Relevant bibliographies by topics / Exhibition theories

Contents

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

Academic literature on the topic 'Exhibition theories'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Exhibition theories"

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Aubart, François. "The Exhibition. Theories and Practices." Critique d’art, no. 55 (November 30, 2020): 171–79. http://dx.doi.org/10.4000/critiquedart.68102.

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Jo, Young Hoon, Jikio Kim, Yong Hyun Yun, Nam Chul Cho, and Chan Hee Lee. "Developing Experiential Exhibitions Based on Conservation Science Content of Bronze Mirror." Journal of Conservation Science 37, no. 4 (August 31, 2021): 362–69. http://dx.doi.org/10.12654/jcs.2021.37.4.05.

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In museums, exhibition content focuses mostly on cultural heritage’s historical values and functions, but doing so tends to limit visitors’ interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors’ traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors’ scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as “easy to understand and useful as the esoteric science exhibition was combined with media art” (16.7%), “wonderful and interesting” (11.7%), and “firsthand experience was good” (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors’ active participation. This exhibition’s content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.
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Lin, Airtok, and Grant G. L. Yang. "Empirical Study on Preference Similarity Theory in China’s Overseas Exhibitions." Business Prospects 1, no. 1 (December 1, 2020): 30–47. http://dx.doi.org/10.52288/bp.27089851.2020.12.02.

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As a part of the modern economic system, the exhibition industry has shown vigorous development and has attracted the general attention of all countries worldwide. The international exhibitions bring together many industries with wide influence, great development potential, and a high degree of industrial relevance. A large amount of information, technology, capital, and talents are gathered to promote the development and progress of commodity trade, industry development, technological and cultural exchanges, which play an important role in bringing considerable benefits to the global economy. Overseas exhibitions can provide excellent business opportunities for enterprises as an efficient marketing method, not only insincerity but also more access to potential customers. Based on the overseas exhibitions that China has participated in, this paper analyzes and proves the Preferences Similar Theories in China’s participation in the Belt and Road and non-the Belt and Road countries. Results of this study may suggest the future layout of the global exhibition.
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Christensen, Line Hjorth. "At svare plakaten igen. En omgivelsesorienteret strategi for kuratering af plakater og grafisk design." Nordisk Museologi, no. 2 (March 8, 2017): 78–94. http://dx.doi.org/10.5617/nm.4338.

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This article investigates the change of context and meaning makingprocess that occurs when posters are turned into objects for curatorial practice.Based on historical and recent examples of poster exhibitions it suggests ascheme for curatorial work in regard to posters and graphic design lendingfrom phenomenologically and materially orientated theories that give priorityto sensorial aspects of the exhibition media. Further it introduces the concept“counterability” (da.: “gengældelse”, “modydelse”) as a tool for discussing howposters’ dependency on the living environments can be transferred for curatorialpurposes. Finally, the concept is discussed in regard to the exhibition Spot On!British Posters of the Interwar Years which in 2015 was held at the Danish PosterMuseum in Den Gamle By (The Old Town) in Aarhus.
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Li, Gan. "Research on the Connotation and Operation Mechanism of Smart Exhibition." E3S Web of Conferences 235 (2021): 03058. http://dx.doi.org/10.1051/e3sconf/202123503058.

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The current development of China’s convention and exhibition economy is showing a new normal, under the background of the rapid development of information technology and the era of experience economy, the transformation and upgrading of the convention and exhibition industry will inevitably develop in the direction of informatization and intelligence, that is “smart exhibition”. This article takes the theoretical research related to the development status of smart exhibition as the starting point, studies and analyzes the connotation, elements and structure of smart exhibition, discusses the basic framework of smart exhibition, reveals the operation mechanism of smart exhibition, and forms some basic viewpoints and theories about smart exhibition.
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Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (June 26, 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.

