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AbstractCrisis times caused by the COVID-19 pandemic and the martial law in Ukraine have actualized the creation of various exhibitions in academic libraries to reach and attract users. In particular, to overcome social isolation, anxiety, and emotional and mental exhaustion. This study discusses the authors’ practical experience of building a partnership between the academic library and the Graphic Design Department of the Kyiv National University of Culture and Arts (Ukraine). The cooperation aims to create a physical and online exhibition space to reach and attract students to the library. The study provides examples of the joint creation of a library thematic exhibition space with students and teachers for interaction and moral support, formation of common values, self-realization, and motivation, as well as examples of using the exhibition space to hold exhibitions of students’ artwork as part of the library’s engagement program in times of crisis. The examples confirm that the university library, in times of crisis during martial law, positions its exhibition space as a place that unites the university community, inspires, promotes cultural development, supports successful initiatives, and presents the achievements of university students and teachers. The results of this article complement previous research on library exhibitions as a means of reaching, engaging, highlighting collections, and educating students. It also informs practitioners about the Ukrainian experience of creating an exhibition space to attract students to the academic library in times of crisis. This article may be helpful to library practitioners looking for ideas and experience organizing exhibitions in academic libraries. [ABSTRACT FROM AUTHOR]

This paper presents Nesting Ferality, a performative installation that examines how feral rose-ringed parakeets are represented online and governed in Dutch cities. Expanding existing research at the interconnection of artistic practice and cultural geography, the installation incorporates and performs quantitative and qualitative data in an exhibition space. The project deploys everyday digital technologies in novel ways to reshape people's perception and to explore how artists and geographers can collaborate to foster new environmental politics and mobilise new publics. [ABSTRACT FROM AUTHOR]

Development and popularisation of creative technologies have resulted in changes to creative processes in the art and museum sector, and have redefined consumer and producer roles. The design practises that emerge when exhibition designers integrate new technologies to promote visitor engagement and co-creation are investigated in this article. This study delves into a novel design strategy for exhibition co-creation that acknowledges each interaction as a potential data point and involves connections between exhibition space, narrative, technology, interaction, and visitor, as well as a distinction between aware and unaware co-creation. [ABSTRACT FROM AUTHOR]

The scholarly debate in translation studies and related fields has extensively addressed the definition, scope, and limitations of translation. We contend that museum translation, which encompasses both the traditional "translation proper" as well as the non-verbal and multimodal aspects of translation, is central to this debate. Museum translation covers an extensive spectrum of perspectives, which contribute to the expansion of the concept of translation and the field of translation studies. It capitalizes on the intrinsic interdisciplinarity of museum studies and translation studies, fostering a profound exchange of disciplines and serving as an ideal foundation for discussing the boundaries of translation. It has a dynamic nature that can contract or expand to suit the researcher's perspective and disciplinary concentration. A comprehensive examination of the intricate procedures encompassed by museum translation is, therefore, timely. In this article, we examine and compare different applications of this concept and provide an overview of how various disciplines and research foci have approached this area of study. We aim to contribute to the ongoing development of the concept of museum translation and its position in translation studies, a call further addressed by each author in this special issue titled "Museums as Spaces of Cultural Translation and Transfer." [ABSTRACT FROM AUTHOR]

Loyalty to Israel has been described as a fundamental aim of the German state (a Staatsräson), and a stifling ideological consensus tars virtually any criticism of Zionism with the brush of "antisemitism." Some on the Left, belonging to the so-called Anti-German (antideutsche) movement, consider support for "the Jewish state" to be a way of atoning for German sins—an ideology it ironically shares with some of the most outspoken of German nationalists. The result? Accusations and cancellations are visited on academics and artists; under McCarthyite conditions, the public sphere withers. "Counterpublics in Search of Infrastructures" analyzes some of the new kinds of counterpublicness that have emerged in response, particularly on social-media apps. The article considers historical theorizations of the counterpublic in order to address contemporary conditions and challenges. Discussing artistic and academic groups on social media as well as projects in exhibition spaces, it culminates in an inquiry into the notion of abstraction, both in accounts of the public sphere as consisting of abstract legal persons—as embodied by the male white bourgeois—and as certain theorizations of antisemitism as a phobic rejection of capitalist exchange value. Now that the dominant discourse once again pits property-owning and rights-bearing white subjects against racialized and dehumanized others, we need to ask: How can abstraction be performed otherwise? What are the kinds of relations that can enable a qualitatively different forms of publicness? [ABSTRACT FROM AUTHOR]

