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Готові списки джерел за темами / Performing arts and philosophy

Добірка наукової літератури з теми "Performing arts and philosophy"

Автор: Grafiati

Опубліковано: 22 червня 2023

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Статті в журналах з теми "Performing arts and philosophy":

1

Manchester, Ralph A. "Toward a Performing Arts Medicine Definition of Performing Arts." Medical Problems of Performing Artists 24, no. 3 (September 1, 2009): 101–2. http://dx.doi.org/10.21091/mppa.2009.3022.

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As the Performing Arts Medicine Association (PAMA) celebrates its 20th anniversary this year, it seems to be a good time to discuss a definition of what the field includes—and, by extension, what it doesn't include. Some may think that this might not be the best use of our time, since we have done pretty well so far without a written definition of the performing arts. However, a presentation at the 27th Annual Symposium on the Medical Problems of Musicians & Dancers on health issues of circus performers and some recent articles in Medical Problems of Performing Artists on artistic and rhythmic gymnasts have helped us broaden the scope of our field. While I find this exciting and another indication that performing arts medicine is a vibrant, essential specialty within the universe of health care, it also makes me wonder what else ought to be included in the field and what shouldn't.

2

Matyja, Jakub Ryszard. "Philosophy of the Performing Arts. A book review." AVANT. The Journal of the Philosophical-Interdisciplinary Vanguard V, no. 3 (2014): 164–66. http://dx.doi.org/10.26913/50302014.0112.0011.

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3

Manchester, Ralph A. "Epistemology and the Performing Arts." Medical Problems of Performing Artists 22, no. 2 (June 1, 2007): 41–42. http://dx.doi.org/10.21091/mppa.2007.2010.

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Epistemology is the branch of philosophy that studies the nature of knowledge, its presuppositions and foundations, and its extent and validity. It is as relevant to performing arts medicine as it is to any other area of human inquiry, and the article by Wu in this issue is a new brick in the foundation of what we know about risk factors for musculoskeletal injuries in musicians. In this editorial I will attempt to put Dr. Wu's systematic review of the literature on this subject in context. Readers should be aware that I was a coauthor of one of the articles reviewed by Wu and the author of others that apparently did not “make the cut.”

4

Sparshott, Francis, and Paul Thom. "For an Audience: A Philosophy of the Performing Arts." Journal of Aesthetics and Art Criticism 52, no. 3 (1994): 357. http://dx.doi.org/10.2307/431436.

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5

Goehr, Lydia, and Paul Thom. "For an Audience: A Philosophy of the Performing Arts." Notes 51, no. 1 (September 1994): 100. http://dx.doi.org/10.2307/899185.

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6

Gillespie, Patti P., and Paul Thom. "For an Audience: A Philosophy of the Performing Arts." Journal of Aesthetic Education 29, no. 3 (1995): 119. http://dx.doi.org/10.2307/3333549.

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7

Davies, David. "Works and Performances in the Performing Arts." Philosophy Compass 4, no. 5 (September 2009): 744–55. http://dx.doi.org/10.1111/j.1747-9991.2009.00235.x.

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8

Manchester, Ralph A. "Certification in Performing Arts Medicine." Medical Problems of Performing Artists 28, no. 3 (September 1, 2013): 117–18. http://dx.doi.org/10.21091/mppa.2013.3024.

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The idea of specialty certification in performing arts medicine (or performing arts healthcare) has been discussed for a long time among professionals in the field. An article by Pascarelli and Bishop published nearly 20 years ago mentioned the perceived need for certification and some of the obstacles to creating it. The Performing Arts Medicine Association (PAMA) took a step in this direction at the 31st Annual Symposium on the Medical Problems of Performing Artists by offering a preconference workshop, “The Essentials of Performing Arts Medicine Course: From Classroom to Stage.” This full-day educational session was attended by several dozen performing arts medicine professionals and led by experts from several disciplinary backgrounds in both music and dance. While PAMA has no plan in place currently to offer specialty certification in performing arts medicine, educational offerings such as this one are often part of the requirements to become certified in an interdisciplinary specialty area.

