Academic literature on the topic 'Black Arts movement'
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Journal articles on the topic "Black Arts movement"
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Reed, Corey. "Signifying the Sound: Criteria for Black Art Movements." Journal of Aesthetic Education 57, no. 4 (December 1, 2023): 36–59. http://dx.doi.org/10.5406/15437809.57.4.03.
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Abstract “Black art” is often understood as being inherently political. In examining two major Black arts movements, the Harlem Renaissance and the Black Arts movement, many of the works attributed to those periods fit the description of “political art” but not all of them. Black art movements are not defined exclusively by similar styles or methodologies, like Expressionism or Surrealism, either. Instead, Black art movements are complex movements that blend social, political, and aesthetic criteria. In this article, I list seven conditions that I take to be jointly sufficient for a Black art movement to be signified as such. In this assertion, I also argue that this current era, paralleling the Black Lives Matter movement, is worthy of Black art movement signification, if we update the mediums by which the conditions are met in the Harlem Renaissance and the Black Arts movement.
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Hassan, S. M. "Remembering the Black Arts Movement." Nka Journal of Contemporary African Art 2011, no. 29 (September 1, 2011): 4–7. http://dx.doi.org/10.1215/10757163-1496309.
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Taylor, C. "After the Black Arts Movement." Nka Journal of Contemporary African Art 2011, no. 29 (September 1, 2011): 62–71. http://dx.doi.org/10.1215/10757163-1496345.
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Steele, Vincent. "Tom Feelings: A Black Arts Movement." African American Review 32, no. 1 (1998): 119. http://dx.doi.org/10.2307/3042274.
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Sell, Mike. "Blackface and the Black Arts Movement." TDR/The Drama Review 57, no. 2 (June 2013): 143–62. http://dx.doi.org/10.1162/dram_a_00265.
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The 1960s witnessed among African Americans a wholesale rejection of white power, including the repertoire and iconography of blackface performance. And yet, surprisingly, one finds among some of the most revolutionary Afrocentric artists, critics, and activists of the time a complex, nuanced, even contradictory attitude towards “blacking up.”
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Bouallegue, Nadjiba. "Spirituality in the Black Arts Movement." Afrika Tanulmányok / Hungarian Journal of African Studies 17, no. 3 (June 15, 2024): 45–65. http://dx.doi.org/10.15170/at.2023.17.3.3.
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The article investigates the significance of spirituality in the works of the Black Arts Movement poets. By examining the poetry of Amiri Baraka and Maya Angelou, the study uncovers the various facets of spirituality that African Americans embrace, including “Africanized” Christianity, jazz poetry, and Islam. The article aims to show if spirituality is merely a way to celebrate cultural diversity or a vehicle for social change. It draws on Gilles Deleuze and Félix Guattari’s theory of minor literature to demonstrate that the Black Arts Movement is a minor literature, whereby cultural markers such as spirituality are politicized. Because spirituality endows the Black Arts Movement with a political value and a collective enunciation, this movement becomes a revolutionary force that aims to enact social change. This politicized spirituality is symptomatic of a desire to foster a strong, positive bond with Africa, which is an antidote to the strangeness of mainstream society. The remembrance of the African past through Afrocentric spirituality is a tool for defining and redefining one’s sense of belonging. It is also a quest for an essentially black aesthetic.
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RudeWalker, Sarah. "“a thunderin/lightenin poet-talkin / female / is a sign of things to come”." Langston Hughes Review 28, no. 1 (March 1, 2022): 25–48. http://dx.doi.org/10.5325/langhughrevi.28.1.0025.
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ABSTRACT Ntozake Shange had a notably complex relationship with her inheritance of the Black Arts project. While she was clearly influenced by the politics of Black nationalism and the aesthetic innovations of the movement in claiming Black language practices as powerful tools of poetic expression, she also struggled to feel accepted and represented within Black nationalist camps. However, this conflict in fact puts her in the company of women writers of the Black Arts Movement, who themselves had been working for years within the movement to move the needle on problematic conceptions of gender and sexuality. In her unpublished early poems written between 1970 and 1972, Shange’s use of Black linguistic and rhetorical resources aligns with the contemporaneous work of other Black Arts women poets and successfully demonstrates the most generative elements of the Black Arts project. But by the beginning of her public career in the mid-1970s, Shange importantly moves independently beyond the Black Arts project to insist on a necessary reckoning with the barriers, within and outside of the Black community, to Black women’s liberation. This article draws upon archival research to reveal the ways Shange’s early work demonstrates both her inheritance and her innovation of the rhetorical and poetic strategies that Black Arts women writers used to make their case that Black women should be central to and vocal within Black nationalist movements.
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Thomas, Lorenzo. ""Classical Jazz" and the Black Arts Movement." African American Review 29, no. 2 (1995): 237. http://dx.doi.org/10.2307/3042299.
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Gladney, Marvin J. "The Black Arts Movement and Hip-Hop." African American Review 29, no. 2 (1995): 291. http://dx.doi.org/10.2307/3042308.
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Smith, David Lionel. "The Black Arts Movement and Its Critics." American Literary History 3, no. 1 (1991): 93–110. http://dx.doi.org/10.1093/alh/3.1.93.
Full textDissertations / Theses on the topic "Black Arts movement"
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Thomas, Terry. "Afri-Cobra: a black revolutionary arts movement and arts for people’s sake." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2012. http://digitalcommons.auctr.edu/dissertations/373.