This research responds to calls to further our understanding of exhibitions in the library context by exploring the significance of a commemorative exhibition staged in a public library. Employing a qualitative methodology, it centers on the 'Goodbye Dublin: The War of Independence in the City' commemorative exhibition, staged by Dublin City Pearse Street Library, between August 14th and October 31st, 2019. The findings show that the commemorative nature of the exhibition appealed to a variety of new, lapsed and frequent library users, connecting with Irish and non-Irish residents, as well as tourists visiting the city. In this regard, the exhibition was effective in its objective of appealing to a new and wide-ranging audience, however, the findings underline the need for more diverse and varied marketing, if this aim is to be entirely successful. The staging of the exhibition as an active authoring and articulation of the past by the library is highlighted, and the use of multimedia is seen to transform the library into an emotionally charged, dynamic, and multisensory space. This facilitates an immersive encounter, involving interplays between the exhibition narratives and visitors' personal memories and interests. This offers different ways for visitors to engage with the library, inspiring them to find new meanings, explore issues of personal, collective and national identities, and to reassess contemporary events. Overall, the research makes an important contribution by highlighting the complexity and importance of commemorative exhibitions in the context of public libraries. [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper discusses the role and agency of the architecture exhibition as a mediated space of discursive spatial narratives. The presented curatorial approach draws on the exhibition entitled Past-forward: Stavros Economou Unarchived (2021) to reflect on the development of a multimedia-enabled reading of the architectural archive. Stavros Economou is one of the most important representatives of modern architecture in Cyprus, yet his work is underdiscussed and under-published. The architectural archive, unlike other collections, consists of representations (such as drawings, models, photographs) of artefacts (buildings) that communicate design processes and final un/built proposals. The curatorial practice focused on a twofold challenge: on one hand, it explored the role architectural representation can play in the production of the multiple and complex (hi)stories of modern buildings, and secondly, it considered ways in which an architecture exhibition can connect with the host city and its local population by addressing contemporary urgencies of spatial inquiry. [ABSTRACT FROM AUTHOR]

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reviews the exhibition "Africa and Byzantium" at the Metropolitan Museum of Art, New York City from November 19, 2023–March 3, 2024.

This study delves into the concept of "infinity" within head-mounted display (HMD) virtual reality (VR) exhibitions. In this study, "infinity" is defined as an endless space and a boundless scope of virtual experience and interactions. We investigate how this expansive interpretation creates a unique and special exhibition experience that distinguishes virtual exhibitions from physical exhibitions. To this end, the study examines the effects of the spatial and participatory characteristics of virtual exhibitions on immersion, cybersickness, completion time, and interaction time. The experiment was conducted through surveys, behavioral observations, and interviews. The results showed that infinity of spatial characteristics increased participants' immersion. While participatory characteristics had no direct effect on immersion, there was a significant interaction between spatial and participatory characteristics. The 3D (space) surrounded by walls and create (participation), which allows participants to create their own exhibits, was the only combination that decreased immersion and increased cybersickness. The combination with the highest immersion was "3D infinite (space)" and "change (participation)," indicating that a design that allows users to interact with the exhibition in an infinite space is useful for promoting immersion in virtual exhibitions. Adjusting the proportion of spatial and participatory characteristics according to the purpose of the exhibition is recommended since infinity of spatial characteristics increases interaction time and infinity of participatory characteristics significantly increases completion time. The results of this study have practical implications for organizations developing virtual exhibitions and shed light on the value of infinity-based virtual exhibitions and the specific elements that make them possible. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Two ancient wooden vessels, specifically a monoxyle (1st century BCE to 1st century CE) and shipwreck (15th to 17th century CE), were excavated in a well-preserved state east of the confluence of the old Mlava and the Danube rivers (Serbia). The vessels were found in the ground that used to be river sediment and were temporarily stored within the semi-underground exhibition space of Mammoth Park. As part of the pre-conservation investigations, the primary aim of the research presented was to characterize the culturable mycobiomes of two excavated wooden artifacts so that appropriate conservation procedures for alleviating post-excavation fungal infestation could be formulated. Utilizing culture-based methods, a total of 32 fungi from 15 genera were identified, mainly Ascomycota and to a lesser extent Mucoromycota sensu stricto. Soft-rot Ascomycota of genus Penicillium, followed by Aspergillus and Cephalotrichum species, were the most diverse of the isolated fungi. Out of a total of 38 isolates, screened on 7 biodegradation plate assays, 32 (84.21%) demonstrated at least one degradative property. Penicillium solitum had the highest deterioration potential, with a positive reaction in 5 separate plate assays. The obtained results further broaden the limited knowledge on the peculiarities of post-excavation soft-rot decay of archaeological wood and indicate the biochemical mechanisms at the root of post-excavation fungal deterioration. [ABSTRACT FROM AUTHOR]

