Academic literature on the topic 'Installations (Art) – Photographies'
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Journal articles on the topic "Installations (Art) – Photographies"
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Agac, Saliha. "Installation Artist in the Fashion Industry: Yayoi Kusama." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 35–41. http://dx.doi.org/10.18844/prosoc.v4i11.2847.
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The history of fashion has shown that art and fashion are influenced by each other. Cooperation between the two disciplines is quite extensive. In this work, first, the installation artist Yayoi Kusama’s installations and the clothes that she prepared for these installations are examined. Then, the 2012 collection prepared with the cooperation of Yayoi Kusama-Louis Vuitton was examined and visual content analysis forms were created. As a result of the findings, a capsule collection was prepared in honour of Yayoi Kusama and photographed by establishing the figure–ground relationship as in the fashion photographs of the Yayoi Kusama-Louis Vuitton collection. Keywords: Yayoi Kusama, Louis Vuitton, fashion design, art, capsule collection.
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Smith, Shawn Michelle. "Archive of the Ordinary: Jason Lazarus, Too Hard to Keep." Journal of Visual Culture 17, no. 2 (August 2018): 198–206. http://dx.doi.org/10.1177/1470412918782363.
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This article considers snapshot photography and affect through a reading of artist Jason Lazarus’s Too Hard to Keep. Lazarus’s project is an archive and shifting installation of anonymous photographs that donors can no longer bear to keep. It highlights the dual nature of the photographic snapshot – simultaneously banal and emotionally charged, tedious and intensely affecting, private and public, a site of cultural normativity as well as resistance. The article proposes that because viewers of Lazarus’s installations cannot know what specific feelings any of the images previously evoked, they are encouraged to contemplate shared practices of photography and the diffuse affective charge of ordinary photographs.
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Goldstein, Jennie. "Dance History in Contemporary Visual Art Practice: Kelly Nipper’s Weather Center." TDR/The Drama Review 60, no. 2 (June 2016): 103–21. http://dx.doi.org/10.1162/dram_a_00550.
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Kelly Nipper’s video installation Weather Center (2009) is emblematic of the presence of dance in recent visual art. Nipper’s persistent fascinations with Mary Wigman, Laban Movement Analysis, and expansive notation practices result in live performances, moving-image installations, and photographs, creating visual art that reveals how dance and its particular histories can function as malleable material within the museum.
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Zambenedetti, Alberto. "Emplacing Time: Photography, Location, and the Cinematic Pilgrimage." Space and Culture 23, no. 4 (October 15, 2018): 548–60. http://dx.doi.org/10.1177/1206331218805381.
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Cinema, arguably the time-based medium most synonymous with modernity, is also an art form of place: cinema records place in time and, in the best circumstances, stores it through time. If, as Michel de Certeau remarked, “space is a practiced place,” then cinema is the memory of that practice; it is the archive of that transformation. Cinema, in other words, “emplaces time.” Moreover, because of its physical properties, film is also an archival object whose very existence is challenged by the passing of time. In recent years, the ways in which cinema emplaces time have become the subject of a dual contemplation on the part of a generation of photographers whose projects re-photograph cinema’s loci, from movie palaces to film locations. This article investigates the relationship between film the work of three “cinematic pilgrims”: British artist Michael Lightborne, whose 2012 installation Interval (After Intervals) included photographs of the locations for Peter Greenaway’s 1969 short film Intervals alongside the original film; Christopher Moloney’s ongoing project FILMography, in which the Canadian photographer travels the world bringing printed reproductions of film stills to the sites where they were originally shot and then re-photographs them in situ; and the travel blog Fangirl Quest by the Finnish Tiia Öhman and Satu Walden, a photographer and a travel expert, respectively, who re-photograph a location while displaying the related movie scene on a tablet practice (a practice they call “sceneframing”). These projects underscore cinema’s innate relationship with place, while they also highlight the changes that occurred in the time that intervened since production, revealing the instability of the filmic object as one of time as well as in time.
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statton, liza. "Bittersweet Obsession: Ed Ruscha's Chocolate Room." Gastronomica 6, no. 1 (2006): 7–9. http://dx.doi.org/10.1525/gfc.2006.6.1.7.
