Bibliographies thématiques / Installation art

Littérature scientifique sur le sujet « Installation art »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 2 mars 2023

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Articles de revues sur le sujet "Installation art"

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MANRESA, GEMMA ARGÜELLO, et ELISA CALDAROLA. « Installation Art ». Journal of Aesthetics and Art Criticism 78, no 3 (juin 2020) : 331–32. http://dx.doi.org/10.1111/jaac.12747.

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Bestor, Charles. « Installation art ». ACM SIGGRAPH Computer Graphics 37, no 1 (février 2003) : 16–18. http://dx.doi.org/10.1145/763993.763994.

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Vickery, Jonathan. « INSTALLATION ART ». Art History 29, no 5 (novembre 2006) : 957–63. http://dx.doi.org/10.1111/j.1467-8365.2006.00528_7.x.

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Rios, Patricia, et Aquiles Negrete. « The object of art in science : science communication via art installation ». Journal of Science Communication 12, no 03 (11 décembre 2013) : A04. http://dx.doi.org/10.22323/2.12030204.

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Science is part of our everyday live; so is art. Some art installations that link the two require the active presence of the spectator. Thereby they help to raise the awareness, promote understanding, and generate an emotional response from the public. This project rests on the public participation model that seeks to explore the connection between art installations and science communication through experiential learning. In order to test the effectiveness of an art installation communicating science two groups were contrasted. The first was exposed to a list of scientific facts; the second participated in the creation of an art installation. The results of this research suggest that art installations do promote long-term fact retention. Therefore, the use of art installations can be considered an interesting method of conveying science in an attractive, reliable, and memorable way.
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Chemberzhi, Daria. « The importance of installation art for the development of contemporary art in the world and Ukraine ». Bulletin of Lviv National Academy of Arts, no 39 (2019) : 278–87. http://dx.doi.org/10.37131/2524-0943-2019-39-19.

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Article is devoted to a research of a role and the place of art installation in the modern world. At the same time the retrospective analysis of a role of art installation in the past and comparative characteristic with the present is carried out. The Ukrainian context of development of art installation is also revealed. At the same time it is found out that installation is not only an important component of modern art, but also an integral part of historical discourse. Due to its visual functions, the installation actively influences the viewer. For the most part, installations are not just an object in space, it is what is the very space - how much the installation work has the ability to fill the space, integrate into it organically and holistically. At the same time, the main factor in the creation and existence of an installation in the exhibition space, as well as in other relevant arts, is its relationship with the viewer. In this study, the socio-cultural aspect of the installation is important, understanding of the significance of this form of contemporary artistic practices for a common worldview system. Such problems as the assimilation of new experience from the point of view of global processes, on the one hand, and the preservation of the national cultural identity in contemporary art, on the other – actualize the pattern of the process of perception of a new culture. In article it is found out that graphic schools are based on existence of certain art and educational institutions where graphic artists who carry out the teaching activity and own creativity a high mission of formation of new generation of masters create. Not less important factor is acceptance of experience of teachers and its further development in creativity of pupils and followers. Art of installation is an integral part of the modern fine arts of Ukraine. Emergence and development of this art form in the national cultural environment became possible under conditions of intensive creative activity of artists which reached the high level of mastery in connection with deeply philosophical judgment of problems of the present. At the end of XX – the beginning of ХХІ century, looking for new ways of development, the Ukrainian artists addressed installation which as it is possible better answered esthetic inquiries of an era and became a symbol of spiritual updating of the personality. Installation turns into a key factor of development of different spheres of culture, thereby playing a noticeable role in development of national culture. Installation in the modern art helps to be focused and inform of the idea and understanding of global problems to adherents of different genres of art, the audience of different age categories and social groups. Since declaration of independence development of the independent state and formation of own cultural policy aimed at providing free development of national culture and preservation of cultural inheritance begins. The state forms the legislative base which can provide cultural development and an open entry of all citizens to its achievements. In 1992 the Verkhovna Rada of Ukraine accepts "Principles of the legislation of Ukraine about culture" where the basic principles of public policy in the sphere of culture directed to revival and development of the Ukrainian national culture, ensuring freedom of creativity, free development of cultural and art processes, realization of the rights of citizens to access to cultural values, creation of material and financial conditions of cultural development were declared. It is found out that installation is an art equipment which uses the three-dimensional objects intended for change of perception of space by the person. The term "installation" in English appeared long ago – in the XV century. It means process of construction, collecting, drawing up something (now use it also for establishment definition, for example, of the software). With the advent of different technologies – videos, and later and the computer – arose also different types of installations which now peacefully coexist with other arts, for example, painting or a sculpture, without being inferior to them. Hardly somebody will be able to designate exact date of emergence of installations and their judgment as art form. Now installation represents the certain room according to the decision of the author transformed to art space. It is filled with a number of objects to which the symbolical value is often provided. Harmonious connection of things, their arrangement indoors is also art. Installations can be the constant objects exposed in the museums or be created temporarily in public and private spaces. The space of installation can include different types of the things and images circulating in our civilization: pictures, drawings, photos, texts, video, movies, tape recordings, virtual reality, Internet, etc. Installations are regularly presented at the international exhibitions of the modern art, such as Venetian the biennial. The most prestigious art museums and art galleries of the world give to installation art the best platforms from time to time. At the same time, the research of this form of art lags behind the progressing shaping a little. The phenomenon of installation is considered as a part of a performance that is entirely logical. But install processes, especially the last decades, proved what is absolutely self-sufficient the cultural phenomena which need serious scientific approach and judgment, require attention to a research of characteristics install the practician, activity of certain artists, a tipologization and the scientific analysis of modern processes
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CALDAROLA, ELISA. « On Experiencing Installation Art ». Journal of Aesthetics and Art Criticism 78, no 3 (juin 2020) : 339–44. http://dx.doi.org/10.1111/jaac.12734.

