Thematische Bibliographien / Trinidad (Group of artists)

Auswahl der wissenschaftlichen Literatur zum Thema „Trinidad (Group of artists)“

Autor: Grafiati

Veröffentlicht am 25. Juli 2024

Zuletzt aktualisiert am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Trinidad (Group of artists)"

Ferris, Lesley. „THE CHALLENGES OF ARCHIVING AND RESEARCHING CARNIVAL ART“. Theatre Survey 50, Nr. 1 (22.04.2009): 127–34. http://dx.doi.org/10.1017/s0040557409000106.

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The fact that live performance is unrepeatable is both its greatest attribute and a constant worry to theatre historians. How is it possible to study an art form that is fleeting, short-lived, ephemeral? Nowhere is the challenge more acute than with Carnival, a popular art form that comes from the grassroots and is acknowledged as an art of resistance. Initiated by newly emancipated Africans in British colonies in 1834, Caribbean-derived Carnival struggled against endless confrontations with governmental authorities for its survival. In 1962, when Trinidad and Tobago achieved independence from Britain, the country's first prime minister, Eric Eustace Williams, recognized Carnival as the national art form. Despite this recognition, Carnival artists continue to struggle because of lack of funding, misrepresentation in the press, and lack of appropriate credit for their role as artists. So it is particularly gratifying to find the National Library of Trinidad and Tobago leading the way by making the work of Carnival artists available digitally on its Web site. This essay examines this new online resource and considers issues related to studying and researching Carnival.

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Cole, Thomas B. „Group of Artists“. JAMA 307, Nr. 7 (15.02.2012): 642. http://dx.doi.org/10.1001/jama.2012.99.

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Molloy, Molly. „Book Review: Field Recordings of Black Singers and Musicians: An Annotated Discography of Artists from West Africa, the Caribbean and the Eastern and Southern United States, 1901–1943“. Reference & User Services Quarterly 58, Nr. 3 (22.06.2019): 194. http://dx.doi.org/10.5860/rusq.58.3.7057.

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This last work of author/compiler Craig Martin Gibbs joins his other unique discographies from the same publisher—Black Recording Artists, 1877–1926: An Annotated Discography (2012) and Calypso and Other Music of Trinidad, 1912–1962: An Annotated Discography (2015)—to provide detailed access to the legacy of African American and African music from the earliest years of sound recording. As noted in the front matter, Craig Martin Gibbs died in October 2017.

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

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Sturken, Marita. „Women Artists’ Group Fights Discrimination“. Afterimage 25, Nr. 6 (Mai 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, Nr. 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, Nr. 4 (Januar 1988): 403–4. http://dx.doi.org/10.1016/0277-5395(88)90093-3.

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Simpson, A. J. H., und S. R. Heard. „Group B streptococcal carriage during pregnancy in Trinidad“. Journal of Hospital Infection 29, Nr. 2 (Februar 1995): 156–57. http://dx.doi.org/10.1016/0195-6701(95)90199-x.

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Rawstrone, Annette. „We've explored…artists“. Nursery World 2024, Nr. 2 (02.02.2024): 28–29. http://dx.doi.org/10.12968/nuwa.2024.2.28.

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Kostova-Panayotova, Magdalena. „In a Free State (V.S. Naipaul’s Half a Life)“. Balkanistic Forum 29, Nr. 3 (01.11.2020): 57–69. http://dx.doi.org/10.37708/bf.swu.v29i3.2.

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This text’s title makes a reference both to Vidiadhar Surajprasad Naipaul’s eponymous work and to the meaning contained in the English phrase “in a free state”, the latter being directly implicated in one of the difficult questions regarding this artists: where does Naipaul belong (1932 - 2018) – is he an English, an Indian or a Trinidadian author, or is he one to whom such categorizations do not apply because in the course of his life he came to embody the very idea of the artist’s being “in a free state”. However appealing it might be to assume the latter idea, his works as well as the many debates surrounding them actually question this freedom. Because the Trinidad born future Nobel laureate (the name of the city is evocative of the Holy Trinity), had at least three homes, even though his attitude to his “homelands” was a controversial one and even though he articulated his own identity controversially and not in one go. In his Nobel lecture Naipaul suggested that the credit for the Nobel Prize should go to England where his home was, and to India, where the home of his predecessors was, but he did not emphasize the significance of Trinidad where he had been born and had grown up.