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This article considers the singular installation work, Chocolate Room (1970), by the American conceptual artist Ed Ruscha (b. 1937), who is based in Los Angeles. Although Ruscha is best-known for his coolly composed paintings and photographs, Chocolate Room, explores the artist's use of unconventional materials to create works of art that confront viewers with the unexpected. The author discusses the creation of this site-specific work for the 35th Venice Biennale during tumultuous year of 1970 when many American artists boycotted the event due to the Vietnam War. Chocolate Room was installed in one part of the American Pavilion, where the interior walls of the room were covered with 360 screen prints made from Nestléé's chocolate. The author assesses the physical and psychological properties of chocolate and how Ruscha's installation manipulates these qualities as a deliberate act of provocation. Stains (1969), a seventy-five page, unbound book is also discussed in relation to Chocolate Room, highlighting Ruscha's interest in and experimentation with organic substances. The author situates these projects between the overlapping developments of Pop and Conceptual Art in America during the 1960s and 70s –– both of which are indebted to the 'anti-art' ideologies of Duchamp and the Dadaists. The author concludes with the unexpected demise of the installation and alludes to the ways in which the substance of a medium can transform the meaning of an image.
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George, Phillip. "Mnemonic Notations: A Decade of Art Practice within a Digital Environment." Leonardo 35, no. 2 (April 2002): 121–27. http://dx.doi.org/10.1162/00240940252940450.
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The author's work Mnemonic Notations represents the evolution of one computer graphic file, first generated in 1990. The author has modified the file for over a decade in response to exposure to many ideas and influences. The Mnemonic Notations file has been output and visually represented as paintings and prints. Mnemonic Notations files were also used as the basis of the Mnemonic Notations CD-ROMs and interactive installations, as well as digital photographic works dealing with fictional documentations.
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Garmedia, Rosa Naday. "Rosa Naday Garmendia: Artist Statement and Art Work." Cultural and Pedagogical Inquiry 12, no. 1 (February 1, 2021): 297–304. http://dx.doi.org/10.18733/cpi29556.
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A series of photographic images depicting the artwork of socially engaged, multidisciplinary artist, Rosa Naday Garmedia, as well as a statement supporting the background of the art. The images depict selected installation views of the "Rituals of Commemoration" at the Corcoran Gallery, an ongoing project started in 2014. This iteration of the Commemoration project presents the most named bricks, 469 of the 1,252 representing lives of black men and women killed by police or security guards across the United States between 1979 to date.
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Black, Jane. "Beautiful Botanicals: Art from the Australian National Botanic Gardens Library and Archives." Art Libraries Journal 44, no. 3 (June 12, 2019): 124–31. http://dx.doi.org/10.1017/alj.2019.17.
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The Australian National Botanic Gardens plays an important role in the study and promotion of Australia's diverse range of unique plants through its living collection, scientific research activities and also through the art collection held in the institution's Library and Archives. Australia's history of formal botanical illustration began with the early voyages of discovery with its popularity then declining until the modern day revival in botanical art. The Australian National Botanic Gardens Library and Archives art collection holds works from the Endeavour voyage through to the more contemporary artists of Celia Rosser, Collin Woolcock, Gillian Scott and Aboriginal artists including Teresa Purla McKeeman as well as photographs and outdoor installations.
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Schiller, Devon. "The Black Box Grimaces Back." Grimace, Vol. 2, no. 1 (2017): 72–81. http://dx.doi.org/10.47659/m2.072..art.
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With the algorithmic age of computable emotions, an increasing number of digital artists base the form of their Internet or sculptural installation on Automated Facial Expression Analysis (AFEA), and its functionality achieved via the photographic documentation in face databases. These contemporary artists make visible a digital habit of thought that objectivates the human face into a plastic grotesque of grimacing extremis, and the self inside out into the universal or utilitarian. Yet, most AFEA systems – a term little clarified and much confused with facial recognition or biometrics – are “black box” frameworks. Introduced by the technological industry and scientific experts, such proprietary closed source algorithms veil the majority of program functionality input from available data output, hiding how it works from immediate observation by artist and audience. By problematizing Julius von Bismarck’s Public Face (2008-14) and its intermedial genealogies, I probe the extent to which AFEA represents the face and its expression of emotion from a technostalgic view that reduces scientific complexity, while informing how we think about what we feel today. Keywords: automated facial expression analysis, biometrics, digital art and science, facial recognition algorithms, photography
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Schiller, Devon. "The Black Box Grimaces Back." Grimace, Vol. 2, no. 1 (2017): 72–81. http://dx.doi.org/10.47659/m2.072.art.
