Academic literature on the topic 'Experimental films Video art'
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Journal articles on the topic "Experimental films Video art"
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Maron, Marcin. "Filmowa neoawangarda i początki sztuki video." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (September 19, 2018): 37. http://dx.doi.org/10.17951/l.2017.15.2.37.
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<p>Artykuł w syntetyczny sposób omawia najważniejsze zjawiska filmu eksperymentalnego w kontekście pojęcia i praktyki sztuki neoawangardowej od II połowy lat 60. do połowy lat 70. XX wieku. Na początku przypomniana została pierwsza i druga faza rozwoju filmu eksperymentalnego w związku z istnieniem tzw. Wielkiej Awangardy oraz z działalnością jej kontynuatorów po Ii wojnie światowej w USA. Nastepnie zdefiniowane zostało pojęcie neoawangardy w odniesieniu do ujęcia, które zparoponował Frank Popper. W dalszej części artykułu jego autor omawia zasady oraz najważniejsze przykłady filmów neoawangardowych m. in: film strukturalny, kino porzeszone, intermedia. Ważną częścią artykułu jest przedstawienie początków, idei oraz najważniejszych rodzajów sztuki video. W artykule omówione zostały filmy takich autorów jak m. in. Paul Sharits, Peter Kubelka, Peter Campus, Bill Viola i innych.</p><p> </p><strong>Film Neo-Avant-garde and the Beginnings of Video Art</strong><p>SUMMARY</p><p>The article comprehensively discusses the most important phenomena of experimental film in the context of the concept and practice of neo-avant-garde art from the latter half of the nineteen-sixties to the mid-nineteen-seventies. The paper begins by referring to the first and second phase of the development of experimental film in connection with the existence of the so-called Great Avant-garde and the activity of its continuators after World War Two in the USA. The text then defines the concept of neo-avant-garde in relation to the interpretation proposed by Frank Popper. The article then discusses the principles and the most important examples of neo-avant-garde films, inter alia structural film, widened cinema, or intermedia. An important part of the article is the presentation of the beginnings, idea and the major types of video art. The paper also discusses the films by such authors as inter alia Paul Sharits, Peter Kubelka, Peter Campus, Bill Viola, and others.</p>
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Ranker, Jason. "The sliding of the signified: multimodal sign operations in a youth-created experimental digital video." Visual Communication 17, no. 3 (March 23, 2018): 337–62. http://dx.doi.org/10.1177/1470357218763333.
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In this article, the author presents a multimodal discourse analysis of a digital video composed by five students (ages 11–12) in an urban, public-school classroom. The focal mockumentary video is distinctive in that it is difficult to interpret and has an artistic quality that turns the process of meaning-making back on itself, resisting the very idea of a single, determinable meaning. He examines this phenomenon as the sliding of the signified in the students’ video (as multimodal discourse), focusing on the ways in which the students tapped into discursive agencies that rupture meaning-making. In particular, he analyzes how visual and spoken signifiers are related or coordinated with one another across the film in the creation of multimodal discursive effects such as floating signifiers, networks of metonymic potential, and signifier condensation complexes. This study thus offers conceptualizations of multimodal discursive units that can be used to interpret and analyze the interactions of visual and spoken signifiers in films and digital videos.
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Misek, Richard. "Trespassing Hollywood: Property, Space, and the “Appropriation Film”." October 153 (July 2015): 132–48. http://dx.doi.org/10.1162/octo_a_00230.
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In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galleries. Yet beyond the protective walls of these cultural institutions, a global copyright war is raging. Over recent years, media owners have become ever more assertive of their intellectual property rights, while activists have become ever bolder in their demands for radical open access. How have film and video artists responded to these differing views about what constitutes our cultural commons? This article explores the question by focusing on two test cases: Thom Andersen's essay film Los Angeles Plays Itself (2003) and Christian Marclay's video collage The Clock (2011). Both involve unlicensed reuse of pre-existing film and television material. However, in their overall conception, methods of production, and distribution and exhibition, Andersen's and Marclay's works provide opposing models for how to engage with media property. The article concludes by suggesting that the two works' differences raise urgent ethical question about how (and where) contemporary artists' film and video is exhibited.
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Søilen, Karen Louise Grova. "Safe is a Wonderful Feeling: Atmospheres of Surveillance and Contemporary Art." Surveillance & Society 18, no. 2 (June 16, 2020): 170–84. http://dx.doi.org/10.24908/ss.v18i2.12756.
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This paper examines how the combined prism of contemporary art and the notion of atmosphere may offer alternative perspectives on our encounters with places and practices of surveillance. Specifically, this article investigates the atmospheres of surveillance surfacing in the video installation Safe Conduct (2016a) by British contemporary artist Ed Atkins. The artwork recreates the well-known situation of going through an airport security check. Through a combination of visual narrative and a soundscape blending the sounds of the conveyor belt and X-ray machines with heavy breathing and Ravel’s Boléro, the work builds up an uncanny anticipation of something awful. Death and violence linger at its edges, and a disquieting atmosphere fills the exhibition space. The objective of the article is twofold: First, it explores the shifting and ambiguous atmospheres produced by contemporary surveillance practices through an immersive reading of the artwork Safe Conduct. Second, and connected to the first, it offers an experimental methodology of written vignettes responding to the embodied, aesthetic experience of atmospheres of surveillance. The article concludes that being more sensitive to the atmospheres of surveillance in our environment can give us a space to think critically about how these atmospheres affect us, how they are absorbed bodily, and how they attune our being: how surveillance is “in the air.”
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Zawojski, Piotr. "Fotografia i film w praktyce artystycznej oraz propozycjach teoretycznych Davida Hockneya." Artium Quaestiones 31, no. 1 (December 20, 2020): 101–22. http://dx.doi.org/10.14746/aq.2020.31.4.
