Academic literature on the topic 'Senior art exhibition'
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Journal articles on the topic "Senior art exhibition"
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Senior, David. "Page as alternative space redux: artists’ magazines in the 21 st century." Art Libraries Journal 38, no. 3 (2013): 10–17. http://dx.doi.org/10.1017/s0307472200018630.
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In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.
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Timothy, Alexander Essien. "Discovering My Left Hand: Conducting Language Arts Research in Nigeria." LEARNing Landscapes 9, no. 2 (2016): 513–33. http://dx.doi.org/10.36510/learnland.v9i2.790.
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Having been nurtured in the counting culture in Nigeria, my discovery of qualitative research methodology was as novel and subversive as using my left hand, which is considered a taboo in many Nigerian homes. This paper relates my initial attempt to deploy a qualitative methodology, especially art as a research tool, in investigating why Nigerian senior secondary school students and teachers hated Oral English. That study provided a canvas for the exhibition of art in my inquiry.
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Apter, Emily. "A Conversation with Aliza Shvarts." October, no. 176 (2021): 85–110. http://dx.doi.org/10.1162/octo_a_00428.
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Abstract Aliza Shvarts first came to widespread attention when her Untitled [Senior Thesis] (2008), consisting of a yearlong performance of self-induced miscarriages, was declared a “fiction” by Yale University and censored from public exhibition. That controversial work was on view for the first time in New York as part of her 2020 exhibition Purported at Art in General. It frames the areas of inquiry she has continued to explore: how the body means and matters and how the subject consents and dissents. In this in-depth conversation, Emily Apter and Aliza Shvarts discuss the exhibition and a wide range of topics relevant to contemporary feminist practice and thought: the genealogy of citation; the uses of theory; speech action; rape kits; nonconsensual collaboration; queer kinship; and memes.
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Vogelsang, Helena. "A Nostalgic Longing for the 20th Century: Past and Present Backdrops and Scenes in the Skylight Studio of Josip Pelikan." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 56–61. http://dx.doi.org/10.47659/m5.056.art.
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Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabled the portrayed person to be presented in a way that suited him or her best; e.g. raising their social status, being placed in a specific environment or in a different position than the person occupied in real life. This surely influenced the popularity of portraits made in the wet collodion technique by contemporary photographer Borut Peterlin. In this way, the photographer revitalised the importance of Pelikan’s backgrounds and renewed the interest in old analogue photography techniques as well as a comprehensive studio portrait experience, which today no longer holds a prominent place among photographic practices. Keywords: 20th century photograhy, background, Josip Pelikan, photographic backdrop, portraiture, skylight studio, Slovenian photography, studio photography
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Miramontes Olivas, Adriana, Juan De Dios Mora, and Deborah Caplow. "Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 58–72. http://dx.doi.org/10.5195/contemp.2017.222.
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Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by the Art Department at the Stephen F. Austin State University School of Art, January 26–March 10, 2017). In 2016, Mora participated in the group show Los de Abajo: Garbage as an Artistic Source (From the Bottom: Garbage as an Artistic Source) at the Guadalupe Cultural Arts Center in San Antonio (June 10–July 29, 2016). Mora also curates the show Print It Up, which he organizes in the downtown area of San Antonio, thereby granting unprecedented exposure to numerous artists. For this exhibition, Mora mentors both students and alumni, guiding them through the exhibition process—from how to create a portfolio, frame and install artworks, to contracting with gallery owners, and selling artworks to the public. Adriana Miramontes Olivas is a doctoral student in the Department of the History of Art and Architecture at the University of Pittsburgh. She earned her BA at the University of Texas at El Paso and her MA at the University of Texas at San Antonio. Her research is in modern and contemporary global art with a focus on Latin America, gender studies, sexuality, and national identity.Dr. Deborah Caplow is an art historian and curator, and the author of a book about the Mexican printmaker, Leopoldo Méndez (Leopoldo Méndez: Revolutionary Art and the Mexican Print, University of Texas Press). She teaches art history at the University of Washington, Bothell. Areas of scholarship include twentieth-century Mexican art, the intersections between art and politics, and the history of photography. Currently, she is researching contemporary printmaking in Oaxaca, Mexico.
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Leslie, Fiona. "Inside Outside: Changing Attitudes Towards Architectural Models in the Museums at South Kensington." Architectural History 47 (2004): 159–200. http://dx.doi.org/10.1017/s0066622x0000174x.
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The union of these collections and the addition of the models of St. Paul’s and various classical buildings, betoken what an Architectural Museum may become, if the individuals and the State will act together. Every foreigner who has seen this commencement sees in it the germ of the finest Architectural Museum in Europe, if the public support the attempt.From the first years of its establishment in June 1857, to the end of the nineteenth century, the South Kensington Museum had amongst its collections over a hundred architectural models. First they were acquired through a policy of encouraged loans and gifts, followed by pro-actively commissioning model makers; other models, however, were at South Kensington through default, having remained on site where they had been made by ‘sappers’. The models, which included examples of Western, Asian and Far Eastern buildings and monuments, were first shown in displays under the headings of Ornamental, Architectural, Economics, and Educational. To give an indication of their initial importance to the museum, the early guidebooks feature architectural models amongst the ‘principle objects in the gallery’. Twenty years later most models had been transferred from what were essentially style galleries to the more utilitarian displays concerned with architectural and engineering practices, and within them they were merely included as part of the broader contextual themes. By the turn of the century, with the exception of the 1901 handbook to the models of Italian Renaissance painted interiors, they were rarely referred to at all in museum publications. By 1912 (soon after the Science and Art collections had been divided on either side of the Exhibition Road) most of the models were no longer on display and were thought by senior keepers to be of little use to museum collections. Many had been de-accessioned by the 1970s, when their position in the doldrums was reversed and models were once again included in the museum displays and exhibitions. This article explores the changes in attitude towards architectural models during the first 120 years of the V&A, focusing on the models of Western buildings.
