Relevant bibliographies by topics / Colonial art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Colonial art'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Colonial art"

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Caton, Steven C. "Possessions: Indigenous Art/Colonial Culture:Possessions: Indigenous Art/Colonial Culture." American Anthropologist 103, no. 4 (December 2001): 1211–13. http://dx.doi.org/10.1525/aa.2001.103.4.1211.

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Garcia, Alfredo. "Colonial art as ethnic unifier." Culture and Religion 18, no. 4 (September 14, 2017): 409–27. http://dx.doi.org/10.1080/14755610.2017.1376691.

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A.S.T. "Arequipa Colonial Art and Architecture." Americas 46, no. 1 (July 1989): 96–97. http://dx.doi.org/10.1017/s0003161500076264.

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E. Ojeda, Almerindo. "OJEDA, Almerindo. Project for the Engraved Sources of Spanish Colonial Art (PESSCA), 2005-2021." Revista de Humanidades Digitales 6 (November 26, 2021): 277–82. http://dx.doi.org/10.5944/rhd.vol.6.2021.27828.

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El Proyecto para el Estudio de las fuentes grabadas del arte colonial (PESSCA por sus siglas en inglés) busca identificar los grabados que sirvieron de modelos al arte producido en las colonias hispano-portuguesas de los siglos XVI y XIX. PESSCA es parte las Humanidades Digitales, pues es un proyecto humanístico que emplea herramientas digitales. Y lo hace en todas las fases de la investigación (búsqueda, adquisición, almacenamiento, procesamiento, y recabación de imágenes, así como la difusión, actualización, y preservación de sus hallazgos). A futuro, PESSCA busca desarrollar un sistema de reconocimiento automático de imágenes que asista en el descubrimiento de los grabados que inspiraron obras de arte coloniales, quizás empleando sistemas de reconocimiento facial o anotación automática de imágenes.
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PALMER, RODNEY. "THE ART OF COLONIAL LATIN AMERICA." Art Book 13, no. 2 (May 2006): 63–64. http://dx.doi.org/10.1111/j.1467-8357.2006.00681_2.x.

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Danbolt, Mathias, Nina Cramer, Emil Elg, Anna Vestergaard Jørgensen, and Bart Pushaw. "I kontaktzonen mellem kunsthistorie og kolonihistorie." Periskop – Forum for kunsthistorisk debat, no. 27 (June 15, 2022): 36–57. http://dx.doi.org/10.7146/periskop.v2022i27.133728.

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ABSTRACT In a recent issue of Art History, editors Cathrine Grant and Dorothy Price ask what it would mean to think about art history and colonial history (and in particular decolonization) together. In this article, we continue this conversation in a Danish context, asking: What emerges if we approach Danish art history in light of colonial history and its material and conceptual logics? Our aim is to contribute to critical discussions of art history as discipline by attending to the “contact zones” (Pratt 1992) between art history and colonial history in a Danish and Nordic perspective. With a starting point in an analysis of “colonial ignorance” and methodological nationalism in Danish art history – and in the art museum in particular – the article analyzes two artworks in order to suggest how decolonial perspectives invite a renegotiation of what objects and questions are of relevance and value to art history today.
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Cohen-Aponte, Ananda. "Forging a popular art history:Indigenismoand the art of colonial Peru." Res: Anthropology and aesthetics 67-68 (November 2017): 273–89. http://dx.doi.org/10.1086/693932.

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Bae-Dimitriadis, Michelle. "Land-Based Art Criticism: (Un)learning Land Through Art." Visual Arts Research 47, no. 2 (December 1, 2021): 102–14. http://dx.doi.org/10.5406/visuartsrese.47.2.0102.

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Abstract This article provides an overview of how land-based settler colonial critique can reorient art criticism and art education to expand the scope of art and art practice to critical considerations of land politics and social justice, particularly in terms of the repatriation of Indigenous lands. In particular, land-based perspectives can help to rethink place/land by offering decolonizing methods for critiquing Western works of art that address place. Art educators’ ability to understand and critique settler colonialism in art has been hindered by Eurocentric art criticism. This article seeks to reveal settler colonial imperatives and ambitions regarding land through a critical analysis of American landscape paintings and land art. This piece further examines contemporary Indigenous artists’ site-specific works through adopting decolonial, land-based inquiry. Land-based art criticism interrupts the dominant mode of art inquiry to more comprehensively analyze art associated with place/land and expand the scope of social, cultural, and political understandings of social equity.
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Woets, Rhoda. "THE RECREATION OF MODERN AND AFRICAN ART AT ACHIMOTA SCHOOL IN THE GOLD COAST (1927–52)." Journal of African History 55, no. 3 (September 22, 2014): 445–65. http://dx.doi.org/10.1017/s0021853714000590.

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AbstractThe formative influence of colonial art education on modern art movements in Africa has not attracted a great deal of scholarly attention. Yet, European art teachers in the Gold Coast challenged colonial prejudice that Africans were incapable of mastering European aesthetic forms. This article analyses the art education provided at the Teacher Training College at Achimota School where pupils learned both to revalue African art forms and to draw and paint in European, representational art styles. Modern artists built on and reshaped what they had learned at Achimota in order to respond to changing social and political conditions. The last section of this article explores the impact of colonial art education on the work of two of the earliest modern artists in Ghana: Kofi Antubam and Vincent Kofi.
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Robin, Alena. "Colonial Art from Spanish America in Québec." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 80–92. http://dx.doi.org/10.1525/lavc.2022.4.1.80.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
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Dissertations / Theses on the topic "Colonial art"

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Tarar, Nadeem Omar Art College of Fine Arts UNSW. "Colonial governance and art education in colonial Punjab c1849-1920s." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/44097.

