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Academic literature on the topic 'Dançe of the masked'

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Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Dançe of the masked"

LEE, Mi Ji. "The Thai Masked Dance "Khon": Traditional Culture and Tourism Strategies." JOURNAL OF ASIAN STUDIES 21, no. 2 (May 31, 2018): 37–59. http://dx.doi.org/10.21740/jas.2018.05.21.2.37.

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Kim, Ho-seok. "A Study on the Song of the Bongsan Masked Dance Drama." Korean Folklore 63 (May 31, 2016): 141. http://dx.doi.org/10.21318/tkf.2016.05.63.141.

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Yi, Jooyoung. "Bongsan Masked Dance in the 1930s and the Direction of Tradition." Journal of Language & Literature 86 (June 30, 2021): 277–99. http://dx.doi.org/10.15565/jll.2021.06.86.277.

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Dibia, I. Wayan. "Experimenting the Modern Story "Mr. Tepis" to Balinese Topeng Masked Dance Theatre." Malaysian Journal of Performing and Visual Arts 2, no. 1 (December 15, 2016): 71–85. http://dx.doi.org/10.22452/mjpva.vol2no1.4.

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Moungboon, Vantanee, Kla Somtrakool, and Ying Keeratiburana. "Khon (Masked Dance): Management to Promote Tourism in the Central Region of Thailand." International Journal of Interdisciplinary Organizational Studies 11, no. 3 (2016): 27–34. http://dx.doi.org/10.18848/2324-7649/cgp/v11i03/27-34.

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Garuba, Harry. "Masked Discourse: Dramatic Representation and Generic Transformation in Wole Soyinka'sA Dance of the Forests." Modern Drama 45, no. 3 (September 2002): 378–94. http://dx.doi.org/10.3138/md.45.3.378.

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Baek, Hyun-Soon. "Analysis on the Village-Centered Masked Dance based on Rituals -On the Rituals Transitions-." Journal of the Korea Contents Association 10, no. 4 (April 28, 2010): 175–85. http://dx.doi.org/10.5392/jkca.2010.10.4.175.

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Foley, Kathy. "Trance and Transformation of the Actor: Japanese Noh and Balinese Masked Dance-Drama (review)." Asian Theatre Journal 22, no. 2 (2005): 361–64. http://dx.doi.org/10.1353/atj.2005.0026.

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Anderson, Samuel Mark. "Letting the mask slip: the shameless fame of Sierra Leone's Gongoli." Africa 88, no. 4 (November 2018): 718–43. http://dx.doi.org/10.1017/s000197201800044x.

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AbstractGrotesque and vulgar, the masked character Gongoli upends the codes of Mende decorum in his madcap pursuit of laughs. His impropriety goes so far as to allow his mask to fall, comically revealing the identity of his dancer and subverting the anonymity so elemental to his fellow spirits’ vaunted status. Yet despite such transgressions, he stands among the most beloved figures of Sierra Leone's rich performance traditions. Gongoli's popularity hinges on his irreverence towards the fundamental laws of masked dance, laws that also regulate the balance between individual agency and communal responsibility, between internal desire and external restraint. The only quality necessary to play Gongoli is shamelessness (ngufe baa), and the greatest performers are acrobats braving risks that are not physical, but social. This article follows Siloh, an itinerant performer whose celebrity inheres in his uncanny similarity to the Gongoli he often plays. The composite figure Siloh Gongoli exemplifies a comic aesthetic relished throughout Sierra Leone in storytelling, ritual, festivals, videos and radio shows. Although mobilized for different ends, each of these conventions undermines principles of self-effacement, gerontocratic privilege and esoteric power by shamelessly playing with and within the existential tensions between interior and exterior selves.

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Januar, Rizky. "Topeng Sidakarya Dance; A Man who made it a success." Bali Tourism Journal 4, no. 1 (February 10, 2020): 6. http://dx.doi.org/10.36675/btj.v4i1.39.

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Topeng Sidakarya dance is a masked wali dance originated from the 16th century. A typical old art performance that utilises a mask to express the figure's character. It is believed the art was choreographed after a brief visit of Brahmana Keling, a sage from eastern Java to Bali at the time King Dalem Waturenggong was reigning Gelgel Kingdom. The tour of Brahmana keling to the grand ritual held in the 16th century by king Dalem Waturenggong gave birth to Topeng Sidakarya dance; An art to dedicate Brahmana Keling’s service for Gelgel kingdom. His service had led Bali to reach its prosperous time for an extended period. The dance is recognised by its unique mask characteristics: a white-based colour mask, squinting eyes, black or white moustache, smiling expression and exaggerated overbite teeth. Topeng Sidakarya dance served as a complement of religious rituals based on king Dalem Waturenggong’s decree for the future generation. It is compulsory to perform the sacred art as it carries a symbol that the ceremony has been well-acted, and the organiser would meet their expectation for the ritual.