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In his diverse works, David Hockney has used, and still uses, various media, which in some periods of his activity gained leading significance, while in the following they were abandoned or temporarily abandoned. But no matter what medium in the given period was the main form of creativity, the focus of his interest has always been the issue of image and imaging. The article is devoted to the practice and theoretical recognition of photography, which was a kind of introduction to experiments with a moving image. The author refers to the artist's numerous publications on the theory and history of image and imaging (including Secret Knowledge, History of Images, On Photography). Photography led to Hockney's audiovisual realizations. This is a kind of repetition of the natural evolution and developmental progression of the media, also, and perhaps above all, in the technological dimension. The article is divided into three parts. In the first part, the author presents Hockney as a practitioner and theoretician, in whose activities both these activities are closely intertwined. This is a sign of the times: practice and theory are equally important, awareness of the medium, or artistic and aesthetic self-awareness of artists, is an expression of the spirit of the era in which an intuitive approach to art today seems inefficient, not to say impossible. Hockney appears to be an exemplary artist, who is extremely conceptual in his artistic practice as a consequence of his research on the history of art and a constantly developed set of his own theoretical findings. He is an artist discursively commenting not only on his work as an artist in many media (painting, drawing, graphics, set design, photography, film, computer graphics), but also an art and media theoretician reflecting on the fate of images in a changing media landscape. The second part of the article is devoted to the reconstruction of Hockney's theoretical reflections on photography and the analysis of his photographic projects. First of all, experimental Polaroid compositions created in the early eighties, named by the artist joiners, as well as photographic collages and photographic images realized in the later periods of the British artist's work. The third part considers digital movies, as Hockney calls them, audiovisual realizations referring to both his previous photographic works and experimental video films in which multi-camera systems are used.
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Mukherjee, Madhuja. "Little cinema culture: Networks of digital files and festival on the fringes." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.
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Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases international packages such as those from Berlinale; on the other hand, it presents curated programmes comprising videos made by first-time filmmakers from India. The article deliberates on the broad and long drawn contexts of 'festivals' and artistic endeavours, as well as the formal contours of the videos, which generate spaces for dialogues, both within the filmic text, and in the milieus in which these are shown. The emphasis on the thriving 'amateur' practice also draws attention to 'Little Magazine', 'Little Theatre' and 'Little Film' practices in West Bengal, as well as contemporary new-media transactions, which has transmediated into newer modes of articulations.
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Zhang, Heng, Xiaofei Wang, Jiawen Chen, Chenyang Wang, and Jianxin Li. "D2D-LSTM: LSTM-Based Path Prediction of Content Diffusion Tree in Device-to-Device Social Networks." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 01 (April 3, 2020): 295–302. http://dx.doi.org/10.1609/aaai.v34i01.5363.
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With the proliferation of mobile device users, the Device-to-Device (D2D) communication has ascended to the spotlight in social network for users to share and exchange enormous data. Different from classic online social network (OSN) like Twitter and Facebook, each single data file to be shared in the D2D social network is often very large in data size, e.g., video, image or document. Sometimes, a small number of interesting data files may dominate the network traffic, and lead to heavy network congestion. To reduce the traffic congestion and design effective caching strategy, it is highly desirable to investigate how the data files are propagated in offline D2D social network and derive the diffusion model that fits to the new form of social network. However, existing works mainly concern about link prediction, which cannot predict the overall diffusion path when network topology is unknown. In this article, we propose D2D-LSTM based on Long Short-Term Memory (LSTM), which aims to predict complete content propagation paths in D2D social network. Taking the current user's time, geography and category preference into account, historical features of the previous path can be captured as well. It utilizes prototype users for prediction so as to achieve a better generalization ability. To the best of our knowledge, it is the first attempt to use real world large-scale dataset of mobile social network (MSN) to predict propagation path trees in a top-down order. Experimental results corroborate that the proposed algorithm can achieve superior prediction performance than state-of-the-art approaches. Furthermore, D2D-LSTM can achieve 95% average precision for terminal class and 17% accuracy for tree path hit.
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Thorne, Sarah. "Hey Siri, tell me a story: Digital storytelling and AI authorship." Convergence: The International Journal of Research into New Media Technologies 26, no. 4 (April 15, 2020): 808–23. http://dx.doi.org/10.1177/1354856520913866.
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Surveying narrative applications of artificial intelligence in film, games and interactive fiction, this article imagines the future of artificial intelligence (AI) authorship and explores trends that seek to replace human authors with algorithmically generated narrative. While experimental works that draw on text generation and natural language processing have a rich history, this article focuses on commercial applications of AI narrative and looks to future applications of this technology. Video games have incorporated AI and procedural generation for many years, but more recently, new applications of this technology have emerged in other media. Director Oscar Sharp and artist Ross Goodwin, for example, generated significant media buzz about two short films that they produced which were written by their AI screenwriter. It’s No Game (2017), in particular, offers an apt commentary on the possibility of replacing striking screenwriters with AI authors. Increasingly, AI agents and virtual assistants like Siri, Cortana, Alexa and Google Assistant are incorporated into our daily lives. As concerns about their eavesdropping circulate in news media, it is clear that these companions are learning a lot about us, which raises concerns about how our data might be employed in the future. This article explores current applications of AI for storytelling and future directions of this technology to offer insight into issues that have and will continue to arise as AI storytelling advances.
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Bešlagić, Luka. "Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 51. http://dx.doi.org/10.25038/am.v0i20.323.
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This paper explores a recently emerged audiovisual form called desktop documentary, an interdisciplinary computer-based variant of the essay film. As a post-media practice, no longer exclusively dependent on the film medium, desktop filmmaking represents a hybrid audiovisual genre entirely conducted in the digital environment by using and exploiting preexisting materials in new contexts while using the advantages of the Internet, widely used software and digital tools. Desktop documentary filmmaking corresponds to the widespread artistic practice of postproduction – a concept introduced by Nicolas Bourriaud signifying a new state of affairs when all texts of culture are already available (mostly as digital objects) and the artist intervenes on existing materials rather than produces artworks ex nihilo. Belonging to the tradition of essay film – a cinematic documentary and experimental mode in which moving images and off-screen verbal voice or textual captions establish complex relations – desktop video essays introduce new post-media aesthetics. Similar to the idea of using everyday materials in the artistic context, initially proposed with Duchamp’s ready-mades, which unprecedentedly effaced every notion of the style from their avant-garde aesthetics, desktop documentaries often minimize and abolish cinematic stylistic qualities. One of the most significant aspects of desktop documentaries is that the act of film viewing does not differ from common computer user experience: having replaced traditional film screen with the computer interface, the interactive process of computational multitasking and navigation, performed on various digital data and files, becomes the very content of the film. After the historical overview of the phenomenon and general introduction into the post-media theory, selected works of representative desktop documentarists such as Kevin B. Lee and Louis Henderson are analyzed in their deconstructive approach to traditional and digital filmmaking – subversive both formally and politically. Article received: May 28, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Bešlagić, Luka. "Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary." AM Journal of Art and Media Studies 20 (2019): 51-60. doi: 10.25038/am.v0i20.323.