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Mandlis, Lane R. « Art Installation as Method ». Qualitative Inquiry 15, no 8 (7 juillet 2009) : 1352–72. http://dx.doi.org/10.1177/1077800409339568.

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Zečević, Marija. « Installation : Between the Artistic and Architectural Project ». AM Journal of Art and Media Studies, no 12 (15 avril 2017) : 55. http://dx.doi.org/10.25038/am.v0i12.167.

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The subject of this research is the art installation, a spatial creativity that arises in relation between art and architecture. In a more narrow definition, the subject of the research is installations created in the formative period of the 60s and 70s up to the present. As a ‘critical spatial practice’ art installations are conceived in the form of alternative proposals for settlements which enter the field of architectural design. Ideas concerning new sets of relations between the subject and a spatial order indicate the potential of the use of the concept of art installations in architectural design. The initial hypothesis is that art installations represent the articulation of a place of dialogue between art and architecture, which opens up a new field of research in architectural design. The aim of the research is to show the position of art installations as architectural projects. The applied methodological procedures approach architectural design in a manner of synthesizing the architecture and art in a new form of visual culture. The paper deals with the study of artistic concepts in terms of design, which emphasizes the importance of an interdisciplinary approach to research and the importance of integrating the principles of art in the field of architectural design. The main contribution of this paper is reflected in the expansion of the problem and thematic framework of research on architectural design, contemporary art and their relation. Article received: December 21, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies 12 (2017): 55-70
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Paul, Christiane. « Renderings of Digital Art ». Leonardo 35, no 5 (octobre 2002) : 471–84. http://dx.doi.org/10.1162/002409402320774303.

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This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.
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Cuan, Catie, Erin Berl et Amy LaViers. « Time to compile : A performance installation as human-robot interaction study examining self-evaluation and perceived control ». Paladyn, Journal of Behavioral Robotics 10, no 1 (28 août 2019) : 267–85. http://dx.doi.org/10.1515/pjbr-2019-0024.

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AbstractEmbodied art installations embed interactive elements within theatrical contexts and allow participating audience members to experience art in an active, kinesthetic manner. These experiences can exemplify, probe, or question how humans think about objects, each other, and themselves. This paper presents work using installations to explore human perceptions of robot and human capabilities. The paper documents an installation, developed over several months and activated at distinct venues, where user studies were conducted in parallel to a robotic art installation. A set of best practices for successful collection of data over the course of these trials is developed. Results of the studies are presented, giving insight into human opinions of a variety of natural and artificial systems. In particular, after experiencing the art installation, participants were more likely to attribute action of distinct system elements to non-human entities. Post treatment survey responses revealed a direct relationship between predicted difficulty and perceived success. Qualitative responses give insight into viewers’ experiences watching human performers alongside technologies. This work lays a framework for measuring human perceptions of humanoid systems – and factors that influence the perception of whether a natural or artificial agent is controlling a given movement behavior – inside robotic art installations.
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Thèses sur le sujet "Installation art"

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Bernardini, Elena. « Interrogating installation art from India ». Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664613.