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Carbon, Claus-Christian. "Art Perception in the Museum: How We Spend Time and Space in Art Exhibitions." i-Perception 8, no. 1 (2017): 204166951769418. http://dx.doi.org/10.1177/2041669517694184.
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Aesthetics research aiming at understanding art experience is an emerging field; however, most research is conducted in labs without access to real artworks, without the social context of a museum and without the presence of other persons. The present article replicates and complements key findings of art perception in museum contexts. When observing museum visitors ( N = 225; 126 female, M(age) = 43.3 years) while perceiving a series of six Gerhard Richter paintings of various sizes (0.26–3.20 sq. m) in a temporary art exhibition in January and February 2015 showing 28 paintings in total, we revealed patterns compatible to previous research. The mean time taken in viewing artworks was much longer than was mostly realized in lab contexts, here 32.9 s ( Mdn = 25.4 s). We were also able to replicate visitors spending more time on viewing artworks when attending in groups of people. Additionally, we uncovered a close positive relationship ( r2 = .929) between canvas size and viewing distance, ranging on average between 1.49 and 2.12 m ( M = 1.72 m). We also found that more than half of the visitors returned to paintings, especially those people who had not previously paid too much attention at the initial viewing. After adding the times of returning viewers, each picture was viewed longer than had been estimated in previous research ( M = 50.5 s, Mdn = 43.0 s). Results are discussed in the context of current art perception theories, focusing on the need for the ecologically valid testing of artworks in aesthetics research.
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Szubielska, Magdalena, and Ewa Niestorowicz. "Seeing Suppresses Haptic Pleasure While Perceiving Contemporary Art." i-Perception 11, no. 3 (2020): 204166952093294. http://dx.doi.org/10.1177/2041669520932948.
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To date, haptic aesthetic processing has been tested outside the field of real works of art. By providing the context of a contemporary art exhibition designed to be touched, we studied haptic pleasure towards artworks. In line with our hypothesis, seeing affected the evaluation of haptic pleasure which was higher in the blindfolded-tactile than visuo-tactile condition. Thus, seeing seems to impede the tactile processing of artworks.
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Keehn, Nancy Luxmore. "Manet Happy Returns, Chevreul, or the Paradigm Change to Perceptual Art." Perceptual and Motor Skills 65, no. 1 (1987): 243–51. http://dx.doi.org/10.2466/pms.1987.65.1.243.
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The year 1986 marked the bicentenary of the birth of Michel Eugene Chevreul. By coincidence the Courtauld Institute Gallery in London mounted an exhibition showing the construction of works by Edouard Manet. The present article shows parallels between the works of Manet and the ideas of Chevreul. No implication of any direct influence is intended.
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Zeman, Adam. "18 The eye’s mind: perspectives on visual imagery." Journal of Neurology, Neurosurgery & Psychiatry 91, no. 8 (2020): e8.1-e8. http://dx.doi.org/10.1136/jnnp-2020-bnpa.18.
