Relevant bibliographies by topics / NOMA (Group of artists)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'NOMA (Group of artists)'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "NOMA (Group of artists)"

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Muminova, Dilorom. "ARTISTIC AND AESTHETIC FEATURES OF THE LETTER." INTERNATIONAL JOURNAL OF WORD ART 1, no. 3 (2020): 91–97. http://dx.doi.org/10.26739/2181-9297-2020-1-13.

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In this article, one of the most widely described characters in the noma genre of our classical literature is the image of a lover. This image is interpreted as a symbol of vital beauty in various forms in the works of nomanavis, progressive representatives of our classical literature. In the interpretation of the beauty of the lover by the word artists, the beauty of life is expressed, the love of man for life through the love of the lover. In classical poetry, especially in the noma genre, artistic means play an important role.
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Cole, Thomas B. "Group of Artists." JAMA 307, no. 7 (2012): 642. http://dx.doi.org/10.1001/jama.2012.99.

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Baratti-Mayer, D., B. Pittet, and D. Montandon. "GESNOMA (Geneva Study group on Noma): an aetiological research on noma disease." Stomatologie 104, no. 1 (2007): 49–50. http://dx.doi.org/10.1007/s00715-007-0019-4.

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Green, Alison. "Citizen Artists: Group Material." Afterall: A Journal of Art, Context and Enquiry 26 (January 2011): 17–25. http://dx.doi.org/10.1086/659292.

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Sturken, Marita. "Women Artists’ Group Fights Discrimination." Afterimage 25, no. 6 (1998): 5. http://dx.doi.org/10.1525/aft.1998.25.6.5.

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Fowler, Joan. "Women Artists Action Group Seminar." Circa, no. 41 (1988): 26. http://dx.doi.org/10.2307/25557339.

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Cummins, Pauline. "The women artists action group." Women's Studies International Forum 11, no. 4 (1988): 403–4. http://dx.doi.org/10.1016/0277-5395(88)90093-3.

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Rogozhnikov, Eugeniy, Yakov Kryukov, Dmitriy Pokamestov, Edgar Dmitriev, and Renat Abenov. "Analysis of factors affecting the operation of the communication system with nonorthogonal multiple access." ITM Web of Conferences 30 (2019): 04003. http://dx.doi.org/10.1051/itmconf/20193004003.

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NOMA is a group of non-orthogonal multiple access methods [1]. In this article, we talk about the Power Domain (Division) NOMA method. It is a non-orthogonal multiple access method with channel separation by power [2]. NOMA compaction uses controlled inter-channel interference, which is removed in the receiver when channel separation using special algorithms. PD-NOMA can be used in conjunction with various types of modulation, including OFDM.
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Anwar, Asim, Boon-Chong Seet, and Xue Li. "Quality of Service Based NOMA Group D2D Communications." Future Internet 9, no. 4 (2017): 73. http://dx.doi.org/10.3390/fi9040073.

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Kryukov, Ya V., D. A. Pokamestov, R. R. Abenov, S. M. Mukhamadiev, and I. Kanatbekuli. "Spectral efficiency analysis of two-user Downlink PD-NOMA with LTE modulation and coding schemes." Journal of Physics: Conference Series 2134, no. 1 (2021): 012023. http://dx.doi.org/10.1088/1742-6596/2134/1/012023.

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Abstract Non-orthogonal multiple access (NOMA) is a promising user multiplexing technique for future wireless networks that allows increasing their spectral efficiency (SE). Power-Domain NOMA (PD-NOMA) is one of the most perspective techniques in the NOMA group. It makes it possible to perform the transmission of information symbols of several users within the same time-frequency resource segment (RS) without a spreading code. Many research works show the high efficiency of PD-NOMA compared to the orthogonal multiple access (OMA). However, these results are obtained analytically using Shannon’
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Dissertations / Theses on the topic "NOMA (Group of artists)"

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Apte, Savita. "Unchallenged dichotomies : modernism and the Progressive Group in India." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504469.

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Ávila, Fernando Silva de. "Território circense /." Presidente Prudente : [s.n.], 2008. http://hdl.handle.net/11449/96698.