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Larocque, Marie-Claire. « Installation architectonique : trilogie "topophonique" ». Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1996. http://theses.uqac.ca.

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Stansbie, Lisa. « Zeppelinbend : Multiplicity, encyclopaedic strategies and nonlinear methodologies for a visual practice ». Thesis, Leeds Beckett University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533350.

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Longo, Sheila A. (Sheila Ann). « Construction and installation of public comfort art : "Art as sanctuary" ». Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/32952.

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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2005.
Includes bibliographical references (leaf 29).
This paper illustrates the construction and installation of a public piece of art, hidden within which is an enclosed and private meditation space. In making the piece, the artist was influenced by the works of others as well as by her own previous works and personal experiences. The theory of deep touch pressure can be extrapolated to associate encapsulation within small, enclosed spaces with relaxation and the relief of anxiety. Through the fluid process of aesthetic development, the work evolved towards completion and fulfillment of the piece's goals. The result was a basket-like structure containing a close and comfortable space for decompression. Geared towards the MIT community, the piece also explored the effects of isolation and connectivity. Viewer interaction, made possible by a period of public display, remains a critical component of this artwork. There are various directions in which to move forward with the investigation, one of which is to explore the dynamics of multiple pieces in a single location.
by Sheila A. Longo.
S.B.
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Shepley, W. A. « Installation art practice and the 'fluctuating frame' ». Thesis, Manchester Metropolitan University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325422.

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Bishop, Claire. « The subject of installation art : a typology ». Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395950.

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Ouzounian, Gascia. « Sound art and spatial practices situating sound installation art since 1958 / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
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LIU, Nga Ying. « Red-white-blue and Hong Kong Installation Art ». Digital Commons @ Lingnan University, 2011. https://commons.ln.edu.hk/vs_etd/2.

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The purpose of this study is to analyse the interaction between art and contested notions of Hong Kong identity by examining recent installations that employ the red, white and blue-striped plastic fabric, locally known in Hong Kong as red-white-blue (紅白藍). The red-white-blue fabric has, in recent years, become a signifier of the collective identity of Hong Kong people and of the ‘Hong Kong spirit’, with specific reference to the traits of the working class in the 1960s. The repeated articulations of this material in artworks show that there are certain qualities in this material with which local people identify. This study examines how installation works that employ this material question and revise notions of Hong Kong identity, and suggest its plurality and mutability. Works of local artists including Stanley Wong (a.k.a. Anothermountainman), Kith Tsang, Doris Wong, Siu King Chung and Tim Li are discussed in detail. Accounts of installations that employ red-white-blue often offer a limited interpretation of such works, paying insufficient attention to formal qualities and assuming a fixed and unitary notion of Hong Kong identity. The thesis argues that this paradigmatic cliché about Hong Kong identity is also expressed in the red-white-blue works of Stanley Wong to the extent that they evoke nostalgia and neglect contemporary social reality. The prevalence of such readings of red-white-blue-inspired works of art has veiled the complexity of works that interrogate Hong Kong identity from a diversity of perspectives. The contribution of this thesis is to remedy that situation, and provide a comprehensive account of key red-white-blue installation works.
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DEGRAAF, NATHAN MARK. « MILIEU, MEANING AND ARCHITECTURE : CONTEMPORARY INSTALLATION ART GALLERY DESIGN ». University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148191782.

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Giguère, Danielle. « EMMA. Installation sonore ». Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24277/24277.pdf.

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Livres sur le sujet "Installation art"

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Oliveira, Nicolas De. Installation art. [Washington, D.C.] : Smithsonian Institution Press, 1994.

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Nicola, Oxley, Petry Michael et Archer Michael, dir. Installation art. London : Thames and Hudson, 1994.

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Shaoqiang, Wang. Installation art. Berkeley, CA : Gingko Press, 2010.

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Oliveira, Nicolas de. Installation art. London : Thames and Hudson, 1996.

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Minard, Robin. Sound installation art. Graz, Austria : Institut für elektronische Musik, Hochschule für darstellende Kunst, 1996.

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Angelika, Nollert, Galerie im Taxispalais (Innsbruck, Austria), Museum Ludwig, Museum für Gegenwartskunst Siegen, Wiener Secession et Galerie für Zeitgenössische Kunst Leipzig., dir. Performative installation. Cologne : Snoeck, 2003.