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The purpose of this thesis was to investigate the role of Afri-COBRA, the African Commune of Bad Relevant Artists. Afri-Cobra is a professional black artist’s guild founded in the 1960s in Chicago, Illinois who serve now, as well as in the past, as the unacknowledged founders and promoters of the notion of Arts for People’s Sake. Further, Afri-COBRA utilized the black aesthetic as the conceptual framework in its investigation of black art within the revolutionary Black Arts Movement especially in creating the visual arts component of Arts for People’s Sake in the black community. Narrative Analysis was utilized to undergird the ideology and philosophy of this art entity and its implications of black imagery seen in the exhibit of the artists and their efforts to expand for the people the political/social restructuring of black identity. The results of this study revealed the leadership and visionary passion envisioned by group founders. Their works create a new black image paradigm that has implications for the lives of oppressed and marginalized groups worldwide. In conclusion, this research purposely placed Afri-COBRA as a leader in redefining what is necessary for arts and artists. They are pioneers in community based art due to their commitment to include in their creations central components of graphic and colorful protest. Afri-COBRA’s vision continues to influence popular culture, both nationally and culturally.
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Wells, Charmian Chryssa. "Diaspora Citation: Choreographing Belonging in the Black Arts Movement." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/534875.
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DancePh.D.
This dissertation examines the work of concert dance artists within the Black Arts Movement (1965-75) in order to situate the impact of their work in the present. I use a method of diaspora citation to comprehend their choreographic strategies in articulating forms and critiques of belonging that continue to resonate today. My method builds on Brent Hayes Edwards’ theorization of diaspora as an articulated, or joined, structure of belonging (Edwards, 2003). This necessitates attending to décalage, or the incommensurable gaps in experience and differentiations of power across lines of nation, class, language, gender, sexuality, etc. My development of diaspora citation departs from Edwards’ provocative concept metaphor of “articulated joints” as a way to envision diaspora—as the joint is both a place of connection and is necessarily comprises the gaps which allow for movement. I propose that concert dance choreographers in the Black Arts Movement worked through the articulated joints of choreographic intertexts to build critiques and offer alternative structures of diasporic belonging. I define diaspora citation as a choreographic strategy that critiques the terms for belonging to the figure of the ‘human,’ conceived in Western modernity through property in the person, as white, Western, heteropatriarchal, propertied Man. Simultaneously, this choreographic strategy works to index, create and affirm alternative forms of belonging, articulated in/as diaspora, that operate on distinct terms. One way in which the practice of diaspora citation occurs is through Signifyin’ or ‘reading,’ a strategy of indirection and critique developed in African American social contexts. Rather than conceiving of movement as a form of property (on the terms of property in the person) these artists are driven by a sense of connection, motivated by the forms of assembly and structures of belonging enabled by bodies in motion. In their refusals of the terms for belonging to the ‘human’ (i.e. normative subjectivity), the dance artists of the Black Arts Movement examined in this dissertation announce a queer capacity to desire differently. Half a century after the historical Black Arts Movement, this project turns to its manifestations in concert dance as a usable past. The structure of the dissertation moves from 1964 into the present in order to consider the resonances of this past today. Through oral history interviews, performance and archival analysis, and participant observation, this project moves between historical, cultural analysis and embodied knowledge to pursue the choreographic uses of citation developed in Black Arts Movement concert dance contexts that imagined new ways of being human (together) in the world.
Temple University--Theses
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Crawford, Meredith Meagan. "Envisioning Black Childhood: Black Nationalism, Community, and Identity Construction in Black Arts Movement Children's Literature." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539626475.
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Mbowa, Aida N. S. "The making of the black woman : writing and performing race and gender during the Black Arts Movement /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/230.pdf.
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Simmons, Leilani N. ""Say It loud, I'm black and I'm proud:" Black power and black nationalist ideology in the formation of the black genealogy movement, 1965-1985." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2009. http://digitalcommons.auctr.edu/dissertations/96.
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The purpose of this study is to examine the influence of the Black Power Movement and black cultural nationalism on the surge of interest in black genealogy that arose in the 1970s and the Black Genealogy Movement that was birthed from this interest. It will also explore the activism of black genealogy groups as and extension of the activism of the Black Power Movement. The Black Genealogy Movement arose from individuals coming together to research, not only their own family histories, but also the stories of black societies, churches, schools, traditions, business and neighborhoods. They used their findings to contribute to the larger black cultural identity.
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Bateman, Richard Gethin. "Improvising resistance : jazz, poetry, and the Black Arts Movement, 1960-1969." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/287563.
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This thesis is an interdisciplinary analysis of jazz music and poetry produced by African-American artists, primarily in New York, over the course of the 1960s, set within the broad context of the civil-rights and black-nationalist movements of the same period. Its principal contention is that the two forms afford each other symbiotic illumination. Close reading of jazz musicology in particular illuminates the directions taken by the literature of the period in a manner that has rarely been fully explored. By giving equal critical attention to the two artistic forms in relation to each other, the epistemological and social radicalism latent and explicit within them can more fully be understood. Through this understanding comes also a greater appreciation of the effects that the art of this period had upon the politics of civil rights and black nationalism in America - effects which permeated wider culture during a decade in which significant change was made to the legal position of African-Americans within the United States, change forced by a newly, and multiply, vocalized African-American consciousness. The thesis examines the methods by which jazz and literature contributed to the construction of new historically-constituted black subjectivities represented aurally, orally and visually. It looks at how the different techniques of each form converse with each other, and how they prompt consequential re-presentations and re cognizations of established forms from within and without their own continua. That examination is conducted primarily through forensic close readings of records made between 1960 and 1967, which though of widely differing styles nevertheless can be said to fall under the broad umbrella term of 'post-bop' jazz, alongside equally close readings of poetry written primarily by members of the New York wing of the equally broadly-termed Black Arts Movement [BAM] between 1964 and 1969.
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Ongiri, Amy Abugo. "'Black arts for a black people!' : the cultural politics of the Black Power movement and the search for a black aesthetic." Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Vann_Diss_01.