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Dissertationen zum Thema "Trinidad (Group of artists)"

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
info:eu-repo/semantics/nonPublished

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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
info:eu-repo/semantics/nonPublished

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McBride, Margaret. „Changing the art culture of Newcastle: the contribution of the Low Show Group of artists“. Thesis, 2010. http://hdl.handle.net/1959.13/928250.

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Research Doctorate - Doctor of Philosophy (PhD)
Beginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action, is used as a framework to examine the success of the Low Show group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. Newcastle’s background as a convict settlement and an industrial centre had developed a working class culture with a strong masculine influence. While some individual women artists were able to develop a career in fine arts, there was a long battle to establish a city art gallery and in 1961 there were no commercial galleries. The formation of the Low Show Group is shown to be as much about the society in which they lived as their artistic ambitions. The development of the Newcastle Technical Art School, and the formation of the Newcastle University College, was identified as the catalyst for the initial flowering of fine art. The experience of the Low Show artists first as students of this school, and in some cases as teachers, was the impetus for their desire to develop careers as professional artists. This evaluation of their contribution to the fine arts indicates how the contribution of this regional group of artists was important in paving the way for the present growth and a promising future of the fine arts in Newcastle.

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Bücher zum Thema "Trinidad (Group of artists)"

artists), Trinidad (Group of. Harrach GT: Künstlerische Analyse und Entwürfe für die Neunutzung des historischen Harrachparks = Harrach GT : artistic analysis and projects for new uses of the historic Harrach Park. Wien: Universität für angewandte Kunst, 1999.

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

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Tony, Bradshaw, Bloomsbury Workshop und Sherborne House (Sherborne, Dorset, England), Hrsg. The Bloomsbury group artists. Sherborne: Sherborne House, 2002.

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

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Inc, ebrary, Hrsg. Apache MyFaces Trinidad 1.2: A practical guide : develop JSF web applications with Trinidad and Seam. Birmingham, U.K: Packt Pub., 2009.

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

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

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Singh, Kishore. Mumbai modern: Progressive artists' group, 1947-2013. Herausgegeben von Delhi Art Gallery. 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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Ifill, Max B. The radical socio-political tradition in Trinidad society: Why Not? Discussion Group and intellectual expression of radicalism in Trinidad society. [Trinidad]: The People's Democratic Society, 1994.

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Buchteile zum Thema "Trinidad (Group of artists)"

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, 116–42. Abingdon, Oxon; New York: Routledge,: Routledge, 2018. http://dx.doi.org/10.4324/9781315680972-13.

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Kiliszek, Joanna. „Living Simulacrum“. In Cultural Inquiry, 219–29. Berlin: 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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Mazzanti, Anna. „Operazione Arcevia. Existential Community. The Reality of the Experience and the Utopia of the Vision“. In Springer Series in Design and Innovation, 569–83. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_54.

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AbstractOperazione Arcevia (OA) is an urban settlement project, born for the purpose of the social, economic, and touristic regeneration of a marginal area in the Marchigiane hills, characterized by its postwar exodus. Conceived between 1972 and 1974 on the initiative of the businessman Italo Bartoletti, like every newly constituted city it was designed with a political and cultural identity by the architect Ico Parisi in collaboration with two renowned critics (Cripolti and Restany), a psychologist, and a large number of artists (Arman, César, Ceroli, Soto, Staccioli, among others). OA remained in its germinal phase, and this was indeed its final result, the fruit of participative work presented at several exhibition events: Venice 1976; Rome 1979). In this ideal city imagined by the erudite group of operators, along with its utopian aspects, there are also practical ones and design hypotheses that can still inspire and provide food for thought: the close collaboration between planners and artists; anti-monumental intentions for art with a social nature and characterized by shared practice; built-up urban relations and the landscape dimension; the coexistence between productive and residential communities and temporary communities, both touristic, in terms of hospitality, and as a secular space in which to take refuge. Cooperating together with Parisi and the critics were 33 artists who together created tavole progettuali (design boards) that combined design, technical design, photographic images, and collages, i.e. fully-fledged works of art and creativity.

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Cangiano, Serena, Davide Fornari und Azalea Seratoni. „Re-search, Re-enactment, Re-design, Re-programmed Art“. In Cultural Inquiry, 141–50. Berlin: 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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„Ottoline Morrell: Artists Revels“. In The Bloomsbury Group, herausgegeben von 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“. In Flyboy 2, 50–55. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373995-007.

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„The Black Artists’ Group“. In 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“. In The Cybernetics Group. The MIT Press, 1991. http://dx.doi.org/10.7551/mitpress/2260.003.0008.

