868 resultados para Sophie Calle, 1953- . Exposições


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24 hojas : ilustraciones, fotografías a color.

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Dufour inventó un sistema de representación geográfica basado en principios topológicos en lugar de los principios geométricos de los mapas, croquis y planos habituales. La llamada marcha Doufour, aunque de origen militar, se emplea actualmente en actividades excursionistas y alpinistas para moverse por la montaña, pero es fácilmente adaptable a recorridos urbanos. Posee enormes posibilidades didácticas de carácter abstracto, obligando a los usuarios a desarrollar no sólo pautas de orientación sino también de razonamiento lógico sistemático. Ha sido utilizada con éxito en pruebas de calle de olimpiadas matemáticas.

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We have detected low-amplitude radial-velocity variations in two stars, USNO-B1.0 1219-0005465 (GSC 02265-00107 = WASP-1) and USNO-B1.0 0964-0543604 (GSC 00522-01199 = WASP-2). Both stars were identified as being likely host stars of transiting exoplanets in the 2004 SuperWASP wide-field transit survey. Using the newly commissioned radial-velocity spectrograph SOPHIE at the Observatoire de Haute-Provence, we found that both objects exhibit reflex orbital radial-velocity variations with amplitudes characteristic of planetary-mass companions and in-phase with the photometric orbits. Line-bisector studies rule out faint blended binaries as the cause of either the radial-velocity variations or the transits. We perform preliminary spectral analyses of the host stars, which together with their radial-velocity variations and fits to the transit light curves yield estimates of the planetary masses and radii. WASP-1b and WASP-2b have orbital periods of 2.52 and 2.15 d, respectively. Given mass estimates for their F7V and K1V primaries, we derive planet masses 0.80-0.98 and 0.81-0.95 times that of Jupiter, respectively. WASP-1b appears to have an inflated radius of at least 1.33 RJup, whereas WASP-2b has a radius in the range 0.65-1.26 RJup.

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Womenâs contribution to abstract art in the interwar period is a subject that, to date, has received very little attention. In this article we deal with the untold story of the participation of women artists in Abstraction-Création, the foremost international group dedicated to abstract art in the 1930s. Founded in Paris in 1931, the group took on the work of two previous collectives to become a platform for the dissemination and promotion of abstract art and consisted of around a hundred members. Twelve of these were women, whose writings and works were published in the groupâs annual magazine, abstraction creátion art non figuratif (1932-1936), and who participated in a number of the groupâs exhibitions. Compared to what had occurred in previous groups, the participation of women, although reduced in number, was comparable to that of the male artists and being members of the group had a generally positive impact on the womenâs careers. However, all this came at the expense of relinquishing any gender specificity in their work and the public presentation of it, and demonstrates that the normalization of womenâs contributions to the avant-garde could only be brought about alongside a questioning of the more dogmatic views of modernity.