Relevant bibliographies by topics / University of Virginia. Art Museum

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

Academic literature on the topic 'University of Virginia. Art Museum'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "University of Virginia. Art Museum"

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Nadel, Ira. "Oriental Bloomsbury." Modernist Cultures 13, no. 1 (2018): 14–32. http://dx.doi.org/10.3366/mod.2018.0192.

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The multiple and occasionally contradictory response of Bloomsbury to the Orient is the focus of this essay which also considers the reverse: the Orient's response to Bloomsbury and the promotion of their texts in the East. From Roger Fry to G. L. Dickinson, Virginia Woolf, and Vanessa Bell, the Orient became a source of aesthetic interest and problematized politics. French Orientalism and Proust initially corroborated the experiences of Woolf in Constantinople and Leonard Woolf in Ceylon, soon to be revised by new views of Imperial authority. Yet Bloomsbury and the Orient artistically depended on each other, at one point Fry scolding Bloomsbury and England that ‘we can no longer hide behind the Elgin marbles and refuse to look at the art of China’. And look they did, from attending museum shows to collecting Oriental art and furniture, while adopting Oriental fashions – and, when possible, traveling to China and Japan marked by visits by Bertrand Russell, William Empson, and Harold Acton. The response of individual Bloomsbury writers to the Orient mixes curiosity and jealousy. To her nephew Julian Bell, teaching at Wuhan University, Woolf wrote that ‘you are much to be envied. I wish I had spent three years in China at your age’.
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Rohr, Doris, and Niamh Clarke. "Collaborative project: From cradle to parlour." Drawing: Research, Theory, Practice 5, no. 1 (2020): 59–72. http://dx.doi.org/10.1386/drtp_00020_1.

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This co-authored project report considers the polarity of the ephemeral (concept, memory, recollection) with the material aspect of creativity, as it manifests itself in the related yet complimentary practices of writing and drawing. The craft of drawing is complex and hybrid, more akin to writing processes as a means of embodying and making physical through gesture, than many other art forms and processes that rely on material presence. Writing and drawing materialize memory, ideas and projective thought and attempt to manifest their transience. The joint project research (Clarke|Rohr) was originally presented as a contribution to ‘Drawings of, Drawings by and Drawings with …’ chaired by Ray Lucas (Manchester University) for the conference Art, Materiality and Representation, Royal Anthropological Institution, SOAS/British Museum, in June 2018. We are grateful for the opportunity to further evaluate and publish the progression of the project in this issue of DRTP. The idea for a collaborative drawing project that involves text|image translations was borne from conversations between Niamh Clarke and Doris Rohr. Clarke perceived visual, structural and textual affinities between the modernist novel The Waves by Virginia Woolf and the drawings of waves by the Latvian American photorealist artist Vija Celmins. This prompted an experimental project: what type of textual responses might be found in another’s drawing, and, in turn, what type of visual drawn image might be generated in response to a short text of creative writing? We decided to limit the postal exchange of material to three A4 drawings and three individual short excerpts of poetry or prose. It was agreed that we would monitor our personal reactions, emotions and analysis of the process and store the responses via a shared digital platform (Google Drive). The project’s premise was to interrogate image and text relationships and the possibilities to translate or influence one through the other. Our aim is to explore materiality and subject matter through drawing with a mediated sense of authorship.
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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 (2008): 195–96. http://dx.doi.org/10.1086/589608.

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Rusak, Sandra. "Instructional Resources: African Art: Virginia Museum of Fine Arts." Art Education 49, no. 5 (1996): 25. http://dx.doi.org/10.2307/3193610.

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Woodward, Richard B. "African Art at the Virginia Museum of Fine Arts." African Arts 20, no. 2 (1987): 28. http://dx.doi.org/10.2307/3336599.

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Darish, Patricia J. "African Art at the Indiana University Art Museum." African Arts 20, no. 3 (1987): 30. http://dx.doi.org/10.2307/3336475.

