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Bibliografie tematiche / Art and technology

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Letteratura scientifica selezionata sul tema "Art and technology"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 9 giugno 2025

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Articoli di riviste sul tema "Art and technology"

1

Chestney-Harvey, Kim. "Art + technology." ACM SIGGRAPH Computer Graphics 45, no. 1 (February 2011): 1–6. http://dx.doi.org/10.1145/1982562.1982566.

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Carlisle, Anne. "Art & Technology: Interactive Art." Circa, no. 73 (1995): 18. http://dx.doi.org/10.2307/25562848.

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3

Adie, Anthonia Ugiebeme. "Art and Technology: Graphic art." International Journal of Arts and Social Science 5, no. 3 (March 20, 2023): 252–67. https://doi.org/10.5281/zenodo.7751120.

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The emergence of technologies has led to advancement in art production. Over the years, the field of art has witnessed a great transformation as a result of technology. Technology has redefined the art field in terms of art materials, medium and means of production thereby giving art a different dimension. Contemporary art practices are far appreciated now than before as a result of the fusion of technology. Graphic art practices have changed rapidly from what it used to be before early 19th century. There are technologies that have been used by graphic artists in creating suitable designs for the general public consumption. The areas of photography, printing, advertisement, branding, product design, packaging and publishing have better experiences by the public due to technological advancements through the creation graphic tools and medium totally different from the traditional means of graphics that are becoming obsolete. The use of technology in graphic art is inevitable. Graphic designers approach their creative dexterity by exploring available technologies in the execution of their works. How technology impacts their creative ingenuity is what this paper attempts to address. This paper also investigates the relationship between art and technology in graphic art practice taking into cognizance their advantages and disadvantages

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4

Allen, Barry. "The Art of Technology and the Technology of Art." Roczniki Kulturoznawcze 13, no. 4 (December 31, 2022): 21–23. http://dx.doi.org/10.18290/rkult22134.1.

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The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.

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Vandiver, Pamela, and Jim Druzik. "Art and Technology." MRS Bulletin 17, no. 1 (January 1992): 14–17. http://dx.doi.org/10.1557/s0883769400043189.

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Art has as many meanings as contexts in which it operates. It can mean surface decoration or the integral sum of parts and whole which a historian analyzes as structure using visual, musical, theatrical or other criteria. Art serves as decoration, but also serves to signal or sign a particular meaning. Art often confers an elite social status on its patrons or provides goods which support the power and prestige of a special group or person. Art is also used to describe the experience of viewers, usually as “aesthetic experience”; for instance, we experience art as beauty, as a shared emotional experience or empathetic understanding, or as interactive play or a process of performance by which we investigate or relate ideas, occurrences, or objects and give them meaning.Technology, in contrast, is usually defined as “praxis” and involves doing things, as a craft practice involving materials selection and refinement, followed by making those materials into useful things, artifacts, or objects which serve useful functions for individuals, a social group, class, or culture. The products of technology can be useful as tools that enable a task to be accomplished, or as products which satisfy subsistence needs, or devices, or even practical ideas. When put to use, they enable travel, communication, transportation of goods, or control of energy. But technology has another meaning which is often thought to be less useful, namely technical marvels—things which amaze or surprise us. Some examples are the mechanical automatons of the 17th and 18th centuries, the latest computer game, a special way of hearing or seeing, or even the gas and light spewing magic machines described as being used in Greek temples to get peoples' attention. Another example is the technology described by the 11th century monk Theophilus, used to equip a church, from bells and censors, to glass windows and painted walls. In these examples, doing technology or learning to use technological marvels is a way of almost magically extending our own power and understanding beyond ourselves.

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Utida, Yositika. "Technology and Art." TRENDS IN THE SCIENCES 2, no. 9 (1997): 18–21. http://dx.doi.org/10.5363/tits.2.9_18.

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O'Brien, Paul. "Art and Technology." Circa, no. 44 (1989): 15. http://dx.doi.org/10.2307/25557394.

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Förster, Yvonne. "Art and Technology." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 122–34. http://dx.doi.org/10.1515/yewph-2018-0009.

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AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology and digital media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds.

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Rajcetic, Zdravko. "Art and technology." Kultura, no. 136 (2012): 123–29. http://dx.doi.org/10.5937/kultura1236123r.

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Miller, Paul. "Art & technology." IEEE Spectrum 35, no. 7 (July 1998): 19. http://dx.doi.org/10.1109/mspec.1998.8362901.

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Tesi sul tema "Art and technology"

1

Grosheva, A. A. "Art and technology." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/14369.

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Merline, Mark. "Art and technology." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314899963.

