Relevant bibliographies by topics / Long Beach Museum of Art

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  1. Journal articles
  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Long Beach Museum of Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Long Beach Museum of Art"

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Fitzgerald, Oscar P. "Book ReviewsGlenn Adamson with, Gary Michael Dault. Gord Peteran: Furniture Meets Its Maker. Exhibition catalog, Milwaukee Art Museum, October 5, 2006–January 14, 2007; Cranbrook Art Museum, Bloomfield Hills, MI, February 3–April 1, 2007; Winterthur, May 12–August 12, 2007; Bellevue Art Museum, Bellevue, WA, September 13–December 9, 2007; VCU Arts Anderson Gallery, Virginia Commonwealth University, Richmond, January 18–March 2, 2008; Long Beach Museum of Art, Long Beach, CA. Milwaukee: Milwaukee Art Museum and Chipstone Foundation, 2006. 92 pp.; 56 color + 13 black‐and‐white photographs, 9 black‐and‐white illustrations. $29.95 (paper)." Winterthur Portfolio 42, no. 2/3 (June 2008): 195–96. http://dx.doi.org/10.1086/589608.

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PERNET, BRUNO, LESLIE HARRIS, KIRK FITZHUGH, LARRY LOVELL, and CHRISTINE WHITCRAFT. "13th International Polychaete Conference (IPC13) Editorial." Zoosymposia 19, no. 1 (December 28, 2020): 5–7. http://dx.doi.org/10.11646/zoosymposia.19.1.3.

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In 1989, Donald Reish hosted the 3rd International Polychaete Conference (IPC3) in Long Beach, on the campus of California State University Long Beach. In 2015 he asked one of us (Bruno Pernet) if it might be possible to bring IPC13 back to Long Beach, thirty years later. Bruno assembled a planning committee consisting of himself and Christine Whitcraft (CSU Long Beach), Kirk Fitzhugh and Leslie Harris (Natural History Museum of Los Angeles County), and Larry Lovell (Dancing Coyote Environmental). The committee’s proposal was accepted at the International Polychaetology Association (IPA) general meeting in Wales in 2016, and the planning committee morphed into an organizational committee!
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El-Tayeb, Fatima. "The Universal Museum." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 72–82. http://dx.doi.org/10.1215/10757163-8308198.

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This article addresses the long-term impact of colonialism on Europe’s internal structures and on its self-positioning in a global context. Using the 2015 refugee crisis as a focal point and centering the German example, the author explores the complex relationship between memory discourses and visions of Germany’s and Europe’s postunification future. The author argues that the erasure of colonial violence from the continent’s collective memory has a direct, negative impact on its ability to let go of a racialized identity that is in increasing tension with Europe’s actual multiracial and multireligious composition. The article traces this dynamic around the example of the non-European collections in Berlin’s Museum Island and the future Humboldt Forum, conceptualized as the world’s largest “universal museum.” The narratives through which this art is integrated into Europe’s cultural heritage are in stark contrast to those that simultaneously defined the refugees, who arrived from the same region in which the art originated, as fundamentally different and threatening. The narratives intersect in the Multaqa initiative, which offers Arab language tours of Museum Island to refugees, and in the controversy around the site of the Humboldt Forum and the colonial art it is meant to house.
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Cadieu, Morgane. "Afterword: The Littoral Museum of the Twenty-First Century." Comparative Literature 73, no. 2 (June 1, 2021): 237–54. http://dx.doi.org/10.1215/00104124-8874117.

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Abstract The museum, the mausoleum, and the memorial are key concepts for theorizing beaches and ports in twenty-first-century literature and cinema. On the littoral, these constructions suggest the very opposite of a sealed off monumentality to become living museums of women’s labor in modern and contemporary France (Sciamma, Varda), bodily mausolea of migration on the Senegalese shoreline (Diop), and shapeshifting war memorials in Atlantic and Pacific tidelands (Darrieussecq, Rolin, Virilio). Examples of anamorphic seascapes, especially in photography, underscore the reversibility of sand and cement in Japan (Narahashi, Ono), as well as the dereliction of Cuban beach architecture and American industrial harbors (Morales, Sekula). In art as in criticism, the waterfront stages gender and class crossings (Dumont) and tangles fields. The afterword thereby weaves the major threads of the special issue: textures, labor, and ruins; social mobility and migration; marine life, geological time, and the history of sensation.
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TANG, DANNY, and JULIANNE KALMAN PASSARELLI. "Preface: Proceedings of the 1st International Workshop on Symbiotic Copepoda." Zoosymposia 8, no. 1 (December 17, 2012): 5–6. http://dx.doi.org/10.11646/zoosymposia.8.1.3.

