Bibliografías temáticas / Monochrom (Group of artists

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Literatura académica sobre el tema "Monochrom (Group of artists"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 9 de febrero de 2022

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Artículos de revistas sobre el tema "Monochrom (Group of artists"

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Cole, Thomas B. "Group of Artists". JAMA 307, n.º 7 (15 de febrero de 2012): 642. http://dx.doi.org/10.1001/jama.2012.99.

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

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Fowler, Joan. "Women Artists Action Group Seminar". Circa, n.º 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, n.º 4 (enero de 1988): 403–4. http://dx.doi.org/10.1016/0277-5395(88)90093-3.

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Butler, Allison. "Earthworks: Visual Artists for the Earth Group". Leonardo 20, n.º 2 (1987): 205. http://dx.doi.org/10.2307/1578353.

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Russell, Will G. y Michelle Hegmon. "Identifying Mimbres Artists". Advances in Archaeological Practice 3, n.º 4 (noviembre de 2015): 358–77. http://dx.doi.org/10.7183/2326-3768.3.4.358.

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AbstractPast researchers have identified individual styles of painting in Mimbres Black-on-white bowls, leading Steven LeBlanc to recently call for the development of quantitative methods to enable and assess such identifications. We propose such a methodology here. Through a process of pair-wise, micro-stylistic comparisons, bowls painted by a single artist or group of closely cooperating artists are analytically linked in chain-like fashion. Two bowls are attributed to the “same hands” if their similarity measure is at or above 70 percent. Similarity measures are determined by comparing minute details that reflect artistic decisions. The method takes into account diachronic development of artistic skill, subject matter diversity, and the transfer of style across generations. Results can contribute to an understanding of stylistic development, craft specialization, and the role of artists in traditional societies.
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Hanrahan, Stephanie J. "Sport Psychology and Indigenous Performing Artists". Sport Psychologist 18, n.º 1 (marzo de 2004): 60–74. http://dx.doi.org/10.1123/tsp.18.1.60.

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A group of students from the Aboriginal Centre for the Performing Arts participated in a mental skills training program that focused on goal setting, self-confidence development, and team building. There were 13 two-hour sessions held over a 20-week period. The participants, cultural issues, and the basic structure of the program are described. The author’s observations regarding competition, displays of affection, collective values, and the importance of family and nature are provided. The participants qualitatively evaluated the program. Conclusions related to group process, program structure, and diversity are presented. These conclusions should be of value in terms of shaping future group mental skills training programs.
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Winestein, Anna. "Artists at Play". Experiment 25, n.º 1 (30 de septiembre de 2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.

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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to it and its legacy. It also discusses the artistic circles of Russian Paris in which the project originated, particularly the Académie russe. Finally, it examines the project in the context of earlier efforts to present Russian folk art in Paris, and shows how it—and Russian folk art as a source and object of collecting and display—brought together artists, collectors, and scholars from the ranks of the Mir iskusstva [World of Art] group, as well as the younger avant-gardists, and allowed them to engage Parisian and European audiences with their own ideas and artworks.
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Robinson, Susan. "Paintings of Fluorite from a Select Group of Artists". Rocks & Minerals 88, n.º 1 (enero de 2013): 66–71. http://dx.doi.org/10.1080/00357529.2013.747918.

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Okeke, C. "The Sensitive Line: Seven artists of the nsukka group". Nka Journal of Contemporary African Art 1998, n.º 8 (1 de marzo de 1998): 54–57. http://dx.doi.org/10.1215/10757163-8-1-54.

