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Bibliografias temáticas / Water spirits in art

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Literatura científica selecionada sobre o tema "Water spirits in art"

Autor: Grafiati

Publicado: 29 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Water spirits in art"

1

Flores, Ysamur M., e Sabine Jell-Bahlsen. "Mammy Water: In Search of the Water Spirits of Nigeria". Western Folklore 53, n.º 1 (janeiro de 1994): 91. http://dx.doi.org/10.2307/1499655.

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Kasfir, Sidney Littlefield, Sabine Jell-Bahlsen, Tobias Wendl e Daniela Weise. "Mammy Water: In Search of the Water Spirits in Nigeria". African Arts 27, n.º 1 (janeiro de 1994): 80. http://dx.doi.org/10.2307/3337178.

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Wessing, Robert. "Spirits of the Earth and Spirits of the Water: Chthonic Forces in the Mountains of West Java". Asian Folklore Studies 47, n.º 1 (1988): 43. http://dx.doi.org/10.2307/1178251.

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Miller, Tracy G. "Water Sprites and Ancestor Spirits: Reading the Architecture of Jinci". Art Bulletin 86, n.º 1 (março de 2004): 6. http://dx.doi.org/10.2307/3177398.

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Ottenberg, Simon. ": Mammy Water: In Search of the Water Spirits in Nigeria . Sabine Jell-Bahlsen." American Anthropologist 93, n.º 1 (março de 1991): 254–55. http://dx.doi.org/10.1525/aa.1991.93.1.02a00990.

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Diana Sari, Sivalis Diana Sari, e Nurwani Nurwani. "TRANSFORMASI PANGURASON DARI RITUAL KE SENI PERTUNJUKAN". Gesture : Jurnal Seni Tari 7, n.º 2 (8 de janeiro de 2019): 26. http://dx.doi.org/10.24114/senitari.v7i2.13297.

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ABSTRACT This study discusses the Transformation of Pangurason Performing Arts Ritual. Describes the presentation of Pangurason tortors in the transformation of saucers to the Batak Toba Society in Samosir, and also describes the transformation of Pangurason tortors in the art of tortor cup performances.The theory used in this research is Ritual theory, Transformation, presentation theory form. The time used in this study is during (two months), which starts from October to December 2016. The location of this study was conducted in Pangururan Government of Samosir Regency. The population in this study were artists who knew about Pangurason and the samples were all actors involved in tortor Pangurason and actors involved in tortor bow transformation, data collection techniques including observation, interview, literature study, and documentation, then analyzed by descriptive method qualitative.Based on the data collected, it can be seen that Pangurason is a cleansing or purification of a place that has been considered sacred, so that the place is far from distress, and not disturbed by evil spirits. Formerly when Pangurason was used because at that time, the place wanted to be disturbed by evil spirits, then sibaso or shaman made a ritual to reject the reinforcements, by making a bowl of water, kaffir lime and banyan leaves.The transformation transforms the form of ritual presentation into the performing arts and uses the media or property of the saucer as an attraction in the tortor cup art show. Keywords: Transformation, Pangurason Ritual, Performing Arts

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Bychkov, Victor. "The Aesthetic Views of E.T.A. Hoffmann". Философия и культура, n.º 2 (fevereiro de 2023): 91–109. http://dx.doi.org/10.7256/2454-0757.2023.2.39345.

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The essay is devoted to an analysis of aesthetic views of one of the most distinguished German Romantics, which came through with particular fullness in his fiction. Hoffmann’s aesthetic views focus around his understanding of art. He is convinced that art has an anagagogical nature. It elevates the human being from everyday life to the sphere of the divine and thereby ennobles everyday life itself. Art draws the artist away from the world and manifests to the world his prophetic gift, which is often perceived as “poetic madness.” The fantastic in art, as well as the terrible and the frightening, does not contradict artistic truth. The elements of the terrible give philosophical significance to the work of art and please the recipient. Art is cognitive to a high degree, because nature itself reveals its secrets to the artist and allows him to intuit the “truth of nature.” Hoffmann is convinced about the ontological status of art. It must “be something, and not mean it.” Artistic creativity takes place fully within the inner world of the artist as he aspires for his ideal. Hoffmann allows for a certain degree of vagueness in a concrete work of art, whose purpose is additional aesthetic effort on the part of the recipient, who must be internally ready for communication with art. Creative activity is based on imagination and reason. It is based on natural foundations and is inspired by the illuminating effect of divine energy. Hoffmann considers music as the highest form of art and the ideal for all the arts. According to Hoffmann, music is the truly Romantic form of art. He sees the meaning of music in its foundation in nature, its aspiration for the heavens, the fact that it includes the world of the spirits in its orbit, and that it incites a longing for the unattainable in the listener. Hoffmann paid much attention to irony as one of the features of Romantic art.