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Dissertations / Theses on the topic "Dançe of the masked"

Cookney, D. "Masked : depictions of anonymity in electronic dance music." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/36101/.

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This thesis explores anonymity as an aspect of identity construction within electronic dance music (EDM). Its specific focus is on the production and control of image within genres that have arisen since the development and expansion of the club scene in the UK from the latter part of the 20th century and, then situated in visual culture and performance research, its examination of anonymity represents an area that, to date, has been overlooked in EDM. As part of this investigation, the thesis’ chapters notably analyse elements that are external to music recordings including record sleeve design and press interviews: components that are essential elements in the development and distribution of these performative identities. Following Thornton (1995), Rietveld (1998), Hesmondhalgh (1998a) and Gilbert and Pearson (1999), the research critically reviews a range of issues that are determined as associated with these representations – including the influence of technologies, a resistance to mainstream assimilation and the impact of collective ‘scene’ – while explaining some of EDM’s distinctions and hierarchies within a post-subcultural setting. To do this it uses case studies focusing on the approaches of Daft Punk, Burial, Zomby and SBTRKT: examples that are presented as unique demonstrations of image construction within the field. It also places the role of identity within a more expansive history of electronic music by aligning contemporary practice with the earlier presented image of Kraftwerk. Ultimately, and while observing this lineage of often counterintuitive practices, the thesis argues that the EDM producer’s separation from the high visibility ‘star system’ model favoured by pop and rock performers reflects commitment to a marginal status: a commitment also communicated through its visual aesthetics that reinforce an underground cultural context to celebrate the peripheral whilst, simultaneously, highlighting the EDM producer’s perceived condition as that which is inferior to his or her rock counterpart.

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Kiriwat, Amolwan. "Khon: masked dance drama of the Thai epic Ramakien." Fogler Library, University of Maine, 2001. http://www.library.umaine.edu/theses/pdf/KiriwatAX2001.pdf.

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Murdoch, J. L. "Unmasking Talchum: An Embodied Inquiry into Korea’s Masked Dance-Drama." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300734669.

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Amaral, Ivoneides Maria Batista do. "A performance cultural na Dança dos Mascarados." Universidade Federal de Mato Grosso, 2015. http://ri.ufmt.br/handle/1/77.

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O conceito de performance cultural, enquanto proposta dramatúrgica foi articulada através da junção dos estudos de Schechner e Turner, da concepção de que todo comportamento restaurado é uma performance, procurando revelar o caráter dinâmico, vivo e transformador próprio da comunidade (DAWSEY, 2013). A performance cultural ocorre em diferentes contextos sociais, em cada performance, criam-se novas configurações, novos espaços e espectadores. Neste trabalho, observamos a Dança dos Mascarados de Poconé composta por 28 homens que se vestem com máscaras e roupas coloridas para a realização do ritual coletivo, desempenhando uma conexão entre os dançantes e a comunidade. Pensando na Dança dos Mascarados como Performance cultural, é possível pensar na dança como uma ação extra cotidiana, uma arte da presença e uma ação coletiva. A dança interrompe as experiências rotineiras e se inscreve numa nova temporalidade.
The concept of the cultural performance, as dramaturgical proposal was articulated through Schechner and Turner’s studies, of conception that all restored behavior is a performance trying to reveal the dynamic character, living and community own transformer (DAWSEY, 2013). The cultural performance occurs in different social contexts, each performance, creates new configurations, new spaces and spectators. In this study, we observed the Dança dos Mascarados of Poconé, composed by 28 men who dress up with masks and colorful clothes, for the realization of collective ritual, playing a connection between the dancers and the community. Thinking in the Dança dos Mascarados as a cultural performance, it is possible to think in the dance as a daily extra action, an art of presence and a collective action. The dance interrupts the routine experiences and is part of a new temporality.

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Agg, Katia. "Máscara corporal : aspectos técnicos-poéticos na composição do corpo cênico sob a perspectiva do intérprete interativo." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284581.