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This dissertation examines the connection between colonial governance and art education in colonial Punjab after its annexation by the British in 1849. It argues that art education at the Mayo School of Art was part of large project for creating a disciplinary society. It draws largely on archival and printed primary sources for tracing the career of disciplinary technologies of art schools, museums, exhibitions as well as regulatory discourses of colonial anthropology and the folklore, that together constitute colonial sphere of art education. The archives entered the present study both as the source of information as well as the technology of the colonial rule. The disciplinary discourses of the colonial state formed the primary archive for the colonial construction and ranking of indigenous population on the evolutionary scale of "primitive" through the techniques of census and surveys. The ethnological, psychological and intellectual profile of "tribal" population of Punjab along the scale of evolutionary history provided a grid to structure empirical knowledge for vast scale social engineering of indigenous society, including the organization of a system of colonial education for "pre-literate" and "oral" society. The study specifically contends that boundaries between "oral" and "literate" were the folklorist prisms through which the practices of communities and institutions of "art" and "craft", the distinctions between, "primitive" and "modem", "artists" and "craftsmen", "traditional" and "creative", "anonymous" and "individuals", "literature" and "myth", "history" and "legend", and "knowledge" and "folklore" were articulated. The historical contingencies of naturalization of these binary oppositions will be read in the ethnographic project of the colonial state and art educational discourses in the late nineteenth and early twentieth century Punjab that transformed individuals and social groups into subjects of a particular kind of power through the techniques of discipline and regulation. The institutional career of the Mayo School of Art (from 1875 to 1920s) as a technical as well as an educational institution is located at the intersection of discourses on utility and aesthetics. Through the writings of key exponents of the British craft advocates in India and the administrative discourses of the colonial state in Punjab that had brought the study of "decorative arts" to the forefront of the imperial concerns as well as art pedagogy, the dissertation analyzes the implications of the art school instruction on the production of modern artists and craftsmen and the construction of "customary" sphere and "traditional" Punjabi art and craft.
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Green, Geffrey Corbett. "Walter Spies, tourist art and Balinese art in inter-war colonial Bali." Thesis, Sheffield Hallam University, 2002. http://shura.shu.ac.uk/9167/.

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This is an art historical study informed by post-colonial perspectives which critically examines the discourse concerning the role and the work of the artist Walter Spies in relation to Bali, Balinese art and the Balinese in the inter-war Dutch Colonial period. Drawing from a wide variety of sources, the thesis examines the development and characteristics of a new artistic form in the area of painting, variously described as 'Balinese Modernism', 'New Balinese painting' or 'Tourist art'. I also investigate the origins and the perpetuation of the popular myth regarding the perceived role of Walter Spies as the instigator of this art. Through examining his cultural position in relation to the Balinese, I examine Spies' role as a colonial figure and as a 'servant' of colonial cultural policy. This post-colonial examination takes into account the broader historical, political, cultural and economic realities of colonial Bali at that time. I deal with theoretical and methodological issues some of which make such a study problematic. In particular, how to deal with the 'subaltern' in historical discourse and the dangers of either essentialising the 'Other' or diminishing hegemonic imperial processes through a cultural relativism which seeks to value the importance of the 'subaltern' voice. In addition to this, the problematic and sometimes misleading use of biography is also investigated. I have synthesised a number of concepts to develop my post-colonial approach, based around the ideas of contact, contact languages and influence. These are used to explain the development of new artistic forms, as well as the discourse and processes which both moulded and reflected them. The study contributes to knowledge through the fresh analysis of the discourse of 'texts' and parts of 'texts' not previously used or explored in a postcolonial theoretical framework. Interviews with Balinese artists and the correspondence of Spies are deconstructed, as well as the films and paintings of Spies which are analysed as colonial discourse rather than as isolated aesthetic products. This project provides a new critique of the creation and perpetuation of colonial discourse through biography and imagery which I propose has much broader implications in the 'post-colonial' world.
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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West. In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.
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Ma, So Mui. "Post-colonial identities and art education in Hong Kong." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/10007431/.

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This thesis is an inquiry into art educators and art curricula within the context of the reunification of Hong Kong and China. Theoretically it draws specifically on post-colonial theories. Additionally, issues of personal identities and aesthetic preferences were examined by means of questionnaires given to pre-service art teachers. The design of the instruments was inspired by 'border pedagogy' and 'critical theory', as outlined by Henry Giroux (Giroux, 2005: 24). Reflections on the research design were offered. The thesis seeks to uncover the impact of colonialism and post-colonialism on art education and on participants' perceptions of their own identities. This includes participants' reflections on cultural and gender stereotypes; their responses to conceptions associated with modernist, postmodernist and feminist art; and the impact of modernist progressive thought on their values towards contemporary and traditional life-styles. The impact of colonialism on art curricula in Hong Kong schools prior to 1997 was investigated through analysis of historic documents and archives. Perceptions of participants of their prior art training were also examined. An overview ofliterature related to Art and culture; post-colonial and identity theories were discussed at the outset. Literature related to the relevant data was analysed qualitatively to provide additional insights. The results suggest that post-colonial Hong Kong continues III the colonial condition with the persistence of Western influences on art education. With the shift to China, the subordination of Hong Kong identity remains, and established stereotypes were still evident amongst participants. However the growing influence of globalisation has increased the complexity of the hybrid, East-West Hong Kong identity. Implications and recommendations suggest ways forward for visual arts education in Hong Kong.
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Boldt, Janine Yorimoto. "The Art of Plantation Authority: Domestic Portraiture in Colonial Virginia." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1530192717.

