| 1. |
|
|
| 2. |
- Abdel-Khalek, Ahmed A., et al.
(author)
-
Chemical Studies on Uranium Extraction from Concentrated Phosphoric Acid by Using PC88A and DBBP Mixture.
- 2011
-
In: Journal of Radioanalytical and Nuclear Chemistry. - : Springer. - 0236-5731 .- 1588-2780. ; 290, s. 353-359
-
Journal article (peer-reviewed)abstract
- Liquid–liquid extraction of U (VI) from concentrated phosphoric acid by using (2-ethyl hexyl) phosphonic acid, mono (2-ethyl hexyl) ester (PC88A) and di-butyl butyl phosphonate (DBBP) has been investigated. The effect of different factors affecting the extraction process (PC88A concentration, DBBP concentration, shaking time, aqueous/organic phase ratio, phosphoric acid concentration and effect of diluents) have been investigated. The obtained data of temperature on the extraction showed that the enthalpy change is −17.15 kJ mol−1. Uranium was extracted from the strip liquor by using di (2-ethylhexyl) phosphoric acid and tri-octyl phosphine oxide mixture and finally converted to a high purity UO3 product using precipitation with hydrogen peroxide and heat treatment at 365 °C.
|
|
| 3. |
-
Action Research in Circus; Learning the Methods of Teaching the Methods of Artistic Research.
- 2011
-
Editorial proceedings (peer-reviewed)abstract
- In 2011, circus as an art form had only recently entered into the circuits of artistic education at a university level and into artistic research. A working group at the Circus department Stockholm University of the Arts, formely knows as DOCH, has been teaching, analyzing and documenting a particular course that concerned the methods of artistic exploration in circus. The purpose of the project was to address the following question: which pedagogical methods can we develop to prepare students for the methods of artistic exploration and research, specifically in circus? Or in other words: how can we learn the method of teaching the methods of artistic research in the field of circus? The described project was initiated and directed by Marie-Andrée Robitaille. This documentation was written by Camilla Damkjaer in collaboration with Marie-Andrée Robitaille and the presentation was made with the participation of circus students from the bachelor program in circus arts namely Nathalie Bertholio, Quim Giron Figuerola, Patrik Elmnert.
|
|
| 4. |
- Akner-Koler, Cheryl, et al.
(author)
-
Aesthetics and nanostructure
- 2011
-
In: International Innovation. - : Research Media. - 2041-4552. ; :6, s. 97-97
-
Journal article (other academic/artistic)abstract
- Professors Cheryl Akner-Kohler and Lena Tibell of the Nanoform project describe the artistic methods and benefits that it might afford to both science and society.
|
|
| 5. |
- Almgren, Martina
(author)
-
Album Freedom of Movement - Oh Yeah Orchestra
- 2011
-
In: Album release 22 October 2011 (Imogena Records).
-
Artistic work (other academic/artistic)abstract
- "Freedom of Movement" is to a large extent the music that Martina Almgren was commissioned to write for her tentet Oh Yeah Orchestra at the opening concert at Swedish Jazz Celebration in Gothenburg 2009. The original suite has here been supplemented with five parts. There’s a sort of red thread that makes me associate to different kinds of movement. The rhythmic is consistently the hub and characteristic of the music, it is heard in drum and percussion playing and permeates compositions and instrumentation and voices. The album was recorded and mixed by sound engineer Åke Linton together with Owe and Martina Almgren in Bohus Sound Recordings. Lisen Rylander Löve -Soprano and Tenor Saxophone, Björn Almgren - Soprano and Tenor Saxophone, Karin Burman - Voice. Magnus Broo - Trumpet, Niclas Rydh - Trombone and Tuba, Petra Lundin - Cello, Tommy Kotter . Piano, Owe Almgren - Electric Bass, Ebba Westerberg - Percussion and Berimbau, Martina Almgren - Drums, Sizzleboard and Hang, "To think like a drummer has its advantages. Martina’s melody lines are as infectious as her rhythms are enticing. Sometimes it sounds deceptively easy, like it can look easy when circus artists do their tricks." Lars-Göran Ulander director for Swedish Jazz Radio P2.
|
|
| 6. |
- Almgren, Martina, et al.
(author)
-
Oh Yeah Project - Commission for Edinburgh Jazz Festival 2010
- 2010
-
In: Edinburgh Jazz Festival 8 august 2010.
-
Artistic work (other academic/artistic)abstract
- A continuation of the collaboration between Swedish drummer Martina Almgren and Scottish alto saxofonist Laura Macdonald . A commission from Assembly Direct Scotland to compose for a larger ensemble - The Oh Yeah Project - including Swedish and Scottish musicians to be performed at Edinburgh Jazz Festival. Musicians from Scotland: Laura Macdonald - alto sax, Lorna McDonald - bass tbn, Steve Hamilton - piano, Suu-a Lee cello and from Sweden: Staffan Svensson trumpet, Karin Burman - voice, Joakim Milder - tenor sax, Martina Almgren - drums, Owe Almgren - bass. The performance was very well received and the Oh Yeah Project was 2012 invited to Sweden by Kultur i Väst for a six-concert long tour in Western Sweden including a recording by the Swedish Jazz Radio. This time with Ryan Quigley - trumpet (Scot) and Annie Egecioglu - cello (Swe).
|
|
| 7. |
|
|
| 8. |
- Altés Arlandis, Alberto, 1978-, et al.