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With the algorithmic age of computable emotions, an increasing number of digital artists base the form of their Internet or sculptural installation on Automated Facial Expression Analysis (AFEA), and its functionality achieved via the photographic documentation in face databases. These contemporary artists make visible a digital habit of thought that objectivates the human face into a plastic grotesque of grimacing extremis, and the self inside out into the universal or utilitarian. Yet, most AFEA systems – a term little clarified and much confused with facial recognition or biometrics – are “black box” frameworks. Introduced by the technological industry and scientific experts, such proprietary closed source algorithms veil the majority of program functionality input from available data output, hiding how it works from immediate observation by artist and audience. By problematizing Julius von Bismarck’s Public Face (2008-14) and its intermedial genealogies, I probe the extent to which AFEA represents the face and its expression of emotion from a technostalgic view that reduces scientific complexity, while informing how we think about what we feel today. Keywords: automated facial expression analysis, biometrics, digital art and science, facial recognition algorithms, photography
Dissertations / Theses on the topic "Installations (Art) – Photographies"
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Delbard, Nathalie. "Par la force des choses : photographies." Paris 1, 2002. http://www.theses.fr/2002PA010634.
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À travers l'analyse d. 'oeuvres personnelles (portraits et installations photographiques), cette thèse se propose de reconsidérer à1a fois l' autonomie de l'objet photographique et sa force de présence dans le monde, indépendamment de la fonction analogique - l'image en tant que miroir fidèle du Réel - que d'aucuns lui prêtent souvent. Au sein des pratiques actuelles la photographie est notamment envisagée dans sa capacité à mettre à malles systèmes traditionnels de représentation, au profit de l'avènement de la "force des choses " : au coeur même de l'ordinaire - dans la force contenue par les choses elles- mêmes - les images offrent au regard des visages assoupis et énigmatiques. Ainsi que des corps couverts d'infimes troubles épidermiques, ou porteurs d'étranges accessoires. Absents et impénétrables, les modèles présentés échappent à toute interprétation, constituant ainsi de nouvelles formes d'existence. Dans une telle perspective, l'image photographique s'inscrit dans un processus de résistance, qui tente de rendre sa place à. L'individu à travers son altérité même. A. La suite de nombre de postures contemporaines, l'enjeu artistique devient celui d'une véritable éthique du visible, où l'image se donne avec d'autant plus de force qu'elle ne comble jamais le désir du regardeur. De la représentation à la présence, il s'agit finalement de penser d'autres modalités d'apparition pour la photographie, répondant à l' accélération généralisée des visibilités
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Gilbert, Marie-Andrée. "La fiction dans l'ordinaire de l'homme." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24246/24246.pdf.
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Séguin, Chantal. "Mobilier urbain." Master's thesis, Université Laval, 2007. http://hdl.handle.net/20.500.11794/18930.
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Marchand, Julie. "Raconter et transmettre : les strates du réel photographique /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1999. http://theses.uqac.ca.
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Bruni, Gilles. "Installations paysagères et land art : la conduite créatrice technique, le projet et le comportement éthique." Rennes 2, 1997. http://www.theses.fr/1997REN20017.
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Il est défendu l'idée qu'un mode de connaissance en art procède de la technique et d'une dimension éthique. Dans l'analyse des productions in situ, à la différence d'un modèle historique et esthétique en usage pour le Land art, les enjeux du travail d'installation paysagère requièrent l'étude des paramètres spécifiques qui en fondent les principes. Le projet artistique utilise le site avec circonspection. L'implication dans le lieu vise une issue technico-plastique 0 chaque situation. Le plasticien créateur exploite ici des processus techniques qui empruntent à des champs hétérogènes de l'agriculture, de l'architecture, de la photographie. La réappropriation de pratiques ordinaires produit alors des figures réglées, transfigurées par un dispositif photographique interne au processus de fabrication de l'oeuvre qui en fixe une image. En considérant inscrites dans la raison du producteur les conditions de la production, s'y trouvent incluses alors son trajet anthropologique et ses préférences. L'artistique, comme science des processus de l'art prend ainsi en compte les paramètres éthiques et sociaux. La mise en oeuvre des procédés techniques relève alors d'une procédure de légitimation des actes et du produit artistique comme visées esthetico-morale et politique. La préférence aux travaux des champs, aux matériaux locaux et le respect du milieu physique et social signale une attitude morale. Dans la mise a l'épreuve, entre tentation de soumission au milieu et ordre imposé, se construit ainsi une démarche de validation de l'expérience du site. La valeur heuristique de l'exercice révèle a terme la dimension anthropologique d'une implication du sujet dans la création comme mode d'existence et par l'évaluation éthique fait advenir une position critique. L'artiste plasticien (ici figure double) apparaît alors comme un sujet conscient, autonome et libre en ce sens qu'il s'attache à réinjecter dans l'oeuvre les conditions de son élaboration, construisant ainsi la figure de l'artiste
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Benzacar, Hélène. "Le polyptyque ou l'un-possible image : de l'actualité du polyptyque contemporain en photographie : recherche à partir d'une pratique personnelle de la photographie." Paris 1, 2007. http://www.theses.fr/2007PA010554.
