by students using conventional films and instant films at the Faculty of Dentistry Universitas Brawijaya radiology installation.
Material and Methods: The method used in this research is analytic descriptive with cross sectional sampling method. The research datas were primary data with a total of 20 periapical radiographs from each method. Data was analyzed by Spearman test in SPSS software.
Results: Data were analysed using the Spearman rho correlation test which showed the results of ρ = 0,5. The results of periapical radiographs using conventional films as much as 65% were very good, 25% were good, and 10% were not acceptable. The results of periapical radiographs using instant film were 70% good, 15% very good, and 15% were not acceptable.
Conclusion: There is no difference in the quality of the results of conventional periapical radiographs and instant films in the radiology installation of the Faculty of Dentistry Universitas Brawijaya Malang.
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Lipiński, Filip. « Cinematic Art (History) and Mieke Bal's Thinking in Film ». Artium Quaestiones 31, no 1 (20 décembre 2020) : 5–37. http://dx.doi.org/10.14746/aq.2020.31.1.
Texte intégralRésumé :
The article focuses on Mieke Bal’s theoretical considerations of art in terms of film and movement in general. This cinematic frame offers her a conceptual framework for “thinking in film”, a way to rethink not only diverse forms of art, moving and still images, but also, as I argue, methodological models for art history. The text begins with a general outline of the tensions and relations between art history and film/film studies, with a discussion of several cases of the theoretical application of film in the field of art history. Bal’s case, the main subject of the article, is perhaps the most consistent and theoretically advanced attempt at reconceptualizing diverse aspects of art in interdisciplinary, cinematic terms within a larger phenomenon which might called a theoretical dimension of the “cinematic turn”. While I acknowledge the importance and complementary nature of Bal’s artistic practice as a video artist with her theoretical work, due to the limited space of this article, the focus of my text is on her writing. I closely trace and discuss a variety of Bal’s texts, predominantly written over the last 20 years, in which she theorizes and analyzes works in which movement is either explicit, such as video or video installation or implicit, such as painting. In her crucial, relevant books, Thinking in Film. The Politics of Video Installation According to Eija-Liisa Athila (2013) or Emma&Edvard Looking Sideways: Loneliness and the Cinematic, Bal, referring to a number of scholars and thinkers, but most prominently and consistently to Henri Bergson, points to four kinds of movement: literal or represented movement of/in the image, movement related to perception, affective movement and, finally, its political dimension, all of which are discussed in this article. Video installation is an art form which for Bal becomes the best concretization (a contact space) of all of the above aspects of movement, activating “thinking in film”. This involves new reformulations of spatial and temporal dimensions of art, with such concepts as heterochrony and timespace. Moreover, with reference to video art, Bal coined the notion of “migratory aesthetics”, where migration not only literally concerns migrants and immigration but offers a platform to reflect on and renegotiate the issues of movement, stagnation, the everyday and their political dimensions. Last but not least, film, according to Bal, also offers a useful framework for analyzing the experience of art exhibitions. In discussing Bal’s work, I argue that her “cinematic”, conceptual travels in art offer a radical opening of a number of art historical categories and procedures, and I propose to regard her project of “thinking in film” as indicative of a larger changes across disciplines already visible in her earlier work in the 1990s, which involve the productive redefinition of historical and temporal experience, mobilization of perception and the body, relational mode of thinking and vision, affective dimension of experiencing art and the acknowledgment of agency both on the part of the viewer and the artwork.
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Huang, Kun. « The Photoelectric Detection System Design of Conductive Film Loophole ». Advanced Materials Research 503-504 (avril 2012) : 1695–98. http://dx.doi.org/10.4028/www.scientific.net/amr.503-504.1695.
Texte intégralRésumé :
Based on the problem of conductive film loophole detection, this paper presents the overall system design plan, design a set of practical photoelectric detection system. The system hardware include photoelectric sensor module, signal conditioning module, MCU minimize system module, control module, alarm module, power supply module; System software flow chart are given. Finally, after making of objects, installation, debugging, software and hardware modified, the system achieve the design requirements, realize the design function.
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Rao, V. Tirupati, Y. Raja Sekhar, Hari Mahesh, Anantha Krishnan Muraleedharan, Derik Charles, N. I. Aljuraide, Ahmed Mohamed Mahmoud Ibrahim et al. « Life Cycle Analysis of Thin-Film Photovoltaic Thermal Systems for Different Tropical Regions ». Sustainability 14, no 21 (31 octobre 2022) : 14209. http://dx.doi.org/10.3390/su142114209.
Texte intégralRésumé :
Different energy solutions are required to satisfy the energy demand of the world’s ever-growing population. Photovoltaic Thermal systems (PVT) could propose resolutions to tackle real-time issues regarding power generation. Life Cycle Analysis (LCA) is performed to compare the environmental impact and measure the energy across different PVT modules consisting of a-Si, CdTe, and CIS thin-film solar cells. The authors performed LCA to calculate the energy payback time (EPBT) and life-cycle CO2 emissions of residential rooftop and open-field PVT systems. The primary energy needed to produce thin-film PVT modules of 1 m2 cell area was considered in the present life cycle analysis studies operated using water as the working fluid. The annual net electrical energy savings at various Indian weather conditions, such as New Delhi, Jodhpur, and Ladakh, have been calculated. For the thin-film PVT systems, the calculated values of annual energy yield for three locations with average solar radiation levels and peak sun hours in the range of 600–1000 W/m2 and 6–8 h were reported. Results show that the CO2 emissions for rooftop installation of CdTe and CIS are around 200 and 156 kg/annually, which is lower than the open field installation of the same, where CO2 emissions were found to be 295 and 250 kg/year.
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Lange, Jennifer. « Hammertime ! » Camera Obscura : Feminism, Culture, and Media Studies 36, no 3 (1 décembre 2021) : 123–27. http://dx.doi.org/10.1215/02705346-9349427.
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Abstract This memoir recounts Barbara Hammer's relationship to the Wexner Center for the Arts and its Film/Video Studio residency program, which supported a number of her films between 1994 and 2018. It offers some personal insight into the evolution of Hammer's final work, Evidentiary Bodies (2018), from single-channel video to multichannel video installation. The author describes working with Hammer during the last year of her life and explains the process of organizing the 2019 exhibition Barbara Hammer: In This Body at the Wexner Center for the Arts, which premiered the installation of Evidentiary Bodies and included additional works in other mediums and made throughout Hammer's career around themes of illness, aging, and death.
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Vogt, Naomi. « The Invention of (YouTube) Ritual and Pierre Huyghe’s Holiday ». TDR : The Drama Review 65, no 4 (décembre 2021) : 147–65. http://dx.doi.org/10.1017/s1054204321000599.
Texte intégralRésumé :
Pierre Huyghe’s Streamside Day shifts the boundaries between representing and producing rituals. In 2003, the artist scripted a holiday for a freshly built, suburban-style neighborhood in New York State, which he simultaneously turned into a documentary film and quasi-liturgical participatory installation. Beyond the art world, innumerable new rituals are formalizing and circulating through videos online.