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Prof. Zeman trained in Medicine at Oxford University Medical School, after a first degree in Philosophy and Psychology, and later in Neurology in Oxford, at The National Hospital for Neurology in Queen Square, London and Addenbrooke’s Hospital, Cambridge. He moved to Edinburgh in 1996, as a Consultant and Senior Lecturer (later Reader) in the Department of Clinical Neurosciences and to the Peninsula Medical School (now University of Exeter Medical School) in September 2005 as Professor of Cognitive and Behavioural Neurology. His specialised clinical work is in cognitive and behavioural neurology, including neurological disorders of sleep.His main research interests are disorders of visual imagery and forms of amnesia occurring in epilepsy. He has an active background interest in the science and philosophy of consciousness, publishing a wide-ranging review of the field in Brain (2001; 124:1263–1289) and an accessible introduction to the subject for a general readership (Consciousness: a user’s guide, Yale University Press, 2002). In 2008 he published an introduction to neurology for the general reader, A Portrait of the Brain (Yale UP), and in 2012, Epilepsy and Memory (OUP) with Narinder Kapur and Marilyn Jones-Gotman. From 2007–2010 he was Chairman of the British Neuropsychiatry Association. He launched and continues to direct its training course in neuropsychiatry.For most of us visual imagery is a conspicuous ingredient of the imaginative experience which allows us to escape from the here and now into the past, the future and the worlds conceived by science and art. But there appears to be wide inter-individual variation in the vividness of visual imagery. Although the British psychologist Galton together with the Parisian neurologist Charcot and his psychiatrist colleague Cotard - recognised that some individuals may lack wakeful imagery entirely, the existence of ‘extreme imagery’ has been oddly neglected since this early work. In 2015 we coined the term ‘aphantasia’ to describe the lack of the mind’s eye, describing 21 individuals who reported a lifelong inability to visualise (Cortex, 2015;73:378–80). Since then we have heard from around 14,000 people, most reporting lifelong aphantasia, or its converse hyperphantasia, but also less common ‘acquired’ imagery loss resulting from brain injury or psychological disorder. Preliminary analyses suggests association between vividness extremes, occupational preference and reported abilities in face recognition and autobiographical memory. Many people with lifelong aphantasia nevertheless dream visually. Imagery in other modalities is variably affected. Extreme imagery appears to run in families more often than would be expected by chance. I will describe the findings of our recent pilot study of neuropsychological and brain imaging signatures of extreme imagery, and place our study of a- and hyper-phantasia in the context of the Eye’s Mind project, an interdisciplinary collaboration funded by the AHRC (http://medicine.exeter.ac.uk/research/neuroscience/theeyesmind/). In addition to our work on extreme imagery, we have reviewed the intellectual history of visual imagery (MacKisack et al, Frontiers in Psychology, 515:1–16. doi: 10.3389/fpsyg.2016.00515), undertaken a recent ALE meta-analysis of functional imaging studies of visualisation (Winlove et al, Cortex, 20182018; 105:4–25) and organised an exhibition of work by artists with extreme imagery vividness (Extreme Imagination: inside the mind’s eye Exeter University Press, 2018.)
Dissertations / Theses on the topic "Senior art exhibition"
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Berliner, Meghan. "The Role of the Viewer in the Gallery Space." Scholarship @ Claremont, 2009. http://scholarship.claremont.edu/scripps_theses/12.
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My installation, "The Viewers", consists of three life-sized figures and a projected video feed. The figures are placed in and around the gallery space, and the video originates from a hidden camera installed in one of the figures eyes. The first figure that the viewer encounters upon entering the gallery space is hyper-realistic security guard. His position behind the gallery circulation desk, a space which is traditionally assumed not to be an 'art space' allows him to view those entering the gallery while remaining relatively unnoticed. A camera that is installed in his one of his eye sockets and hidden behind sunglasses feeds live images that "he perceives" to another part of the gallery where they are projected. The second figure is a male soldier, positioned covertly on a lighting ledge connected to the ceiling of the gallery. From his high-post, he can clearly view the gallery's occupants through his binoculars, while only being noticeable himself from particular angles. The third figure is a real person dressed as a gorilla. Throughout the evening, he will move through the gallery, viewing and contemplating the artworks and its viewers as well. The purpose of the gorilla is primarily to view the exhibit and the social interaction generated by the gallery setting, but inevitably, viewers will want to interact with him, drawing them into the playful drama of the piece as a whole. Together, and through their individual means of viewing, each figure alludes to the idea of playing a part: the security guard in his fulfillment of the role of a security guard, the soldier in the almost costume-like quality evoked by his camouflage attire, and the gorilla being fairly obviously a performer in costume. That each is in a sense playing a role, and that each has a particular means of viewing the people in the gallery, suggests the additional roles and importance of the fourth element, that of the viewers. My work aims to suggest that the viewers are always playing a part of sorts when viewing an exhibition: the part of the viewer. This references not only the integral nature that the viewer has in defining the meaning of an artwork, but also the role that the viewer agrees to take on – the set of assumptions and mode of viewing the art as ‘art’ – as soon as one enters the gallery space.
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梁瑞育. "The Research of the Senior Elementary Students’ Learning Attitude Toward Fine Art when Participated in an Art Exhibition." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/25375328251164597117.
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碩士<br>國立新竹教育大學<br>人資處美勞教學碩士班<br>94<br>The Research of the Senior Elementary Students’ Learning Attitude Toward Fine Art when Participated in an Art Exhibition
Abstract
The primary intentions of this particular research are to investigate the strategic implementation of Fine Arts and Humanities curriculums and the effects on senior elementary students by utilizing spaces on campus, to coordinate exhibitions, to encourage students’ participation in showcasing their art pieces, and to ultimately investigate how it would eventually affect their learning attitudes toward Fine Arts.
The categorized purposes as following:
1.To understand the effects on the senior students’ learning attitude toward Fine Art, when they are exposed to various art exhibits.
2.To investigate the students’ variations in background and how it would eventually affect their learning attitude toward Fine Art.
3.To explore whether this particular research has the ability to detect the potential benefits of the implementation of art exhibit on campus.
This research utilizes both questionnaire surveys and interviews. It’s a quantitative based research supported by qualitative descriptions. The reign of the research falls within Bdes Elementary School in Tao-Yuan County, targeting primarily grade six students. It took place during the Arts and Humanities classes in the second semester of the 94th school year. Research instrument used is a questionnaire survey for the purpose of testing students’ learning attitude toward Fine Art. The final results can be obtained by comparing the test scores before students are exposed to art exhibits and after they’ve been exposed to art exhibits. The collected data of this study was then analyzed by the descriptive statistics and One-Way ANOVA. The quantitative data obtained was then analyzed by the method of multiple-regression. Qualitative esults were obtained by interviewing students and allowing the students to elaborate on art related issues. These results act as supportive descriptions for the numerical statistics.
