Relevant bibliographies by topics / Variability of the theater space

Contents

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

Academic literature on the topic 'Variability of the theater space'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Variability of the theater space"

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Balaban, O. I., O. M. Venher, and O. B. Opanasyk. "Market fundamentals of organization of work in the field of stage and audio-visual arts and production." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 200–214. http://dx.doi.org/10.34064/khnum1-53.12.

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Background. Survival and further development is an acute problem for any modern Ukrainian repertory theater. According to the Law (which is only a framework, since it does not answer all the questions that arise), repertory theaters are non-profit organizations and exist for budget funds. The latter are steadily declining and depreciating in the conditions of market relations exist in modern Ukraine. The purpose of the article is to consider and propose methodological approaches to the development and implementation of innovations in the organization of cultural institutions in the field of cultural industries, theater, film and television. Presentation of the main material. The modern development of society is extraordinary – it is filled with changes and transformations caused by the influence of such phenomena as globalization, cheap labor, a large number of competitors. The spread of information and nanotechnology, computer networks is causing changes in the structure of organizations and cultural institutions, in particular, a reduction in their size, which, in turn, predetermines innovation as a result of a creative search for original, non-standard solutions to various problems. Globalization today is not only fierce competition. It also affects the human capital of enterprises, in particular, transforms the concept of a permanent place of work. Technogenic civilization and the rapid change of information technology make cultural institutions need to work extraordinary in such relevant areas as technology, personnel and organizational aspects of business. The most important qualities of the modern cultural space, concerning cultural and educational institutions, creative industries, are openness of thoughts and the possibility to avoid stereotypes. As a result of the development of market relations in Ukraine, cultural institutions have economic freedom, respectively, freedom in choosing directions and guidelines for development, as well as of markets for activities, determining directions for using and attracting own funds, creating a competitive policy, etc. In the same time, the following threats were identified that are relevant for any modern Ukrainian repertory theater, namely: 1) the growth of the budget deficit of the country and the region, which can suspend the budget maintenance of theaters; 2) an increase in inflation; 3) economic instability; 4) political instability; 5) the growth of tax rates; 6) a decrease in the solvency of the audience; 7) low demand from the audience for theatrical services; 8) significant variability in the needs of the audience; 9) a high level of competitiveness of other theaters and cultural institutions; 10) changes in public values; 11) low social consciousness of the population. Due to these conditions, the solution of the problem of survival and development requires the search for new strategic approaches to the organization of activities and management of these theaters, which seems quite relevant. The possibilities are contained in the Law itself, which allows theaters to earn money through various types of commercial activities. Strategically, the most promising is production, which is used by almost all foreign non-commercial theaters. The opportunities provided by “The Law on Public-Private Partnership”, 2010, in the fields of tourism, re-creation, culture and sports can be included in support of such activities. The effectiveness and profitability of cultural institutions depends on the quality of management, as well as monitoring the implementation and quality of services. The high potential of cultural institutions with an underestimation of activity and inefficient management leads to insufficient funding for the development of cultural institutions, a lack of working capital, and low material interest of workers. This situation makes it necessary to constantly increase the budget line for the maintenance of institutions. But to increase the budget revenues of cultural institutions, it is possible to use crisis management technologies. The development of crisis management methods by the management company (with an emphasis on theatrical activities) will be aimed at: protecting intellectual property and patenting by type of activity, developing and applying franchising schemes in theatrical activities; constant monitoring of the theater audience in order to identify trends in the development of culture and demand from the audience; collecting and summarizing the practice of successful European theater projects and managerial decisions to create a system of training the managerial staff of cultural institutions; collecting and analyzing information about the interaction of theaters with the external environment, tracking new trends and market contradictions; creating the basis for adjusting the regulatory framework; increasing the profitability of theaters; development of areas related to the core business; attraction and use of various types of financing (budget, grants, commercial, credit, investment funds); reduction of the budget load and the transition from current financing schemes to the financing of theater projects and programs; the creation of new financial instruments for the development of the theater, including depreciation and accumulation of income; the search for opportunities for the management company to implement external financial management and carry out financial planning, control over improving the effectiveness of theater management; creation of systems of motivation and interest of the creative team of theaters; creative audit of theatrical productions and repertoire policy, assessment of the positioning of theaters and theatrical productions. Summing up the above, we can reach the statements: 1) the rapid reduction of budget support for modern Ukrainian repertory theaters may end with a complete rejection of it; 2) under such conditions, it will be appropriate to study the experience of organizing the activities of foreign non-profit theaters that successfully survive in market conditions; 3) this becomes possible through the use of a rather specific activity called “producing”; 4) modern Ukrainian repertory theaters will have to master it; 5) for this purpose, it seems appropriate to create a "production center" in the theater, which can be started as a startup; 6) this creates a new creative and production system that becomes productive.
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Mesyanzhinova, Alexandra Vadimovna. "The Art of Opera: Variability of Artistic Languages of Screen Forms." Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 72–83. http://dx.doi.org/10.17816/vgik6472-83.