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„Contemporary Artists Respond to the Baby Dolls“. In Walking Raddy, herausgegeben von Kim Vaz-Deville, 285–313. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817396.003.0020.

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This chapter discusses the process of negotiation of cross cultural participation and permission of playing mas within black cultural traditions. Using a personal narrative approach the author reflects on her experiences of playing Mas in Trinidad and Tobago Carnival and her desires to play Mas as a Baby Doll in New Orleans Mardi Gras. The author contends her participation cannot be purchased and seeks new ways to adopt a deeper understanding of the history tradition of the Baby Dolls and honor them in a documentary.

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„The Collective Impossible: Erfurt’s Women Artists Group“. In Parallel Public. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/12748.003.0008.

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Konferenzberichte zum Thema "Trinidad (Group of artists)"

Reiser, Susan, und Phill Conrad. „A processing primer for artists“. In 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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„Session details: SIGGRAPH Core: HDRi for artists“. In SIGGRAPH '08: Special Interest Group on Computer Graphics and Interactive Techniques Conference, herausgegeben von Kirt Witte, Christian Bloch, Hilmar Koch, Zap Andersson und Gary M. Davis. New York, NY, USA: ACM, 2008. http://dx.doi.org/10.1145/3260713.

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Mokhov, Serguei A., Miao Song, Sudhir P. Mudur und Peter Grogono. „Dataflow VFX Programming and Processing for Artists and OpenISS“. In 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, und 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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Dias, Mariana, Pedro Coelho, Rui Figueiredo, Rita Carvalho, Veronica Orvalho und Alexis Roche. „Creating Infinite Characters From a Single Template: How Automation May Give Super Powers to 3D Artists“. In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641233.3664339.

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Kashina, M. A. „BEST PRACTICES OF CREATIVE INDUSTRIES: SUCCESS FACTORS OF THE SOUTH KOREAN BOY BAND BTS IN RUSSIA (BASED ON THE MATERIALS OF A SOCIOLOGICAL STUDY)“. In CONVERSION PROBLEMS AND REGULATION OF REGIONAL SOCIO-ECONOMIC SYSTEMS. INSTITUTE OF PROBLEMS OF REGIONAL ECONOMICS OF THE RUSSIAN ACADEMY OF SCIENCES, 2023. http://dx.doi.org/10.52897/978-5-7310-6198-8-2023-52-37-51.

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The success of the South Korean entertainment agency HYBE, which was valued at $9.5 billion in 2020, makes studying its marketing and business strategy relevant. An analysis of the data of an online survey of 2.5 thousand Russian BTS fans (the main artists of HYBE) shows that the key factors of popularity are technological and personal ones. First factors are a large amount of video in various social net-works, high-quality video clips, beau-tiful, non-standard (Asian) appearance of artists, the inclusion of BTS creativity in the Korean wave as a whole (links, tags). Second factors are the content and the work with fans. Artists want to provide psychological support to their fans by generating in them a sense of optimism, self-love, and group identity.

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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, herausgegeben von Gil Irizarry, Gregory P. Silberman und Neer Gupta. New York, NY, USA: ACM, 2008. http://dx.doi.org/10.1145/3260717.

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Lord, Francois. „An OpenUSD Production Pipeline with Very Little Coding: Empowering 3D artists with a parallel workflow using off-the-shelf software“. In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641233.3664307.

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Forrest, Brent James. „The Time Filter System: Advanced Time Manipulation for Animators and Effects Artists: How I Learned to Stop Worrying and Love Matrix Math“. In SIGGRAPH '23: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3587421.3595412.

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Paul, Simon, Kadija Dyall und Quinn Gabriel. „An Independent Analysis of the Performance Characteristics and Economic Outcomes of the Liza Phase 1 Development Offshore Guyana Using Public Domain Data“. In SPE Trinidad and Tobago Section Energy Resources Conference. SPE, 2021. http://dx.doi.org/10.2118/200951-ms.

