Gotowe bibliografie tematyczne / Film-Installation

Gotowa bibliografia na temat „Film-Installation”

Autor: Grafiati
Data publikacji: 25 lipca 2024
Data aktualizacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Film-Installation"

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Alter, Nora M. "Translating the Essay into Film and Installation". Journal of Visual Culture 6, nr 1 (kwiecień 2007): 44–57. http://dx.doi.org/10.1177/1470412907075068.

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Yang, Taiwei, Hanhua Zhu, Shidong Fan, Jie Wu, Junlang Yuan i Liangyan Zheng. "Research on Lubrication Characteristics of Ship Stern Bearings Considering Bearing Installation Errors". Lubricants 11, nr 11 (6.11.2023): 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 i Binghe Ma. "Indium Tin Oxide Thin-Film Thermocouple Probe Based on Sapphire Microrod". Sensors 20, nr 5 (27.02.2020): 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 i Xingxing Huang. "Influence of Installation Deviation of Thrust Bearing on Oil Film Flow of 1000 MW Hydraulic Turbine Unit". Water 15, nr 9 (23.04.2023): 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 i Baimy Alexander. "Hydroponic Installation Nutrient Film Technique (NFT) System in Politeknik Hasnur". Agrisains: Jurnal Budidaya Tanaman Perkebunan Politeknik Hasnur 6, nr 01 (9.06.2020): 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 i Nina Yankowitz. "The Third Woman". Leonardo 43, nr 5 (październik 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, nr 1 (13.07.2022): 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, nr 2 (wrzesień 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, i Jessica Wolpert. "Lights! Dance! Freeze!" Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, nr 2 (12.08.2023): 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 i Abu Hasan. "Effects of Direct Window Film Installation on Photovoltaic Solar Panel". Journal of Physics: Conference Series 1167 (luty 2019): 012029. http://dx.doi.org/10.1088/1742-6596/1167/1/012029.

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Rozprawy doktorskie na temat "Film-Installation"

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Maziere, Jean-Michel. "Testing the curatorial in artists' film and video installation". Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/9zx1z/testing-the-curatorial-in-artists-film-and-video-installation.

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This PhD by published work critically examines ten years of curatorial practice in the field of artists' film and video by the author. The aim of the thesis and publications is to question and challenge the contemporary integration of artists’film and video installation into the language of the visual arts, the context of the white cube and the privileged definitions of curatorial practice. This PhD also places these questions in a historical context, taking into account the early and often overlooked developments of artists’ film and video exhibition. This research was carried our through individual curatorial projects in the field by scrutinising specific constituent parts of artists’ film and video installation such as the screen, time, space, image, projection, site and audience. The curated exhibitions (the Projects) all took place at Ambika P3, a large postindustrial venue converted into a project space for this purpose in 2007. Each project manipulated these constituent elements and built on them in order to provide new artists’ commissions under the rigour of an experimental and research-led approach. Through this commissioning process, this research developed new collaborative models of curatorial practice, examined and identified key critical areas of curatorial and artistic practice which have been overlooked by critics, writers, curators and the public and proposed new forms of artists’ film and video exhibition. This testing of the boundaries of artist’s film and video installation demonstrated that both the history and context of the practice is engaged with a broad range of paradigms inherited from cinema, sculpture and site specific practice. Furthermore it established that curation is a collective practice engaging numerous participants according to the needs and requirements of each project. The projects revealed that a self reflexive and historically aware approach to curating artists’ film and video can deliver innovative and immersive works outside of the white cube, through an attention to materials, site and form. Through the publications and the commentary it is shown that a critical, collective and process based curatorial practice, attentive to context and its origins expands both the language and the power of the exhibited work.
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Sjunnesson, Vera. "The businessman, the mosquito and the dragon". Thesis, Kungl. Konsthögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-67.