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The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.
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MUŞKARA, Üftade, Oylum TUNÇELLİ, and Serpil ŞAHİN. "ART AND ARCHAEOLOGY CLOSE ENCOUNTERS OF THE THIRD KIND." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (April 1, 2021): 732–49. http://dx.doi.org/10.7456/11102100/024.

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Art and archaeology have a growing interaction, which is expressed mainly in displaying the material culture of ancient civilizations. The post-modernist concept suggests that art is for everyone. Likewise, archaeologists recognize the idea that archaeological narratives are supposed to be everyone to understand and enjoy. Today, many museum displays and special exhibitions consist of contemporary design features of art. The technology-driven exhibition techniques applied in the “Curious Case of Çatalhöyük” exhibition and Göbeklitepe Animation Center to increase the perception of visitors establish the basis of the study. The paper examines the backgrounds of the relation between two disciplines by “digging” up the history of archaeological theories and analyzing main art movements corresponding to a period from Dadaism to contemporary art. Archaeological storytelling of history and culture using post-modern rhetoric is defined as the “close encounter.” The interactive display provides new directions in the visual reconstructions of past societies. We proposed that the Çatalhöyük exhibition and Göbeklitepe Animation Center are among the best examples of the new approach for presentation in archaeology.
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Barriendos, Joaquin. "SPHERICAL CONFLUENCE: Global Curatorship after ‘Magiciens de la Terre’." ARJ – Art Research Journal / Revista de Pesquisa em Artes 2, no. 2 (September 25, 2015): 1–14. http://dx.doi.org/10.36025/arj.v2i2.7293.

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This paper examines the 25th anniversary of Magiciens de la Terre, one of the twentieth century’s most controversial and ambitious exhibitions. The aim of this text is to call into question the assumption that this exhibition inaugurated a sort of new global confluence between so-called Western and Non-Western art. In order to do that, the paper addresses some of the curatorial projects, theories of (alter)modernity and globalist ideologies that gravitate around this exhibition. Our intention is to analyse the consequences of accepting that 1989 is the degree zero of the ‘spherical confluence’ of global art. For our purposes here, the papers defines this phenomenon as the ‘magiciens effect’: the premise that art became truly global in 1989, in Paris, due to Magiciens de la terre, and that the canonical hierarchies of modernity were dissolved in the process giving place to a post-asymmetric geo-aesthetic regime.
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Fargo, Hailley, and Rachel White. "Depth of field: Connecting library exhibition space to curriculum and programming." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (April 2019): 189–203. http://dx.doi.org/10.1177/0955749019876384.

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This article focuses on an exhibition curated by library employees at the Pennsylvania State University. Their exhibition, Depth of Field, grew out of a common reading program collaboration. In creating the exhibition, the authors of this article aimed to create a dialogue around the way in which viewers interact with visual and textual imagery, specifically as it relates to war photography. Photojournalism is interdisciplinary and provided the authors with multiple avenues in which to approach themes, thus making it the perfect vehicle to cross boundaries and find common space for visitors to the exhibition. The intent of this article is to provide an example of a cross-campus collaboration that resulted in an engaging exhibition, how to take complex ideas and theories and make them digestible for a first-year student audience, and strategies for academic libraries who are considering a similar project at their institution.
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Rowe, Dorothy. "Georg Simmel and the Berlin Trade Exhibition of 1896." Urban History 22, no. 2 (August 1995): 216–28. http://dx.doi.org/10.1017/s0963926800000481.

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In tracing a theoretical history of modernity peculiar to Imperial Berlin after 1871, the urban themes developed in the writings of the German social theorist, Georg Simmel, have proved to be particularly pertinent. The exhibition of 1896 provides Simmel with a major site of investigation into the visible effects of the commodified urban sphere upon the individual city dweller which finds one of its most spectacular forms in the rise of the mid-nineteenth-century ‘World Exhibition’. The paper outlines aspects of Simmel's theories of the differentiation of the individual in the capitalist metropolis as a background to an investigation into the various functions assigned to the 1896 Berlin Trade Exhibition both by its organizers and by Simmel.
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Dissertations / Theses on the topic "Exhibition theories"

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Engstad, Emma. "Berätta med form : om innehåll i utställningar." Thesis, Linköping University, Department of Thematic Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2483.

