Art Instruments Research Articles

Reclaim Challenge

As the Danish National School of Performing Arts merged nine schools into one institution, the momentum for establishing a national, state-funded education in performance art was missed and the continuation of “traditional” profiles within performing arts education was kept. As such, the future of performance art can be seen as a kind of “supplementary technique” to otherwise acting- and text-based theatre in Denmark.This article argues, through examinations of three basic aspects of performance art, for the necessity of profiling performance art as a separate, own genre in a Danish educational context. The article does not engage in a mapping of the field of performing arts educations in Denmark or of the different approaches to an educational programme in performance art. Rather, it addresses some of the basic critical figures and approaches in performance art that would challenge the scope of conventional theatre education –and could potentially be a game-changer within Danish performing arts.Firstly, the performance artist as a figure questioning representation is traced through historical figures of the avant-garde. Secondly, the sociality of performance art is read as confronting and challenging the work ethos of a neo-liberal context, where creativity, innovation and entrepreneurship have become imperatives. And finally, the production of performance art is read as a mode of producing knowledge, which challenges the instrumentalization of art as well as a standardization of academic methods.In conclusion, after the presentation of the three perspectives on performance art, the organization, scope, and potential impact of a Danish education in performance art is presented in a coda.

De la participation en art

L’art dit « participatif » est né récemment dans le champ de l’art, plaçant au centre du processus de création la participation de sujets. Cette nouvelle forme d’art n’est pas sans rappeler les grands fondements de la démocratie et ceux de la démocratie participative, laquelle renouvelle également la notion de participation. Or, comment l’art peut-il puiser dans les fondements de la démocratie tout en demeurant dans le champ de l’art ? Cet article traitera du rapport qu’entretient l’art actuel avec le politique. Il tentera de renouveler la question de la frontière entre autonomie de l’art et instrumentalisation de l’art à des fins sociales ou politiques en présentant un cas d’alliance possible entre l’art et la participation citoyenne, soit l’Ecomusée du fier monde.

G-LAS: a ring laser gyroscope for high accuracy angle measurements

Angle measurements at the uncertainty level of tens of nanoradian are needed in many applications, from precision mechanical industry to astronomy, geodesy and experimental physics. Nowadays state of the art instruments to measure large angles, i.e. angular encoders, can achieve resolutions to the nanoradian level, but the traceability to the angle unit is not guaranteed at the same level of uncertainty. A novel ring laser gyroscope has been designed and built in a joint research project between INRIM and INFN. The device is based on a gyroscope 50 cm in side-length mounted on a precision rotating table. Exploiting the Sagnac effect, it will behave as an ideal angular encoder capable of generating and measuring angles over the full circle interval with a target accuracy of the order of 10 nrad.

Semiotics as an Instrumental Analysis System in the Communication Practice of Premium Brands

The article reviews fundamentally new processes in the field of premium branding which formed under the influence of the global trend of instrumentalization of art. As the consumer community becomes more and more targeted, the mass market model and traditional channels of communication are not sufficient in modern conditions; brands need to develop such communication models that would consistently affect all target audiences, but at the same time point to the specific audience loyal to the brand. There is a need to create new specific communication technologies that develop the brand in the context of the intangible economy and provide an emotional component in relations with the audience groups, bring a symbolic value. In this connection the research of this article is based on the new phenomenon ALBC (Arts-Luxury Brand Collaborations) - which is new in the premium sphere, and expressed in the cooperation of premium brands with contemporary artists in creating both a new luxury product and a creative platform for positioning. In order to gain an insight into the essence of the specific language of the ALBC communication model and read the coded messages - whether it be an advertising mini-movie, a store, a showcase, a collection, a separate model, etc. - it is necessary to determine its essence and understand the internal structure. The new model of communication involves defining new parameters for the brand. The article uses the traditional methods used in semiotics which are presented in the works of F. de Saussure, C. Moriss, C. Pearce, J. Lotman, etc. The purpose of the article is to analyze the ALBC media-communication model in premium brands promoting using some theoretical and methodological fundamentals of semiotics, and to offer an instrumental model of the ALBC code as an integrated model. According to the hypothesis of this article which formed on the theory of connotative and denotative messages of R. Barth, the ALBC model seems to be an independent discourse that incorporates elements from other discourses, in particular from the discourse of art, and forms its code system. The method of "mediarcheological excavations", actively used in media studies, helped to analyze the structure of the ALBC model, to illustrate and analyze the process of discursive layering of historical realities in the context of the proposed model, as well as to shape the author's definition of the ALBC code. There is a conclusion that the ALBC code represents a complex structure of a connotative message based on an unmotivated symbolic sign, has the character of polysemy and possesses such system characteristics as a migratory character, an evolutionary form; is formed owing to discursive layering of historical realities; the goal of creating a new code is an outspoken marketing interest - to attract the consumer, to interest the young audience, to immerse in the brand's atmosphere.