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Tesis sobre el tema "Monochrom (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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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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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 domination of the arts left little room for the progressive minority, who rebelled against prevailing artistic standards. In painting, the Group of Seven was one of the first groups to challenge this stranglehold on Canadian culture. The Group waged a protracted and vocal campaign for the advancement of Canadian approaches and subjects. In literature, A. J. M. Smith and F. R. Scott began a similar movement to modernize Canadian poetry and reform critical standards. By examining the poetry, essays, criticism and archival material of these poets and painters, the thesis establishes strong parallels between the modernist campaigns of these two groups and investigates this cross-fertilization between the modern Canadian arts.
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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.
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 sharing in a vibrant neighborhood based social network enables artists to substitute resources usually provided by gallery representation and sustain their ability to make artwork without financial support. This is a network that rejects the competitive structure of the commercial system and runs more smoothly the more artists participate in it. I also explore the reasons for Portland's particular ability to support this kind of environment, citing geographic proximity to other art cities, DIY cultural roots, neighborhood structure, affordable city amenities, and a creative class population.
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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 des décors et programmes du Théâtre de l’œuvre de Lugné-Poe que dans l’illustration d’ouvrages d’André Gide, d’Alfred Jarry ou encore de Jules Renard, les Nabis participent activement à la vie littéraire de leur temps tout en s’incarnant volontairement comme une avant-garde picturale. Les échanges nombreux entre peintres et écrivains sont alors loin de se limiter à de simples commandes. Ils aboutissent souvent à des amitiés durables comme celles qui unirent Gide à Maurice Denis et Jarry à Pierre Bonnard. La recherche s’interroge sur la motivation de cette nouvelle génération d’écrivains qui sollicita le groupe nabi, ainsi que sur la nature des projets qui les unirent. Les revues littéraires occupent une place importante dans le rassemblement entre les écrivains et ce groupe de peintres. La volonté d'identifier une aile picturale qui fasse écho dans le champ artistique au désir d'innover dans le champ littéraire stimule les sollicitations des écrivains de la seconde génération symboliste. Les Nabis, qui se méfient toutefois d'une soumission trop grande au fait littéraire, induisent par leurs développements artistiques et leurs théories les paramètres d'une nouvelle relation entre peintres et écrivains dans laquelle ces derniers ne recherchent plus la domination stratégique de l'art littéraire sur la peinture.

Outre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau.
Doctorat en Langues et lettres
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Goldman, Noémie. "Un Monde pour les XX: Octave Maus et le groupe des XX :analyse d'un cercle artistique dans une perspective sociale, économique et politique". Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209691.

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Notre thèse se concentre sur la question des mécanismes de restructuration du système du monde de l’art à Bruxelles à la fin du XIXe siècle. Nous cherchons à démontrer comment une nouvelle scène artistique construite autour du cercle des XX à Bruxelles, dont l’épanouissement sera pris en charge par l’animateur d’art Octave Maus, produit un art qui est influencé par les enjeux sociaux et politiques portés par un milieu défini de manière sociale, culturelle et générationnelle.

Nous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification des approches et des sources était donc un aspect essentiel de nos recherches. Plusieurs voies d’approche ont été empruntées, telles que l’histoire culturelle, la sociologie de l’art, l’histoire du marché de l’art, l’analyse politique ainsi que l’étude de la visual culture.

Dans un premier temps, nous analysons l’émergence de la nouvelle scène artistique construite autour du groupe des XX. Nous débutons par une analyse plus monographique du parcours de Maus afin de définir les qualités essentielles de l’animateur d’art qu’il incarne, ainsi que son rôle dans la reconfiguration du milieu culturel. Ensuite, notre étude se concentre sur la mobilisation d’un public autour des salons et la mise en place d’un nouveau marché de l’art aux XX.

Dans un second temps, notre étude se penche sur les œuvres créées par les XX et sélectionnées par le public d’amateurs fidèles au groupe. Nous éclairons cette production artistique en y décelant les influences des questionnements et des prises de position sociales et politiques du public des XX, défini précédemment. L’analyse iconographique et stylistique des œuvres s’accompagne d’un travail sur ce milieu culturel, et particulièrement sur ses positions face aux débats sociaux de l’époque. Cette étude aboutit, d’une part, à une description approfondie du public des XX, et, d’autre part, à une meilleure compréhension de l’originalité de la production esthétique des artistes du groupe. /

This PhD thesis concentrates on the mechanisms by which the artistic world in Brussels was reorganized at the end of the 19th century. The research focuses on the places, institutions, publics, art markets and aesthetic developments that characterized the new artistic scene constructed around the “Salon des XX”. The purpose of this study is to demonstrate that this artistic circle, led by Octave Maus, produced an art influenced by social, political and economic issues. Another aim has been to analyze the public that defended the artists by studying its social, cultural and generational nature.