9

Brandfonbrener, Alice G. "Globalization in Performing Arts Medicine." Medical Problems of Performing Artists 16, no. 1 (March 1, 2001): 1–2. http://dx.doi.org/10.21091/mppa.2001.1001.

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Two years ago I reported on the 6th European Congress on Performing Arts Medicine and the Physiology of Music Making, which took place in Berlin in October 1998. At that time I commented on the high quality of papers at the meetings, but even more important, I celebrated the stimulation that comes from meeting a wide spectrum of people who share interests and commitment. Recently I have twice again traveled to Europe where I participated in two meetings; the first in Finland where the Savonlinna Arts Medicine Symposium was held in late July, and the second in Mainz, Germany, this year’s site of the now 8th European Congress. These opportunities reinforced my previous enthusiasm, not only for travel but once again for attending high-level performing arts medicine meetings to re-energize one’s intellectual engines with fresh ideas.

10

Winspur, Ian. "Performing Arts Medicine in Britain." Medical Problems of Performing Artists 17, no. 4 (December 1, 2002): 183–85. http://dx.doi.org/10.21091/mppa.2002.4029.

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Britain provides universal health coverage free at the point of delivery for its citizens (and most visitors) provided by the National Health Service (NHS). The NHS was established in 1947 in the flush of post-World War II idealism and was planned and structured along contemporary socialist economic and management principles--a large centrally funded and run government monopoly. It is huge, for it employs currently 1.5 million people and it remains one of the last and certainly the largest bastion of such economic thinking and planning in Britain and in Europe. In its 50 years of existence, it has at times provided excellent care for the British nation. But at this point in time, top-heavy with management and administration, chronically underfunded and understaffed, unresponsive to the rapidly changing needs of society and of developing medical technology, it is on the verge of crumbling. Inherent in such a system is the lack of recognition of individuality or of an individual patient’s special needs, and no group of patients feels this more acutely than performers.

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Дисертації з теми "Performing arts and philosophy":

1

Richards, Alison 1951. "Bodies of meaning : issues of field and habitus in contemporary Australasian theatrical performance practice." Monash University, School of Literary, Visual and Performance Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/7815.

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2

Johnston, Daniel Waycott. "Active metaphysics acting as manual philosophy or phenomenological interpretations of acting theory /." Connect to full text, 2007. http://hdl.handle.net/2123/3984.

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Thesis (Ph. D.)--University of Sydney, 2008.
Title from title screen (viewed January 21, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Arts, Dept. of Performing Studies. Degree awarded 2008; thesis submitted 2007. Includes bibliography. Also available in print format.

3

Curtis, Jess Alan. "Knowing Bodies / Bodies of Knowledge| Eight Experimental Practitioners of Contemporary Dance." Thesis, University of California, Davis, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10036148.

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This dissertation addresses the concept of the experimental in contemporary dance and performance. In it I argue that, although the word is used in very different ways in traditional artistic and scientific practices, a number of contemporary dance artists utilize experimental practices in their work that produce useful knowledge that is recognizable and transmittable beyond the walls of the theater or gallery. I have written about artists whose embodied work has been described as experimental, whose innovations and explorations have produced paradigmatic shifts in dance practice and new ways of knowing, both about and through bodies.

Using theories of embodied experience from performance studies, dance studies, phenomenology and enactive perception, I argue for shifting our attention beyond textual and visual models of understanding performance to a broader palette of sensory modes and ways that attendees and makers both enact them. I propose that by doing so we broaden the possibilities for understanding the effects of performance and gain much richer tools for creating, using and analyzing our experiences of performance. I make these arguments as a maker of performance and as one who attends, reads and writes about performances.

The final chapter is a reflection in language of my own experimental performance project Performance Research Experiment #2 which was/is a Practice-as-Research performance project that engaged and embodied ideas and practices of scientific experimentation to specifically explore ways that artistic practice and scientific practice may inform or interrupt each other. By extension the project tried to think, and move, through different ways that we know what we know.

4

Jacobs, Ilene. "Performing the self : autobiography, narrative, image and text in self-representations." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/1552.