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This dissertation critically examines the political and social significance of colonial portraiture by focusing on domestic portraits commissioned for Virginians between the mid-seventeenth century and 1775. Portraiture was a site where colonial and imperial identity was negotiated and expressed. Portraits also supported the construction of social relationships through the acts of representation, erasure, and reception. Chapter one focuses on portraits painted in England for Virginians before ca. 1735 and the use of English portrait conventions to suit the political needs of colonists and to express visions of themselves as agents of empire. This chapter reveals some of the ways Virginians used portraits to engage in transatlantic politics and social networks. Chapter two uncovers the regional preferences for expressing elite, community values centered around gender and family before 1770 in portraits of men, women, and children. It argues that portrait collections had dynastic purposes and visualized women as sexual beings and men as masters over colonial and female nature. Chapter three discusses the influence that enslaved Africans had on portraits of Virginians throughout the colonial period. It argues that the physical presence of enslaved people as audiences caused colonists to erase them from portraiture in order to construct and enforce a plantation complex system of visuality. Planters also disavowed the realities of slavery to emphasize their British civility. The last chapter uncovers the rapid changes in portraiture in the 1770s as colonists and artists confronted imperial crises and responded in diverse ways. The fracturing of gentry planter cohesion and the greater availability of artists changed portraiture in the colony. Virginians left behind the conventionalized nature of portraiture from earlier decades and many began including messages of resistance to imperial policy and partaking in pan-colonial modes of representation. This dissertation combines archival research with visual analysis to shed light on portraiture from a region typically overlooked by art historians. By focusing on a specific region over a long period of time, this project emphasizes the varied and important roles that portraits played in shaping colonial culture and society.
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Flores, Judy. "Art and identity in the Mariana Islands : issues of reconstructing an ancient past." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300724.

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The Marianas, a chain of small tropical islands in western Micronesia, were the first to be subjected to colonisation in the Pacific and are among the last to move into self-governance. The islands were administered as a Spanish colony for 230 years following establishment of a Jesuit mission in 1668. The United States claimed Guam during the Spanish-American War in 1898, while Germany then Japan and finally the United States governed the Northern Marianas. This long period of colonisation largely obliterated the native Chamorros' consciousness of an indigenous past. Rapid social changes that began in the 1960s had severely undermined the Chamorro sense of identity by the beginning of the 1980s. Counterforces, however, were beginning to take shape, driven by local as well as international movements. Using Chamorro art as a theme, this thesis traces the history of the native people and their cultural transformations which defined their identity as a continuing cultural group, despite their loss of an indigenous history. Recent social, economic and political changes have triggered a movement to express their identity as a people separate from their colonisers. Indigenous artists are involved in a renaissance of artistic creation that draws on perceptions of their pre-contact culture for inspiration. Chapters explore the beginnings of a self-conscious cultural awareness and subsequent reconstruction of their ancient history, expressed through neo-traditional creations of song, dance and visual art forms. Their sources of inspiration and processes of creating identity symbols from an ancient past are revealed through extensive interviews and fieldwork. Indigenous ways of looking at history and perceptions of both insiders and outsiders regarding validation of these art forms are discussed in terms of local examples which are compared to Pacific and global movements of decolonisation and identity formation. The text is referenced by an appendix of over 150 photographic examples of Chamorro art and artefacts from museums, historical documents and fieldwork
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Chang-Rodríguez, Raquel. "Exhibición: "Guaman Poma de Ayala. The Colonial Art of an Andean Author"." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/122047.

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Storey, Ann Elizabeth. "The identical synthronos Trinity : representation, ritual and power in the Spanish Americas /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6228.

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Morehouse, Dawn M. "Copley's compromise navigating the discourse of beauty and likeness in colonial Boston /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2008. http://proquest.umi.com/pqdweb?did=1597629701&sid=23&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Ross, Douglas E. "Domestic Brick Architecture in Early Colonial Virginia." W&M ScholarWorks, 2002. https://scholarworks.wm.edu/etd/1539626356.

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Books on the topic "Colonial art"

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Caja de Ahorros de Asturias. Obra Social y Cultural. and Museo de América (Madrid, Spain), eds. México colonial. [Oviedo]: Caja de Ahorros de Asturias, 1990.

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Radford, Ron. Australian colonial art, 1800-1900. Adelaide: Art Gallery Board of South Australia, 1995.

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Schenone, Héctor H. Iconografía del arte colonial. [Argentina]: Fundación Tarea, 1992.

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1952-, Axelrod Alan, and Henry Francis du Pont Winterthur Museum., eds. The Colonial revival in America. New York: Norton, 1985.

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Concha, Alejandra Castro. La consistencia del cuadro colonial. Santiago de Chile: Ediciones Metales Pesados, 2016.

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Victoria, National Gallery of, ed. This wondrous land: Colonial art on paper. Melbourne: National Gallery of Victoria, 2011.

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Campos, Adalgisa Arantes. Arte sacra no Brasil colonial. Belo Horizonte: Editora C/Arte, 2011.

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B, Oscar A. Velarde. El arte religioso colonial en Panamá. Panamá: Instituto Nacional de Cultura, Dirección Nacional de Patrimonio Histórico, Proyecto de Desarrollo Cultural PNUD UNESCO, 1990.

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Singapore, National Gallery. Artist and empire: (en)countering colonial legacies. Singapore: National Gallery Singapore, 2016.

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Museum, Denver Art. Companion to Spanish colonial art at the Denver Art Museum. 2nd ed. Denver: Denver Art Museum, Mayer Center for Pre-Columbian & Spanish Colonial Art at the Denver Art Museum, 2015.

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Book chapters on the topic "Colonial art"

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Zabunyan, Elvan. "Decolonizing contemporary art exhibitions." In Decolonizing Colonial Heritage, 152–72. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100102-11.