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Orientador: Eda Maria Góes<br>Banca: Raul Borges Guimarães<br>Banca: Mário Fernando Bolognesi<br>Resumo: As questões que se buscou responder nessa dissertação surgiram da prática artística e da vida acadêmica do pesquisador, relacionando sua formação na área da Geografia com sua experiência no Circo Teatro Rosa dos Ventos para assim contribuir com a compreensão do processo de renovação da atividade circense no panorama nacional. Foi com base nessa articulação que se optou pela tomada de depoimentos, posteriormente transcritos e analisados, além das observações feitas durante visitas a circos t
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Duran, Adrian R. "Il Fronte Nuovo delle Arti realism and abstraction in Italian painting at the dawn of the Cold War, 1944--1950 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.87 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3220804.

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Ávila, Fernando Silva de [UNESP]. "Território circense." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/96698.

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Made available in DSpace on 2014-06-11T19:28:25Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-04Bitstream added on 2014-06-13T20:58:08Z : No. of bitstreams: 1 avila_fs_me_prud.pdf: 1074936 bytes, checksum: c3437ae6d98fba3a09f1e359c3f7432d (MD5)<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>As questões que se buscou responder nessa dissertação surgiram da prática artística e da vida acadêmica do pesquisador, relacionando sua formação na área da Geografia com sua experiência no Circo
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Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.

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Roza, Alexandra M. "Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.

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During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their do
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Cass, Jeremy Leeds. "FASHIONING AFROCUBA: FERNANDO ORTIZ AND THE ADVENT OF AFROCUBAN STUDIES, 1906-1957." Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukyhpst2004d00216/cassdissertation.pdf.

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Thesis (Ph. D.)--University of Kentucky, 2004.<br>Title from document title page (viewed Jan. 7, 2005). Document formatted into pages; contains v, 253 p. Includes abstract and vita. Includes bibliographical references (p. 236-250).
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Borders, Elizabeth Furlong. "Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/188.

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This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sh
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Stokes, Justine Frances. "We're Changing the Way We Do Business: A Critical Analysis of the Dixie Chicks and the Country Music Industry." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1228361434.

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Dessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.

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En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration
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Books on the topic "NOMA (Group of artists)"

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Kunsthalle, Hamburger, ред. [Noma, ili, Moskovskiĭ kont͡septualʹnyĭ krug: Installi͡at͡sii͡a. Hamburger Kunsthalle, 1993.

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Russia), Arsenal (Nizhniĭ Novgorod, and Gosudarstvennyĭ t︠s︡entr sovremennogo iskusstva (Moscow, Russia). Privolzhskiĭ filial, eds. Moskovskiĭ kont︠s︡eptualizm: Nachalo. Privolzhskiĭ filial Gosudarstvennogo t︠s︡entra sovremennogo iskusstva, 2014.

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The experimental group: Ilya Kabakov, Moscow conceptualism, Soviet avant-gardes. The University of Chicago Press, 2010.

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Monastyrskiĭ, Andreĭ. Slovarʹ terminov Moskovskoĭ kont︠s︡eptualʹnoĭ shkoly. Ad Marginem, 1999.

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United States. National Oceanic and Atmospheric Administration., ed. Five artists at NOAA: A casebook on art in public places : National Oceanic and Atmospheric Administration, Western Regional Center, Seattle, Washington. Real Comet Press, 1985.

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Dingwerth, Shaun Thomas. The Richmond Group artists. Indiana University Press, 2014.

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Gallery, Delhi Art, ed. Continuum: Progressive artists' group. Delhi Art Gallery, 2011.

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Tony, Bradshaw, Bloomsbury Workshop, and Sherborne House (Sherborne, Dorset, England), eds. The Bloomsbury group artists. Sherborne House, 2002.

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Zaini, Syahrul Niza Ahmad. Destiny: Young group show. Balai Seni Visual Negara, 2013.

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Gillian, Naylor, ed. Bloomsbury: The artists and designers bythemselves. Macdonald/Orbis, 1989.

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Book chapters on the topic "NOMA (Group of artists)"

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Clarke, Paul. "Performing Art History: Non-Linear, Synchronous and Syncopated Times in Performance Re-Enactment Society’s Group Show (Arnolfini, Bristol 2012)." In Artists in the Archive. Routledge, 2018. http://dx.doi.org/10.4324/9781315680972-13.