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Specifics of an artistic language of screen forms of opera and its variations (movies, TV performances, live broadcasts in movie theatres) could be explicated successfully using a case study of different interpretations of the same work. The article retrospectively illustrates variability of an artistic language of the operatic screen forms using a case study of screen adaptations of Giuseppe Verdi's La Traviata (1853). The article analyzes a film-opera by Franco Zeffirelli (1982), a film-opera by Mario Lanfranchi (1968), TV-broadcast of Adrian Marthalers staging of La Traviata at Zurich Central station (2008), and the live broadcast in movie theaters of Willy Deckers production at the Metropolitan Opera (2012). The author presumes that the format of an opera-film through interacting with the audience primarily on emotional and symbolic levels appears as static. TV live broadcasts of opera productions, which have replaced filmed opera, convey the completeness and stasis of what is happening on screen thus allowing the viewer to feel the spontaneity of theatrical action and actually ushering the spectator into the space of each frame. Live broadcasts of opera performances in movie theatres create a unique symbiosis of arts: a live, devoid of stasis and predetermination, feature film emerges. Nowadays, when theatres are increasingly offering live broadcasts of their performances in Internet, it is possible to state that the operatic art is not just oriented towards the screen arts but is searching new opportunities to adapt itself to the screen format, and can no longer exist independently off the screen. All this affects the artistic language of screen and theatrical forms of the operatic art. Although the operatic art interacts well with the multimedia technologies, the issues of interpretation and transformation of the artistic forms, which arise when recordings of elapsed performances are converted to digital format and viewed on modern devices, require a very delicate approach. Tablet computers and other media devices, which are able to reproduce nearly every recording, in a certain sense, allow customization of the technical and aesthetic forms of an art piece according to the users preferences, thus introducing personalized artistic accents of a viewer.
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A. Semenova, E., and . "Street Theater in Modern Media Space." International Journal of Engineering & Technology 7, no. 4.38 (December 3, 2018): 459. http://dx.doi.org/10.14419/ijet.v7i4.38.24604.

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Street theater is viewed in modern media space as a reduced, repeatedly duplicated carnival area. M.M. Bakhtin’s understanding of reduced forms of carnival laughter, which include humor, irony, sarcasm, is applied. The modern festival movement of street theaters in the beginning of the 21st century is analyzed. It is proved that despite the fact that street theater actively uses new interactive means of media communication, containing various information (audio-visual, acoustic, computing, optical, imagery, artistic, scenic, etc.) and contributing to the acceleration of information dissemination and audience expansion, this form of theater is rapidly degenerating. Street theater is transformed into a serious socio-cultural game. But despite the fact that media technologies offer not excess but poverty (deficit) instead of extravagant human nature, the carnival origin is preserved not in replicable formats of street theater, but in informal communication between urban and rural youth. This makes it possible to talk about the preservation of modern man's vital need for street theater and carnival communication. The analysis of these issues is based on the views of M.M. Bakhtin, V.B. Shklovsky, Guy Debord, and J. Baudrillard.
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Berranger, Yvon. "Theater stage with multiple space extensions." Journal of the Acoustical Society of America 83, no. 6 (June 1988): 2472. http://dx.doi.org/10.1121/1.396303.