The effect of incidence angle on the reflectance of solar mirrors

Solar reflectors for Concentrating Solar Technologies require a high reflectance in the terrestrial solar spectrum (280–4000nm). Besides the wavelength, the reflectance of solar mirror materials is also dependent on the incidence angle of the incoming sunlight. The commonly used measurement equipment measures the reflectance at fixed near-normal incidence angles, typically between 8° and 15°. In this work, the annual incidence angle frequency distribution has been calculated for a LS3/Eurotrough-type parabolic-trough collector located at different sites, and for the heliostat field of the solar tower system CESA-1 located at the Plataforma Solar de Almería in Tabernas, southern Spain. It was found that the most frequent incidence angles registered in the solar field are quite higher than the ones at which reflectance is measured with state of the art instruments, obtaining mean incidence angles in the range of 28–35° depending on the type and location of the solar field.A methodology to predict the off-normal reflectance of silvered-glass mirrors based on near-normal reflectance and transmittance measurements of the uncoated glass is presented. The complex refractive index of 2, 4 and 5mm thick solar glass and the deposited silver was determined and used to model the solar weighted reflectance of silvered-glass mirrors at different incidence angles. The model was compared to experimental measurements. For this purpose, the Spectral Specular Reflectometer (S2R) has been improved and updated with a polarizer crystal to measure reflectance at perpendicular (s-pol) and parallel (p-pol) polarizations up to incidence angles of θ = 70°.Eight solar mirror materials (three silvered-glass mirrors of different glass thicknesses, two anti-soiling coated glass mirrors, two enhanced aluminum reflectors and a silvered polymer film) have been measured over a broad range of incidence angles and the results have been weighted with the annual incidence angle frequency distribution. The obtained incidence angle-weighted reflectance is a suited parameter to compare the efficiency of solar mirror materials taking into account their use in a specific collector type and location.

Gambioluthiery: Revisiting the Musical Instrument from a Bricolage Perspective

Gambiarra is a popular Brazilian expression that describes an improvised and informal way of solving an everyday problem when needed tools or resources are not available. Since the turn of the 21st century, the term gambiarra has been a part of Brazilian art discourse. This article first analyzes the genealogy of the word gambiarra, including its global and local contexts, and then looks at the use of gambiarra in the production of music and sound art instruments, or gambioluthiery.

SENI SEBAGAI MEDIA DAKWAH PADA ANAK USIA DINI

This paper deals with the art as media of preaching in early childhood at the Early Childhood Education Institution of Kabelo Singgah-Singgani, Palu. The questions include (1) How does art become media of preaching in early childhood at this institution? (2) How is the implementation of art as media of preaching in early childhood at this institution? The result showed that, first, the art which is categorized as media of preaching is one which contains Islamic values. This Islamic art which is taught in this educational institution includes dances such as Kaili’s local dance called momonte, qasidah songs, Arabic calligraphy that contains Quranic verses, Hadith, and Islamic poetry. Various art instruments provided by this institution in supporting children’s activities comprise guitar, rebana (tambourine), kerincing (triangle), and sound system. The benefits of art gained by the children include giving joyful entertainment to children, introducing Islam through art, and habituating them with Islamic and local cultures. In addition, art will become a way to sharpen instinct and teach Islam with the tenderness of art.