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3

Wallenstein, Sven-Olov. "Nihilism, Art, and Technology." Doctoral thesis, Stockholms universitet, Filosofiska institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-38737.

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The thesis investigates the role of technology in the formation of the artistic avant-garde, along with various forms of philosophical reflection on this development, with a particular emphasis on Heidegger. Setting out from an analysis of three paradigmatic cases in the interplay between art and technology—the invention of photography, the shift from Futurism to Constructivism, and the interpretation of technology in debates on architectural theory in the 1920s and ’30s—it proceeds to a discussion of three philosophical responses to this development, those found in Walter Benjamin, Martin Heidegger, and Ernst Jünger, all of which share a certain avant-garde sensibility and a notion of art as a response to nihilism. In Heidegger’s postwar writings we see a retreat from the positions of the mid 1930s, and in his reflections on technology a different answer emerges to the question of whether “great art” is still possible: great art is an art that exists precisely by making the founding of a world into something problematic. The fourth part confronts Heidegger’s analysis of technology with the work of an individual artist, the architect Mies van der Rohe, and asks how the “silence”—the withdrawal of language, sense, aesthetic perception, etc.—that is often understood as a precondition for the critical potential of his work should in fact be understood. By examining interpretations that draw on Heidegger via comparisons with other types of critical theory, a different understanding emerges of the relation among nihilism, art, and technology. They form a field of constant modulation, which implies that the concepts that have been the foundation of critical theory, nature, subjectivity, experience, even “being” in Heidegger’s sense, must be subjected to a historical analysis that acknowledges them as ongoing processes of construction, and that also accounts for the capacity of technologies and artistic practices to intervene in the formation of philosophical concepts.<br>The chapters 5, 6 and 7 in the monograph Essays, Lectures for a part of the Ph.D.thesis.

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Blackwell, Kerry J., University of Western Sydney, and Faculty of Visual and Performing Arts. "Martin Heidegger: art and technology." THESIS_FVPA_xxx_Blackwell_K.xml, 1997. http://handle.uws.edu.au:8081/1959.7/33.

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An artists's approach to studio practice reflects knowledge acquired from a variety of source. Various methods are tried, modified, and re-interpreted, culmination in a studio practice that reflects one's own understanding of process and work ethic. This process is the work and the work practice concealed in the artwork, is rarely framed in verbal language. Martin Heidegger offers a particular philosophy of work practice that is clarified in words, allowing me to place my present understanding of studio practice within the notion of Greek techne. This essay is an explication of two works by the German philosopher Martin Heidegger, namely 'The Question Concerning Technology' and 'The origin of the Work of Art.' Heidegger's notion of authentic production and truth in art, provide a contextual framework within which I place my own understanding of studio practice and creative process. This method of work practice positions the artist as facilitator, co-dependent and co-responsible with the materials and form. The artist responds to the needs of the work allowing the materials and form to interact and ultimately reveal the work's true identity. Inherent in this work practice is the artist's knowledge, technical skill and commitment to process rather than outcome. This method of work practice is used in many cultures, from eastern calligraphy to western action painting, and has influenced contemporary artists too numerous to name individually. I am indebted to them all<br>Master of Arts (Hons) Visual Arts

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Blackwell, Kerry. "Martin Heidegger: art & technology." [S.l. : s.n.], 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030811.151320/.

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6

Blackwell, Kerry J. "Martin Heidegger: art and technology." Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/33.

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An artists's approach to studio practice reflects knowledge acquired from a variety of source. Various methods are tried, modified, and re-interpreted, culmination in a studio practice that reflects one's own understanding of process and work ethic. This process is the work and the work practice concealed in the artwork, is rarely framed in verbal language. Martin Heidegger offers a particular philosophy of work practice that is clarified in words, allowing me to place my present understanding of studio practice within the notion of Greek techne. This essay is an explication of two works by the German philosopher Martin Heidegger, namely 'The Question Concerning Technology' and 'The origin of the Work of Art.' Heidegger's notion of authentic production and truth in art, provide a contextual framework within which I place my own understanding of studio practice and creative process. This method of work practice positions the artist as facilitator, co-dependent and co-responsible with the materials and form. The artist responds to the needs of the work allowing the materials and form to interact and ultimately reveal the work's true identity. Inherent in this work practice is the artist's knowledge, technical skill and commitment to process rather than outcome. This method of work practice is used in many cultures, from eastern calligraphy to western action painting, and has influenced contemporary artists too numerous to name individually. I am indebted to them all

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Blackwell, Kerry J. "Martin Heidegger : art & technology /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030811.151320/index.html.