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Houlberg, Marilyn. "Sirens and Snakes: Water Spirits in the Arts of Haitian Vodou". African Arts 29, n.º 2 (1996): 30. http://dx.doi.org/10.2307/3337364.

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Drewal, Henry John, Marilyn Houlberg, Bogumil Jewsiewicki, John W. Nunley e Jill Salmons. "Mami Wata: Arts for Water Spirits in Africa and Its Diasporas". African Arts 41, n.º 2 (junho de 2008): 60–83. http://dx.doi.org/10.1162/afar.2008.41.2.60.

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Завьялова, О. Ю. "Марионетки и их связь с духами (Мали) / Puppets and Their Relations with Spirits (Mali)". Вестник антропологии (Herald of Anthropology), n.º 2024 № 2 (junho de 2024): 170–85. http://dx.doi.org/10.33876/2311-0546/2024-2/170-185.

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Традиция марионеток — одна из самых популярных в Мали, причем у представителей многих народов. Это живая традиция, которая является основой самоидентификации для бамана, бозо и других, как говорят сами информанты. Данная статья написана на основе бесед с известным малийским марионеточником Яя Кулибали. Марионетки Кулибали радуют всех людей, однако, основная их задача радовать духов, в частности духов воды фаро. Именно поэтому марионетки чаще всего выступают у народа рыбаков бозо, которые более других связаны с водой. Изготовление марионеток также требует исполнения определенных ритуалов, традиционно они изготавливались из конкретных видов деревьев. Внутри «костюма» марионетки могут скрываться от одного до трех кукловодов, которые манипулируют стержнями куклы. Как и о любой такого рода традиции о происхождении марионеток существуют легенды, и все они говорят о том, что люди получили знания об этом искусстве от духов. Сами марионетки бывают нескольких видов: от струнных до стержневых, разного размера; соответственно, у них всех разная роль и разные выходы. Марионетки используются как для развлечения, так и для сакральных целей. Представления марионеток называющееся sogobɔ — ритуал начала сезона дождей и жертвоприношение духам фаро, но марионетки также участвуют и в ритуалах секретных мужских союзов — это Cɛko. Представления марионеток (как и представления масок, как и другие традиционные представления) делятся на три части по степени сакральности: первая часть доступна для всех зрителей, третья же только для узкого круга посвященных. Связь людей с духами не нарушается даже в угоду исламу, так как праздники, особенно такие как выходы марионеток и масок, сами по себе являются жертвоприношением для духов. The puppet tradition is one of the most popular in Mali. This is a living tradition, which self-identification of Bamana and Bozo peoples is based, according to the informants themselves. This article is based on conversations with the famous Malian puppet master Yaya Сoulibaly. His marionettes delight all people, however, their main task is to please the spirits, in particular faro — the spirits of the water. That is why puppets are most often performed among the Bozo fishermen, who have a closer connection with water than others. Making puppets also requires the certain rituals: traditionally they were made from specific types of wood. As with any tradition of this kind, there are legends about the origin of marionettes, and according to all of them people received this art from spirits. There are several types of puppets themselves, from string marionettes to rod ones, and all of them have different roles and performances. Puppets are used for both entertainment and sacred purposes. The marionettes performance called sogobɔ is the ritual of the beginning of the rainy season and the sacrifice to the faro spirits, but marionettes also participate in the rituals of secret male unions (Cɛko). Puppet performances are divided into three parts according to the degree of sacredness: the first part is accessible to all spectators, while the third is only for a narrow circle of initiates. The connection between people and spirits is not broken even for the sake of Islam, since holidays, especially such as the appearances of puppets and masks, are themselves sacrifices for spirits.