This study examines the academic definition of virtual museums and the factors determining whether South Korean art museums will offer virtual content. First, this paper collects definitions of virtual museums from previous studies and identifies the key attributes to then suggest a comprehensive definition. The final definition arrived upon is as follows: A museum built within a digital space with a collection of digitized objects, such as images, audio files, text-based documents, and using virtual reality to supplement, augment, and enrich the museum experience. Next, this study assesses the current digitalization level of South Korea's registered art museums and examines which museum attributes determine whether there is virtual content offered by the art museum. The research findings show that the number of museums with virtual content are quite limited. Additionally, the presence of collection information, the size of the collection, and the exhibition space's size all affect the presence of virtual content significantly. Considering these outcomes, this study suggests possible practical and policy measures to enhance the experience of immersive cultural heritage. [ABSTRACT FROM AUTHOR]

The digital exhibition space called Header/Footer Gallery hosted by the nonprofit organization New Media Caucus web presence has presented numerous exhibitions highlighting innovative work by artists across new media art. Established in 2020, Header/Footer has invited curators to curate exhibitions that explored the themes of technological malfunction, the legacies of cyberfeminism in the twenty first century, and Afrofuturism. Since then, taking up the role as the official curator for Header/Footer Gallery, the New Media Caucus' curator has created different exhibitions concentrating on inclusivity and the exposure of emerging artists through creative curatorial design strategies. For this paper, we take Header/Footer Gallery as a case study to analyze the development of virtual exhibition spaces, their histories, benefits, challenges and their futures. Taking Header/Footer Gallery as an example of a virtual space, we analyze its challenges including the promotion and dissemination of exhibitions and their digital engagement, despite the increase in accessibility of virtual galleries, as well as the challenges of archiving virtual exhibitions. We also examine the creative freedom in creating a virtual gallery from the ground up and in establishing and promoting inclusive practices that emphasize diversity. [ABSTRACT FROM AUTHOR]

• Two complementary injection techniques: HS and direct injection of a DMA extract. • Simple, non-destructive, visually non-disruptive sampling setup for a display case. • Method successfully used to detect volatile degradation markers in a display case. A novel method was developed and optimized for the determination of volatile organic compounds (VOCs) inside an airtight exhibition case used for the storage and display of museum artifacts. The method uses a static headspace module coupled to a gas chromatograph/mass spectrometer. In this method, the air is sampled by passive samplers (coconut shell charcoal and synthetic charcoal). In the laboratory, the VOCs are thermally desorbed (120 min, 60 °C) in the HS furnace after the addition of a small volume of dimethylacetamide (DMA). The VOCs present in the gas phase are then automatically analyzed by GC–MS. The information obtained is complemented by the analysis of the DMA liquid phase by direct injection GC–MS in the same chromatograph. The VOCs are identified by studying the mass spectra obtained by both techniques. This approach provides an economically viable, non-invasive and visually non-disruptive solution for VOC detection in enclosed spaces in museum environments. The use of two complementary injection techniques allows for good detection and suitable chromatographic response to a wide range of volatile compounds. This method was applied for the identification of VOCs present in an enclosed airtight exhibition case at the Museu Nacional d'Art de Catalunya (MNAC), where the formation of efflorescence was observed on the surface of a Modernist jewel displayed inside, as it was suspected that VOCs were the main cause for the degradation. Forty-five different VOCs were detected and identified inside the exhibition case: thirteen of them by HS–GC–MS, fifteen of them by direct injection GC–MS, and seventeen by both techniques. Among the most relevant VOCs identified, acetic acid, acetaldehyde and formaldehyde stand out due to the danger they pose to museum artifacts exposed in enclosed spaces, especially in the long term. [ABSTRACT FROM AUTHOR]

The article focuses on the evolving role of museum spaces in the mediation of knowledge and values, emphasizing the need to reconsider these spaces beyond traditional sequential models of transformation. Topics include the theoretical framework of spatial refiguration, recent experimental spatial interventions in museums, and innovative display practices observed in various types of museums.