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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2007.
Thesis received without illustrations at the time of submission to this repository.
This research follows the assumption that the notion of performativity can be applied to the visual construction of identity within art-making discourse in order to explore the contingent and mutable nature of identity in representation. My interest in performativity, defined as the active, repetitive and ritualistic processes responsible for the construction of subjectivities, lies within the process of production. I indicate how this notion, within the context of self-representation, can provide the possibility for performing identity as a process. I investigate the extent to which gender, the gaze, memory and narrative contribute to the performative construction of self-representations and reveal, through the exploration of my practical research, that these concepts are themselves performative. Although agency to construct the self can be regarded as problematic, considering the role of language and discourse in determining subjectivities, this research suggests that it is possible to perform interventions from within language. I suggest that the notion of inscription provides a means through which identity constructions can be performed differently; and that my art-making process of repetitive inscription, erasure and re-inscription of image and text and the layering of paint not only reflect the notion of performativity, but also enable me to expose the multiple and fragmented nature of identities.

5

Cvejic, Bojana. "Choreographing problems : expressive concepts in European dance." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25084/.

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This dissertation explores how a recent set of practices III contemporary choreography in Europe (1998-2007) give rise to distinctive concepts of its own, concepts that account for processes of making, performing, and attending choreographic perfonnances. The concepts express problems that distinguish the creation of seven works examined here (Self unfinished and Untitled by Xavier Le Roy, Weak Dance Strong Questions by Jonathan Burrows and Jan Ritsema, heatre-elevision by Boris Charmatz, Nvsbl by Eszter Salamon, 50/50 by Mette Ingvartsen, and It's In The Air by Ingvartsen and Jefta van Dinther). The problems posed by these choreographers critically address the prevailing regime of representation in theatrical dance, a regime characterized by an emphasis on bodily movement, identification of the human body, and the theater's act of communication in the reception of the audience. In the works considered here, the synthesis between the body and movement-as the relation of movement to the body as its subject or of movement to the object of dance-upon which modem dance is founded is broken. Choreographing problems, in the sense explored in this dissertation, involves composing these ruptures between movement, the body and duration in perfonnance such that they engender a shock upon sensibility, one that inhibits recognition. Thus problems "force" thinking as an exercise of the limits of sensibility that can be accounted for not by representation, but by the principle of expression that Gilles Deleuze develops from Spinoza's philosophy. "Part-bodies," "part-machines," "movement-sensations," "headbox," "wired assemblings," "stutterances," "powermotion," "crisis-motion," "cut-ending," and "resonance" are proposed here as expressive concepts that account for the construction of problems and compositions that desubjectivize or disobjectivize relations between movement, body, and duration, between performing and attending (to) performance. Developed through a careful analysis of how problems structure these performances, this thesis on expressive concepts further contributes to a redefinition of performance in general by making two additional claims. The first concerns the disjunction between making, performing and attending as three distinct modes of performance that involve divergent temporalities and processes. The second regards the shift from performance as the act in the passing present towards the temporalization of perfonllance qua process, where movement and duration are equated with ongoing transformation, a process that makes the past persist in the present.

6

Culley, Sheena. "Comfort : bodies and their boundaries." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/29964/.

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The original contribution of this work is its engagement with the conceptualisation of modern bodies and the impact of the bounded body on our understanding of the idea of comfort. The way in which modern bodies are constituted as bounded, immune entities, differentiated from their surroundings, is of paramount importance in defining comfort as protective, compensatory and passive - a zero grade feeling or avoidance of stimuli. Taking a definition of comfort from John Crowley's influential work on the topic as 'a self-conscious satisfaction between one's body and its immediate physical environment' as its point of departure, this thesis interrogates this in-between space to argue for comfort as an affective and intensive experience. Approaching the theme from an interdisciplinary perspective, a genealogical method combined with inspiration from new materialisms challenges dualisms such as nature/culture, body/mind, inside/outside, body/environment and comfort/discomfort. Following the trajectory of work from Nietzsche to Foucault to Deleuze, phenomenological and psychoanalytical ideas of boundedness and identity are displaced with a theory of bodies as fortuitous and dynamic compositions of forces, where affirmative difference replaces negative difference. As a result, the comfort zone, comfortable numbness and sitting comfortably are transformed from states of indifference to intensive events of difference whereby boundaries and borders are reconstituted as thresholds and spaces of transformation.