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Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
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O'Connor, Maureen Sarah. "Education in Motion: The Virginia Museum of Fine Arts Artmobile, 1953 – 1994." Museum and Society 17, no. 1 (2019): 19–36. http://dx.doi.org/10.29311/mas.v17i1.2780.

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This essay explores five exhibitions created for the Virginia Museum of Fine Arts Artmobile, the first mobile art museum in the United States. The mission of the Artmobile was to bring works of art directly to citizens throughout the state of Virginia from 1953 to 1994. In analyzing educational and exhibition materials, such as exhibition booklets, audio guide recordings, press releases, and speeches, this research examines the educational philosophies of each exhibition in relation to contemporaneous museum education literature. Applying Tony Bennett’s analysis of the impact of culture on the social to the creation of educational philosophies, this essay argues that while the mission of the Artmobile remained constant, there was a shift in the educational objective from the development of cultured citizens through art appreciation and the improvement of public taste to fostering individual visual literacy and encouraging visitors to make art historical and personal connections.
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Villeneuve, Pat, Amanda Martin-Hamon, and Kristina E. Mitchell. "University in the Art Museum: A Model for Museum-Faculty Collaboration." Art Education 59, no. 1 (2006): 12–17. http://dx.doi.org/10.1080/00043125.2006.11651573.

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Chung, Sheng Kuan. "Presenting Cultural Artifacts in the Art Museum: A University-Museum Collaboration." Art Education 62, no. 3 (2009): 33–39. http://dx.doi.org/10.1080/00043125.2009.11519018.

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Dissertations / Theses on the topic "University of Virginia. Art Museum"

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Secleter, John Robert. "Duke University Museum of Art." Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/52237.

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Rothermel, Barbara Ann. "The university art museum and interdisciplinary faculty collaboration." Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/28026.

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The university art museum can make a significant contribution to the academic and cultural life of the parent institution. While there are many roles of art museums within institutions of higher education, there is a common thread -- the conviction that interdisciplinary exhibitions and programs expand the relevance of the art museum within the academic community. In this study, I examine interdisciplinary collaborations between the university art museum and faculty from diverse academic disciplines at American institutions of higher education. What relationships, if any, exist between academic programs and art museums at universities? What institutional structures are keys and barriers to successful collaboration between the university art museum and academic programs? What factors determine the success of interdisciplinary collaboration between the university art museum and diverse academic programs? In order to fully explore the possibilities of interdisciplinary collaboration, qualitative analysis of current initiatives at university art museums throughout the United States was necessary. The conceptual framework of interdisciplinary exhibitions and programs is thus established. Secondly, case studies examine the organizational culture of the institutions and challenges of interdisciplinary collaboration at the University of Virginia Art Museum, the Joel and Lila Harnett Museum of Art of Art at the University of Richmond, and the Philip and Muriel Berman Museum of Art at Ursinus College. As well, my professional experience, through a retrospective account of projects at the Daura Gallery at Lynchburg College, provides insights into both the potential and process of interdisciplinary collaboration. While I am mindful that this informs my conviction that interdisciplinarity and collaborative practice is essential to the university art museum, the partiality that existed at the onset of the study was recognized and subjected to a rigorous research and methodology that imparts validity and authenticity to this inquiry. While the “publish or perish” convention of the academy supports discipline-specific research and individual publication, I contend that the university art museum must engage in interdisciplinary dialogue through which perceptions are changed and new meanings are unveiled while respecting the integrity of the disciplines involved. This study of institution-wide interdisciplinary collaboration between university art museums and the academic institutions of which they are part reveals what is being done through innovative exhibitions and programming to promote the interconnectedness of ideas and issues. Collaboration with diverse academic disciplines reaffirms the traditional expectations of the museum of investigation, inquiry, and intellectual challenge. Purposive exhibitions grounded in collaboration between academic disciplines can generate debate, critique, and conversation. In doing so, the university art museum is an indispensable component of the university’s mission and asserts its relevance to the institution and its role in the educational experience through collaboration between the university’s academic programs and the university art museum.
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Smith, Jennifer Renee. "VIRGINIA TEACHERS' UTILIZATION OF VMFA RESOURCES: A SURVEY." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/62.