This thesis, which is divided into two parts, for the first time explores the circle of the XX in its economic, political and social environment. The diversification of sources and scientific methods was therefore an essential aspect of the research. Different methods were applied such as, for example, the cultural history, the sociology of art, the history of the art market, political sciences and the visual culture.

The first part of this study is about the emergence of a new artistic scene founded around the “Groupe des XX”. The first objective was to investigate the personal and professional path followed by Octave Maus, the manager of the XX, who played a major role in the evolution of the cultural world. Subsequently the research focuses on the mobilization of a particular public and the creation of a new art market around the XX’s exhibitions.

The second part of this thesis considers the works of art created by the artists of the “Groupe des XX” and chosen by the public for private collections. New light is shed on this artistic production by the study of the social and political position of the XX’s public, considered as a social group. Hence the iconographic and stylistic analysis of the works goes together with a study of the XX’s milieu, and in particular with its political action. The present thesis, and the method that aims to study the works in parallel with the public’s social nature, lead to a better understanding of the cultural milieu and, at the same time, of the originality of the XX’s artistic creation.


Doctorat en Histoire, art et archéologie
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De, Vries Jetteke. "An investigation of cultural dislocation in the work of selected artists". Thesis, 2015. http://hdl.handle.net/10321/1434.

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Submitted in partial fulfilment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015.
This dissertation sets out to investigate cultural dislocation in the work of Leora Farber (1964), Viviane Sassen (1972), George Alamidis (1954) and my art practice. The paper begins by highlighting the importance of this study and defines terminology for the purpose of this research. In addition an explanation of the research methodology used is provided. The study is contextualised through a discussion of writings by Stuart Hall (1997), Edward Said (1987), Heidi Armbruster (2010), Chloe Sells (2011), Katheryn Woodward (1997), Michel Foucault (1967), Leora Farber (2012) and Lorin Friesen (2013). An analysis of the selected artists’ work reveals an investigation of cultural dislocation within diverse cultural contexts. Farber investigates her position as a second generation Jewish woman in post- colonial, post-Apartheid South Africa through the use of three protagonists. She does this in an attempt to create a lasting Jewish / South African hybrid identity. She explores not only her Jewish heritage and its connotations, but also the changing notions of white identity in post 1994 South Africa. Sassen, in her photographic depiction of obscured African subjects, challenges the viewer’s perceptions of Africa and positions herself as being ‘in-between’ Africa and the Netherlands, where she “will always be the stranger … and will never be part of the culture” (Sassen in Jaeger 2010). Alamidis’ work explores cultural dislocation in the context of migration, eloquently expressed through the use of the identity cards of 1950s Greek immigrants as visual metaphors for the loss of identity. I explore cultural dislocation through the history of three female protagonists (my grandmother, mother and myself) and their migration between the Netherlands and Southern Africa. The protagonists’ cultural narratives provide an historical context for a discussion of my art practice in the form of an exhibition titled Discovering Home. The conclusion outlines the research findings and identifies possible areas of future research. The main research finding reveals that the formation of a new subject identity, post migration, is dependent on a specific (historical) time and (geographical and psychological) space. An area of possible future research, in the context of cultural dislocation, is the use of Foucault’s (1967) theory of heterotopias to explore the idea of the ‘third space’ functioning as a personal heterotopia.
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Libros sobre el tema "Monochrom (Group of artists"

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Günther, Friesinger, Grenzfurthner Johannes, Schneider Frank Apunkt y MUSA Museum Startgalerie Artothek, eds. Context hacking: How to mess with art, media, law and the market. Wien: Edition Mono/Monochrom, 2013.

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

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Gallery, Delhi Art, ed. Mumbai modern: Progressive artists' group, 1947-2013. New Delhi: Delhi Art Gallery, 2013.

