Robert Smithson

Counter to his pervasive image as the quintessential American high modernist, Donald Judd, like no other artist of his stature in the twentieth century, spent much of his time and energy on activities that did not involve making art. Besides Judd the artist, there was Judd the critic, curator, collector, furniture designer, architect, urbanist, preservationist, and activist. The many practices in which he engaged are often relegated to the status of context informing the art proper, or assumed to be a part of some vague Gesamtkunstwerk ("total work of art") occluding more nuanced relationships. The following considers Judd's different practices on a scale-a "Judd Scale"-emphasizing the relative placement on that scale of furniture and architecture as somewhere between his art and his activism. Furniture will come first, because it is arguably closest to his art, with architecture gradually emerging into view. In 1964, when Judd, along with his peer Frank Stella, notoriously rejected as "dreary" and "over with" the relations within and scale of European art, he seized on these very issues because they were central to what distinguished his own art: external rather than internal relations, external rather than internal scale. 1

A Hipótese Vetorialética propõe uma nova abordagem para a evolução geométrica de variedades diferenciais, substituindo o fluxo de Ricci e outros fluxos geométricos tradicionais por um campo vetorial dinâmico ressonante. Esse modelo elimina a necessidade de cirurgias topológicas ao redistribuir continuamente a curvatura de uma variedade, permitindo uma evolução suave e estável de sua estrutura. Neste trabalho, exploramos a formulação matemática rigorosa da Vetorialética, suas aplicações na geometria diferencial e possíveis conexões com teorias físicas como a gravitação quântica e a teoria das cordas. Além disso, apresentamos simulações numéricas para avaliar a viabilidade do fluxo vetorialético na modelagem de deformações contínuas em espaços tridimensionais. Os resultados indicam que a abordagem vetorialética pode fornecer uma alternativa robusta para a análise da curvatura e evolução de variedades, com implicações para a matemática, a física teórica e a computação geométrica.

В статье анализируется феномен обращения представителей искусства второй половины ХХ века к природной среде: лэнд-арт, энвайронмент-арт, эко-арт в США и Европе, неофициальное искусство социалистической Словакии и СССР. Западные художественные практики, представленные в работах Р. Смитсона, Р. Лонга, А. Сонфиста, А. Денес и других художников, объединяет отказ от галерейного искусства и вовлечение окружающей среды – природной среды в случае лэнд-арта, городской и глобальной среды планеты в случае энвайронмент-арта и эко-арта. В странах социалистического лагеря тенденция обращения к природной среде присутствовала в неофициальном искусстве конца 1960–1980-х в формах теоретических концептов, инсталляций и акций «на природе». На примере выставок в Братиславе 2007 года и в Москве 2009 2010 годов видно, что природная среда в странах соцлагеря понималась как идеологически нейтральная среда в противоположность официальному режиму, тем не менее экологическая обеспокоенность входила в поле творческих дискуссий словацких художников, как в случае Р. Сикоры. Акции «Поездки за город» московской арт-группы «Коллективные действия» (КД) рассматриваются как особый случай: несмотря на то, что они реализовывались на природе, их эстетический смысл и генезис неотделимы от городской среды, чему посвящены теоретические работы А. Монастырского, одного из основателей КД. Расшатывание границ искусства и окружающей среды, обнаруженное как у советских художников, так и в других художественных практиках на Западе («анархитектура», концептуальная фотография и проч.), заставляет пересмотреть существующие искусствоведческие направления (минимализм, концептуализм, современное искусство) и констатировать ключевую роль переосмысления природной и городской сред и границ между ними в становлении современного многообразия художественных практик.

The article analyzes the phenomenon of turning to the natural environment in art from the second half of the twentieth century. It covers various forms of art such as land art, environmental art and eco-art in the USA and Europe, as well as unofficial art in socialist Slovakia and the USSR. Western art practices, as exemplified by R. Smithson, R. Long, A. Sonfist, A. Denes and other artists, reject gallery art and instead incorporate the environment. This includes the natural environment in the case of land art, and the urban and global environment in the case of environmental art and eco-art. In the art of socialist countries, there was also a tendency to deal with the natural environment. This was present in the unofficial art of the late 1960s to the 1980s in the form of theoretical concepts, installations and actions in nature. The exhibitions in Bratislava in 2007 and Moscow in 2009–2010 showed that the natural environment was considered ideologically neutral by the unofficial socialist artists, in contrast to the official regime. However, environmental concerns were included in the creative discussions of Slovak artists such as R. Sikora. A special case are the «Trips out of Town» organized by the Moscow art group «Collective Actions» (CA). Although they took place in nature, their aesthetic meaning and origin are closely related to the urban environment, which is the focus of the theoretical works of A. Monastyrsky, one of the founders of CA. The blurring of boundaries between art and the environment, observed in Soviet artists and in other artistic practices in the West (such as «anarchitecture» and conceptual photography), prompts a reevaluation of established art historical trends, including minimalism, conceptualism, and contemporary art. It highlights the crucial role of understanding the natural and urban environment, as well as the boundaries between them, in shaping the diverse range of modern artistic practices.

CONTRUCCI, Constanza de Córdova; Coelho, Frederico. A verdadeira ficção erradica a falsa realidade: Robert Smithson entre New Jersey e Yucatán. Rio de Janeiro, 2023, 97 p. Dissertação de Mestrado – Departamento de Letras, Pontifícia Universidade Católica do Rio de Janeiro.

A pesquisa investiga as relações entre percurso, escrita e entropologia presentes na obra do artista visual norte-americano Robert Smithson. Considerando sua proposição de entropia, que postula o desgaste inevitável da matéria e a busca de suas evidências in situ, o corpus do estudo será constituído especialmente por dois trabalhos de texto e fotografias produzidos em movimento: A tour of the monuments of Passaic (1967), em que Smithson visita o subúrbio de Nova Iorque onde cresceu rodeado por terrenos em construção em torno do conceito de non- site como ruína ao reverso; e Mirror displacements in the Yucatán (1969), quando o artista visita o território mexicano, posiciona espelhos na floresta tropical e estabelece um diálogo especulativo com as divindades maias e astecas. Em ambos, o artista sai em busca de sinais de ruína, acúmulo e desgaste na paisagem, em um exercício de entropologia – isto é, uma abordagem artística dos efeitos da entropia na paisagem e na cultura, um desdobramento da prática proposta por Claude Lévi-Strauss no final de Tristes Trópicos e levada à cabo por Smithson através de suas obras em deslocamento. Com olhar atento às camadas de produção textual do artista, a pesquisa examina, de maneira especulativa, as anotações de Smithson sobre a construção conceitual do non-site e como ele pode ser constituído através de uma escrita desdobrada em mapas, cartografias e rascunhos que acompanham seus textos, propondo uma leitura atualizada de determinadas questões estéticas e políticas levantadas pelo artista nos anos 60, tais como o enantiomorfismo, a cristalografia, a cultura como acúmulo e desgaste e o pensamento científico como ficção.