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Hilderbrand, Lucas. "The Art of Distribution: Video on Demand." Film Quarterly 64, no. 2 (2010): 24–28. http://dx.doi.org/10.1525/fq.2010.64.2.24.
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An account of the rise of Video on Demand as a method of distribution for arthouse and independent films, focusing on the IFC Films and Magnolia Pictures companies, and charting the growing success of streaming video as opposed to DVD and theatrical releasing.
Dissertations / Theses on the topic "Experimental films Video art"
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Stansell, Thomas Micah. "Between You and Me." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/34.
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In an increasingly online world interpersonal interactions become a less integral part of our cultural make-up. The exploration of this phenomenon is the thematic concept that activates Between You and Me - a triptych-split-screen short film and video installation. This text is dedicated to exploring how theme, technique, and theory are considered in the context of the film, and how character and form (more than narrative) illuminate the thematic concept.
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Kuronen, Suzanne. "Figuring space : considering the figure in the construction of space as materialist film." University of Western Australia. School of Architecture, Landscape and Visual Arts, 2004. http://theses.library.uwa.edu.au/adt-WU2005.0015.
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Figuring Space; considering the figure in the construction of space in materialist film is an analysis of film space that uses either the image of a figure or the actual figure of the viewer in its construction. The thesis focuses on particular screen works of William Raban, Guy Sherwin, Malcolm Le Grice, Chris Welsby, Nicky Hamlyn, Peter Gidal (all members of the London Filmmakers’ Cooperative) and the Canadian artist Michael Snow. It discusses the works in relation to the basic materials of time, light and sound found in film and video. The thesis looks at the way the film frame was implemented in the work of these artists to challenge preconceived notions of film space. It also highlights the uncertainty of spatial relativity within the screen image once the techniques imposed by the artist undermine previous determinations of positions in space. The frame provides necessary elements with which a reading of a pictorial space can be made. In addition, with some of the works discussed, the frame defines an exterior screen space that at times questions the boundaries between on-screen and off-screen, and fictive space and real space. While in other works that are addressed, binaries exist within which the boundaries of a picture plane are utilized to determine an object’s spatial relativity, which in turn questions the relativity of those boundaries that determine it. The frame that previously confirmed the illusions of space within the pictorial plane could no longer be prescribed as definitive. Calculations of the film space would become dependent upon a point of origin that is situated within actual time and space at the position of the viewer. The figure of paramount importance, when considering the constructs of space within materialist film, is that of the viewer
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Villavicencio, Pablo Souza de. "A construção do tempo no diálogo entre cinema e vídeo." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5214.
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Previous issue date: 2009-05-25Conselho Nacional de Desenvolvimento Científico e Tecnológico
By focusing on montage or editing that can characterize a method of temporal construction, this study confronts two medias that operate moving images, which suggests different ways of thinking about time. We will discuss the issue of time in the cinema and on video through a brief discrimination between the two languages and, as an example, we will analyze editing and images and sounds on the video Trovoada, in an effort to grasp the temporalities that are characteristic of video. Next, for purposes of comparison, we will analyze the movie Nick s movie (or Lightning Over Water), in which there is a dialogue between cinema and video. Before the digital age, the nature of the supports used in the cinema and in video was different. We understand that both are based in distinct procedures in producing images in movement and generate specific languages that show different temporalities. This difference can be understood as the matrix of the characteristics of the languages. Cinema was the first medium to operate moving images and, by doing this, it opened up broader questioning regarding time, insofar as it moves from a static image to an image that has a specific duration. Video, on the other hand, comes about as an electronic image in which there is effectively an inscription of time in the support itself, and which offers new editing techniques and procedures. We have considered, as a hypothesis, that there are different kinds of times and montages in cinema and video and that the two languages are differentiated by more specific constructions, or that their dialogue takes place in more hybrid constructions: the times articulated in both supports are distinct from each other and blend together. The main authors who have built the theoretical basis of this research are: Arlindo Machado, Raymond Bellour, André Parente, Gene Youngblood, Philippe Dubois, Yvana Fechine, Lucrecia D Alessio Ferrara, Christine Mello and Gilles Deleuze
Com foco na montagem ou edição que pode caracterizar um modo de construção temporal, este é um estudo de confronto entre dois meios que operam imagens em movimento, o que sugere modos diferentes de pensar o tempo. Abordamos a questão do tempo no cinema e no vídeo através de uma breve discriminação entre as duas linguagens, e, como exemplo, analisamos a edição e as imagens e sons no vídeo Trovoada, a fim de apreender as temporalidades características do vídeo. Em seguida e a título de comparação, analisamos o filme Um filme para Nick, no qual há um diálogo entre cinema e vídeo. Antes da era digital, a natureza dos suportes utilizados no cinema e no vídeo era diferente. Entendemos que ambos têm origem em procedimentos distintos na produção da imagem em movimento e geram linguagens específicas que evidenciam diferentes temporalidades. Essa diferença pode ser entendida como a matriz das características das linguagens. O cinema foi o primeiro meio a operar imagens em movimento e, com isso, abriu um questionamento maior sobre o tempo, na medida em que se passa da imagem estática para a imagem que possui determinada duração. Já o vídeo surge como imagem eletrônica em que efetivamente há uma inscrição do tempo no próprio suporte, e que traz novas técnicas e procedimentos de edição. Consideramos, como hipótese, que há diferentes tipos de tempos e montagens no cinema e no vídeo e que as duas linguagens se diferenciam em construções mais específicas, ou dialogam em construções mais híbridas: os tempos articulados nos dois suportes se distinguem e se mesclam. Os principais autores que constroem a fundamentação teórica desta pesquisa são: Arlindo Machado, Raymond Bellour, André Parente, Gene Youngblood, Philippe Dubois, Yvana Fechine, Lucrécia D Alessio Ferrara, Christine Mello e Gilles Deleuze
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Lee, Chanju. "Birth and Women in Mythology." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/35.