7

Jennings, Janet. "A composer-teacher in context: Music for the performing arts faculty in a New Zealand secondary school." The University of Waikato, 2008. http://hdl.handle.net/10289/2605.

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This thesis examines the processes and outcomes of a composer-teacher's practice in the context of a New Zealand secondary school. The research was undertaken by the composer-teacher/researcher as a case study that integrates an investigation of the context with four action research music composition projects developed as a creative response to that context. Chapters One to Three comprise the background theory. Chapter One provides an introduction and overview of the research; Chapter Two explains and justifies the research methods. Chapter Three peels away and examines five layers of the secondary school context identified as significant in shaping the perceptions of the participants: approaching the context in a multi-layered way enabled coherent synthesis and appraisal of the relevant literature. Chapters Four to Seven comprise the four action research music composition projects. Each action research project focuses on a music score composed by the composer-teacher/researcher for a specific group of students at Macleans College, Auckland. The composition, production, and performance processes are investigated from the perspectives of all the participants. Each music project comprises a four part progression - plan (composition process), data (music score), data analysis (recordings of performances, surveys, and interviews with all participants) and reflection (feedback, and feedforward into the next project). Each phase of the research generated significant outcomes, such as the four original music scores. Chapter Eight summarizes the themes, issues, and patterns that emerged, and makes recommendations for further research. A model of co-constructive practice emerges from this research: teacher and students co-construct artistic worlds through performance. The model is not new (it is common practice, adopted by generations of musician-teachers) but is rarely acknowledged and currently un-researched. This research demonstrates the validity of the practice from both musical, and teaching and learning perspectives, and examines the strengths and limitations of the model. At its best, the creative processes co-constructed by a teacher with her students are shown to provide a crucible within which intense and creative learning experiences occur. Students of all levels of ability are shown to gain confidence in this context, and subsequently develop skills with apparent ease. The co-constructive model is limited in that it cannot meet the musical needs of all students: co-construction should be considered as one model of practice, appropriate for use in association with many others. This research provides 'virtual access' to a particular world of performance practice, revealing the secondary school context as a realm of authentic and valid musical practice.

8

Twomey, Leslie Karen. "The immaculate conception in Castilian and Catalan poetry of the fifteenth century : a comparative thematic study." Thesis, University of Hull, 1995. http://hydra.hull.ac.uk/resources/hull:3458.

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9

y-Hall, Hilary Virginia. "The religious development of Halldor Laxness in his fictional prose works." Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:3579.

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10

Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/3984.

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This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and theatre and briefly consider the history of attacks on actors. I suggest that at the heart of antitheatricality is what Jonas Barish (1981: 3) calls ‘ontological queasiness’: theatre poses a problem in the distinction between ‘what is’ and ‘what is not’. Turning to phenomenology as a particular way of doing philosophy that challenges any dualistic understanding of subjectivity, I reflect on Martin Heidegger’s Being and Time as a lens for viewing the process of performing and preparing for a role. Heidegger emphasises the intermeshed relationship between the human subject, Dasein (Being-there), and the world to the point that it is impossible to consider one without the other. I have chosen three of the most influential theatre and acting theorists of the twentieth century and examine how each uncovers aspects of existence that are presented in Heidegger’s phenomenology. Firstly, I consider Constantin Stanislavski’s ‘system’ which emphasises action for a purpose within an environment, the individual’s relationship to objects in the world and its involvement with other people who share the same type of Being in the world. Secondly, I examine Antonin Artaud’s conception of theatre that seeks to resist the structures of Being, the way the world is interpreted by others (the ‘They’) and the way that the world gets handed over to consciousness for the most part. In many respects, Artaud’s theatre is the embodiment of Anxiety, a world-revealing state where Being becomes apparent. Thirdly, I discuss Bertolt Brecht’s theatre practice as an attestation to authenticity (a truthful engagement with human existence as possibility) through the medium of performance. Brecht seeks to engage audiences in philosophical debate and change the world. Like Heidegger, Brecht also stresses the historical and temporal constitution of the human subject, whilst emphasising practicality in theatre making. By examining these approaches to performance as case studies, this thesis rethinks the notional intersection of philosophy and theatre, concentrating on process rather than literary analysis. This application of phenomenology is new in that it does not merely consider theatre analysis from an ‘ideal’ audience point of view (i.e. provide a phenomenology of theatre). By focusing on acting, I emphasise the development of artistic creation and becoming, and show how certain types of acting are phenomenological. The bold upshot here is a conception of philosophy that acknowledges various theatre practices as embodied forms of philosophical practice. Furthermore, theatre might well be thought of as phenomenological because it can be an investigation of Being firmly entrenched in practical action and performance. Conversely, philosophy is more than just words on a page; it is a performed activity. Actors can be considered manual philosophers in so far as they engage with the problem of Being not in mere abstraction but in the practical challenges of performance.

