| 1. |
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A Place in Europe : Proposed project description peered by Project Anywhere
- 2017
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Konstnärligt arbete (refereegranskat)abstract
- This is not conceived as an exclusive work but rather a demonstrably inclusive one (albeit resistant to the logic of circular reproduction). Within the process of artistic research and a developing practice, new methods might constitute another form of art. The project has been centered upon the idea of a round table at which a number of people with different competences have collaborated productively to build the project. The divergent competences that make up the project team have all contributed to the development of A Place in Europe, and moreover worked to challenge conventional practices and forms of knowledge belonging to the various fields of expertise in order to foster a spirit of experimentation and novelty. The key point of departure for all collaborators has been the value of approaching the topic from a creative base, and in doing so striving to exchange ideas in a productive manner with others, both at the site and within the process of developing the project and presentation. We have also been collectively mindful of the potentially asymmetrical power relations at play in any process during which “we” film and interact with “them”. We do not seek to speak for ”them” but rather use our collective desire to explore a more inclusive society.
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| 2. |
- Abdel-Khalek, Ahmed A., et al.
(författare)
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Chemical Studies on Uranium Extraction from Concentrated Phosphoric Acid by Using PC88A and DBBP Mixture.
- 2011
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Ingår i: Journal of Radioanalytical and Nuclear Chemistry. - : Springer. - 0236-5731 .- 1588-2780. ; 290, s. 353-359
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Tidskriftsartikel (refereegranskat)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.
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| 3. |
- Abdulle, Assyr, et al.
(författare)
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Exponential decay of the resonance error in numerical homogenization via parabolic and elliptic cell problems
- 2019
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Ingår i: Comptes rendus. Mathematique. - : Elsevier BV. - 1631-073X .- 1778-3569. ; 357:6, s. 545-551
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Tidskriftsartikel (refereegranskat)abstract
- This paper presents two new approaches for finding the homogenized coefficients of multiscale elliptic PDEs. Standard approaches for computing the homogenized coefficients suffer from the so-called resonance error, originating from a mismatch between the true and the computational boundary conditions. Our new methods, based on solutions of parabolic and elliptic cell problems, result in an exponential decay of the resonance error.
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| 4. |
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| 5. |
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Action Research in Circus; Learning the Methods of Teaching the Methods of Artistic Research.
- 2011
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Proceedings (redaktörskap) (refereegranskat)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.
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| 6. |
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Acts of Seeing
- 2018
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Konstnärligt arbete (refereegranskat)abstract
- Stefanie Malmgren de Oliviera, PhD student from the Swedish School of Textiles at the University of Borås, exhibits her PhD research, focusing on fashion and seeing. De Olivieras work investigates how various and subjective ways of seeing influence the design process. She invites visitors into a normally secluded world where designers visions become reality. The exhibition displays sculpturally wrapped fabrics, photography and poems. There is also an interactive part where visitors can use their own imagination to drape mannequins by themselves.
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| 7. |
- Acuña, José, 1982-, et al.
(författare)
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Distributed thermal response tests on pipe-in-pipe borehole heat exchangers
- 2013
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Ingår i: Applied Energy. - : Elsevier BV. - 0306-2619 .- 1872-9118. ; 109:SI, s. 312-320
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Tidskriftsartikel (refereegranskat)abstract
- Borehole Thermal Energy Storage systems typically use U-pipe Borehole Heat Exchangers (BHE) having borehole thermal resistances of at least 0.06 K m/W. Obviously, there is room for improvement in the U-pipe design to decrease these values. Additionally, there is a need for methods of getting more detailed knowledge about the performance of BHEs. Performing Distributed Thermal Response Tests (DTRT) on new proposed designs helps to fill this gap, as the ground thermal conductivity and thermal resistances in a BHE can be determined at many instances in the borehole thanks to distributed temperature measurements along the depth. In this paper, results from three heat injection DTRTs carried out on two coaxial pipe-in-pipe BHEs at different flow rates are presented for the first time. The tested pipe-in-pipe geometry consists of a central tube inserted into a larger external flexible pipe, forming an annular space between them. The external pipe is pressed to the borehole wall by applying a slight overpressure at the inside, resulting in good thermal contact and at the same time opening up for a novel method for measuring the borehole wall temperature in situ, by squeezing a fiber optic cable between the external pipe and the borehole wall. A reflection about how to calculate borehole thermal resistance in pipe-in-pipe BHEs is presented. Detailed fluid and borehole wall temperatures along the depth during the whole duration of the DTRTs allowed to calculate local and effective borehole thermal resistances and ground thermal conductivities. Local thermal resistances were found to be almost negligible as compared to U-pipe BHEs, and the effective borehole resistance equal to about 0.03 K m/W. The injected power was found to be almost evenly distributed along the depth.