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Shaping visual stories - content in exhibitions is an essay on how content has been shaped in the two exhibitions "Memento mori" and "Hästen - tyglad, piskad, älskad". The study focuses on how exhibitions can be defined through their content as well as how the exhibitors'different intentions towards the exhibition affect the working process as well as the result. This is put in relation to theoretical models and discussions on ideals in the field of exhibition and what impels these to find an answer to the question: What makes an exhibition?


Berätta med form - om innehåll i utställningar är en undersökning av hur innehåll förhandlas fram i de två utställningarna "Memento mori" och "Hästen - tyglad, piskad, älskad". I uppsatsen tas fasta på hur utställningen kan definieras genom sitt innehåll samt hur utställarnas olika intentioner styr utställningsarbetet och den slutliga gestaltningen. Detta sätts även i relation till olika teoretiska modeller och resonemang kring utställningsideal och vad som påverkar dessa för att utröna: Vad gör en utställning idag?

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Engdahl, Lottie. "An Evaluation of”Middle Ages Dead or Live?”The first interactive exhibition at the National Museum of History." Thesis, Högskolan Dalarna, Vetenskapskommunikation, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2541.

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This is a study conducted at, and for, the National Museum of History in Stockholm. The aim of the study was to confirm or disconfirm the hypothesis that visitors in a traditional museum environment might not take part in interactivity in an interactive exhibition. And if they do the visitors might skip the texts and objects on display. To answer this and other questions a multiple method was used. Both non participant observations and exit interviews were conducted. After a description of the interactive exhibits, theory of knowledge and learning is presented before the gathered data is presented. All together 443 visitors were observed. In the observations the visitors were timed on how much time they spent in the room, the time spent on the interactivity, texts and objects. In the 40 interviews information about visitors’ participation in the interactivity was gathered. What interactivity the visitor found easiest, hardest, funniest and most boring.The result did not confirm the hypothesis. All kinds of visitors, children and adults, participated in the interactivities. The visitors took part in the texts and objects and the interactive exhibits.
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Allain, Bonilla Marie-Laure. "Visualiser la théorie : usages des théories postcoloniales dans les pratiques curatoriales de l’art contemporain depuis les années 1980." Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20028.

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Cette thèse se veut une réflexion sur l’articulation entre les théories postcoloniales et les pratiques curatoriales de l’art contemporain ; elle cherche en effet à souligner les perméabilités et la relation dialogique qui se sont instaurées entre celles-Ci. Il ne s’agit pas d’expliquer les théories postcoloniales appliquées aux pratiques curatoriales et d’en donner une sorte de mode d’emploi, mais plutôt de les visualiser. Par visualiser nous n’entendons pas illustrer, ou fournir une translittération de la théorie, mais bien donner à voir les différents développements et incarnations de celle-Ci. Les contextes britannique et américain des années 1980 et du début des années 1990 font l’objet de la première partie de la thèse dans la mesure où tous deux sont à la fois les lieux d’émergence des théories postcoloniales et des sociétés clés de l’histoire coloniale. La deuxième partie s’attache à la seconde moitié des années 1990 et au début des années 2000, un moment où les théories postcoloniales deviennent des outils indissociables de l’analyse de la globalisation. Enfin, la troisième partie propose d’envisager un monde post-Occidental au XXIe siècle, post-Occidental dans le sens où l’éclatement de la notion de centre/périphérie nécessite des déplacements et des réajustements épistémologiques dont les expositions d’art contemporain sont d’actifs vecteurs, particulièrement celles cherchant à articuler un propos postcolonial
This thesis is a reflection on the relationship between postcolonial theory and curatorial practices in contemporary art, with an emphasis on the permeabilities and dialogic relationship that has developed between them. It does not seek to explain postcolonial theory as applied to curatorial practices or to provide a so-Called user manual, but rather to visualize them. By “visualize” we do not mean to illustrate or present a transliteration of the theory, butinstead to note various developments and embodiments thereof. The United Kingdom and America during the 1980s and early 1990s are the subject of the first part of the thesis to the extent that they are both places of emergence of postcolonial theory and also key societies in the context of colonial history. The second part focuses on the second half of the 1990s and early 2000s, a time when postcolonial theory as a tool become inseparable from the analysis of globalization. Finally, the third part proposes to consider a post-Western world in the 21stcentury, post-Western in the sense that the dissolution of the concept of center/periphery requires certain shifts and epistemological adjustments for which contemporary art exhibitions are active vectors, particularly those seeking to articulate a postcolonial discourse
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Books on the topic "Exhibition theories"