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Ernsten, Christian. "Resurfacing Colonial Dead." In Studies in Art, Heritage, Law and the Market, 41–61. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85806-3_3.

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Van Beurden, Sarah. "26. Did the Belgian Colonizer Create, Destroy or Steal Congolese Art?" In Colonial Congo, 301–10. Turnhout, Belgium: Brepols Publishers, 2024. http://dx.doi.org/10.1484/m.stmch-eb.5.137762.

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Seo, Yuri. "Magazine Covers and Colonial Modernity." In Interpreting Modernism in Korean Art, 105–13. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429351112-15.

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Bottinelli, Silvia. "Colonial Legacies in Agriculture and Art." In Artists and the Practice of Agriculture, 133–93. London: Routledge, 2023. http://dx.doi.org/10.4324/9780367200800-7.

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Zinni, Mariana, and Anthony Harb. "Statue Painting in Colonial Andes." In Polychrome Art in the Early Modern World, 85–101. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003010005-9.

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McMillan, Kate. "Art and Unforgetting: The Role of Art and Memory in Postcolonial Landscapes." In Contemporary Art and Unforgetting in Colonial Landscapes, 105–40. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17290-9_5.

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Cheung, Joys H. Y., and Alison McQueen Tokita. "Art song as lyrical modernity in colonial and post-colonial contexts." In The Art Song in East Asia and Australia, 1900 to 1950, 1–15. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003313151-1.

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Garneau, David. "From Colonial Trophy Case to Non-Colonial Keeping House." In The Routledge Companion to Indigenous Art Histories in the United States and Canada, 235–46. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003014256-27.

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McMillan, Kate. "Art Practice as Resistance/Defying Forgetting." In Contemporary Art and Unforgetting in Colonial Landscapes, 165–88. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17290-9_7.

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Conference papers on the topic "Colonial art"

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Rashtian, Hamed, and Gabriela Aceves-Sepulveda. "Same Old Story: Agential Realism in the Study of Colonial Histories." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-78-full-rashtian-et-al-same-old-story.

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What are the possibilities of accessing the reality of history? How can we read history, and what can we learn from it? In this paper, we contemplate these questions by putting our ongoing research-creation project, Same Old Story (2020-present), in conversation with feminist critiques of objectivity and current discussions on the construction of historical narratives by historians, philosophers and artists, including Antoinette Burton, Andreas Huyssen, Walter Benjamin Walid Raad and Forensic Architecture. Specifically, we elaborate on how Karen Barad's "agential realism" ¹ informs our engagement with colonial histories in Same Old Story and speculate on its broader relevance in research-projects that engage with historical narratives. To do so, we describe the process of creating the current iteration of our project and offer a theoretical framework based on a discussion of three main themes, Archive/ Memory, Architecture and Monument/Counter-Monument. Building from this discussion, we elaborate on how to expand our work further, focusing on the possibilities and limits of revitalizing embodied realities in historical events and learning from them.
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Tahir, Rafya. "ART EDUCATION IN PAKISTAN: COLONIAL LEGACY AND CHALLENGES OF 21st CENTURY." In International Conference on Arts and Humanities. The International Institute of Knowledge Management (TIIKM), 2018. http://dx.doi.org/10.17501/icoah.2017.4109.

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Liu, Yiding. "A Brief History of Cruisers, Witnesses of the Colonial Imperialism." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.526.

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Fang, Jiaying. "A Comparative Study of Portuguese Colonial Architecture: a Case Study of East Timor and Macau." 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-19.2019.48.

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Xingyu, Lu. "An Analysis of the Construction of Female Identity in A Mercy Under the Perspective of Homi Bhabha’s Post-Colonial Theory." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.110.

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Tapia Uriona, Roxana. "Contribuciones para la construcción de la teoría sobre la ciudad latinoamericana." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Maestría en Planeación Urbana y Regional. Pontificia Universidad Javeriana de Bogotá, 2014. http://dx.doi.org/10.5821/siiu.6037.

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Los estudios realizados sobre la ciudad latinoamericana siempre han estado ligados a modelos teóricoconceptuales europeos dada la herencia colonial o a patrones de influencia norteamericana principalmente, el presente trabajo, defiende la idea de que la ciudad latinoamericana tiene códigos propios, si bien innegablemente se desarrolló bajo el soporte físico de la ciudad colonial y en su desarrollo tuvo diversas influencias, fue la ciudadanía quien la transformó a partir de sus usos y costumbres, de igual forma que hizo con el arte colonial, desarrolló un “sincretismo urbano”. Para entender las lógicas de la ciudad actual latinoamericana, debemos estudiar su código genético, apoyándonos en la arqueología como herramienta de trabajo para extraer las señas de identidad que se transmitieron en el tiempo desde aquellas sociedades precolombinas e ir superponiendo los diferentes periodos históricos que transformaron morfológicamente las ciudades, extrayendo elementos singulares que puestos en relación con los demás, crearon nuevas estructuras. Studies Latin American city have always been linked to theoretical and conceptual European models given the colonial legacy or patterns of American influence mainly the present study supports the idea that Latin American city has its own codes, although undeniably was developed under the physical support of the colonial city and its development had different influences, citizenship who was transformed from their customs, just as he did with the colonial art, he developed an "urban syncretism " . To understand the logic of the current Latin American city, we must study its genetic code, relying on archeology as a tool to extract the hallmarks that were transmitted in time from those pre-Columbian societies and go superimposing different historical periods morphologically transformed cities, extracting unique elements brought into relation with others, created new structures.
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Simmons, Steven, and Roger Watson. "A System-Wide Pipeline Automation Project: Application Colonial Pipeline System." In 2002 4th International Pipeline Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/ipc2002-27026.