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Leboime, Sarah. ""Storm coming" : résistance et résilience dans le Black Arts Movement à Chicago." Thesis, Université de Paris (2019-....), 2020. http://www.theses.fr/2020UNIP7019.
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Cette thèse se concentre sur le Black Arts Movement (BAM) tel qu’il prit forme à Chicago dans les années 1960 et 1970. Encore largement absent dans l’historiographie de la lutte des Noir.e.s pour la liberté (Black Freedom Struggle), la « sœur esthétique et spirituelle » du mouvement Black Power s’inscrivit pourtant de façon puissante dans la longue histoire du militantisme noir aux États-Unis. Chicago, l’une des villes les plus ségréguées du Nord du pays, tint en outre une place particulière dans le mouvement et dans la construction de sa philosophie du nationalisme culturel. Au-delà du fait que ce fut la ville du BAM où le plus de genres artistiques furent représentés (arts visuels, littérature, théâtre, musique, danse), la « ville des vents » fut également celle où les organisations du mouvement perdurèrent le plus longtemps — plusieurs existent encore aujourd’hui. L’un des objectifs de cette thèse est donc de tenter de comprendre les raisons de cette résilience, en étudiant notamment la politique de l’espace propre aux réalisations du BAM à Chicago ainsi que les ponts générationnels forts qui se construisirent au sein et autour du mouvement. L’originalité de ce travail consiste également en sa mise en exergue des questions de genre, cruciales à toute compréhension profonde du BAM et pourtant encore largement minimisées. Souvent décrit comme sexiste et hétérosexiste, le Black Arts Movement fut en fait bien plus complexe que certain.e.s aimeraient le croire. Les femmes artistes noires de Chicago y jouèrent notamment des rôles organisationnels clés et elles contribuèrent à faire reculer la misogynie de nombreux de leurs homologues masculins. Elles articulèrent par ailleurs leurs propres mises en pratique de l’autodéfinition chère au BAM et luttèrent contre les stéréotypes avilissants dans lesquels on essayait souvent de les faire rentrer. En affirmant leur droit à la complexité et en s’inscrivant dans une longue lignée de foremothers, les écrivaines et artistes du BAM participèrent ainsi à la création d’une « pensée féministe noire ». Cette étude s’applique in fine à montrer que le BAM, comme les individus en son sein, ne peut s’appréhender de façon linéaire et étroite puisqu’il fut multidimensionnel et continue d’échapper à toute définition monolithiqueThis dissertation focuses on the Black Arts Movement (BAM) in 1960s and 1970s Chicago. The “aesthetic and spiritual sister” of the Black Power Movement has been largely understudied in the historiography of the Black Freedom Struggle, yet it is thoroughly woven into the long history of African American activism in the United States. As one of the most segregated cities of the American North, Chicago held a unique place in the movement and in its fashioning of cultural nationalism. Not only was it the city where the BAM took the greatest variety of artistic forms (visual arts, literature, theatre, music, dance) but the movement in the “Windy City” also produced some its most perennial organisations, several of them still being active today. This study partly aims at shedding the light on the reasons behind this resilience by emphasizing the specific twofold spatial politics of the BAM in Chicago as well as the many intergenerational exchanges having occurred both within and around the movement. Besides, this work’s originality lies in its articulation of the complex gender issues at stake in the Black Arts Movement, which have repeatedly been played down in spite of being crucial to any thorough understanding of the movement. While it has often been described as sexist and heterosexist, the BAM was actually much more complex than some might think. For instance, Chicago’s Black women artists had key organizational roles and they largely contributed to resisting the misogyny of many of their male counterparts. They articulated their own implementations of the BAM’s emphasis on self-definition and fought the demeaning stereotypes that were often imposed on them. As they asserted their right to complexity and called on a lineage of foremothers, BAM women writers and artists helped forge the “black feminist thought.” This study eventually endeavours to complicate any linear and narrow understanding of the Black Arts Movement and the individuals in its midst, for the movement was multifaceted and continues to escape any monolithic definition
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Bowen, Shirley A. "Recovering and Reclaiming the Art and Visual Culture of the Black Arts Movement." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1228514505.
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Henderson, Abney Louis. "Four Women: An Analysis of the Artistry of Black Women in the Black Arts Movement, 1960s-1980s." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5236.
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This project honors and recognizes the art and activism of four Black woman--Nina Simone, Nikki Giovanni, Elizabeth Catlett, and Ntozake Shange that contributed to the revolutionary movements of the 1960s through the early 1980s. This thesis examines the works and political challenges of Black women by asking what elements in their artistry/activism addressed issues specifically related to Black women's unique position in America during the Black Revolution and feminist movements? Both primary and secondary sources such as literature from advocates of the Black Arts Movements and the lyrics, poetry, and visual art of the four Black women artists were used to gain perspectives to answer the thesis major questions. The creative visions and activism of these Black women expressed the dire need for the issues of Black women to be heard and also to address all forms of oppression that Black women experience with race, gender, social or economic status, and even cultural identity. The works of these Black women were radical and were also cultural reflections of Black women embracing their idiosyncratic position as Black women despite the climate of perpetual deceptions used either by White Western ideologies or Black male chauvinism. This thesis concluded that when the concerns of Black women are attended to by their own strengths of character and merits, they are also able in return to contribute to their own self-empowerment as well as to the development of racial, gender, and community uplift.
Books on the topic "Black Arts movement"
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Gail, Collins Lisa, and Crawford Margo Natalie 1969-, eds. New thoughts on the Black arts movement. New Brunswick, N.J: Rutgers University Press, 2006.
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Neal, Larry. Visions of a liberated future: Black arts movement writings. New York: Thunder's Mouth Press, 1989.