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Teses / dissertações sobre o assunto "Water spirits in art"

1

Sugla, Sarika Devi. "In search of the spirit". Thesis, The University of Iowa, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1560702.

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Furpahs, Ruth. "Emerging Spirits". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/141.

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Eich, Lauren. "Spirits of Haiti Catholicism, Cultural Crossroads, & the Uniquely Haitian Experience". Thesis, The University of Alabama, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10285073.

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This thesis examines the characteristics of the spirits Ezili, Legba, and Ogou, in order to determine which aspects of their manifestations incorporate themes of syncretism from Catholic tradition, and which aspects reflect visual tradition that emerged from distinctly Haitian tradition. Elements of Catholic and African traditions, discernable within Vodou iconography, act as a basis upon which the practice was further augmented. These adaptations reveal the mixing of cultures and continuation of tradition that is of central importance to the development of Vodou, as reflections of the process through which the religion overcame the social problems faced by the practitioners, as well as the culturally devastating consequences of Haitian colonial history. These diversifications from the Christianity and African traditions reflect the ingenuity and resourceful nature of Vodou, which through its fluid nature, can be transformed to accommodate the needs of the devotees.

Through a postcolonial methodology, this thesis demonstrates that through the syncretism of Catholic themes, the influence of the West African origins of the Vodou, and the unique experiences of the people in Haiti, the iconography of Vodou visual culture interacted of other religions as it evolved into a distinctly Haitian practice. By looking at the spirits Ezili, Legba, and Ogou, alongside their counterparts of the Virgin Mary, St. Peter, and St. George (or St. James) this essay will outline the syncretization of these spirits with Christian icons, while making parallels to the development of Christian iconography which borrowed from pagan imagery in an effort to place the importance of a figure within a pre-established lineage that placed importance on the image.

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Fisher, Melanie Teresa. "Natalia Goncharova and Franz Marc : kindred spirits of the new art". Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1163008367.

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Le, Borgne Aude Marie. "Clootie wells and water-kelpies : an ethnological approach to the fresh water traditions of sacred wells and supernatural horses in Scotland". Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/10540.

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This thesis examines different aspects of tradition relating to fresh water in Scotland. They include: the use of water from wells and springs for healing and divination purposes; the beliefs around the lin1inal quality of water, often considered as boundary, and around its magical association with the horse; and finally folktales featuring the water-horse, or kelpie, a supernatural creature which was said to inhabit lochs and rivers. In dealing with topics so different one from the other, within the larger field of Scottish customs and beliefs, it proved necessary to use a variety of sources and methods. Comparative study was often particularly illuminating. After presenting the history of visits to sacred wells, I deal with two main categories of customs associated with these pilgrimages, namely healing rituals and divination practices. While the former leads to the analysis of the different stages and implications of the ritual, the latter looks into the issues that were left to supernatural powers to decide upon, and examines how the questions asked of the oracle evolved with time. Consideration of these powers then leads on to further inquiry into the liminal function of fresh water in general, and its links with boundaries both spatial and temporal. That the horse, another element that is ascribed definite liminal qualities, was associated with water is therefore not fortuitous. If water provides an entry to an Other World, the horse can then take one through into this other land. Indeed, this is what is found in the corpus of tales centred on the figure of the waterhorse. As some of the tale-types are met in other geographical areas - Ireland and Scandinavia mainly - a discussion of these will provide a general background to the tales, which will result in a proposal for a revised tale-index. Two shared types -the work-horse and the abductor of children - will then be examined in the Scottish context. One type, however, - the seducer - seems to be unique to Scotland, and it will be dealt with last. The aim of this work is twofold: first, to provide an ethnological piece of research from a diachronic perspective on a subject outwith the usual themes generally chosen for studies of this nature; second, to present together, in their Scottish context, folktales that have been hitherto broken up and read in the light of their relationships to their foreign counterparts. Although recent academic studies on healing wells exist for Ireland and France, the Scottish material has never previously been treated in such a study. A number of sources available were secondary accounts, dating back mainly to the turn of the twentieth century, and part of my research involved finding the original documents used - sometimes misused - in order to present them in their original context. Similarly, part of the work on the kelpie stories involved gathering together tales kept in the Sound Archive of the School of Scottish Studies at the University of Edinburgh that had never been collected into a single corpus. I hope in this thesis to provide a sound basis for further researches on these types of Scottish customs and beliefs.

