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.

No detailed description available for "Logic/Object-Oriented Concurrent Robot Programming and Performance Aspects".

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.

Images, objects, and performances represent essential forms of mediality, which frequently escape our traditional understanding of historical communication. This volume discusses from an interdisciplinary perspective the varying structures and media of communication and representation in transcultural spaces of Latin America and the Philippines. Based on different topics and methodological approaches of the contributors, the articles reflect on the perspectives and problems of the integration of visuality, materiality, and performance as categories of cultural analysis in historical settings between the sixteenth and nineteenth centuries. In that regard, both the methodological and regional comparative approaches of this volume claim to contribute-beyond the regional focus of the studies-to the general debate about cultural theories and to make general statements about the mechanisms of cross-cultural communication in cultural contact zones of the modern period.

"Presenting works from the early 20th century to today, The Paradox of Stillness: Art, Object, and Performance examines the notion of stillness as both a performative and visual gesture, featuring practitioners who have constructed static or near-static experiments that hover somewhere between action and representation as they are experienced in the gallery space. The exhibition investigates performance from the perspective of the object rather than the body, examining how performance has reinterpreted traditional artistic media. Stillness and permanence are qualities typically seen as inherent to painting and sculpture-consider the frozen gestures of a historical tableau or the unyielding solidity of a bronze figure. The Paradox of Stillness, however, expands the artwork's quality of stillness to accommodate uncertain temporalities and physical states, investigating works that merge objects with human bodies suspended in motion. Featuring artists whose works include performative elements but also embrace acts, objects, and gestures that refer more to the inert qualities of painting or sculpture than to true staged action, The Paradox of Stillness rethinks the history of performance through its aesthetic investigations into the interplay of the fixed image and the live body"--