The touch of the avatar , artistic research and performance with synthetic doubles

2014 ◽  
Author(s):  
Lucile Haute
Keyword(s):  
And Performance ◽  
Artistic Research

scholarly journals Performing with Plants in the Ob-scene Anthropocene

2020 ◽  
Vol 32 (1) ◽  
pp. 121-142
Author(s):  
Annette Arlander
Keyword(s):  
Performance Analysis ◽  
Performance Art ◽  
Performance Studies ◽  
Research Project ◽  
Performance Practices ◽  
Art Form ◽  
And Performance ◽  
Performance As Research ◽  
Artistic Research

Is there a way for the anthropocentric and anthropomorphic art form par excellence, the theatre, or performance art for that matter, to expand beyond their human and humanist bias? Is the term Anthropocene in any way useful for theatre and performance studies or performance-as-research? In the anthology Anthropocene Feminism (Grusin 2017) Rosi Braidotti proposes four theses for a posthumanist feminism: 1) feminism is not a humanism, 2) anthropos is off-center, 3) zoe is the ruling principle, 4) sexuality is a force beyond gender. These assertions can undoubtedly be put on stage, but do they have relevance for developing or understanding performance practices off-stage and off-center, such as those trying to explore alternative ways and sites of performing, like performing with plants? In this text, I examine Braidotti’s affirmative theses and explore their usefulness with regard to performance analysis, use some of my experiments in the artistic research project “Performing with plants” as examples, and consider what the implications and possible uses of these theses are for our understanding of performances with other-than-human entities, which we share our planet with.

scholarly journals How to open my eyes? The performance-lecture as a method within artistic research

2016 ◽  
Vol 9 (3) ◽  
Author(s):  
Belén Cerezo
Keyword(s):  
Research Work ◽  
Performance Artists ◽  
New Knowledge ◽  
Critical Method ◽  
And Performance ◽  
Artistic Research

This paper presents and examines my research/work How to open my eyes? as a case study attempting to highlight the tactic of the performance-lecture as an important critical method within artistic research. As a brief definition, the performance-lecture is a hybrid and heterodox form what contains performative and discursive components. Since the 1990s the performance-lecture is gaining prominence within contemporary artistic practices and the number of visual and performance artists that use this format is growing. However, David Ladnar noted that despite its ubiquity, the notion of the performance-lecture is still contested and the bibliography on it is short. Within this context, and focusing on artistic research, the aim of this paper is to analyse how the performance-lecture operates as a method that generates new knowledge, drawing on the interrogation of the research/work How to open my eyes? produced practice-led PhD enquiry, on some of the bibliography on the format of the performance-lecture and on my experience as a part of the audience of several performance-lectures. 

TALOS/Talos: Speculatie als daad van betrokkenheid in het werk van Arkadi Zaides

Forum+ ◽  
2018 ◽  
Vol 25 (2) ◽  
pp. 3-14
Author(s):  
Jonas Rutgeerts ◽  
Nienke Scholts
Keyword(s):  
Mobile Robot ◽  
Contemporary Theatre ◽  
European Project ◽  
Research Initiative ◽  
And Performance ◽  
Artistic Research

In 2016 namen de Israëlische choreograaf Arkadi Zaides en een team van medewerkers het initiatief voor een tweejarig artistiek onderzoek gebaseerd op TALOS, een Europees project dat tot doel had een mobiele robot voor de bescherming en beveiliging van de Europese grenzen te ontwikkelen en te testen. Dit artikel neemt dat artistiek onderzoek als basis om de mogelijkheden van pre-enactment en speculatie in hedendaags theater, dans en performance te verkennen. In 2016 the Israeli choreographer Arkadi Zaides and a team of collaborators embarked on a two-year artistic research initiative based on TALOS, a European Project aimed at developing a mobile robot for protecting and securing Europe’s borders. The article uses this artistic research as a basis for an exploration of the possibilities of pre-enactment and speculation in contemporary theatre, dance and performance.