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Compagnoni, Anna Giulia. "‘Ghosts and Spirits from the Tikotin Museum of Japanese Art’: proposta di traduzione e commento". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18825/.

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Questo elaborato ha lo scopo di tradurre alcuni estratti del libro ‘ghosts and spirits from the tikotin museum of japanese art’, edito da Jaron Borensztajn e edito da Leiden University Press nel 2012. Il libro si concentra sul collezionista tedesco Felix Tikotin, che ha passato la sua vita commerciando e collezionando opere d'arte giapponesi, tra cui stampe, statue e lacche. Il libro raccoglie inoltre decine di opere collezionate da Tikotin durante gli anni e donate successivamente al museo da lui fondato a Haifa, Israele, nel 1960: il Tikotin Museum of Japanese Art. L'elaborato contiene approfondimenti sul background storico e culturale del libro e sul tema dell'arte mitologica giapponese; contiente intoltre estratti tradotti dall'inglese provenienti da diverse sezioni del libro. Verrà infine offerto un commento, esponendo le teorie di traduzione che più hanno influenzato le soluzione adottate per i problemi traduttivi incontrati.

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Siukonen, Jyrki. "Uplifted spirits, earthbound machines studies on artists and the dream of flight, 1900-1935 /". Helsinki : Suomalaisen Kirjallisuuden Seura, 2001. http://catalog.hathitrust.org/api/volumes/oclc/48162692.html.

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Iliff, Barbara Elizabeth. "Spirits like the sound of the rattle and drum : George Thornton Emmons' collection of Tlingit shamans' kits /". Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/6221.

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Pearce, Ariel Leah. "Fresh Water Scenes in Minoan Art". Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/451958.

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Art History
Ph.D.
The goal of this dissertation is to provide a comprehensive study of scenes of fresh water in Minoan art from the Middle Minoan II (MM II) through the Late Minoan I (LM I) periods. This dissertation addresses and fills the gap in the scholarship regarding the depiction of riparian environments and the special place of these depictions in Aegean art. It also attempts to clarify the use and function of riverscapes across chronological periods. Rivers, marshes, streams, and springs, appear on a variety of media and fulfil multiple functions from MM II onward. Images of fresh water were used as topographical markers, ornamentation and decoration, and for religious purposes. Moreover, several images suggest that the Minoans may have believed that the realm for the goddess (or one of the goddesses) was a lush, riverscape. A second goal of this dissertation is to clarify and dispose of the term “Nilotic” as a label for images of fresh water in the Aegean. Since its introduction into the literature of Aegean studies in the beginning of the 20th century, the term “Nilotic” has been used inconsistently to describe Aegean scenes of fresh water that may or may not contain Egyptian elements. This assumption has led some scholars to state that Aegean riverscapes are ultimately derived from Egyptian scenes of fishing and fowling because they share similar iconographic elements. Unfortunately, the process of synthesis is important to the understanding of Aegean riverscapes, and iconographic similarities are somewhat superficial. Furthermore, the term has been used without regard for a long-standing tradition of the depiction of riparian environments in Bronze Age Aegean art. To fully address both goals of this project, the origin of individual iconographic elements has been traced through various media, including glyptic art, pottery, and wall painting. Wall paintings from the Cyclades and some Late Helladic IA scenes have been included when appropriate. Whenever possible, categories of riverscapes have been grouped together, but each wall painting, has been examined and interpreted individually. Some unique, highly pictorial, and detailed images in other media have also been addressed separately. Parallels in Egyptian and, in some cases, Near Eastern art have been sought to determine the validity of the term “Nilotic,” and a special study of Egyptian scenes of hunting in the marshes has been conducted in comparison to Aegean scenes. Iconography, synthesis, and context have all been taken into consideration.
Temple University--Theses

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Moyer, Matthew E. Clarke Bede. "Monuments to water and air systems". Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6576.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on November 19, 2009). Thesis advisor: Bede Clarke. Vita. Includes bibliographical references.