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The focus of this thesis was to gather data by survey on the utilization of VMFA resources by Virginia, K-12 public and private school teachers. Currently there is a lack of research on how teachers utilize art museum resources. I sent a Web-based survey to 800 teachers in the state of Virginia. One hundred seventy six teachers responded and the data was analyzed to determine their backgrounds and utilization of VMFA resources. All data was entered into tables in both numerical form and percentages. My analysis of the data showed that teachers utilize resources most frequently for art history discussion and studio project motivation. In their classrooms, teachers most frequently use poster kits and video/DVD from VMFA.
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Alhadi, Esameddin. "Transforming school museum partnership the case of the University of Flordia Harn Museum Teacher Institute /." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1214496613.

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Holmes, Elizabeth Geesey. "The Virginia Museum of Fine Arts: its Founding, 1930-1936." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625838.

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Gilbert, Christine M. "The Ogden Museum of Southern Art University of New Orleans development internship." ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/24.

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This detailed report of a development internship at The Ogden Museum of Southern Art, University of New Orleans, includes an organization profile, a description of the activities performed during the internship, an analysis of an organizational management challenge, a proposed resolution to the management challenge, and a discussion of the short and long range effects of the internship. The roles and responsibilities of a board of directors, and the qualities sought in board members, are important aspects of the analysis and resolution of the management challenge.
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Gray, Pamela Clelland. "Public learning and the art museum : future directions /." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030407.154108/index.html.

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Reilly-Brown, Elizabeth. "Dialogue in the Galleries: Developing a Tour about Contemporary Art for the Virginia Museum of Fine Arts." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/198.

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This museum thesis project considers the challenges involved in developing engaging museum tours. The purpose of this project was to develop a fifty-minute, guided gallery tour that uses inquiry-based instruction to engage participants in dialogue and critical thinking about artworks. The tour was designed specifically for the Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, using artworks selected from the museum’s twenty-first-century art collection that relate to the theme hybridity. This project contributes to the museum studies field by exemplifying how gallery tours can stimulate active learning, encourage visitors to find meaning in artworks, and form their own conclusions about objects in the museum. The project provides a model for integrating inquiry-generated dialogue within the gallery tour structure. Finally, it demonstrates that dialogue-based teaching can be used with teens and adults, audiences that some educators perceive as more reticent than younger learners to engage with this style of education.
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Dopko, Cynthia Hogan. "Reassessment a mummy shroud from the North Carolina Museum of Art /." NCSU, 2004. http://www.lib.ncsu.edu/theses/available/etd-04122004-163107/.

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The purpose of this research has been to reassess the dating and iconography of a Roman period mummy shroud entitled, Mummy Portrait of a Young Man from the Fayum, in the collection of the North Carolina Museum of Art. This reevaluation benefited greatly from the recent international scholarship and museum exhibitions done on mummy portraits from Roman Egypt in the past few years. The research for the North Carolina shroud involved analyzing, in detail, the unique symbolic arrangement depicted on the shroud by evaluating each of the object?s four registers individually as well as assessing the composition as a whole. This research found that the symbolic content of the shroud, as a whole, possesses a cohesive iconographical message. The registers of the shroud depict the individual, his mummification, revivification, and subsequent rebirth into an afterlife, if read from top to bottom. Further, this research has concluded that the numerous symbols on the shroud support this ritual transformation as well as point to its relationship with the Isiac or Serapion mystery cult. The fourth century date of this shroud has been redated to the third century and the stylistic features of the shroud?s design point to an Er-Rubayat provenance. It is hoped that this research will benefit the North Carolina Museum of Art, and enter this mummy shroud into the on-going international scholarship on mummy portraits from Roman Egypt.
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Alhadi, Esameddin. "Transforming School Museum Partnership: The Case of the University of Florida Harn Museum Teacher Institute." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1214496613.