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Anne, Ellegood, and KIT-Kunst im Tunnel, eds. Bjoern Dahlem--die Theorie des Himmels. Berlin: Distanz, 2010.

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Conrad, Lienhardt, ed. Ottokar Uhl: Werk, Theorie, Perspektiven. Regensburg: Schnell & Steiner, 2000.

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Frantz, Susanne K. Particle theories: International pâte de verre and other cast glass granulations. Millville, N.J: Museum of American Glass at Wheaton Village, 2005.

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Brigitte, Salmen, and Schlossmuseum Murnau, eds. Marianne von Werefkin in Murnau: Kunst und Theorie, Vorbilder und Künstlerfreunde. Murnau: Schlossmuseum Murnau, 2002.

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Brian, Lukacher, and Rice Shelley, eds. Pictorial effect naturalistic vision: The photographs and theories of Henry Peach Robinson and Peter Henry Emerson. Norfolk, Va: Chrysler Museum, 1994.

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Beuys, Joseph. Denken ist bereits Plastik: Joseph Beuys : Zeichnungen zur plastischen Theorie aus der Sammlung van der Grinten. Langen: Magistrat der Stadt Langen, 1991.

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Geliehene Landschaften: Zur Praxis und Theorie des Dokumentarfilms : Arbeitsjournale, Aufzeichnungen, Tagebücher, Notizen und Texte. Berlin: Neuer Berliner Kunstverein, 2012.

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Hamburg, Deichtorhallen, ed. Wunder: Katalog zur Ausstellung der Deichtorhallen Hamburg und der Siemens Stiftung : kuratiert von der Praxis für Ausstellungen und Theorie. Köln: Snoeck, 2011.

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Universitätsbibliothek, Freie Universität Berlin, ed. Architekturtraktate im Spannungsfeld zwischen Theorie und Praxis: Beispiele aus der Rara-Sammlung der Kunsthistorischen Bibliothek : Katalog zur Ausstellung in der Universitätsbibliothek. Berlin: Freie Universität, 2008.

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Leonardo. Leonardo da Vinci: The Codex Leicester : an exhibition at the Chester Beatty Library 12 June - 12 August 2007. London: Scala, 2007.

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Book chapters on the topic "Exhibition theories"

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vom Lehn, Dirk, Kate Sang, Richard Glassborow, and Louise King. "Exhibition design and professional theories." In The Routledge International Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites, 270–82. Routledge, 2019. http://dx.doi.org/10.4324/9780429506765-24.

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Centineo, Santi. "Will stage and exhibition design save contemporary theatre?" In Progress(es) – Theories and Practices, 143–47. CRC Press, 2017. http://dx.doi.org/10.1201/9781351242691-25.

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Werner, Wouter. "Framing Objects of International Law." In International Law's Objects, 57–71. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198798200.003.0005.