Palavras-chave: Robert Smithson, escritos de artista, entropologia, artes visuais

The research investigates the connections between travelling, writing, and entropy present in the work of the American visual artist Robert Smithson. Considering his proposition of entropy, which posits the inevitable wasting away of matter and the search for its evidence in situ, the corpus of the study will consist especially of two works of text and photographs produced in movement: A tour of the monuments of Passaic (1967), in which Smithson visits the New York suburb where he grew up surrounded by building sites revolving around the concept of nonsite as ruin in reverse; and Mirror displacements in the Yucatán (1969), when the artist visits the Mexican territory, places mirrors in the rainforest and establishes a speculative dialogue with Mayan and Aztec deities. In both, the artist travels in search of signs of ruin, accumulation, and decay in the landscape, in an active exercise of entropology -that is, an artistic approach to the effects of entropy on landscape and culture, a development of the practice proposed by Claude Lévi-Strauss at the end of A World on the Wane and carried on by Smithson through his works in displacement. With an attentive eye on the layers of the artist's textual production, the research examines, in a speculative way, Smithson's notes on the conceptual construction of the non-site and how it can be constituted through an unfolded writing in maps, cartographies, and drafts that accompany his texts, proposing an updated reading of certain aesthetic and political issues raised by the artist in the 1960s, such as enantiomorphism, crystallography, culture as accumulation and decay, and scientific thought as fiction.

Resumo: Qual o impacto do conceitualismo no que se entende por autoria na arte contemporânea? O que ocorre quando, no âmbito dos processos de criação, nos defrontamos com obras cujos indícios materiais simplesmente independem – ou podem independer – do corpo do artista? Executada 32 anos após a morte de seu autor, a obra Floating island, de Robert Smithson, é aqui analisada como um caso-exemplar dessas questões. Por hipótese, percebe-se que há em propostas como essa um entendimento renovado do que seja ou possa ser um “artista”. No centro do argumento estão os conceitos de “função-autor”, de Michel Foucault, e “função-artista”, de Caroline Jones. Ao final, conclui-se que o vigor histórico do conceitualismo demonstra a coexistência de dois modelos autorais da função-artista.

Palavras-chave: Artista; Autoria; Conceitualismo; Robert Smithson; Arte Contemporânea

What is an artist? The authorship dilemma in conceptualism

Abstract: What is the influence of conceptualism on our understanding of authorship in contemporary art? In the realm of creative processes, what happens when we encounter artworks whose material traces simply do not depend on the artist’s body? Executed 32 years after the author’s death, Robert Smithson’s artwork Floating island is analyzed here as an example of these questions. By hypothesis, it is perceived that proposals like this entail a renewed understanding of what an “artist” is or can be. At the core of the argument are Michel Foucault’s concept of “author-function” and Caroline Jones’s concept of “artist-function”. In conclusion, it is evident that the historical significance of conceptualism demonstrates the coexistence of two authorial models of the artist-function.

Keywords: Artist; Authorship; Conceptualism; Robert Smithson; Contemporary art

¿Qué es un artista? El dilema de la autoría en el conceptualismo

Resumen: ¿Cuál es el impacto del conceptualismo en nuestra comprensión de la autoría en el arte contemporáneo? ¿Qué sucede cuando nos enfrentamos a obras cuyas huellas materiales simplemente no dependen, o pueden no depender, del cuerpo del artista? Ejecutada 32 años después de la muerte de su autor, la obra Floating island de Robert Smithson se analiza aquí como un ejemplo de estas cuestiones. Como hipótesis, se percibe que propuestas como esta implican una comprensión renovada de lo que es o puede ser un “artista”. En el centro del argumento se encuentran los conceptos de “función-autor”, de Michel Foucault, y “función-artista”, de Caroline Jones. En conclusión, se evidencia que la importancia histórica del conceptualismo demuestra la coexistencia de dos modelos de autoría de la función-artista.

palabras-clave: Artista; Autoría; Conceptualismo; Robert Smithson; Arte Contemporáneo

Exhibition venues convenience in buildings owns areas are important. Exhibition venues' being authentic, mysterious, attracting and practical carries a big importance with regard to exhibition culture. Also interior areas' convenience for exhibition and visitation is substantial for planning exhibition areas. Historical museum buildings and modern buildings are always compared to each other. For example, a modern technology or science exhibition is expected to be held in a museum building associated with technology. When colors picked for venue background or plinths, even the frame of the art work, color of the wall, resting areas, sitting groups, shape and color of seats is directly proportional with the material, audience will intensely

In 1979, American artist Michael Asher (1943 - 2012) participated in the 73rd American Art Exhibition hosted by the Art Institute of Chicago. His work consisted of an almost imperceptible, yet impactful change to the museum’s façade. With the support of the Institute, Asher relocated a bronze replica of George Washington - originally a marble by French sculptor Jean Antoine Houdon (1741 - 1828) - from where it was perched at the top of the Art Institute’s grand staircase and placed it in the museum’s modest 18th century picture gallery. This intervention was framed by a brochure in which Asher directed visitors to George Washington’s new location and elucidated his intentions: “In this work, I am interested in the way sculpture functions when it is viewed in its 18th Century context instead of in its prior relationship to the façade of the building where it has been for 54 [sic] years. Once inside Gallery 219 the sculpture can be seen in connection with the ideas of other European works of the same period.” After the exhibition finished the statue was relocated within the museum and later moved to the Mayor’s office, leaving no trace of the installation’s existence.

Though seemingly innocuous, Asher’s reference to context situates the piece in an intricate art historical debate about the (ir)relevance of placing artworks into context. Different art historians have questioned whether it is possible to interpret a work without placing it into context, or, on the contrary, if contextualization does nothing more than detract and distract from the value of the art object.

Besides these field-specific inquiries a broader question can be asked: What is context? As Griselda Pollock observes in Feminist Interventions in the History of Art (1988): “Context seems a term so self-evident that it needs no decoding.” Yet it is a slippery word that does not lend itself to definition easily: Is it personal? Collective? Ideological? Physical? As its etymology (LAT: contexere - to weave; contextus - connection) reveals, context represents an intricate tissue of interwoven relationships that tends to tighten, knot, and, snag when attempts are made to unscramble it.

In this essay, a selection of twentieth-century, art historical approaches to context(ualization) will be presented, along with a reading of Michael Asher’s 1979 George Washington at the Art Institute of Chicago installation and his 2005 remake of the piece.