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Orientador: Marília Vieira Soares
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A partir do olhar sobre a máscara e sua efetiva atuação no corpo cênico, desencadeou-se o interesse em pesquisar a maneira pela qual a essência deste elemento milenar, presente desde a origem da dança, pode manifestar-se na dança cênica da atualidade. Para tanto, este estudo parte da premissa de uma perspectiva integralizadora dos elementos de cena, tais como iluminação, cenário e figurino, para a expansão do entendimento e conseqüente composição da Máscara Corporal. Tal entendimento passa pela reflexão realizada por meio dos registros históricos no que se refere ao uso da máscara na dança cênica ocidental e dialoga com personalidades do cenário artístico atual da dança e do teatro. Os Laboratórios Corporais (LabCor 1 e 2) consolidaram a busca por referências aos questionamentos de como, quando e de que maneira a máscara corporal atua no processo criativo e potencializa o corpo cênico. Os laboratórios contaram ainda com o uso da saia e da luz negra como provocadores criativos do exercício cênico Aliança. Reconhece-se, assim, a máscara corporal como impulsionadora desse processo, ao propiciar ao corpo a sua desterritorialização, ou seja, um estado de suspensão promovido pelo distanciamento do corpo cotidiano e de seus referenciais já conhecidos. Ademais, a potencialidade transformadora, inerente à máscara, revela-se na relação do corpo com outros elementos cênicos na busca pela emergência de um Quem que dança ao interagir com o corpo cênico em outro tempo/espaço
Abstract: From the glance on the mask and its effective acting in the scenic body, the interest was awoken in investigating the way for which the essence of this thousand-year-old, present element, that is present since the origin of the dance, can manifest itself in the current scenic dance. To that end, this study starts from the premise of an integrated perspective of the scenic elements, such as lighting, scenery and costume, for the expansion of the understanding and consequent construction of the Physical Mask. This understanding occurs through the reflection carried out by means of the historical records of the mask use in the scenic western dance and interacts with personalities from the artistic current scenery of the dance and of the theater. The Physical Laboratories (LabCor 1 and 2) consolidated the search for references to the following questions: how, when and in which way the physical mask acts in the creative process and it intensifies the staging body. Over the laboratories there was still the use of the skirt as well as the black light as creative provocateurs of the scenic exercise Aliança. The physical mask is recognized like an impulse of this process, while it provides the body its deterritorialization, in other words, a state of suspension promoted by the distance of the daily body and of its already known referential systems. Furthermore, the transformative potentiality, which is intrinsic to the mask, is exposed in the relation of the body with other scenic elements in the search of the emergence of the one who dances while interacting with the scenic body in another time / space
Doutorado
Artes Cenicas
Doutor em Artes

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Nielsen, Helen L. "Emotion experience and physiology in response to masked and non-masked presentations of emotional pictures." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280373.

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Recent theories propose that subtle emotional feelings can guide decision-making when insufficient information about the source of those feelings exists. To assess whether emotion experiences possess the properties necessary to play this functional role, subjects in the present study reported on feelings elicited by visually masked emotional pictures. Potential sources of individual differences in the ability to discriminate subtle "gut feelings" were also explored. 16 long-term meditators and 18 non-meditators viewed a series of pictures with pleasant, neutral, and unpleasant content, both masked and nonmasked, and reported on experienced valence and arousal, while measures of skin conductance (SCR), facial electromyography (EMG), and heart rate (HR) were simultaneously recorded. Masked emotional pictures did not elicit discriminatory SCR or EMG responses. HR discriminated among masked pictures by arousal, but not by valence. Both meditators and controls discriminated among masked stimuli in self-reported arousal, but only non-meditators demonstrated accurate valence discrimination. Unpleasant pictures were better discriminated from neutral pictures than were pleasant pictures. Ability to detect feelings elicited by masked stimuli was unrelated to heartbeat detection ability, cardiac vagal tone, or self-reported attention to emotional states, though self-reported emotional clarity predicted better arousal discrimination. It is proposed that awareness of emotion experience may involve both a visceral awareness and a non-visceral awareness of feeling qualities. Long-term meditation practice of the type adopted by participants in the present study, with its focus on the former, may reduce access to non-visceral feeling states.

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Bronfman, Beverly. "Gavarni and the Opéra Masked Ball." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55817.