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Larry, Neal. Visions of a liberated future: Black arts movement writings. New York: Thunder's Mouth Press, 1989.
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San Francisco State University. College of Creative Arts., ed. Black power, black art: Political imagery from the Black Arts Movement of the 1960s and 1970s. San Francisco: SFSU, 1994.
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V, Gabbin Joanne, ed. Furious flower: African American poetry from the Black arts movement to the present. Charlottesville: University of Virginia Press, 2004.
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Hine, Ana. Artifical Womb: Feminist arts zine. Dundee, Scotland, UK: Ana Hine, 2020.
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Hine, Ana. Artifical Womb: Feminist arts zine. Dundee, Scotland, UK: Ana Hine, 2020.
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L, Conyers James, ed. Engines of the Black power movement: Essays on the influence of civil rights actions, arts, and Islam. Jefferson, N.C: McFarland & Co., 2007.
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Sell, Mike. Avant-garde performance & the limits of criticism: Approaching the Living Theatre, happenings/Fluxus, and the Black Arts movement. Ann Arbor, MI: University of Michigan Press, 2005.
Find full textBook chapters on the topic "Black Arts movement"
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Smethurst, James Edward. "The Black Arts Movement." In A Companion to African American Literature, 302–14. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444323474.ch20.
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Smethurst, James. "The Black Arts Movement in Atlanta." In Neighborhood Rebels, 173–90. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230102309_9.
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Simanga, Michael. "The Black Arts Movement and CAP." In Amiri Baraka and the Congress of African People, 49–52. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137080653_5.
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Sell, Mike. "The Drama of the Black Arts Movement." In A Companion to Twentieth-Century American Drama, 263–84. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996805.ch17.
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Smethurst, James E. "Police Brutality and the Black Arts Movement." In The Routledge History of Police Brutality in America, 324–32. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003109969-32.
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Banner, Terron. "Black Art, Black Rage, and Black Lives Matter: The Influence of the Black Arts Movement." In Arts Management, Cultural Policy, & the African Diaspora, 275–90. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-85810-0_17.
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Avilez, GerShun. "The Black Arts Movement." In The Cambridge Companion to American Civil Rights Literature, 49–64. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cco9781107446618.005.
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Neal, Larry. "The Black Arts Movement." In Within the Circle, 184–98. Duke University Press, 1994. http://dx.doi.org/10.2307/j.ctv1134fjj.22.
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Phelps, Carmen L. "The Black Arts Movement." In Visionary Women Writers of Chicago's Black Arts Movement, 3–22. University Press of Mississippi, 2012. http://dx.doi.org/10.14325/mississippi/9781617036804.003.0001.
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"The Black Arts Movement." In Within the Circle, 184–98. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822399889-020.
Full textConference papers on the topic "Black Arts movement"
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Arantes, Priscila, and Cynthia Nunes. "Into the decolonial encruzilhada: the Afrofuturistic collages of Luiz Gustavo Nostalgia as the artistic materialization of cruzo." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.88.
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The task of reviewing the silences present in hegemonic histories emerges at the beginning of the 20th century, seeking to provide a more amplified way of understanding the history of peoples and nations subjected to colonial subjugation. Rufino (2019) considers that this space of decolonization presents itself under the name of “encruzilhada” (crossroads) and understands the potentialities of the orixá Exu, of Yoruba spirituality: the orixá of communication, of the paths and the guardian of axé (vital energy). Exu disarray what exist to reconstruct— therefore, since the encruzilhada is Exu’s place, it is a space that allows the crossing of knowledge produced as deviations from colonial impositions on so-called official knowledge, a process which the author names “cruzo” (cross): the encruzilhada is a refusal to everything put as absolute; Exu is the movement of that encruzilhada. In addition to the positivization of the knowledge and ways of living of peoples who have suffered, over the centuries, from numerous processes of inferiority, it is necessary to insert this knowledge in the cultural elements of the present— and in the conceptions about the future. It is in this context that, regarding the experience of Afro-diasporic peoples, a global aesthetic movement that encompasses arts, literature, audiovisual and academic research emerges: Afrofuturism (YASZEK, 2013). Afrofuturism goal is to connect the dilemmas of the African diaspora to technological innovations, commonly unavailable to the descendants of the enslaved, and it aims to establish possible future scenarios— scenarios that contemplate the presence and, furthermore, the protagonism of black people (YASZEK, 2013). To this end, the movement breaks with the Western linear chronology and starts to consider time in a cyclic way, interweaving past, present and future in a single composition: in the same way that Exu, in the Yoruba cosmology, killed a bird yesterday with a stone that has only been thrown today, Afrofuturism weaves a web of historical and cultural retaking of African memory with questions that arise from the reflection of the problems faced by black people in the present, in order to think about a positive and possible future, once a dystopian scenario is already weighing on the shoulders of them. In the frontier of visual arts and design, Luiz Gustavo Nostalgia, a creator based on Rio de Janeiro, dismantles existing images and rearranges them through collages to create a new intention of meaning. His work evokes the cruzo on the principle of rearranging— central to collages— with the widespread rearrangement of our ways of living and understanding society— based on an Afrofuturistic conception of world— by celebrating African motifs, culture and spirituality, allied to the already acquainted aesthetics of “future” (such as the galaxy, bright lights and robotic elements). Through your creation, the artist is capable of presenting a future where black people do exist as protagonists and have their culture, past and roots celebrated.
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Patel, Rahul. "CAN THE USE OF ZINES IN ARTS PEDAGOGIC PRACTICES IN HIGHER EDUCATION CHALLENGE THE DISPARITIES OF AWARDING GAPS, DOMINANCE OF EUROCENTRIC KNOWLEDGE SYSTEMS AND TAKE UP THE CALL OF SYSTEMATIC CHANGE AS DEMANDED BY THE BLACK LIVES MATTER MOVEMENT?" In 17th International Technology, Education and Development Conference. IATED, 2023. http://dx.doi.org/10.21125/inted.2023.1731.