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This chapter explores the different roles that material objects play in international law. It utilizes the ambiguity in the phrase ‘objects of international law’. First, this means that the objects concerned are somehow produced by international law; that they exist by virtue of the practices, scripts, and traditions in international law. The chapter develops this idea in section one, building on theories of attributes or properties (props) in theatre. Just like props in theatre, objects in law fulfil different functions, including the construction of subjectivity, setting in motion a chain of action, and symbolizing larger social–political topics. Second, the phrase ‘objects of international law’ refers to the signalling function of the objects concerned; they tell something about international law and its histories. This point is elaborated on in section two, based on museum and exhibition theories.
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João Castro, Maria. "Art and progress; Portuguese colonial representations in the great world exhibitions." In Progress(es) – Theories and Practices, 309–14. CRC Press, 2017. http://dx.doi.org/10.1201/9781351242691-52.

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Sierykh, Larisa. "INTERACTION OF GENERAL SECONDARY AND OUT-OF-SCHOOLS EDUCATION IN AESTHETIC EDUCATION OF TEENAGERS: SUBJECTS OF INNOVATIVE AESTHETIC ACTIVITY." In Integration of traditional and innovation processes of development of modern science. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-021-6-6.

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The article describes the basis of the concept of interaction between institutions of general secondary and extracurricular education in the aesthetic education of adolescents. The first level of the concept is the mega-level, the main structural elements of which are discussed in the article. Concepts include the social component, the system of social relations, the demographic component, the legislative, normative base of research, provisions, concepts, normative and methodological documents, which operate in the conditions of interaction of institutions of general secondary and of the out-of-school education and directly and indirectly influence the development of aesthetic education of teenagers. Using theoretical methods: analysis, generalization, comparison and comparison of different normative-methodical acts, the content of the basic principles of out-of-school education and general secondary education in aesthetic education of teenagers was found out. Organization of interaction of secondary and out-of-schools education in the aesthetic education of teenagers is based on the results of the analysis of their practical and aesthetic activities and takes into account the components of aesthetic education: emotional, informational, communicative. In the interaction of secondary and out-of-schools education in the aesthetic education of teenagers the methodological basis is the integration of knowledge in the field of aesthetics, pedagogy, ethics, psychology, theories of aesthetic education. The regulatory framework of the study is considered in detail. This made it possible to expand the content of the basic principles of extracurricular and general secondary education in accordance with the orientation of the specifics of educational activities offered today by general secondary and out-of-school education and to highlight the content and scope of educational concepts, provisions, phenomena that are interrelated. Based on the above it can be argued that the invariant of process of interaction of secondary and out-of-schools education in the aesthetic education of teenagers is the aesthetic activity of teenagers, is carried out primarily in diverse social creativity. In the interaction of secondary and out-of-schools education in the aesthetic education of teenagers the methodological basis is the integration of knowledge in the field of aesthetics, pedagogy, ethics, psychology, theories of aesthetic education. The development of the system of aesthetic education separately as secondary and extracurricular educational institutions, which included in secondary schools: aesthetic education in the lessons of art-aesthetic cycle; aesthetic education on the lessons of other cycles in the framework of the educational goals of the lesson; in extracurricular work during the group work, electives, project, exhibition, concert, workshops and other creative student activities; work with parents. In out-of-schools education: aesthetic education in the classroom circles of artistic and aesthetic direction and other groups in the framework of educational goals; during mass events, during the organization and conduct of exhibitions, competitions, flash mobs, workshops, master classes, concerts of children and youth creativity, preparation teams and documentation accompanying the submission for the title of "Exemplary" and "Popular" children's creative teams.
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"CHAPTER 8. Theories, Techniques, Decision- making Models: The European Context." In Preserving and Exhibiting Media Art, 253–303. Amsterdam University Press, 2013. http://dx.doi.org/10.1515/9789048513833-013.

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Cardoso de Matos, Ana. "Progress on display: Universal Exhibitions in the second half of the 19th century." In Progress(es) – Theories and Practices, 315–19. CRC Press, 2017. http://dx.doi.org/10.1201/9781351242691-53.