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Книги з теми "Performing arts and philosophy":

1

Davies, David. Philosophy of the Performing Arts. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444343458.

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2

Davies, David. Philosophy of the performing arts. Chichester, West Sussex: Wiley-Blackwell, 2011.

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3

Davies, David. Philosophy of the performing arts. Chichester, West Sussex: Wiley-Blackwell, 2011.

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4

Helbo, André. Theory of performing arts. Amsterdam: Benjamins, 1987.

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5

Thom, Paul. For an audience: A philosophy of the performing arts. Philadelphia: Temple University Press, 1993.

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6

Maeder, Costantino, and Mattia Cavagna. Philology and performing arts: A challenge. Louvain-La-Neuve: Presses Universitaires de Louvain, 2014.

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7

Elena, Sagaseta Julia, ed. Teatro y artes. Buenos Aires: Instituto de Artes del Espectáculo, Facultad de Filosofía y Letras, Universidad de Buenos Aires, 1998.

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8

Helbo, André. Signes du spectacle: Des arts vivants aux médias. Bruxelles: P.I.E.-Peter Lang, 2006.

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9

Meyer-Dinkgräfe, Daniel. Observing theatre: Spirituality and subjectivity in the performing arts. Amsterdam: Rodopi, 2013.

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10

Lagaay, Alice, and Laura Cull. The Routledge companion to performance philosophy. London: Routledge, 2020.

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Частини книг з теми "Performing arts and philosophy":

1

Baumol, William J. "Performing Arts." In The World of Economics, 544–48. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21315-3_72.

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2

Baumol, William J. "Performing Arts." In The New Palgrave Dictionary of Economics, 1–4. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_1706-1.

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3

Baumol, William J. "Performing Arts." In The New Palgrave Dictionary of Economics, 10203–6. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_1706.

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4

Runco, Mark A. "Performing arts." In Encyclopedia of psychology, Vol. 6., 97–100. Washington: American Psychological Association, 2000. http://dx.doi.org/10.1037/10521-034.

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5

Giaretta, David. "Contemporary Performing Arts TestbedTestbed Contemporary Performing Arts Testbed." In Advanced Digital Preservation, 407–28. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-16809-3_22.

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6

Frey, Bruno S. "The Performing Arts." In Economics of Art and Culture, 53–61. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_7.

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7

Critchley, Simon. "Tragedy’s Philosophy." In Performing Antagonism, 25–42. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-349-95100-0_2.

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8

Latchem, Colin. "Traditional and Performing Arts." In Open and Distance Non-formal Education in Developing Countries, 55–60. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6741-9_7.

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9

Hunsaker, Scott L. "Visual and Performing Arts." In Critical Issues and Practices in Gifted Education, 535–60. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003233961-40.

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10

Andrews, Zoë Beardshaw. "Reframing the Performing Arts." In The SAGE Handbook of Digital Dissertations and Theses, 101–16. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications, Inc., 2012. http://dx.doi.org/10.4135/9781446201039.n7.

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Тези доповідей конференцій з теми "Performing arts and philosophy":

1

van Wonderen, M. "Unique Thermal Spray Cabinet with High Enthalpy Plasma." In ITSC2006, edited by B. R. Marple, M. M. Hyland, Y. C. Lau, R. S. Lima, and J. Voyer. ASM International, 2006. http://dx.doi.org/10.31399/asm.cp.itsc2006p1451.