1. Senior students’ learning attitude toward fine art has became more aggressive, but not to the level of desirable adequacy.
2. The differences of student’s learning attitude toward art among various groups:
（1）There is a significant difference in learning attitude toward art between two
genders.
（2）Significant difference in learning attitude varies by different exhibition
experiences.
（3）Significant difference in learning attitude varies by different exhibition
settings.
（4）Number of attendances to art exhibits don’t appear to be a main factor when
determining the learning attitude toward Fine Art.
（5）Parents’ occupational differences don’t appear to be a determining factor on
the learning attitude toward Fine Art.
3.It’s positive and has potential benefits on senior elementary school students’
learning attitude toward Fine Art when they are exposed or have accesses to
various art exhibits.
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劉禎. "An Exhibition Space as A Diversified Classroom ─ The Inquiry of The Interactions and Learning Conditions of Junior and Senior Elementary School Students In Educational Exhibition Spaces of Art Museums." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/8mdd33.
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碩士<br>國立彰化師範大學<br>美術學系<br>101<br>In the 21st century, the contents of exhibitions and the spatial visual vocabulary in an art museum have changed dramatically; therefore, there are more and more varied forms of exhibitions, and “education exhibition” is one type of the modern exhibitions. In education exhibitions, artists and their works are not the sole focus, instead, they emphasize on uniting interdisciplinary knowledge, stressing on the diversified art exhibitions which allow people to interact and participate, and encouraging audience to build up their knowledge and experiences through active learning. This research takes “Enjoy the Beauty of Taiwanese Printed Cloth” held by the National Taiwan Museum of Fine Arts as the field of the research so as to understand the interactive modes of the junior and senior elementary students in the education exhibition and inquire the motives which trigger the interactions between youth audience and exhibition space as well as the influences on children’s learning conditions. This research can serve as a reference for the people paying attention to children’s art education and learning and the personnel planning the education exhibitions of art museums.
This research adopts qualitative research method to collect and analyze data. Combining the viewpoints of exhibition from the curator of “Enjoy the Beauty of Taiwanese Printed Cloth”, the on-site observations and experiences of the interns, and the interviews and observations of the junior and senior elementary school children, there are three conclusions about the interactions and learning conditions of children in the education exhibitions: 1. the education exhibitions held by art museums can provide more diversified learning channels for children. 2. Education exhibitions possess the feature of active interactions with audience, which is helpful for children to learn to construct knowledge and experiences. 3. What the children experience in the education exhibitions are “Gestalt” interactive processes.
In addition, through the findings of this research, three suggestions are put forward aiming at the planning of the education exhibitions of art museums: 1. In education exhibitions, there should be more multisensory exhibitive strategies. 2. Curators should deploy guidance personnel adequately and let them become the learning “scaffolds” of children. 3. Art museums should view educational exhibition spaces as a complex space combining “art”, “education”, “game”, and “entertainment”.
Books on the topic "Senior art exhibition"
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Museum, SUNY Plattsburgh Art. Identity: Senior exhibition, 2007 : Burke Gallery & Myers Lobby Gallery, Plattsburgh State Art Museum, April 21-May 12, 2007. State University of New York College at Plattsburgh, 2007.
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Palenzuela, Juan Carlos. Nuestro señor Don Quijote: Pintura e ilustraciones de Luis Guevara Moreno, Régulo Pérez, Pedro León Zapata. Museo de Arte Contemporaneo Sofía Imber, 1992.
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Moonen, Rob. Camera silens: Ein Projekt. 2nd ed. Edited by Arndt Olaf 1961-, Kroesinger Hans-Werner, Parochialkirche (Berlin Germany), Neue Gesellschaft für Bildende Kunst., and Podewil Berlin. Edition Nautilus, 1995.
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Lilly Library (Indiana University, Bloomington), ed. The art of leadership: A companion to an exhibition from the senatorial papers of Birch Bayh, January 29-May 5, 2007 : United States Senator from Indiana, 1963-1980. Lilly Library, Indiana University, 2007.
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1933-, Shen Yizheng, Xiong Yizhong, Xue Zhang, Zhang Luoshan, Guo li Taiwan yi shu jiao yu guan., and Jinling yi shu zhong xin (Taipei, Taiwan)., eds. Ba shi zhi mei: Zi shen yi shu jia lian zhan = The beauty of the eighties joint exhibition of senior artists. Guo li Taiwan yi shu jiao yu guan, 1995.
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Jeanette, Doyle, McCaffrey Mark, Mulroney Annie, and Hugh Lane Municipal Gallery of Modern Art., eds. Return to sender: An exhibition of contemporary Irish art via air mail. Dogbowl & Bones Publishing, 1998.
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Prayūn ʻUluchāda: Nithatsakān chœ̄tchū kīat sinlapin ʻāwusō Phutthasakkarāt 2537 na Phiphitthaphanthasathān hǣng Chāt, Hō̜sin, Thanon Čhaofā, Krung Thēp..., 15 Singhākhom-4 Kanyāyon 2537 = Prayura Uluchadha : a special art exhibition 1994 painting exhibtion honouring the senior artist at the National Gallery, Chao-Fa Road, Bangkok, 15 August-4 September 1994. Krom Sinlapākō̜n, 1994.