Based on the epistolary interaction with readers, John Dunton's Athenian Mercury (1691–97) provided a platform for the discussion and dissemination of knowledge drawn from diverse fields. Plagued by doubts about its reliability, the periodical constantly had to (re‐)assert its credibility. One of the strategies the Mercury employed was to emphasize the physicality of objects via text, practising a performance of materiality. Taking the letter‐as‐object as its starting point, this article argues that materiality played a crucial role in not only the representation but also the active production of truthfulness. Examining how Dunton's periodical leveraged notions of the coffeehouse as an exhibition space, this article explores how the Mercury drew on musealization strategies to represent material objects to underline their existence and its own credibility. Interpellating readers as virtuosi, the Athenian Society staged the coffeehouse and even itself as a walk‐in curiosity cabinet, turning letters into matter and fiction into fact. [ABSTRACT FROM AUTHOR]

The article takes its point of departure in an experiment conducted at Randers Art Museum, Denmark, in which museum visitors were asked to comment on their experiences with artworks from the museum's collection. Their comments that were subsequently shared by the museum in the exhibition space. By examining dialogue as a form of participation, the author analyses and discusses how this particular participatory experiment created a dialogical and polyphonic museum experience in which the institutional voice was complemented and even challenged. The article contributes to the field of research on participation by connecting theoretical and practical levels through an experimental methodological approach. It presents concrete recommendations for enhancing visitor-oriented and dialogical strategies in museum communication. Moreover, it demonstrates that the experimental approach can be very useful for both researchers and museum professionals, as long as they reflect on both the limitations and the possibilities of specific experiments like this one. [ABSTRACT FROM AUTHOR]

Contemporary studies largely concentrate on the physical aspects of architecture, yet within the sphere of design, the gap between user experience and the designer's intention is an undeniable fact. This gap, illustrating the contrast between the spatial perception and the actual physical space, to some degree, mirrors preferences in human spatial behavior. It accentuates the complex relationship between human cognitive functions and spatial layout, underlining the critical role of spatial perception in architectural design and planning. This prompts the question of whether perceptions of internal traffic flow within buildings also suffer from spatial distortions. Focusing on museums, and by examining circulation paths and spatial features, a virtual museum model is devised. The research employs a holistic and reductionist approach (complex systems theory) to forge a link between circulation components and the spatial experience of architecture. Utilizing agent-based modeling tools for simulating pedestrian movements, it investigates how different circulation patterns and spatial relationships influence pedestrian behavior. The study proposes a museum circulation optimization strategy, grounded in quantifying spatial experience through Anylogic software analysis. This strategy is aimed at enhancing the design of internal traffic flows in future museum projects, offering fresh insights into museum design research, and probing into new possibilities for using pedestrian simulation software. [ABSTRACT FROM AUTHOR]

In 2022, the National Museum of Australia launched an immersive virtual exhibition of Australian Aboriginal art: Connection: Songlines from Australia's First Peoples, which was created and produced by Grande Experiences, the same team that produced the multisensory experience Van Gogh Alive. The exhibition employs large-scale projections and cutting-edge light and sound technology to offer a mesmerizing glimpse into the intricate network of Australian Aboriginal art, which is an ancient pathway of knowledge that traverses the continent. Serving as the gateway to the Songlines universe, the exhibition invites visitors to delve into the profound spiritual connections with the earth, water, and sky, immersing them in a compellingly rich and thoroughly captivating narrative with a vivid symphony of sound, light, and color. This article examines Connection as a digital storytelling platform by exploring the Grande Experiences company's approach to the digital replication of Australian Aboriginal art, with a focus on the connection between humans and nature in immersive exhibition spaces. [ABSTRACT FROM AUTHOR]