RESUMEN: El objetivo de este trabajo es analizar diferentes modos en que el arte ha expresado una preocupación por el ambiente, utilizando como hilo conductor la materialidad. En esta línea, plantearé un recorrido por algunas prácticas artísticas que, adoptando una posición particular respecto de su entorno/ambiente, permiten abordar, de diferentes maneras, lo que “ambiente” refiere y cuál es el tipo de constitución material que involucra.

ABSTRACT: The aim of this paper is to analyze various ways in which art has expressed concern for the environment, using materiality as a guiding thread. In this context, I will examine several artistic practices that, by adopting a specific stance toward their surroundings/environment, enable us to explore, in different ways, what "environment" refers to and the type of material constitution it entails.

Technologies deployed by artists in the Antarctic art have progressed in cumulative fashion from painting and drawing to photography to new media, such as installation and performance art, a sequence which parallels historical eras in exploration.

This experimental chapter explores abstraction as what if?-thinking, with particular emphasis on a partial history of the abstract in art—C. D. Friedrich, Hilma af Klint, Marie Raffn, and Robert Smithson—and with a brief analysis of the abstract in science (and cartography): Marie Tharp.

Au cours des années 1960, les ouvrages The Artist in his Studio (1960) d’Alexander Liberman, David Smith. Voltron (1964) (avec les photographies d’Ugo Mulas) et le catalogue Brassaï (MoMA, 1968) ont été publiés. Ces ouvrages, consacrés aux relations entre photographes et artistes, ont le double effet d’établir, d’un côté, l’entrée des photographes au panthéon des artistes et d’officialiser, de l’autre, les mythes et les clichés du récit moderne – et moderniste – de la sculpture du début du XXe siècle, c’est-à-dire des hommes virils, des génies isolés confrontés à la matière, dont l’apparence physique se confond avec celle des sculptures.
Cependant, dans les mêmes années, l’identité de la sculpture est ébranlée par le Funk Art, le postminimalisme, la performance et l’art conceptuel. Dans ce contexte, les critiques et les artistes s’interrogent sur le devenir de la sculpture et sur les critères selon lesquels une oeuvre est censée être qualifiée de sculpture ou non, sans trouver, le plus souvent, de solution. C’est à partir de cette «crise» que Rosalind Krauss développera, à la fin de la décennie suivante, l’une des premières et plus vives critiques du récit de l’art moderne et de l’artiste, en proposant une définition plus large et plus souple de ce médium.Beaucoup a été écrit sur l’évolution de la sculpture entre les années 1960 et 1970, mais pas assez sur l’évolution de l’image du sculpteur au cours de ces mêmes années. Très souvent, en effet, ce sont les photographies des artistes qui ont été le déclencheur décisif pour la déconstruction de la mythologie du sculpteur.
Dans ce cadre, le cas de l’artiste italien Pino Pascali est emblématique. Au milieu des années 1960, son travail s’articule autour de certaines questions concernant les fondements de la discipline du sculpteur : qu’est-ce qu’une sculpture ? Quelles sont les limites au-delà desquelles une sculpture cesse d’être une sculpture pour devenir un objet ? Alors que Pascali réfléchit et travaille autour de ces questions, Claudio Abate, un photographe proche de lui, réalise une série de portraits de l’artiste qui contredisent ouvertement tous les clichés mentionnés ci-dessus. À l’instar de Pascali, de nombreux artistes commencent à détacher leur image de la représentation de leur métier, tout en préférant mettre en scène un tableau vivant capable de charger leurs oeuvres, de moins en moins matérielles, de significations littéraires et ésotériques. Les cas les plus frappants sont ceux de Vettor Pisani et de Gino De Dominicis. Dans des années où l’identité et la définition de ce médium sont de plus en plus problématiques, ce sont les images de sculpteurs – telles que les photographes ont choisi de les représenter – qui ont offert les indices les plus intéressants pour savoir qui était sculpteur et qui ne l’était pas.

What is art criticism today if not a muddied profession? How can we agree what criticism is if we cannot agree what art is? So the critic today contends with an unruly field. Art makes unusual demands on the viewer, and art criticism makes unusual demands on the writer, who must now fill several roles: that of a stock analyst at the art fairs and auction houses; a gossip columnist at the openings; a sports announcer at the museums and galleries; and a lifestyle guru in the popular press.

Jean Wellington Nelson Bundy SURVIVAL AND CHANGE IN THE PAINTINGS OF WINSTON S. CHURCHILL During Winston Churchill's long career he painted hundreds of landscapes which have been viewed as picturesque, a British genre popular to painters and landscape gardeners, mimicking nature. Artists sold flatwork, architectural designs, or led countryside tours; for the gentleman, painting was merely an aristocratic pastime. I will argue that analyzing Churchill's bright palette used to saturate spatiality on canvas, often resembling military field mapping, uncovers considerations beyond a pastime. Russian Constructivism permeated Britain's art groups between the wars, acting as a backdrop to Churchill the painter, thus providing contextual contrast in the form of abstracted works to his representational landscapes. Applying a cultural Marxist methodology in the guise of Russian Constructivism to his art elucidates his unintentional responses to social and political change, along with his commitment to the survival of Britain, while allowing for aristocratic ideologies expected in Churchill's aesthetics. Overlooked contextual underpinnings such as Britain's struggles with two World Wars while maintaining the eroding Empire, are layered into Churchill's Romantic and Modernist stylizations. Artists, primarily Cézanne with his determination to objectify Impressionistic light, appealed to Churchill who painted Britain's place even when abroad. I will argue that the category of amateur placed on deceased artists continues to be illdefined. Insightful content found beneath Churchill's paintings has been overlooked because vii he was deemed a gentleman painter during his life. Churchill's aristocratic lineage, evident at Blenheim, his ancestral home, left him the social status of amateur artist no matter how much talent he exuded or how many works he sold. The importance of place as embodied in his love for country and found in his paintings is preserved at Blenheim and Chartwell. Post World War II commercialism produced Kitsch which Churchill readily embraced, thus eroding his amateur status which contributed to increasing the value of his artwork. Contextual analysis of Churchill's landscapes through a Constructivist-cultural Marxist framework allows contemplation of his paintings not just as a gentleman's pastime but also as troped imagery imbibed with social and political thought complimenting his writings and orations, leading to a better understanding of the man and his times. viii TABLE OF CONTENTS Nicholson becomes the ground for this paper, as he also transitioned from a Victorian painter into one of Britain's premier post-World War II Modernists. Nicholson's association with Gabo cemented Content into British Formalism, providing contextual dialogue when referring to Churchill's paintings. Chapter One: looks at the evolution of the amateur artist who evolved from a courtly appendage. With political upheavals and commercial changes, the amateur artist broadened his social spheres, evident in the diminished line and increased coloration found in his works. Churchill remained an amateur even though he had professional skills. His essay, Painting as a Pastime, is read to understand his approaches to art, perhaps incorrectly. Gabo's Realistic Manifesto becomes a comparison as themes about art are contrary to Churchill's. Chapter Two: considers the history of British landscape, Churchill's principal way to paint. British landscape rose to prominence in the late seventeenth century as the Picturesque, couched in political ironies, its portrayal of England's Green and Pleasant Land (Blake poem) came to represent anti-Catholicism and Romanticism along with Enclosure that stressed the unseen working poor. Nicholson's abstracts do does not break from the Picturesque entirely. Chapter Three: investigates Cézanne and his effect on Churchill's work. Cézanne took colors and light of Impressionism and objectified/solidified shapes, obliterating the three-banded landscape which Churchill retained. Nicholson's abstractions also reveal his scrutiny of Cézanne's landscapes. Chapter Four: analyzes British Imperialism and its relationship to Churchill's paintings. Churchill's compositions retained the essence of Imperialism which visually interpret his views on the waning Empire. His paintings done abroad continue to express his love of Britain. In 1915, Nicholson's father who went to India to paint the Viceroy, benefitted from Empirical connections (Schwartz 127,170). Britain's postwar Socialism embraced Modernism providing government funding that propelled artists like Nicholson. Chapter Five: reviews Place or what landscape paintings personally reveal. Map making and describing using perspective evolved into Picturesque. Although Churchill lived in numerous houses and flats, Chartwell, his country estate symbolizes both the Churchillian real and imaginative. Like Nicholson, Place whether painted at home or abroad was the essence of Britain. Chapter Six: considers post-World War II Kitsch as produced object and metaphorical. Although Churchill's art is not Kitsch, he received remuneration from those who made money from Kitsch. After his death in 1965, the manufacturing of Churchilliana escalated, retaining his aura and memory while possibly overlooking the importance of his paintings. Conclusion: Gabo broadened Formal Constructivism to include Content. His presence in Britain influenced Nicholson whose art career parallel's Churchill's landscape painting, providing a ground for a more in depth investigation of Churchill's art, as both responded to the evolution of Empire. Churchill's paintings go beyond the mere dabbling of an aristocratic amateur, becoming an important way to understand the British Empire in Form and Content.