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The 1st International Workshop on Symbiotic Copepoda (IWOSC) was held from 4–8 December, 2010, at Cabrillo Marine Aquarium (CMA) in San Pedro, California, U.S.A. We, along with Kazuya Nagasawa of Hiroshima University, Japan, organized the workshop. Ju-Shey Ho of California State University Long Beach, U.S.A., Geoff Boxshall of The Natural History Museum, U.K., and Rodrigo Johnsson of Universidade Federal da Bahia, Brazil, served as tutors.
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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.

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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Bennett, James. "Islamic Art at The Art Gallery of South Australia." SUHUF 2, no. 2 (November 21, 2015): 285–90. http://dx.doi.org/10.22548/shf.v2i2.93.

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OVER the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country. Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Gallery’s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent
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Dysthe, Olga. "Opportunities and challenges of dialogic pedagogy in art museum education." Dialogic Pedagogy: An International Online Journal 9 (May 4, 2021): A1—A36. http://dx.doi.org/10.5195/dpj.2021.317.

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The aim of this interpretative, qualitative research study is to investigate affordances and constraints of dialogic pedagogy in the museums, as well as its broader contribution to society today. The background is my involvement in a Danish development project called ‘Museums and Cultural Institutions as Spaces for Citizenship,’ initiated by seven art museum educators in Copenhagen and supported by the Ministry of Culture. Denmark has a strong dialogic tradition dating back to Grundtvig’s belief in the power of ´the oral word’ to foster democratic ‘Bildung.’ Museum education, on the other hand, has a long tradition of monologic transmission. Still, a more participatory pedagogy has been gaining ground over many years. This study is based on the observations of three-hour-long teaching sessions in seven museums and has a Bakhtinian framework. While the overall analysis builds on the whole project, two cases are discussed in more detail. The overarching research question is how central aspects of dialogic pedagogy played out in an art museum context and its opportunities and challenges. The subquestions focus on three central Bakhtinian concepts: How did the educators facilitate multivoicedness during the short museum visits? What role did difference and disagreement play? What opportunities emerged for students to develop internally persuasive discourse? I have chosen these concepts because they are central in dialogism and combined them because they are closely connected in Bakhtin’s work. The final reflections open a wider perspective of how dialogic museum education may contribute to overarching functions of education: qualification, socialization, and subjectification. Key findings were that the museum educators’ transition from traditional to dialogic pedagogy was enhanced by their genuine interest in hearing students’ voices. They succeeded in engaging students in multivoiced dialogues but with a tendency towards harmonization rather than the exploration of diversity and difference. The practical aesthetic workshops offered unique opportunities for students to develop their internally persuasive word, i.e., by replacing authoritative interpretations of artworks with their own. Challenges experienced by the educators were, e.g., the dilemmas between preplanning and student choice and between disseminating their professional art knowledge and facilitating students’ meaning making and creativity. In contrast, students found the lack of workshop follow-up problematic. The article provides deeper insight into museums as an alternative pedagogical arena. Museum educators and non-museum classroom teachers may find it useful for cultivating greater dialogic interactions in respective learning contexts.
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Franklin, Adrian. "Where "Art Meets Life"." Journal of Festive Studies 1, no. 1 (May 13, 2019): 106–27. http://dx.doi.org/10.33823/jfs.2019.1.1.27.

