Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space

The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.

„Die Moskauer Sonne scheint überall“. Die sowjetische Hauptstandt als Raum der Utopie in Das neue Moskau (1938) und Die Schweinepflegerin und der Hirt (1941)

Basing on Aleksandr Medvedkin’s New Moscow and Ivan Pyryev’s The Swineherd and the Shepherd, this case study analyses the way the “new” Moscow was represented as a space of realised utopia in the Soviet socialist realist films of the 1930s and at the beginning of the 1940s. Functioning as a supranational centre of the Soviet “affirmative action empire” (Terry Martin), the cinematographic Moscow casts off all constraints of ‘Russianness’ in order to become a pan-Soviet model which, both in its architecture and semantics, could epitomize the perfect city and the perfect state. The comparative analysis of both films demonstrates that, although both directors show Moscow through the lens of the so-called “spaces of celebration” (Mikhail Ryklin), ‘their’ Soviet capital does not compensate for the “traumas of the early phases of enforced urbanization”, as Ryklin supposed. Rather, it operates as a transformation machine whose impact pertains only to periphery and can be effective once the representatives of this periphery have left Moscow. The complex inclusion and exclusion mechanisms resulting from this logic turn the idealised Soviet capital into a space which only the guests from peripheral regions can perceive as utopian. The ensuing suppression ofthe inner perspectives on ‘utopian’ Moscow is interpreted here as a manifestation of the “cinematicunconscious”, which accounts for the anxieties of the inhabitants of the capital concerning both Stalinist terror and their own hegemony in a society haunted by the purges.

Effect of rare earth on inclusion evolution in industrial production of HRB500E steel

The effect of rare earth (RE) on inclusion in HRB500E steel was studied based on plant trials. The results showed that S decreased by 47.6% after 0.0059% RE treatment. In samples without RE treatment, the inclusions change from Al2O3-MnO to ellipsoidal Al2O3-MnO-CaO complex inclusion, and the size of such inclusions is ≤ 2 µm and isolated strip MnS inclusion with the size of ≥ 2 µm. With RE treatment, Al2O3-MnO-CaO inclusions are transformed into spherical or ellipsoidal REAlO3 and REAlO3-MnS. The size of such inclusions is ≈ 1.5 µm and single MnS inclusions were not found. The number density and size of inclusions changed significantly after RE treatment. Thermodynamic calculations show that the Gibbs free energy of RE inclusions is more negative and more stable. The transformation model of inclusions is established to illustrate the modification of inclusions during the smelting process.

Morphology Study on Inclusion Modifications Using Mg–Ca Treatment in Resulfurized Special Steel

In resulfurized special steel, MnS and Al2O3 are two main inclusions that deteriorate fatigue life and machinability. It is important that these two inclusions should be well controlled to increase steel quality and usage performance. In the present study, a Mg–Ca treatment was employed to modify the MnS and Al2O3 inclusions in resulfurized steels to reduce detrimental effects on fatigue life and machinability. In the laboratory study, Ni–Mg alloy was added to 16MnCrS5 and 49MnVS3 steels. Both Al2O3 and CaO–Al2O3 were gradually modified to MgO·Al2O3 and MgO, being surrounded by MnS, that is, a complex inclusion with an oxide core and sulfide outer layer was formed. The amount of the complex inclusion increased with Mg content. In the hot forging experiment, non-Mg treated inclusions were in the morphology of long strip, while those with Mg treatment were seen to be less deformed with spherical morphology of low aspect ratio in which case inclusions had less effect on steel mechanical properties. The Mg–Ca treatment was also applied to the manufacture of resulfurized special steel in steel plants. The scanning electron microscope–energy dispersive spectrometer and statistical results agreed well with those in the laboratory studies.