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My master essay consists of two sections: the first part is explanatory and contextualizes my art; the second part is formed as a fictitious letter to the chinese mosquito repellent millionaire Mr Li, written in the voice of a naive, uncontrolled and neurotic person, full of desire. The contextualization is a self-reflection and deals with concepts such as utopia, desire, failure, the pathetic and identity
[I examensarbetet ingår utställningen "The businessman, the mosquito and the dragon":] To present my obsession with chinoiserie, I worked as an investigator through a documentary-filmmaker approach, and also as an utopist for a dreamt world which is actually born in my upsidedown mind. The films are presented in a spatial installation in the form of a labyrinth. Material/Teknik/Längd på video: Installation/Mixed media/dokumentärfilm ca 40 min.

Examensarbetet består av en skriftlig del och en gestaltande del. 

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van, Wagtendonk Martijn. "A striving flirtation in spliced coordinates". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1102448295.

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Eastland, Elizabeth. "Telling stories out of school: reframing scientific research through narrative: a multi-­screen direct cinema film installation of four female scientists". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12777.

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This project employs the emerging art practice of participant observation ‘direct cinema’ and the emerging ‘cross-over’ discipline art/anthropology to examine and critique scientific investigative processes from the perspective of female scientists and presents its findings employing structuralist filmmaking approaches. While there have been some anthropological studies of scientists, to the best of my knowledge there have been no participant observational films of the scientific community. This thesis brings new insights into the practice of science by analysing and critiquing scientific investigative processes through participant observational filmmaking and narrative theory. It also brings new understanding to video installation practice by presenting four narrative direct cinema ‘ethnographies’ in a unique multi-screen, multi-modal gallery installation. This thesis, together with the multi-screen installation, explore a visual documentation of the site of scientific investigation, providing insights into scientific discovery processes that have to date remained under-documented. The work shows these processes include non-linear pathways, accidental and serendipitous encounters. The project reveals the process of scientific discovery is an immersive experience of high concentration across a range of cognitive modes, including the aesthetic, in a chaotic and changing environment. It reveals there is an important aesthetic dimension to the environment and discovery dependent on a material engagement with the subject matter. Although I shared the approach to my research with ethnography, this project was developed from the perspective of realist art practice. Through participant observational method of studying female scientists, I introduce an ‘outsider’ perspective which shines new light on the interpretation of scientific processes. The work presents a methodology for presenting multiple interpretations of an ‘objective world’, critiquing the notion of ‘scientific objectivity’ through reframing scientific experimentation within personal narratives. Rather than presenting the film via a single-point perspective of traditional documentaries, my project offers a way of weaving multiple views of reality into a multi-screen multi-modal installation. Its contribution to knowledge is through a narrative interpretation of scientific investigation and innovation in film installation art practice. The work also brings innovation to the body of knowledge – practice-based as well as theoretical – of ethnographic filmmaking.
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Zhou, Yuanzhi. "Capitalizing China's media industry : the installation of capitalist production in the Chinese TV and film sectors /". online access from Digital Dissertation Consortium, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3290456.

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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007.
Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4535. Adviser: Daniel Schiller. Includes bibliographical references (leaves 250-259) Available on microfilm from Pro Quest Information and Learning.
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Delaporte, Marie-Laure. "L’artiste à la caméra : hybridité et transversalité artistiques (1962-2015)". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100145.