Customer Satisfaction is paramount to any business or industry; this is particularly felt in the Banking industry especially in Kenya where there is fierce competition among the players. The banks have conventionally been associated with queues that anytime one has to visit the banking hall, the thought of long wait in the queue deter them away. This has had a major impact on Customer Service. Simulation was applied to model the current scenario and estimate performance metrics. Some scenarios were considered to find out how the existing system operated. Resource utility and customer waiting time were used to evaluate the performance of the queuing system. A mathematical model based on mathematical theory of queues, Little's result, theorem, lemma, law or formula, expressed algebraically as: L = X. W was developed in-line with the bank’s standard on customer waiting times. The teller staffing model was tested using ARENA simulation software and the result was a reduction of 60% ...

Autorizzare la speranza di Italo Testa è un libro che si tradirebbe se si cominciasse col descriverne il contenuto senza prima rievocare l'effetto che la lettura produce. Ad apertura di un saggio dedicato al rapporto tra bellezza e giustizia, Elaine Scarry notava alcuni anni fa come l'esperienza di trovarsi di fronte a qualcosa di bello sembri incoraggiare, persino richiedere, il gesto della replica: «la bellezza dà origine a copie di sé stessa», ci porta a volerne ricavare un disegno («Wittgenstein diceva che quando l'occhio vede qualcosa di bello, la mano vuole disegnarlo»), a farne una fotografia, a descriverla ad altre persone (E. Scarry, On Beauty and Being Just, Princeton and Oxford, Princeton University Press, 1999: 3). Il salto da un libro all'altro, da un argomento all'altro-da Testa a Scarry, dalla poesia alla bellezza-non vale ancora come giudizio qualitativo, per quanto sottenda un apprezzamento che non si vuole nascondere; riguarda piuttosto la forma del testo, e per l'appunto la sensazione, a lettura conclusa, che Autorizzare la speranza sia costruito non tanto per rispondere alle domande che intende sollevare, quanto per far sì che chi legge metta in gioco a propria volta gli strumenti che ritiene adeguati per affrontare questioni che è forse lecito riassumere con un "perché"-o "a che", volendo alludere al tedesco 'wozu'-"la poesia?". Non è questa una domanda che venga esplicitamente formulata nel libro, né d'altronde Testa cita mai Heidegger, al quale pure l'interrogazione rinvia (M. Heidegger, Wozu Dichter? (1946), trad. it. "A

In 1973, at the age of 35, the well-known earth artist, Robert Smithson, was flying over the site for his upcoming Amarillo Ramp project-a semicircular ramp created from the local red earth on the farm where it resides in Amarillo, Texas. The airplane crashed that day and Smithson's own molecular existence ended, but the Amarillo Ramp project continued on to completion, through the work of his wife and friends. At the time of his death Smithson was well on his way to becoming one of the prominent artist-figures of the sixties. His work is often categorized as minimalist, environmental, or as earthwork along with others such as Carle Andre, Robert Morris, and Michael Heizer. But Smithson has not left us yet, not completely. His existence continues within non-linear time, and we experience this through the dialectics of his artwork. Each interaction with the work refers to the artwork's history-from an artist's concept morphing into an object, an earthwork, or an image. This theory is similar to an idea suggested by the philosopher-literary critic Walter Benjamin-art embodies an historical existence, it carries an informative aura, and thus, this ritual function we call art constitutes a separate language that speaks of its own history over time. 1 Benjamin's perception of aura can be best understood as the distance between object and place or "a unique phenomenon of a distance however close it may be." 2 In Benjamin's

This essay offers an interdisciplinary approach to the critical writings and artistic works of Robert Smithson in light of current discussions on the Anthropocene, and calls for what Timothy Morton defines as an 'ecology without nature'. By mobilizing scholarly fields such as art history, aesthetics, anthropology, philosophy, and psychology, it propose new perspectives on Smithson's embrace of entropy as a specific form of artistic practice; and his dialectic of Site and Nonsite through which he 'reclaimed' polluted industrial sites for his art works. In particular, it focuses on Smithson's interest in scale as manifested most clearly in the Spiral Jetty (1970). This concern is often analyzed through phenomenological theories of perception that focus on the human subject. Yet, scale can be disorienting in ways that move beyond the category of the human subject, by suggesting the possibility of contact with and an imposition from unseen distant entities that nonetheless feel very close. This disturbing intimacy challenges the divisions between subject and object, human and inhuman, organic and inorganic and offers new insights into Smithson's practice.