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Fitri, S. N., N. S. Surjandari, Y. M. Purwana, B. Setiawan, G. Chrismaningwang, and H. Dananjaya. "DYNAMIC RESPONSE ANALYSIS BASED ON FOUNDATION DIMENSIONS AND MACHINE CAPACITY ON BLOCK-TYPE MACHINE FOUNDATION." In 7th International Conference on Sustainable Built Environment. Universitas Islam Indonesia, 2023. http://dx.doi.org/10.20885/icsbe.vol4.art8.
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The development of Indonesia’s economic sectors and populations leads to huge regional problems, which provide the large community’s electricity needs in several areas. The common solution to this issue is to offer the potential natural resources that are safe for the environment and can be used as a source of electricity, such as a small-scale hydroelectric power plant or a Micro-Hydro Power Plant. This structure requires the dynamic foundations to accept dynamic loads caused by machine movements such as rotation, vertical movement, horizontal movement, and torque. The main objective of this work is to analyse the effect dimension of machine foundation and machine capacity in several conditions. This research was conducted on numerous machine capacity, namely machine 1, 2, and 3, which offers different frequency and weight. The foundation length was designed to range between 4 and 6m, which design a similar embedded foundation at 1m and width of 0.5m. The soil properties were conducted in secondary data with CPT results. The outcome provides that the addition of foundation area reduces the amplitude. The results show a similar trend in three categories; vertical, horizontal, and rocking aspects which generate values of approximately 57%, around 40%, and about 50%, respectively, in all machine types. The higher area and length of the foundation, the smaller amplitude will be.
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Gurbuz, Mustafa. "PERFORMING MORAL OPPOSITION: MUSINGS ON THE STRATEGY AND IDENTITY IN THE GÜLEN MOVEMENT." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/hzit2119.
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This paper investigates the Gülen movement’s repertoires of action in order to determine how it differs from traditional Islamic revivalist movements and from the so-called ‘New Social Movements’ in the Western world. Two propositions lead the discussion: First, unlike many Islamic revivalist movements, the Gülen movement shaped its identity against the perceived threat of a trio of enemies, as Nursi named them a century ago – ignorance, disunity, and poverty. This perception of the opposition is crucial to understanding the apolitical mind-set of the Gülen movement’s fol- lowers. Second, unlike the confrontational New Social Movements, the Gülen movement has engaged in ‘moral opposition’, in which the movement’s actors seek to empathise with the adversary by creating (what Bakhtin calls) ‘dialogic’ relationships. ‘Moral opposition’ has enabled the movement to be more alert strategically as well as more productive tactically in solving the everyday practical problems of Muslims in Turkey. A striking example of this ‘moral opposition’ was witnessed in the Merve Kavakci incident in 1999, when the move- ment tried to build bridges between the secular and Islamist camps, while criticising and educating both parties during the post-February 28 period in Turkey. In this way the Gülen movement’s performance of opposition can contribute new theoretical and practical tools for our understanding of social movements. 104 | P a g e Recent works on social movements have criticized the longstanding tradition of classify- ing social movement types as “strategy-oriented” versus “identity-oriented” (Touraine 1981; Cohen 1985; Rucht 1988) and “identity logic of action” versus “instrumentalist logic of ac- tion” (Duyvendak and Giugni 1995) by regarding identities as a key element of a move- ment’s strategic and tactical repertoire (see Bernstein 1997, 2002; Gamson 1997; Polletta 1998a; Polletta and Jasper 2001; Taylor and Van Dyke 2004). Bifurcation of identity ver- sus strategy suggests the idea that some movements target the state and the economy, thus, they are “instrumental” and “strategy-oriented”; whereas some other movements so-called “identity movements” challenge the dominant cultural patterns and codes and are considered “expressive” in content and “identity-oriented.” New social movement theorists argue that identity movements try to gain recognition and respect by employing expressive strategies wherein the movement itself becomes the message (Touraine 1981; Cohen 1985; Melucci 1989, 1996). Criticizing these dualisms, some scholars have shown the possibility of different social movement behaviour under different contextual factors (e.g. Bernstein 1997; Katzenstein 1998). In contrast to new social movement theory, this work on the Gülen movement indi- cates that identity movements are not always expressive in content and do not always follow an identity-oriented approach; instead, identity movements can synchronically be strategic as well as expressive. In her article on strategies and identities in Black Protest movements during the 1960s, Polletta (1994) criticizes the dominant theories of social movements, which a priori assume challengers’ unified common interests. Similarly, Jenkins (1983: 549) refers to the same problem in the literature by stating that “collective interests are assumed to be relatively unproblematic and to exist prior to mobilization.” By the same token, Taylor and Whittier (1992: 104) criticize the longstanding lack of explanation “how structural inequality gets translated into subjective discontent.” The dominant social movement theory approaches such as resource mobilization and political process regard these problems as trivial because of their assumption that identities and framing processes can be the basis for interests and further collective action but cannot change the final social movement outcome. Therefore, for the proponents of the mainstream theories, identities of actors are formed in evolutionary processes wherein social movements consciously frame their goals and produce relevant dis- courses; yet, these questions are not essential to explain why collective behaviour occurs (see McAdam, McCarthy, and Zald 1996). This reductionist view of movement culture has been criticized by a various number of scholars (e.g. Goodwin and Jasper 1999; Polletta 1997, 1999a, 1999b; Eyerman 2002). In fact, the debate over the emphases (interests vis-à-vis identities) is a reflection of the dissent between American and European sociological traditions. As Eyerman and Jamison (1991: 27) note, the American sociologists focused on “the instrumentality of movement strategy formation, that is, on how movement organizations went about trying to achieve their goals,” whereas the European scholars concerned with the identity formation processes that try to explain “how movements produced new historical identities for society.” Although the social movement theorists had recognized the deficiencies within each approach, the attempts to synthesize these two traditions in the literature failed to address the empirical problems and methodological difficulties. While criticizing the mainstream American collective behaviour approaches that treat the collective identities as given, many leading European scholars fell into a similar trap by a 105 | P a g e priori assuming that the collective identities are socio-historical products rather than cog- nitive processes (see, for instance, Touraine 1981). New Social Movement (NSM) theory, which is an offshoot of European tradition, has lately been involved in the debate over “cog- nitive praxis” (Eyerman and Jamison 1991), “signs” (Melucci 1996), “identity as strategy” (Bernstein 1997), protest as “art” (Jasper 1997), “moral performance” (Eyerman 2006), and “storytelling” (Polletta 2006). In general, these new formulations attempt to bring mental structures of social actors and symbolic nature of social action back in the study of collec- tive behaviour. The mental structures of the actors should be considered seriously because they have a potential to change the social movement behaviours, tactics, strategies, timing, alliances and outcomes. The most important failure, I think, in the dominant SM approaches lies behind the fact that they hinder the possibility of the construction of divergent collective identities under the same structures (cf. Polletta 1994: 91). This study investigates on how the Gülen movement differed from other Islamic social move- ments under the same structural factors that were realized by the organized opposition against Islamic activism after the soft coup in 1997. Two propositions shall lead my discussion here: First, unlike many Islamic revivalist movements, the Gülen movement shaped its identity against perceived threat of the triple enemies, what Nursi defined a century ago: ignorance, disunity, and poverty. This perception of the opposition is crucial to grasp non-political men- tal structures of the Gülen movement followers. Second, unlike the confrontational nature of the new social movements, the Gülen movement engaged in a “moral opposition,” in which the movement actors try to empathize with the enemy by creating “dialogic” relationships.
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Kaprielian, Gabriel. "Lima 2100: Collective Resilience Through Adaptive Urbanism." In 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.80.
Full textAbstract:
Lima 2100: Collective Resilience through Adaptive Urbanism is a transdisciplinary project addressing issues of climate change, social equity, and urban health in Lima, Peru. The project was funded by the U.S. Department of State’s Bureau of Educational and Cultural Affairs as part of their American Arts Incubator, an international creative exchange program. Assistant Professor of Architecture Gabriel Kaprielian was selected as the Lead Artist and tasked with developing a month-long program through international collaboration and partnership of the ZERO1, the U.S. Embassy in Peru, the Contemporary Art Museum (MAC Lima), the University of Engineering and Technology (UTEC), along with 25 participating artist, architects, and activists. Focusing on the challenge of urban development in Lima, the primary goal was to empower local residents with new skills and a framework to understand and respond to their built environment past, present, and future. This was expressed through personal works of adaptive urbanism to create collective resilience, drawing inspiration from global movements such as Black Lives Matter to a history of Peruvian activism rooted in indigenous culture and female leadership. The project describes a method of utilizing art and technology as platforms for discourse to envision speculative futures of urban environments that are inclusive, healthy, and sustainable.
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Patru, Maria luminita, Negulescu Ioan, Irina Baitel, and Angelescu Liviu nicolae. "LATERALITY EMPHASIZING THROUGH CINEMATIC PARAMETERS ANALYSIS ON KARATE SHOTOKAN ATHLETES." In eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-222.
Full textAbstract:
Starting from the sense that laterality represents the functional innegality of cerebral hemispheres asymmetry, and from the sumption that this functional asymmetry although can be subdued by training, it not receed completly,we will try to emphasize these aspects on advanced athletes practicing martial arts, black belt level. The hypothesis of this researchis that laterality can be highlighted bytheinstrumentalityof cinematic parameters analysys of the movements that we consider automatized. For this purpose we used MOVEN from Xsens equipment for human motion tracking using inertial navigation sensors. We have done position aquisitions for the subject's segments and these data underlied on callculation of fist's pathway and joint angles further analized. Data aquisitions took place in Biomotry department in National Institute for Sport Research from Bucharest. Equipped with MOVEN Xsens equipament, four athletes karate Shotokan practitioners, registered at Sports Club AIKO Bucharest, with an experience of 5 to 15 yearsof practice, performed Heian Nidan kata. On each athlete has been done three data aquisition sessions. Then, having an eye on the avatar recording offered by the dedicated software of the MOVEN equipment, we choose the time sequencesin which we analyzed and compared joint angles on elbow (arm - forearm) and in shoulder (arm vertical axis) and knee (upper leg - lower leg) boyh on the left and right side for emphasize the differences in identic postures (times 1, 2, 3 to the left and 4, 5 and 6 to the right). This angles has been calculated both for the right and left limbs.
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Holmquist, Paul. "Architecture of/as Protest: Action, Place and the Concern for the World." In 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.57.