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George, Fifield, Ketner Joseph D, Donath Judith et Milwaukee Art Museum, dir. Act/react : Interactive installation art. Milwaukee, WI : Milwaukee Art Museum, 2008.

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Ästhetik der Installation. Frankfurt am Main : Suhrkamp, 2003.

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Adam, Geczy, et Genocchio Benjamin, dir. What is installation ? : An anthology of writings on Australian installation art. Sydney, NSW, Australia : Power Publications, 2001.

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Gallery, Tate, dir. Performance art and video installation. Millbank, London : Tate Gallery, 1985.

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Chapitres de livres sur le sujet "Installation art"

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Sokolove, Deborah. « Installation Art ». Dans Encyclopedia of Sciences and Religions, 1060. Dordrecht : Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-1-4020-8265-8_200368.

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Caldarola, Elisa. « Improvisation and Installation Art ». Dans The Routledge Handbook of Philosophy and Improvisation in the Arts, 617–30. New York : Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-48.

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Earnshaw, Rae. « Installation ArtWorks ». Dans Art, Design and Technology : Collaboration and Implementation, 31–36. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58121-7_4.

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Sheldon, Julie. « Picturing the Installation Shot ». Dans A Companion to Modern Art, 125–43. Hoboken, NJ, USA : John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118639948.ch7.

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Zhu, Guanyu, et Shui Jin. « Analysis on the Installation Art ». Dans Wireless Technology, Intelligent Network Technologies, Smart Services and Applications, 275–84. Singapore : Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5168-7_34.

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Nathanson, Alex. « Sculpture and Installation ». Dans A History of Solar Power Art and Design, 156–87. New York : Routledge, 2021. http://dx.doi.org/10.4324/9781003030683-8.

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Finn, Christine. « Home : An Installation for Living In ». Dans Art and Archaeology, 115–27. New York, NY : Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-8990-0_9.

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Solina, Franc, Gregor Majcen, Narvika Bovcon et Borut Batagelj. « Preservation of a Computer-Based Art Installation ». Dans Digital Heritage. Progress in Cultural Heritage : Documentation, Preservation, and Protection, 643–50. Cham : Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-13695-0_65.

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Hu, Jun, Duy Le, Mathias Funk, Feng Wang et Matthias Rauterberg. « Attractiveness of an Interactive Public Art Installation ». Dans Distributed, Ambient, and Pervasive Interactions, 430–38. Berlin, Heidelberg : Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39351-8_47.

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Cullen, Tom. « The Installation of Time-Based Media Artworks ». Dans Conservation of Time-Based Media Art, 239–48. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003034865-19.

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Actes de conférences sur le sujet "Installation art"

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Hsu, Chao-Chi, et Pey Chwen Lin. « Interactive installation art ». Dans ACM SIGGRAPH ASIA 2010 Posters. New York, New York, USA : ACM Press, 2010. http://dx.doi.org/10.1145/1900354.1900380.

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Zheng, Ying, et Peng Zhang. « Interactive Video Installation Art Under New Media Art ». Dans 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.210106.018.

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Ferreira, Vinicius, Junia Anacleto et Andre Bueno. « Translating Art Installation into ICT ». Dans SIGDOC '14 : The 32nd ACM International Conference on the Design of Communication. New York, NY, USA : ACM, 2014. http://dx.doi.org/10.1145/2666216.2666226.

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Wakeland, R. G. « Eco-art installation : experiential nature ». Dans DESIGN AND NATURE 2012. Southampton, UK : WIT Press, 2012. http://dx.doi.org/10.2495/dn120111.

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Simó, Águeda. « The stereoscopic art installation eccentric spaces ». Dans SIGGRAPH '18 : Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA : ACM, 2018. http://dx.doi.org/10.1145/3230744.3230802.

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Estadieu, Gérald, Filipa Martins de Abreu et Alvaro Barbosa. « 3D Printing Objects as Installation Art ». Dans ARTECH2017 : Eighth International Conference on Digital Arts. New York, NY, USA : ACM, 2017. http://dx.doi.org/10.1145/3106548.3106588.

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Johnston, David Jhave, Jinsil Seo et Diane Gromala. « Proprioceptive sense in an art installation ». Dans SIGGRAPH07 : Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA : ACM, 2007. http://dx.doi.org/10.1145/1280720.1280774.