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Le plasticien fabrique des objets, les regarde, les interroge. C'est à partir d'eux que le travail de thèse s'est construit. La singularité des objets réalisés vient de ce qu'ils sont composés au minimum, de deux photographies en relation constituant ensemble une œuvre visuellement indissociable. Le polyptyque, fortement lié à la tradition picturale depuis le Moyen Âge, semble très éloigné des recherches photographiques d'aujourd'hui. L'hypothèse de travail voudrait renouveler la théorie du polyptyque, en inscrivant dans une filiation historique, qui se trouve être celle de la peinture, un objet spécifiquement photographique. Les polyptyques furent inventés pour un système qui jouait son expression sur les rapports d'images. Ils devinrent, plus tard, la révélation d'un rapport à l'image m'entraînant à proposer la possibilité d'une relation étroite entre la forme du polyptyque et l'installation.
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Shapiro, Carla Rose. "From mimesis to metaphor : images of the Holocaust in contemporary photographic and installation art." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250005.
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Vivien, Didier. "Du reste : traité de zérologie : entropie et virtualité dans la machine de vision." Paris 1, 2001. http://www.theses.fr/2001PA010613.
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La " question de la technique " est l'un des axes majeurs de la pensée moderne. Aujourd'hui encore, elle oppose et divise: les technologies les plus récentes font naître les plus vives inquiétudes comme elles inspirent de nouvelles utopies. Politique, anthropologique, philosophique, voire théologique, La question trouve dans le champ des arts plastiques et de l'esthétique de multiples résonances ; on défendra donc la possibilité d'une " critique artistique de la technique ". Onze propositions plastiques, photographiques et vidéographiques, le plus souvent finalisées sous la forme d'installations, et nécessitant une activité informatique, étayent une réflexion nommée " Du reste: traité de zérologie ". Autour du terme zéro est proposé, de manière un peu paradoxale, une problématisation des phénomènes de raréfaction infinie ou différée (ruines et déchets), de dématérialisation (la numérisation des images et des signes) et d'accumulation (marchandises, informations, patrimoine. . . ). A une autre échelle, le terme zéro permet d'envisager une " techno-logique " de production et de représentation du monde, créatrice de réalités produites à partir d'entités élémentaires (atome, gène, bit, pixel). Les notions d'entropie et de virtualité s'articulent de manière dialectique pour prolonger une perspective critique et théorique déjà lisible dans les pièces plastiques. Aussi est-il accordé une certaine importance au développement des nouvelles technologies de la communication et de l'information et aux zones résiduelles (friches industrielles, terrains vagues, déchets urbains et nucléaires. . . ). Musées, monuments, archives, paysages péri- urbains, zones en déshérence, rythment la dérive photo-vidéographique. Entre hypothèses et hyperboles, la zérologie pourrait apparaître comme une tentative poético-philosophique pour ressaisir une époque incertaine et déroutante -que l'art tente de rendre plus habitable.
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Navarro, Pascal. "L' art dans sa forme affaiblie : réflexion sur une pratique plastique ordinaire." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10072.
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Cette réflexion s'appuie sur une rupture survenue dans mon travail à la fin des années 90. J'ai abandonné la peinture pour une utilisaton plus modeste de la photographie. Je ressentais alors un sentiment de faiblesse devant l'entreprise artistique et j'ai pensé que c'était dans la voie du "peu" que mon travail pouvait avancer. J'ai donc choisi d'accepter cet état, de travailler à la fois "malgré" et "par" la faiblesse. Retrouvant cette approche chez d'autres artistes actuels, j'ai parié que ce que je vivais comme une expérience individuelle participait d'une situation plus générale de l'histoire de l'art et que la notion de faiblesse pouvait établir un point de contact entre mon expérience propre et la sensibilité de l'époque contemporaine.
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Jemal, Siala Mouna. "Prise, reprise, surprise : recherche sur l'ombre : trace des temps par une approche photographique." Paris 1, 2002. http://www.theses.fr/2002PA010510.