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Read, Gray. "Theater of Public Space: Architectural Experimentation in the Théâtre de l'espace (Theater of Space), Paris 1937." Journal of Architectural Education 58, no. 4 (May 2005): 53–62. http://dx.doi.org/10.1162/1046488054026796.

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Prieto López, Juan Ignacio. "Jacques Polieri: Kinetic Theatre Space." VLC arquitectura. Research Journal 2, no. 2 (October 29, 2015): 31. http://dx.doi.org/10.4995/vlc.2015.3835.

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Between the First and Second World War the definition of the new type of theater building was one of the main tasks of the European Avantgarde. In its design and theoretical formulation were poets, playwrights, theater directors, architects, painters, actors, engineers… from different countries and art movements. Despite the collaboration of the leading members of the Avant-garde like Marinetti, Moholy-Nagy, Kiesler, El Lissitzky, Gropius… none of these proposals were built because of their radical and utopian characteristics. It was a young French theater director, Jacques Polieri, who became the main compiler and prompter of those proposals in postwar Europe in two issues of the French journal Aujourd´hui, art et architecture. The first of them published in May 1958, under the title “Cinquante ans de recherches dans le spectacle” collected the most important experiences in theory, scenography, technic, and theater architecture in the interwar period. Polieri worked with different architects in several projects for theater buildings, whose main feature was the mobility of all their elements and components, trying to get a dynamic experience during the performance. Those proposals related to Kinetic Art, were published in a second issue of Aujourd´hui, art et architecture entitled “Scénographie Nouvelle” in October 1963.
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Buffery, Helena. "Theater Space and Cultural Identity in Catalonia." Romance Quarterly 53, no. 3 (July 2006): 195–209. http://dx.doi.org/10.3200/rqtr.53.3.195-209.

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Trehub, Arnold. "Space, self, and the theater of consciousness." Consciousness and Cognition 16, no. 2 (June 2007): 310–30. http://dx.doi.org/10.1016/j.concog.2006.06.004.

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KOLOT, Danyila. "Integration of multimedia technologies into theater space." Humanities science current issues 2, no. 38 (2021): 10–15. http://dx.doi.org/10.24919/2308-4863/38-2-2.

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Salimova, Leila F. "THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME." Articult, no. 1 (2021): 19–31. http://dx.doi.org/10.28995/2227-6165-2021-1-19-31.

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Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.
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Dissertations / Theses on the topic "Variability of the theater space"

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Tampalini, Serge. "Affective space (looking back) /." Access via Murdoch University Digital Theses Project, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071116.144247.

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Ro, Sung-Woo. "Space machine : the evolution of theater and its development." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/21751.

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Conrad, Sydney Luisetti Federico. "Speed, time, and space in the futurist synthetic theater." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2189.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Masters in the Department of Romance Languages Italian." Discipline: Romance Languages; Department/School: Romance Languages.
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Abdel-Latif, Mahmoud Hammam. "Rhythmic space and rhythmic movement : the Adolphe Appia/Jaques-Dalcroze collaboration /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487596307356836.

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Wille, Dennis G. "A proposed architecture for theater coordination of global space capabilities." Thesis, Monterey, California. Naval Postgraduate School, 2006. http://hdl.handle.net/10945/2669.