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Abstract An attempt was made to independently verify the proposed performance of the Liza 1 field using only data available in the public domain. The data used in modelling was sourced from news reports, company disclosures and the analogue Jubilee field in Ghana. Reservoir rock and fluid data from Jubilee Field was deemed an appropriate fit because of the corroboration provided by the Atlantic Drift Theory. A major challenge in creating the model, was determining the aerial extent of the field. According to Yang and Escalona (2011), the subsurface can be reasonably approximated using the surface topography which is possible via the use of GIS software. Google Earth Pro software was used to estimate the coordinates and areal extent of the Liza 1 reservoir. A scaled image of the field location showing the Guyana coastline was re-sized to fit the coastline in Google Pro and then the coordinates for the Liza field and wildcat well locations were estimated. This was used to create the isopach map and set reservoir boundaries to create the static and dynamic models in Schlumberger's Petrel E & P Software Platform (2017) and Computer Modelling Group IMEX Black Oil and Unconventional Simulator CMG IMEX (2016). The initialized model investigated the reservoir performance with and without pressure maintenance over a twenty (20) year period. The original oil in place (OOIP) estimated by the model was 7% larger than the OOIP estimated by ExxonMobil for Liza field. The model produced 35% of the OOIP compared to 50% of OOIP as forecasted by the operators. (See Table 1). The factors that strongly influenced this outcome were, the well positioning and the water injection rates. A significant percentage of the oil remained unproduced in the lower layers of the model after the 20-year period. Time did not permit further modelling to improve the performance of the model. Table 1 Comparison of The Created Model and ExxonMobil's Proposal for Liza. Property ExxonMobil's statement on Liza field Modelled field Result Original Oil in Place (MMbbl) 896 967 Oil Recovery Factor (%) 50 35 Gas production from the model would be used as gas injection from three injector wells and as fuel for the proposed 200 MW power plant for Guyana. Even so, significant volumes of natural gas remained unallocated and subsequently a valuable resource may have to be flared.

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Berichte der Organisationen zum Thema "Trinidad (Group of artists)"

Sequeira, Dora María, Ileana Alvarado V. und Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, März 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.

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Abdellatif, Omar S., Ali Behbehani und Mauricio Landin. Trinidad and Tobago COVID-19 Governmental Response. UN Compliance Research Group, März 2021. http://dx.doi.org/10.52008/tt0501.

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The International Health Regulations (2005) are legally binding on 196 States Parties, Including all WHO Member States. The IHR aims to keep the world informed about public health risks, through committing all signatories to cooperate together in combating any future “illness or medical condition, irrespective of origin or source, that presents or could present significant harm to humans.” Under IHR, countries agreed to strengthen their public health capacities and notify the WHO of any such illness in their populations. The WHO would be the centralized body for all countries facing a health threat, with the power to declare a “public health emergency of international concern,” issue recommendations, and work with countries to tackle a crisis. Although, with the sudden and rapid spread of COVID-19 in the world, many countries varied in implementing the WHO guidelines and health recommendations. While some countries followed the WHO guidelines, others imposed travel restrictions against the WHO’s recommendations. Some refused to share their data with the organization. Others banned the export of medical equipment, even in the face of global shortages. The UN Compliance Research group will focus during the current cycle on analyzing the compliance of the WHO member states to the organizations guidelines during the COVID-19 pandemic.

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Khadr, Ali, Oliver Peña-Habib und Stefania De Santis. Independent Country Program Review Trinidad and Tobago 2016-2020. Inter-American Development Bank, April 2021. http://dx.doi.org/10.18235/0003852.

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This Independent Country Program Review (ICPR) covers the Inter-American Development Bank (IDB) Group's country strategy (CS) and program in Trinidad and Tobago (T&T) over the period 2016-2020. ICPRs assess the relevance of a CS and, data permitting, provide aggregate information on the alignment and execution of the corresponding country program. ICPRs are primarily addressed to the IDB Group's Boards of Executive Directors (BoD). They seek to provide the BoD with relevant information, otherwise not readily available to them, to inform their consideration of the upcoming IDB Group CSs.

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Pollock, Wilson. Pivot the Future Makers: Building our People and Places. Herausgegeben von Musheer O. Kamau, Sasha Baxter und Golda Kezia Lee Bruce. Inter-American Development Bank, April 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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Espinasa, Ramón, und Malte Humpert. Energy Matrix Country Briefings: Antigua & Barbuda, Bahamas, Barbados, Dominica, Grenada, Guyana, Haiti, Jamaica, St. Kitts & Nevis, St. Lucia, St. Vincent and the Grenadines, Suriname, and Trinidad &. Inter-American Development Bank, Februar 2014. http://dx.doi.org/10.18235/0008096.