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Tang, Jie, Yan Song, Chuting Lin, et al. "Energy Efficiency Optimization for Plane Spiral OAM Mode-Group Based MIMO-NOMA Systems." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-90196-7_16.

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Kiliszek, Joanna. "Living Simulacrum." In Cultural Inquiry. ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_22.

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The Neoplastic Room at the Muzeum Sztuki in Łódź was originally designed in 1948 by the avant-garde artist Władysław Strzemiński. Destroyed in 1950 and reconstructed in 1960, it became the focal point of the museum, with the ‘International Collection of Modern Art’ by the a.r. group being exhibited there. At the same time, it became a point of reference for contemporary artists and a strategy for building a permanent collection for the museum, as well as a reflection on how the past can give a vision of the future. This essay focuses on the gesture of ‘re-curating’ the Neoplastic Room in relation to the performative practice of the artists involved (e.g., Daniel Buren, Elżbieta Jabłońska).
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Cangiano, Serena, Davide Fornari, and Azalea Seratoni. "Re-search, Re-enactment, Re-design, Re-programmed Art." In Cultural Inquiry. ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_15.

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Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The project ‘Re-programmed Art: An Open Manifesto’ originated from the ephemeral and experimental features, as well as fragility, of the works by Gruppo T — that is, from the difficulties of practice, conservation, technology, and market that have confined them for far too long to the margins of mainstream art history. We conceive reenactment not just a mere restaging but as re-designing, re-thinking, updating, and re-programming a series of works by Gruppo T.
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Gentric, Katja. "‘Interrupting the Present’." In Cultural Inquiry. ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_07.

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A sense of repetition pervades contemporary South African political and cultural debate. Several recent studies have drawn attention to the fact that the renewed student protests since March 2015 parallel several features of the resistance and liberation movements of the 1970s and 1980s. At a pivotal position between the two moments of political struggle stands the ‘miracle’ of the peaceful transition in 1994. Within this set of circumstances a group of curators, artists, and writers, Gabi Ngcobo and Kemang Wa Lehulere, amongst others, formed a collective under the name CHR (Center for Historical Reenactments) in Johannesburg in 2010. The CHR has pursued several questions that interrogate the complexity of a shared memory bridging segregated Apartheid legacy: how do readings of the past inform contemporary urgencies, and what are the political potentials of artistic interpretations of histories? How do they participate in the formation of new subjectivities?
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Almeida, Fernando. "Youth, ways of production, and community." In Creative tourism: activating cultural resources and engaging creative travellers. CABI, 2021. http://dx.doi.org/10.1079/9781789243536.0026.

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Abstract The concept of creative tourism, which is increasingly established in the world tourism scene, is inspired by the sharing of production modes, projecting the visitor to the role of active participant. It focuses on an element that allows local residents and visitors to share space, time, and knowledge for co-creating products or, more than that, for enabling interpersonal experiences. Today we can share time with an artisan, appropriating his techniques, breaks, materials, impressions, and desires and redesigning the final product to our needs; we can learn traditional dances by temporarily integrating a folkloric ranch; we can fish and cook with a fishing community; or we can share a studio with visual artists to learn how to paint. Despite the multiple languages from which we expand our potential for expression the feeling of belonging to a group, community, context, or a more global society emerges in us. Within this sense of collective identity, of which we are a part and contribute to its co-creation, we review and renew our own desire and individual identities.
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"Ottoline Morrell: Artists Revels." In The Bloomsbury Group, edited by S. P. Rosenbaum. University of Toronto Press, 1995. http://dx.doi.org/10.3138/9781487573768-057.

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"The Black Artists’ Group." In Flyboy 2. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373995-007.

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"The Black Artists’ Group." In Flyboy 2. Duke University Press, 2016. http://dx.doi.org/10.1215/9780822373995-014.

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"Problems of Deranged Minds, Artists, and Psychiatrists." In The Cybernetics Group. The MIT Press, 1991. http://dx.doi.org/10.7551/mitpress/2260.003.0008.

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Conference papers on the topic "NOMA (Group of artists)"

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Reiser, Susan, and Phill Conrad. "A processing primer for artists." In SIGGRAPH '17: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2017. http://dx.doi.org/10.1145/3084863.3107579.