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In Hobart, a litany of winter festivals flopped and failed until the arrival of Mona (Museum of Old and New Art), a private museum owned by mathematician, successful online gambler, and autodidact David Walsh. Since 2013, its new festival, Dark Mofo, not only has reignited long-somnolent traditions of midwinter festival imaginaries among its postcolonial society but also has proved to be an effective vehicle for galvanizing an all-of-community form of urban activation, engagement, and regeneration. It has also completely overwhelmed the city with visitors keen to participate in a no-holds-barred ritual week with major global artists and musicians keen to be on its carnivalesque platforms. While Mona has explored grotesque realism themes of sex, death, and the body in its darkened, labyrinthine and subterranean levels, Dark Mofo has permitted their mix of carnivalesque and Dionysian metaphors and embodied practices/politics to take over the entire city in a week of programmatic mischief and misrule at midwinter. Research by an Australian Research Council–funded study of Mona and its festive register will be used to account for its origins and innovation as well as its social, cultural, and economic composition and impact.
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Krairiksh, Piriya. "Re-visioning Buddhist art in Thailand." Journal of Southeast Asian Studies 45, no. 1 (January 10, 2014): 113–18. http://dx.doi.org/10.1017/s0022463413000635.

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The Asian Civilisations Museum, Singapore, is to be congratulated for organising a splendid exhibition of Thai Buddhist art entitled ‘Enlightened ways: The many streams of Buddhist art in Thailand’, which ran from 30 November 2012 to 17 April 2013, and for publishing the exhibition catalogue as well as a separate monograph, Buddhist storytelling in Thailand and Laos, which elucidates the long cloth scroll depicting the story of Prince Vessantara on display at the exhibition.
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Dissertations / Theses on the topic "Long Beach Museum of Art"

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Pinzone, Judy Ann DeCandis. "A study of the principles and procedures used in creating the Long Island Arts Museum for Students /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10734557.

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Thesis (Ed. D.)--Teachers College, Columbia University, 1987.
Typescript; issued also on microfilm. Sponsor: William J. Mahoney. Dissertation Committee: David W. Baker. Bibliography: leaves 131-138.
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Sechrist, Mark Allen. "The Bauhaus for children : a new city center for West Palm Beach, Florida." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/897515.

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The project is located in West Plam Beach, Florida. The Design Process Involved with the urban Plan included these structures: an aquarium, outdoor theater, re-designed library, urban park, landscape plan for the Exploratorium, and the designing of the Exploratorium. A model was completed to show the Exploratrium and its relationship to the urban plan. The design for The Bauhaus For Children is the result of doing research on art/ architectural education and the role of the architect. I feel, the architect needs to play the role of an educator.The majority of society have little teaching in the field of art or architecture. This means the architect, responsible to everyone for what he does, should motivate society to learn. This project is located on a site with civic concerns The site was used as the ferry boat landing and now houses the Public Library. With the new design and functions for the site, it fullfills the need for being civic. My design was created from a series of diagramatic models and images. This series of diagrams dealt wth the reading of the city in order to create a design language. I feel, the project has addressed the civic concern through the marriage of science and art. Architecture is more understandable to the public when it tries to blend the language of its setting with that of the image. My project is a result of this marriage. The Bauhaus For Children evolved into a Center within the City Center that educates society about art, architecture, and science.
Department of Architecture
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Books on the topic "Long Beach Museum of Art"

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California State University, Long Beach. University Art Museum. Framing four decades: The University Art Museum celebrates the collections 1949-1989 : August 25-October 29, 1989 : an exhibition presented on the occasion of the inauguration of the fourth president, Curtis L. McCray, and the fortieth anniversary of California State University, Long Beach. [Long Beach]: University Art Museum, 1989.

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California, State University Long Beach University Art Museum. Historically [speaking]: UAM : 25 years of excellence. Long Beach: University Art Museum, California State University, 1999.

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Nerdrum, Odd. Odd Nerdrum: [exhibition] March 22 - May 1, 1988, University Art Museum, California State University, Long Beach; Museum of Contemporary Art, Chicago, July 9 - August 21, 1988; Madison Art Center, Wisconsin, September 3 - November 13, 1988; The Nelson-Atkins Museum of Art, Kansas City, December 2, 1988 - February 5, 1989. Long Beach, Calif: University Art Museum, California State University, 1988.

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Wendt, William. In praise of nature: The landscapes of William Wendt : November 14-December 17, 1989, University Art Museum, California State University, Long Beach : an exhibition. [Long Beach, Calif.]: The Museum, 1989.

