scholarly journals Genesis of the Cube: The Design and Deployment of an HDLA-Based Performance and Research Facility

2016 ◽  
Vol 40 (4) ◽  
pp. 62-78 ◽  
Author(s):  
Eric Lyon ◽  
Terence Caulkins ◽  
Denis Blount ◽  
Ivica Ico Bukvic ◽  
Charles Nichols ◽  
...  
Keyword(s):  
Design Process ◽  
Performance Art ◽  
Computer Music ◽  
Scientific Research ◽  
High Density ◽  
Research Facility ◽  
Immersive Environments ◽  
Process Implementation ◽  
Music Research ◽  
And Performance

The Cube is a recently built facility that features a high-density loudspeaker array. The Cube is designed to support spatial computer music research and performance, art installations, immersive environments, scientific research, and all manner of experimental formats and projects. We recount here the design process, implementation, and initial projects undertaken in the Cube during the years 2013–2015.

Playing Seriously: An Introduction to Corporeal Architecture, Neuroscience, and Performance Art

Dimensions ◽  
2021 ◽  
Vol 1 (1) ◽  
pp. 119-128
Author(s):  
Maria da Piedade Ferreira
Keyword(s):  
Qualitative Research ◽  
Built Environment ◽  
Design Process ◽  
Performance Art ◽  
Human Body ◽  
Art And Science ◽  
Load Bearing ◽  
Qualitative And Quantitative ◽  
The World ◽  
And Performance

Editorial Summary With a focus on experiential qualities Maria da Piedade Ferreira distinguishes her research object from classical (rather technical) quantities such as load-bearing capacities. In her text she illustrates how she employs methods, techniques, and instruments from performance art and neurosciences to investigate the effects of spatial conditions on the human body. In doing so, she explores a mix of qualitative and quantitative approaches, namely by experimenting with emotion measurement: Qualitative research, by including methodologies which attribute measurable values to the felt experience, might help us better understand the effects of the built environment in the human body during the design process itself, and after building. Accordingly, her aim is to integrate art and science methodologies that allow us to design spaces as intelligent extensions of the human body and positively impact how this feels and acts in the world. [Ferdinand Ludwig]

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

scholarly journals Intercepted Photosynthetically Active Radiation (PAR) and Spatial and Temporal Distribution of Transmitted PAR under High-Density and Super High-Density Olive Orchards

Agriculture ◽  
2021 ◽  
Vol 11 (4) ◽  
pp. 351
Author(s):  
Adolfo Rosati ◽  
Damiano Marchionni ◽  
Dario Mantovani ◽  
Luigi Ponti ◽  
Franco Famiani
Keyword(s):  
Spatial Variability ◽  
Photosynthetically Active Radiation ◽  
Temporal Distribution ◽  
High Density ◽  
Radiation Use Efficiency ◽  
Spatial And Temporal Distribution ◽  
Active Radiation ◽  
Use Efficiency ◽  
And Performance ◽  
Radiation Use

We quantified the photosynthetically active radiation (PAR) interception in a high-density (HD) and a super high-density (SHD) or hedgerow olive system, by measuring the PAR transmitted under the canopy along transects at increasing distance from the tree rows. Transmitted PAR was measured every minute, then cumulated over the day and the season. The frequencies of the different PAR levels occurring during the day were calculated. SHD intercepted significantly but slightly less overall PAR than HD (0.57 ± 0.002 vs. 0.62 ± 0.03 of the PAR incident above the canopy) but had a much greater spatial variability of transmitted PAR (0.21 under the tree row, up to 0.59 in the alley center), compared to HD (range: 0.34–0.43). This corresponded to greater variability in the frequencies of daily PAR values, with the more shaded positions receiving greater frequencies of low PAR values. The much lower PAR level under the tree row in SHD, compared to any position in HD, implies greater self-shading in lower-canopy layers, despite similar overall interception. Therefore, knowing overall PAR interception does not allow an understanding of differences in PAR distribution on the ground and within the canopy and their possible effects on canopy radiation use efficiency (RUE) and performance, between different architectural systems.

FACTORS AFFECTING ORGANISATIONAL ACCEPTANCE OF FORMAL NPD PROCESSES

2017 ◽  
Vol 21 (02) ◽  
pp. 1750011 ◽  
Author(s):  
KAI HOLZWEISSIG ◽  
JONAS RUNDQUIST
Keyword(s):  
New Media ◽  
New Product Development ◽  
New Product ◽  
Ease Of Use ◽  
Perceived Ease Of Use ◽  
Commercial Vehicles ◽  
Factors Affecting ◽  
Process Implementation ◽  
Organisational Structures ◽  
And Performance

Formal new product development (NPD) processes have become an important tool in NPD management. However, our understanding of what makes formal NPD process implementation successful in terms of acceptance and performance is still limited. This paper contributes to an improved understanding of factors affecting the acceptance and use of formal NPD processes. Our results show that acceptance of formal NPD processes is determined by several factors, such as ease of use, transparency of discourse, continuous improvement, involvement of NPD actors, and the ability to bridge differences in thinking. Furthermore, that acceptance of formal NPD processes affects NPD performance positively. These results draw on data from a survey posted to employees working for nine large manufacturers of commercial vehicles worldwide. The results should encourage managers to consider and enhance the factors affecting acceptance. This could be done through using new media for publication to increase transparency and perceived ease of use of the NPD process. Further acceptance of the formal NPD process is increased if it mirrors an operative reality and if organisational structures for improvement of the process are implemented and inclusive to employees involved in NPD.

Computer Music: Synthesis, Composition, and Performance

Notes ◽  
1986 ◽  
Vol 43 (1) ◽  
pp. 53
Author(s):  
R. K. ◽  
Charles Dodge ◽  
Thomas A. Jerse
Keyword(s):  
Computer Music ◽  
Music Synthesis ◽  
And Performance ◽  
Synthesis Composition

An Invitation from the Displaced: Refuge Restaged in The Jungle and As Far as My Fingertips Take Me

Modern Drama ◽  
2021 ◽  
Vol 64 (3) ◽  
pp. 350-372
Author(s):  
Jeff Casey
Keyword(s):  
Performance Art ◽  
First Century ◽  
Good Chance ◽  
Twenty First Century ◽  
And Performance ◽  
Remedial Strategies ◽  
Mutual Responsibility

Tania El Khoury’s audience-of-one performance piece As Far as My Fingertips Take Me and Joe Murphy and Joe Robertson’s play The Jungle, produced and developed by Good Chance, are twenty-first-century productions that foreground the medial affordances of performance art and drama to foreground Western audiences’ relationships and responses to refugees. I propose a taxonomy of the strategies used in these two works as a model for analyzing theatre and performance about refugees. These strategies are classified in terms of the responses they seek to elicit from the audience, and my analysis explores some of the tactics used to achieve these goals. Remedial strategies counter harmful stereotypes about refugees; transformative strategies challenge and reshape basic conceptions of self, other, nation, and citizenship; and ethotic strategies reorient the audience to consider their relationship with refugees, particularly with respect to their disparate identity positions, mutual responsibility, and interdependence. Fingertips and The Jungle are substantially different artworks but are able to achieve similar results by utilizing the different affordances of their respective mediums. Thus, the taxonomy of strategies provides a more systematic and precise way of analyzing how refugee drama and performance achieve their goals. It avoids being overly prescriptive in how these goals should be achieved and instead recognizes how exploiting different tactics and medial affordances can advocate for refugees and other migrants.

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