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This thesis proposes an architecture for the coordination of global space capabilities in a joint force commanderâ s theater of operations. The current architecture for space capabilities coordination in a geographic area of operations is not standardized, and is instead left up to each theater to develop independently. As dependence on space capabilities proliferates to the lowest levels of operations, while the capabilities and products provided by space systems becomes increasingly complex, ad hoc relationships are no longer sufficient. Purely because of physics, assets on orbit are global, rather than theater, in nature, and require a global level of control. The interaction of a unified global controlling organization with disparate theater coordination constructs results in confusion, inefficiency, and potentially lost opportunities to influence or support operations. The standardization of space coordination across theaters will ensure that similarly trained and operating organizations are able to interact within their theater, across theaters, and up to the space command and control organization. This thesis proposes the establishment of a theater space coordination cell on the staff of the joint force commander in order to provide theater-wide space capabilities coordination and reach-back to U.S.-based space resources.
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Law, Peter Z. "Traveling Theater." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/31774.

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This thesis proposes that architecture has the potential to organize experience through its sensory effects and that the body is the fundamental link between experience and the imagination. The project in this thesis is a traveling theater. It was inspired by an interest in the intersection between architecture and contemporary theater. The theater borrows elements from traditional theaters and street theater in an effort to establish a separation between actor and spectator while also encouraging exploration of that basic theatrical relationship. There were three fundamental moves in the theater: the cubic volume; the siting and decision to travel; and the separation of the structure and skin. Each of these was a starting point for sensory effects explored in the theater.
Master of Architecture
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Griff, Adam M. (Adam Michael) 1974. "Open space : theater and public life on the Central Artery." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29299.

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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2003.
Includes bibliographical references (p. 89).
In the light of changes to the composition of society and the emergence of new technologies, conventional understandings of public space and inherited spatial forms no longer apply. Yet, for all the pessimism about whether these spaces will continue to exist, people still flock to places where they can be together. At the heart of this urge lies a crucial understanding of the modern city. Instead of being a closed community the modern city is cosmopolitan, a place for the gathering and living together of strangers. The city is the place where one goes to know people different from one self. Consequently, the city's reason for being is to socialize- for information, for business, for the development of the self. Like any place for socializing, it has its roots in pleasure. Located on the North End parcels of the central artery, my thesis project employs those programs that emerged right as this new understanding of the city dawned -- hotels, clubs, coffee shops, public promenades, restaurants, theaters, and pubs- to create spaces for socializing within the city. Social interaction is discursive, based on communicating, instead of being a visual relationship. The goal of the design is to create those moments where individuals can approach each other instead of being passive spectators to one another. Despite its lightheartedness, socializing and pleasure are serious because they set the terms on which different people can communicate and relate to one another, which ultimately is the basis for any democratic politics.
by Adam M. Griff.
M.Arch.
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Pugh, Ian Bradford Ngongotoha. "“Devoted & Disgruntled”: Improbable’s Devising, Eldership, and Open Space Technology." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366467614.

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Pieschel, Alex. "Character in the cue space| An analysis of part scripts in Shakespeare's "Coriolanus" and "Julius Caesar"." Thesis, The University of Alabama, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1584499.

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This paper aspires to perform an analysis of Early Modern character by thinking of character as a formative process, spanning playwriting to part-learning to dramatic performance. My analysis, which will focus on Shakespeare's Coriolanus and Julius Caesar, dismisses any notion of the Shakespeare play as holistic or complete text. I draw from Tiffany Stern and Simon Palfrey's Shakespeare in Parts, which establishes a methodology for the analysis of "part" or "cue" scripts, texts that feature a single character's lines amputated from the larger play.

In the Early Modern period, an actor's "part" or "side" would have included his own lines and the cues he needed to know to enter the scene or begin speaking. The part would have been learned in isolation, so the actor would have relied on cues to understand how his role fit into the larger play. I argue that the function of isolated parts and cues, or the last three to five words of any character's lines, is currently underestimated in critical analysis of Shakespeare texts, especially in literary close readings that focus on "character."