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Popenhagen, Ron J. "Facing Change and Changing Masks." In Modernist Disguise, 34–59. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474470056.003.0002.

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The primary focus of this chapter is the fixed-form mask in its many manifestations, beginning with ‘Death Masks Re-membered’. The difference between performance masks and death masks is theorised, including a discussion of photographs of the death masks of notable figures. The fascination of modernist painters with African masks in British, French and German museums is discussed with reference to the Picasso Primitif exhibition (2017) and to the history of anthropological exhibitions of the ‘savage’ during the early years of Modernism. Indigenous masquerade is further explored by commentary on photographic portraits of the ‘other’, with consideration of the rapport between subject and photographer. Painted images of the mask object and disguised individuals by Paul Cézanne, James Ensor, Émil Nolde and Pablo Picasso are contrasted with Edward Sheriff Curtis’s photos of Native American masking. Modernist innovations in masquerade, like the dance scenography of Loïe Fuller, highlight alternative methods of changing the body image, as well as transforming the human figure into a part-object form (an aspect exhibited also in a painting by Margaret Macdonald Mackinstosh). Modernist Pierrots in Berlin, Copenhagen and St Petersburg, for example, suggest that playful disguise was an almost-universal impulse in Modernism across Europe and the United Kingdom.
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Lin, Jenny. "Biennialization-as-banalization, promotion, and resistance." In Above Sea, 96–116. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526132604.003.0004.

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Chapter Three investigates the turn of the twenty-first century global expansion of Shanghai’s contemporary art vis-à-vis the first international iteration of China’s premier contemporary art event, the Chinese Communist Party-sponsored 2000 Shanghai. The chapter theorizes biennialization-as-banalization vis-à-vis contemporary exhibition practices and the promotion of contemporary Chinese art. The chapter argues that Shanghai Biennial’s curators’ hopes of harnessing the spirit of Shanghai were ultimately supplanted by a generic brand of global contemporary art that neglected the city’s unique historical features and current concerns. This chapter then examines critical responses to the 2000 Shanghai Biennial and critiques of the global positioning of Shanghai’s contemporary art as seen in Ai Weiwei and Feng Boyi’s counter-exhibition “Fuck Off,” and in two related works by artists Zhou Tiehai and Yang Fudong.
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Erman, Burak, and James E. Mark. "Networks with Semiflexible Chains and Networks Exhibiting Strain-Induced Crystallization." In Structures and Properties of Rubberlike Networks. Oxford University Press, 1997. http://dx.doi.org/10.1093/oso/9780195082371.003.0014.

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Classical theories of rubber elasticity are based on models of flexible polymer chains that are sufficiently long to exhibit Gaussian behavior as described in chapter 1 and in appendix F. Additionally, the chains are phantomlike in the sense that they do not interact with one other along their contours. The theories described in chapter 2 were based on this picture of the individual chain. In this chapter, we describe the elasticity of networks that depart substantially from those addressed in the classical theories. The departures may result from two sources: (1) the chains may be only semiftexible, as a result of which the segments of neighboring chains compete for space in the deformed network, and choose preferentially oriented configurations, and (2) the chains may form crystallites, upon deformation, as a result of which the homogeneous structure of the classical network model may be transformed into a nonhomogeneous one having microphases of crystalline and amorphous regions. The subject of crystallization under deformation, for networks in general, is relatively old, and has been treated in some detail in previous studies. For this reason, crystallization and some of its effects will be reviewed only briefly at the end of this chapter. The main emphasis will be given to networks with semiflexible chains. Examples of networks with semiflexible chains are those in which the chains have rodlike segments separated by flexible spacers, or those where the chains have bond angles appreciably larger than tetrahedral. Incorporation of these chains into a network structure results in materials that exhibit segmental orientations significantly larger than those shown by classical networks. Specific examples would include networks prepared from aromatic polyamide chains or from chains containing liquid-crystalline sequences along the direction of the backbone. Because of their unique chain structures, these networks are easily orientable, at the molecular level, by macroscopic deformations. The orientational transitions may easily be controlled by application and removal of anisotropic strains, and are therefore of great technological interest for use in optical devices. Other examples of networks with easily orientable chains are those with rigid sequences in the side groups.
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Conference papers on the topic "Exhibition theories"

1

Kim, Jae Su. "Theories and Capabilities of Intumescent Mat Numerical Modeling." In SAE 2003 World Congress & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2003. http://dx.doi.org/10.4271/2003-01-0664.

