Site Specific Public Art

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The museum as art : site specific art in Australia's public museums

The museum as art : site specific art in Australia's public museums

installation was concerned with revealing the ‘aesthetic role of the museum.’ 51 By using the window with the busy harbour-view background as a substitute ‘wall’ for the hanging of his work, Buren subtly draws attention to the fact that a gallery wall, even if painted white in an attempt to ‘neutralise’ it, is as much on display as the work that it supports. As noted earlier, many Australian art museums do not fit O’Doherty’s description of the white cube in a literal sense, many of them on prime land and consequently sporting large glass windows to showcase the view. The presence of windows, of course, does not exclude these exhibition spaces from much of O’Doherty’s criticism, and it is significant that Buren used the room’s distinguishing feature – the window – as a key device. Even though a window seems relatively unremarkable, it was used as a foil to the space’s even more unremarkable white walls. Of course, Buren’s work is illustrative of Kwon’s institutional critique model, however, we can also examine this example in terms of the schema I have developed. In addition to critiquing the general institution of art, his work challenges the semiotic space of the AGNSW’s Modernist galleries. By examining Buren’s installation in terms of strategy and intention, in addition to Kwon’s site-defined models, we gain a better understanding of the way in which site-specific art operates in museums.
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Public Art in India

Public Art in India

Since 1950s modern artists have been taking art outside the gallery and museum. The term „public art evolved in 1960s was exhibiting non-representative, no-utilitarian and primary geometrical readymade objects and spaces. Emphasis was given on the dialogue delivered by industry-made materials and surfaces, minimizing the role of artistic craftsmanship and artist‟s privacy, ownership and identity as creator. Art become independent of its creator and appeared as real object. The Earth art could be seen as an extension of the minimalism, where minimalism confronted the gallery space, the earth art denied gallery space and beyond the gallery had confronted the land itself. The emphasis shifts here from object to the space. Here the space is the work of art. Earth art is site-specific but not always an art in public sphere or public art. Most of the earth works were done in remote lands away from the land of human civilization. Public was only the audience. The audience had to follow the given conditions to view the work (by helicopter, from a distance) due to their huge unpredictable size, scale and space they covers. These works had a narrative approach that the artists invite the public to see their huge amazing art works done in earth. Here the artist had to negotiate with the Government to do the work. Now the question come to my mind that is every work of art exhibited outside the gallery and museum a public art? Sculptor Scoot Burton wrote, “public art has descended form, but must not be confused with large scale outdoor sculpture.” John Beardsley emphasized an interpretation of public art that addresses societal concerns: “art in public places must be different from public art.”
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Envisioning the Past: Art, Historiography and Public History

Envisioning the Past: Art, Historiography and Public History

The uses of history in this project were several. The artists learned about the history of the space in which they had been working as residents, enabling them to create meaningful site-specific work. For the arts centre more generally, Clark now knows more about his buildings and the past residents. The resonance between current and past occupants has been a particular point of interest. Alongside the surgeon William Jackson, number 32 was for many years the home of John James Henry, a currier and leather cutter, while the illuminators, Honey and Co., operated from 40 ½ from 1916 to 1925. 38 The juxtaposition of these different occupations gives historical context to and the opportunity to reflect upon distinctions between art and craft, ‘product and process … image and idea … thinker and
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Sound art and the making of public space

Sound art and the making of public space

We had originally intended to have the Great Court as the site of the recordings and the performances. However, on visiting the Museum, both when it was open to the public and when it was empty, and only the low and droning noise of humming machines could be heard, it became clear that it would be very difficult to capture the room tone or room sound. The sound of the fridges overwhelmed all other sounds and was also unpleasant to listen to. What Ain wanted was to capture the sound acoustics without humans in the room and although it could be said that the sound of the fridges was part of that room tone it was both a dominating sound and one that is not specific to that room. In most other rooms in the British Museum the dominant sound was of air- conditioners which effectively smothered all other sounds. The sounds of the Great Hall, contrary to our expectations, were not adequate for a project of assembling a space of congregation because of the dominance of the mechanical sounds. As Ain notes on her blog: ‘The sound of the museum almost breathing. In reality it was the sound of fridges, the overly bright lights of the bookshop, a strange intermittent beeping, the scratchings of the feet of birds hanging out on the glass roof - and that was just The Great Court’. After walking around several of the collections, including the Egyptian rooms, Ain decided that the China, South Asia and South East Asia gallery, Room 33, would be the best space to record and perform in. This was mainly because it was one of the only rooms without air-conditioning, a sound which would otherwise dominate and overwhelm the room sound. Ain also liked that it has a large space in the centre that 4
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Empirical modelling of site-specific errors in GPS observations