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Books on the topic "University of Virginia. Art Museum"

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Nesbitt, Lowell. Lowell Nesbitt, 1933-1993: Paintings, drawings, and prints in the collection of the Bayly Art Museum, University of Virginia. Bayly Art Museum, 1995.

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Nesbitt, Lowell. Lowell Nesbitt, 1933-1993: Paintings, drawings, and prints in the collection of the Bayly Art Museum, University of Virginia. Bayly Art Museum, 1995.

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University of Virginia. Art Museum. A particular collection: Photography from the museum collection : October 5-November 11, 1990, Bayly Art Museum of the University of Virginia, Charlottesville. Rector and Visitors of the University of Virginia, 1990.

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University of Virginia. Art Museum. The moon has no home: Japanese color woodblock prints from the collection of the University of Virginia Art Museum. University of Virginia Art Museum, 2003.

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Thomas, Judith E. The George C. McGhee collection of Cypriote antiquities. University of Virginia Art Museum, 1986.

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Kroll, Leon. Leon Kroll: Etchings and related drawings : Bayly Art Museum of the University of Virginia, Charlottesville. The University, 1988.

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University of Virginia. Art Museum. Early 20th century French graphics: The T. Catesby Jones Collection. Bayly Art Museum, University of Virginia, 1989.

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Sell, Stacey. Masterpieces of Renaissance and Baroque printmaking: A decade of collecting : selected from the collections of the Bayly Art Museum and Gertrude Weber. Bayly Art Museum, University of Virginia, 1991.

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Nesbitt, Lowell. The humanist icon: The Bayly Art Museum of the University of Virginia, March 18-May 20, 1990 : the New York Academy of Art, New York City, June 7-July 1, 1990 : Edwin A. Ulrich Museum of Art, Wichita, Kansas, October 18-December 2, 1990. Bayly Art Museum of the University of Virginia, Charlottesville, 1990.

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Niagara University. Castellani Art Museum. Castellani Art Museum, Niagara University. The Museum, 1987.

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Book chapters on the topic "University of Virginia. Art Museum"

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Davidson, Jane Chin. "Global art and world art." In Global and World Art in the Practice of the University Museum. Routledge, 2017. http://dx.doi.org/10.4324/9781315621722-4.

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Rodrigues, Gemma. "African art and art history’s global turn." In Global and World Art in the Practice of the University Museum. Routledge, 2017. http://dx.doi.org/10.4324/9781315621722-5.

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Farago, Claire. "Imagining art history otherwise." In Global and World Art in the Practice of the University Museum. Routledge, 2017. http://dx.doi.org/10.4324/9781315621722-7.

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von Falkenhausen, Lothar. "East Asian art history at UCLA." In Global and World Art in the Practice of the University Museum. Routledge, 2017. http://dx.doi.org/10.4324/9781315621722-6.

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Davidson, Jane Chin. "Introduction." In Global and World Art in the Practice of the University Museum. Routledge, 2017. http://dx.doi.org/10.4324/9781315621722-1.

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Esslinger, Sandra. "Other possible worlds." In Global and World Art in the Practice of the University Museum. Routledge, 2017. http://dx.doi.org/10.4324/9781315621722-10.

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Berns, Marla C. "Fowler at Fifty." In Global and World Art in the Practice of the University Museum. Routledge, 2017. http://dx.doi.org/10.4324/9781315621722-2.

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Preziosi, Donald. "In the light of the Fowler." In Global and World Art in the Practice of the University Museum. Routledge, 2017. http://dx.doi.org/10.4324/9781315621722-3.

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Cole, Catherine M. "Time slip." In Global and World Art in the Practice of the University Museum. Routledge, 2017. http://dx.doi.org/10.4324/9781315621722-8.

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Holo, Selma. "Public trust." In Global and World Art in the Practice of the University Museum. Routledge, 2017. http://dx.doi.org/10.4324/9781315621722-9.

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Conference papers on the topic "University of Virginia. Art Museum"

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Zhao, Jian, Liang Zhang, and Linan Zheng. "Taking the Qingdao Binhai University Museum of Art as an Example to Discuss the Design of Tourist Souvenirs." In 6th International Conference on Social Network, Communication and Education (SNCE 2016). Atlantis Press, 2016. http://dx.doi.org/10.2991/snce-16.2016.56.