Universities play an important role in advancing the Sustainable Development Goals (SDGs), both in generating knowledge and innovation and in disseminating them, which are essential elements for promoting sustainable policies and practices. This paper examines the event "Futures of Guanabara Bay: Innovation and Climate Democracy," held between March 21 and May 14, 2023. The immersive and interactive exhibition discussed the importance of Guanabara Bay and analyzed the impacts of climate change on this ecosystem, both in the present and the future. Additionally, it proposed a discussion on solutions based on research and technology developed at UFRJ and other Brazilian public institutions. During the event, the people visited the exhibition space and participated in 70 parallel activities. The event attracted around five thousand visitors, promoting civic education among the participants and encouraging reflections on building a more sustainable, democratic, and inclusive future. [ABSTRACT FROM AUTHOR]

In this paper I examine a particular type of exhibition space, namely the national pavilion at the Venice Biennale, and analyze the current tendency within contemporary art of treating the exhibition pavilion as an object of artistic intervention. Three case studies – Relocating a Structure by Maria Eichhorn, The Last Land by Hans Schabus and I, Impostor by Mike Nelson – were selected from the interval 2005-2022, as they capture an approach in which, I argue, the exhibition pavilion is comprised within the structure of the work as a physical, as well as a symbolic support. These are spaces that Eichhorn, Schabus, and Nelson mold and reorganize to their complete transfiguration, at times making them disappear or moving them altogether (even if only within the imagination). Starting from Kendall Walton’s concept of make-believe, and its further elaborations by Elisa Caldarola, I propose the pavilion as a support that determines two types of imaginative play through the mechanisms of contentoriented make-believe, and prop-orientated make-believe. Inspired by the theory of installation art advanced by Elisa Cadarola, I then analyze some techniques used to configure the space and structure the public’s experience within the three works. In doing so, I show how, in Eichhorn’s Relocating a Structure, Schabus’ The Last Land and Nelson’s I, Impostor, the exhibition pavilion becomes an artistic resource. [ABSTRACT FROM AUTHOR]

At the beginning of the last century, a Calagurritan scholar Pedro Gutiérrez Achútegui began to form a collection of archaeological materials to which the pieces object of this study belong, which are currently integrated into the Museum of the Romanization of La Rioja in Calahorra. In these pages we take a tour of the five rooms that make up the Museum, indicating the distribution of the pieces within the exhibition discourse, how they are integrated into the theme of each of the spaces and their relevance within the Romanization of La Rioja. The Museum of Romanization was inaugurated in 2009, in order to remember the importance of a two-thousand-year-old city like Calagurris Ivlia Nassica within Roman Hispania, which obtained the rank of municipium civium Romanum with Augustus. This museum center is dedicated to the exhibition, conservation, research and dissemination of the traces of the Roman world in La Rioja and joins the network of exhibition spaces distributed by the Autonomous Community of La Rioja. [ABSTRACT FROM AUTHOR]

Copyright of Conservar Património is the property of Associacao Profissional de Conservadores-Restauradores de Portugal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This chapter explores the Aboriginal artefacts 'clapsticks' as a form of cultural data – a means of disseminating cultural knowledge in the galleries, libraries, archives, and museums [GLAM] sector. How might alternative methods of curation animate clapsticks as active objects that deliver effective knowledge transfer? This research aims to explore and extend current industry practices of the curation of clapsticks, within the existing parameters of technology, spatial capacity, financial support, and governance as part of the operation of the GLAM sector. The research problem, therefore, explores the past limitations of colonial framing of cultural institutions that once hindered the revealing, the disseminating, and the 'awakening' of the complexities of knowledge intrinsic to Aboriginal cultural artefacts. Informal communication with Aboriginal community members and academics was critical to providing cultural context as well as personal beliefs and aspirations vital to conceptualising the future of cultural representation. This investigation explores how a cultural centre offers a space and an opportunity to facilitate the clapsticks datasets in its capacity as a performance-focussed building rather than solely an exhibition space or keeping place. This potential represents a shift in thinking around the clapsticks being a lens through which the stories of Aboriginal culture can be disseminated. [ABSTRACT FROM AUTHOR]

Copyright of Space & Form / Przestrzeń i FORMA is the property of West Pomeranian University of Technology, Department of Architecture & Urban Planning and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Performance Space Exhibition at the 2023 Prague Quadrennial of Performance Design and Space showcased contemporary theatre and performance spaces with a focus on assembly and community. The exhibition included 35 exhibits from 26 countries, featuring films, physical displays, and interactive installations that highlighted the sensory and atmospheric qualities of the spaces. It also explored the relationship between traditional theatre architectures and emerging performance spaces, emphasizing their diversity and responsiveness to locality, culture, and community. The document can be shared and used for non-commercial purposes under the Creative Commons BY-NC-ND 4.0 International license, with the exception of any works or elements that are used under a contractual license or exception. [Extracted from the article]