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The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.
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Kazemimanesh, Sara. "Underground Labyrinths: Woman and Expanded Cinema in Contemporary Iran." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1566556001982398.
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Empain, Joanna. "Cartographier, (ra)conter, filmer, juxtaposer : des narratives expérimentales pour l’éducatio." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/667182.
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El projecte de recerca doctoral, titulat "Cartografiar, Narrar, Juxtaposar, Filmar : Narratives Experimentals per a l'Educació", proposa una reflexió sobre la relació entre art i educació, i més concretament sobre com les pràctiques experimentals de les imatges en moviment generen formes de fer i pensar que poden contribuir a produir noves formes de narrar-se a si mateix i al "altre" i, per tant, a repensar les relacions pedagògiques.
A partir d'un marc teòric feminista que transita els camps dels estudis de cultura visual i les teories crítiques en pedagogia i cinema (Rogoff, 2000; Bal, 2002, 2013; Minh-ha, 1992, 1999; Ellsworth, 1997, 2005, 2011), proposo un recorregut que pren com a punt de partida la meva pròpia pràctica com a artista/investigadora/educadora en diàleg amb dos artistes de cinema/vídeo María Ruido i Manon Labrecque. A través de metodologies basades en les arts, i en particular la cartografia (Deleuze i Guattari, 1980; Deligny, 1976, 1990) i la recerca basada en el vídeo (Harris, 2016, 2017; Russell, 1999), es generen narratives experimentals reflexives sobre la relació entre la pràctica artística i la pedagògica, i sobre la forma en què aquestes dues pràctiques s'alimenten la una de l'altra, però també es contradiuen i, a vegades, fins i tot se sabotegen entre si. És a partir d'aquesta relació entre teoria i pràctica que es construeixen espais alternatius de creació, recerca i aprenentatge.El proyecto de investigación doctoral, titulado "Cartografiar, Narrar, Yuxtaponer, Filmar : Narrativas Experimentales para la Educación", propone una reflexión sobre la relación entre arte y educación, y más concretamente sobre cómo las prácticas experimentales de las imágenes en movimiento generan formas de hacer y pensar que pueden contribuir a producir nuevas formas de narrarse a sí mismo y al "otro" y, por tanto, a repensar las relaciones pedagógicas. A partir de un marco teórico feminista que transita los campos de los estudios de cultura visual y las teorías críticas en pedagogía y cine (Rogoff, 2000; Bal, 2002, 2013; Minh-ha, 1992, 1999; Ellsworth, 1997, 2005, 2011), propongo un recorrido que toma como punto de partida mi propia práctica como artista/investigadora/educadora en diálogo con dos artistas de cine/video María Ruido y Manon Labrecque. A través de metodologías basadas en las artes, y en particular la cartografía (Deleuze y Guattari, 1980; Deligny, 1976, 1990) y la investigación basada en el vídeo (Harris, 2016, 2017; Russell, 1999), se generan narrativas experimentales reflexivas sobre la relación entre la práctica artística y la pedagógica, y sobre la forma en que estas dos prácticas se alimentan la una de la otra, pero también se contradicen y, en ocasiones, incluso se sabotean entre sí. Es a partir de esta relación entre teoría y práctica que se construyen espacios alternativos de creación, investigación y aprendizaje.
Le projet de recherche doctorale, intitulé « Cartographier, (Ra)conter, Filmer, Juxtaposer : des Narratives Expérimentales pour l’Éducation » propose une réflexion sur la relation entre art et éducation, et plus concrètement sur comment les pratiques expérimentales de l’image en mouvement génèrent des façons de faire et de penser qui peuvent contribuer à produire de nouvelles façons de se narrer et de narrer « l’autre », et par là même de repenser les relations pédagogiques. À partir d’un cadre théorique féministe qui transite dans les domaines de études de la culture visuelle et des théories critiques en pédagogie et en film (Rogoff, 2000; Bal, 2002, 2013; Minh-ha, 1992, 1999; Ellsworth, 1997, 2005, 2011), je propose un parcours qui prend comme point de départ ma propre pratique comme artiste/chercheuse/éducatrice en dialogue avec deux artistes cinéastes/vidéastes María Ruido et Manon Labrecque. À travers des méthodologies basées sur les arts, et particulièrement la cartographie (Deleuze et Guattari, 1980 ; Deligny, 1976, 1990) et la recherche en vidéo (Harris, 2016, 2017 ; Russell, 1999;), se génèrent des narratives expérimentales réflexives sur la relation entre pratique artistique et pratique pédagogique, et sur comment ses deux pratiques se nourrissent l’une de l’autre, mais aussi se contredisent et des fois même se sabotent. C’est à partir de cette relation entre théorie et pratique que se construisent des espace alternatifs de création, de recherche et d’apprentissage.
The doctoral research project, entitled "Mapping, Narrating, Filming, Juxtaposing: Experimental Narratives for Education", proposes a reflection on the relationship between art and education, and more concretely on how experimental practices based on the moving image, generate ways of doing and thinking that can contribute to produce new ways of narrating oneself and the "other", and thus to rethink pedagogical relationships. Based on a feminist theoretical framework nourished by the visual culture studies and critical theories in pedagogy and film (Rogoff, 2000; Bal, 2002, 2013; Minh-ha, 1992, 1999; Ellsworth, 1997, 2005, 2011), I propose a journey that takes as a starting point my own practice as an artist/researcher/educator in dialogue with two film/video artists Manon Labrecque and María Ruido. Through methodologies based on the arts, and particularly cartography (Deleuze and Guattari, 1980; Deligny, 1976, 1990) and video-based research (Harris, 2016, 2017; Russell, 1999;), reflective experimental narratives are generated on the relationship between artistic and pedagogical practice, and on how these two practices feed on each other, but also contradict each other and sometimes even sabotage each other. It is from this relationship between theory and practice that alternative spaces for creation, research and learning are built.
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Wade, Tom H. "Circulation of the Light: Mandalas, Alchemy, and Non-Linear Cinema." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors149441657291478.