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Livros sobre o assunto "Water spirits in art"

1

Drewal, Henry John. Mami Wata: Arts for water spirits in Africa and its diasporas. Los Angeles: Fowler Museum at UCLA, 2008.

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2

C, Brown Steven, e Cabello Carro Paz, eds. Spirits of the water: Native art collected on expeditions to Alaska and British Columbia, 1774-1910. Seattle: University of Washington Press, 2000.

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3

Croutier, Alev Lytle. Taking the waters: Spirit, art, sensuality. New York: Abbeville Press, 1992.

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4

Books, Time-Life, ed. Water spirits. Amsterdam: Time-Life Books, 1986.

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Books, Time-Life, ed. Water spirits. Alexandria, VA: Time-Life Books, 1985.

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McHugh, Christopher. Water. New York: Thomson Learning, 1993.

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7

Mani, Camran. Water. St. Louis, Mo: Pulitzer Foundation for the Arts, 2007.

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8

1927-, Dickinson Peter, ed. Water: Tales of elemental spirits. New York: G. P. Putnam's, 2002.

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1927-, Dickinson Peter, ed. Water: Tales of elemental spirits. New York: Ace Books, 2003.

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10

Books, Time-Life, ed. Water Spirits (The Enchanted World). Alexandria, VA: Time-Life Books, 1985.

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Capítulos de livros sobre o assunto "Water spirits in art"

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Robinson, Charles Mulford. "The Water Approach." In Modern Civic Art, 39–58. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003101062-3.

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Taylor, Sue Jane. "Art and the offshore". In Cold Water Oil, 156–75. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003024125-8.

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Carayannopoulos, George. "Under water but spirits high – The Queensland Floods". In Disaster Management in Australia, 94–125. New York : Routledge, 2018. | Series: Routledge humanitarian studies: Routledge, 2017. http://dx.doi.org/10.4324/9781315169774-4.

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Junker, Yohana Agra. "Weaving Land and Water". In Religion and Contemporary Art, 387–400. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003326809-33.

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Foss, Perkins. "Art for land and water". In The Literature and Arts of the Niger Delta, 102–14. Abingdon, Oxon; New York, NY : Routledge, 2021. | Series: Routledge contemporary Africa: Routledge, 2021. http://dx.doi.org/10.4324/9781003136750-12.

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Wierich, Jochen. "To Conjure Up the Spirits of the Past". In Representing the Past in the Art of the Long Nineteenth Century, 124–44. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781351004183-6.

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Flexer, A., e A. Yellin-Dror. "State of the Art". In The Water of the Jordan Valley, 15–54. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-540-77757-1_3.

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Besbes, Mustapha, Jamel Chahed e Abdelkader Hamdane. "On the Water Security Concept: State of the Art". In National Water Security, 31–55. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75499-4_2.

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Ryan, Courtney B. "“Touch the Water”". In Eco-Performance, Art, and Spatial Justice in the US, 111–42. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003203766-5.

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Perkinson, James W. "Water Combat on The Coast: Canaanite Storm-Gods and Israelite Wind-Spirits". In Political Spirituality for a Century of Water Wars, 173–210. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14998-7_6.

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Trabalhos de conferências sobre o assunto "Water spirits in art"

1

Bonair, Francine. "Spirits reborn". In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312530.

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Allen, Cynthia. "Spirits of the Bayou". In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.253705.

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Chen, Desheng, e Zhihao Huang. "The Analysis of Hemingway and His Tough Man Spirits". In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.105.