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Thesis (M.A. (Hons.)- Visual Arts) -- University of Western Sydney, Nepean, 1997.<br>The thesis includes : Appendix 1- Catalogue of Works which comprises 59 coloured slides. The intent of this body of work is to visually interpret the book of poems "Akhenaten" by the Australian contemporary poet, Dorothy Porter. Thesis submitted for the degree of Master of Arts (Honuors) Visual Arts, University of Western Sydney, Nepean, Faculty of Visual and Performing Arts. Bibliography : p. 58-61.

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Langstaff, Holly. "Maurice Blanchot : art and technology." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/101267/.

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Maurice Blanchot (1907-2003), writer of fiction, literary critic, political journalist and thinker, is one of the most influential figures in twentieth-century literature and thought. The relationship between art and technology is a largely unexplored aspect of Blanchot’s writing; this thesis examines his engagement with the question of techne in criticism and fiction over a fifty-year period and demonstrates that he is far from subscribing to the technophobia of probably the most influential thinker of technology, Martin Heidegger. It is argued that writing for Blanchot is a mode of techne which destabilises the opposition between nature and culture, or nature and technology, or nature and history, and provides a means of thinking other than the anthropos. The chronological approach of this thesis stresses how a thinking of writing as techne radicalises over time and indicates the enduring influence of Blanchot. The first chapter considers the treatment of the division, often taken for granted by critics, between literary and everyday language; focussing on Blanchot’s reading of Mallarmé in essays dating from 1940 to 1952, this chapter reveals a shift in his thinking of literature from autonomy to radical non-essentiality. The second chapter examines Blanchot’s critical engagement with Heidegger in essays written in 1953 and shows how we might reconcile Blanchot’s work with ecological thought. A third chapter focuses on the discussion of modern technologies in essays from the 1950s and 1960s and the coincidental emergence of the non-concept of the neuter in literature and criticism; it listens to various apocalyptic tones in work from this period to reveal a continuity between the experience of the technological and of the imaginary. The final chapter explores how ‘technique’ is everywhere implied once the term disappears from Blanchot’s idiom; it argues that fragmentary writing is that techne which outplays the human.

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Swayze, Eddie. "Techno art /." Online version of thesis, 1995. http://hdl.handle.net/1850/12179.

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Campbell, Kurt (Kurt Denver). "The tensions in technology : influences of technology in the modern age." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/16268.

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Thesis (MA(BK))--University of Stellenbosch, 2004.<br>ENGLISH ABSTRACT: Technology as a formal structure has been given pride of place in many developing countries because of its association with modernity and social development. It has been grouped with Science as a force that operates beyond reproach because of its perceived rational and instrumental nature. By surveying current theories of technology, philosophy and technology development modules, I investigate the implications that modern technology and technological artifacts have beyond merely their instrumental role. I will question the current conceptions of technology as a rational, objective force by arguing that technology operates as a force that more often than not produces a variety of unintended consequences as part of its impact on society.<br>AFRIKAANSE OPSOMMING: In menige ontwikkelende lande geniet tegnologie voorrang as ‘n formele struktuur weens die verbintenis daarvan met moderniteit en sosiale ontwikkeling. Tegnologie word saam met wetenskap gegroepeer omdat dit, weens die waarneembare rasionele en instrumentele aard daarvan, onberispelik funksioneer. Deur huidige teoriee van tegnologie, filosofie en tegnologiese ontwikkelingsmodules te bestudeer, ondersoek ek dié aanduidinge wat moderne tegnologie en tegnologiese artefakte bo en behalwe hul blote instrumentele rolle besit. Ek sal die huidige opvattings van tegnologie as ‘n rasionele, objektiewe krag bevraagteken deur te argumenteer dat tegnologie eerder ‘n verskeidenheid van onopsetlike voortvloeisels as deel van sy impak op die samelewing tot gevolg het.

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Libri sul tema "Art and technology"

1

Johan, Pijnappel, ed. Art and technology. London: Academy Editions, 1994.

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2

Menano, Luisa, and Patricia Fidalgo, eds. Art and Technology. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6300-863-1.

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Linda, Jacobson, ed. CyberArts: Exploring art & technology. San Francisco: Miller Freeman, 1992.

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4

Aurandt, David. Art and technology: Paradise refracted. Oshawa, Ont: Robert McLaughlin Art Gallery, 2002.

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Aurandt, David. Art and technology: Paradise refracted. Oshawa: Robert McLaughlin Gallery, 2002.

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6

Candy, Linda, and Ernest Edmonds. Explorations in Art and Technology. London: Springer London, 2002. http://dx.doi.org/10.1007/978-1-4471-0197-0.

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Chau, Christina. Movement, Time, Technology, and Art. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4705-3.