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Au-Yeung, Shing. "Hong Kong's Alternative Film and Video movement as an agent for social change." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36243693.
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Gray, Michael Alan. "Experiencing Music." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1307.
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I am exploring the way music alters or enhances the perception of our environment. This creative project allows me to explore and visualize several issues that intrigue me: music (sound), emotion, and visual imagery (film). My goal in developing this topic is to allow others to have an experience related to sound and image, where image is altered and enhanced by the use of music.
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Mikhail, Samia, and fasisami@netspace net au. "The experimental art of Arthur and Corinne Cantrill." RMIT University. Applied Communication, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20061222.094324.
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This thesis analyses the effect of the personal history of Arthur and Corinne Cantrill, two Australian independent filmmakers, on their style of filmmaking. It analyses their representation of film-form experimentation within national Australian art in a range of independent film works. It reflects on their cultural relation to the general history of independent filmmaking in Australia, America and Europe. It studies the circumstances tat resulted in the appearance of the Cantrills' experimental film and their relation to international art theories and film experimentation. This thesis will examine how the Cantrills' film works, which were often critical of conventional filmmaking styles, and their critical writing, statements and promotion of their independent and experimental film work contributed significantly to theoretical discussion and argument about the physical nature of film within Australia. This examination is explored through asking and answering the central question: The work of Aurtheur and Corinne Cantrell is theoretically drawn from a tradition of European arts and visually drawn from Australian landscape and urban culture; can their work be identified and undertood as Australian art?
Books on the topic "Experimental films Video art"
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Machado, Arlindo. Visionários: Audiovisual na América Latina = audiovisual en Latinoamérica. São Paulo: Itaú Cultural, 2008.
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Kunsthallen Brandts (Art hall : Odense, Denmark), ed. Border crossing. Odense: Kunsthallen Brandts, 2012.
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John, Sundholm, and Söderbergh-Widding Astrid, eds. A history of Swedish experimental film culture: From early animation to video art. Stockholm: National Library of Sweden, 2010.
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Touch: Sensuous theory and multisensory media. Minneapolis: University of Minnesota Press, 2002.
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Gallery, Norman Mackenzie Art. Working truths, powerful fictions: Regina work project. Edited by Bradley Jessica. Regina, Sask: Mackenzie Art Gallery, 1992.
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New Gallery (Calgary, Alta.). Media blitz: A festival of performance, film and video. Calgary: The Gallery, 1988.
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Videoarte: Herencia histórica : del cine experimental al arte total. México, D.F: Universidad Autónoma Metropolitana, Unidad Xochimilco, División de Ciencias Sociales y Humanidades, 2011.
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Gehman, Chris. Explosion in the movie machine: Essays and documents on Toronto artists' film and video. Toronto: YYZBooks, 2013.
Find full textBook chapters on the topic "Experimental films Video art"
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Daly, Kristen M. "“Avant-Garde Film” Goes Digital Video: How Does the United States Fund Digital Video Art and Experimental Filmmaking?" In Handbook of State Aid for Film, 531–49. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71716-6_29.
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Berry, Marsha. "Making Films and Video Art with Smartphones." In Creating with Mobile Media, 131–51. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65316-7_7.
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Vanderplank, Robert. "The State of the Art II: Selected Research on Other Issues in Watching Captioned TV, Films and Video." In Captioned Media in Foreign Language Learning and Teaching, 105–48. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-50045-8_5.
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Stevens, E. Charlotte. "Proximate Forms and Sites of Encounter : Music Video and Experimental Tradition." In Fanvids. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985865_ch03.
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Vids resemble music videos and found footage films. They have the form and appearance of a music video, and they re-use existing moving images in a way that appears to meet the definition of found footage work or remix video art. This chapter establishes some parameters within which the vid can be viewed in relation to proximate forms. This chapter works through specific academic framings of similar forms such as found footage films in the experimental tradition and music video before discussing canons of vids that are formed through recent gallery contexts. These additional lenses—beyond fan studies and television studies—offer further reference points through which to understand vids.
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Balsom, Erika. "Transmission, from the Movie-Drome to Vdrome." In After Uniqueness, 219–36. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231176934.003.0009.
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Chapter 8 revisits the utopian moment of exhibiting experimental film and video art on television in light of contemporary efforts to develop authorized platforms for the distribution of artists’ moving image on the Internet. This chapter turns to the life and legacy of the late-night programs Screening Room (1971–81) and Midnight Underground (1993–97), comparing and contrasting the broadcasting model with the recent narrowcasting initiative Vdrome, www.vdrome.org, which shows a single artists’ video for a limited period of time, usually ten days.
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Mey, Adeena. "Projection between Exhibition and Information." In Practices of Projection, 211–36. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190934118.003.0013.
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Among the many reconfigurations and experiments with the ‘medium of the exhibition’ of the 1960–1970s, Sonsbeek 71 stands as one the most audacious examples. Organized by curator Wim Beeren as an attempt to find a new curatorial language and innovative exhibition form, Sonsbeek 71 took ‘the entire country as its field of operation’, the ‘exhibition’ consisting of several works of land art, ‘information centres’, as well as pavilions dedicated to film, video, and art mediation. The ‘spatial relations’ exposed by the scale of this apparatus became the very object of Beeren’s curatorial inquiry. Focusing on projected moving images at Sonsbeek 71, this chapter discusses it on three different levels. First, it identifies the way both the film and exhibition apparatus were reconfigured and how Sonsbeek 71 functioned as an epistemology of the exhibition as medium. Second, it articulates a critique of the exhibition as a form intersecting technical, discursive, informational, and sensible elements, and shows how, in its radical expansion of the exhibition medium, Sonsbeek 71 ‘conflates media history with earth history’ (Parikka). Third, what is meant by the notion of the exhibition as ‘medium’ is discussed in light of the inflatable pavilions designed by the Eventstructure Research Group where structural films and artists’ films were projected. This eventually opens up to a critique of the informational, cybernetic epistemology of Sonsbeek 71.
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Stead, Henry. "The Only Tone for Terror: Tony Harrison and the Gorgon’s Gaze." In New Light on Tony Harrison, 205–20. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.003.0017.