At the fringes of language: On the semiotics of noise

‘Words and alternative ways of talking […] have served as weapons against oppressive authority, vehicles for solidarity among all manner of disenfranchised peoples, and instruments of extraordinary art’, Ana Cara observes (Cara, A.C. (2011). Creole talk. The poetics and politics of Argentine verbal art. In R. Baron & A.C. Cara (eds.), Creolization as cultural creativity (pp. 198–227). Jackson: University Press of Mississippi). Linguistic creativity doesn't have to be playful and amusing; it can also be about experiences of marginalization, injustice and pain. There are, consequently, different creativities and different indexicalities of creatively manipulated speech. In this article, the focus is on noisy, nonsensical, sometimes unsettling performances of linguistic creativity and on their contexts. These are only slightly different from those Cara refers to – sociolinguistic settings of inequality, based on a history of experiences of othering and subjugation among women in a small northeastern Nigerian village. The artful unmaking of words and meaning that is in the center of this contribution addresses reality in a variety of ways: it aims at evoking ideas and memories of what cannot always be seen and heard (such as spirits), of a performer's feelings of otherness.Noisy and messy communicative practice such as ‘gibberish’, screaming and swearing need to be seen, I argue, as performances rather than as deviations from ‘proper linguistic practice’. They might digress from certain norms, but nevertheless remain interpersonal in their communicative design; they are powerful yet individual and original attempts to reach out to the other, in order to say something which might otherwise not be said. The noisy and unintelligible in language can be an attempt to retrieve what has been discarded and to put the marginal into the center. It is art that intents to remind audiences of the powers of horror, disgust, and ugliness. In practices that highlight linguistic creativity, a particularly radical way of transforming language into such abject art is to make speech (at least initially) incomprehensible, to work with obscurity, noise and disruption. The strategies used in these pieces of art are diverse: utterances are interrupted by made-up speech, and spoken text turns into sung, screamed or murmured text; noise is presented as that what belongs to the Other, and audiences are left with the task not just of listening and evaluating these performances, but also with the task of decoding them. However, noise bears in it the potential of rejection: audiences have to power to decide whether they accept, after all, the invitation to decode whatever meaning the sound of a voice may have.

Photostability testing using online reactor HPLC hyphenation and mass spectrometric compound identification illustrated by ketoprofen as model compound

Investigations on the photochemical stability of pharmaceutical substances are mandatory in drug development and licensing as photo-induced degradation of an active pharmaceutical ingredient (API) may not only lead to decreased API concentrations but also to toxic or reactive products. Thus, the US Food and Drug Administration (FDA) and the International Council for Harmonisation of Technical Requirements for Pharmaceuticals for Human Use (ICH) issued Guidance for Industry Q1B “Photostability Testing of New Drug Substances and Products” for testing of pure but also packed drugs. However, photoproducts are also known to be generated in vivo under sunlight exposure of the skin and lead to considerable amounts of adverse drug effects.Herein we present an alternative system that may be used for photostability testing mimicking both situations. It combines a tailored photoreactor with an exchangeable pen light source and a modified HPLC system with online-SPE. Identification of photoproducts may be performed using mass spectrometry. The potential of accurate mass spectrometry as a tool for identification of photoproducts was demonstrated as well. A comparison of the online photoreactor system and the traditional photochamber irradiation was performed using ketoprofen for proof of concept. In both designs acetylbenzophenone and ethylbenzophenone were detected as main photoproducts. The new device allows for fast and easy photostability studies that may help to reduce time consuming in vitro experiments and animal trials. Using state of the art instruments kinetic studies could also easily be performed with qualitative and quantitative perspectives combined into one experimental design with only very low amounts of API needed. This may be useful in early drug development, where only small amounts of API are available. Scale-up may also be easily realized for the generation of reference material for quantification and quality control (QC) processes as well as for toxicity testing.

