Starting from the ontology of performance by Peggy Phelan, the article seeks to demonstrate the ontogenesis of performance, showing how performance has been manifested in various forms from its ...beginnings. Performance is analysed in the context of a new artistic practice in the 1960s and 1970s, where porous boundaries between artistic disciplines led to the fruitful permeation of performance, photography, video, film, and conceptual art. Special attention is paid to the medium specificity of performance as a nonmaterial art form and to its representation, documentation, archiving, and exhibition. The last section of the text is dedicated to reperformance as a recently emerged form of repetition and documentation and to the use of performance in light of the increased interest in preserving the live art of the past.
The subject of this doctoral dissertation is appropriation as a creative procedure in the 20th century art from its origins within the fold of the historical avant-garde (readymade, collage, ...photomontage) to the contemporary practices of postappropriation. Appropriation is defined as an instrument of transfer of the elements from one system of meanings or art discourse to another, or as an act of creation which is strategically reaching for the extant artistic or non-artistic artifacts and using them as material to produce new artistic creations. Examination of appropriation as a creative procedure requires analysis of a variety of heterogeneous conceptual, linguistic, thematic, generic, technological, media, cultural and other aspects of use of the appropriated elements in creation of new works of art. The concept of appropriation was first introduced into the vocabulary of art criticism in the early eighties of the last century to describe a range of procedures applied in the postmodern art, based on appropriations of the artistic and cultural texts in paintings, objects, photography and video. At the same time the concept was examined from a historical point of view, which provided an index of its diverse historical manifestations in the modern art and drafted the lineage of appropriation art in the 20th century which continues to this date. So far the lineage of appropriation art has not been exhaustively profiled or thoroughly studied in art history and the purpose of this dissertation is to expand and revise current knowledge about the phenomenon which pertains to a number of significant individual and collective art practices of the last century. Rereading of the art of appropriation should open new insights needed for proper understanding of the various forms of repetition, transformation and relocation in the artistic practice, the revolutionary significance of appropriation practices and their impact in the world of art. Investigation of the poetics and politics of appropriation also requires indexing of the highly complex networks of relations between the identity of the artistic subject, artistic creation and material practices in art, culture and society, as well as analytical and critical examination of the extant interpretations of appropriation in art history and theory.
Predmet doktorske disertacije je aproprijacija kao stvaralačka procedura u umetnosti 20. veka, u rasponu od njene pojave u krilu istorijskih avangardi (redimejd, kolaž, fotomontaža) pa sve do savremenih praksi postaproprijacije. Aproprijaciju definišemo kao instrument prenosa elemenata iz jednog u drugi sistem značenja ili umetnički diskurs, odnosno kao akt stvaranja koji strategijski poseže za postojećim, umetničkim ili neumetničkim, tvorevinama kao građom za konstituiciju nove umetničke tvorevine. Kada razmatramo aproprijaciju kao stvaralačku proceduru onda podrazumevamo heterogene idejne, jezičke, tematske, žanrovske, tehničke, medijske, kulturološke i ostale aspekte upotrebe prisvojenih elemenata u kreaciji umetničkog dela. Pojam aproprijacija je u vokabular umetničke kritike uveden početkom osamdesetih godina prošlog veka kako bi opisao lepezu stvaralačkih procedura postmodernističke umetnosti zasnovanih na slikarskom, objektnom, fotografskom i videografskom prisvajanju umetničkih i kulturnih tekstova. U isto vreme, ovaj je pojam počeo da se razmatra i u istorijskoj perspektivi koja je indeksirala raznorodne instance njenog ispoljavanja u modernoj umetnosti, čime je skicirana aproprijacionistička linija umetnosti 20. veka čije kontinuirano prisustvo pratimo sve do danas. Aproprijacionistička linija umetnosti nije do kraja profilisana ni sveobuhvatnije razmatrana u istorijsko-umetničkoj nauci ni u svetu ni kod nas i stoga je cilj ove disertacije da produbi i revidira postojeći fond znanja o ovom fenomenu koji obuhvata brojne značajne, individualne i kolektivne, umetničke pojave koje su obeležile umetnost prošlog veka. Ponovno čitanje umetnosti prisvajanja donosi nove uvide neophodne za razumevanje različitih oblika ponavljanja, preobražaja i premeštanja u umetničkoj praksi i omogućava da se shvati revolucionarni značaj pojave aproprijacije, kao i reperkusija po svet umetnosti koje je ona za sobom ostavila. Istraživanje poetika i politika aproprijacije takođe podrazumeva i indeksiranje složenih mreža odnosa između identiteta umetničkog subjekta, umetničke kreacije i materijalne prakse umetnosti, kulture i društva, kao i analitičko-kritičko preispitivanje postojećih istorijsko-umetničkih i teorijskih interpretacija aproprijacije.