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This paper will discuss the objectives, challenges, and methods of implementing a system-wide pipeline automation project at Colonial Pipeline, focusing on the pilot project and early years. Currently the company is in the midst of a five-year project to automate and remotely operate delivery facilities, tank farms, and origination stations along over 5000 miles of existing pipeline. The end result will bring control of over 200 facilities into to the Central Control Center. Technically, the project goal is to install state of the art infrastructure to enhance safety and reliability, standardize to a common platform across the system, and integrate into an existing SCADA Control System. From the business perspective, the project goal is to meet or exceed typical industry guidelines for project management metrics, reach a unitized cost basis and provide a foundation for consistent and repeatable operations across the entire pipeline system. The Common Project Process (a cross-functional integrated project team strategy) and an engineering alliance are being used to define and execute the project phases. Colonial’s Engineering team recast itself in 1999 on the basis of establishing core competencies, leveraging internal talent and knowledge, and establishing an effective outsourcing strategy. This automation project is one of the first large-scale efforts to put this new model to task. In 2000, Colonial Pipeline and Mangan, Inc. formed an engineering alliance to capitalize on the strengths of both teams. Colonial’s pipeline engineering and operations knowledge have been equitably matched with Mangan’s project management, engineering and integration skills. The result is an energetic and committed technical project team, as well as a win-win opportunity for both sides. This alliance provides a valuable model for engineering team outsourcing and contracting. Except for original construction projects, it is rare for a pipeline company to take on a system-wide infrastructure upgrade opportunity of this scope. Success of the pilot project depended on integrating the field automation with SCADA system capabilities and developing both control center and human resources plans. The field hardware, the technical focus of this paper, is a small piece of the entire project objective; however it represents the foundation of the entire business model. Selecting and committing to a common controls platform was an engineering objective. The hardware had to provide a certain level of assurance that the standard model would be available both at the start and the end of the project, in addition to supporting legacy systems for future challenges. In summary, this automation project represents more than engineering and integration. It’s a combination of the talent, hardware, and vision which will accomplish the goal of the core business product — safe and efficient delivery of consumer fuels.
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Farber, Leora. "The Scientific Lab as Studio/The Studio as Scientific Lab: Exploring Practice-Led Microbial Bioart in a Decolonial Context." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35903.

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This abstract discusses the field of bioart, which explores the intersection of art and biotechnology. It raises questions about life, bioethics, and environmental interactions. The author’s praxis involves hands-on experimentation with living and nonliving materials in scientific labs, resulting in artistic outcomes. The concept of “intra-action” is explored, emphasising a reciprocal relationship between the artist and the material. The paper highlights the increasing collaboration between artists and scientists, leading to the establishment of bioart labs and art-science programs. The author’s own bioart praxis involves working with bacteria and yeast to create biofibers resembling human skin, which are then used to produce casts referencing colonial histories. The challenges and experimental nature of working with living materials are also discussed.
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Hafizah, Noor, Nurul Auni Zulkifli, b. Suhaimi Mohd Syahmi, Mohd Fairus Kholid, Asmaa Mahfoud, and Zulaika Mohd Shuid. "Exploring the Intersection of Technology and Art Education: (ARchi3D) A Conception Development of Facade Design Elements at Colonial Buildings Through Augmented Reality (AR)." In 2023 IEEE 11th Conference on Systems, Process & Control (ICSPC). IEEE, 2023. http://dx.doi.org/10.1109/icspc59664.2023.10420059.

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Moraes, Janain. "Residencing invitation poétics: a choreographic process." In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.195.

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This research is a choreographic practice. It is a choreo-lingual exercise that dwells with notions of language, context and displacement as experiences of transition(ing). As a journey towards (and around) home, this trans-national study engages with logics and theoretical positions from Latin America alongside with Aotearoa (New Zealand). As part of my practice-led doctoral research, I propose a choreographic process that is crafted around the notion of an invitation poétics. In this practice, notions of host-guest relationships and the context of art residencies are the orientation devices for discussing issues on hospitality, the position of the “other” and counter-colonial approaches to dance practice, curationship and the locality of art/pedagogy. For this conference, I will focus on the discussion of Art residencies as curatorial terrains of be-longing, stepping into counter-colonial practices of curation. Valuing pluralist, poly relations that engage in response to a situated territory, I navigate with quilombola philosopher and quilombo historian Antonio Bispo dos Santos (2015) and Beatriz Nascimento (2018) to envision curatorial practices as experiences of confluence. To emphasise cura within the notion of curation is, amongst other things, to bring attention to care as the operative practice of election, one that operates less in the realms of selecting and vibrates more through the notions of healing and enchantment – curative exercises of making kin. I will share how, finding in art residencies a fertile ground for exploring invitation poétics, I have invited (and responded to invitations from) a range of people – amongst dancers, non-dancers, artists and non-artists – in extremely different contexts – schools, libraries, houses, churches, villages, studios, streets – and for disparate reasons, or with very distinct focuses – aesthetical, social, pedagogical and so on; and how these experiences led me to learn from notions of aquilombamento, provoking me to think of curatorial practices that value ecosystems of care, learning, experimenting, conversing and co-curating as a re:pairing practice that experiments through sensing belonging with place, time and relations through bio-interaction and cosmophilia.
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Reports on the topic "Colonial art"

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Muxo, Robert, Kevin Whelan, Raul Urgelles, Joaquin Alonso, Judd Patterson, and Andrea Atkinson. Biscayne National Park colonial nesting birds monitoring protocol—Version 1.1. National Park Service, January 2022. http://dx.doi.org/10.36967/nrr-2290141.