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Candy, Linda, Ernest Edmonds, and Fabrizio Poltronieri. Explorations in Art and Technology. London: Springer London, 2018. http://dx.doi.org/10.1007/978-1-4471-7367-0.

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9

Gallery), Serious Games (Exhibition) (1996-1997 Laing Art Gallery and Barbican Art. Serious games: Art, interaction, technology. London: Barbican Art Gallery in association with Tyne & Wear Museums, 1996.

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10

Trivedi, Rohit. Materials in art and technology. Ames, IA: Taylor Knowlton, 1998.

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Capitoli di libri sul tema "Art and technology"

1

Costa, Mario. "Art Inside Technology." In Philosophy of Engineering and Technology, 219–32. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54522-2_14.

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2

Murphie, Andrew, and John Potts. "Art and Technology." In Culture and Technology, 39–65. London: Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-1-137-08938-0_3.

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3

Ounjai, Kajornvut, and Boonserm Kaewkamnerdpong. "Growing Art: The Evolutionary Art Tools." In Advances in Information Technology, 126–36. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-35076-4_12.

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Newman, Richard. "Technology." In A Companion to Ancient Egyptian Art, 504–21. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch26.

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Benirschke, Kurt, Graham J. Burton, and Rebecca N. Baergen. "Artificial Reproductive Technology (ART)." In Pathology of the Human Placenta, 897–905. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-23941-0_27.

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Edwards, Jean. "Digital technology and art." In Teaching and Learning with Technologies in the Primary School, 66–78. 3rd ed. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003408925-7.

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Case, Caroline, Tessa Dalley, and Dean Reddick. "Art therapy and technology." In The Handbook of Art Therapy, 177–97. 4th ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003197850-9.

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Carranza, Luis E. "Between art and technology." In Radical Functionalism, 83–107. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003173793-6.

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Edwards, Jean, Helen Caldwell, and Rebecca Heaton. "Digital technology and art." In Art in the Primary School, 77–104. 2nd ed. New York, NY: Routledge, 2021. |: Routledge, 2021. http://dx.doi.org/10.4324/9780429296208-4.

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Mohr, Manfred. "Generative Art." In Explorations in Art and Technology, 111–14. London: Springer London, 2002. http://dx.doi.org/10.1007/978-1-4471-0197-0_9.

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Atti di convegni sul tema "Art and technology"

1

Cohen, Clifford. "Art before technology or technology before art?" In ACM SIGGRAPH 99 Conference abstracts and applications. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/311625.311641.

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Ceric, Vlatko. "Algorithmic art: Technology, mathematics and art." In 2008 30th International Conference on Information Technology Interfaces (ITI). IEEE, 2008. http://dx.doi.org/10.1109/iti.2008.4588386.

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Duchêne, Yves, Sébastien Seret, Vincent de Ville de Goyet, Jérome Ligot, Edouard Verstraelen, and Arnaud Philippart. "The Arc Majeur, when art challenges technology." In IABSE Congress, Ghent 2021: Structural Engineering for Future Societal Needs. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2021. http://dx.doi.org/10.2749/ghent.2021.1658.

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<p>The “Arc Majeur” is a curved metal boxes with a square section of 2,25 m culminating about 60 m high. The square section of the arc is likely to produce vortex-induced vibrations in the direction perpendicular to that of the wind. The main arc is therefore equipped with a "Tuned Mass Damper" (TMD).</p><p>In the case of the “Arc Majeur”, the proper functioning of the damper is essential because the amplitudes of vibrations reached under vortex-induced vibrations would cause the arc to break. A monitoring system continuously records the vibrations of both the damper and the structure and transmits alerts in the event of a malfunction.</p><p>A live post processing has been developed to verify that the damper functions as intended, and that the overall vibration amplitude remains small. The results of the first year of monitoring are presented in this paper.</p>

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Rosenthal, Sally, Stephen R. Johnson, Mary Lou Jepsen, and Douglas Davis. "Art and technology." In the 21st annual conference, chair Tom Meyer. New York, New York, USA: ACM Press, 1994. http://dx.doi.org/10.1145/192161.192296.

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Falk, Rachel, Harry Max, Denise Minter, Conrad Vernon, Guillaume Aretos, Lucia Modesto, Arnauld Lamorlette, Nick Walker, Tim Cheung, and Janet Rentel-Lavin. "Art-directed technology." In the conference. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1103900.1103913.

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Santos, Nara Cristina. "Art-Science-Technology." In ARTECH 2019: 9th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3359852.3359910.

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Bagaybagayan, Ria. "Art and technology." In ACM SIGGRAPH 99 Conference abstracts and applications. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/311625.311639.