Computation as Material in Live Coding

2014 ◽  
Vol 38 (1) ◽  
pp. 40-53 ◽  
Author(s):  
Till Bovermann ◽  
Dave Griffiths
Keyword(s):  
Genetic Programming ◽  
Performance Practice ◽  
Central Processing Unit ◽  
Processing Unit ◽  
Algorithmic Composition ◽  
Research Practice ◽  
Sound Generation ◽  
Central Processing ◽  
And Performance ◽  
Artistic Research

What does computation sound like, and how can computational processing be integrated into live-coding practice along with code? This article gives insights into three years of artistic research and performance practice with Betablocker, an imaginary central processing unit architecture, specifically designed and implemented for live-coding purposes. It covers the themes of algorithmic composition, sound generation, genetic programming, and autonomous coding in the light of self-manipulating code and artistic research practice.

scholarly journals Large-scale music compositions and novel technology innovations – Summarizing the process of Voices of Umeå, an artistic research project

HumaNetten ◽  
2016 ◽  
pp. 107
Author(s):  
Anders Lind
Keyword(s):  
Large Scale ◽  
New Technology ◽  
Music Notation ◽  
Research Project ◽  
Performance Practices ◽  
Participatory Art ◽  
Technology Innovations ◽  
Analysis Of Results ◽  
And Performance ◽  
Artistic Research

Voices of Umeå was a three-year interdisciplinary artistic research project initiated in 2012 by the author. The main aim with the project was to explore new artistic possibilities for composition and performance practices within the field of contemporary art music. More specifically, artistic possibilities, which arises when non-professional performers regardless musical backgrounds enables to participate in the composition and performance processes. The idea was to develop and explore new pedagogical methods to involve non-professional performers by using new technology and combining knowledge from the fields of artistic and educational practices. Different aspects of participatory art were embraced in the artistic processes aiming towards three compositions, including two concerts and one exhibition. An action research model in three steps –planning, action and analysis of results inspired the methodology, where the analysis and experiences of each cycle within the project were affecting the further cycles of the project.This article reports from selected parts of the process of the project and contributes with new knowledge to the fields of animated music notation and participatory art.

Transmission Scanning Electron Microscopy and Energy Analysis with the Siemens ELMISKOP 101

1972 ◽  
Vol 30 ◽  
pp. 450-451
Author(s):  
H. M. Thieringer
Keyword(s):  
Objective Lens ◽  
Transmission Microscopy ◽  
Image Recording ◽  
Mode Of Operation ◽  
Scanning Transmission ◽  
Electron Microscopes ◽  
And Performance ◽  
Convergent Beam ◽  
Ray Path ◽  
Beam Diffraction

It has repeatedly been show that with conventional electron microscopes very fine electron probes can be produced, therefore allowing various micro-techniques such as micro recording, X-ray microanalysis and convergent beam diffraction. In this paper the function and performance of an SIEMENS ELMISKOP 101 used as a scanning transmission microscope (STEM) is described. This mode of operation has some advantages over the conventional transmission microscopy (CTEM) especially for the observation of thick specimen, in spite of somewhat longer image recording times.Fig.1 shows schematically the ray path and the additional electronics of an ELMISKOP 101 working as a STEM. With a point-cathode, and using condensor I and the objective lens as a demagnifying system, an electron probe with a half-width ob about 25 Å and a typical current of 5.10-11 amp at 100 kV can be obtained in the back focal plane of the objective lens.

Angular Resolved Electron Spectroscopy with Parallel Recording

1990 ◽  
Vol 48 (2) ◽  
pp. 370-371
Author(s):  
Huang Min ◽  
P.S. Flora ◽  
C.J. Harland ◽  
J.A. Venables
Keyword(s):  
Electron Spectroscopy ◽  
Low Voltage ◽  
Solid Angle ◽  
Detection System ◽  
Voltage Electron ◽  
Cylindrical Mirror ◽  
Inner Radius ◽  
Channel Plate ◽  
And Performance ◽  
Type Detector

A cylindrical mirror analyser (CMA) has been built with a parallel recording detection system. It is being used for angular resolved electron spectroscopy (ARES) within a SEM. The CMA has been optimised for imaging applications; the inner cylinder contains a magnetically focused and scanned, 30kV, SEM electron-optical column. The CMA has a large inner radius (50.8mm) and a large collection solid angle (Ω > 1sterad). An energy resolution (ΔE/E) of 1-2% has been achieved. The design and performance of the combination SEM/CMA instrument has been described previously and the CMA and detector system has been used for low voltage electron spectroscopy. Here we discuss the use of the CMA for ARES and present some preliminary results.The CMA has been designed for an axis-to-ring focus and uses an annular type detector. This detector consists of a channel-plate/YAG/mirror assembly which is optically coupled to either a photomultiplier for spectroscopy or a TV camera for parallel detection.