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Drossinou-Korea, Maria. "Targeted, individually structured special education and training intervention programs and pedagogical applications in museum." In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.

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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.
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Lucena, Juan, Jason Delborne, Katie Johnson, Jon Leydens, Junko Munakata-Marr, and Jen Schneider. "Integration of Climate Change in the Analysis and Design of Engineered Systems: Barriers and Opportunities for Engineering Education." In ASME 2011 International Mechanical Engineering Congress and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/imece2011-64975.

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The goal of this paper is to begin mapping perspectives of engineering faculty on barriers and opportunities related to the integration of climate change in the analysis and design of engineered systems (CC&ES). Although both sustainability and renewable energy have been receiving increasing attention in engineering education for quite some time, climate change, especially as it relates to engineered systems, has yet to become a widely accepted topic of teaching and research. From recent literature on engineering education and from interviews with engineering faculty, a picture emerges of whether and how climate change is an important dimension in the analysis and design of engineered systems. From those sources, we begin to see what it might take to incorporate the relationship between climate change and engineered systems in engineering education, what the barriers and opportunities to this incorporation might be, and what strategies might be available to institutionalize this incorporation in engineering education. Support for this paper comes from a larger research project on “Climate Change, Engineered Systems, and Society” which has the goal to develop conceptual and educational frameworks and networks of change agents to promote effective formal and informal education for engineering students, policymakers and the public at large. The project partners include the National Academy of Engineering (NAE), Arizona State University, Boston Museum of Science, Colorado School of Mines (CSM), and the University of Virginia. Within this larger team, the CSM team is planning to develop a testbed for the incorporation of CC&ES in engineering education. Hence, our first step is to find related curricular innovations in the engineering education literature and perspectives from engineering faculty on barriers and opportunities to the integration of CC&ES in engineering education.
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August, Christopher. "Looking for Ishi: Insurgent Movements through the Yahi Landscape." In 2003 Informing Science + IT Education Conference. Informing Science Institute, 2003. http://dx.doi.org/10.28945/2718.

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In 1911 a Yahi man wandered out of the Northern California landscape and into the twentieth century. He was immediately collected and installed at the just opened Anthropology Museum by Alfred Kroeber at the University of California's Parnassus Heights campus. Dedication invitations came from the U.C. Regents led by Phoebe Apperson Hearst. Maintaining the discretion of his indigenous culture this man would not divulge his name. Kroeber named him Ishi, the Yahi word for man. These assembled facts introduce narrative streams that continue to unfold around us. To examine these contingent individuals, events and institutions collectively labeled Ishi myth is to examine our own position, our horizon. Looking for Ishi is a series of interventions and appropriations of Ishi myth involving video installation, looping DVD, encrypted motion images, web work, streaming video, print objects, written and spoken word, and documentation of the author's own insurgent movements through the Yahi landscape. [The following is a summary of an art, writing, and media project in progress.]
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Allameh, Seyed M., and Roger Miller. "On the Application of Biomimicked Composites in 3D Printed Artifacts." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-70770.

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Application of 3D printing to works of art is not new. However, with the advent of larger and more affordable 3D printers, it is possible to fabricate works of art including statues, sculptures, and architectural structures from biomimicked composites. Made of hard ceramic and soft polymer with or without reinforcement, these composites have shown to be much tougher than their monolithic counterparts. The use of biomimicking will increase the durability and strength of such artifacts. In this study, a newly developed architectural 3D printer is used to create works of art using concrete, with and without reinforcement fibers. The challenge that face creating tough artistic display structures include durability, hardness and resistance to impact. To determine the right combination of hard ceramic and soft polymer, a series of experiments were conducted. These included the fabrication of biomimicked composites with different materials and testing them for fracture energy as well as maximum strength. Earlier published works demonstrate the effect of various parameters such as type of ceramic layer, layering, fiber reinforcement type, fiber length, and fiber loading. In this paper, the effect of hard layer thickness and the type of polymer on the mechanical properties of the biomimicked composites was investigated. Preliminary results show the highest fracture energy for composites made with concrete bonding adhesive (CBA) and Quikrete™ concrete, with a spacing of 5mm. The application of 3D printing to the educational activities of a museum in Newport KY will be explained and its implication in relation with civic engagement activities of Northern Kentucky University will be elucidated.
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Pietrogrande, Enrico, and Alessandro Dalla Caneva. "Study for a new definition of the southern side of Prato della Valle in Padua, Italy." In 24th ISUF 2017 - City and Territory in the Globalization Age. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6287.