Theoretical and experimental comparison of one dimensional versus on-line comprehensive two dimensional liquid chromatography for optimized sub-hour separations of complex peptide samples

This study was devoted to the search for conditions leading to highly efficient sub-hour separations of complex peptide samples with the objective of coupling to mass spectrometry. In this context, conditions for one dimensional reversed phase liquid chromatography (1D-RPLC) were optimized on the basis of a kinetic approach while conditions for on-line comprehensive two-dimensional liquid chromatography using reversed phase in both dimensions (on-line RPLCxRPLC) were optimized on the basis of a Pareto-optimal approach. Maximizing the peak capacity while minimizing the dilution factor for different analysis times (down to 5min) were the two objectives under consideration. For gradient times between 5 and 60min, 15cm was found to be the best column length in RPLC with sub–2μm particles under 800bar as system pressure. In RPLCxRPLC, for less than one hour as first dimension gradient time, the sampling rate was found to be a key parameter in addition to conventional parameters including column dimension, particle size, flow-rate and gradient conditions in both dimensions. It was shown that the optimum sampling rate was as low as one fraction per peak for very short gradient times (i.e. below 10min). The quality descriptors obtained under optimized RPLCxRPLC conditions were compared to those obtained under optimized RPLC conditions. Our experimental results for peptides, obtained with state of the art instrumentation, showed that RPLCxRPLC could outperform 1D-RPLC for gradient times longer than 5min. In 60min, the same peak intensity (same dilution) was observed with both techniques but with a 3-fold lower injected amount in RPLCxRPLC. A significant increase of the signal-to-noise ratio mainly due to a strong noise reduction was observed in RPLCxRPLC–MS compared to the one in 1D-RPLC–MS making RPLCxRPLC–MS a promising technique for peptide identification in complex matrices.

KERAJINAN KACA GRAFIR SEBAGAI SOUVENIR INTERIOR DI SURAKARTA

<p><em>The traditional wealth of art in Indonesia which are several area include Surakarta region is still took care and everlasting. The are like various kinds of form of Industry to nuance/variation ethniqe which is home industry potential is the most important enough to effort in home small industry.</em></p><p><em>Grafir glass is the form of one system in the work of art instrument of glass painting can be done as work of art although industry, and so it is beside other techniques as like glass and lood, glass etsa, paint of glass and so on.</em></p>

What are middle managers expecting from strategic tools? A collection and analysis of state of the art instruments

Many strategic tools are available for process managers to develop, document and communicate their long-term business planning. However, middle managers are often facing the challenge to successfully understand and communicate a company's strategy because not always the most suitable instrument for a specific situation is chosen. In the majority of cases, the balanced scorecard is utilised for the strategy documentation and control although a lot more tools are available. This paper provides a collection as well as an in-depth analysis of currently known and widely used strategy instruments. An extensive list of requirements towards strategic tools is used to evaluate how reasonable the usage of these state of the art tools is in process management. The resulting recommendation system identifies the strategy map as well as the success resource deployment as also highly relevant instruments for middle process managers. Moreover, the developed generic system can be used by middle managers to identify the most suitable tool for their purpose and business situation.

What are middle managers expecting from strategic tools? A collection and analysis of state of the art instruments

Many strategic tools are available for process managers to develop, document and communicate their long-term business planning. However, middle managers are often facing the challenge to successfully understand and communicate a company's strategy because not always the most suitable instrument for a specific situation is chosen. In the majority of cases, the balanced scorecard is utilised for the strategy documentation and control although a lot more tools are available. This paper provides a collection as well as an in-depth analysis of currently known and widely used strategy instruments. An extensive list of requirements towards strategic tools is used to evaluate how reasonable the usage of these state of the art tools is in process management. The resulting recommendation system identifies the strategy map as well as the success resource deployment as also highly relevant instruments for middle process managers. Moreover, the developed generic system can be used by middle managers to identify the most suitable tool for their purpose and business situation.

