Diese Studie verbindet drei aktuelle Diskurse um den staedtischen oeffentlichen Raum: den soziologischen und stadtarchitektonischen Diskurs um Stadterneuerungsmassnahmen, Gentrifizierung, Raumstrukturierung, Privatisierung, Urbanisierung und zunehmende Ueberwachung, die aktuellen Stroemungen in der site-specific Performance Art in Deutschland und Grossbritannien sowie die Theorien des Alltagslebens, die u. a. von Michel de Certeau, Marc Auge und Roland Barthes entwickelt wurden. Durch das Zusammenfuehren kuenstlerischer Positionen, die durch die Beschreibung konkreter Performancearbeiten darge
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Komunitas Semesta Tari hadir dengan fokus pada kreativitas anak rentang usia 2-14 tahun pada proses dan pertunjukan tari anak dengan stimulus lingkungan. Lingkungan di sini adalah situs yang konteks ruang sosial dan budayanya spesifik. Elaborasi interaksi dialektis antara performer dan arenanya dilihat dari kerangka site-specific performance. Kehadiran meraka berdasar pada perkembangan wacana saat ini yang terbangun adalah benteng tinggi pemisah antara pola dari institusi seni dengan lembaga pendidikan seni dengan segala konstruksi kesepakatannya. Penelitian akan praktik Semesta Tari ini sedang melihat bagaimana kesadaran diri, keterikatan kajian seni dengan pengalaman ketubuhan, interaksi dan intervensi ruang serta pendidikan dan presentasi kesenian yang merdeka. Penelitian ini akan menelusuri fragmen prinsip site-specific performance yang dijadikan Semesta Tari sebagai pendekatan metode. Rumusan tersebut akan diwacanakan dengan Pedagogi Kritis oleh Paulo Freire. Participatory action research digunakan sebagai metodologi karena peneliti menjadi bagian dari objek material. Temuan penelitian ini, conscientization pada praktik site-specific performance Semesta Tari untuk kembali menjawab apa yang individu tanyakan secara sadar mengenai konstruksi kesepakatan, melalui atau dengan seni.
This chapter brings together the practice-based creative research of artists Charlotte Gould and Paul Sermon, culminating in collaborative interactive installations for urban screens that investigate new forms of social and/or political narratives in site-specific urban environments. The authors' current creative practice looks specifically at the concepts of social presence and performance and attempts to bridge two remote locations either virtually (using online virtual environments such as Second Life) or in the physical space through mixed reality techniques and interfaces that allow the public to direct the narrative and creative outcomes of the artwork.
This paper analyzes the site-specific performances of Liberate Tate, an artist collective that staged protests at Tate galleries to oppose the institution's sponsorship deal with the multinational corporation BP. Arguing that the aesthetic, spatial, political, social, and ecological components of Liberate Tate's works are intricately enmeshed, the paper offers a dose visual analysis of the performances in relation to one of their sites, Turbine Hall at Tate Modern. Doing so, the paper demonstrates how the artist collective reacted to the socio-political structuring of the physical space in their own political mode of aesthetics. The site-specific works of the group attend to and confront the museum space to such an extent that the intervened space becomes Liberate Tate's principal medium. Through their horizontal arrangement mode, choice of messy, dirty, and viscous materials, and approach to nature, culture, and history as inseparable concepts, Liberate Tate's site-specific performances challenge the hegemonic neoliberal rhetoric of Tate Modern. The contrasts and conflicts Liberate Tate introduces against the visual discourse of Turbine Hall not only reveals the dominant political, financial, and social order of the space but also transforms the museum albeit temporarily into a truly public space of democracy.
Este trabajo de investigación analiza el caso de la performance multimedia site specific titulada dentro que cuenta con piezas y proyecciones audiovisuales que representan la mayoría de significados que una pantalla puede tener en escena y cuyas pantallas aportan en sí mismas significado propio al espectáculo. En su primera representación dentro solo tenía una única proyección. Actualmente, tras varias representaciones site specific, dentro cuenta con: una proyección, un vídeo subacuático independiente, un vídeo como escenografía y un vídeo con el que la performer interactúa. El resultado del estudio revela que el uso de las pantallas en la performance multimedia refuerza y multiplica el modo de representación dramático, genera un mayor impacto en la audiencia, aumenta el interés del público y multiplica significados en la doble narrativa audiovisual y dramática; aglutina audiencia teatral, videoartística y audiovisual y por tratarse de site specific en un espacio de arte, audiencia de artes plásticas.
This thesis is about the 'site' of site-specific art. More particularly, it is an analysis of the discourse about site-specific art in the field of art history that has developed over the last twenty years. I look at some of the ideas around social and political spatiality that have developed during the same period in a range of fields including philosophy, social and cultural geography, politics, and urban design. I focus on how different approaches to the idea of the site of art relate to physical location and notions of place. Place has become a disparaged term in the art-historical discourse on site-specificity that this thesis aims to recuperate. In order to understand the ongoing importance of place in contemporary site-specific art, I examine the work of Canadian artist Janet Cardiff and the collaborative duo, Jennifer Allora and Guillermo Calzadilla. In very different ways, these artists' work displays and elicits a profound connection with place. The case studies also help to illustrate some of the complexities around the site of art that are discussed here. In the investigation I note and emphasise the criticality with which site-specific practice is generally associated, and analyse these artists' work in those terms. Ultimately, the thesis is an examination of the relationship between art and place, and the role that artistic agency can play in furthering and deepening our understanding of place, location and identity.
In recent years, site-specific spraying methods, which are capable of combining the image processing technologies with electronic and information technologies, have been started to be used in the weed control and target-oriented spraying. In this study, in addition to the site-specific spraying in laboratory conditions; a mobile spraying system, which can also perform broadcast application as a reference method, was set up. The spraying performance of the mobile system was tested for three different nozzle types (standard flat fan nozzle, cone nozzle, air induction nozzle) and at speeds of 0.48, 0.60, 0.72 and 0.84 km h-1. The mobile system was operated as both broadcast and site-specific for each nozzle type and travel speed. Three artificial weed samples were used at 75 cm intervals as sampling surfaces on the movement of the mobile system in the spraying operations; filter papers (FP) and water-sensitive papers (WSP) were placed behind them on the bars. While deposition values were measured with the filter papers, water-sensitive papers were used to measure the coverage rates. The spray distribution of the site-specific method in comparison with the reference method was investigated. According to the results, site-specific spraying applications did not cause any negative impact on depositions and coverage rates. The nearest results compared with the broadcast spraying were obtained with the air induction nozzle type at a speed of 0.48 km h-1 with a 60.5% deposition amount and 95.9% coverage rate.