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This chapter introduces the reader to Tony Harrison’s audiovisual poetry, composed for and broadcast on British television through the late 1980s and 1990s. Harrison has to date made twelve full documentary film-poems, and one film-poem feature, entitled Prometheus (1998). They all brim with the darker side of European history, current affairs and class politics, and explore what limits of what poetry might do, and how it might do it, in the televisual age. The chapter sets Harrison’s film poetry in its cultural context by paying attention to the poet’s major influences in the experimental medium (John Grierson’s GPO film unit and early Soviet filmmaking), before homing in on his 1992 film-poem The Gaze of the Gorgon as a species of social psychotherapy. The act of gazing at the Medusa-like and thus usually petrifying image of twentieth-century atrocity is offered here not as a ‘dope’ to mankind, but a stimulant towards its cure. The film-poem draws explicitly on Nietzsche’s concept of ‘Dionysiac art’ and Simone Weil’s pacifist notion of ‘force’, and Robert Jay Lifton’s work on trauma and the holocaust. Harrison’s hugely ambitious and uniquely accessible film-poems are currently publically unavailable. Are they the ‘missing link’ in the evolution of contemporary film and video poetry?
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"Analysis on characteristics of experimental video art." In Management, Information and Educational Engineering, 435–36. CRC Press, 2015. http://dx.doi.org/10.1201/b18558-93.
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Zaharieva, Maia, Matthias Zeppelzauer, Dalibor Mitrovic, and Christian Breiteneder. "Archive Film Comparison." In Methods and Innovations for Multimedia Database Content Management, 188–202. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-1791-9.ch011.
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In this paper, the authors present an approach for video comparison, in which an instantiated framework allows for the easy comparison of different methods that are required at each step of the comparison process. The authors’ approach is evaluated based on a real world scenario of challenging video data of archive documentaries. In this paper, the performed experiments aim at the evaluation of the performance of established shot boundary detection algorithms, the influence of keyframe selection, and feature representation.
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Engelke, Henning. "Neoplasticism and cinema: Ilya Bolotowsky’s experimental films on art." In Art in the Cinema. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781350160323.ch-009.
Full textConference papers on the topic "Experimental films Video art"
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Mitchell, Antony J., Kathy Simmons, and David Hann. "Experimental Investigation Into Droplet Impingement Upon Moving Films Using High Speed Video and Thermal Imaging." In ASME 2015 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/imece2015-51677.
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Aeroengine bearing chambers are geometrically complex, typically containing shafts, bearings, seals and stationary components. Oil is supplied for lubrication and cooling and so the chamber contains a highly rotating two-phase (oil/air) flow where the oil is typically present as droplets, ligaments, mist and films. These films may be thick or thin and film speed varies with chamber location. It is desirable to know a priori the outcome of a droplet-film impact event in terms of mass, momentum and energy transfer. There is a significant body of research on the interaction between droplets and static films. The experimental parameter space has been characterised on the basis of film thickness and impact parameter to predict the outcome of an impingement. The impingement of droplets on moving films has only begun to be investigated over the last decade and consequently models have not yet been developed and the parameter space has barely begun to be characterised. Within this paper results are presented from an experimental study in which water droplets of 3 mm and 3.8 mm at 20°C falling under the influence of gravity impinged onto water films flowing down an inclined plane. Film temperature was 30°C and film thicknesses were between 2.3 mm and 4.2 mm. High speed imaging was used to determine the impingement outcomes and cavity morphology. A high speed infrared camera was used to determine the extent of the thermally affected region and its temperature behaviour. We find that by using the resultant droplet velocity (combining droplet and film velocities) the film impingement outcomes can be characterised into regions very similar to those for static films. The data is presented as a function of splashing parameter and non-dimensional film thickness. It was observed that for these impacts on supercritical films (Fr > 1) there is less propensity for secondary droplet formation through jet breakup than on static and subcritical films (Fr < 1). Data was obtained for extent of the thermally affected region. It was found that the cooler droplet liquid spreads over the inside of the crater before heating up to film temperature. Development of crater shape and size was also studied and data compared to established models for droplet impact on deep static films. During the initial stages of an impact crater area increases similarly to that for static films although the crater shape itself is less similar and is asymmetrical due to the film motion.
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Zeng, Zezhi, Gopinath Warrier, and Y. Sungtaek Ju. "Study of the Fluid Dynamics of Thin Liquid Films Flowing Down a Vertical String With Counterflow of Gas." In ASME 2015 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/imece2015-53132.
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Direct-contact heat transfer between a falling liquid film and a gas stream yield high heat transfer rates and as such it is routinely used in several industrial applications. This concept has been incorporated by us into the proposed design of a novel heat exchanger for indirect cooling of steam in power plants. The DILSHE (Direct-contact Liquid-on-String Heat Exchangers) module consists of an array of small diameter (∼ 1 mm) vertical strings with hot liquid coolant flowing down them due to gravity. A low- or near-zero vapor pressure liquid coolant is essential to minimize/eliminate coolant loss. Consequently, liquids such as Ionic Liquids and Silicone oils are ideal candidates for the coolant. The liquid film thickness is of the order of 1 mm. Gas (ambient air) flowing upwards cools the hot liquid coolant. Onset of fluid instabilities (Rayleigh-Plateau and/or Kapitza instabilities) result in the formation of a liquid beads, which enhance heat transfer due to additional mixing. The key to successfully designing and operating DILSHE is understanding the fundamentals of the liquid film fluid dynamics and heat transfer and developing an operational performance map. As a first step towards achieving these goals, we have undertaken a parametric experimental and numerical study to investigate the fluid dynamics of thin liquid films flowing down small diameter strings. Silicone oil and air are the working fluids in the experiments. The experiments were performed with a single nylon sting (fishing line) of diameter = 0.61 mm and height = 1.6 m. The inlet temperature of both liquid and air were constant (∼ 20 °C). In the present set of experiments the variables that were parametrically varied were: (i) liquid mass flow rate (0.05 to 0.23 g/s) and (ii) average air velocity (0 to 2.7 m/s). Visualization of the liquid flow was performed using a high-speed camera. Parameters such as base liquid film thickness, liquid bead shape and size, velocity (and hence frequency) of beads were measured from the high-speed video recordings. The effect of gas velocity on the dynamics of the liquid beads was compared to data available in the open literature. Within the range of gas velocities used in the experiments, the occurrence of liquid hold up and/or liquid blow over, if any, were also identified. Numerical simulations of the two-phase flow are currently being performed. The experimental results will be invaluable in validation/refinement of the numerical simulations and development of the operational map.