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A partir des années 1960, le lien entre pratiques filmiques et artistiques s’accentue. Les artistes plasticiens et performeurs utilisent désormais la caméra non seulement pour enregistrer leur discipline mais pour la transformer et la révéler. Le film d’artiste devient un moyen de dialoguer avec les autres pratiques artistiques et de créer des formes d’hybridité et de transversalité au sein de la création. Cette thèse a pour but de démontrer que l’artiste à la caméra est une catégorie à part entière qui dépasse l’aspect documentaire de l’enregistrement filmique de l’oeuvre. Il renouvelle l’image du corps à travers l’objectif de la caméra, oscillant entre présentation et représentation chez Carolee Schneemann, Yvonne Rainer et Bruce Nauman. Le film d’artiste parvient également à dépasser la spécificité des médiums en exaltant sculpture et installation, en créant des formes et des espaces de l’entre-deux, en déplaçant le visiteur comme le font Robert Smihtson ou Anthony McCall, en révélant des aspects invisibles. Enfin, il s’agit de comprendre comment le film peut devenir un modèle de pensée et de réflexion pour les autres arts mais aussi pour le médium de l’exposition qui se voit récitée selon de nouveaux principes temporels et spatiaux. L’artiste à la caméra franchit ainsi les frontières de la danse et de l’opéra, met en jeu le corps et la perception du visiteur face à la redéfinition des écrans et des conditions d’exposition telles les oeuvres de Matthew Barney, Bill Viola ou Pierre Huyghe
Since the 1960’s the link between filmic and artistic practices has intensified. From now on artists and performers use the movie camera not only to record their practice but to transform and reveal it. Artist’s film becomes a way to discuss with the other arts and to create hybrid and transversal shapes. This dissertation aims to demonstrate that the artist with a movie camera, is a category in its own way, which goes beyond the documentary of recording the piece. It renews the body’s image through the camera’s eye, between presentation and representation with the pieces of Carolee Schneemann, Yvonne Rainer and Bruce Nauman. The artist’s film achieves to go beyond the medium’s specificity by glorifying sculpture and installation, by creating shapes and spaces of in-between, moving the visitor as did Robert Smithson or Anthony McCall, by revealing invisible aspects. We would like to understand how film can become a model of thinking for the other arts as well as for the medium of exhibition which reactivated according to new temporal and spatial principles. The artist with a movie camera goes beyond the thresholds of dance and opera, challenges the body and the perception of the visitor facing the definition of the screens et de exhibition’s condition like the ones of the pieces made by Matthew Barney, Bill Viola or Pierre Huyghe
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Kachtík, Petr. "Audiovizuální instalace". Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2013. http://www.nusl.cz/ntk/nusl-232389.

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This thesis is concerned with the relationship between sound and image, their manipulation in real time. The main topic of this work is the permeation of these two elements into a single composition. I work with documentary footage witch I try compose according to the principles of VJing.
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Bentley, James E. III. "Looking Back: An Examination of Family Archives". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/79.

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With digital technology now dominating the film and photography industry, analog resources are becoming scarce. Simultaneously, memories preserved through personal family archives also are in danger of deterioration. Time, heat and humidity can cause film to decay just as the passage of time and the erosion of memory allows their contents to fade. In Looking Back, my family film and photography archives are exhumed and collectively examined by myself and my family. Reflecting upon this massive accumulation of imagery and their attached memories seems an endless task. However, as expressed in Looking Back, the greater the effort to bring conclusive memories to the surface, the more impossible the task proves to be, and larger questions about the significance of family history result.
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Manikowski, Rebekah. "Unreliable Narrators". Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/747.

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Unreliable Narrators is a record of the process to create a mixed media installation about how and why we tell stories, and how we as an audience discern the truth of those stories. The installation tells three different perspectives of the same story. Part documentary and part detective search, this project has viewers following the subject as she pieces together her story and ultimately has them deciding for themselves what to believe.
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O, Donnell Sarah. "Tracing a Process". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339194276.

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Książki na temat "Film-Installation"

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Gallery, Reg Vardy, red. Tony Sinden: Everything must go : installation, video and film. Sunderland: Reg Vardy Gallery, 2003.

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Iimura, Takahiko. Takahiko Iimura at the Lux: Film, video, cd-rom, installation. London: The Lux Centre, 1998.

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Iqbal, Rashid Ian, i Ikon Gallery, red. Beyond destination: Film, video and installation by South Asian artists. Birmingham: Ikon Gallery, 1993.

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M + M (Group of artists). M + M: Komm erst mal zu mir. Redaktorzy Weis Marc 1965-, De Mattia Martin 1963-, Emmert Claudia 1965-, Heisenberg Benjamin i Kunstpalais (Erlangen Germany). Köln: Snoeck, 2011.

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Julia, Stoschek, Deichtorhallen Hamburg i Julia Stoschek Foundation, red. I want to see how you see: Julia Stoschek Collection : Film, Installation, Fotografie. Hamburg: Deichtorhallen, 2010.

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Henke, Thomas. Liquid identities volume I-III: Liquid identities : a film project by Thomas Henke with installation constructions by Lorenz Estermann 2003-2008 + Doorman I : a film project by Thomas Henke with installation constructions by Lorenz Estermann 2003-2008. Bielefeld: Kerber, 2008.