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Cheryl, Kramer, and Handwerker Gallery (Ithaca, N.Y.), eds. 2008 senior student show: April 17-May 18, 2008. Handwerker Gallery, 2008.
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Cheryl, Kramer, Armbruster Kalia, and Handwerker Gallery (Ithaca, N.Y.), eds. 2007 senior student show: April 12-May 20, 2007. Handwerker Gallery, 2007.
Find full textBook chapters on the topic "Senior art exhibition"
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Paitz, Kendra, Judith Briggs, Kara Lomasney, and Adrielle Schneider. "Juan Angel Chávez's Winded Rainbow." In Advances in Media, Entertainment, and the Arts. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1665-1.ch013.
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This chapter outlines the manner in which the work of Chicago-based artist Juan Angel Chávez was exhibited at a university art gallery and served as the platform for an educational outreach program that investigated issues of immigration, place, language, materiality, and environmental sustainability within a global culture. Working closely with both an Associate Professor of Art Education and the gallery's Senior Curator, two graduate teacher candidates in Art Education generated student-initiated learning experiences based on a model of curriculum creation developed and taught by visual arts educators in New South Wales (NSW), Australia. The curator and graduate students implemented a local arts grant that enabled groups from secondary schools and a homeschool program to tour the gallery's exhibition of Chávez's work, participate in workshops in their classrooms, and exhibit their own artwork at the gallery.
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Molotiu, Andrei. "Permanent Ink: Comic Book and Comic Strip Art as Aesthetic Object." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0005.
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Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, explores the formal characteristics of comic art and the fragmentation caused by showing framed pages that were originally created for publication and separated from their indigenous context, wondering if this separation is ultimately an act of creativity or an act of violence. This chapter explains white-out, margin notations, and how the eye is drawn to different things in an image when it’s isolated on the wall. In this 2006 essay, he focuses on the art of Jack Kirby, Ivan Brunetti’s Schizo 4, Metamorpho, Joe Palooka, Archie, Josie, Tom and Jerry, and "Sooper Hippie.” In this 2018 update to his 2006 essay, Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, returns to his analysis of the formal characteristics of original comic art as seen in exhibitions, exhibit catalogs, and high-end artist’s editions that faithfully reproduce full size comics originals, such as the IDW Artist’s edition of David Mazzucchelli’s and Frank Miller’s Daredevil: Born Again (images). Molotiu briefly discusses the proliferation of comic art exhibits and contrasts the experience of reading a full issue of Jack Kirby’s Kamandi on the wall at the Comic Book Apocalypse show at CSU Northridge and in print in an artist’s edition.
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Cobbinah, Joseph Ezale, and Samuel Agyemang. "Quality Management and Academic Leadership." In Quality Management Principles and Policies in Higher Education. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1017-9.ch006.
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Quality management in higher education is one of the measures that institutions put in place to ensure that courses and programs that are offered meet international and accreditation standards. This chapter examines how academic leaders can promote and manage quality in higher education institutions. Higher education institutions and senior faculty members appear to improve performance by ensuring that quality assurance unit enforces effective delivery to increase students and parents' satisfaction. Promotion of quality and the management of quality is not about long service but an exhibition of effective leadership that will help higher education institutions to navigate through the turbulence of challenges facing higher education institutions today. To achieve this, the academic leader is supposed to assist institutions to pursue their vision and mission to enable them to effectively manage quality.
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Vaz, Roberto Ivo Fernandes, Paula Odete Fernandes, and Ana Cecília Rocha Veiga. "Interactive Technologies in Museums." In Handbook of Research on Technological Developments for Cultural Heritage and eTourism Applications. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2927-9.ch002.
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With the constant development of digital means of entertainment – that are easily made available to people and, in most cases, can be used anywhere – nowadays, a visit to a museum have to surround publics with unexpected and interactive experiences, in order to capture their attention and make them want to go to these places, in addition to continue to communicate their collections and promote society education. In this regard, it was discussed in this chapter the actual panorama of interactive technologies used in museums exhibitions worldwide, and there are discussed how these institutions are designing digital installations and utilizing virtual media to enhance the visitors' experience, promoting positive relations between them and their publics. The main conclusion and reflection of the chapter is based on how this new era of technology is allowing increasing physical, cognitive and sensory accessibility, and transforms this kind of experience for disabled publics.
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Anton Okhai, Timothy, Azeez O. Idris, Usisipho Feleni, and Lukas W. Snyman. "Nanomaterial-Enhanced Receptor Technology for Silicon On-Chip Biosensing Application." In Biosensor - Current and Novel Strategies for Biosensing [Working Title]. IntechOpen, 2020. http://dx.doi.org/10.5772/intechopen.94249.