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Morita, Nobuo, and Yu Nagano. "Comparative Analysis of Various Failure Theories for Borehole Breakout Predictions." In SPE Annual Technical Conference and Exhibition. Society of Petroleum Engineers, 2016. http://dx.doi.org/10.2118/181395-ms.

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Rao, J. S., A. Pathak, and A. Chawla. "Blade Life — A Comparison by Cumulative Damage Theories." In ASME 1999 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1999. http://dx.doi.org/10.1115/99-gt-287.

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A turbine blade is modeled as a rotating pretwisted beam and subjected to aerodynamic excitation from the flow path interference. The resonant stresses are determined using a modal analysis. With the help of steady steam bending and centrifugal stresses and the dynamic stresses, life estimates are made using the linear and nonlinear cumulative damage theories and a comparison of the results is presented. Based on these results, recommendations are made on the usefulness of different theories for practical application.
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4

Weltzin, Tore, Bjarne Aas, Espen Andreassen, and Martin Lindland. "Measuring Drill Pipe Buckling Using Continuous Gyro Challenges Existing Theories." In IADC/SPE Asia Pacific Drilling Technology Conference and Exhibition. Society of Petroleum Engineers, 2008. http://dx.doi.org/10.2118/115930-ms.

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M. Saif, Sherif, Mohamed Dessouky, M. Watheq El-Kharashi, Hazem Abbas, and Salwa Nassar. "Pareto Front Analog Layout Placement using Satisfiability Modulo Theories." In Proceedings of the 2016 Design, Automation & Test in Europe Conference & Exhibition (DATE). Singapore: Research Publishing Services, 2016. http://dx.doi.org/10.3850/9783981537079_0804.

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Mosobalaje, Olatunde Olu, Djebbar Tiab, and Jing Lu. "Theories of Arps' Decline Curve Exponent and Loss Ratio, for Saturated Reservoirs." In Abu Dhabi International Petroleum Exhibition and Conference. Society of Petroleum Engineers, 2014. http://dx.doi.org/10.2118/172128-ms.

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7

A. Bordakov, G., K. K. Il‘yasov, S. Y. Sekerzh-Zenkovitch, and E. Y. Mikolaevski. "Wave Refraction with a Porous Plate in Liquid - Comparison of Biot's and Bisq Theories." In 61st EAGE Conference and Exhibition. European Association of Geoscientists & Engineers, 1999. http://dx.doi.org/10.3997/2214-4609.201407614.

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8

Roveri, M., R. Gennari, S. Lugli, V. Manzi, N. Minelli, M. Reghizzi, and B. C. Schreiber. "Messinian Salinity Crisis - Facts, Theories, Open Problems and their Implications for Mediterranean Exploration." In 77th EAGE Conference and Exhibition - Workshops. Netherlands: EAGE Publications BV, 2015. http://dx.doi.org/10.3997/2214-4609.201413560.

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9

Davis-Street, Janis, Allyson Johnson, and Michael Steinberg. "Leveraging Behavior Change Theories in Program Design Improves Workforce Health." In SPE International Conference and Exhibition on Health, Safety, Environment, and Sustainability. Society of Petroleum Engineers, 2020. http://dx.doi.org/10.2118/199428-ms.

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10

Flint, John. "A Review of Theories on Constrained Layer Damping and Some Verification Measurements on Shim Material." In 21st Annual Brake Colloquium & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2003. http://dx.doi.org/10.4271/2003-01-3321.

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