(author)
-
Hybrid collaborative art practices in contemporary public space
- 2010
-
In: Sala d'Art Jove 2009. - Barcelona : Generalitat de Catalunya Departament d’acció Social i Ciutadania. - 9788461428700 ; , s. 230-237
-
Book chapter (other academic/artistic)abstract
- Do you see a capacity for transforming the city, its spaces or the use we make of them in artistic practice? Which public spaces do you use most day to day? Is there hope for the Santa Esperança public laundry? Do you think that Somanyprojects’ action has served to reactivate this space and awaken it in the town’s collective imaginary? Do you know of any other public space particular to women? What does the perspective of an artist offer us that an architect’s doesn’t consider when intervening in a space? What does a collaborative art practice consist of? Can an intervention of this type lead to some type of agencement on the part of the community? Would it be viable to consider more alternative uses of water such as public baths? How do you assess artistic practice as a work methodology for participatory urbanism projects? Would you be in favour of other activities being undertaken in public laundries besides washing clothing and the promotion of tourism? Are we very far off on the part of politicians from designing the cities where we want to live based on the needs of the citizens themselves? Do you have any questions for us? Do you have any questions for yourself?
|
|
| 9. |
- Altés Arlandis, Alberto, 1978-, et al.
(author)
-
Performing public space : pràctiques artistico-collaboratives híbrides a l’espai públic contemporani
- 2010
-
In: Sala d'Art Jove 2009. - Barcelona : Generalitat de Catalunya Departament d’acció Social i Ciutadania. - 9788461428700 ; , s. 129-143
-
Book chapter (other academic/artistic)abstract
- Veus en la pràctica artística la capacitat per transformar la ciutat, els seus espais o bé l’ús que en fem? Quins són els espais públics que més utilitzes en el teu dia a dia? Hi ha esperança per al safareig de Santa Esperança? Creus que l’acció de Somanyprojects ha servit per fer reactivar aquest espai i despertar-lo en l’imaginari col·lectiu del poble? Coneixeu algun altre espai públic que sigui propi de les dones? Què ens ofereix la mirada d’un artista que no contempli la d’un arquitecte a l’hora d’intervenir en un espai? En què consisteix una pràctica artistico-col·laborativa? Una intervenció d’aquest tipus pot conduir a alguna forma d’agenciament per part de la comunitat? Seria viable contemplar usos més alternatius de l’aigua com ara uns banys públics? Com valores la pràctica artística com a metodologia de treball per a projectes d’urbanisme participatiu? Us semblaria bé que s’hi realitzessin als safareigs altres activitats a part de rentar roba i de difusió turística? Estem molt lluny per part dels polítics de pensar les ciutats on volem viure a partir de les necessitats del propi ciutadà? Tens alguna pregunta a fer-nos? Alguna a fer-te a tu mateix?Performing Public Space es una veu múltiple, una artista de Missouri, un catedràtic d’universitat, un arquitecte, un regidor d’urbanisme, un regidor de cultura, la directora d’un museu, uns comissaris, un educador i investigador de l’art, unes cinc dones que encara renten en un safareig, una família, un parell de doctorands i tots aquells que no hi han estat inclosos. També es una sèrie d’agraïments.Es una redefinició i construcció d’espai públic a partir d’una mirada multidisciplinària sobre l’espai comú , l’art i la vida quotidiana. Potser es una pràctica artística col·laborativa hibrida que posa de manifest accions, iniciatives, propostes i reconeixements al voltant d’un espai molt específic i peculiar com ara els safareigs d’aigua termal.
|
|
| 10. |
- Altés Arlandis, Alberto, 1978-, et al.
(author)
-
Rethinking public space : other public spaces: community, hybrid collaborative art practices and urban reactivation
- 2010
-
Book (other academic/artistic)abstract
- Rethinking Public Space is a research project by Marta Serra Permanyer and Alberto Altés Arlandis that tries to approach the diverse processes of production and transformation of contemporary public spaces as well the relationships that are often established between art, everyday life and the space of the city. The project, that takes a closer look at a series of interventions in the village of Caldes de Montbui (Barcelona) trying to reflect around the idea of hybrid collaborative art practice, has been possible thanks to a research grant obtained from the Sala’d’Art Jove de la Secretaria de Joventut de la Generalitat de Catalunya.The idea was submitted as a proposal to a call for projects during the year 2008 and was selected in the research category. The project has been carefully and attentively tutored by Montse Romaní, who has been able to provide her experience and help in a very generous way while supervising the project.
|
|