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The southern limit of thePrato della Valle space in the southern part of Padua's historical centre, inItaly, was continuously delimited by the boundary wall of the Santa Maria dellaMisericordia convent until the early twentieth century. Its presence was one ofthe elements that more than a century ago inspired the enlightened proposal byDomenico Cerato, a design professor at the University of Padua who had beeninspired by Andrea Memmo, the Superintendent of the Serenissima Republic ofVenice. The straight and continuous limit was replaced by the discontinuousarchitecture of the Foro Boario entrance, built in 1913 according to a designby Alessandro Peretti; this weakened the overall solution based on anelliptical shape, as did the communicative power of the nearby basilica ofSanta Giustina. The examination carried out dwells on these limits, simulatingthe virtual introduction of architecture with a continuous front to thesouthern edge of the Prato della Valle. One example of this type ofarchitecture is the Nelson-Atkins Museum of Art built in Kansas City between1930 and 1933, based on a design by the brothers Thomas and William Wight, andexpanded in 1999 based on a design by Steven Hall. The study generallyconfirmed that the compactness of the building's front newly provides strengthto Cerato's design, which gave a sense of unity to the general emptiness thanksto the certainty of its borders, and gives again the Basilica of Santa Giustinaits monumental size. This paper investigates the composition ofheterogeneous fragments, excerpts from the inventory of collective memory, andthe resulting unpredictable architecture in an urban context.
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Lendvay, Miklós. "Országos Könyvtári Platform – központi könyvtári szolgáltatások együttműködő rendszere." In Networkshop. HUNGARNET Egyesület, 2020. http://dx.doi.org/10.31915/nws.2020.10.

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Abstract:
In 2020/21, the collaborative distributed Hungarian library platform will be completed and introduced, revolutionizing library services with state-of-the-art IT solutions. The Hungarian National Library Platform (HNLP) puts the national library services, the common catalog and interlibrary loan, the services of the ISBN office, the digitization cooperation on a new foundation, and integrates the Hungarian National Namespace and opens up entity-based data connections beyond the library world. It expands the range of services provided to readers, providing legitimate digital content to both library visitors and remotely logged in online users. It provides modern interfaces for publishers and authors to expand the range of information about their publications with relevant data. It is open to libraries to replace, in part or in full, their existing IT solutions and, moving into the cloud-based system, use it as their own integrated library platform. The parameterdriven HNLP allows connected libraries to create a unique brand image, deliver their collections in the most diverse way, while becoming an integral part of an entity-based data model-based metadata repository and digital object repository. The collaboration between libraries, which began in 2016 with the design of the new platform, has now entered a new phase: our partners review the specifications, the libraries provide their data for the developed modules, test the system elements, and then the entire platform in an integrated way. The first module of the HNLP, the “old and rare books” module, was launched in October 2019, followed by the launch of the Library Science Library in 2020, and in 2021 the operation of the National Széchényi Library in this modern environment will follow. What are the main pillars of this platform? What secures the required flexibility? What makes it capable of accommodating any type of metadata and serving any type of library? How can all types of libraries be connected, small and large libraries, university and church, public and private libraries alike? How is the system open to the processing of archival and museum materials? What has been achieved so far and what are the next steps until the full transition?
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8

Kappanna, Hemanth K., Marc C. Besch, Arvind Thiruvengadam, 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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