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Порчхидзе, А. Д. "ПОЛЗУЧЕСТЬПАФ-2 В СПИРТАХ". In International Trends in Science and Technology. RS Global Sp. z O.O., 2021. http://dx.doi.org/10.31435/rsglobal_conf/28022021/7435.

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Is learnt PAF-2 creeping in spirts.Is shown that Metanol’sdiffusion carries as fast as in water, creeping curve in spirits is not different from creeping curve in water.Experiments that took place into spirits solutions and received curves show that if we rise spiritsconcentration it rises polymer’s creeping size and mostly is received S alike curve.

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Ursyn, Anna. "Water planet". In ACM SIGGRAPH 2008 art gallery. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1400385.1400430.

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Lee, Jae Min. "Water Lights". In ACM SIGGRAPH 2006 Art gallery. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178977.1179042.

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Stock, Mark. "Smoke water fire". In ACM SIGGRAPH 2008 art gallery. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1400385.1400457.

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Miao, Niu. "Sensitive as water". In SIGGRAPH Asia 2012 Art Gallery. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2413076.2413079.

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Besant, Derek. "Body of water". In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1185889.

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Hardie, Peter. "Light on Water". In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1186001.

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Relatórios de organizações sobre o assunto "Water spirits in art"

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none,. Current (2009) State-of-the-Art Hydrogen Production Cost Estimate Using Water Electrolysis. Office of Scientific and Technical Information (OSTI), setembro de 2009. http://dx.doi.org/10.2172/1218930.

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Kayser, M. B., e A. G. Collins. Computer simulation models relevant to ground water contamination from EOR or other fluids - state-of-the-art. Office of Scientific and Technical Information (OSTI), março de 1986. http://dx.doi.org/10.2172/6003706.

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Abraham. L51687 Subsea Repair of Gas Pipelines without Water Flooding. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), agosto de 1993. http://dx.doi.org/10.55274/r0010545.

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This study documents the state-of-the-art equipment and procedures available for use in isolating mid-line subsea pipeline repairs to prevent back-flooding. The study notes the lack of effective non-intrusive methods and the potential for cost savings when suitable methods are developed.

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4

Liu, Cheng-Hsin, Ha L. Nguyen e Omar M. Yaghi. Reticular Chemistry and Harvesting Water from Desert Air. AsiaChem Magazine, novembro de 2020. http://dx.doi.org/10.51167/acm00007.

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Although chemists, in general, are concerned with the art and science of constructing molecules and understanding their behavior, for a long time the idea that such molecules can be linked together by strong bonds to make infinite, extended structures were fraught with failure. The notion of using molecular building blocks to make such structures invariably led to chaotic, ill-defined materials and therefore not only defying the chemists’ need to exert their will on the design of matter but also preventing them from deciphering the atomic arrangement of such products. The field remained undeveloped for most of the twentieth century, and it was taken as an article of faith that linking molecules by strong bonds to make extended structures is a “waste of time” because “it doesn’t work.”

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Metson, Genevieve, Karin Tonderski e Elizabeth Carlsson. Flowing through urban agriculture: Art-science explorations of nutrient movement through Linköping's gardens. Linköping University Electronic Press, fevereiro de 2024. http://dx.doi.org/10.3384/report-200801.

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This document accompanies an art & science collaborative exhibit exploring how urban agriculture can contribute to sustainable resource flows to support food production, recreation, and water quality.

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(Archived), Irina Ward, e Farah Abu Saleh. PR-473-144506-R01 State of the Art Alternatives to Steel Pipelines. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), dezembro de 2017. http://dx.doi.org/10.55274/r0011459.

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This report is a literature review of several non-metallic material systems often used as alter-natives to steel pipelines. The pipeline systems reviewed are high density polyethylene (HDPE), fiberglass reinforced plastic (FRP), flexible composite and thermoplastic liners. This report is not intended to be a detailed guide or design manual on the use of the referenced materials for pipeline applications, rather an overall evaluation on the current state of these systems. Significant industry literature and documentation already exists on the design, manufacturing, installation, and operation of these pipelines. This information currently resides in pipe manufacturer's manuals and various industry standards and guides published by organizations such as ASTM International (ASTM), American Petroleum Institute (API) American Water Works Association (AWWA), and International Organization for Standardization (ISO). In Canada, the oil and gas industry pipeline code, CSA Z662-2015 (Canadian Standards Association, 2015). Users should frequently consult the manufacturers of the pipe products in use or under consideration for use for clarification and suggestions regarding the best practices, considerations and applications of the materials in question. In addition, pipeline operators should be aware of the applicable regulatory requirements in the jurisdictions they are operating within.