This paper focuses on identifying the legal implications of archaeological heritage in relation to the practices of looting, locally known as "huaquería", and collecting in the Sigsig canton, Ecuador; with emphasis on tenure, education, and the intention of constituting spaces for the exhibition of objects. The inhabitants of this Andean region assign to the past and its materiality a series of links and imaginaries that are manifested in the discourse, which in turn is replicated in the localities as "official history." The problem is based on the contradictory relationship between the legal norm and the socio-cultural context of the people living in archaeological areas, which generates the destruction of sites and, therefore, makes it impossible to generate stories framed in disciplinary knowledge. The methodology used was based on social cartography, talking maps, and interviews with some local actors. [ABSTRACT FROM AUTHOR]

Skylights are an efficient means of daylighting in exhibition spaces, but their design presents significant challenges. Considering that daylight utilization profoundly impacts both the visual and thermal environments while affecting energy consumption, the early application of multi-objective optimization strategies becomes imperative. However, many optimization studies provide numerical references only, without delving into the characteristics of opening distribution. This study introduces an optimized exploration approach for openings based on grid subdivision and material parameter selection, targeting Useful Daylight Illuminance (UDI), Energy Use Intensity (EUI), and Predicted Percentage of Dissatisfied (PPD). Simulations and optimizations were performed using Honeybee and Octopus, focusing on the optimal configurations of four typical skylights in Fukuoka, Japan's climate. The results demonstrate that this novel optimization approach improves metrics for each case and challenges traditional perceptions of daylight systems. Flexible and diverse opening configurations, formed through irregular layouts and material combinations, help achieve more ideal holistic environmental effects under different climatic conditions. Thus, we should provide these research findings as design guidelines for similar scenarios. [ABSTRACT FROM AUTHOR]

The pavilion combines multi-modal interaction based on Time-Division Long Term Evolution (TD-LTE) to increase the exhibition's interactivity and attractiveness with development of digital technology. Multi-modal interaction enables consumers to engage easily and intuitively with exhibitions or display material with the use of a touch screen, voice recognition, posture detection, and other interactive tools for immersive displays. This paper investigates the construction of a multi-modal interactive exhibition space using digital media technology. In contrast to the usual data collection techniques, which are costly, deficient in 3D pictures, suffer from a lack of spatial position data, and have other drawbacks, key techniques such as deep learning and posture estimation employed in immersive displays sometimes require huge training datasets to enhance the generality of the models. A 6D network architecture for target object estimation is proposed in this research to lower the cost of data collection. The interactive experience of visitors in the exhibition space, exhibit display, and exhibition space management can be improved by multi-modal interaction based on TD-LTE. Visitors can peruse exhibit material, watch movies, and play interactive games more freely due to the engagement modes. Exhibition managers may optimize the layout of the exhibition space and the placement of the exhibits through real-time monitoring, data collection, and analysis. The multi-mode interaction mode based on TD-LTE wireless communication technology can give visitors a rich and more user-friendly exhibition experience with a wide range of application prospects and potentials. [ABSTRACT FROM AUTHOR]

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sharjah Biennial 15 Thinking Historically in the Present hurled a spectacular exhibition that featured more than three-hundred works by one-hundred fifty artists from over seventy countries. While global ideas informed the artists of the Biennial, the specific historical and political contexts from which they emerged also shaped their distinctive subjectivities. It is in this regard that I look into the works of Nari Ward, Doris Salcedo, and Ibrahim Mahama who come from different historical, cultural and political trajectories but whose multiple articulations are shared and connected. By examining the exhibition space where they displayed their works, I attempt to address the historical entanglements and contestations of exhibition sites to the works they present and how meanings are deployed to compose shared experiences. The works of Ward, Salcedo, and Mahama are installed at the Kalba Ice Factory which was built in the 1970s and which was once a fish feed mill and ice storage facility. It was recently retrofitted for exhibition purposes as well as residence facilities. The space transpires with a new creative appearance in both its architecture and in the artworks it embodies. It is in this regard that I explore the exhibition space of Kalba which emerged from specific realities to usher new ways of interweaving between the works of the three artists. [ABSTRACT FROM AUTHOR]

Copyright of Palíndromo is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)