Full textAbstract:
What is the relation between political action and architectural space? How do protesters and other actors transform urban spaces into stages for envisioning and enacting political change? How do architectural places in turn support, condition or even elicit public action? How are architects and designers political actors, and how can architecture, design, and art be considered to ‘act’ within the public realm? These questions were taken as points of departure for an advanced research seminar in architectural theory taught at Louisiana State University in the fall of 2020. The course explored the role that architectural spaces and practices play in different forms and modes of political protest action, not only in light of the Black Lives Matter protests that year, but also the global urban protest movements, uprisings and events of the last decades across the spectrum of concerns from human rights to climate change. In this paper I discuss how the seminar sought to examine protest action within the ‘architectural’ perspectives of space, place, inhabitation and making, as well as the capacity of architecture and art practices to ‘act’ in the mode of protest within the political perspectives of agency, speech, the common and appearance. The seminar took as a primary framework the political philosophy of Hannah Arendt, and the intrinsic relation she posits between the places of the fabricated, common world and the very possibility of political action. I then consider how place comes to be at stake in architecture as a mode of protest in students’ research on a wide range of topics, issues, events and practices. I conclude by reflecting on how such an architecture of protest would comprehend a radical place-making, acting to help establish the conditions for political action, and to nurture, support and sustain them so that protest actors may enact and embody claims for justice in their own acting and speaking.
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Hussain, Muhammad Azhar, Syed Asad Abid, Muhammad Umar Khalid, Muhammad Azeem Sarwar, Sucklaj Shahid, Hammad Ahmad, Mateusz Gorinak, Rashid Ali Shaikh, and Ibrahim Al Lawati. "Tapered Liner System for Zonal Isolation and Hydraulic Fracturing: An Application in the Kirthar Fold Belt Region." In SPE/PAPG Pakistan Section Annual Technical Symposium and Exhibition. SPE, 2023. http://dx.doi.org/10.2118/219503-ms.
Full textAbstract:
Abstract This paper aims to describe the first ever successful deployment in Pakistan, of a 9-5/8″ × 7″ × 4-1/2″ Tapered Liner System with a provision of a lower PBR (rated at more than 16,000 psi) with a Vo rated Seal Stem Assembly to achieve zonal isolation and meet requisite design criteria for successful Hydraulic Fracturing of a tight reservoir zone. This insight empowers drilling Engineers to make informed decisions when selecting Liner Hanger Systems for Zonal Isolation and Hydraulic Fracturing ultimately optimizing drilling performance and wellbore stability as demonstrated in the paper. The Pab sand Formation in the Kirthar Concession Block typically exhibits permeability less than 1 mD and is categorized as "Tight". This formation is drilled and hydraulically fractured to produce at commercial flowrates. Hydraulic Fracturing at pressures in excess of 16,000 psi Bottom Hole Pressure is required to achieve necessary formation stimulation. To solve these challenges, an innovative application of incorporating a 9-5/8″ × 7″ Liner Hanger assembly with the provision of tapering 7″ Liner string to 4-1/2″ string with a Lower PBR was considered. A robust and compatible V0 rated Seal Stem Assembly stung into the lower Polished Bore Receptacle (PBR) above the 4-1/2″ liner segment would allow for DST or a Completions string to be run and completed as a monobore string. The Seal Stem Assembly would be a barrier containing the pressure loads generated due to various Production or Stimulation / Intervention cycles. The length of the seal assembly and the lower PBR were to be adjusted to allow for tube movement during these cycles. The Tapered Liner system allows for Hydraulic Set or Wireline Set Packer to be set inside the 7″ Liner segment of the Tapered assembly as a barrier, protecting the Liner Top from the high pressure loads generated during Hydraulic Fracturing – mitigating for possible leak paths. When this state of the art design was executed it has resulted in numerous deliverables to this efficient well plan. The Liner was rotated during the cement job allowing for excellent zonal isolation. The Seal Assembly was run in on a DST string and stung inside the lower PBR. The string was then pressure tested cyclically and the pressure was held successfully demonstrating robustness of the seal stem and the feasibility of the tube movement calculations. The subsequent operations included successful DST, Hydraulic Fracturing, and Well Completions operations. In conclusions, this study has substantial implications for future drilling operations in Kirthar Block wells, as reservoir sections are mostly drilled in the 8-1/2″ hole section. Given the hole stability challenges in the formations drilled above reservoir, the Tapered Liner system further allows for a 6″ hole section in the reservoir zone, casing off challenging stressed formations separately in the 8-1/2″ hole section – as demonstrated further in this paper.
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Lu, Xingen, Junqiang Zhu, Chaoqun Nie, and Weiguang Huang. "The Stability-Limiting Flow Mechanisms in a Subsonic Axial-Flow Compressor and Its Passive Control With Casing Treatment." In ASME Turbo Expo 2008: Power for Land, Sea, and Air. ASMEDC, 2008. http://dx.doi.org/10.1115/gt2008-50006.
Full textAbstract:
The phenomenon of flow instability in the compression system such as fan and compressor has been a long-standing “bottle-neck” problem for gas turbines/aircraft engines. With a vision of providing a state-of-the-art understanding of the flow field in axial-flow compressor in the perspective of enhancing their stability using passive means. Two topics are covered in this paper. The first topic is the stability-limiting flow mechanism close to stall, which is the basic knowledge needed to manipulate end-wall flow behavior for the stability improvement. The physical process occurring when approaching stall and the role of complex tip flow mechanism on flow instability in current high subsonic axial compressor rotor has been assessed using single blade passage computations. The second topic is flow instability manipulation with casing treatment. In order to advance the understanding of the fundamental mechanisms of casing treatment and determine the change in the flow field by which casing treatment improve compressor stability, systematic studies of the coupled flow through a subsonic compressor rotor and various end-wall treatments were carried out using a state-of-the-art multi-block flow solver. The numerically obtained flow fields were interrogated to identify complicated flow phenomenon around and within the end-wall treatments and describe the interaction between the rotor tip flow and end-wall treatments. Detailed analyses of the flow visualization at the rotor tip have exposed the different tip flow topologies between the cases with treatment casing and with untreated smooth wall. It was found that the primary stall margin enhancement afforded by end-wall treatments is a result of the tip flow manipulation. Compared to the smooth wall case, the treated casing significantly dampen or absorb the blockage near the upstream part of the blade passage caused by the upstream movement of tip clearance flow and weakens the roll-up of the core vortex. These mechanisms prevent an early spillage of low momentum fluid into the adjacent blade passage and delay the onset of flow instability.