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The theme of the parisian Carnival masked balls at the Opéra became synonymous with the nineteenth-century French graphic artist Guillaume Sulpice Chevalier, known as Gavarni (1804-1866). Between 1830 and 1853, he produced more than two hundred lithographs of the subject, which usually appeared in the contemporary popular press. These depictions and their telling captions--snippets of actual conversations--evoke the essential esprit of the occasion. A compelling visual chronicle emerges from Gavarni's imagery of the Opéra masked halls, which uniquely captures the contemporary manners and mores of Parisian society. This dissertation is a close visual analysis of Gavarni's treatment of the phenomenon, which draws upon contemporary literary accounts to substantiate and elucidate the meanings of his prints.
Le thème des bals masqués de l'Opéra est intimement lié au peintre et graveur français du XIXe siècle Guillaume Sulpice Chevalier, dit Gavarni (1804-1866). Entre 1830 et 1853, celui-ci a produit plus de deux cents lithographies sur ce sujet, dont la majorité ont été publiées dans la presse populaire de l'époque. Ces scènes et les légendes qui les accompagnent--bribes de conversations réelles-évoquent l'esprit des bals. Chronique visuelle irrésistible, ces gravures dépeignent les moeurs et les manières de la société parisienne de l'époque. La présente thèse propose une analyse visuelle rigoureux du traitement de ce phénomène par Gavarni qui s'appuyer sur des témoignages littéraires contemporains pour élucider le sens de ses gravures. fr

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Bronfman, Beverly. "Gavarni and the Opera masked ball." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50118.pdf.

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Thayaparan, Abirami. "Novel carboranes and masked amino acids." Thesis, University of Leeds, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414167.

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Price, Mark C. "Processing and awareness of masked stimuli." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385508.

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Books on the topic "Dançe of the masked"

Trance and transformation of the actor in Japanese Noh and Balinese masked dance-drama. Lewiston, N.Y: E. Mellen Press, 2004.

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Shelton, Paige. If mashed potatoes could dance. Waterville, Maine: Wheeler Publishing, A part of Gale, Cengage Learning, 2013.

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Hager, Jean. Masked dancers. Thorndike, Me: Thorndike Press, 1998.

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DeMars, Douglas. Masked avenger. Friendsville, Md: Acheron Press, 1986.

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Masked reflections. Waterville, Me: Thorndike Press, 2004.

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Masked dancers. New York: Mysterious Press, 1998.

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Wright, Katrina. Masked love. Leicester: Linford, 1991.

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Institute, Lumbini International Research, ed. The Sherpa Dhumji Masked Dance Festival: An ethnographic description of the 'great liturgical performance' as celebrated annually according to the tradition of the Lamaserwa clan in the village temple of Gonpa Zhung, Solu. Lumbini: Lumbini International Research Institute, 2008.

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Masked by Moonlight. Toronto, Ontario: Steeple Hill, 2008.

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Follose, Martin A. The masked muskateer. Englewood, CO: Pioneer Drama Service, 2008.

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Book chapters on the topic "Dançe of the masked"

Weik, Martin H. "masked." In Computer Science and Communications Dictionary, 979. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_11109.

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Frank, Robert G. "Masked Depression." In Encyclopedia of Clinical Neuropsychology, 2083. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-57111-9_2130.

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Hohler, Anna DePold, and Marcus Ponce de Leon. "Masked Facies." In Encyclopedia of Clinical Neuropsychology, 2083. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-57111-9_465.

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Luban-Plozza, Boris, Walter Pöldinger, and Friedebert Kröger. "Masked Depression." In Psychosomatic Disorders in General Practice, 171–74. Berlin, Heidelberg: Springer Berlin Heidelberg, 1992. http://dx.doi.org/10.1007/978-3-642-76940-5_9.

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Taliaferro, Charles. "Masked Man." In Bad Arguments, 364–66. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781119165811.ch87.

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Arel, Stephanie N. "Masked Shame." In Affect Theory, Shame, and Christian Formation, 91–124. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42592-4_4.

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Hohler, Anna DePold, and Marcus Ponce de Leon. "Masked Facies." In Encyclopedia of Clinical Neuropsychology, 1525. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-0-387-79948-3_465.

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Swaine, Zoë. "Masked Depression." In Encyclopedia of Clinical Neuropsychology, 1524–25. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-0-387-79948-3_2130.

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Weik, Martin H. "masked threshold." In Computer Science and Communications Dictionary, 979. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_11110.