Promoting the potential of flux-measuring stations in urban parks: An innovative case study in Naples, Italy

Urban forests and parks are living systems integrated in highly anthropic areas, where they establish close interactions with all the other systems around. Thanks to those interactions, urban forests provide many ecosystem services to people and to the whole urban environment. One of the most important is the absorption of chemically and radiatively-active trace gases and thus the effect on local air quality. Beyond the main greenhouse gases (CO2, H2O and CH4), in urban areas a relevant role is played by the photochemical pollution mainly constituted by O3 and particulate matters. Despite their importance, experimental sites monitoring trace gases fluxes in urban forest ecosystems and parks are still scarce.In this paper, we present for the first time the experimental station of Real Bosco di Capodimonte, located within the city of Naples. The vegetation is mainly composed by Quercus ilex with some patches of Pinus pinea and meadows. The site is equipped with state of the art instruments to measure concentrations and exchanges of CO2, H2O, CH4, O3, PM, VOCs and NOx by the eddy covariance technique. It represents an interesting and rare opportunity to investigate the interactions between urban vegetation, anthropogenic pollutants and secondary photochemical compounds.

ImQuant - An image based fluorescence reader for quantitative lateral flow immunoassays.

Fluorescence immunoassays (FIA) have strong potential in enabling rapid quantitative immunological testing at point of care. Existing state of the art instruments employ laser scanning of FIA test kits, which require the use of electromechanical systems, making the instrument bulky, heavy and less reliable in the long term. There is a growing need for an extremely compact and reliable, motion-free, automated reader for accurate quantification of immunoassays. Here, we present ImQuant, an image based FIA reader with integrated monochromatic excitation source, optical filtering and real time image capture, assisted with an intuitive graphical user interface. A 12bit dynamic range RAW ouput CMOS camera with 1/3" sensor format and a sharp cut off wideband filter were utilized to ensure improved accuracy. A laboratory prototype was constructed and tested using a set of stable reference cartridges that provided repeatable fluorescent lines. The ImQuant could capture the lines and measure area ratios with coefficient of variation (CV) less than 2%. Further, tests with blood samples on Quanti® HbA1C test kits also demonstrated good repeatability with CV<;2%. The ImQuant is a novel platform of motion-free fluorescent scanning of FIA immunoassays and is being used for developing a variety of test kits and instruments.

Agrometeorological Advisory to assist the farmers in meeting the challenges of extreme weather events

In recent past extreme weather events are causing great concern in different sectors contributing to the Indian economy. Among other, agricultural sectors are badly affected by the extreme weather events. Weather and climate information play a great role in minimizing the loss of crops. India Meteorological Department is doing yeomen’s service by providing advance information including monitoring of the extreme weather events along with the proper advisories to the farming community by using state of art instruments &amp; technology through efficient delivering mechanism of the information and ultimately help the farmers from incurring great loss. Satellite information is also used for preparation of the accurate crop and location specific Agromet Advisories. Under Public Private Partnership, today it is possible to send the weather forecast and advisories within short time to large number of farmers in the country before the occurrence of extreme weather events and ultimately possible to improve the economic condition of small and marginal farmers by increasing the productivity of crops.

Design and fabrication of a cryostat for low temperature mechanical testing for the Mechanical and Materials Engineering group at CERN

Mechanical testing of materials at low temperatures is one of the cornerstones of the Mechanical and Materials Engineering (MME) group at CERN. A long tradition of more than 20 years and a unique know - how of such tests has been developed with an 18 kN double-walled cryostat. Large campaigns of material qualification have been carried out and the mechanical behaviour of materials at 4 K has been vastly studied in sub - size samples for projects like LEP, LHC and its experiments. With the aim of assessing the mechanical properties of materials of higher strength and/or issued from heavy gauge products for which testing standardized specimens of larger cross section might be more adapted, a new 100 kN cryostat capable of hosting different shapes of normalized samples has been carefully designed and fabricated inhouse together with the associated tooling and measurement instrumentation. It has been conceived to be able to adapt to different test frames both dynamic and static, which will be of paramount importance for future studies of fracture mechanics at low temperatures.The cryostat features a double-walled vessel consisting of a central cylindrical section with a convex lower end and a flat top end closure. The transmission of the load is guaranteed by a 4 column system and its precise monitoring is assured by an internal load cell positioned next to the sample in the load train. This innovative approach will be discussed together with other nonconventional instrumentation solutions.A validation of the whole system has been carried out, where bending efforts on instrumented samples have been measured. Additionally, dedicated tooling has been fabricated for the device's optimization. The preliminary results obtained confirm an excellent performance of the system and enhance the analysis of materials under extreme conditions with state of the art instrumentation.