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| 8. |
- Adler-McKean, Jack
(författare)
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Brass instruments, techniques, and repertoire in the early twenty-first century
- 2024
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Ingår i: The Oxford Handbook of Wind Instruments.
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Bokkapitel (refereegranskat)abstract
- This chapter assess the state of brass instruments and their associated repertoire and performance practices in the early twenty-first century. Technological innovations and manufacturing developments from recent decades are outlined, as well an examination of how performance techniques have evolved and adapted to meet the demands of modern musicians. Finally, an overview is given of contemporary composition for brass, including examples of repertoire for trumpet, horn, trombone, and tuba, as well as ensemble deployment in compositions from the last quarter-century.
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| 9. |
- Adler-McKean, Jack
(författare)
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The History and Future of the Tuba Family : Material-, Resonance-, and Performance-Based Perspectives
- 2024
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Ingår i: Timbre and Orchestration Resource.
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Tidskriftsartikel (refereegranskat)abstract
- This paper proposes an examination of the intersections of materiality, acoustics, and musical performance practice through the prism of instruments of the tuba family.[*] Investigation into the symbiotic relationship between instrumental evolution and performance practice is a crucial facet of any study of timbre and orchestration. The development of musical objects to produce the sound colors demanded by aesthetic trends and compositional desires (or vice versa) has an inevitable impact upon both performance and pedagogical traditions. Gone unchecked, such transformations can easily solidify as common practices, and are soon followed unquestioningly by new generations of performers. This can result in a rarefication of the palette of timbres available to musicians, be they interested in evaluating the music of the past or exploring the music of the future.Such a risk is particularly acute in the case of the tuba family, the least-examined subsection of the labrosones (or “brass” instruments), and as such particularly vulnerable to isolationist performance practices.[1] Such “ghettos of interest” (Wills, 1997, p. 176) are reflected in contemporary academic and performance-based practices, implying an urgent need to both propagate an understanding of, and develop a means of knowledge transfer between, the organological, acoustical, physiological, and logistical parameters which define how music is made using instruments of the tuba family. Performance-based historical organology and acoustic analysis can illuminate how an instrument’s history informs discussions concerning the sound colors available to performers and composers. An interdisciplinary critical-experimental approach to a wide range of knowledge sources—from early-nineteenth-century newspaper reports to electro-acoustic organological experimentation—can thus provide a means of examining the complex relationship that performers have with their instruments.Attending to the above assessment, this article demonstrates how analytical processes can be applied to tuba family performance and pedagogical practices, book-ended by two diverse case studies. I first employ a combination of historical organology and practice-based research to illustrate how instruments of the tuba family that preceded the invention of the valve in around 1814 evolved as composers began adopting them into their orchestras. Audio-visual resources are then presented as a means of overcoming entrenched uncritical interpretational traditions. Following this, an overview of twentieth- and twenty-first-century appraisals of the tuba family juxtaposes the benefits provided by an acoustics- and resonance-based analysis of labrosones. This is then demonstrated in my second case study, which presents nascent findings from my ongoing experiments with electroacoustic resonant systems. These examples demonstrate how both historical and analytical organology can be used in combination with artistic research to form a rigorous, historical- and data-driven study that has the potential to have significant impact on contemporary performance practice.
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| 10. |
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After Work : A book about the meaning of Work
- 2022. - 1
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Economic stress under wage-earning has been abolished. Machines and AI have taken over dirty, heavy and tedious work. Money and social injustice are banned. All the technological resources of humanity can be used to reset the global economy to harmonize with ecology. Free citizens can spend their time in leisure practicing music, art, and poetry.Visions of the future are already here. But is it a utopia that we are seeing materializing around us or a dystopia? What will happen to people when nobody wants their labor? Does there already exist a firm border between those who have a job, with all that it entails in social and economic benefits, and the people that are on the other side of the fence- the people that have to sell their work by the hour, and who in practice are modern slaves under apps and SMS? A division between people who can safely work from home during a pandemic and those who cannot. Is everything for sale? Can you sell voluntary labour? These are some of the questions discussed in the art projects documented in this book.
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