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Iles, Chrissie. Signs of the times: A decade of video, film and slide-tape installation in Britain, 1980-1990. Oxford: Museum of Modern Art, 1990.

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Sabine, Himmelsbach, Filser Barbara, Margreiter Dorit 1967- i Edith-Russ-Haus für Medienkunst, red. Amie Siegel: Berlin Remake. Oldenburg: Edith-Russ-Haus für Medienkunst, 2006.

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Weiru, CHEN, i LAI Meihsing, red. Kao Chung-Li: Watch Time Watching. Taipei, Taiwan: Tina Keng Gallery, 2010.

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Dick, Goody, i Meadow Brook Art Gallery, red. Drawing, painting, sculpture, installation art, photography & film by artists of the Catharctic Circle : March 9-April 8, 2001, Meadow Brook Art Gallery ; curator & editor, Dick Goody. Rochester, Mich: Meadow Brook Art Gallery, 2001.

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Części książek na temat "Film-Installation"

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"Gallery work: film as installation". W Experimental Filmmaking, 331–48. Routledge, 2015. http://dx.doi.org/10.4324/9780240824017-16.

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Gibson, Ross. "Lines of Interpretation in Fields of Perception and Remembrance : The Multiscreen Array as Essay". W Beyond the Essay Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728706_ch05.

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Referring to artworks such as Doug Aitken’s Eraser, Chantal Akerman’s gallery-version of From the East, Kogonada’s split-screen essays, and my own installation entitled Street X-Rays, this chapter analyses the insights that can be garnered from spatialized, multistranded exposition, as distinct from the linear disquisition afforded by the conventional film essay. To grasp the complexity of the affects and ‘messages’ generated by the installation works, the chapter draws on ‘ecology of mind’ principles, as best represented by the writing of Gregory Bateson and Vannevar Bush.
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"Viral Visions: The Pandemic Archive in Miasma, Plants, Export Paintings (2017) and Many Undulating Things (2019)". W Women Filmmakers and the Visual Politics of Transnational China in the #MeToo Era. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463728355_ch09.

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Cinematic Orientalism overlaps with the archival history of ornamental export goods, medicinal plants, and racially inflected theories of disease in Bo Wang and Pan Lu’s video installation Miasma, Plants, Export Paintings (2017) and a section of the essay film Many Undulating Things (2019). The installation video and the film use documents such as drawings, photographs, and film clips of China and the Chinese to plumb the depths of the persistence of racism and sexism in global visual culture. The COVID-19 pandemic and subsequent upsurge in anti-Chinese violence places the themes treated in these motion pictures into an ongoing conversation about racism and sexism in the wake of imperial expansion and colonialism in Asia.
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Bal, Mieke, i W. J. T. Mitchell. "Time-Space: Spatialising Film". W Image-Thinking, 43–89. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474494229.003.0002.

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The chapter lays out both the difficulty and the need to bring literature and film into each other's orbit. It takes up the aspect of video installation that makes it different from both literature and film in their traditional ways of functioning. The spatialisation of videos in installation and exhibition makes for a very different process, with a more active role for the viewer-participant. The linearity traditionally presupposed to regulate reading novels and watching films is suspended, if not entirely undermined. That linearity cannot be cancelled, since all acts of viewing also involve time. But the order in which these acts are performed is not pre-determined by the artwork; it is left to the visitor-participant. A walking tour through the exhibition “Landscapes of Madness” held in the museum Aboa Vetus/Ars Nova in Turku, Finland, in 2011, will demonstrate this spatialising works, and how it matters for the affective effectivity of the video work. This video work integrates historical and fictional instances of madness, folly, and carnival, with reports of case notes from the psychoanalyst of psychosis who wrote the book.
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Pantenburg, Volker. "How to Spell ‘Film’". W Theorizing Film Through Contemporary Art. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467_ch04.