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Warda, H. A., and Y. Elashry. "Towards an Improved Understanding of Water-Hammer Column-Separation Due to Rapid Valve Closure." In ASME 2010 Pressure Vessels and Piping Division/K-PVP Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/pvp2010-26146.
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Column separation phenomenon occurring downstream of a closing valve, simulating the closure of non-return/check valve downstream of pumps due to pump trip is simulated. An improved understanding of how cavity is opened, grows and collapses is supported by comparing numerical results with measured values and analyzing video frames. In the present study two models, discrete vapor cavity and gas cavity models, of column separation are compared for the modeling of column separation. Both models showed considerable degree of stability with variation of number of sections into which the pipe is divided. An experimental setup was built to provide the means of obtaining reliable experimental data for transient flow in viscoelastic pipes to verify the numerical model. Two valve closure schemes were tested using solenoid globe and ball valves. Video photographs of column separation during the vapor cavity formation, growth and collapse were processed and video films are transformed into frames using computer software. The video frames representing the cavity development and pressure measurements downstream of the valve are compared with corresponding cavity and pressure traces predicted by the model at each time step of the framing process at the same location. It was also shown that the characteristic of check valve closure scheme seriously affects the cavity formation and the extent of pressure surges due to cavity collapse.
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Gonçalves, Sandro, Helder Bruno A. M. de Souza, Fábia Carolino, Raoni Kulesza, Rafael M. Toscano, and Valdecir Becker. "Projeto experimental de colaboração entre a produção audiovisual do TCE-PB e de estudantes da rede pública." In XXV Simpósio Brasileiro de Sistemas Multimídia e Web. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/webmedia_estendido.2019.8156.
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This paper describes an experimental videocolaboration project that integrates productions of institutional videos from the Court of Auditors of the State of Paraíba (TCE-PB) to non-professional production provided by public school students. Public school students are invited by teachers to produce videos before meeting TCE-PB’s facilities. This content production feeds two applications: a collaborative map and a lecture support system. The last one focuses on assisting the institution's staff to deliver presentations at the Court's auditorium in the preparation of customized materials for each school visit. During the preparation process, the speaker can include in his presentation videos produced by students and available in a public database. Finally, the system gathers the video files, school data, and students participating in the auditorium dynamics into a single media that can be played and shared at the end of the event. This research is based on and uses Audiovisual Design workflow as a methodological route.
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Barber, Jacqueline, K. Sefiane, D. Brutin, and L. Tadrist. "Two Phase Boiling and Flow Instabilities in a Microchannel." In ASME 2007 5th International Conference on Nanochannels, Microchannels, and Minichannels. ASMEDC, 2007. http://dx.doi.org/10.1115/icnmm2007-30218.
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Boiling in microchannels is a very efficient mode of heat transfer. High heat and mass transfer coefficients are achieved. Evaporation of the liquid meniscus is the main contributor to the high heat fluxes achieved due to phase change at thin liquid films in a microchannel. The microscale hydrodynamic motion and the mechanisms at the immediate vicinity of the moving contact line are still not fully comprehended. There are several flow instabilities during boiling in microchannels. These instabilities need to be well understood and predicted due to their adverse effects on the heat transfer. It is hoped to understand particular flow instabilities, such as flow reversal, through experimental research at the contact line. A simultaneous visualisation and measurement experiment was carried out to investigate these flow instabilities in microchannels. Boiling has been induced in a microchannel (dh 570 μm), stabilising just one liquid-vapour interface, and observing its progression through various microchannel geometries. Images and video sequences have been achieved with both a high speed camera and an infra red camera. Analysis of these images allow the application of several existing models to be fitted to our flow instability observations, namely flow reversal and its possible mechanism of vapour recoil, at the moving contact line.
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Lopez, Jose M., Dana V. Danciu, Marco J. Da Silva, Uwe Hampel, and Ram Mohan. "Experiments on Air Entrainment due to Free Falling- and Wall-Jets." In ASME 2010 3rd Joint US-European Fluids Engineering Summer Meeting collocated with 8th International Conference on Nanochannels, Microchannels, and Minichannels. ASMEDC, 2010. http://dx.doi.org/10.1115/fedsm-icnmm2010-30789.
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In this article, air entrainment as a result of an impinging round water jet and a wall-jet was experimentally studied by means of videometry and image processing methods and also by means of a measurement technique based on a wire-mesh sensor. Therefore, two different experimental setups were utilized. For the first setup, a series of experiments at different conditions was performed and evaluated for both round jets and wall-jets. Jet lengths ranged between 0.01 and 0.2 m and jet exit velocities between 0.9 and 3.5 m/s. Image processing algorithms were applied to extract information about jet penetration depth, width of the bubble plume and bubble size distribution. The second facility was used to create a falling film in a square pipe (5 cm × 5 cm). Downstream of the impact point, a wire-mesh sensor was used to measure the gas entrainment characteristics at one axial location. Video image processing was also used in this experiment to gather more qualitative information about the gas entrainment process. Video images are compared with the images obtained by the wire-mesh sensor showing good qualitative agreement. The induction trumpet and a thin sheet of gas that forms around the jet and penetrates into the pool causing the entrainment were clearly identified. Results indicate that the gas void fraction increases and the bubble size decreases as the superficial liquid velocity increases.
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LaBrie, Russell J., Jorge Padilla, and Van P. Carey. "Experimental Study of Aqueous Binary Mixture Droplet Vaporization on Nanostructured Surfaces." In ASME 2015 International Technical Conference and Exhibition on Packaging and Integration of Electronic and Photonic Microsystems collocated with the ASME 2015 13th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/ipack2015-48153.