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Hinkey, Douglas Murrell. Federal art in Long Beach: A heritage rediscovered. Long Beach, Calif: FHP Hippodrome Gallery, 1991.

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Anderson, Susan M. (Susan Mary), ed. Collecting California: Selections from Laguna Art Museum. Laguna Beach, Calif: Laguna Art Museum, 2009.

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Laguna, Art Museum (Laguna Beach Calif ). Collecting California: Selections from Laguna Art Museum. Laguna Beach, Calif: Laguna Art Museum, 2009.

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Laguna Art Museum (Laguna Beach, Calif.). Collecting California: Selections from Laguna Art Museum. Laguna Beach, Calif: Laguna Art Museum, 2009.

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Bill, North, Jackson Brent, and Meyer Kate, eds. --To build up a rich collection--: Selected works from the Marianna Kistler Beach Museum of Art. Manhattan: Marianna Kistler Beach Museum of Art, Kansas State University, 2003.

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Phil, Kovinick, and Yoshiki-Kovinick Marian, eds. Publications in Southern California art. Los Angeles: Dustin Publications, 1999.

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Book chapters on the topic "Long Beach Museum of Art"

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"2 Long Museum West Bund." In The User Perspective on Twenty-First-Century Art Museums, 46–57. New York : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315750880-9.

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"Eugène Boudin, The Beach, ca. 1865." In French Paintings and Pastels, 1600-1945: The Collections of the Nelson-Atkins Museum of Art. The Nelson-Atkins Museum of Art, 2021. http://dx.doi.org/10.37764/78973.5.602.

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"Eugène Boudin, Trouville, Beach Scene, 1874." In French Paintings and Pastels, 1600-1945: The Collections of the Nelson-Atkins Museum of Art. The Nelson-Atkins Museum of Art, 2021. http://dx.doi.org/10.37764/78973.5.604.

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"Paul Signac, Portrieux, The Bathing Cabins, Opus 185 (Beach of the Countess), 1888." In French Paintings and Pastels, 1600-1945: The Collections of the Nelson-Atkins Museum of Art. The Nelson-Atkins Museum of Art, 2021. http://dx.doi.org/10.37764/78973.5.730.

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Walker, Brian. "Substance and Shadow: The Art of the Cartoon." In Comic Art in Museums, 23–32. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0004.

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Brian Walker was a founder and former director of the Museum of Cartoon Art, where he worked from 1974 to 1992, continuing afterward to curate many important shows. Here, he brings his experienced curator’s eye and life-long knowledge of cartooning to the task of explaining the value of seeing original comic art and the techniques, idioms, and methods of storytelling used in comics from 1843 to the present. This essay was written for the opening of the Billy Ireland Cartoon Museum and Library (2013) Images: Punch cartoon 1843, Mort Walker, drawings from The Lexicon of Comicana.
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Wakefield, Sarina. "Museums, Migrant Labourers and Ethnic Spatiality in the United Arab Emirates." In The Art of Minorities, 111–29. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0006.

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This chapter explores the relationship between museum spatiality and migrant status in the United Arab Emirates (UAE). Despite accounting for more than 80% of the resident population and having a long and visible presence in society, migrant labourers continue to remain mostly excluded from official museum narratives and they rarely visit collections. Rather, they prefer to gather outside museums, where they meet to socialise and take pictures. This chapter draws attention to the importance of the outside space for museum research. It also highlights the formidable exhibitionary power of museums, showing how they can be used as stages of alternative heritage practices and discourses for a population that remains marginalised, all the while showcasing its social stigma. As they socialise outside museums, migrant labourers become exhibits for incoming and outgoing visitors; the uneasy reminders of the social and economic discrepancies existing in the UAE.
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Salkowitz, Rob. "Splashing Ink on Museum Walls: How Comic Art Is Conquering Galleries, Museums, and Public Spaces." In Comic Art in Museums, 297–307. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0036.