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Prasetyo, Mukhamad Aji, et Dikdik Sayahdikumullah. « Art Installation of Farmer’s Plant Guardian ». Dans ICON ARCCADE 2021 : The 2nd International Conference on Art, Craft, Culture and Design (ICON-ARCCADE 2021). Paris, France : Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211228.023.

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« The Role of Installation Art in Dance ». Dans 2020 Conference on Educational Science and Educational Skills. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000693.

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Filatriau, Jean-Julien, et François Zajéga. « HUM, an interactive and collaborative art installation ». Dans the international conference. New York, New York, USA : ACM Press, 2010. http://dx.doi.org/10.1145/1873951.1874236.

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Rapports d'organisations sur le sujet "Installation art"

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Gauntt, Nathan E., Kevin Duvall Davis, Jason John Repik, James M. Brandt, Ann C. Gentile et Simon David Hammond. Design Installation and Operation of the Vortex ART Platform. Office of Scientific and Technical Information (OSTI), septembre 2019. http://dx.doi.org/10.2172/1562796.

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Callaghan, Caitlin, Danielle Peterson, Timothy Cooke, Brandon Booker et Kathryn Trubac. Installation resilience in cold regions using energy storage systems. Engineer Research and Development Center (U.S.), octobre 2021. http://dx.doi.org/10.21079/11681/42200.

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Electrical energy storage (EES) has emerged as a key enabler for access to electricity in remote environments and in those environments where other external factors challenge access to reliable electricity. In cold climates, energy storage technologies face challenging conditions that can inhibit their performance and utility to provide electricity. Use of available energy storage technologies has the potential to improve Army installation resilience by providing more consistent and reliable power to critical infrastructure and, potentially, to broader infrastructure and operations. Sustainable power, whether for long durations under normal operating conditions or for enhancing operational resilience, improves an installation’s ability to maintain continuity of operations for both on- and off-installation missions. Therefore, this work assesses the maturity of energy storage technologies to provide energy stability for Army installations in cold regions, especially to meet critical power demands. The information summarized in this technical report provides a reference for considering various energy storage technologies to support specific applications at Army installations, especially those installations in cold regions.
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Callaghan, Caitlin, Danielle Peterson, Timothy Cooke, Brandon Booker et Kathryn Trubac. Installation resilience in cold regions using energy storage systems. Engineer Research and Development Center (U.S.), octobre 2021. http://dx.doi.org/10.21079/11681/42200.

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Electrical energy storage (EES) has emerged as a key enabler for access to electricity in remote environments and in those environments where other external factors challenge access to reliable electricity. In cold climates, energy storage technologies face challenging conditions that can inhibit their performance and utility to provide electricity. Use of available energy storage technologies has the potential to improve Army installation resilience by providing more consistent and reliable power to critical infrastructure and, potentially, to broader infrastructure and operations. Sustainable power, whether for long durations under normal operating conditions or for enhancing operational resilience, improves an installation’s ability to maintain continuity of operations for both on- and off-installation missions. Therefore, this work assesses the maturity of energy storage technologies to provide energy stability for Army installations in cold regions, especially to meet critical power demands. The information summarized in this technical report provides a reference for considering various energy storage technologies to support specific applications at Army installations, especially those installations in cold regions.
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Miller, James, John Vavrin et Samuel Stidwell IV. Study of maintenance of High Performance Sustainable Buildings (HPSB). Engineer Research and Development Center (U.S.), mars 2021. http://dx.doi.org/10.21079/11681/40080.

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A study was performed by the Energy Branch of the US Army Engineer Research and Development Center, Construction Engineering Research Laboratory, on behalf of the US Army Installation Management Command under the Installation Technology Transition Program. The focus of the study was related to maintainability and operability issues associated with High Performance Sustainable Buildings (HPSBs). This study was conducted primarily based on information gleaned from telephone and web conference discussions with installation Directorate of Public Works personnel including Operation and Maintenance (O&M) Chiefs, energy managers, maintenance supervisors, and maintenance technicians. Experiences with HPSBs varied from installation to installation. For example, some installations had very positive experiences with photovoltaic (PV) arrays while other sites questioned their practicality due to maintainability problems. One site noted that PV technologies are changing so rapidly that procuring spare/repair parts becomes difficult or impossible when vendors discontinue supporting their older technologies or manufacturers go out of business. Based on discussions with the installation O&M personnel, a table of pro and con recommendations for 25 technologies, which are commonly implemented on HPSBs, was prepared and is included in this report.
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Marrano, Lance, Anne Koster, Susan Wolters, Louis Bartels, Imes Chu, Brian Clark, Tapan Patel, Eileen Westervelt, Irene Andsager et Sean Wallace. Army Installations of the Future Industry Day 2019 : summary report. Engineer Research and Development Center (U.S.), octobre 2020. http://dx.doi.org/10.21079/11681/38582.

