970 resultados para Performance Art


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Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

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Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

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The performance of an air-cycle refrigeration unit for road transport, which had been previously reported, was analysed in detail and compared with the original design model and an equivalent Thermo King SL200 vapour-cycle refrigeration unit. Poor heat exchanger performance was found to be the major contributor to low coefficient of performance values. Using state-of-the-art, but achievable performance levels for turbomachinery and heat exchangers, the performance of an optimised air-cycle refrigeration unit for the same application was predicted. The power requirement of the optimised air-cycle unit was 7% greater than the equivalent vapour-cycle unit at full-load operation. However, at part-load operation the air-cycle unit was estimated to absorb 35% less power than the vapour-cycle unit. The analysis demonstrated that the air-cycle system could potentially match the overall fuel consumption of the vapour-cycle transport refrigeration unit, while delivering the benefit of a completely refrigerant free system.

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The article explores the work of the Canadian sound artist Anna Friz over the last decade. Her work deals explicitly with issues of technology and the relative absence of women's voices on radio. Exploring her work as a composer, installation artist, instrumentalist, performance artist and storyteller, and contextualising these practices within feminist critiques and radio conventions, the article explores Friz's ‘self-reflexive radio’. Ideas of ‘supermodernity’, ‘displacement’ and ‘critical utopia’ are deployed to discuss specific pieces of Friz's work in relation to identity and space. The article argues that Friz reconfigures the radio as a site of resistance to dominant constructions of contemporary globalised space and cultures, the politics of informational capitalism and the uneven flows that these cultures and politics engender.

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We show that aligned gold nanotube arrays capable of supporting plasmonic resonances can be used as high performance refractive index sensors in biomolecular binding reactions. A methodology to examine the sensing ability of the inside and outside walls of the nanotube structures is presented. The sensitivity of the plasmonic nanotubes is found to increase as the nanotube walls are exposed, and the sensing characteristic of the inside and outside walls is shown to be different. Finite element simulations showed good qualitative agreement with the observed behavior. Free standing gold nanotubes displayed bulk sensitivities in the region of 250 nm per refractive index unit and a signal-to-noise ratio better than 1000 upon protein binding which is highly competitive with state-of-the-art label-free sensors.

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It is well known that millimetre waves can pass through clothing. In short range applications such as in the scanning of people for security purposes, operating at W band can be an advantage. The size of the equipment is decreased when compared to operation at Ka band and the equipments have similar performance.

In this paper a W band mechanically scanned imager designed for imaging weapons and contraband hidden under clothing is discussed. This imager is based on a modified folded conical scan technology previously reported. In this design an additional optical element is added to give a Cassegrain configuration in image space. This increases the effective focal length and enables improved sampling of the image and provides more space for the receivers. This imager is constructed from low cost materials such as polystyrene, polythene and printed circuit board materials. The trade off between image spatial resolution and thermal sensitivity is discussed.

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The paper presents a state-of-the-art commercial demonstrator chip for infinite impulse response (IIR) filtering. The programmable IIR filter chip contains eight multiplier/accumulators that can be configured in one of five different modes to implement up to a 16th-order IIR filter. The multiply-accumulate block is based on a highly regular systolic array architecture and uses a redundant number system to overcome problems of pipelining in the feedback loop. The chip has been designed using the GEC Plessey Semiconductors CLA 78000 series gate array, operates on 16-bit two's complement data and has a clock speed of 30 MHz. Issues such as overflow detection and design for testability have also been addressed and are described.

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Any performance of the intercultural necessarily, and always, advances the question of the cultural since it involves the inter-action and interplay of unique and particular cultural performance styles and modes. Intercultural theatre, according to Pavis, is a hybrid theatrical form “drawing upon performance traditions traceable to distinct cultural areas. The hybridization is very often such that the original forms can no longer be distinguished.” The result of this collaboration of forms is, however, often not a ‘hybrid’ where cultural texts work cohesively and in unison to produce a harmonious mise en scene. Instead, intercultural performances are performances at the interstices and at the intersections of cultures. They raise problems of authorship, authority and performance unities and expose a sense of cultural foreignness. Consequently, intercultural performance can be said to be meta-theatre that queries the construction of culture since it places alongside performance traditions that confront.

Music, as performative unit, is a significant line of action by which the intercultural spectacle is constructed. Integral to Western theatre, and certainly more so in traditional Asian performance forms, the deliberate ‘fusion’ and ‘blending’ of musical styles in intercultural performances underscore not a harmony of diverse sounds but the possible dissonance and discordance already performed by the visual and verbal texts. The paper thus seeks to examine, in particular, the musical elements in intercultural performances such as Ong Keng Sen’s Lear (Theatreworks, 1999) and explore the ways in which music could possibly intensify the confrontation of performative texts resulting in a disruption of performance unities. When watching and listening to Lear, the question of the ‘local’ thus arises not merely with identification and alienation from what is seen but also what is familiar and foreign to one’s ears.

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Collaborative group improvisations: Betalevel, Los Angeles; KZSU Day of Noise, Stanford; Thingamajigs performance at the Museum of California, Oakland; CCRMA Concert, Stanford; EarMeal LA Art Stream, Los Angeles; Outsound at the Luggage Store Gallery, San Francisco (with Matt Ingalls, John Ingle, Ted Byrnes, Edward Schocker & others).

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In general, design approaches for durability can be divided into prescriptive design concepts and performance-based design concepts.

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This chapter presents an overview on several performance-based approaches for concrete durability specification and conformity assessment of the as-built structure.

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An issue on Networked Performance produceed by Neural for which I was invited to deliver an interview on network performance. Neural is a printed magazine established in 1993 dealing with new media art, electronic music and hacktivism. It was founded by Alessandro Ludovico and Minus Habens Records label owner Ivan Iusco in Bari (Italy).