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Abstract KLM Royal Dutch Airlines has the oldest Maintenance, Repair and Overhaul (MRO) shop for aircraft in the world (more than 80 years old). The company’s philosophy in all areas, including thermal spray, has always been to pursue the latest innovations and to maintain well-equipped facilities with state-of-the-art processes, equipment and materials for performing repairs. In the area of thermal spray, the latest procurement is a state-of-the-art unique cabinet with a high enthalpy plasma spray process. This new cabinet and new plasma spray process provides up-to-date technology for applying thermal spray coatings on aircraft engines. In this paper, experiences and the latest results obtained using this system to deposit various types of coatings used on aircraft will be reported.

2

Tartt, C. Jason, and John J. Moskwa. "A Hardware-in-the-Loop Transient Diesel Engine Test System for Control and Diagnostic Development." In ASME 2001 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/imece2001/dsc-24532.

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Abstract This paper describes the design and capabilities of a state-of-the-art diesel engine transient test system, which has been developed and built in the Powertrain Control Research Laboratory (PCRL) at the University of Wisconsin - Madison. The system includes a hydrostatic transient dynamometer capable of approximately 300 Hz actuation bandwidth, which is integrated with a dynamic vehicle drivetrain model that runs in real time. This hardware-in-the-loop (HIL) system simulates dynamic torque loading on the engine while performing an FTP, NEDC, J10.15, or any other drive cycles. The dynamometer system is complemented with transient emissions instrumentation to evaluate the state and composition of engine feed gases, and pre and post catalytic converter gases. Included in this paper are details of the design philosophy, why a hydrostatic design was used, specifics on the hardware of the system, as well as experimental data from the system.

3

Wenting Xie and Ren Peng. "Philosophy of art & arts in philosophy." In Conceptual Design (CAID/CD). IEEE, 2008. http://dx.doi.org/10.1109/caidcd.2008.4730806.

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4

Stolterman, Erik. "Session details: Performing arts." In CHI '11: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2011. http://dx.doi.org/10.1145/3249024.

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5

Miklavcic, Jimmy. "Collaborative performing arts---InterPlay." In the 2006 ACM/IEEE conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1188455.1188783.

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6

Ames, Morgan. "Session details: alt.chi -- Arts & Philosophy." In CHI '15: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/3261057.

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7

Masunah, Juju, Trianti Nugraheni, and Yudi Sukamayadi. "Building Performing Arts Community through Bandung Isola Performing Arts Festival (BIPAF) in Indonesia." In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.39.

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8

Kallionpää, Maria. "Performing the Super Instrument:." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.7.

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9

Sukmayadi, Yudi, Juju Masunah, Ayo Sunaryo, and Martinus Miroto. "Creation of Intercultural Performing Arts for Virtual Stage of Bandung Isola Performing Arts Festival." In 4th International Conference on Arts and Design Education (ICADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220601.070.

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10

Jarrell, Don, Daniel Sisk, and Leonard Bond. "A Foundation for Stressor-Based Prognostics for Next Generation Systems." In 10th International Conference on Nuclear Engineering. ASMEDC, 2002. http://dx.doi.org/10.1115/icone10-22458.

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Pacific Northwest National Laboratory (PNNL) scientists are performing research under the Department of Energy Nuclear Energy Research Initiative (NERI) program, to develop a methodology for accurate identification and prediction of equipment faults in critical machinery. The 3-year project, on-line intelligent self-diagnostic monitoring system (SDMS) for next generation nuclear power plants is scheduled for completion at the end of FY 2002. The research involves running machinery to failure in the Laboratory by the introduction of intentional faults. During testing, advanced diagnostic/prognostic sensors and analysis systems monitor the equipment stressor levels, correlate them with expected degradation rates, and predict the resulting machinery performance levels and residual lifetime. Application of a first principles physics-based approach is expected to produce prognostic methodologies of significantly higher accuracies than are currently available. This paper reviews the evolution and current state of the maintenance art. It presents a key measurement philosophy that results from the use of condition based maintenance (CBM) as a fundamental investigative precept, and explains how this approach impacts degradation and failure measurement and prediction accuracy. It then examines how this measurement approach is applied in sensing and correlating pump stressors with regard to degradation rate and time to equipment failure. The specifics are examined on how this approach is being applied at PNNL to cavitation and vibration phenomena in a centrifugal pump. Preliminary vibration analysis results show an excellent correspondence between the (laser) motor position indication, the vibration response, and the dynamic force loading on the bearings. Orbital harmonic vibratory motion of the pump and motor appear to be readily correlated through the FFTs of all three sensing systems.