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In this 2018 essay, Forbes cultural journalist Rob Salkowitz explains how exhibitions contribute to the valuation of an artist’s work while recognizing exhibitions of comic art as landmarks on comics’ long march to cultural legitimacy. Salkowitz begins his essay by sharing his memories of the 2016 Seattle Art Museum exhibition Graphic Masters, which was centered around The Bible Illuminated: R. Crumb’s Book of Genesis. This chapter discusses the evolution of exhibitions since 1990, how exhibitions have enhanced the valuation of original comics drawings, challenges for commercial galleries and dealers, and curatorial strategies.
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"“A Long-Forgotten Art”: Two M?ori Flutes in the Peabody Essex Museum." In Experience. Terra Foundation for American Art, 2017. http://dx.doi.org/10.37862/aaeportal.00193.002.

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Goerlitz, Amelia A. "From La Farge to Paik: Research Resources at the Smithsonian American Art Museum." In East-West Interchanges in American Art: A Long and Tumultuous Relationship, 232–46. Smithsonian Institution Scholarly Press, 2012. http://dx.doi.org/10.5479/si.9781935623083.232.

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Johnston, Patricia. "Global Knowledge in the Early Republic: The East India Marine Society's Curiosities Museum." In East-West Interchanges in American Art: A Long and Tumultuous Relationship, 68–79. Smithsonian Institution Scholarly Press, 2012. http://dx.doi.org/10.5479/si.9781935623083.68.

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Conference papers on the topic "Long Beach Museum of Art"

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De Nicola, Alessandra. "HERITAGE AND ART EDUCATION THROUGH THE SCREEN. FILLING THE SPACE BY PERFORMATIVE METHODOLOGIES." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end140.

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Long before the pandemic, museums started to invest, experimenting with some performative practices (Bishop 2006; Lista 2006) as a method and tool to foster access and participation of different audiences to their heritage. Since the advent of the #culturequarantine, in which most of the educational activities have taken place through a digital space, care and attention to gesture and space have become a key to respond effectively to the needs of educators and users. After an initial phase of rejection and disorientation, teachers, educators and trainers had to find new answers. The aim of this contribution is to describe some of these answers looking at methodologies coming from the field of choreographic and performance research. The argumentation will pass through the narration of some international proposals, three action research experiences accomplished with museum educators and schoolteachers, through which it was possible to observe how the needs and requirements changed as the lockdown conditions changed. The outcome of the research, which took about one year, is the reconsideration of the body as a mediator of the educational and training experience. On the one hand we see the "body as archive" for new knowledge, on the other hand, the space of digital educational activities is reified, thanks to this new role of the body.
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Molin, Bernard, Fabien Remy, Yanan Liu, and Marie-Christine Rouault. "Experimental and Numerical Study of the Slow-Drift Motion of a Rectangular Barge Moored at an Inclined Beach." In ASME 2010 29th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2010. http://dx.doi.org/10.1115/omae2010-20623.

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An experimental campaign is reported on the slow-drift motion of a rectangular barge moored in irregular beam seas. The 24 m long false bottom of the basin is raised and inclined at a slope of 5%, from 1.05 m below the free surface to 0.15 m above. The barge is moored successively at 4 different locations, in water-depths ranging from 54 to 21 cm. The measured slow-drift component of the sway motion is compared with state-of-the-art calculations based on Newman approximation. At 54 cm depth good agreement is obtained between calculations and measurements. At 21 cm depth the Newman calculation exceeds the measured value. When the flat bottom setdown contribution is added up, the calculated value is 2 to 3 times larger than the measured one. A second-order model is proposed to account for the shoaling of a bichromatic sea-state propagating in decreasing water-depth. Application of this numerical model to the scale-model tests shows that in shoaling conditions the setdown contribution to the slow-drift excitation can counteract and not necessarily add up to the Newman component.
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Li, Zhiye, and Michael Lepech. "Development of a Model of Synergistic Effects Between Deterioration Mechanisms and Damage in Woven Glass Fiber Reinforced Polymeric Composite Structure." In ASME 2020 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/imece2020-23295.