Empirical modelling of site-specific errors in GPS observations

Despite the numerous advances in modelling GPS error sources, there has been very little agreement on how to address site-specific errors in GPS processing. A major component of a site-specific errors are due multipath, caused by reflections of the incoming GPS signal, other sources include errors in the antenna model being applied, or changes to the antenna characteristics due to the near-field effects intro- duced by the station antenna mount. It is now well known that multipath errors can alias into the GPS time series producing time-correlated errors [King and Watson, 2010]. This results in a GPS time series which will have unmodelled biases that can affect the interpretation of geophysical signals, particularly those which occur near annual and draconitic frequencies and there harmonics. This is potentially a limiting factor in using GPS time series to derive reference frame parameters and the inves- tigation of geophysical phenomena. The introduction of additional time correlated noise degrades the certainty of the velocity estimates. This then degrades the ability to detect offsets, and in addition potentially introduces systematic biases into the de- rived reference frame.
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Research on the Influence of Public Art on City Image

Research on the Influence of Public Art on City Image

Nowadays, people pay attention to the economic vitality of a city. The economic im- age of a city is also an important part of city image. The shaping of urban economic image by public art mainly embodies in two aspects, including integrity of the design of public elements and its quality. The height and difficulty of buildings in core area, the degree of prosperity of commercial space, the green coverage ratio of urban road and fitness facility and layout of leisure space are reference indexes of economic image. The public art design shall not only embody independent sensory image but also show integral effect. In this way, it can shape economic image of a city effectively. As a city built in an all-round way after the reform and opening, Shenzhen city has a speed of development that shocks the world. It has reached advanced level in China in public art design and layout. The integrity of public art and quality pursuit has reached unprece- dented height. In recent years, many cities begin to build central business district (CBD). The CBD in Nantong also appears with it. The selection of geographic position and layout of commercial space bases on overall planning. The arrangement of public art is also well-designed. It reflects the continuous economic development of Nantong city. In addition, it shows positive effects brought by public art for the image shaping of Nantong city.
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Art, public authorship and the possibility of re democratization

Art, public authorship and the possibility of re democratization

engagement that was the process of their ‘inscription’. The conflict here revolved around the way the central monument of Coventry’s new central plaza, under the aegis of the Phoenix, was to thematise not the War but colonialism, for which there was no available popular rhetoric, and (at the time) no officially sanctioned standpoint. The historic enmity with Germany (something popularly understood) was displaced and contextualized within a broader historical movement of European empires and their territorial disputes, population shifts and the politics of forced cultural adaptation. The civic narrative of annihilation and resurrection was not opposed, but contested and relativised, or applied to other national or personal experiences, such as our ‘German Friends’ themselves (Figure 6). The officially sanctioned public signifier of the monument now positioned its contributors within a collective polemic on the cultural appropriation of history. This raised and still raises an issue internal to public art strategy, an issue on the historicity of British public spaces – what forms of civic authority are invested in new public spaces, that at once are becoming ‘Europeanized’, with their new plazas and street cafes, but also governed by and still perpetuate parochial rhetorics? How can art mediate or subvert processes of civic self-legitimacy that are closed to mainstream politics?
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Investment Decision Analysis for Public Art Exhibitions