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Fu, Yixian, and YUANYAO LU. "Lip-Reading Research Based on ShuffleNet and Attention-GRU." In 10th International Conference on Human Interaction and Emerging Technologies (IHIET 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004024.
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Human-computer interaction has seen a paradigm shift from textual or display-based control towards more intuitive control such as voice, gesture and mimicry. Particularly, speech recognition has attracted a lot of attention because it is the most prominent mode of communication. However, performance of speech recognition systems varies significantly according to sources of background noise, types of talkers and listener's hearing ability. Therefore, lip recognition technology which detects spoken words by tracking speaker's lip movements comes into being. It provides an alternative way for scenes with high background noise and people with hearing impaired problems. Also, lip reading technology has widespread application in public safety analysis, animation lip synthesis, identity authentication and other fields. Traditionally, most work in lipreading was based on hand-engineered features, that were usually modeled by HMM-based pipeline. Recently, deep learning methods are deployed either for extracting 'deep' features or for building end-to-end architectures. In this paper, we propose a neural network architecture combining convolutional Neural Network (CNN) and Recurrent Neural Network (RNN) with a plug-in attention mechanism. The model consists of five parts: (1). Input: We use Dlib library for detecting 68 landmarks of the face, crop the lip area and extract 29 consecutive frames from the video sequence. The frames go through a simple C3D network for generic feature extraction. (2). CNN: with neural networks becoming deeper and deeper, computation complexity increases significantly as well, which motivated the appearance of the lightweight model architecture design. Then a lightweight CNN named ShuffleNet pre-trained on ImageNet dataset is used in our method to perform spatial downsampling of a single image. The ShuffleNet mainly uses two new operations, namely, pointwise group convolution and channel shuffle, which greatly reduce the computational cost without affecting recognition accuracy. (3) CBAM: In the field of image processing, a feature map contains a variety of important information. The traditional convolutional neural network performs convolution in the same way on all channels but importance of information varies greatly depending on different channels. To improve the performance of convolutional neural networks for feature extraction, we utilize an attention mechanism named Convolutional Block Attention Module (CBAM), which is a simple and effective attention module for feedforward convolutional neural networks and contains two independent sub-modules, namely, Channel Attention Module (CAM) and Spatial Attention Module (SAM), which perform Channel and Spatial Attention respectively. (4) RNN: The traditional Recurrent Neural Network (RNN) is mainly used to process sequential data, but with the extension of the RNN network, it may be unable to connect to all related information which may cause key information loss. It cannot solve the long-distance dependence problem and the performance may drop significantly. Due to this shortcoming of the traditional RNN network, we select the GRU network in this paper, which is a variant of the LSTM. It has a simpler structure and better performance than the LSTM neural network. (5) Outputs: Lastly, we pass the result of the backend to SoftMax for classifying the final word. In our experiment, we compare several model architectures and find that our model achieves a comparable accuracy to the current state-of-the-art model at a lower computational cost.
Reports on the topic "Black Arts movement"
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Rito, Carolina, and Paul Goodwin. The Changing Same? British Black Artists and Visual Arts Organisations in the Midlands. Coventry University, May 2023. http://dx.doi.org/10.18552/camc/2023/0001.
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The Role of Visual Arts Organisations in the British Black Arts Movement in the Midlands’ is a research network funded by the Arts and Humanities Research Council (AHRC). Co-led by Carolina Rito (Coventry University) and Paul Goodwin (University of the Arts London), this project explored the institutional and curatorial strategies of the movement in the 1980s, and the institutional support in promoting and showing Black curators and artists then and today. The publication includes new insights about the process, and interviews with key researchers and practitioners in the field. It presents a series of recommendations and considerations for funders, cultural organisations and the HE sector, and feedback from the cultural partners.
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Francini and Zand. PR-218-094510-R01 Procedure for Evaluating the Effects of Blasting on Pipelines - Phase 1 Summary Report. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), June 2014. http://dx.doi.org/10.55274/r0010024.
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This report contains a state of the art review of current methods for evaluating the effects of close in blasting on pipelines. The report includes a comparison of current methods for determining the stress resulting from blasting with available experimental results. It also covers the subject of block movement as a result of delayed gas pressure, methods to determine the likelihood of ground movement and procedures for evaluating if movement has occurred. More accurate methods to determine blasting stresses are investigated. A procedure to be followed to evaluate the effects of blasting is proposed. Finally, recent developments in blasting technology that are relevant to blasting near pipelines are reviewed.
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Poloboc, Alina. Fancy Lollipop. Intellectual Archive, December 2023. http://dx.doi.org/10.32370/iaj.2997.
Full textAbstract:
"Fancy Lollipop" is a vibrant and energetic artwork featuring a blend of bold and bright colors. The color palette, which includes shades of blue, pink, and black, creates a sense of drama and theatricality in the piece. The colors are strategically placed in the composition to emphasize key elements of the image, such as the main character, Fancy Lollipop. Speaking of the main character, Fancy Lollipop is depicted as an extravagant and self-assured individual. Their presence in the artwork is unmistakable, and their confident and assured stance reflects their bold and attention-grabbing personality. The use of quick, expressive brushstrokes in their figure creates a sense of movement and energy, further enhancing the feeling of spectacle and showmanship in the piece. Overall, "Fancy Lollipop" is an impressive example of contemporary art that draws on real-life characters encountered by the artist during their stay in Miami. The artwork offers an immersive visual experience that captures the viewer`s attention with its colorful and energetic composition, and is sure to leave a lasting impression on those who encounter it.