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Nanomaterials integration in biosensors designs are known to enhance sensing and signaling capabilities by exhibiting remarkably high surface area enhancement and intrinsic reactivity owing to their distinctive optical, chemical, electrical and catalytic properties. We present the synthesis and characterization of silver nanoparticles (AgNPs), and their immobilization on a silicon on-chip biosensor platform to enhance sensing capability for prostate specific antigen (PSA) - cancer biomarkers. Several techniques, including UV-Visible (UV-Vis) absorption spectrum, Fourier transforms infrared spectroscopy (FTIR), high resolution transmission electron microscopy (HRTEM), scanning electron microscopy (SEM) and field emission scanning electron microscopy (FESEM) were used for characterizing the AgNPs. The biochemical sensor consists of AgNPs immobilized on the receptor layer of a silicon avalanche mode light emitting device (Si AM LED) which enables on-chip optical detection biological analytes. A bio-interaction layer etched from the chip interacts with the evanescent field of a micro dimensioned waveguide. An array of detectors below the receptor cavity selectively monitor reflected light in the UV, visible, infrared and far infrared wavelength regions. AgNPs used as an immobilization layer in the receptor layer enhances selective absorption analytes, causing a change in detection signal as a function of propagation wavelength as light is dispersed. The analytes could range from gases to cancer biomarkers like prostate specific antigen.
Conference papers on the topic "Senior art exhibition"
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Pullen, K. R., A. W. Court, and C. B. Besant. "The Advanced Turbogenerator Project — A Total Technology Education Experience for Engineering Undergraduate Students." In ASME 1998 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/98-gt-023.
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The preparation of engineering students for industrial careers after graduating is a vital part of the education process at university. It is the responsibility of the university to teach sound foundations of engineering science but this on its own is not sufficient preparation. The subject of design has been identified as a valuable means by which engineering science can be applied at advanced levels but at the same time teach students skills which are necessary for successful careers in industry. Three years ago, five senior engineers from UK industry were appointed as Visiting Professors in Engineering Design with the support of the Royal Academy of Engineering. In was decided after discussions with academics at the college to undertake a project entitled the Advanced Turbogenerator project (ATG). The project was to be conducted by a large team of undergraduates with the aim of producing a design and finally an actual small gas turbine of 50 kW output. Applications for the small gas turbine include the highly topical hybrid vehicle propulsion powertrain and compact low emissions generator sets. The paper describes the progress made in the project in two years which has involved over 30 final year engineering students in the Mechanical, Electrical, Aeronautical and Materials Science Departments. The students have found the project very challenging but have experienced an unusually high level of motivation and commitment to the work. They have been provided with state of the art software and have demonstrated that realistic designs can be produced with the guidance of experienced gas turbine engineers. The project has been reviewed by the Royal Academy of Engineering and the Institution of Mechanical Engineers and both have expressed the highest support for the programme. It is intended to continue the project next year with the intention of turning the design into prototype hardware.
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Mallick, Shoaib, Zubair Ahmad, and Farid Touati. "Polymer Nanocomposite-based Moisture Sensors for Monitoring of the Water Contents in the Natural Gas Pipelines." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0073.
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In this study, the polymer-based humidity sensors were investigated for humidity sensing applications. The key advantages of polymers that have garnered this attraction are their lightweight, easy preparation, and low cost of both materials and fabrication process. Different techniques are used to enhance the surface morphology and sensitivity of polymeric films, which include synthesis of nanocomposites, copolymerization techniques, and blending of polymers. The incorporation of nanoparticles to the polymer matrix improves the electrical and mechanical properties of the polymeric film. We have investigated different polymer nanocomposites based humidity sensors on enhancing the sensitivity of the sensor, on achieving faster response and recovery time and lower hysteresis loss as compared to the polymeric humidity sensors. In the first phase, we investigated the PLA-TiO2 nanocomposite for humidity sensing applications. We have optimized the concentration of TiO2 in the PLA-TiO2 nanocomposite and apply acetone for the surface treatment of the sensing film. In the second phase, we studied the PVDF-TiO2 nanocomposite-based humidity sensor, achieved a linear response of the sensor, and optimized the concentration of PVDF. In the third phase, we incorporated the BaTiO3 nanoparticles within optimized PVDF and studied the dielectric property of the nanocomposite film. PVDF-BaTiO3 sensors show a smaller hysteresis response. In the 4th phase, we blend the PVDF with SPEEK polymer; the optimized concentration of SPEEK improves the sensitivity of the humidity sensors at a lower humidity level.
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Elharrouss, Omar, Noor Al-Maadeed, Khalid Abualsaud, et al. "Smart System to Monitor Social-Distancing During the Covid-19 Pandemic." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0297.
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We introduce a smart system to track and maintain real-time physical distance between people and to warn people over any deviation from the prescribed distances. Social-distancing is an effective way of slowing infectious disease spread. People are advised to reduce their contacts with each other, thus reducing the chances of transmitting the disease through physical or near contact. We proposed a system to automate the task of tracking social distance using video surveillance and sensors. The system can be used to detect moving objects and measure distance between people. The system collected sensor environmental information for commercial, industrial and governmental purposes. Furthermore we are using drown to detect crowded area. The accuracy of detection using sensors can be helpful when it combined with the camera for computer vision task in terms of visualization using camera and rebuses of detection using sensor. Both camera and sensor gauge the environment to detect moving objects simultaneously.
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Sealing, Scott, Charles Seeley, and Haleh Ardebili. "Analysis of an Embedded Sensor in a Composite Laminate for Enabling Damage Detection." In ASME 2003 International Electronic Packaging Technical Conference and Exhibition. ASMEDC, 2003. http://dx.doi.org/10.1115/ipack2003-35132.