It's about Time Creative placemaking and performance analytics

The U.S. philanthropic discourse known as “creative placemaking” unites a historically unprecedented number of institutional investors in the instrumentalization of art toward civic, social, economic, and environmental goals. Since coining the term in 2011, the National Endowment for the Arts has supported 256 arts interventions in all fifty states with funds totaling more than $21 million. Not without its critics, “place-based” grant programs hail artists to collaborate on municipally driven, often six-figure budget initiatives that use culture as a backdrop for “comprehensive community cultural development.” Compared to the characteristic shortsightedness of institutional approaches to arts philanthropy in the U.S., many “placemaking” residencies offer significantly expanded periods of cultural engagement between artists, community members, and institutional liaisons. While the discursive emphasis on “place” by institutional investors has incited much debate among policy makers and practitioners, less attention has been paid to the instrumentality of time and embodied interaction within these elongated arts residencies. These exceptional circumstances signal a crucial point of intervention for performance scholarship.In this essay, I study cooperative time spent over the course of one NEA-funded residency to shift foundational understandings about how artists and project participants challenge the mechanisms of capitalism through practical and direct cooperation with institutional agents. Drawing upon project documentation and interview testimony from a team of lead artists, administrators, and community participants, I highlight three temporal strategies through which the Project Willowbrook team failed to faithfully reproduce institutional norms guarding “creativity” and “place”. By stalling time (reframing the neighborhood's present-day cultural textures and rhythms), spending time (cultivating conversations with residents about Willowbrook's vexed history of foiled planning), and sub-contracting time (rewriting county art contracts twelve times to account for changes), the team's iterative approach suggests the anti-choreographic possibility that collectively embodied solutions to institutional problems cannot be planned in advance.

Teaching/Learning Strategies through Art: Philosophy & Basic Design Education

The subject of this paper is to interrogate interdisciplinary relationships as part of basic design education. Within this framework, examining the relationship between philosophy and architecture as part of basic design practices, this article investigates considering art as an instrument and the experience of benefiting from this instrument specifically for basic design studio. The aforementioned experience points to the generation of theories and space through the basic thinking forms/tools of philosophy and architecture. The study is comprised of six main sections, which can be listed as Introduction, Being Instrumental: Thinking to Think, Intellectual Instruments of Philosophy, Basic Design and Philosophy, Basic Design Studio: Theory and Space, Discussion. Paper, which examines the instrumentalization of art through the existing similarities, commonalities and differences between the disciplines of philosophy and architecture, demonstrates the relationship between philosophy and architecture through the theory and space theme by sampling a method as part of basic design education.

Gani Odutoku ’ Dialogu with Mona Lisa: Interrogating Implications of Euro-African Interface

Gani Odutokun (1946-1995) was a formidable creative force at Ahmadu Bello University, Zaria where he graduated and taught painting for three decades. He died in a ghastly motor accident while returning from a group exhibition in Lagos. February 2015 marks the twentieth anniversary of this tragic loss. Amongst his celebrated paintings is the piece “Dialogue with Mona Lisa” which only now exists on page 489 of Lois Fichner-Rathus’ (2007) Understanding Art since it is alleged to have been lost during an art exhibition in the United States. This piece provides potentials for addressing imports of “cross-cultural encounter” between Europe and Africa. It also poses questions about the relevance and standards of beauty across cultural divides. Employing formalism and iconographic instruments of critical art writing the paper succinctly employs metaphoric reasoning to interrogate technical processes of additive and subtractive methods of art making as underlying elements for gaining interpretative insights. The paper concludes affirmatively that while detrimental imbalances exists in the interface that Africa and Europe shares, African nationalist efforts must combine concepts of Negritude and Tigritude to reinvent a new African consciousness that rises beyond the ashes of past debilitating conditions.Key words- Euro-African Interface, Negritude, Tigritude, Implication, Pan-Africanism