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Dans "Prise, Reprise, Surprise" j'essaye d'être un peu landa1tist, un peu photographe, ou plutôt entre les deux, et en même temps théoricienne. Toutes les réalisations éphémères que j'ai faites dans le site sont liées d'une part à la nature et aux éléments de la nature, dont moi-même, et d'autre part au temps et à l'ombre. Ces réalisations qui se dégradent et meurent reprennent vie dans le non-site par le biais de leur représentation en photo-installation. L'acte photographique constitue le lien qui maintient le contact entre l'espace de présentation extérieur et l'espace de présentation intérieur. Comme avec la chronophotographie je cherche à montrer le mouvement de la marche de l'ombre et par voie de conséquence, celle du temps. Je cherche, également, à montrer la silhouette longiligne que peut avoir l'ombre et qui va jusqu'à prendre la place du corps ou même le faire disparaître. Mon ombre est à l'origine de mon art ; elle est pour moi une inspiration et c'est un effet de surprise mêlé à la maîtrise qui fait apparaître l'ombre et l'instant vertical de la création. Le temps est intimement lié à l'ombre et à la lumière et la représentation du temps est intimement liée à la conscience de soi. Les photo- installations d'ombres sont des autoportraits qui me font présente tout en étant absente et marquent en plus la trace des temps.
Books on the topic "Installations (Art) – Photographies"
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Fleischer, Alain. Alain Fleischer: Installations/photographies : 20 juin/31 juillet 1987, Abbaye-aux-Dames, Caen. Caen: Fonds régional d'art contemporain, Basse-Normandie, 1987.
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1942-, Fuchs Rudolf Herman, and Solomon R. Guggenheim Museum, eds. Richard Long. New York, N.Y: Thames and Hudson, 1986.
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Hamish, Fulton, Seymour Anne, Cork Richard 1947-, and Hayward Gallery, eds. Richard Long: Walking in circles. London: Thames & Hudson, 1994.
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Long, Richard. Richard Long: Wind circle memory sticks. Duisburg: Wilhelm Lehmbruck Museum, 1997.
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Scotland, National Galleries of, ed. Richard Long: Walking and marking. Edinburgh: National Galleries of Scotland, 2007.
Find full textBook chapters on the topic "Installations (Art) – Photographies"
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Leister, Wiebke. "Photographic Installation Strategies En-bloc and In-the-round." In A Companion to Modern Art, 187–207. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118639948.ch10.
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Burns, Maureen, and Andreas Knab. "Instant Architecture: Hosted Access to the Archivision Research Library with Built-In Image Management & Presentation Tools." In Proceedings e report, 150–57. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.38.
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The Archivision Research Library is a collection of 100,000 digital images of art and architecture professionally photographed by a trained architect. It documents the built environment--from ancient monuments to cutting-edge contemporary constructions--with extensive, standardized descriptive metadata. Archivision is accessible for research and teaching through a web-based application--a dedicated hosted instance of MDID--with vrcHost LLC delivering full services and technical support: installation, integration, and maintenance. This combination provides not only instant access to Archivision, but also to sophisticated tools for managing images using an open source media management system to discover, aggregate, study, and present digital media.
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Pethő, Ágnes. "The Photo-Filmic Diorama." In Theorizing Film Through Contemporary Art. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467_ch08.
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The chapter focuses on a particular type of tableau construction in which the image is built like a glass case display, encapsulating an entire world of its own, combining 2D and 3D effects. With examples ranging from Jeff Wall’s light boxes, Gregory Crewdson’s and Hiroshi Sugimoto’s cinematic photographs, to a case study of Gustav Deutsch’s film/installation Shirley: Visions of Reality (2013), the chapter traces the inflections of such a photofilmic diorama as a versatile “cubicle aesthetic” which reconfigures the traditional dynamic of “absorption and theatricality” (Michael Fried) of the tableau form and reveals the imbrication of different art practices. The diverging features of such a dioramic tableau in photography and film are interpreted in terms of intermediality and defamiliarization.
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Bernes, Jasper. "The Feminization of Speedup." In The Work of Art in the Age of Deindustrialization. Stanford University Press, 2017. http://dx.doi.org/10.11126/stanford/9780804796415.003.0005.
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Engaging debates around the status of unpaid reproductive labor, this chapter investigates Bernadette Mayer’s multifarious project Memory, which is simultaneously a performance, a conceptual work, an installation, and an epic poem. In attempting to document, down to the smallest detail, every aspect of her life for thirty days—using photographs, audio recordings, and written notation—Mayer effectively demonstrates the subsumption of the entirety of life by the protocols and routines of work as well as the transformation of the relationship between unpaid reproductive work and feminized wage labor. Mayer’s “total” artwork, which merges different technologies into a single apparatus, prefigures the reorganization of office work around the personal computer, a technology that has probably done more than anything else to ensure that work and home life are unified by enabling white-collar workers to accomplish tasks from home and, in that sense, never leave work.