Predmet doktorske disertacije je aproprijacija kao stvaralačka procedura u umetnosti 20. veka, u rasponu od njene pojave u krilu istorijskih avangardi (redimejd, kolaž, fotomontaža) pa sve do ...savremenih praksi postaproprijacije. Aproprijaciju definišemo kao instrument prenosa elemenata iz jednog u drugi sistem značenja ili umetnički diskurs, odnosno kao akt stvaranja koji strategijski poseže za postojećim, umetničkim ili neumetničkim, tvorevinama kao građom za konstituiciju nove umetničke tvorevine. Kada razmatramo aproprijaciju kao stvaralačku proceduru onda podrazumevamo heterogene idejne, jezičke, tematske, žanrovske, tehničke, medijske, kulturološke i ostale aspekte upotrebe prisvojenih elemenata u kreaciji umetničkog dela. Pojam aproprijacija je u vokabular umetničke kritike uveden početkom osamdesetih godina prošlog veka kako bi opisao lepezu stvaralačkih procedura postmodernističke umetnosti zasnovanih na slikarskom, objektnom, fotografskom i videografskom prisvajanju umetničkih i kulturnih tekstova. U isto vreme, ovaj je pojam počeo da se razmatra i u istorijskoj perspektivi koja je indeksirala raznorodne instance njenog ispoljavanja u modernoj umetnosti, čime je skicirana aproprijacionistička linija umetnosti 20. veka čije kontinuirano prisustvo pratimo sve do danas.Aproprijacionistička linija umetnosti nije do kraja profilisana ni sveobuhvatnije razmatrana u istorijsko-umetničkoj nauci ni u svetu ni kod nas i stoga je cilj ove disertacije da produbi i revidira postojeći fond znanja o ovom fenomenu koji obuhvata brojne značajne, individualne i kolektivne, umetničke pojave koje su obeležile umetnost prošlog veka. Ponovno čitanje umetnosti prisvajanja donosi nove uvide neophodne za razumevanje različitih oblika ponavljanja, preobražaja i premeštanja u umetničkoj praksi i omogućava da se shvati revolucionarni značaj pojave aproprijacije, kao i reperkusija po svet umetnosti koje je ona za sobom ostavila. Istraživanje poetika i politika aproprijacije takođe podrazumeva i indeksiranje složenih mreža odnosa između identiteta umetničkog subjekta, umetničke kreacije i materijalne prakse umetnosti, kulture i društva, kao i analitičko-kritičko preispitivanje postojećih istorijsko-umetničkih i teorijskih interpretacija aproprijacije.
Nakon pojave kompilacije pod nazivom "Techno! The New Dance Sound of Detroit" (Virgin, 1988) kojom je detroitski zvuk (koji se do tada smatrao podžanrom čikaškog housea i nije imao specifičan naziv) ...doživeo svoju globalnu promociju, prefiks techno počeo je naširoko da oblikuje neologizme korišćene za generalno imenovanje kulturnih formi i umetničkih praksi zasnovanih na digitalnoj tehnologiji (npr. tehno-kultura, tehno-umetnost, tehno-estetika). Stoga je pojava techno-muzike imala dalekosežniji kulturni značaj nego što je isključivo muzička inovacija: ona je predstavljala prvi vidljiv simptom tehnološki orijentisanih kulturnih rekonfiguracija i kao takva je u kolektivnoj svesti doživljavana kao popularni agens ekspanzivne mašinizacije kulture. ...
Dokumentarni film Liona Gesta Kraljevi ringa (When We Were Kings, 1996) prati zbivanja vezana za legendarni boks meč Muhamed Ali - Džorž Formen održan u Kinšasi (Zair) 1974, kada je Ali po drugi put ...osvojio titulu svetskog šampiona u teškoj kategoriji. Film je montiran od ekskluzivnih materijala koje je Gest snimio u vreme meča (ukupno 32 sata filma), pozajmljenih filmskih i televizijskih materijala, intervjua sa svedocima meča, Alijevima prijateljima i poštovaocima (Norman Majler, Džorž Plimpton, Spajk Li i dr.). O samom filmu (koji je dobio Oskara za najbolji dokumentarni film) dosta je toga već napisano, ali u ovom slučaju film će poslužiti kao dobar povod za širu raspravu o ideološkim, istorijskim, sportskim i kulturnim implikacijama konstrukcije crnog identiteta u SAD i ličnosti samog Muhameda Alija kao jedne od najznačajnijih popularnih crnih ikona 20. veka. ...
Display omitted
•A suitable level of theory for the description of octopamine is B3LYP-D3BJ/6−311 G(d,p).•Additional OH group influences the scavenging reaction rates and thermodynamics.•The dominant ...mechanism of DPPH and ABTS scavenging is SPLET.•Additional bonds are present in β1/β2- adrenergic receptors-norepinephrine complex.•Protein complexes have similar flexibility, interatomic distances and compactness.