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In this study heat transfer due to vaporization is investigated for low concentration binary mixtures of 2-propanol/water on nanostructured surfaces. The surfaces are comprised of zinc oxide (ZnO) nanocrystals grown by hydrothermal synthesis on a smooth copper substrate having an average roughness of 0.06 μm. Three nanostructured surfaces used in this study differ only in the duration of the hydrothermal synthesis consisting of 4, 10, and 24 hours of surface growth. Surface geometries were observed to be a function of hydrothermal synthesis time with an increase in area coverage, length, and diameter of nanocrystals with increase synthesis time. ZnO nanocrystals exhibit mean diameter of 500–700 nm, mean length of 1.7–3.3 μm and porosities of 0.04–0.58. Individual droplets between 2.5–3.9 mm in diameter consisting of a binary mixture of 2-propanol/water with concentration of either 0.01 M or 0.03 M were deposited at a minimum distance above the surface that would be sufficient for droplets to detach on their own due to gravity onto a nanostructured surface at temperatures between 110–140 °C. High speed video was used to record the deposition and vaporization process and through image analysis it was possible to measure heat transfer coefficients based on the wetted area, as well as other parameters. Through the video analysis it was observed that droplets which are approximately spherical, impact the surface and spread into a thin film with mean film thickness between 65–400 μm which then evaporated by film evaporation without nucleate boiling. Wettability of each of the surfaces was characterized through contact angle measurements from photographs of the droplet profile when the droplet profile was discernible. When profiles were not discernible due to hydrophilicity of some surfaces, contact angles were calculated by utilizing droplet volume and spread area. Contact angle measurements were performed on the surfaces before and after each experiment in order to document changes in wettability as a result of experimentation. Results from this experiment are compared to water droplet vaporization results from a previous experiment in order to determine whether 2-propanol enhances the heat transfer, and found that the heat transfer coefficient was increased by up to 128% in some cases. Heat transfer enhancement was found to be a function of droplet diameter as well as mixture concentration with 3.9 mm 0.01 M 2-propanol/water droplets showing larger enhancement. Potential uses of heat transfer in this application are also discussed.
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Funazaki, Ken-ichi, Hirokazu Kawabata, Daichi Takahashi, and Yoji Okita. "Experimental and Numerical Studies on Leading Edge Film Cooling Performance: Effects of Hole Exit Shape and Freestream Turbulence." In ASME Turbo Expo 2012: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/gt2012-68217.
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This study deals with the experimental and numerical studies of the effect of hole exit shape and free-stream turbulence on turbine blade leading edge film cooling. The study examines several test cases with two blowing ratios (BR = 1.0 and 2.0) and three mainstream turbulence intensities (1.0, 3.3 and 12.0%) using two types of leading edge models with cylindrical holes and diffuser holes [1]. The leading edge model consists of a semi-circular part of 80mm diameter and a flat after-body. In this study total pressure loss coefficient is measured by total pressure probe. Film effectiveness and heat transfer coefficient on the model surface are measured by the transient method using thermochromatic liquid crystal with video camera. In addition, detailed investigation of the film cooling is carried out using CFD simulations. RANS approach using Shear Stress Transport turbulence model and Detached Eddy Simulation (DES) approach are employed to solve the flow field. In the case of diffuser hole, the effect of mainstream turbulence intensity appears significant, and its spanwise averaged film effectiveness is decreased.
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Killion, Jesse D., and Srinivas Garimella. "Simulation of Pendant Droplets and Falling Films in Horizontal Tube Absorbers." In ASME 2004 International Mechanical Engineering Congress and Exposition. ASMEDC, 2004. http://dx.doi.org/10.1115/imece2004-60302.
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Recent literature suggests that the droplets that form in horizontal-tube, falling-film absorbers play a major role in the absorption process. The performance of such absorbers is critical to the performance of many absorption heat pump systems. The simulation of droplets of aqueous Lithium Bromide pendant from horizontal tubes was performed by numerically solving the equations of motion on a fixed 3-D grid. The so-called volume of fluid method was used to handle the interface between the liquid and vapor phase. Results are compared with simplified axisymmetric models and with high speed video taken during flow visualization experiments. The results show that simplified axisymmetric models do not satisfactorily represent the evolution of the droplets under horizontal tubes, and that the 3-D numerical model appears to accurately match the important characteristics of droplet formation, detachment and impact observed in the experiments.
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Lee, Hyoungsoon, Ilchung Park, Christopher Konishi, Issam Mudawar, Rochelle I. May, Jeffrey R. Juergens, James D. Wagner, et al. "Experimental Investigation of Flow Condensation in Microgravity." In ASME 2013 Heat Transfer Summer Conference collocated with the ASME 2013 7th International Conference on Energy Sustainability and the ASME 2013 11th International Conference on Fuel Cell Science, Engineering and Technology. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/ht2013-17045.
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Future manned missions to Mars are expected to greatly increase the space vehicle’s size, weight, and heat dissipation requirements. An effective means to reducing both size and weight is to replace single-phase thermal management systems with two-phase counterparts that capitalize upon both latent and sensible heat of the coolant rather than sensible heat alone. This shift is expected to yield orders of magnitude enhancements in flow boiling and condensation heat transfer coefficients. A major challenge to this shift is a lack of reliable tools for accurate prediction of two-phase pressure drop and heat transfer coefficient in reduced gravity. Developing such tools will require a sophisticated experimental facility to enable investigators to perform both flow boiling and condensation experiments in microgravity in pursuit of reliable databases. This study will discuss the development of the Flow Boiling and Condensation Experiment (FBCE) for the International Space Station (ISS), which was initiated in 2012 in collaboration between Purdue University and NASA Glenn Research Center. This facility was recently tested in parabolic flight to acquire condensation data for FC-72 in microgravity, aided by high-speed video analysis of interfacial structure of the condensation film. The condensation is achieved by rejecting heat to a counter flow of water, and experiments were performed at different mass velocities of FC-72 and water and different FC-72 inlet qualities. It is shown that the film flow varies from smooth-laminar to wavy-laminar and ultimately turbulent with increasing FC-72 mass velocity. The heat transfer coefficient is highest near the inlet of the condensation tube, where the film is thinnest, and decreases monotonically along the tube, except for high FC-72 mass velocities, where the heat transfer coefficient is enhanced downstream. This enhancement is attributed to both turbulence and increased interfacial waviness. One-ge correlations are shown to predict the average condensation heat transfer coefficient with varying degrees of success, and a recent correlation is identified for its superior predictive capability, evidenced by a mean absolute error of 21.7%.