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Musser, Amber Jamilla. "Performing Witness." In Sensual Excess, 95–118. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479807031.003.0005.
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This chapter analyzes Carrie Mae Weems’s photographic installation From Here I Saw What Happened and I Cried (1995–1996) as a performance of witnessing in which Weems restores voice to the archive of portraits that she reprints. While Weems’s installation has been read as trafficking in woundedness, this chapter argues that thinking photography as a technology of reproduction allows us to see Weems’s work as enlarging concepts of diaspora and mothering while also insisting on the opacity of interiority. This chapter positions this form of the maternal in conversation with Audre Lorde’s expansive concept of diaspora. Here, the concept of brown jouissance allows us to reimagine the work that is going on in this piece of art. It enables us to theorize witnessing and photography as fleshy enactments of spiritual resistance and to re-imagine possibilities of black gendering.
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Expósito Barea, Milagros. "Apichatpong Weerasethakul's Primitive as a Model of an Expanded Narrative." In Advances in Business Strategy and Competitive Advantage, 76–89. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3119-8.ch006.
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Primitive is a multi-screen video installation created by the independent filmmaker Apichatpong Weerasethakul. The multi-platform project presents strong ties to Thai culture and consists of a video installation with simultaneous interrelated screens, two short films, a book of art that includes a series of photographs, a journal, a draft text, and its final product, one of his most recognized films, Uncle Boonmee, Who Can Recall His Past Lives (2010), which was awarded the Palme D'Or at the Cannes film festival. The project aims to convey is a unified idea and achieves this through stimulating the spectator in various formats. Apichatpong's films use non-conventional narrative structures which explore the juxtapositions between man and nature; rural life and city life; and personal memories alongside political ones. The film maker creates his own universe, which is a recurring theme throughout his filmography. Primitive is destined to be experienced as a dream of “reincarnation and transformation.”
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Wilson, Emma. "Nan Goldin." In The Reclining Nude, 141–98. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620245.003.0005.
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Focusing on two projects first mounted in Paris, an installation about Goldin’s sister Barbara, Sisters, Saints and Sibyls and a projection and grid pictures inspired by images in the Louvre Museum, Scopophilia, this chapter looks at the melancholy and sensuality of the European phase of Goldin’s work. It looks in particular at her attention to women (cisgender and occasionally trans). She moves from images of prostration, lying down to die on railway tracks, being struck down by piercing grief, being tied down in a hospital bed, to images of radiant beauty, exposure, and female eroticism. Through the expansive range of feelings conjured by her photographs, Goldin vindicates female pleasure in looking, and further explores the contestatory power in images of indolence, languishing, and inactivity. The chapter engages closely with Goldin’s statements about her art. It offers, like the book as a whole, an exultant apprehension of new engagements with intimacy and eroticism, and new visions of a feminist, resistant passivity.
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Ropek, Eve. "Nature matters: notes on Ackroyd & Harvey, ecocriticism and praxis." In Extending Ecocriticism. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994396.003.0006.
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In this chapter Eve Ropek claims that to approach any artwork ecocritically, it is necessary to bring to it some knowledge of current scientific thought regarding the biosphere. Indeed the breadth and complexity of the ideas and issues of humans' place within the Earth's ecosystems encourage an interdisciplinary approach; to join together methods and insights in order to inform the next steps at what is seen to be a crucial global point is an urgent and daunting task. Artists working today are very well aware of the narrative of change and of environmental issues. Ropek considers how this inter-disciplinary approach can be applied to selected artworks by British artists Heather Ackroyd and Dan Harvey, who practise in partnership as Ackroyd & Harvey. The examples she discusses include such artefacts as: photographs in which the negative image is projected onto grass as it grows, so that the resulting portrait is developed on the grass itself; an artificial diamond made from a polar bear bone; and an installation based on the skeleton of a minke whale. These artists create works that are directly related to climate change and its impact on the biosphere.
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Miranda Maloa, Joaquim. "Extensive African Urbanization: The Case of the Mozambican Periphery." In Design of Cities and Buildings - Sustainability and Resilience in the Built Environment. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.94540.