Investment Decision Analysis for Public Art Exhibitions

Abstract In recent years, China’s growing cultural industry has significantly enhanced the region’s cultural level and recognized public art and continues to develop the creative industry in various Chinese cities (except Beijing, Shanghai, and Canton). Through large-scale international public art exhibitions, each city in China intends to increase its cultural competitiveness, establish an image, and develop its cultural tourism industry and cross-border cultural exchange. By doing so, they hope to produce a combined movement toward creating a sustainable cultural art industry. This study examines the strategies undertaken to conduct the exhibition for the public art installation, the Rubber Duck, by Florentijn Hofman. In particular, it focuses on Hofman’s Chinese agencies and the exhibition organizers in the city of Hangzhou and investigates whether random public art indicators influence the estimated effects prior to the exhibition and if there are actual benefits after the exhibition. This study evaluates profits and investments using net present value, internal rate of return, and game options. An analysis of existing mathematical models reveals that such models can provide analytical results across varying time periods. The results of the present model can help decide whether one should invest or turn down an exhibition in a given city.
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The Art of Public Speaking   Dale Carnagey pdf

The Art of Public Speaking Dale Carnagey pdf

What is true of gesture is true of all life. If the people on the street turn around and watch your walk, your walk is more important than you are−−change it. If the attention of your audience is called to your gestures, they are not convincing, because they appear to be−−what they have a doubtful right to be in reality−−studied. Have you ever seen a speaker use such grotesque gesticulations that you were fascinated by their frenzy of oddity, but could not follow his thought? Do not smother ideas with gymnastics. Savonarola would rush down from the high pulpit among the congregation in the duomo at Florence and carry the fire of conviction to his hearers; Billy Sunday slides to base on the platform carpet in dramatizing one of his baseball illustrations. Yet in both instances the message has somehow stood out bigger than the gesture−−it is chiefly in calm afterthought that men have remembered the form of dramatic expression. When Sir Henry Irving made his famous exit as "Shylock" the last thing the audience saw was his pallid, avaricious hand extended skinny and claw−like against the background. At the time, every one was overwhelmed by the tremendous typical quality of this gesture; now, we have time to think of its art, and discuss its realistic power.
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A Survey of State of the Art in Public Key Infrastructure

A Survey of State of the Art in Public Key Infrastructure

Currently, the most widely used application using a PKI solution is the web-browser. The used PKI solution is greatly simplified. The browsers have a pre-installed set of root certificates of trusted CAs and the web-servers they communicate with may have a certificate issued by one of those trusted CAs. Those CAs are mainly commercial ones and have a self-issued root certificate. It is the implementor of the web- browser that has taken the decision of which CAs to trust. Note that, the end-users can install root certificates of other CAs that they trust in their web-browser. Most browsers check the validity of the web-server’s certificate with respect to its validity period but do not support certificate revocation. The commonly used security protocol for exchange of information between the web- browsers and servers is the Secure Socket Layer (SSL). When using this protocol, the web-server will first send its certificate to the web-browser that checks the signature using the root certificate of the issuing CA. The browser then uses the web–server’s public key to send a one-time key to the web-server. This approach is regarded as pretty secure, but Ellison and Schneider point out some security issues, both for PKI in general, and SSL in [23]. Transport Layer Security (TLS) [18] has evolved from SSL, and is proposed by IETF as a replacement for SSL.
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ART IN EDUCATION THE CURRICULUM DOCUMENT COLCHESTER PUBLIC SCHOOLS ART PRE K - 12 LOOKING AT ART WITH A VISION

ART IN EDUCATION THE CURRICULUM DOCUMENT COLCHESTER PUBLIC SCHOOLS ART PRE K - 12 LOOKING AT ART WITH A VISION

he Colchester Art Educators’ vision includes a sequential program emphasizing visual literacy aligned with state and national standards. Instruction must be provided by certified art educators under conditions that make art learning possible. Art learning is designed to meet the specific developmental needs of the students at each grade level. This insures that we provide a “planned, ongoing, and systematic” 1 visual arts program for

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Age and site-specific pattern on encrustation of charophytes