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International, Ora. Artists 8: Future Legacies : The ORA group of Eight Safed artists. [S.l.]: ORA International, 1990.

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Weber, Nicholas Fox. The Bauhaus group: Six masters of modernism. New Haven [Conn.]: Yale University Press, 2011.

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Mixed metaphors: A group show by 22 artists. Noida, U.P: Artlife Gallery, 2012.

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Konsult, Art, ed. Untitled 2010: A group exhibition of eighteen artists. New Delhi: Art Konsult, 2010.

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National Portrait Gallery (Great Britain), ed. The Bloomsbury group. London: National Portrait Gallery, 2005.

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Gooding, Janda. Brush with Gondwana: Botanical Artists Group of Western Australia. North Fremantle, W.A: Fremantle Press, 2008.

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Tranter, Rachel. Vanessa Bell: A life of painting. London: Cecil Woolf, 1998.

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Capítulos de libros sobre el tema "Monochrom (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)". En Artists in the Archive, 116–42. Abingdon, Oxon; New York: Routledge,: Routledge, 2018. http://dx.doi.org/10.4324/9781315680972-13.

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"Ottoline Morrell: Artists Revels". En The Bloomsbury Group, editado por S. P. Rosenbaum, 312–16. Toronto: University of Toronto Press, 1995. http://dx.doi.org/10.3138/9781487573768-057.

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"The Black Artists’ Group". En Flyboy 2, 50–55. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373995-007.

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"The Black Artists’ Group". En Flyboy 2, 50–55. Duke University Press, 2016. http://dx.doi.org/10.1215/9780822373995-014.

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

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"9. The Government Serves Art: Do Art Subsidies Serve the Public Interest or Group Interests?" En Why Are Artists Poor?, 203–31. Amsterdam University Press, 2002. http://dx.doi.org/10.1515/9789048503650-010.

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"Native Systems Group | Computer Systems Institute ETH Zurich". En Artists-in-Labs Networking in the Margins, 118–19. Vienna: Springer Vienna, 2010. http://dx.doi.org/10.1007/978-3-7091-0321-0_19.

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György, Péter y Gábor Pataki. "The European School and the Group of Abstract Artists". En A Reader in East-Central-European Modernism 1918–1956. Courtauld Books Online, 2019. http://dx.doi.org/10.33999/2019.42.

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Santos, Ezequiel Azevedo y Graça Joaquim. "Artists, Cities, and Tourism". En Advances in Hospitality, Tourism, and the Services Industry, 50–69. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-9936-4.ch003.

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Within the framework of the “Tourfly” project, in which cultural and creative industries are central research areas, the authors investigated the relationship of artists with the city of Lisbon by analyzing six emblematic cases where artists are core in the emergence of creative tourism in the city, in terms of both domestic and international tourism. Between the gentrification problem and the social recovery of human communities, the presence of simulacra in tourist offer as opposing to authenticity experiences, the data from six focus group is presented, discussed, and theorized along this current chapter bringing a contribution for the understanding of artists' role in the design of both innovative and social sustainable tourist practices.
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Beasley, Rebecca. "The Whitechapel Group". En Russomania, 135–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198802129.003.0003.

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This first interchapter tells the early history of ‘the Whitechapel Group’, the network of Russian Jewish artists and writers who grew up together in the East End of London. We tend to separate the members of this group into associations with different modernist sets—David Bomberg and Jacob Kramer with Wyndham Lewis’s vorticists, Mark Gertler with the Bloomsbury group, John Rodker with James Joyce and Ezra Pound, and Isaac Rosenberg with the war poets. When the Whitechapel Group’s collective identity has been considered, it has been almost exclusively in terms of the members’ Jewish ethnicity, but this chapter examines the significance of the other shared aspect of the Whitechapel Group’s heritage—that is, their families’ lives in, and departure from, the Russian Empire.
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Actas de conferencias sobre el tema "Monochrom (Group of artists"

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

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

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Eales, R. T. Jim y Dharani Perera. "Creativity Support: Insights from the Practices of Digital-Atomic Artists". En 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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O'Leary, Ceara y Tadd Heidgerken. "Avis + Elsmere: A Collaborative Community Design Precedent". En AIA/ACSA Intersections Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.aia.inter.19.4.