One of the main objections to Clive Bell's aesthetic theory of formalism is formcontent dichotomy. Commentators of extreme formalism reject this thesis that art status and aesthetic value of works of art merely depends on form and their relations, and that they disregard content. As such, scholars propose neo-formalism as a surrogate theory which is based upon an organic approach to form-content dichotomy. Nevertheless, the authenticity and expediency of organic theory of art and neo-formalism have not yet been satisfyingly demonstrated in relation to Modern art and particularly pure abstract painting. This article examines the validity of this hypothesis that pure abstract paintings, best epitomized in Piet Mondrian's Neo-Plastic art, could be more genuinely evaluated on the basis of a neo-formalist standpoint which is subservient to the organic theory of art. As such, this article aims to examine the feasibility of organic theory of form and content, for the aesthetic evaluation and appreciation of Mondrian's Neo-Plastic paintings. At the end of this article, it is realized that by endorsing the organic theory of art and exploiting a neo-formalist approach one is equipped with a more objective criterion for aesthetic appreciation of pure abstract art, especially Mondrian's Neo-Plastic paintings, compared to the prevailing formalist approach.

Das Werk des sudafrikanischen Zeichners, Filme- und Theatermachers William Kentridge ist sowohl als kunstlerische Praxis wie als intellektuelle Reflexion und politische Intervention im Horizont eines asthetischen Widerstands zu begreifen. Ausgehend von Benjamins Postulat der Unbrauchbarkeit emanzipativer Kunst fur totalitare Zwecke werden in diesem Beitrag Prinzipien einer Freudschen Asthetik der Assoziation skizziert, wie sie fur das Zusammenspiel von biographischer Erinnerung, historisch-politischem Kontext und kunstlerischer Praxis wichtig sind. Anhand des gezeichneten Films Felix in Exile (1994) wird dann Kentridges kunstlerische Verarbeitung von Gewalterfahrungen erortert, in der sich autobiographische und historische, kunstlerische und dokumentarische Dimensionen mit einer medialen Reflexion der asthetischen Mittel innerhalb des kunstlerischen Arbeitsprozesses uberkreuzen.

, the feast day o f Archangel Michael, the Abbess Taisiia had a mystical experience in the midst o f a church service dedicated to the tonsuring o f sisters at Leushino. The women's religious community o f Leushino had recently been ele vated to the status o f a monastery.1 Conducting an all-women's choir on that special day, the abbess became exhilarated by the beautiful refrain o f the Cherubikon hymn, " Let us lay aside all earthly cares," and envisioned Christ surrounded by angels above the iconostasis. She later wrote, "Something was happening, but what it was I am unable to tell, although I saw and heard every thing. It was not something of this world. From the beginning of the vision, I seemed to fall into ecstatic rapture Tears were stream ing down my face. I realized that everyone was looking at me in astonishment, and even fear...."2 Five years later, a newspaper columnistwitnessedasceneinachurch in the Smolensk village o f Egor'-Bunakovo in which a woman began to scream in the midst o f the singing o f the Cherubikon. He described "a horrible in *This book chapter is dedicated to the memory of Brenda Meehan, who pioneered the study of Russian Orthodox women religious in the modern period. 1 The Russian language does not have a separate word such as "convent" or nunnery" to distinguish women's from men's monastic institutions. 2 Abbess Thaisia, 194; quoted in Meehan, Holy Women o f Russia, 126.

Ao meu orientador, Prof. Dr. Marco Aurélio Cremasco, por ter confiado em meu profissionalismo desde o começo. Também o agradeço por todos os ensinamentos, dedicação, apoio, e pela valiosa orientação, fundamentais no resultado deste trabalho. Ao Prof. Dr. José Manuel Aragón e à Dra. Lilian de Martín, que me receberam e também me orientaram durante meu estágio na Universidade Complutense de Madri, resultando em um período de muito aprendizado. Aos senhores membros da banca examinadora, pelo aceite e contribuições neste trabalho. À Prof a. Dr a. Marisa Masumi Beppu, pela confiança, dedicação e ensinamentos como supervisora durante o meu estágio na docência (PED-A). Também agradeço ao Prof. Dr. Osvaldir Pereira Taranto por sua colaboração durante esse processo. Ao CNPq e à Bolsa PED-A, pelo suporte financeiro desta pesquisa e à Petrobras pelo financiamento do equipamento experimental. Aos meus alunos e ex-alunos que tanto me ensinaram a crescer. A todos aqueles que, de alguma forma, testemunharam e dividiram comigo essa caminhada de aventuras e que também tiveram sua colaboração.

xi O conhecimento torna a alma jovem e diminui a amargura da velhice. Colhe, pois, a sabedoria. Armazena suavidade para o amanhã. Leonardo da Vinci xiii RESUMO A complexa dinâmica dos leitos fluidizados promove a necessidade de metodologias de análise de sinais que representem, com maior fidelidade, as características destes processos e também de técnicas de solução computacional de modelos matemáticos complexos para promover a implementação de novas ferramentas teóricas na caracterização de regimes fluidodinâmicos em sistemas particulados. Nas últimas décadas, a análise do caos se tornou grande aliada na investigação dos fenômenos cuja evolução temporal, aperiódica e sensível às condições iniciais, exiba determinismo. Neste sentido, o presente trabalho emprega a técnica de análise de caos para avaliar as grandezas entropia de Kolmogorov e dimensão de correlação associadas às flutuações de pressão em leito fluidizado (0,1 m de diâmetro) para partículas de FCC, painço e microesferas de vidro Geldart A, B e D. Esta Dissertação também se propõe a resolver um modelo matemático representativo da fluidodinâmica gáspartícula e dele abstrair séries temporais de perda de pressão para, posteriormente, serem submetidas à análise do caos determinístico e comparação com os resultados experimentais. Na etapa laboratorial, foram utilizados transdutores diferenciais de pressão a taxas de 1.000 Hz. O gás de fluidização foi ar ambiente a 25 °C. Para a solução do modelo foi utilizado o método clássico de Euler implementado no software MatLab R2012b. Dos resultados da primeira etapa, observou-se a presença de regiões típicas em todos os perfis de entropia de Kolmogorov e dimensão de correlação, sendo que para a condição de fluidização incipiente os valores dos invariantes foram máximos, logo em seguida evoluindo para uma condição de transição e estabilizando em uma situação menos caótica para o regime pistonado. As curvas de fluidização obtidas pela resolução do modelo demonstraram superestimação da perda de pressão, porém, em termos de perfil, houve reprodutibilidade em relação às curvas experimentais. No que tange à análise caótica, os mesmos fenômenos foram notados para as séries temporais simuladas, constatando-se, a presença das regiões de transição do leito fixo-incipiência-transição-pistonado. De modo geral, torna-se evidente a relação entre parâmetros caóticos e as características físicas dos sistemas (experimentais e simulados), corroborando os invariantes do caos como auxiliares na classificação dos regimes de fluidização.