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In their performances and installation work, Sandra Gibson and Luis Recoder address the specificities of cinema by investigating the event of projection. Modifying film projectors by removing essential parts and subverting the protocols of projection, the artists foreground the basic elements of cinematic articulation. Focusing primarily on Light Spill (2005) and Reduction Print (2014) and comparing them to canonical contributions to structural film, the chapter argues that the object-based and performancebased trajectories in Gibson + Recoder’s work as two distinct strategies of circumscribing the media complex ‘film’ and the cultural technique of cinema. In doing so, they also provide a genuine way to re-negotiate the peculiarities of the cinema and contemporary exhibition spaces.
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Tsai, Beth. "Going West: Tsai Ming-liang at the Louvre and Cinema in the Gallery". W Taiwan New Cinema at Film Festivals, 87–105. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474496919.003.0005.

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Tsai Ming-liang’s feature-length films (lauded at international film festivals but loathed by domestic audiences) and video installations have been perceived as efforts to return to their pure form as cinematic art. Such was the case with It’s a Dream (2007) and Visage (2009), commissioned by the Cannes Film Festival and the Louvre, respectively. This chapter explores the relation between Tsai’s films and the French New Wave, which demands a reassessment of his thematic continuation and the notion of cinephilia. While Tsai’s slow film aesthetics can be traced in relation to his prior theatre practice, his installation and film in the gallery are grounded in the belief that cinema needs to be resurrected in the museum.
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Balsom, Erika. "Bootlegging Experimental Film". W After Uniqueness, 81–105. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231176934.003.0004.

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This chapter explores the ambivalence of the copy by examining the impact of low-quality, unauthorized digital bootlegs on the domain of experimental film, an area of practice that has historically exhibited a strong investment in medium specificity and the moral rights of the filmmaker. I confront these issues through a case study of Josiah McElheny’s The Past Was A Mirage I’d Left Far Behind (2010), a year-long installation at the Whitechapel Gallery in London that consisted of copies of historical abstract films taken from UbuWeb – an online repository of low-definition files posted without permission of the filmmakers – and projected onto prismatic screens.
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Pethő, Ágnes. "The Photo-Filmic Diorama". W Theorizing Film Through Contemporary Art. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467_ch08.

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The chapter focuses on a particular type of tableau construction in which the image is built like a glass case display, encapsulating an entire world of its own, combining 2D and 3D effects. With examples ranging from Jeff Wall’s light boxes, Gregory Crewdson’s and Hiroshi Sugimoto’s cinematic photographs, to a case study of Gustav Deutsch’s film/installation Shirley: Visions of Reality (2013), the chapter traces the inflections of such a photofilmic diorama as a versatile “cubicle aesthetic” which reconfigures the traditional dynamic of “absorption and theatricality” (Michael Fried) of the tableau form and reveals the imbrication of different art practices. The diverging features of such a dioramic tableau in photography and film are interpreted in terms of intermediality and defamiliarization.
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Expósito Barea, Milagros. "Apichatpong Weerasethakul's Primitive as a Model of an Expanded Narrative". W Advances in Business Strategy and Competitive Advantage, 76–89. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3119-8.ch006.

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Primitive is a multi-screen video installation created by the independent filmmaker Apichatpong Weerasethakul. The multi-platform project presents strong ties to Thai culture and consists of a video installation with simultaneous interrelated screens, two short films, a book of art that includes a series of photographs, a journal, a draft text, and its final product, one of his most recognized films, Uncle Boonmee, Who Can Recall His Past Lives (2010), which was awarded the Palme D'Or at the Cannes film festival. The project aims to convey is a unified idea and achieves this through stimulating the spectator in various formats. Apichatpong's films use non-conventional narrative structures which explore the juxtapositions between man and nature; rural life and city life; and personal memories alongside political ones. The film maker creates his own universe, which is a recurring theme throughout his filmography. Primitive is destined to be experienced as a dream of “reincarnation and transformation.”
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Blümlinger, Christa. "Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee". W World Cinema and the Essay Film, 107–21. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474429245.003.0007.

