Global ETD Search

1	On site : art, performance and the urban social housing estate in contemporary governance and the cultural economy Bell, Charlotte Sophie Louise January 2014 (has links) This thesis questions how sub-disciplines in theatre and performance negotiate ‘sitespecificity’ as an aesthetic practice and tool of urban governance that ‘sees’ and ‘performs’ social housing estates. As a practice that, predominantly, takes place beyond conventional performance spaces, applied theatre might be a paradigmatic form of socially engaged sitespecific activity. However, scholarship on the ‘social turn’ more readily cites Bourriaud’s ‘relational aesthetics’, or Bishop and Jackson’s critiques of ‘social practice’, which emerged in gallery and visual arts contexts. The ‘social turn’ poses problems for scholarly relations between ‘social practice’, ‘applied theatre’, the cultural economy and urban governance. I draw on socio-legal scholar Valverde’s ‘seeing like a city’, theatre scholar McKinnie’s ‘performing like a city’ and cultural economy as a theoretical framework, developing McKinnie’s concerns with ‘cultural equity’, and Harvey’s use of ‘fixed capital’ and ‘consumption fund’ in my analysis of relations between cultural and social realms. Consequently, this project hopes to contribute to an emerging area of research between socio-legal urbanism and performance studies, complicating ‘site-specificity’ as a descriptive category. Over five chapters I analyse site-specific works about estates staged in Lambeth and Southwark (inner-city London boroughs) since 2008. First, I examine relations between site-specificity and estate regeneration: the representations of overhead walkways in Delahay’s The Westbridge (2011) and Cotterrell’s Slipstream (2011) and the estate as ‘ruin’ in two Artangel interventions, Seizure (2008) and Pyramid (n.d.). I then shift to issues raised by legal and social boundaries in governance; I examine SLG’s partnerships with a neighbouring estate and ‘issue-based’ plays in two examples of theatre for young people. The final chapter draws out the project’s wider thematic concerns: the aesthetic implications of pedagogy and funding bodies on imaginings of site. This project calls attention to the complex cultural, socio-legal and economic structures that shape our cities, and the degrees to which they might be repurposed or re-imagined. 792
2	Compressor conceptual design optimization Miller, Andrew Scott 08 June 2015 (has links) Gas turbine engines are conceptually designed using performance maps that describe the compressor’s effect on the cycle. During the traditional design process, the cycle designer selects a compressor design point based on criteria to meet cycle design point requirements, and performance maps are found or created for off-design analysis that meet this design point selection. Although the maps always have a pedigree to an existing compressor design, oftentimes these maps are scaled to account for design or technology changes. Scaling practices disconnect the maps from the geometry and flow associated with the reference compressor, or the design parameters which are needed for compressor preliminary design. A goal in gas turbine engine research is to bridge this disconnect in order to produce acceptable performance maps that are coupled with compressor design parameters. A new compressor conceptual design and performance prediction method has been developed which will couple performance maps to conceptual design parameters. This method will adapt and combine the key elements of compressor conceptual design with multiple-meanline analysis, allowing for a map of optimal performance that is attached to reasonable design parameters to be defined for cycle design. This method is prompted by the development of multi-fidelity (zooming) analysis capabilities, which allow compressor analysis to be incorporated into cycle analysis. Integrating compressor conceptual design and map generation into cycle analysis will allow for more realistic decisions to be made sooner, which will reduce the time and cost used for design iterations. Map scaling Performance design space Performance prediction Zooming Cycle design
3	Activation of Place : Curating Site-Specific Art at the Luleå Biennial in 2018 and 2020 / Aktivering av Plats : Curering av Platsspecifik Konst vid Luleåbiennalen 2018 och 2020 Nåtoft, Maria January 2023 (has links) This thesis investigates how site-specific art manifest itself in different ways, specifically in the biennial format. The focus is on the Luleå Biennale, one of Scandinavia's oldest biennales that returns every two years. Through a case study of four different works of art from two of the biennale's editions, two from the year 2018 and two from 2020, I want to broaden the understanding of the concept of site specificity and how to curate such an exhibition. The theory is based on Miwon Kwon's One Place to Another: Site-Specific Art and Locational identity (2004) and Nick Kaye's Site-Specific Art: Performance, Place and Documentation (2000) which deal with the concept of site specificity and its various expressions. The questions that arose were centered around research, audience and how art activates the place. Through my investigation, I came to the conclusion that all four artworks are strongly connected to their context, not only the context of the biennial but also the physical location they treated, and that a long process of research made the groundwork for this. One of the works was not newly produced for the place in which it was exhibited, but was realized by translating its original meaning to the place of the biennale with the help of curatorial work. I also come to the conclusion that the audience is of great importance in realizing these site-specific works of art exhibited in places that are otherwise not accessible to the public. The biennale opens up new places and memories. / Denna uppsats är en undersökning av hur platsspecifik konst kan uttrycka sig på olika sätt och specifikt hur det kan se ut i biennalformatet. Fokus ligger på Luleåbiennalen, en av Skandinaviens äldsta biennaler som återkommer vartannat år. Genom en fallstudie på fyra olika konstverk från två av biennalens utgåvor, två från år 2018 och två från 2020, vill jag vidga förståelsen för begreppet platsspecificitet och hur man curerar en sådan utställning. Den grundläggande teorin utgår från Miwon Kwons One Place to Another: Site-Specific Art and Locational identity (2004) och Nick Kayes Site-Specific Art: Performance, Place and Documentation (2000) som behandlar begreppet och dess olika uttryckssätt, vilket ledde till frågor kring research, publik och hur konsten aktiverar platsen. Genom min undersökning kommer jag fram till att alla fyra konstverk är starkt kopplade till sin kontext, inte endast kontexten av en biennal men även den fysiska platsen de behandlar, samt att en lång process av research har lagt grunden för detta. Ett av verken var inte tillverkade för platsen som den ställdes ut på men blev ändå realiserad genom att dess ursprungliga mening översattes till platsen för biennalen, detta med hjälp av curatoriskt arbete. Jag kommer även fram till att publiken utgör en viktig del för att realisera dessa platsspecifika konstverk som ställts ut på platser som annars inte är tillgängliga för allmänheten. Biennalen möjliggör besök av nya platser och minnen. Site specificity site-specific art site-related art Miwon Kwon Nick Kaye performance performance of space interdisciplinary contemporary art curating biennial art biennial Luleå Luleå biennial Norrbotten Karl Sjölund Raqs Media Collective Maria W Horn Kapwani Kiwanga Platsspecificitet platsspecifik konst plats-relaterad konst Miwon Kwon Nick Kaye performance performance of space interdisciplinärt samtidskonst curating biennial konstbiennial Luleåbiennialen Luleå Norrbotten Karl Sjölund Raqs Media Collective Maria W Horn Kapwani Kiwanga Humanities and the Arts Humaniora och konst Arts Konst Art History Konstvetenskap

1

Page generated in 0.1031 seconds