Novel epoxy/anhydride alternatives for biological electron microscopy: Physical and performance characteristis of embed 812 and LX 112 in combination with NSA/NMA/DMAE

1989 ◽  
Vol 47 ◽  
pp. 1000-1001
Author(s):  
Joe A. Mascorro ◽  
Gerald S. Kirby
Keyword(s):  
Electron Microscopy ◽  
Flow Rate ◽  
Succinic Anhydride ◽  
Volume Flow Rate ◽  
Mass Density ◽  
Uranyl Acetate ◽  
Volume Flow ◽  
Base Resin ◽  
And Performance ◽  
Acid Anhydrides

Embedding media based upon an epoxy resin of choice and the acid anhydrides dodecenyl succinic anhydride (DDSA), nadic methyl anhydride (NMA), and catalyzed by the tertiary amine 2,4,6-Tri(dimethylaminomethyl) phenol (DMP-30) are widely used in biological electron microscopy. These media possess a viscosity character that can impair tissue infiltration, particularly if original Epon 812 is utilized as the base resin. Other resins that are considerably less viscous than Epon 812 now are available as replacements. Likewise, nonenyl succinic anhydride (NSA) and dimethylaminoethanol (DMAE) are more fluid than their counterparts DDSA and DMP- 30 commonly used in earlier formulations. This work utilizes novel epoxy and anhydride combinations in order to produce embedding media with desirable flow rate and viscosity parameters that, in turn, would allow the medium to optimally infiltrate tissues. Specifically, embeding media based on EmBed 812 or LX 112 with NSA (in place of DDSA) and DMAE (replacing DMP-30), with NMA remaining constant, are formulated and offered as alternatives for routine biological work.Individual epoxy resins (Table I) or complete embedding media (Tables II-III) were tested for flow rate and viscosity. The novel media were further examined for their ability to infilftrate tissues, polymerize, sectioning and staining character, as well as strength and stability to the electron beam and column vacuum. For physical comparisons, a volume (9 ml) of either resin or media was aspirated into a capillary viscocimeter oriented vertically. The material was then allowed to flow out freely under the influence of gravity and the flow time necessary for the volume to exit was recored (Col B,C; Tables). In addition, the volume flow rate (ml flowing/second; Col D, Tables) was measured. Viscosity (n) could then be determined by using the Hagen-Poiseville relation for laminar flow, n = c.p/Q, where c = a geometric constant from an instrument calibration with water, p = mass density, and Q = volume flow rate. Mass weight and density of the materials were determined as well (Col F,G; Tables). Infiltration schedules utilized were short (1/2 hr 1:1, 3 hrs full resin), intermediate (1/2 hr 1:1, 6 hrs full resin) , or long (1/2 hr 1:1, 6 hrs full resin) in total time. Polymerization schedules ranging from 15 hrs (overnight) through 24, 36, or 48 hrs were tested. Sections demonstrating gold interference colors were collected on unsupported 200- 300 mesh grids and stained sequentially with uranyl acetate and lead citrate.

Trace nanoanalysis

1994 ◽  
Vol 52 ◽  
pp. 940-941
Author(s):  
D. E. Newbury ◽  
R. D. Leapman
Keyword(s):  
High Performance ◽  
Secondary Ion Mass Spectrometry ◽  
Detection Efficiency ◽  
Volume Element ◽  
And Performance ◽  
Trace Constituents ◽  
Secondary Ion ◽  
Concentration Levels ◽  
Structure Properties

Trace constituents, which can be very loosely defined as those present at concentration levels below 1 percent, often exert influence on structure, properties, and performance far greater than what might be estimated from their proportion alone. Defining the role of trace constituents in the microstructure, or indeed even determining their location, makes great demands on the available array of microanalytical tools. These demands become increasingly more challenging as the dimensions of the volume element to be probed become smaller. For example, a cubic volume element of silicon with an edge dimension of 1 micrometer contains approximately 5×1010 atoms. High performance secondary ion mass spectrometry (SIMS) can be used to measure trace constituents to levels of hundreds of parts per billion from such a volume element (e. g., detection of at least 100 atoms to give 10% reproducibility with an overall detection efficiency of 1%, considering ionization, transmission, and counting).

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