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A study of the influence of embedding sensors to detect damage within a composite laminate is conducted. A variety of sensors are considered along with several encapsulation materials. Encapsulation is required to aid in interfacial adhesion and to provide an electrical isolation from the graphite fiber composite laminate. This study is conducted to down-select the options for the sensor and encapsulant. A parametric global and local finite element models are developed to perform multiple runs corresponding to a design of experiments (DOE). The parameters that are varied are the sensor thickness, sensor length, encapsulant thickness, sensor modulus and coefficient of thermal expansion (CTE), and encapsulant modulus and CTE. Each parameter is varied based on the initial selection of sensors and encapsulants and considered at three levels for a quadratic transfer function. The DOE selected is a face centered CCD resulting in a total of 143 runs. The required output from each run is the effective axial and bending stiffness and the normal and shear stresses at the material interfaces. For each of these outputs from all of the runs, a transfer function is developed to identify the major contributors to the results. The resulting transfer functions indicate that the influence of the sensor and encapsulant parameters do not significantly affect the effective composites stiffness. However, they do contribute significantly to the material interfacial stresses, with the modulus of the sensor and encapsulant contributing the most to the variation of these stresses.
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Price, Jimmy, Chris Jones, Bin Dai, Darren Gascooke, and Michael Myrick. "Characterizing Downhole Fluid Analysis Sensors As Digital Twins: Lessons of the Machine Learning Approach, The Physics Approach and the Integrated Hybrid Approach." In SPE Annual Technical Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/206291-ms.
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Abstract Digital fluid sampling is a technique utilizing downhole sensors to measure formation fluid properties without collecting a physical sample. Unfortunately, sensors are prone to drift over time due to the harsh downhole environmental conditions. Therefore, constant sensor evaluation and calibration is required to ensure the quality of analysis. A new technique utilizes a virtual sensor as a digital twin which provides a calibration that can be utilized by the physical twin. Digital twin technology enables the end-user to operate and collaborate remotely, rapidly simulate different scenarios, and provide improved accuracy via enhanced up-to-date calibrations. With respect to downhole fluid identification, the contribution of harsh environmental conditions and sensor drift can also be mitigated by realizing a virtual implementation of the fluid behavior and the individual sensor components. Historically, the virtual behavior of a digital twin has been constructed by a combination of complex multi-physics and empirical modeling. More recently, access to large datasets and historical results has enabled the use of machine learning neural networks to successfully create digital twin sensors. In this paper, we explore the efficacy of constructing a digital twin on a single downhole optical fluid identification sensor using both the machine learning nonlinear neural network and the complex, multi-physics' based modeling approaches. Advantages and lessons to be learned from each individual method will be discussed in detail. In doing so, we have found a hybrid approach to be most effective in constraining the problem and preventing over-fitting while also yielding a more accurate calibration. In addition, the new hybrid digital twin evaluation and calibration method is extended to encompass an entire fleet of similar downhole sensors simultaneously. The introduction of digital twin technology is not new to the petroleum industry. Yet there is significant room for improvement in order to identify how the technology can be implemented best in order to decrease costs and improve reliability. This paper looks at two separate methods that scientists and engineers employ to enable digital twin technology and ultimately identify that a hybrid approach between machine learning and empirical physics'-based modeling prevails.
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Hunter, Gary W., Liang-Yu Chen, Philip G. Neudeck, et al. "Development of High Temperature Gas Sensor Technology." In ASME 1997 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/97-gt-494.
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The measurement of engine emissions is important for their monitoring and control. However, the ability to measure these emissions in-situ is limited. We are developing a family of high temperature gas sensors which are intended to operate in harsh environments such as those in an engine. The development of these sensors is based on progress in two types of technology: 1) The development of SiC-based semiconductor technology. 2) Improvements in micromachining and microfabricarion technology. These technologies are being used to develop point-contact sensors to measure gases which are important in emission control especially hydrogen, hydrocarbons, nitrogen oxides, and oxygen. The purpose of this paper is to discuss the development of this point-contact sensor technology. The detection of each type of gas involves its own challenges in the fields of materials science and fabrication technology. Of particular importance is sensor sensitivity, selectivity, and stability in long-term, high temperature operation. An overview is presented of each sensor type with an evaluation of its stage of development. It is concluded that this technology has significant potential for use in engine applications but further development is necessary.
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Laakkonen, Pasi, Antti Nissinen, Ossi Lehtikangas, Jouni Hartikainen, Pekka Kaunisto, and Mika Tienhaara. "Reliable Detection of Water Cut in Inlet Piping Under Stratified Flow Conditions for Mature Fields and WIO and OIW Emulsion Layers in Crude Oil Settling Tanks with Novel Sensor Technology." In SPE Offshore Europe Conference & Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205416-ms.