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The Army Installations of the Future Industry Day was held on 23 May 2019 at the Renaissance Capital View hotel in Arlington, VA to identify the availability and maturity of specific commercial off-the-shelf (COTS) “smart installation” capabilities, technologies, and products; and to seek interest from industry in exploring potential approaches, requirements, standards, and/or specifications for pilot demonstrations at Army installations focused on 10 use-case technology areas. The Industry Day event included approximately 336 participants comprised of Academia (5), Industry (226), and Government (105). This report presents “road maps” that outline the Army’s desired outcomes for the target technology areas and potential pilot technology demonstrations.
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Dumlao, Hernani. Army Transformation : Are Installations Ready ? Fort Belvoir, VA : Defense Technical Information Center, janvier 2002. http://dx.doi.org/10.21236/ada404554.

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Miller, James, Anthony Latino, Chandana Konidala et Raymond Patenaude. Army R-22 refrigerant phase-out strategy. Engineer Research and Development Center (U.S.), mars 2021. http://dx.doi.org/10.21079/11681/40039.

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R-22 (also known as HCFC-22) is one of the most widely used refrigerants in U.S. Army air-conditioning and refrigeration (AC&R) systems since the phase-out of R-12 refrigerant in 1995. The need to phase out R-22 is attributed to its global warming potential and high ozone-depleting capability. The U.S. Army has tens of thousands of aging AC&R systems that will remain dependent on R-22, or one of the recently developed substitutes for R-22, until they reach the end of their operational life. This project conducted a survey to understand the current R-22 usage and types of R-22 AC&R equipment that are in use across U.S. Army Installation Management Command (IMCOM) installations. This study describes several methods to remove or retrofit R-22 from typical AC&R equipment and implementation strategies to meet the stated goal of eliminating R-22 from IMCOM installations. The scope of this project included the review of BUILDER SMS data for IMCOM installations, which included data on 13,000 pieces of comfort cooling equipment for 31 installations. The report also provides an analysis of several R-22 alternatives and their physical properties and compatibility. Mission critical tactical cooling that uses R-22 refrigerant was not within the scope of this project.
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Balbach, Harold E., William D. Goran et Anthony R. Latino. The Military Landscape : Why US Military Installations Are Located Where They Are. Fort Belvoir, VA : Defense Technical Information Center, mars 2011. http://dx.doi.org/10.21236/ada559000.

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Pebay, Philippe P., et Robert L. Clay. Installation and Testing Instructions for the Sandia Automatic Report Generator (ARG). Office of Scientific and Technical Information (OSTI), avril 2018. http://dx.doi.org/10.2172/1435689.

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Schmidt, Aaron, Adam Smith, Megan Tooker et Sunny Adams. Old Post reevaluation, Fort Huachuca, AZ. Engineer Research and Development Center (U.S.), octobre 2022. http://dx.doi.org/10.21079/11681/45701.

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The US Congress codified the National Historic Preservation Act of 1966 (NHPA), the nation’s most effective cultural resources legislation to date, mostly through establishing the National Register of Historic Places (NRHP). The NHPA requires Federal agencies to address their cultural resources, which are defined as any prehistoric or historic district, site, building, structure, or object. Section 110 of the NHPA requires Federal agencies to inventory and evaluate their cultural resources, and Section 106 requires them to determine the effect of Federal undertakings on those potentially eligible for the NRHP. Fort Huachuca is situated at the foot of the Huachuca Mountains in southern Cochise County, Arizona. It is located approximately 15 miles north of the border with Mexico and 75 miles southeast of Tucson. It was founded in 1877 as a frontier cavalry fort and remains one of the oldest military installations in the West. The objective of this report is to inventory the real property within Fort Huachuca’s Old Post, the historic core of the installation. Each resource is enumerated and accompanied by a list of reports discussing its potential NHL or NRHP eligibility. Subsequently, each resource is accompanied by a short description, which includes its location and current status within the recently created Old Post Historic District.
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