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Breeding colonies of wading birds (orders Ciconiiformes, Pelecaniformes) and seabirds (orders Suliformes, Pelecaniformes) serve as important indicators of aquatic ecosystem health, as they respond to changes in food abundance and quality, contaminants, invasive species, and disturbance. The Comprehensive Everglades Restoration Plan, Restoration Coordination & Verification program (CERP-RECOVER) has identified wading-bird colonies as an important ecosystem restoration indicator. The National Park Service South Florida/Caribbean Inventory & Monitoring Network (SFCN) ranked colonial nesting birds eighth out of 44 vital signs of park natural resource conditions for ecological significance and feasibility. However, while large-scale monitoring efforts are occurring in the rest of the Greater Everglades Ecosystem, only minimal historic data collection and no extensive ongoing monitoring of wading bird and seabird nesting have occurred in Biscayne National Park. Consequently, due to their high importance as biological indicators and because they are a gap occurring in regional monitoring efforts, the network has initiated a monitoring program of colonial nesting birds in Biscayne National Park. This protocol provides the rationale, approach, and detailed Standard Operating Procedures for annual colonial bird monitoring within and close to Biscayne National Park and conforms to the Oakley et al. (2003) guidelines for National Park Service long-term monitoring protocols. The specific objectives of this monitoring program are to determine status and long-term trends in: Numbers and locations of active colonies of colonial nesting birds with a special focus on Double-crested Cormorants, Great Egrets, Great White Herons, Great Blue Herons, White Ibises, and Roseate Spoonbills. Annual peak active nest counts of colonial nesting birds in Biscayne National Park with a special focus on the species mentioned above. An annual nesting index (i.e., sum of monthly nest counts) with a special focus on the species mentioned above. Timing of peak nest counts for the focal species.
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Deni Seymour, Deni Seymour. Where are the Spanish Colonial Jesuit Missions at Guevavi? Experiment, August 2014. http://dx.doi.org/10.18258/3296.

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Chriscoe, Mackenzie, Rowan Lockwood, Justin Tweet, and Vincent Santucci. Colonial National Historical Park: Paleontological resource inventory (public version). National Park Service, February 2022. http://dx.doi.org/10.36967/nrr-2291851.

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Colonial National Historical Park (COLO) in eastern Virginia was established for its historical significance, but significant paleontological resources are also found within its boundaries. The bluffs around Yorktown are composed of sedimentary rocks and deposits of the Yorktown Formation, a marine unit deposited approximately 4.9 to 2.8 million years ago. When the Yorktown Formation was being deposited, the shallow seas were populated by many species of invertebrates, vertebrates, and micro-organisms which have left body fossils and trace fossils behind. Corals, bryozoans, bivalves, gastropods, scaphopods, worms, crabs, ostracodes, echinoids, sharks, bony fishes, whales, and others were abundant. People have long known about the fossils of the Yorktown area. Beginning in the British colonial era, fossiliferous deposits were used to make lime and construct roads, while more consolidated intervals furnished building stone. Large shells were used as plates and dippers. Collection of specimens for study began in the late 17th century, before they were even recognized as fossils. The oldest image of a fossil from North America is of a typical Yorktown Formation shell now known as Chesapecten jeffersonius, probably collected from the Yorktown area and very likely from within what is now COLO. Fossil shells were observed by participants of the 1781 siege of Yorktown, and the landmark known as “Cornwallis Cave” is carved into rock made of shell fragments. Scientific description of Yorktown Formation fossils began in the early 19th century. At least 25 fossil species have been named from specimens known to have been discovered within COLO boundaries, and at least another 96 have been named from specimens potentially discovered within COLO, but with insufficient locality information to be certain. At least a dozen external repositories and probably many more have fossils collected from lands now within COLO, but again limited locality information makes it difficult to be sure. This paleontological resource inventory is the first of its kind for Colonial National Historical Park (COLO). Although COLO fossils have been studied as part of the Northeast Coastal Barrier Network (NCBN; Tweet et al. 2014) and, to a lesser extent, as part of a thematic inventory of caves (Santucci et al. 2001), the park had not received a comprehensive paleontological inventory before this report. This inventory allows for a deeper understanding of the park’s paleontological resources and compiles information from historical papers as well as recently completed field work. In summer 2020, researchers went into the field and collected eight bulk samples from three different localities within COLO. These samples will be added to COLO’s museum collections, making their overall collection more robust. In the future, these samples may be used for educational purposes, both for the general public and for employees of the park.
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Olaya González, Juan Camilo, Mauro Nalesso, Benoit Lefevre, and Luis Schloeter. Plan de adaptación a inundaciones influenciadas por el cambio climático: Ciudad Colonial de Santo Domingo: República Dominicana. Inter-American Development Bank, February 2024. http://dx.doi.org/10.18235/0005662.

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Este documento presenta el Plan de Adaptación a inundaciones influenciadas por el Cambio Climático en la Ciudad Colonial de Santo Domingo. De acuerdo con el IPCC (AR6), existe una alta posibilidad de que el aumento en la temperatura atmosférica influya en el cambio de frecuencias y magnitudes de eventos extremos de precipitación. Por tanto, la exacerbación de este tipo de eventos a futuro puede poner en riesgo las personas, la infraestructura, la propiedad, y los medios de vida y sustento de lugares como la Ciudad Colonial. El Plan se presenta en el marco del “Programa Integral de Desarrollo Turístico y Urbano de la Ciudad Colonial (PIDTUCCSD)”, en el cual el Gobierno Dominicano, en cabeza del Ministerio de Turismo (MITUR), busca revitalizar la Ciudad Colonial en sus aspectos urbanos, económicos y de turismo a través de la recuperación de espacios públicos y monumentos, el mejoramiento de condiciones de habitabilidad para los residentes, el desarrollo de economías locales, y el fortalecimiento de la gestión de la Ciudad Colonial.
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McKinnon, Mark, Craig Weinschenk, and Daniel Madrzykowski. Modeling Gas Burner Fires in Ranch and Colonial Style Structures. UL Firefighter Safety Research Institute, June 2020. http://dx.doi.org/10.54206/102376/mwje4818.