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Abstract Objectives/Scope Mature fields operations, which are almost 70% of today's production have a high water cut content. For each barrel of oil produced there can be 3 or more barrels of water. This means that operational conditions are challenging and might not be ideal for the facilities. In crude oil tanks, one of the most crucial operation parameter is the settling time of oil and water. Especially with heavy oils and high water cut, the operational conditions can be challenging with the existence of emulsion/rag layers in the tank. Most common level detection instrumentation struggle with detecting the proper interface levels leading to faulty control that can cause costly remediation and loss of revenue. This paper presents a novel solution by applying electric tomography pipe and probe sensors. Methods, Procedures, Process In electrical tomography, multiple electrodes are attached on the surface of the sensor and excitations are applied to some electrodes and responses are measured from other electrodes. Assuming a fast separation in the following crude oil tank, the operator expects the flow being stratified already in incoming trunk line. In real life this is not often the case: The incoming flow is turbulent meaning that there is no clear water/oil interface. To overcome this a pipe sensor is needed to monitor the flow regime and hence there is a possibility to control the a) chemical feed and b) flow speed to get the flow stratified. As soon as the flow is stratified in a trunk line it will be guided to a crude oil settling tank for an additional separation. In this tank there is a possibility to apply a probe sensor to monitor reliably the emulsion layer between water and oil. This allows settling time, process parameters and chemicals to be optimized to get a clear separation and hence improving the oil and water quality for a further processing. Results, Observations, Conclusions Results from pipe sensor operation in crude oil pipelines will be shared. The results will show an accurate water cut profile across the pipe cross section even under stratified flow conditions. Additionally, probe sensor results in a crude oil tank operation will be shared and hence confirming the reliability and robustness of the probe sensor operation in tanks. One of the key features of the pipe and probe sensors is the full functionality even under severe contamination with deposits on the sensor surfaces. The operational principle of this method will be shared and verified by experimental results. Novel/Additive Information The sensor technology for the tank inspection and piping uses novel electrical tomography with compact electronic and fast-acting computation with high resolution. This type of technology for settling tank application is new.
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Ellithy, Noor Khaled, Orob Kifah Balaawi, and Alaa Khaled Alnakeeb. "Drones for Agriculture." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0249.
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Taking measurements for agriculture purposes is a challenge that this project tackles. A UAV and some sensors are being used to monitor a big field. The target of this project is to design a fully autonomous system that covers the area of planted land. The system collects information and sends what is collected directly to the base station. Furthermore, the design is divided into two parts: plane design and ground design. The plane design includes a temperature sensor, a CO2 sensor, a NoIR camera, a regular camera and a 4G dongle. The ground design, however, has one soil moisture sensor, one H2S sensor and a GSM module. The plane takes a trip around the field to record real time data and transmits, while the on-ground black box sends data to the base station. Finally, data is analysed, and reports are sent to the base station and the mobile application created for this cause. The plane has carried tests in the airport in Al-Khor city. The tests were to make sure the UAV flies properly and they were successful.
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Alcheikh, Nouha, Amal Z. Hajjaj, and Mohammad I. Younis. "Wide Range Highly Sensitive Pressure Sensor Based on Heated Micromachined Arch Beam." In ASME 2019 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/detc2019-97995.
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Abstract Miniaturized air-pressure sensing devices has received increasing attention during the past few decades. Pressure sensors have been explored in various potential applications, such as industrial control, healthcare, medical testing, and environmental monitoring [1–2]. Different sensing mechanisms and designs have been used for the detection of air-pressure. Of particular importance are resonant pressure sensors based on tracking the change in resonance frequency of the device with pressure. To improve the pressure sensor sensitivity, various designs have been investigated including carbon nanotubes, microcantilever, and bridge resonators. In a recent study [3], we showed a resonant pressure sensor based on an electrothermally heated clamped-clamped straight beam (cooling effect). We showed that operating the resonator near the buckling point maximizes its sensitivity [3]. In this work, we will focus on the detection of air pressure using an electrothermally heated initially curved beam exhibiting veering among its first two symmetric vibration modes, which offers more continuity in frequency variations, and hence measurements compared to buckled beams. The presented approach shows significant advantages in term of sensitivity and wide pressure range.
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Lu, Mei-Chien. "Enabling Packaging Architectures and Interconnect Technologies for Image Sensors." In ASME 2020 International Technical Conference and Exhibition on Packaging and Integration of Electronic and Photonic Microsystems. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/ipack2020-2526.
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Abstract Image sensors have become a crucial technology platform for many applications in the past decades. Market demands continue to grow at a fast pace accelerated by innovations, performance improvement, and new applications. Efficient package architectures and advanced interconnect technologies are among the enablers for the commercialization of image sensors. This study examines how image sensor pixel electronics design and form factor drives innovations in chip stacking and high-density interconnects. 3D chip stacking architectures for CMOS image sensors are analyzed. Cases of image sensors for imaging at visible light, single photon avalanche photodiode (SPAD) for wide dynamic range, rolling shutter and global shutter, and depth sensing and light detection and ranging (LiDAR) are explored based on the pixel electronics requirements. Interconnect methods are also explored. Wafer direct bonding followed by through silicon via (TSV) and hybrid bonding technologies have recently been implemented in the image sensor industry. The preferences and challenges of these two interconnect technologies for image sensor chip stacking are discussed. As TSV technology is relatively mature, this study includes the process flow for one example of the hybrid bonding method. Challenges and future advancement are briefed along with the outlook of the technology and market momentum of image sensors.