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"Vibrant neighborhood spaces pave the way for more resilient and inclusive communities. This paper showcases a neighborhood space resulting from a collaborative, community-led design process that honors local knowledge and responds to contextual challenges. Avis + Elsmere, a project in Detroit, offers a model for collaborative practice as the product of a robust relationship between the client-collaborator – grassroots organization Inside Southwest Detroit – a diverse stakeholder group of neighbors and artists, the Detroit Collaborative Design Center (DCDC) at the University of Detroit Mercy (UDM), and the architecture office Et al. Collaborative"
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Malysheva, Olga Adolfovna. "Features of work on a fairy tale in primary classes in the framework of project activities". En International Research-to-practice conference. Publishing house Sreda, 2020. http://dx.doi.org/10.31483/r-53625.

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The article is devoted to the problem of introducing the subject “Literary reading in the native language (Russian)”, including the formation of reading literacy among younger students, and interest in reading based on project activities. The features of the organization of research projects based on a comparison of Russian folk tales and cartoons created based on their motives are considered. As an example, the work on a project on the theme “Baba Yaga: good or evil?”, During which students performed tasks in accordance with the characteristics of their group: moviegoers, book lovers, sages, artists, is shown.
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Morik, Marco, Ashudeep Singh, Jessica Hong y Thorsten Joachims. "Controlling Fairness and Bias in Dynamic Learning-to-Rank (Extended Abstract)". En Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/655.

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Rankings are the primary interface through which many online platforms match users to items (e.g. news, products, music, video). In these two-sided markets, not only do the users draw utility from the rankings, but the rankings also determine the utility (e.g. exposure, revenue) for the item providers (e.g. publishers, sellers, artists, studios). It has already been noted that myopically optimizing utility to the users -- as done by virtually all learning-to-rank algorithms -- can be unfair to the item providers. We, therefore, present a learning-to-rank approach for explicitly enforcing merit-based fairness guarantees to groups of items (e.g. articles by the same publisher, tracks by the same artist). In particular, we propose a learning algorithm that ensures notions of amortized group fairness, while simultaneously learning the ranking function from implicit feedback data. The algorithm takes the form of a controller that integrates unbiased estimators for both fairness and utility, dynamically adapting both as more data becomes available. In addition to its rigorous theoretical foundation and convergence guarantees, we find empirically that the algorithm is highly practical and robust.
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Abbas, Naqaa y Hend Taher. "Celebrating Culture - Literary Communities of Practice in Doha". En Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0264.

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Our paper focuses on the role of arts and culture in Doha. More specifically, we examine literary circles in Doha (both Arab and English speaking) and regard them as ‘communities of practice.’ According to Etienne Wenger, communities of practice are “groups of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly.” Moreover, such communities are seen as promoting innovation, developing social capital, facilitating and spreading knowledge within a group, and spreading existing knowledge. Recently, there has been a surge of active literary communities presenting their creative work in both English and Arabic attracting a variety of audiences and fans. For instance, young authors such as Kumam Al Maadeed, Eissa Abdullah, Buthaina Al-Janahi and Abdullah Fakhro not only have a huge online following, but they also have a significant fan base attending their events throughout the city. Besides these communities, there are also numerous organizations with which these celebrity authors are associated such as Qalam Hebr, Qatari Forum for Authors, and Outspoken Doha – we argue that such organizations can also be regarded as communities of practice. Our contention is that these ever-growing communities provide a performative space in which poets, singers, authors and artists can experiment with the fluidity of their assigned identities, cultures and traditions.
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Informes sobre el tema "Monochrom (Group of artists"

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Pollock, Wilson. Pivot the Future Makers: Building our People and Places. Editado por Musheer O. Kamau, Sasha Baxter y Golda Kezia Lee Bruce. Inter-American Development Bank, abril de 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 into fictional stories as a simple and powerful means of conveying possible, probable futures, to help us visualize the Caribbean in 2040.
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