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The test scenarios ranged from fires in the structures with no exterior ventilation to room fires with flow paths that connected the fires with remote intake and exhaust vents. In the ranch, two replicate fires were conducted for each room of origin and each ventilation condition. Rooms of fire origin included the living room, bedroom, and kitchen. In the colonial, the focus was on varying the flow paths to examine the change in fire behavior and the resulting damage. No replicates were conducted in the colonial. After each fire scene was documented, the interior finish and furnishings were replaced in affected areas of the structure. Instrumentation was installed to measure gas temperature, gas pressure, and gas movement within the structures. In addition, oxygen sensors were installed to determine when a sufficient level of oxygen was available for flaming combustion. Standard video and firefighting IR cameras were also installed inside of the structures to capture information about the fire dynamics of the experiments. Video cameras were also positioned outside of the structures to monitor the flow of smoke, flames, and air at the exterior vents. Each of the fires were started from a small flaming source. The fires were allowed to develop until they self-extinguished due to a lack of oxygen or until the fire had transitioned through flashover. The times that fires burned post-flashover varied based on the damage occurring within the structure. The goal was have patterns remaining on the ceiling, walls, and floors post-test. In total, thirteen experiments were conducted in the ranch structure and eight experiments were conducted in the colonial structure. All experiments were conducted at UL's Large Fire Laboratory in Northbrook, IL. Increasing the ventilation available to the fire, in both the ranch and the colonial, resulted in additional burn time, additional fire growth, and a larger area of fire damage within the structures. These changes are consistent with fire dynamics based assessments and were repeatable. Fire patterns within the room of origin led to the area of origin when the ventilation of the structure was considered. Fire patterns generated pre-flashover, persisted post-flashover if the ventilation points were remote from the area of origin.
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Arumugam, Udayansankar, Pablo Cazenave, and Ming Gao. PR-328-133702-R01 Study of the Mechanism for Cracking in Dents in a Crude Oil Pipeline. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), February 2019. http://dx.doi.org/10.55274/r0011556.

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Phase one report: Crack fields (colonies) in dents are often observed in liquid pipe lines. Because of their colonial appearance, these cracks in dents are often thought to be associated with stress corrosion cracking (SCC). However, a recent full-scale dent fatigue testing under a PRCI mechanical damage program showed that crack colonies in dents can be produced by fatigue. This observation facilitated PRCI to launch a further study of the cracking mechanism in dents using samples extracted from a liquid pipeline. A total of 6 pipe samples containing dent with crack/metal loss were investigated. Evidences from this investigation showed that cracks in dents are aligned in an axial direction with appearance similar to crack colony. Fractographic analyses showed that the mechanism for cracking in these dents was fatigue. No evidence of stress corrosion cracking (SCC) was found. Fractographic analyses also showed that cracks in the colony were associated with a corrosion pit, suggesting corrosion pits are the initiation sites for fatigue crack. A combination of corrosion pitting and fatigue crack growth is the overall mechanism for the observed cracking, that is, corrosion may be the first degrading mechanism followed by the fatigue crack growth. Based on the understanding of the mechanism for cracking, a review is given to the currently available pit-to-crack transition and overall life prediction models. Applicability and limitations of these models to cracks in dent are discussed. Gaps and areas for further study are discussed. An example of rate competing between pit and crack growth and for overall life estimate is illustrated. In this report, sample selection and the approach used in this investigation are presented first. The findings from fractographic analysis are summarized. Currently available modelling efforts for pitto-fatigue are reviewed. Gaps and further research areas are discussed.
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Kalen, Nicholas. Bats of Colonial National Historical Park following white-nose syndrome. National Park Service, May 2023. http://dx.doi.org/10.36967/2299226.