Robert Smithson, Paysage après l'épuisement, à propos de Spiral Jetty Construite en 1970 par Robert Smithson, Spiral Jetty, une des oeuvres les plus emblématiques du Land art se trouve dans une zone désertique des bords du Grand Lac Salé, dans l'Utah, à l'ouest des Etats-Unis. A deux heures de route de la grande ville la plus proche, Salt Lake City, l'oeuvre constitue une sorte d'enclave territoriale édifiée sur le fond peu profond du lac. Le site n'est accessible au visiteur qu'après avoir quitté l'espace géographique ordinaire, pour cheminer à travers un désert, au sens le plus général, d'espace aride, quasiment dénué de végétation, presque inhabité. Il y a donc dans l'accès à cet immense remblai de terre et de roches de 457 m de long, qui s'enroule sur lui-même en spirale au-dessus de l'eau, un principe de « boite dans la boite », ou de « poupées russes » : d'abord aller ou, comme autrefois les anachorètes et autres asociaux, fuir au désert ; puis dans cet écart, trouver et parcourir cette jetée qui, à partir de la berge, amène au point central de la spirale ; de là, repartir dans l'autre sens, retraverser le désert, en sortir. Dédifférenciation Robert Smithson utilise souvent pour définir son travail sur Spiral Jetty le terme de dédifférenciation, qu'il emprunte à un livre qui a beaucoup influencé les artistes américains à la fin des années 1960, L'ordre caché de l'art d'Anton Ehrenzweig 1. Le désert est le produit de la dédifférenciation des composants du paysage, de l'espace géographique. Ce n'est pas espace vide. Tout y est. Mais du fait de la faiblesse de la végétation, du peu d'activités humaines, de l'omniprésence d'une nature minérale, inorganique, « tout se ressemble ». C'est particulièrement le cas dans la zone qui entoure la Spiral Jetty. Sur ce plateau rocheux situé à 1200 mètres d'altitude, il n'y a quasiment aucun relief et, en conséquence, aucun repère permettant de s'orienter. Le désert dédifférencie l'espace, mais aussi les rythmes du temps, qu'il ralentit, étire. C'est ce que disaient les premiers anachorètes, les Pères du désert : le temps qui s'écoule dans le monde, le siècle, n'est pas le temps des contre-espaces que sont, depuis toujours, les zones de désert. Notre perception du temps est indissociable de notre expérience du mouvement, de l'estimation de la durée d'un déplacement (à pied, en voiture, peu importe) d'un lieu à un autre. L'uniformité du désert, l'absence de repères visuels, du plus proche au plus lointain, en atteignant notre capacité d'intuition des distances altère celle d'évaluer le temps.
Built in 1970 by Robert Smithson, Spiral Jetty, one of the most emblematic works of Land Art, is located in a desert area on the shores of the Great Salt Lake in Utah, in the western United States. A two-hour drive from the nearest major city, Salt Lake City, the work is a kind of territorial enclave built on the shallow lake bottom. The site is only accessible to the visitor after leaving the ordinary geographical space, to walk through a desert, in the most general sense, of arid space, almost devoid of vegetation, almost uninhabited. The access to this immense 457 m long embankment of earth and rock, which spirals in on itself above the water, is therefore like a "box within a box", or "Russian dolls" principle: first to go or, like the anchorites and other asocials of old, to flee to the desert; then in this gap, to find and walk along this jetty which, from the bank, leads to the central point of the spiral; from there, to go back the other way, to cross the desert again, to come out. Robert Smithson often uses the term dedifferentiation to define his work on Spiral Jetty, which he borrows from a book that greatly influenced American artists in the late 1960s, Anton Ehrenzweig's The Hidden Order of Art 1. The desert is the product of the dedifferentiation of the components of the landscape, of the geographical space. It is not empty space. Everything is there. But because of the scarcity of vegetation, the lack of human activity, the omnipresence of a mineral, inorganic nature, "everything looks the same". This is particularly the case in the area around Spiral Jetty. On this rocky plateau situated at an altitude of 1,200 metres, there is almost no relief and, consequently, no landmarks to orientate oneself. The desert dedifferentiates space, but also the rhythms of time, which it slows down and stretches. This is what the first anchorites, the Desert Fathers, said: the time that passes in the world, the century, is not the time of the counter-spaces that the desert zones have always been. Our perception of time is inseparable from our experience of movement, from the estimation of the duration of a journey (on foot, by car, whatever) from one place to another. The uniformity of the desert, the absence of visual reference points, from the nearest to the farthest, by affecting our capacity to perceive distances, alters our capacity to evaluate time.

2020 quedará para siempre en nuestra memoria como el año que cambió la vida de prácticamente todos los habitantes del planeta. La virulencia con la que la COVID-19 nos ha golpeado nos ha llevado, sin duda ninguna, a plantearnos dudas existenciales sobre el significado de nuestras vidas, de las relaciones amorosas y los afectos, y a reflexionar sobre  conceptos como pérdida, memoria y nostalgia presentes en todos los aspectos de nuestra vida desde que empezó la pandemia. De ahí que los artículos que se han recogido en este nuevo monográfico de Verbeia aborden estos temas desde muy distintas disciplinas.  Para Ignacio Castro Rey la nostalgia invade aspectos de nuestro comportamiento, identidad y de nuestros “paisajes” sin que nosotros apenas nos demos cuenta, e insiste en que todo salto hacia adelante exige una profunda  revisión del pasado.  Por otro lado, Carlos Lacalle explica en su artículo cómo el significado de pérdida es múltiple y no está exclusivamente asociado al pasado sino que hace referencia de manera indiscriminada a cualquier direccionalidad temporal. Asunción López Varela examina la base semiótica de la nostalgia como estructura afectiva mientras que Juan Orellana ejemplifica la importancia de los afectos en las relaciones familiares que otorgan seguridad al individuo. Por último, Ana M. Martín Castillejos pone énfasis en cómo el sentimiento de pérdida es también una herramienta creativa que invita a la acción y la convierte en motor de cambio. En esta difícil situación en la que todos los seres humanos nos encontramos inmersos, sirva este monográfico para reflexionar sobre asuntos esenciales que solemos pasar por alto en la vorágine de la vida diaria.