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Yan. PR-261-123602-R01 Evaluation of the Corrosiveness of Glycol-Water Mixtures in Dry Gas Transmission Lines. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), maio de 2013. http://dx.doi.org/10.55274/r0010009.

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This report provides a review of the state-of-the-art knowledge on glycol-water mixtures carried over to dry gas transmission pipelines, i.e., physical properties, the causes of entry, and the corrosiveness. Findings obtained from literature include: Glycol-water mixtures can be potentially accumulated in dry gas transmission pipelines. Operation conditions of the dehydration unit should be optimized to control the amount and corrosiveness of glycol-water being carried over into transmission lines. The glycol-water hold-up in dry gas transmission pipelines contain high glycol content, i.e., greater than 95%. The accumulated glycol-water requires removal by direct drain from liquid traps, or by pigging either with methanol or water. For transmission pipelines transporting natural gas containing CO2, the most likely corrosion mechanism associated with glycol-water mixtures is general corrosion. The corrosion rate has been proven to be low, i.e., much lower than 0.1mm/year. For sour gas transmission pipelines, although general corrosion has been ruled out as a major concern, localized corrosion and HIC can occur in glycol-water mixtures. The rate of localized corrosion and HIC remains undefined. The list of recommendations to minimize the amount of glycol-water mixtures being carried over to dry gas transmission lines and to reduce the corrosion risks is developed. More research is required to study the potential corrosion mechanisms, i.e., pitting and HIC, of pipeline steels in glycol-water mixtures with high glycol content ( greater than 95%) under sour gas conditions.

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Leoni, Paolo, Nicolas Pardo-Garcia, Fabian Ochs e Abdulrahman Dahash. Large-scale thermal energy storage systems to increase the ST share in DHC. IEA SHC Task 55, setembro de 2020. http://dx.doi.org/10.18777/ieashc-task55-2020-0004.

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This factsheet focuses on large-scale hot water storage technologies adopted to integrate large shares of ST in DHC systems. After an overview of role and integration schemes of large storage systems in existing and future-oriented DHC, the state of the art is described and the highlights of international applications are reported, including a comparison of the different technologies in terms of strengths and weaknesses.

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Cazenave, Pablo, e Ming Gao. PR-328-163733-R02 Qualification of Acoustic Resonance Technology ILI Runs Made at PRCI's TDC. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), outubro de 2016. http://dx.doi.org/10.55274/r0011011.

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The Pipeline Research Council International, Inc. (PRCI) engaged Blade Energy Partners, Ltd. (Blade) to conduct an evaluation of inspection data from a new In Line Inspection technology (Acoustic Resonance Technology - ART) by HalfWave obtained from testing on the 16 and 24 inch pipeline strings at the PRCI TDC by the members of the closed consortium project JSUB-3. A series of pull-through tests were performed in water and air environments and the resulting data was analyzed, aligned, compared and evaluated by Blade.

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Macpherson, Hannah. Arts Interventions for Sustainable Sanitation and Resource Recovery. Institute of Development Studies, março de 2023. http://dx.doi.org/10.19088/ids.2023.013.

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Many countries in the global South declare regions to be open defecation free (ODF), but they must still address significant sanitation, wastewater, and faecal sludge management challenges. Climate uncertainty, water shortages, and weak infrastructure mean that ‘flush and forget’ systems are not always possible or desirable. This briefing describes how art interventions can help people reimagine alternative sanitation futures. Drawing on research in Nepal, it describes how activities such as dance workshops, humanure planting, song competitions, and radio jingles can generate new knowledge about sanitation challenges and faecal sludge re-use, showing that ‘brown’ can be ‘gold’!

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