Звіти організацій з теми "Performing arts and philosophy":

1

Wilkerson, A. M., T. C. Abell, and E. Perrin T. LED Lighting in a Performing Arts Center. Office of Scientific and Technical Information (OSTI), July 2015. http://dx.doi.org/10.2172/1220538.

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2

Miller, N. J., S. M. Kaye, P. M. Coleman, A. M. Wilkerson, T. E. Perrin, and G. P. Sullivan. LED Lighting in a Performing Arts Building. Office of Scientific and Technical Information (OSTI), July 2014. http://dx.doi.org/10.2172/1221092.

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3

Ozdil, Taner R., James Richards, Ryan Brown, Justin Earl, and Dylan Stewart. AT&T Performing Arts Center: Sammons Park. Landscape Architecture Foundation, 2014. http://dx.doi.org/10.31353/cs0790.

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4

Milesi Ferretti, Natascha, Michael A. Galler, Steven T. Bushby, Robert W. Leader, J. Michael Whitcomb, and David W. Rush. Retro-commissioning a performing arts center using HVAC-Cx. Gaithersburg, MD: National Institute of Standards and Technology, February 2019. http://dx.doi.org/10.6028/nist.tn.2027.

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5

Miller, Naomi, Stan Kaye, Patricia Coleman, Andrea Wilkerson, Tess Perrin, and Gregory Sullivan. LED Lighting in a Performing Arts Building at the University of Florida. Office of Scientific and Technical Information (OSTI), July 2014. http://dx.doi.org/10.2172/1165331.

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6

Wilkerson, Andrea M., Thomas C. Abell, and Tess E. Perrin. University of Maryland Wall Washer Retrofit - LED Modules Replace Halogen Lamps in a Performing Arts Center. Office of Scientific and Technical Information (OSTI), August 2015. http://dx.doi.org/10.2172/1349994.

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7

Villanueva-Benito, I., and I. Lacasa-Mas. The use of audiovisual language in the expansion of performing arts outside theater: Don Giovanni’s case, by Mozart. Revista Latina de Comunicación Social, October 2017. http://dx.doi.org/10.4185/rlcs-2017-1217en.

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8

Ahmed AlGarf, Yasmine. From Self-Awareness to Purposeful Employment: Guiding Egyptian youth using arts-based learning. Oxfam IBIS, August 2021. http://dx.doi.org/10.21201/2021.7932.

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Alwan wa Awtar (A&A), a partner of the Youth Participation and Employment (YPE) programme, implements a youth programme supporting young people to shape their prospects through professional and soft skill development, safe learning space and non-formal education. A&A has learned important lessons throughout its journey. A safe learning environment, flexible learning techniques, visual and performing arts in education and participatory management are key approaches for successful youth programmes. During the COVID-19 period, many of the professional development programmes have been delivered online, which was a good example of adaptation to changing circumstances that ensured the sustainability and continued effectiveness of the programme.

9

Tom, Eileen. Social Constructs in Film Culture: The Effect of it on the Performing Arts, and the Destroyed Association of Signs to Enhance Meaning. Portland State University Library, January 2014. http://dx.doi.org/10.15760/honors.53.

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10

Ricker, R. E. Analysis of failed dry pipe fire suppression system couplings from the Filene Center at Wolf Trap Farm Park for the Performing Arts. Gaithersburg, MD: National Institute of Standards and Technology, 1994. http://dx.doi.org/10.6028/nist.ir.5389.

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