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I conducted bat surveys at Colonial National Historical Park to assess the status of bat communities following potential impacts of white-nose syndrome (WNS) since its arrival in Virginia in 2009. This disease, caused by the fungus Pseudogymnoascus destructans, has severely reduced populations of several bat species in the eastern United States, threatening some with regional extirpation. In the East, most-affected species include the little brown bat (Myotis lucifugus), the federally-endangered northern long-eared bat (Myotis septentrionalis) and Indiana bat (Myotis sodalis) (USFWS 2007, USFWS 2022a), as well as the tricolored bat (Perimyotis subflavus), which has been proposed for endangered status (USFWS 2022b). I sampled sites in Yorktown and Jamestown Island with acoustic bat detectors from the spring of 2019 through the spring of 2021 and conducted capture surveys using mist nets in 2019 and 2021 to characterize seasonal occurrence of bat species with a focus on documenting WNS-imperiled species. Surveys also sought to document potential over-wintering of bats at COLO, especially northern long-eared bats, which occur year-round in the Coastal Plain of North Carolina. Acoustic results identified the presence of eleven bat species by echolocation calls: big brown bat (Eptesicus fuscus), eastern red bat (Lasiurus borealis), hoary bat (Lasiurus cinereus), silver-haired bat (Lasionycteris noctivagans), southeastern bat (Myotis austroriparius), little brown bat, northern long-eared bat, Indiana bat, evening bat (Nycticeius humeralis), tricolored bat, and Mexican free-tailed bat (Tadarida brasiliensis). Acoustic results included diagnostic echolocation calls of little brown, northern long-eared, and Indiana bats, however, presence should be interpreted with caution due to similarities of call structures among Myotis spp. bats. Capture surveys documented seven species: big brown, eastern red, hoary, silver-haired, southeastern, evening, and tricolored bats. To examine habitat associations of bat species, I used generalized linear mixed models of a selection of variable candidates: habitat type, distance to water, minimum nightly temperature, and nightly precipitation to predict summer activity by significant predictors. Activity of hoary, silver-haired, little brown, evening, tricolored, and Mexican free-tailed bats was highest in open habitats. Big brown bat and Indiana bat identifications were most associated with forest habitats. Eastern red bat activity was high in both forest and open sites. Southeastern bat activity was highest in wetland sites and was largely confined to these habitats. Northern long-eared bat activity was not significantly different among habitat types. To examine seasonality in bat species occurrence, I modeled acoustic activity in passes/night by Julian date using generalized additive models. Activity of big brown, eastern red, hoary, little brown, northern long-eared, tricolored, evening, and Mexican free-tailed bats was highest during summer. Silver-haired bat activity was highest in March indicative of seasonal migration. Hoary and Mexican free-tailed bat also exhibited high activity on several nights in the spring suggestive of migratory movement. Dormant season results suggest some winter occurrence for all identified bat species except Indiana bats. Very few characteristic calls of northern long-eared bats were observed from December through February, suggesting they winter locally in far lower abundances than in the Coastal Plain of North Carolina to the south.
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Fernández-Armesto, Felipe. Amerigo and America? Inter-American Development Bank, April 2007. http://dx.doi.org/10.18235/0007957.

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Felipe Fernández-Armesto (1950-), distinguished British scholar of global environmental history, comparative colonial history, topics in Spanish and maritime history and the history of cartography; Principe de Asturias Chair at Tufts University.
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Chejanovsky, Nor, Diana Cox-Foster, Victoria Soroker, and Ron Ophir. Honeybee modulation of infection with the Israeli acute paralysis virus, in asymptomatic, acutely infected and CCD colonies. United States Department of Agriculture, December 2013. http://dx.doi.org/10.32747/2013.7594392.bard.

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Honey bee (Apis mellifera) colony losses pose a severe risk to the food chain. The IAPV (Israeli acute paralysis virus) was correlated with CCD, a particular case of colony collapse. Honey bees severely infected with IAPV show shivering wings that progress to paralysis and subsequent death. Bee viruses, including IAPV, are widely present in honey bee colonies but often there are no pathological symptoms. Infestation of the beehive with Varroa mites or exposure to stress factors leads to significant increase in viral titers and fatal infections. We hypothesized that the honey bee is regulating/controlling IAPV and viral infections in asymptomatic infections and this control is broken through "stress" leading to acute infections and/or CCD. Our aims were: 1. To discover genetic changes in IAPV that may affect tissue tropism in the host, and/or virus infectivity and pathogenicity. 2. To elucidate mechanisms used by the host to regulate/ manage the IAPV-infection in vivo and in vitro. To achieve the above objectives we first studied stress-induced virus activation. Our data indicated that some pesticides, including myclobutanil, chlorothalonil and fluvalinate, result in amplified viral titers when bees are exposed at sub lethal levels by a single feeding. Analysis of the level of immune-related bee genes indicated that CCD-colonies exhibit altered and weaker immune responses than healthy colonies. Given the important role of viral RNA interference (RNAi) in combating viral infections we investigated if CCD-colonies were able to elicit this particular antiviral response. Deep-sequencing analysis of samples from CCD-colonies from US and Israel revealed high frequency of small interfering RNAs (siRNA) perfectly matching IAPV, Kashmir bee virus and Deformed wing virus genomes. Israeli colonies showed high titers of IAPV and a conserved RNAi pattern of targeting the viral genome .Our findings were further supported by analysis of samples from colonies experimentally infected with IAPV. Following for the first time the dynamics of IAPV infection in a group of CCD colonies that we rescued from collapse, we found that IAPV conserves its potential to act as one lethal, infectious factor and that its continuous replication in CCD colonies deeply affects their health and survival. Ours is the first report on the dominant role of IAPV in CCD-colonies outside from the US under natural conditions. We concluded that CCD-colonies do exhibit a regular siRNA response that is specific against predominant viruses associated with colony losses and other immune pathways may account for their weak immune response towards virus infection. Our findings: 1. Reveal that preventive measures should be taken by the beekeepers to avoid insecticide-based stress induction of viral infections as well as to manage CCD colonies as a source of highly infectious viruses such as IAPV. 2. Contribute to identify honey bee mechanisms involved in managing viral infections.
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Stevens, Madison, Elizabeth Lunstrum, Jamie Faselt, Brent L. Brock, Kyran E. Kunkel, Jake Rayapati, Chamois Andersen, et al. Buffalo Reading List. Boise State University, Albertsons Library, September 2023. http://dx.doi.org/10.18122/environ.9.boisestate.

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Welcome to this reading list on buffalo, also known as bison. The list gathers together literature focused on buffalo to support ongoing efforts to restore this iconic species to its keystone cultural and ecological role. Once the thundering heartbeat of Turtle Island or the North American continent, buffalo were nearly exterminated by the end of the 19th century in the course of westward colonial expansion and settlement. Today, across the continent, Indigenous Nations are at the forefront of initiatives to bring buffalo back to their homelands. Conservation practitioners, researchers, parks and government officials, and bison ranchers join Tribal communities to play key roles in advancing a place for buffalo.
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