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Undiana, Nala Nandana. "New Media Art: Between Art, Design, and Technology." In 4th International Conference on Arts Language and Culture (ICALC 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200323.023.

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"Art of 3D technology." In 2015 15th International Conference on Control, Automation and Systems (ICCAS). IEEE, 2015. http://dx.doi.org/10.1109/iccas.2015.7365016.

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Sogabe, Milton. "Art, Technology and Sustainability." In ARTECH 2019: 9th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3359852.3359882.

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Rapporti di organizzazioni sul tema "Art and technology"

1

Hasfurther, V., and M. Haass. State-of-the-art evaporation technology: Topical report. Office of Scientific and Technical Information (OSTI), September 1986. http://dx.doi.org/10.2172/6967140.

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Grazia Mattei, María. Art and New Media in Italy. Inter-American Development Bank, February 2003. http://dx.doi.org/10.18235/0006628.

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Moon, Suerie. Does TRIPS Art. 66.2 Encourage Technology Transfer To The LDCâs? Geneva, Switzerland: International Centre for Trade and Sustainable Development, 2008. http://dx.doi.org/10.7215/ip_pb_20081223.

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Bennett, Richard H. Mine Burial Assessment State-Of-The Art Technology Inprediction and Modeling. Fort Belvoir, VA: Defense Technical Information Center, September 1999. http://dx.doi.org/10.21236/ada636748.

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Fleury, Wayne, and Jan Ove Toskedal. PR-535-143745-R01 ART Scan Qualification Study. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), November 2015. http://dx.doi.org/10.55274/r0010879.

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Abstract (sommario):

This qualification study is based on the need for a new technology in the asset integrity lifecycle of pipelines including Subsea infrastructure. As of today it is challenging to identify a technology that combines adequate measurement accuracy combined with the ability to operate in gaseous atmosphere found inside natural gas pipelines. Halfwave�s inspection method developed over the last two decades is based on Acoustic Reso-nance Technology (ART), which utilizes the natural frequencies of the pipe wall to determine the remaining wall thickness. The most prominent advantages of ART comprise (i) direct measure-ments of wall thickness with a accuracy within 0.2 mm (95% c.l.), (ii) the broad-band frequency range enables measurements in pressurized gas, avoiding a liquid couplant, and (iii) the transducer matrix with (a flexible) stand-off to the wall enables high-resolution internal geometry mapping of the pipeline to a resolution within 50 �m (95% c.l.). Additional benefits include the ability to detect disbondmant of external coating and delamination in the pipe wall material. ART is a well-known inspection technology dating back to the 1940s in e.g. the aviation industry, scanning air craft wings, and has also been extensively used in connection with integrity measure-ment of down-hole casings (cf. e.g. the USIT tool, by Schlumberger). However, the last decade�s development of broad-band transducers combined with a surge in storage technology has moved the operational envelope and accuracy of ART a quantum leap ahead, offering much more relia-bility in the integrity evaluations of natural gas pipelines. In turn this gives significantly enhanced decision confidence for the pipeline operator. This document will provide a description of ART and also Halfwave�s application of ART within the Oil and Gas industry.

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Nitkey, Spencer. The Eternal Life and Art of Maxwell Ardeen. Asimov Press, June 2025. https://doi.org/10.62211/28he-13uu.

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7

Ashdown, Susan P., and Kimberly A. Phoenix. Half Scale, Full Engagement: Uniting Art, History and Technology to Teach Patternmaking. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1342.

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8

Alexander, Chris. L52318 State of the Art Assessment of Composite Repair Systems. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), September 2010. http://dx.doi.org/10.55274/r0000005.

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Abstract (sommario):

Composite materials have been used to repair high pressure transmission pipelines. Over this time period a wide variety of composite systems have been developed and evaluated. With the increased demands being placed on pipeline systems around the world, it is expected that the market potential for composite repair systems will continue to expand. Additionally, as composite technology is further developed the opportunities for new applications will expand. An assessment of this composite repair technology is needed. This report has been developed to provide industry with a state of the art assessment of composite pipeline repair technology as it currently stands.

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Emmerich, Steven J., and Andrew K. Persily. State-of-the-art review of CO2 demand controlled ventilation technology and application. Gaithersburg, MD: National Institute of Standards and Technology, 2001. http://dx.doi.org/10.6028/nist.ir.6729.

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10

Carlin, P. W., A. S. Laxson, and E. B. Muljadi. The History and State of the Art of Variable-Speed Wind Turbine Technology. Office of Scientific and Technical Information (OSTI), March 2001. http://dx.doi.org/10.2172/776935.

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