Age and site-specific pattern on encrustation of charophytes

of the water was not required (Nõges et al. 2003; Kufel et al. 2016). Several authors pointed out the importance of site-specificity, and the influence that depth, tem- perature, pH, and water chemistry parameters have on the encrustation of charophytes (Kufel et al. 2013, 2016; Pukacz et al. 2016a, b). So far age dependent encrustation was analyzed by Kawahata et  al. (2013); younger inter- nodes of C. globularis Thuill. 1799 were less encrusted than older ones. In situ studies on encrustation regard- ing age and site-specificity have never been done. There- fore, encrustation was analyzed in parts of corticated thallus for C. canescens Loisel. 1810, C. hispida L. 1753, C. subspinosa Rupr. 1846 and C. tomentosa L. 1753 from five areas of water in Germany. We investigated whether carbonate and element (Ca, Fe, K, Mg and P) contents of plant dry weight (DW) are dependent on thallus age and sites sampled. Furthermore, photosynthesis was meas- ured to identify the physiological state of plants in habitat waters and with the addition of different ion concentra- tions (Ca 2+ , K + , Mg 2+ and Na + ).
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Queerying Public Art in Digitally Networked Space

Queerying Public Art in Digitally Networked Space

I have come to experience Tree’s digitally networked space as one that is filled with ambiguity in meaning and fractures in social engagement. I do not only recognise the Christmas tree, a butt plug in disguise (or the other way round), as indictment of (the hegemonic pleasures of) capitalism within the oeuvre of McCarthy’s work. There is a compelling analogue with academic debates that produced a similar critique. Sedgwick (1993) coined the term ‘Christmas effect’ in reference to what Gibson-Graham (1999, 80) described as “the ‘depressing’ set of [capitalist] circumstances” in their seminal work Queer(y)ing Capitalism – which has been adopted in a larger, ongoing theoretical and political project challenging neoliberal ideologies (see Yekani et al., 2013). Detamore (2010a, 60) defined the ‘Christmas effect’ as one that “brings the multiple voices such as the Church, State, markets, media, and so on into a monolithic voice aiming toward the expectation of a similar predictable outcome (in this case Christmas)”. For me, the material volume of Tree set forth such monolithic voice. At the same time, its inscribed art codes queeried the imposed expectations/predictabilities of which art forms and intimacies are ‘normal’ for being/becoming exhibited in the public sphere.
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Development of a novel DDS for site-specific PEGylated proteins

Development of a novel DDS for site-specific PEGylated proteins

To construct fully bioactive TNF-a in which all the lysine residues were replaced with other amino acids, we employed the “molecular evolution strategy” developed in our laboratory to artificially create functional muteins using our phage display system[32,33]. Phage libraries displaying polypeptides, such as naive antibodies or ran- dom peptides, have been extensively used for identifying specific molecules with high affinity for a target ligand [34-36]. The advantages of a phage display system are easy preparation of a library consisting of structural var- iants of a polypeptide as diverse as over one hundred million and isolation of several targeted ligand-binding molecules from this library in few weeks. There are, however, few studies in which the phage display techni- que has been used to create therapeutically useful struc- tural variants of a bioactive protein, such as a mutein with stronger bioactivity and longer plasma half-life. To create a lysine-deficient mutant TNF-a, a phage library displaying mutant TNF- a lacking any lysine residue was prepared, and it consisted of < 1 × 10 8
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Site Specific Uncertainty in Regional Haze RuleHaze Indexes

Site Specific Uncertainty in Regional Haze RuleHaze Indexes

To establish uncertainty in regulators baseline and natural visibility estimates from using 3-years to 5-years of data, this study compiled site-specific 5-year average 20% worst and 20% best light scattering HI visibility values and compared them to worst-case IMPROVE light extinction model visibility predictions using 3-years, 4-years and 5-years of data. Seven sites were found to have enough days (35 days minimum) of data by year and at least 5 consecutive years of data to perform this analysis. Table 3 shows the 3-years, 4-years and 5-years IMPROVE model highest visibility over predictions are 3.8, 3.3 and 3.0 dV of 5-years of site-specific 20% best nephelometer HI data. The 3-years, 4-years and 5-years IMPROVE model highest visibility over predictions are 3.1, 2.6 and 2.2 dV of 5-years of 20% worst nephelome- ter HI data. To extrapolate these findings from the 7-sites with enough data to make this comparison to all 20-sites with data, the 4-years IMPROVE model worst-case 20%
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Un-Natural Histories: The Specimen as Site of Knowledge Production in Contemporary Art

