The Object Of Performance

Looks at the development of American avant-garde art, including performance art, environmental art, conceptual art, video, and photo-realism.

This book introduces the fundamental concepts and practical simulation te- niques for modeling different aspects of operating systems to study their g- eral behavior and their performance. The approaches applied are obje- oriented modeling and process interaction approach to discrete-event simu- tion. The book depends on the basic modeling concepts and is more specialized than my previous book: Practical Process Simulation with Object-Oriented Techniques and C++, published by Artech House, Boston 1999. For a more detailed description see the Web location: http://science.kennesaw.edu/~jgarrido/mybook,html. Most other books on performance modeling use only analytical approaches, and very few apply these concepts to the study of operating systems. Thus, the unique feature of the book is that it concentrates on design aspects of operating systems using practical simulation techniques. In addition, the book illustrates the dynamic behavior of different aspects of operating systems using the various simulation models, with a general hands-on approach.

Given that slaveholders prohibited the creation of African-style performing objects, is there a traceable connection between traditional African puppets, masks, and performing objects and contemporary African American puppetry? This study approaches the question by looking at the whole performance complex surrounding African performing objects and examines the material culture of object performance. Object Performance in the Black Atlantic argues that since human beings can attribute private, personal meanings to objects obtained for personal use such as dolls, vessels, and quilts, the lines of material culture continuity between African and African American object performance run through objects that performed in ritual rather than theatrical capacity. Split into three parts, this book starts by outlining the spaces where the African American object performance complex persisted through the period of slavery. Part Two traces how African Americans began to reclaim object performance in the era of Jim Crow segregation and Part Three details how increased educational and economic opportunities along with new media technologies enabled African Americans to use performing objects as a powerful mode of resistance to the objectification of Black bodies. This is an essential study for any students of puppetry and material performance, and particularly those concerned with African American performance and performance in North America more broadly.

Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms--such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components--that pose a new set of questions about what art actually is, both physically and conceptually. For conservators, this raises an existential challenge when considering what elements of these artworks can and should be preserved. This provocative volume revisits the traditional notions of conservation and museum collecting that developed over the centuries to suit a conception of art as static, fixed, and permanent objects. Conservators and museums increasingly struggle with issues of conservation for works created from the mid-twentieth to the twenty-first century that are unstable over time. The contributors ask what it means to conserve artworks that fundamentally address and embody the notion of change and, through this questioning, guide us to reevaluate the meaning of art, of objects, and of materiality itself. Object--Event--Performance considers a selection of post-1960s artworks that have all been chosen for their instability, changeability, performance elements, and processes that pose questions about their relationship to conservation practices. This volume will be a welcome resource on contemporary conservation for art historians, scholars of dance and theater studies, curators, and conservators.

Vision-based object recognition tasks are very familiar in our everyday activities, such as driving our car in the correct lane. We do these tasks effortlessly in real-time. In the last decades, with the advancement of computer technology, researchers and application developers are trying to mimic the human's capability of visually recognising. Such capability will allow machine to free human from boring or dangerous jobs.