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Abstract The adoption of fossil-based hydrocarbon polymer composites has been successful in both the automotive and aircraft industries, and is rapidly expanding into buildings and civil infrastructure. One challenge to broader adoption of polymer composites in buildings and civil infrastructure is a limited ability to model the synergistic effects of the combined physical/chemical processes of environmental exposure and mechanical loading. Unlike other building materials, long-term experience and field performance data of polymer composites in buildings and civil infrastructure applications does not exist. The first and largest composite building system used in a high-rise exterior in the US is the facade of the San Francisco Museum of Modern Art (SFMOMA) completed in 2015. Since historical, experience-based service life models for composite building applications are not available, it is crucial to build multiphysical-based models in order to predict composite service life performance on a semi-centennial or centennial time scale. This paper uses a parametrically homogenized deterioration model to hierarchical model the thermo-chemical-mechanical degradation at the structural length scale and proposes this computational model as a component to complete a new multi-physics-based service life prediction framework. This effort consists of three steps: (i) use the theory of synergistic effects between ultraviolet exposure and moisture exposure degradation processes developed by the authors to generate a residual, deterioration-induced damage variable field, (ii) implement the residual damage field as the initiation of a continuum damage model (CDM) at structure length scale, and (iii) recreate one 3D façade plate of the SFMOMA and perform parametric damage analysis.
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Kappanna, Hemanth K., Marc C. Besch, Arvind Thiruvengadam, Pragalath Thiruvengadam, Peter Bonsack, Daniel K. Carder, Mridul Gautam, et al. "Evaluation of Drayage Truck Chassis Dynamometer Test Cycles and Emissions Measurement." In ASME 2012 Internal Combustion Engine Division Fall Technical Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/icef2012-92106.

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In 2006, the ports of Long Beach and Los Angeles adopted the final San Pedro Bay Ports Clean Air Action Plan (CAAP), initiating a broad range of programs intended to improve the air quality of the port and rail yard communities in the South Coast Air Basin. As a result, the Technology Advancement Program (TAP) was formed to identify, evaluate, verify and accelerate the commercial availability of new emissions reduction technologies for emissions sources associated with port operations, [1]. Container drayage truck fleets, an essential part of the port operations, were identified as the second largest source of NOx and the fourth largest source of diesel PM emissions in the ports’ respective 2010 emissions inventories [2, 3]. In response, TAP began to characterize drayage truck operations in order to provide drayage truck equipment manufacturers with a more complete understanding of typical drayage duty cycles, which is necessary to develop emissions reduction technologies targeted at the drayage market. As part of the broader TAP program, the Ports jointly commissioned TIAX LLC to develop a series of drayage truck chassis dynamometer test-cycles. These cycles were based on the cargo transport distance, using vehicle operational data collected on a second-by-second basis from numerous Class 8 truck trips over a period of two weeks, while performing various modes of typical drayage-related activities. Distinct modes of operation were identified; these modes include creep, low-speed transient, high-speed transient and high-speed cruise. After the modes were identified, they were assembled in order to represent typical drayage operation, namely, near-dock operation, local operation and regional operation, based on cargo transport distances [4]. The drayage duty-cycles, thus developed, were evaluated on a chassis dynamometer at West Virginia University (WVU) using a class 8 tractor powered by a Mack MP8-445C, 13 liter 445 hp, and Model Year (MY) 2011 engine. The test vehicle is equipped with a state-of-the-art emissions control system meeting 2010 emissions regulations for on-road applications. Although drayage trucks in the San Pedro Bay Ports do not have to comply with the 2010 heavy-duty emissions standards until 2023, more than 1,000 trucks already meet that standard and are equipped with diesel particulate filter (DPF) and selective catalytic reduction (SCR) technology as used in the test vehicle. An overview of the cycle evaluation work, along with comparative results of emissions between integrated drayage operations, wherein drayage cycles are run as a series of shorter tests called drayage activities, and single continuous drayage operation cycles will be presented herein. Results show that emissions from integrated drayage operations are significantly higher than those measured over single continuous drayage operation, approximately 14% to 28% for distance-specific NOx emissions. Furthermore, a similar trend was also observed in PM emissions, but was difficult to draw a definite conclusion since PM emissions were highly variable and near detection limits in the presence of DPF. Therefore, unrepresentative grouping of cycle activity could lead to over-estimation of emissions inventory for a fleet of drayage vehicles powered by 2010 compliant on-road engines.
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