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Filmmaker-artist of Thai origin Apichatpong Weerasethakul is known for crossing the boundaries between cinema and installation art, documentary film and fiction, and the work of memory, myth and fantasy. Weerasethakul’s variations on the character ‘Boonmee’, including a documentary essay, a series of objects and video installations as well as a feature film, are hybrid and reflective aesthetic works that together form a larger imaginary space based on the interplay of image and word. From this space, as Christa Blümlinger argues, a theatre of memory evolves that originates from one singular historical motif but is developed in various ways through different formal and aesthetic means. The three works are linked together by a central motif, namely that of recurrence. Heterogeneous temporalities, however, challenge and disrupt the configuration of a more continuous cultural and political memory, as well as the viewer’s individual perception.
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Streszczenia konferencji na temat "Film-Installation"

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Gan, Chin Kim, Pi Hua Tan i Shamsudin Khalid. "System performance comparison between crystalline and thin-film technologies under different installation conditions". W 2013 IEEE Conference on Clean Energy and Technology (CEAT). IEEE, 2013. http://dx.doi.org/10.1109/ceat.2013.6775657.

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Gunning, W., i J. Moyle. "Thin Film Microstructure Effects on Ellipsometric Thin Film Deposition Monitoring". W Optical Interference Coatings. Washington, D.C.: Optica Publishing Group, 1988. http://dx.doi.org/10.1364/oic.1988.tud1.

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Ellipsometry is increasingly finding application to real time monitoring of thin film deposition.1 This has been accelerated by the availability of commercial automated instruments which are specifically designed for vacuum system installation. While the ellipsometer can be quite accurate, it is affected by a number of effects arising from the nonideal morphology of most thin films. In particular, refractive index inhomogeneities and polarization effects result from scattering and form birefringence produced by columnar microstructure. Modeling of these effects demonstrates that form birefringence has the greatest effect on ellipsometric accuracy.2
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Fan, Lingling, Yucan Peng, Weiliang Jin, Yi Cui i Shanhui Fan. "Large-Scale Annual Modeling of Low-Emissivity Films for Energy-Saving Buildings". W CLEO: Applications and Technology. Washington, D.C.: Optica Publishing Group, 2022. http://dx.doi.org/10.1364/cleo_at.2022.jw3a.12.

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We present large-scale building simulations with a low-emissivity film. This film annually reduces heat gain and loss by 257.6 MJ per installation wall area. It is estimated to reduce 1.14 billion metric tons of global CO2 emission.
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Nolen, Craig, i Melissa Poerner. "Measuring Water Film Thickness in a Wet Gas Compressor Diffuser: Design, Calibration, and Testing of Electromagnetic Probes". W ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-63671.

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The distribution of water in the diffuser of a wet gas compressor is not well understood. Measurements of water film thickness across the diffuser surface would improve the understanding of two-phase flow phenomena in wet gas compressors. Electromagnetic probes were designed in order to measure water film thickness in the diffuser of a SwRI-designed wet gas compressor. The probes consisted of two electrode foils plated on a thin insulating substrate, allowing them to be bonded in place without drilling through the diffuser. An AC signal was passed between the electrodes, and the voltage across a resistor in series with the electrodes was recorded. As the water level covering the electrodes increased, the recorded voltage increased. A method of calibrating the probes was developed and used prior to installation in the diffuser. Testing showed the probes to be effective at detecting the presence of water in the diffuser and indicating the general water level. Improvements in probe design, calibration, and installation are needed to provide more precise water film thickness data.
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Patil, S. B., i P. B. Nagarnaik. "Installation, Startup and Performance of Up-Flow Anaerobic Fixed Film Fixed Bed Reactor for Oil Refinery Waste Water". W Third International Conference on Emerging Trends in Engineering and Technology (ICETET 2010). IEEE, 2010. http://dx.doi.org/10.1109/icetet.2010.108.

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Pogalov, Anatoly, Andrey Titov, Sergey Ugolnikov, Margarita Garbuzova i Maria Pshenichnova. "Installation of a Microelectronic Module According to Lead-free Technology on a Polyimide Film and a Heat-conducting Base". W 2020 IEEE Conference of Russian Young Researchers in Electrical and Electronic Engineering (EIConRus). IEEE, 2020. http://dx.doi.org/10.1109/eiconrus49466.2020.9039008.