The textual space that Palfrey and Stern label the "cue space" continues to be underestimated, I imagine, because critics still view this space as an overly speculative construct. It is true that we cannot speak concretely about what an Early Modern actor would or would not have done, but we can highlight the implications of a potential performance decision. Cues, sites of stability surrounded by malleability, are ripe with potential performance decisions. By drawing from a methodology grounded in an understanding of parts and cues, we may more clearly contextualize the combative collaboration between actor and playwright through which character is formed.

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Willmer, David. "Theatricality, mediation, and public space : the legacy of Parsi theatre in South Asian cultural history /." Online version, 1999. http://bibpurl.oclc.org/web/21701.

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Books on the topic "Variability of the theater space"

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Allerup, Peter. Variability in space of solar radiation. Luxembourg: Commission of the European Communities, 1985.

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The empty space. New York: Simon & Schuster, 1996.

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Peter, Brook. The Empty space. New York: Touchstone, 1996.

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Theatre space: A rediscovery reported. Cambridge: Entertainment Technology Press, 2006.

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A short history of Western performance space. New York: Cambridge University Press, 2003.

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The open space: Theatre as opportunity for living. Brighton: Sussex Academic Press, 2014.

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The theatre of Cornwall: Space, place, performance. Bristol: Westcliffe Books, 2010.

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Fischer-Lichte, Erika. Performance and the politics of space: Theatre and topology. New York: Routledge, 2012.

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Sherrill, Myers, ed. Working space: The Milwaukee Repertory Theater builds a home. New York: Theatre Communications Group, 1992.

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Theorizing the angura space: Avant-garde performance and politics in Japan, 1960-2000. Leiden: Brill, 2005.

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Book chapters on the topic "Variability of the theater space"

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Cander, Ljiljana R. "Ionospheric Variability." In Ionospheric Space Weather, 59–93. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-99331-7_4.

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Harris, Max. "Time and Space." In Theater and Incarnation, 19–35. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-09697-8_2.

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Ding, Guanghui. "Guangzhou Opera House: Building a Gated Public Space." In Grand Theater Urbanism, 55–74. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-7868-3_3.

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Haigh, Joanna D. "Solar Variability and Climate." In Astrophysics and Space Science Library, 65–81. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/1-4020-5446-7_8.

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Dawson, Linda. "Space as the Next Theater of War." In War in Space, 12–32. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93052-7_2.

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Sun, Cong. "City and Cultural Center Shift—Performance Space in Shenzhen." In Grand Theater Urbanism, 75–103. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-7868-3_4.

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Wurdeman, Shane R. "State-Space Reconstruction." In Nonlinear Analysis for Human Movement Variability, 55–82. Boca Raton : Taylor & Francis, Taylor & Francis, a CRC title, part of the: CRC Press, 2018. http://dx.doi.org/10.1201/9781315370651-3.

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Xue, Charlie Qiuli. "From Colonial to Global—Performing Art Space in Hong Kong." In Grand Theater Urbanism, 231–52. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-7868-3_10.

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Awange, Joseph. "Vegetation Variability “Hotspots” (2003–2018)." In Lake Victoria Monitored from Space, 297–315. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60551-3_14.

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Comiso, Josefino. "Variability of Surface Temperature and Albedo." In Polar Oceans from Space, 223–94. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-0-387-68300-3_6.

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Conference papers on the topic "Variability of the theater space"

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"Theater Missile Defense." In Space Programs and Technologies Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-4000.

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Riebe, Tom, and John Haaren. "Theater control of satellite mission payloads." In Space Technology Conference and Exposition. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1999. http://dx.doi.org/10.2514/6.1999-4572.

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RIVELES, STANLEY. "ARMS CONTROL AND THEATER MISSILE DEFENSE." In Space Programs and Technologies Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-4004.

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ONEILL, MALCOLM. "The U.S. Vision for Theater Missile Defense." In Space Programs and Technologies Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-4002.

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WEST, RICHARD. "EXECUTING THE DOD THEATER MISSILE DEFENSE PROGRAM." In Space Programs and Technologies Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-4003.