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The aim of this article is to analyze African urbanization, looking specifically at the transformations of Mozambican urban peripheries. To do so, conduct a qualitative research of an exploratory nature, using bibliographic, documentary and photographic survey. The most interesting discoveries of this study started in the 1990s, a period marked by the end of “socialism”, civil war, centrally planned economy, which verified the opening of parents in the current Western capitalist world in the growth of foreign investments and financial transactions. Under the effect of market liberalization. At this moment, everything that is traded and the exchange value overlaps the use value and appropriation of space in exchange for money. In this context, as the peripheral urban cities are transformed into multiplying duplexes, elegant houses those call houses, true “Mozambican palaces” and closed condoms. The establishment of these houses will transform these spaces and gradually expel the low-income population that has existed for a long time, to places very far from the central area, this phenomenon is called gentrification. He concluded that the transformation of Mozambican urban peripheries is influenced by the increase in real estate capital, increase in individual income, ease of acquisition of space and construction material (provided by the expansion of the installation for the exhibition that makes it possible or cheaper). This research is important because it makes an important contribution to the empirical studies on the new neoliberal urbanism that is taking place in Mozambican cities. The limits of this research are due to the lack of funding to carry out a systematic survey of new ventures that will emerge in cities and places far from the center of large cities, such as: Maputo, Beira, Nampula and Matola. It is intended in the future study to demonstrate how to change the socioeconomic structure of the residents of the Mozambican peripheries, characterizing gentrification.
Conference papers on the topic "Installations (Art) – Photographies"
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Haswell, Jane, and Peter Boothby. "Pipeline Design: Are Current Pipe Standards Adequate?" In 2010 8th International Pipeline Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/ipc2010-31302.
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The paper commences by identifying the basic pipeline design criteria for onshore gas transmission pipelines by reference to the UK Institution of Gas Engineers and Managers (IGEM) TD/1 code “Steel Pipelines and Associated Installations for High Pressure Gas Transmission”. Amendments incorporated into the recently updated Edition 5 of that document are then highlighted together with appropriate justification for the adopted changes. The current status of pipe standards & specifications, (i.e. the practical interpretation of pipeline design criteria) is then summarised highlighting specific gaps and anomalies that raise cause for concern. Issues specific to different pipe types and grades are covered raising the question; do current pipe standards adequately address the necessary technical requirements bearing in mind the intended pipeline service application? Areas of concern discussed in detail by reference to specific examples include intrinsic weld geometry concerns in high frequency welded pipe, the absence of a reduction of area requirement for transverse weld tensile tests, pipeline construction & operation concerns associated with poor weld bead geometry in spiral pipe, variable flattening test behaviour in high frequency welded pipe and the supply of multiple alloy types within a single pipe order. The above examples are illustrated graphically in the paper where appropriate by photographs taken at the time of pipe production and testing.
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Babenkov, Y. I., A. I. Ozersky, V. V. Romanov, G. A. Galka, and E. S. Zhelonkina. "TO THE QUESTION ABOUT THE DESIGN ACTIVITY OF STUDENTS AT A TECHNICAL UNIVERSITY." In INNOVATIVE TECHNOLOGIES IN SCIENCE AND EDUCATION. DSTU-Print, 2020. http://dx.doi.org/10.23947/itno.2020.189-192.
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The article describes an example of the implementation of the project activities of students of the Faculty of Aviation Engineering of DSTU. The photographs of experimental laboratory installations made as a result of joint creative work of the teacher and students are presented.
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Casari, Nicola, Michele Pinelli, Pier Ruggero Spina, Alessio Suman, and Alessandro Vulpio. "Performance Degradation due to Fouling and Recovery After Washing in a Multistage Test Compressor." In ASME Turbo Expo 2020: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/gt2020-15488.
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Abstract Land-based power units have to fulfill even more high levels of production and reliability. In harsh environments (desert and tropical installations, typically), the power unit ingests high amounts of dust that might deposit inside the compressor. In this paper, the analysis of a multistage compressor performance that operates under sandy and humid conditions has been assessed. The compressor units, that equips the Allison 250 C18 compressor, has been subjected to multiple runs under severe conditions of soil dust ingestion. The compressor has been operated according to subsequent runs and at the end of each run, the performance curve was recorded and the performance losses, in terms of pressure ratio, have been measured during the operations. The characteristic curve of each run is representative of the level of contamination of the unit. Finally, the compressor has been washed and the performance curve, in the recovered conditions, has been recorded. The results show the modification and the downward shift of the characteristic curves which lead to a gradual loss of the compressor performance. The curves realized after dust ingestion have been compared with the recovered curve after online washing. The measurement shows a promising recovery of the performances, even if, the compressor flow path appears affected by localized deposits able to resist to the droplet removal action. Detailed photographic reports of the IGV and the first compressor stages have been included in this analysis. After each run, the IGV, the rotor blade and stator vane of the first stage and the hub and the shroud surfaces have been photographed. The pictures show the deposition patterns on the blades and the compressor surfaces. The comparison of the pictures of the internal surfaces, before and after the washing, highlights the parts that are more critical to clean and needy of attention during offline washing and overhaul.