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Dousti, Saeid, Jason A. Kaplan, Feng He i Paul E. Allaire. "Elastomer O-Rings as Centering Spring in Squeeze Film Dampers: Application to Turbochargers". W ASME Turbo Expo 2013: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/gt2013-94923.

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This study addresses the nonlinear dynamic behavior of O-ring seals as the centering spring in squeeze film dampers. An analytical model is developed to predict the restoring and hysteresis characteristics of elastomer O-rings and extends the existing models to non-axisymmetric load conditions. Also, the inclusion of axial seals increases the damping capacity of squeeze film dampers. O-rings forces are investigated for different sizes, installation preloads, and operating conditions and contrasted with squeeze film damper’s hydrodynamic forces. This model is incorporated in linear and time transient rotordynamic analyses of a vertical turbocharger. It is shown that the O-rings contribution in rotor response for low rotational speeds and low amplitude vibrations is dominant and can not be ignored.
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Bieg, Kory. "Watney Solid +/- Void". W 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intlp.2016.18.

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Watney Solid +/- Void is an art installation for SXSW, the premier music, film, and technology festival in Austin, TX. The design process began with a catalogue of nearly 150 forms. After several iterations and further development of three schemes, a single form was selected.
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Nascimento, Lucas Rafael do, i Ricardo Ruther. "Fifteen years and counting: The reliable long-term performance of the first grid-connected, building-integrated, thin-film photovoltaic installation in Brazil". W 2014 IEEE 40th Photovoltaic Specialists Conference (PVSC). IEEE, 2014. http://dx.doi.org/10.1109/pvsc.2014.6925657.

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Shahbazi, Abolghasem, Carolyn Turner, Harmohender Singh i Shawn Fitzpatrick. "Performance Evaluation and Economic Analysis of a Grid Connected Photovoltaic System in a Multi-Family Residential Building". W ASME 2003 International Solar Energy Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/isec2003-44005.

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A 2 kW photovoltaic (PV) system with battery storage for emergency power supply was designed and installed as a test demonstration in a 112 square meter apartment. The system was installed to demonstrate the potential of a photovoltaic system (using thin-film solar modules) as an environmentally friendly and renewable source of energy compared to conventional electricity generation. Barriers to installation and preliminary estimations of system performance and costs are presented.
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Raporty organizacyjne na temat "Film-Installation"

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Kirts, Richard E., i Brad Hollan. Sensor to Detect Aqueous Film Forming Foam (AFFF) in Ship Bilge Water: Construction and Installation. Fort Belvoir, VA: Defense Technical Information Center, czerwiec 2001. http://dx.doi.org/10.21236/ada398834.

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Bhattarai, Rabin, Yufan Zhang i Owen Yao. Evaluation of Net-free Erosion Control Blankets. Illinois Center for Transportation, listopad 2023. http://dx.doi.org/10.36501/0197-9191/23-026.

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Erosion control blankets (ECBs) protect soil from being detached and transported by raindrops and subsequential overland runoff while assisting in vegetation growth. ECBs have several characteristics, for example, thickness, mass per unit area, tensile strength, elongation, water absorption, etc. However, the impact of these characteristics on the performance in mitigating erosion has yet to be well understood. To better understand the interactions of ECB properties with the detachment and transport of sediment, field tests were conducted at the Erosion Control Research and Training Center at the University of Illinois Urbana-Champaign. Various ECBs, including net-free ECBs and bionet ECBs, were tested on a 3H:1V hillslope under a 30-minute simulated rainfall event (2 in./hr). The soil used on the testing plot was silty clay loam. To investigate ECB effectiveness, total runoff volume, runoff start/end time, peak runoff rate, and sediment yield were monitored during each test. The results showed that water absorption played a big role in enhancing the performance of ECBs. The materials absorbed a large amount of water at the beginning and then acted as a wet film to cover the hillslope, reducing soil erosion by the overland flow when the soil was saturated. This wet film continued to reduce soil detachment, although it probably did not help with runoff reduction after saturation. Among the blankets tested, Profile F4 Netless was the most degradable and lightest one. North American Green DS75 had the most cost efficiency with $0.4 /sq. yd. There was no big difference in the installation method.
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