En este artículo se reflexiona sobre el lugar al que se ve abocada la estética (como teoría del arte) tras la efectiva “estetización de la existencia”,  planteando una estética ordinaria alejada tanto del actual intento de convertirla de nuevo en filosofía primera o gnoseología inferior como del arte convencionalmente considerado político. La estetización de la existencia es exactamente lo contrario de lo que pensamos que es: es el contrapunto de la explotación capitalista de la dimensión reproductiva de la existencia; el contrapunto de la tendencia actual a explotar económicamente la disposición humana, radicalmente humana, a mantener una relación significativa, compleja, mediada y gratuita con la vida. La estetización de la existencia, que tiene que ver con el juicio sobre el gusto (expandido), implica la renuencia a traducir esa “intelección general” en mercancía y la disposición a interpretarla en clave estética, sin otra finalidad que la de afirmar el sentido de la vida. La estetización de la existencia nos obliga a entender que su propia sostenibilidad depende (ya casi pende) de nuestros deseos, lo que convierte las cuestiones de gusto en asuntos políticos que inciden en el grado de probabilidad de lo posible y decantan lo potencial hacia el futuro, que no es más que el resultado de lo que hacemos (y queremos) juntos.

Analyzing statistically and by subject Robert Smithson’s copious personal library, and directly reading many books to which he did not draw attention, expands awareness of themes that engaged him and thus of him personally. The two inventories of his library published in the early twentieth century each present the more than eleven hundred titles as sorted into classifications. These, broadly informative, serve to corroborate the persona he created for himself as a cerebral creator of both visual art and essays who read widely in the humanities and the sciences. That is, the classifications mask significant sub-groupings such as those addressing the occult, the development of the self, and most substantially, Catholicism manifested both directly by theologians and by literary authors and scholars. Analyzing his library prompted recognition of the extent of Smithson’s religiosity, as well as, serendipitously, the source of the design of one of his earthworks as the cover of a book on literature and theology.  This material developed from my biography, "Inside the Spiral: The Passions of Robert Smithson."

Gordon Matta Clark, uno de los artistas visuales más influyentes del siglo pasado, era arquitecto. No obstante, desde el mismo momento de su graduación manifestó claras discrepancias con sus colegas. Su legendaria “participación” en la exposición Idea as model ilustra a la perfección no solo el espíritu radicalmente renovador del arte de la década de los 70 sino el tránsito del paradigma modernista al posmoderno. A partir de la deconstrucción del título de aquella muestra en el IAUS, este artículo analiza las múltiples y variadas estrategias de la obra de Matta Clark para horadar la epidermis arquitectónica como ejemplo de la evolución estética desde el idealismo autónomo y el ensimismamiento disciplinar hacia el arte contextual y transdisciplinar. Matta-Clark, menos preocupado por tener ideas que por dar ejemplo, parece entender el posmodernismo desde un punto de vista muy alejado de Scott Brown, Venturi o Moore, pero también de Judd o Serra. Su obra interpreta la crisis del modern...

In the early 1960s some artists abandoned the wall, the gallery and the museum for altering the landscape outside. That’s what human beings had done to the Earth for millennia—left their mark, indelible or not. This may signal ownership, dominance, or an attempt to connect or infuse nature’s power into the human creature. Or it may be a form of creative play, now augmented by machines. Robert Smithson's Spiral Jetty in the Great Salt Lake (1970) left its mark on the environment and the art world.
However, a question arises these days about how environmentally aware and conscien- tious are land- or earth-artists? Four major figures and four key works help us assess the evolving role of environmental consciousness in earth art. And, two recent events in Los Angles prompt me to make such an assessment: the installation of Michael Heizer’s rock, Levitating Mass, at the Los Angeles County Museum of Art, and a complementary retrospective, Ends of the Earth: Land Art to 1974 at the Los Angeles Museum of Con- temporary Art (MOCA). In this and the following three issues of American Scientist I explore these works and attempt to answer that question.

In March 1965, Robert Morris performed his last dance composition Waterman Switch together with Lucinda Childs and Yvonne Rainer at the "Festival of the Arts Today" in Buffalo, New York. 1 Starting with stones randomly being rolled on stage, the same boulders are used subsequently as pedestals for the three performers to balance on in an utterly unstable stance (Pl. 1). Positioned in one horizontal line, Rainer and Morris-only their naked backs visible to the public-try to move towards the central boulder, on which Childs stands. They strenuously aspire to make the stones roll over with their feet while tearing a rope Childs is holding in the middle. Also, twice during the seventeen-minute long piece, Morris walks at a snail's pace pressed against Rainer along two narrow wooden tracks (Pl. 2). Both bodies thus conceal their nakedness by being pushed tightly against one another. And while hiding their actual nakedness, they find themselves in "that state of aesthetic grace called nudity," Nicolas Calas points out. 2 Towards Gravity Morris and Rainer act here as if they were an idealized neoclassical sculpture, such as for example Antonio Canova's Three Graces, of 1813 (Pl. 3). In this work, three figures are presented to the viewer in such way that they allow for a synthetic vision of their totality, in one single glance. While looking at them from a fixed point of view, namely frontally, one sees all the perspectives they have to offer at once. They themselves are not really moving. But to the static viewer's eye, they suggest an illusion of dancing around one, single and vertical axis. This can be conceived of as a sort of ideal and absolutely stable center, a transcendent internal core that unifies their three bodies into one. 3 In this respect, Morris's and Rainer's clumsily acted efforts on the stones and their final incapacity to reach that supposedly magnetic center where Childs is positioned, appear to be utterly ironic. They deliberately seem to be willing to explore the precariousness of the "surroundings," and to pursue their fascination with the eccentricities instead of the established order and balance of a center. Also, at first sight, Rainer's and Morris's naked bodies on the tracks seem to fuse into one, static and timeless sculpture, set up on a pedestal. But very soon, one realizes that they in fact are really moving, however slowly. Further, they do not turn around some idealized vertical backbone, but instead shove back and forth along a horizontal axis. And, as opposed to neoclassical sculpture, their graceful nudity is not glorified. On the contrary, at every moment of their act they point to its complete and utter precariousness. For, in each instant they entail the danger of falling from the tracks, in which case they would have revealed themselves as human beings of flesh and blood instead of marble, as performers unable to transform their worldly nakedness into idealized nudity. The same is true for the episode of balancing on the

Studies at MIT. He is renowned for his large-scale slide and video projections on architectural facades and monuments. Since the late eighties, he has developed a series of nomadic instruments for both homeless and immigrant operators that function as implements for survival, communication, empowerment, and healing. KW: You know, sometimes it takes being useful to make oneself an artist. In my case the usefulness of the kind of art I do for others lies in helping them in their own lives to become themselves useful artists, who then help others to take advantage in turn I hope to be useful to you and the Thresholds as well. GN: One of the prinicipal ways that your work fits into the theme of this issue of Thresholds is how it deals with reversing roles of power. For example, that's true with some of your prosthetics, but also with... KW: The projections GN the projections, where you have a speaker who's suddenly empowered in such a way that he or she normally wouldn't be. KW: Well, I have to really read again the very text that I offered you to read to see the relations between your questions and Bakhtin's ideas. So whether it's Bakhtin or not, there definitely is some play with the authority-the prestige-of historic monuments and facades in my projections. But also in the instrumentations there is some play with the humanoid cyborg and the empowered person versus the weak person, speechless and intimidated, marginalized. With monuments you have those people who are in fact monuments to their own trauma, they have become silent monuments. They've become large

Aircraft were to play a decisive role in the short career of Robert Smithson. In 1969, when he published his article Aerial Art, Walther Prokosch, an architect specializing in aviation, put him in contact with TAMS engineering. This gave rise to his involvement in a land altering operation as vertiginous and brutal as the construction of Dallas Fort-Worth International Airport. At that point Smithson became aware of the human capacity to transform Mother Earth and the importance of contemplation from the air. He incorporated these interests into his artistic creation, thus paving the way for earthwork, crucial to the evolution of Land Art. The study of the documents included among Robert Smithson’s Papers at the Smithsonian Museum of American Art allows us to reconstruct a history that shared interests and concerns with Moholy-Nagy’s New Vision or Le Corbusier’s Loi du Méandre.