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Sewell, Peter, and Paul E. Scears. "Flight Development of the RTM 322 Engine." In ASME 1990 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1990. http://dx.doi.org/10.1115/90-gt-189.
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The RTM 322 engine, under development by Rolls-Royce Turbomeca Ltd, is a viable candidate engine for future incorporation in S-70, H-60, EH101 and NH90 helicopters. An important ingredient in the development of the engine is its flight testing, currently being carried out in a Sikorsky S-70C (Civil version of the U S Army UH60 BLACK HAWK). This has not only served realistically to uncover and correct at very early stages those types of problem common to the development of all new engines but has also equally afforded an early look at installation, control and engine/airframe dynamic characteristics which, of course, will simplify later Production Series incorporation. A brief description of the RTM 322 engine design and its development status is given followed by a summary of the installation and flight testing in the S-70C. Ground and flight test results in the S-70C are discussed and data and photographs presented.
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Kalyanam, S., D. J. Shim, P. Krishnaswamy, and Y. Hioe. "Slow Crack Growth Resistance of Parent and Joint Materials From PE4710 Piping for Safety-Related Nuclear Power Plant Piping." In ASME 2011 Pressure Vessels and Piping Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/pvp2011-57874.
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HDPE pipes are considered by the nuclear industry as a potential replacement option to currently employed metallic piping for service-water applications. The pipes operate under high temperatures and pressures. Hence HDPE pipes are being evaluated from perspective of design, operation, and service life requirements before routine installation in nuclear power plants. Various articles of the ASME Code Case N-755 consider the different aspects related to material performance, design, fabrication, and examination of HDPE materials. Amongst them, the material resistance (part of Article 2000) to the slow crack growth (SCG) from flaws/cracks present in HDPE pipe materials is an important concern. Experimental investigations have revealed that there is a marked difference (almost three orders less) in the time to failure when the notch/flaw is in the butt-fusion joint, as opposed to when the notch/flaw is located in the parent HDPE material. As part of ongoing studies, the material resistance to SCG was investigated earlier for unimodal materials. The current study investigated the SCG in parent and butt-fusion joint materials of bimodal HDPE (PE4710) pipe materials acquired from two different manufacturers. The various stages of the specimen deformation and failure during the creep test are characterized. Detailed photographs of the specimen side-surface were used to monitor the specimen damage accumulation and SCG. The SCG was tested using a large specimen (large creep frame) as well as using a smaller size specimen (PENT frame) and the results were compared. Further, the effect of polymer orientation or microstructure in the bimodal HDPE pipe on the SCG was studied using specimens with axial and circumferential notch orientations in the parent pipe material.
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Domiciano Fidalgo, Clara, Isabela Machado Santos, Caroline de A. Nogueira, Maria Clara Souza Portugal, and Lídia Maria T. Martins. "Urban sidewalks, dysfunction and chaos on the projected floor. The search for accessible pavements and sustainable mobility." In 7th International Congress on Scientific Knowledge. Perspectivas Online: Humanas e Sociais Aplicadas, 2021. http://dx.doi.org/10.25242/8876113220212366.
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The pavements of the sidewalks are not simple roofs for the floor of cities. The correct specification and application of the materials not only guarantees the accessibility of this space, but also favors and enhances the urban mobility of pedestrians, the walkability, much defended by several professionals of urbanism. Have you stopped to observe the city we live in? The streets, the sidewalks and all of your public areas? Note the immense "invasion" of public space, making life on sidewalkssomething stimulating and interesting, by the enormous confusion implanted: kiosks, street vendors / street vendors, cars parked in a forbidden place and sometimes on the sidewalks, barbecues, holes, steps, obstacles, furniture and urban equipment very poorly located,results of the complete dysfunction ofthis space. The problem observed reflects the current dismay of people and public authorities in relation to accessibility, mobility and safety of people, especially those with reduced mobility,disabled or not. That said, this work objectives tofind a floor of easy installation and low cost that meets the principles of universalaccessibility, urban aesthetics and enhances the mobility of people in the city with autonomy and security. Based on an observational and photographic study of the sidewalks of the Pelinca neighborhood, together with a technical survey of existing sidewalks,the information obtained will be compared with the guidelines contained in the accessibility and urban mobility legislation in force, whether at the municipal, state and federal levels. The data extracted in the evaluation of existing floors, will provide subsidies, for the identification of a new type of pavement, contributing to the Public Power in the elaborationof booklets for the implementation and or adoption of guiding measures for the construction and reformulation of sidewalks, in the city of Campos dos Goytacazes