Un-Natural Histories: The Specimen as Site of Knowledge Production in Contemporary Art

Zurr goes on to elaborate on the level of care required by the semi-livings, including daily “feedings” that consisted of replacing the nutrient solution that maintained the tissue cultures, performed in front of a window for better audience viewing. Here we can observe that, much like Dr. Couney and his incubator-maintained infants, the necessities of care are presented as both ritual and spectacle. It is also clear however, that Catts and Zurr are concerned with the ethics of maintaining these non-sentient semi-living clusters of cells. As with many of Tissue Culture and Art’s subsequent projects, the worry dolls could not be maintained indefinitely or brought back to Australia after being exhibited, and as a result were subject to the killing ritual. As Zurr has observed, the act of killing the work of art is not a neutral act. Audience members who have made multiple visits to the exhibition and have confessed their fears to the dolls have found the experience particularly affective. 75 The killing ritual draws attention to the fragility of life (in both the living and the semi-living) and can be perceived as a compassionate gesture, the “euthanasia of a living being that has no one to care for it.” 76 She also observes, “On more than one occasion people from the audience have approached us after the ritual and admitted that initially they did not believe our sculptures were alive until they were killed.” 77 This reaction may speak to the disconnect that we form when we view a specimen that has been preserved or otherwise housed behind glass in a museum vitrine, and in this case a bioreactor. Although we may recognize it as something that may be, or may have been, alive, the presence of the vitrine acts as a buffer to our ability to perceive that liveliness. The glass separates the viewer and the object and puts it in a different
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Site specific metabolic phenotypes in metastatic breast cancer

Site specific metabolic phenotypes in metastatic breast cancer

glycolysis-related proteins is higher in brain and lung metastases, which consist of more TNBC cases. Another possible reason is the variety of influences from circula- tion tumor cells (CTC). Given that CTC, defined as can- cer cells in the blood of cancer patients, plays a significant role in the metastatic process, CTC and its metabolites have an influence on metastatic properties. This may re- sult in site specificity according to metastatic site; how- ever, further study is required [27]. One other reason is the different metabolic characteristics of metastatic sites. For example, given that bone tissue creates the hematopoietic cells, the metabolites of bone tissue are expected to differ from those of liver, brain, or lung. This is supported by the fact that immune-responsive tissue and immune-privileged tissues are reported to show different cellular compositions, as well as different metabolic and immunological responses [28].
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The effect of attachment site mutations on strand exchange in bacteriophage lambda site-specific recombination.

The effect of attachment site mutations on strand exchange in bacteriophage lambda site-specific recombination.

Segregation pattern of overlap region mutations during integrative recombination: The segregation patterns of attP-2A and attP-2G core mutations into attL or attR were mea[r]

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Guidelines Public Art Acquisitions and Deaccessions Purpose

Guidelines Public Art Acquisitions and Deaccessions Purpose

The City of Sydney’s City Art Collection includes monuments, memorials, sculptures and fountains located in public spaces. As a collection it reflects the history and creative heart of the City and contributes significantly to the beauty of the public domain.

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Site-Specific Isotopes in Small Organic Molecules

Site-Specific Isotopes in Small Organic Molecules

peratures relevant to geological and planetary problems. These calculations allow us to create an equilibrium framework for interpretation of data produced by emerging tech- niques for the measurement of multiply substituted and position-specific isotopologues, and to explore topics such as thermometry, isotopic structures inherited from substrates (and thus formation pathways), and kinetic degradation of molecules. Some of the sim- plest and most useful of these tools are thermometers based on temperature-dependent homogeneous isotope exchange equilibria, some of which exhibit large amplitudes com- pared to demonstrated analytical precisions (e.g., site-specific D distribution in propane). These geochemical tools are already demonstrably impacting the study of natural sources of methane, ethane and propane (Stolper et al., 2014b; Clog et al., 2013; Piasecki and Eiler, 2012). Extension of these methods to additional isotopologues of these small alka- nes, and to other organic compounds generally, promises to advance our understanding of a variety of applied problems related to energy resources, associated pollution, biolog- ical sources and sinks of these compounds, and atmospheric chemistry of hydrocarbons, among other subjects.
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