Professor of Photography, for his friendly support throughout, as well as all the members of staff in the department, who have all assisted me in my work at one time or another. Both my supervisors, John Stezaker and Nigel Rolfe, as well as my initial supervisor Paul Kilsby, have provided me with much help and encouragement, for which I am grateful. I would like to thank Nigel and his assistant Shelagh Morris, in particular, for their very personal support during the fi nal show, in which my practice took another step.

Gedächtnis bittet um einen Schnitt, um die Wahrheit herauszulassen." Monica Rosenblum Bei den im Folgenden vorgestellten Arbeiten handelt es sich um zwei im Parque de la Memoria (Park der Erinnerung) in Buenos Aires am Internationalen Tag der Verschwundenen verwirklichte Aktivitäten und ein Video, das von der Comisión Provincial de la Memoria (Provinzausschuss für Erinnerung) als Teil der Sammlung des Museo de Arte y Memoria (Museum für Kunst und Erinnerung) in La Plata produziert wurde. Alle Arbeiten basieren auf dem Projekt Historias del Arte, Diccionario de Certezas e Intuiciones (Kunstgeschichten, Wörterbuch der Gewissheiten und Intuitionen), das-in den Worten von Christian Ferrer-einer Erinnerung oder einem Bekenntnis entspricht. Es sagt uns: "Die Enthierarchisierung ist ein Grundprinzip des Projektes von Diana Aisenberg. Die geäußerten Meinungen sind persönliche Geschichten und zwangsläufig mit der persönlichen Situation verflochten, mit dem intimen Tagebuch und dem Beichtstuhl, auch wenn seine Eintragung kritisch ist, wie ein absichtlich unscharf eingestelltes Bild." brought to you by CORE View metadata, citation and similar papers at core.ac.uk provided by Institutional Repository of the Ibero-American Institute,...

xi O conhecimento torna a alma jovem e diminui a amargura da velhice. Colhe, pois, a sabedoria. Armazena suavidade para o amanhã. Leonardo da Vinci xiii RESUMO A complexa dinâmica dos leitos fluidizados promove a necessidade de metodologias de análise de sinais que representem, com maior fidelidade, as características destes processos e também de técnicas de solução computacional de modelos matemáticos complexos para promover a implementação de novas ferramentas teóricas na caracterização de regimes fluidodinâmicos em sistemas particulados. Nas últimas décadas, a análise do caos se tornou grande aliada na investigação dos fenômenos cuja evolução temporal, aperiódica e sensível às condições iniciais, exiba determinismo. Neste sentido, o presente trabalho emprega a técnica de análise de caos para avaliar as grandezas entropia de Kolmogorov e dimensão de correlação associadas às flutuações de pressão em leito fluidizado (0,1 m de diâmetro) para partículas de FCC, painço e microesferas de vidro Geldart A, B e D. Esta Dissertação também se propõe a resolver um modelo matemático representativo da fluidodinâmica gáspartícula e dele abstrair séries temporais de perda de pressão para, posteriormente, serem submetidas à análise do caos determinístico e comparação com os resultados experimentais. Na etapa laboratorial, foram utilizados transdutores diferenciais de pressão a taxas de 1.000 Hz. O gás de fluidização foi ar ambiente a 25 °C. Para a solução do modelo foi utilizado o método clássico de Euler implementado no software MatLab R2012b. Dos resultados da primeira etapa, observou-se a presença de regiões típicas em todos os perfis de entropia de Kolmogorov e dimensão de correlação, sendo que para a condição de fluidização incipiente os valores dos invariantes foram máximos, logo em seguida evoluindo para uma condição de transição e estabilizando em uma situação menos caótica para o regime pistonado. As curvas de fluidização obtidas pela resolução do modelo demonstraram superestimação da perda de pressão, porém, em termos de perfil, houve reprodutibilidade em relação às curvas experimentais. No que tange à análise caótica, os mesmos fenômenos foram notados para as séries temporais simuladas, constatando-se, a presença das regiões de transição do leito fixo-incipiência-transição-pistonado. De modo geral, torna-se evidente a relação entre parâmetros caóticos e as características físicas dos sistemas (experimentais e simulados), corroborando os invariantes do caos como auxiliares na classificação dos regimes de fluidização.

RESUMO-As altas concentrações de material particulado inalável (PM 10), nos grandes centros urbanos, são responsáveis por desencadearem problemas respiratórios, entre outros problemas. O controle dessas emissões não é trivial, pois existem diversos fatores que influenciam as concentrações de tais partículas na atmosfera, caracterizando a descrição do fenômeno de poluição como não linear, sensível às condições iniciais e, portanto, caótico. O objetivo deste trabalho é do avaliar a presença de caos em dados de variação temporal de concentração de PM 10 nos anos de 1998 a 2000 e 2010 a 2013, obtidos no Parque Ibirapuera, em São Paulo. Os resultados dos invariantes caóticos, entropia de Kolmogorov e dimensão de correlação, advindos de atratores estranhos, apontam a natureza caótica do estudo em análise.

Hague as early as 1968, at the Gemeentemuseum's seminal 'Minimal Art' exhibition curated by Enno Develin. 11 And that same December, he toured industrial sites across the West German border in North Rhine-Westphalia. At the latter, he gathered materials for two pieces which still exist. 12 And in March of 1969 Smithson contributed a pair of 'Mirror-Pieces' to the famed 'Op Losse Schroeven' exhibition at the Stedelijk Museum in Amsterdam (fig. 1), using soil from the Limburg mining town of Heerlen. 13 We will address these in what follows. Such works strangely drop out of broader accounts of Smithson's work, centered, as many once were, upon his American output. 14 On the one hand, the North European pieces sustain Smithson's familiar obsessions with scale and entropy. On the other, the works-realized and unrealized-interrogate like no others the artist's famed indifference to period environmentalism. The pieces were conceptualized during a moment when neo-avant-garde