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YARYMOVYCH, MICHAEL, and JAMES WRIGHT. "EUROPEAN THEATER MISSILE DEFENSE - ISSUES AND OPTIONS." In Space Programs and Technologies Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-4017.

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McCoy, Walbert. "Sustaining space systems for strategic and theater operations - A study perspective." In Space Logistics Symposium. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-931.

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Leake, Larry, and Randy Mamiaro. "Naval Theater Missile Defense and Joint Tactical Event System (JTES) architecture." In Space Programs and Technologies Conference and Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1994. http://dx.doi.org/10.2514/6.1994-4586.

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Hill, Henry A., and Ronald J. Kroll. "Long-term solar variability and solar seismology: I." In Basic space science. AIP, 1992. http://dx.doi.org/10.1063/1.41729.

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Hill, Henry A., Paul Oglesby, and Ye-Ming Gu. "Long-term solar variability and solar seismology: II." In Basic space science. AIP, 1992. http://dx.doi.org/10.1063/1.41730.

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Reports on the topic "Variability of the theater space"

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Critchlow, Robert D. Weaving the Net: Linking Space Systems to Theater Operations. Fort Belvoir, VA: Defense Technical Information Center, February 1998. http://dx.doi.org/10.21236/ada348377.

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Kelley, Robert. Overcoming Space and Time Disadvantages in Joint Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, February 2002. http://dx.doi.org/10.21236/ada401837.

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Roberts, David, and Kerylyn Lay. Variability in Measured Space Temperatures in 60 Homes. Office of Scientific and Technical Information (OSTI), March 2013. http://dx.doi.org/10.2172/1220052.

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Roberts, D., and K. Lay. Variability in Measured Space Temperatures in 60 Homes. Office of Scientific and Technical Information (OSTI), March 2013. http://dx.doi.org/10.2172/1069151.

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Blanco, Abel J., and Patrick A. Haines. A Revisit of the Field Artillery's Time-Space Wind Variability Equation. Fort Belvoir, VA: Defense Technical Information Center, April 1998. http://dx.doi.org/10.21236/ada343172.

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Kabat, Brian W. The Sun as a Non-state Actor: The Implications on Military Operations and Theater Security of a Catastrophic Space Weather Event. Fort Belvoir, VA: Defense Technical Information Center, May 2010. http://dx.doi.org/10.21236/ada525043.

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Fan, Jianhua, Zhiyong Tian, Simon Furbo, Weiqiang Kong, and Daniel Tschopp. Simulation and design of collector array units within large systems. IEA SHC Task 55, October 2019. http://dx.doi.org/10.18777/ieashc-task55-2019-0004.

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Abstract:
Solar radiation data is necessary for the design of solar heating systems and used to estimate the thermal performance of solar heating plants. Compared to global irradiance, the direct beam component shows much more variability in space and time. The global radiation split into beam and diffuse radiation on collector plane is important for the evaluation of the performance of different collector types and collector field designs.
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Matthews, Stephen N., Louis Iverson, Matthew Peters, and Anantha Prasad. Assessing potential climate change pressures across the conterminous United States. United States Department of Agriculture Forest Service, March 2018. http://dx.doi.org/10.32747/2018.6941248.ch.

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The maps and tables presented here represent potential variability of projected climate change across the conterminous United States during three 30-year periods in this century and emphasizes the importance of evaluating multiple signals of change across large spatial domains. Maps of growing degree days, plant hardiness zones, heat zones, and cumulative drought severity depict the potential for markedly shifting conditions and highlight regions where changes may be multifaceted across these metrics. In addition to the maps, the potential change in these climate variables are summarized in tables according to the seven regions of the fourth National Climate Assessment to provide additional regional context. Viewing these data collectively further emphasizes the potential for novel climatic space under future projections of climate change and signals the wide disparity in these conditions based on relatively near-term human decisions of curtailing (or not) greenhouse gas emissions.
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