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Nahler, Gerhard. "double masked." In Dictionary of Pharmaceutical Medicine, 55. Vienna: Springer Vienna, 2009. http://dx.doi.org/10.1007/978-3-211-89836-9_418.

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Conference papers on the topic "Dançe of the masked"

Haggenmiller, Acshi, Cameron Kabacinski, Maximilian Krogius, and Edwin Olson. "The Masked Mapper: Masked Metric Mapping." In 2020 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS). IEEE, 2020. http://dx.doi.org/10.1109/iros45743.2020.9341471.

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Padfield, Dirk. "Masked FFT registration." In 2010 IEEE Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2010. http://dx.doi.org/10.1109/cvpr.2010.5540032.

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Gimunová, Marta, Tomáš Vodička, Kristián Jánsky, Miriam Kalichová, Antonín Zderčík, Alena Skotáková, Petr Hedbávný, and Kateřina Kolářová. "The effect of classical ballet, Slovakian folklore dance and sport dance on static postural control in female and male dancers." In 12th International Conference on Kinanthropology. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9631-2020-4.

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Purpose: Classical ballet, Slovakian folklore dance, and sport dance training differ in their way how to master the art of dance; however, postural control is essential for the correct exe-cution of complex movements used in all types of dance. The aim of this study was to analyse the differences in static postural control between classical ballet dancers, Slovakian folklore dancers and sport dancers and to analyse the effect of body mass, body height and toe grip strength on postural control. Methods: 68 dancers, between 17 to 28 years of age, participated in this study: 21 dancers from Slovakian folklore dance group VSLPT Poľana Brno (12 females, 9 males), 22 dancers from Brno Dance conservatory (16 females, 6 males) and 25 sport dancers competing at Brno Dance Open 2019 (12 females, 13 males). All participants were asked to stand upright, barefooted, arms along the body, both feet on the Emed-at platform (Novel GmbH, Germany) for 10 seconds with their eyes open to obtain the length of COP line (cm), average velocity of COP (cm/s), the elliptic area (mm2) and numerical eccentricity of the ellipse. The toe grip strength was measured for each foot when sitting using toe grip dynamometer (Takei Scien-tific Instruments, Niigata, Japan). To analyse the effect of dance style, to grip strength, body mass, body height, and gender on postural control variables, Kruskal Wallis test, and Spear-man Rank Order Correlation were used. Results: Abetter postural stability measured by the length and average velocity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. Sport dancers are used to a greater load on the forefoot and to a special foot roll-of pattern when dancing, which may lead together with a constantly changing environment during competi-tions to their enhanced postural stability. Despite the differences in dance training and dance footwear of female and male dancers (high-heel shoes in sport and Slovakian folklore female dancers, pointe shoes in female ballet dancers), no statistically significant difference in pos-tural variables between genders was observed. Similarly, in analysed dancers, no effect of age, body mass, and body weight on postural control were observed. The toe grip strength was not observed to affect the postural variables in this study. The greatest toe grip strength was observed in female ballet dancers, despite their younger age. Ballet dance training in-cludes repetitive exercises focused on foot and toes such as battement tendu or demi-pointe and en pointe positions probably resulting in the greater strength of the toes. Conclusion: In this study, better postural stability measured by the length and average ve-locity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. In analysed dancers, no effect of body mass, body weight, gender, and toe grip strength on postural control variables was observed. Future studies focused on postural stability changes in non-dancers after a sport dance, classical ballet and Slovakian folklore dance training program would provide additional knowledge about the process how each type of dance enhance the balance and other coordinative skills.

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Yang, Liang, Fan Wu, Yingkui Wang, Junhua Gu, and Yuanfang Guo. "Masked Graph Convolutional Network." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/565.

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Semi-supervised classification is a fundamental technology to process the structured and unstructured data in machine learning field. The traditional attribute-graph based semi-supervised classification methods propagate labels over the graph which is usually constructed from the data features, while the graph convolutional neural networks smooth the node attributes, i.e., propagate the attributes, over the real graph topology. In this paper, they are interpreted from the perspective of propagation, and accordingly categorized into symmetric and asymmetric propagation based methods. From the perspective of propagation, both the traditional and network based methods are propagating certain objects over the graph. However, different from the label propagation, the intuition ``the connected data samples tend to be similar in terms of the attributes", in attribute propagation is only partially valid. Therefore, a masked graph convolution network (Masked GCN) is proposed by only propagating a certain portion of the attributes to the neighbours according to a masking indicator, which is learned for each node by jointly considering the attribute distributions in local neighbourhoods and the impact on the classification results. Extensive experiments on transductive and inductive node classification tasks have demonstrated the superiority of the proposed method.