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"Session details: SIGGRAPH Core: HDRi for artists." In SIGGRAPH '08: Special Interest Group on Computer Graphics and Interactive Techniques Conference, edited by Kirt Witte, Christian Bloch, Hilmar Koch, Zap Andersson, and Gary M. Davis. ACM, 2008. http://dx.doi.org/10.1145/3260713.

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Mokhov, Serguei A., Miao Song, Sudhir P. Mudur, and Peter Grogono. "Dataflow VFX Programming and Processing for Artists and OpenISS." In SIGGRAPH '20: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2020. http://dx.doi.org/10.1145/3388763.3407760.

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Eales, R. T. Jim, and Dharani Perera. "Creativity Support: Insights from the Practices of Digital-Atomic Artists." In Proceedings of HCI 2007 The 21st British HCI Group Annual Conference University of Lancaster, UK. BCS Learning & Development, 2007. http://dx.doi.org/10.14236/ewic/hci2007.3.

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Zhang, Yunfei, Huici Wu, Zhiqing Wei, Qiuyue Gao, Ning Zhang, and Xiaofeng Tao. "Physical Layer Group Authentication in mMTC Networks with NOMA." In 2021 IEEE Wireless Communications and Networking Conference (WCNC). IEEE, 2021. http://dx.doi.org/10.1109/wcnc49053.2021.9417518.

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Yoon, Chanho, Young-Jo Ko, and Taejoong Kim. "Group Based Spreading and Symbol Puncturing Design for NOMA Systems." In 2019 IEEE 90th Vehicular Technology Conference (VTC2019-Fall). IEEE, 2019. http://dx.doi.org/10.1109/vtcfall.2019.8891194.

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Baidas, Mohammed W., Mohammed S. Bahbahani, Emad Alsusa, Khairi A. Hamdi, and Zhiguo Ding. "D2D Group Association and Channel Assignment in Uplink Multi-Cell NOMA Networks." In 2019 IEEE Wireless Communications and Networking Conference (WCNC). IEEE, 2019. http://dx.doi.org/10.1109/wcnc.2019.8885822.

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"Session details: Professional Development and Education: Know your rights: a legal primer for software developers, artists and content creators." In SIGGRAPH '08: Special Interest Group on Computer Graphics and Interactive Techniques Conference, edited by Gil Irizarry, Gregory P. Silberman, and Neer Gupta. ACM, 2008. http://dx.doi.org/10.1145/3260717.

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Brennan, Annmarie, and Jonathan Lovell. "PULSA: The Affective Art of Novel Intelligent Environments." In 105th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2017. http://dx.doi.org/10.35483/acsa.am.105.78.

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Most histories of digital design in architecture are limited, and begin with the initial investigations into artificial intelligence by the Architecture Machine Group at MIT during the 1960s, and end with a mention of the Evolutionary Architecture at the ArchitectureAssociation during the late 1980s and early 1990s. However if one was to examine many of the artworks created during this time, several artists were working with similar ideas, concepts, and technologies on artificial intelligence. This paper is a media archaeology of responsive environments in contemporary practice.It endeavors to
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Hong, Y. W. Peter, An-An Lee, and Yu-An Chen. "Successive MMSE group decoding and max-min power control for uplink multiceli NOMA systems under pilot contamination." In 2017 Asia-Pacific Signal and Information Processing Association Annual Summit and Conference (APSIPA ASC). IEEE, 2017. http://dx.doi.org/10.1109/apsipa.2017.8282147.

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Reports on the topic "NOMA (Group of artists)"

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Pollock, Wilson. Pivot the Future Makers: Building our People and Places. Edited by Musheer O. Kamau, Sasha Baxter, and Golda Kezia Lee Bruce. Inter-American Development Bank, 2021. http://dx.doi.org/10.18235/0003188.

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Pivot is a movement of radical ideas for the Caribbean of the future. In 2020, the IDB and its partners (Caribbean Climate Smart-Accelerator (CCSA), Destination Experience (DE), and Singularity University) launched The Pivot Movement and asked the people of the Caribbean to think of big ideas to transform the region. A small group came together at The Pivot Event to design 9 moonshots for electric vehicles, digital transformation and tourism. Pivot: The Future Makers is a comic book produced by the Pivot partners and illustrated by Caribbean artists. In it, the 9 moonshots have been developed
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