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This publication is part of a series of reports produced by the Energy Division of the Infrastructure and Environment Department of the Vice President of the Research Department at the Inter-American Development Bank (IDB) with support from Compete Caribbean as a regional public good. It is designed to increase the base of knowledge about the characteristics and functions of the Energy Sector in Latin American and Caribbean countries (LAC). The description of the energy matrix and sector governance of each country in the Caribbean has been carried out in parallel to similar work for the rest of the Latin American and Caribbean region. However, the methodology for this region varies slightly from country to country as there is not a single set of comparable data for all the nations in this group. The sources of information are all publicly available and include the International Energy Agency, the U.S. Energy Information Administration, the Global Environment Fund, the United Nations, the International Renewable Energy Agency, consulting firms, and local governments and utilities.

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Grau, Javier, Horacio Terraza, Germán Sturzenegger, Alfredo Rihm und Diana Milena Rodríguez Velosa. Solid Waste Management in Latin America and the Caribbean. Inter-American Development Bank, August 2015. http://dx.doi.org/10.18235/0006297.

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This document is a collection of available data on solid waste management in Latin America and the Caribbean (LAC). The following bullet points contain a brief description of the most relevant data: The regional average per capita generation of Domestic Solid Waste (DSW) and Municipal Solid Waste (MSW) is 0.6 kg/cap/day and 0.9 kg/cap/day, respectively. DSW represents, on average, 67% of the MSW generated in the region. The MSW regional average collection rate is 89.9% (as a percentage of the population). Compared with a worldwide average of 73.6%, LAC has a high level of coverage, reflecting the priority the region gives to this service. LAC's coverage is higher than that of Africa (46%), South Asia (65%), and the Middle East and Northern Africa (approximately 85%). Argentina, Chile, Colombia, Dominican Republic, Trinidad & Tobago, Uruguay and Venezuela have MSW collection rates close to 100% (universal coverage). About 53% of LAC's population receives 2to-5-days a week waste collection service, 45% daily service and 2% once-a-week service. Separate MSW collection, commonly known as selective collection is still uncommon in the region. However, there are cases like that of Brazil, where 62% of municipalities implement selective MSW collection programs. Average unitary collection costs have been estimated at US$34 per collected ton, with high cost variance between countries. For example, the cost in Argentina is US$54, while in Paraguay is only US$6.6 (a US$47 difference). These variations typically reflect differences associated with the (higher-lower) quality of service. Adequate MSW final disposal coverage (i.e., in landfills) is approximately 55% (as a percentage of the population), which means that there is still a large amount of waste that is not disposed and/or treated adequately (45%). The average final disposal cost is US$20.4 per ton disposed. There is a first group of countries where disposal costs are around US$10 (US$5.6 in Ecuador, US$11.4 in Chile), a second group where it costs around US$20 (US$18.8 in Costa Rica, US$23.3 in Colombia), and then there¿s Brazil, where costs are, on average, considerably higher (US$31.5). In several LAC countries MSW management costs are directly afforded by the municipality. The average cost recovery is 51.6%xii. Municipalities typically use property taxes as the main revenue collection system. This collection mechanism represents 52.1% of the total, followed by direct billing to users, with 20.2%; the electricity bill (15.3%); and the water & sanitation bill (12.4%).

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IDB Group Country Profile: Trinidad and Tobago 2005-2019. Inter American Development Bank, August 2020. http://dx.doi.org/10.18235/0002551.

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A Challenging Endeavor: The Arts in Trinidad and Tobago. Inter-American Development Bank, Mai 2002. http://dx.doi.org/10.18235/0006229.

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The exhibition traces the development of the visual arts in this Caribbean nation which celebrates its 40th anniversary as an independent Republic in 2002. 49 works in a variety of media cover nearly 150 years of art, including watercolors by Michel Jean Cazabon (19th century), oils by the pre-Independence and the post-Independence generations, and drawing and painting by the latest generation; also included are some masks used in Carnival, and folk figurines illustrating the evolution of the steel-pan, invented in the 20th century. This exhibition was organized with the collaboration of the National Museum of Trinidad and Tobago, the Central Bank of Trinidad and Tobago, and artists such as LeRoy Clarke, Christopher Cozier, Irénée Shaw, Ralph Baney, and Nina Squires.

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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding works by artists from the Spanish, English, French, and Dutch Speaking Caribb. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0008217.

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This paper presents a selection of 39 important works (paintings, sculptures, drawings, engravings and photographs) by recognized Caribbean artists from Barbados, Jamaica, The Bahamas, Trinidad and Tobago, Haiti, Dominican Republic, Puerto Rico, and Suriname, and early Cuban masters such as Amelia Peláez, Juan José Sicre and Mario Carreño, in the collection of the OAS Art Museum of the Americas, on loan to the IDB Cultural Center for this exhibition.

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