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Salazar, Julian, Davis Liang, Toan Q. Nguyen, and Katrin Kirchhoff. "Masked Language Model Scoring." In Proceedings of the 58th Annual Meeting of the Association for Computational Linguistics. Stroudsburg, PA, USA: Association for Computational Linguistics, 2020. http://dx.doi.org/10.18653/v1/2020.acl-main.240.

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Ejaz, Md Sabbir, Md Rabiul Islam, Md Sifatullah, and Ananya Sarker. "Implementation of Principal Component Analysis on Masked and Non-masked Face Recognition." In 2019 1st International Conference on Advances in Science, Engineering and Robotics Technology (ICASERT). IEEE, 2019. http://dx.doi.org/10.1109/icasert.2019.8934543.

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Kart, Ugur, Joni-Kristian Kamarainen, Jiri Matas, Lixin Fan, and Francesco Cricri. "Depth Masked Discriminative Correlation Filter." In 2018 24th International Conference on Pattern Recognition (ICPR). IEEE, 2018. http://dx.doi.org/10.1109/icpr.2018.8546179.

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Aswal, Vivek, Omkar Tupe, Shifa Shaikh, and Nadir N. Charniya. "Single Camera Masked Face Identification." In 2020 19th IEEE International Conference on Machine Learning and Applications (ICMLA). IEEE, 2020. http://dx.doi.org/10.1109/icmla51294.2020.00018.

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Hong, Qi, Zhongyuan Wang, Zheng He, Nanxi Wang, Xin Tian, and Tao Lu. "Masked Face Recognition with Identification Association." In 2020 IEEE 32nd International Conference on Tools with Artificial Intelligence (ICTAI). IEEE, 2020. http://dx.doi.org/10.1109/ictai50040.2020.00116.

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Salam, Nader, and Abdul Ali. "Masked RCNN+ fast boosted tree classifier." In the Third International Conference. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3339311.3339317.

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Reports on the topic "Dançe of the masked"

Qiang, Ji. Masked Photocathode for Photoinjector. Office of Scientific and Technical Information (OSTI), January 2010. http://dx.doi.org/10.2172/981726.

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Brislawn, Christopher M. Wavelet-Smoothed Interpolation of Masked Scientific Data for JPEG 2000 Compression. Office of Scientific and Technical Information (OSTI), August 2012. http://dx.doi.org/10.2172/1048835.

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Chen, Richard Y., Alex Gittens, and Joel A. Tropp. The Masked Sample Covariance Estimator: An Analysis via the Matrix Laplace Transform. Fort Belvoir, VA: Defense Technical Information Center, February 2012. http://dx.doi.org/10.21236/ada563050.

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Mushongera, Darlington, Prudence Kwenda, and Miracle Ntuli. An analysis of well-being in Gauteng province using the capability approach. Gauteng City-Region Observatory, 2020. http://dx.doi.org/10.36634/2020.op.1.

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Abstract:

As countries across the globe pursue economic development, the improvement of individual and societal well-being has increasingly become an overarching goal. In the global South, in particular, high levels of poverty, inequality and deteriorating social fabrics remain significant challenges. Programmes and projects for addressing these challenges have had some, but limited, impact. This occasional paper analyses well-being in Gauteng province from a capability perspective, using a standard ‘capability approach’ consistent with Amartya Sen’s first conceptualisation, which was then operationalised by Martha Nussbaum. Earlier research on poverty and inequality in the Gauteng City-Region was mainly based on objective characteristics of well-being such as income, employment, housing and schooling. Using data from the Gauteng City-Region Observatory’s Quality of Life Survey IV for 2015/16, our capability approach provides a more holistic view of well-being by focusing on both objective and subjective aspects simultaneously. The results confirm the well-known heterogeneity in human conditions among South African demographic groups, namely that capability achievements vary across race, age, gender, income level and location. However, we observe broader (in both subjective and objective dimensions) levels of deprivation that are otherwise masked in the earlier studies. In light of these findings, the paper recommends that policies are directly targeted towards improving those capability indicators where historically disadvantaged and vulnerable groups show marked deprivation. In addition, given the spatial heterogeneities in capability achievements, we recommend localised interventions in capabilities that are lagging in certain areas of the province.

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