Octopamine is a neurotransmitter in invertebrates and a phenol analog of norepinephrine. The crystallographic and spectral (UV–visUV, and NMR) characteristics of octopamine were investigated experimentally and theoretically by applying appropriate level of theory, B3LYP-D3BJ/6-311++G(d,p), which reproduced well the experimental bond lengths and angles. The intramolecular interactions governing the stability of conformers were described by NBO and QTAIM analyses. The antiradical potencies of octopamine and norepinephrine towards DPPH and ABTS+ were examined with special emphasis on the preferred mechanism and effect of catechol moiety. Several techniques were used to distinguish Hydrogen Atom Transfer (HAT) and Proton Coupled Electron Transfer (PCET) mechanisms for reaction with DPPH. The calculated rate constants of the reactions with both radicals showed that Sequential Proton Loss Electron Transfer (SPLET) mechanism was dominant both thermodynamically and kinetically, with values of thermodynamic functions and rate constants clearly proving the importance of the second hydroxyl group in structure. The Molecular Docking and afterward Molecular Dynamics calculations of formed complexes between octopamine/norepinephrine with β1- and β2- adrenergic receptors examined in details the interactions that lead to the formation of stable complexes. The number of strong interactions of amino acids with norepinephrine was higher, but the absence of hydroxyl group in octopamine did not lead to a significant change in the type of interactions and stability. The formed complexes showed higher flexibility of amino acids, similar compactness of structure as proteins and increased interatomic distances of the backbone when compared to pure proteins.
This paper presents a research study conducted in a specially developed laboratory for biometric engineering education. The laboratory gives students an opportunity to learn more about fingerprint ...acquisition and analyze the impact of acquisition on other parts of the biometric authentication process. An IoT approach was used, as different types of sensors (biometric sensors, thermometer, and humidity sensor) and components (heaters and workstations) were included in setting up a working surface for biometric data acquisition. Working surfaces create a network where data collected from each working station is recorded in a database. In parallel with biometric data acquisition, environmental condition parameters are recorded. Collected data is available to students for later analysis through the use of a specially developed visualization tool. In order to fully utilize the possibilities the laboratory provides, a flipped classroom approach was used. An evaluation study was done as a part of the course of Biometric technology held at the University of Belgrade. Research results show improvements in student learning outcomes and motivation.
Techniques for authentication that are used in today's identity management
systems are vulnerable when they are used over the network. In order to
prevent fraud and unauthorized data access, it is ...important to ensure the
identity of the person who submitted authentication credentials. The
authentication process can be additionally secured by using biometric data
for user verification. Moreover, precision of biometric authentication can be
improved by the use of multimodal biometrics. This paper presents a system
which has been designed for identity management based on FreeIPA solution for
digital identity management and MMBio framework for multimodal biometrics.
Proposed system provides multifactor authentication, where MMBio framework is
used for handling user biometric data. Developed prototype confirms possible
integration of identity management and multimodal biometric systems.
To identify the prognostic impact of tumor multifocality on upper tract urothelial carcinoma (UTUC) outcomes in patients treated with radical nephroureterectomy (RNU). Study included 342 consecutive ...patients with UTUC. Tumor multifocality was defined as the synchronous presence of 2 or more pathologically confirmed tumors in any upper urinary tract location. Cox regression analyses were used to address recurrence-free (RFS) and cancer-specific survival (CSS) estimates. Tumor multifocality was significantly associated with a history of previous non-muscle invasive bladder cancer (P < 0.001), tumor size (P < 0.001), gender (P = 0.009), tumor location (P = 0.005), and anemia (P = 0.01). The Kaplan–Meier method showed that tumor multifocality was significantly associated with worse recurrence-free survival (P < 0.001, log rank). Using multivariate analysis, tumor multifocality (HR, 2.86; 95% CI, 2.06 – 3.99; P < 0.001) was independently associated with recurrence free survival. During the follow-up, a total of 128 (37.4%) patients died, including 92 (28.2%) from UTUC. However, tumor multifocality was not associated with CSS (HR, 1.29; 95% CI, 0.89 – 1.96; P = 0.21) in univariate Cox regression analyses. Tumor stage (HR, 11.1; 95% CI, 3.64 – 33.8; P < 0.001), lymph node status (HR, 2.04, 95% CI, 1.05 – 3.94; P = 0.03) and preoperative anemia (HR, 3.50, 95% CI, 2.02 – 6.08; P < 0.001) were the only independent predictors associated with worse cancer-specific survival. Tumor multifocality is an independent prognostic factor of disease recurrence in patients treated with RNU for UTUC. Tumor multifocality is unable to predict cancer specific survival in a single-center series of consecutive patients who were treated with RNU.
PDF
