Relevant bibliographies by topics / Superflat

Academic literature on the topic 'Superflat'

Author: Grafiati
Published: 4 June 2021
Last updated: 21 February 2023

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Journal articles on the topic "Superflat"

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Silli, Stefani. "Utjecaj japanske likovne i kulturne tradicije na umjetnički izričaj Takashija Murakamija." Tabula, no. 16 (November 29, 2019): 161–74. http://dx.doi.org/10.32728/tab.16.2019.11.

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Suvremeni umjetnik Takashi Murakami devedesetih godina prošloga stoljeća se dokazao kao jedan od najprovokativnijih i najutjecajnijih japanskih umjetnika svojega vremena. Kult njegove osobnosti je već odavno prerastao granice domovine. U umjetničkome svijetu poznat kao inovator suvremene japanske umjetnosti, uspjelo mu je promijeniti način poimanja umjetnosti unutar granica vlastite države i pozicionirati estetiku i senzibilitet japanske umjetnosti na svjetski umjetnički trg kao odgovor na postojeće uvjete i težnje postmodernoga doba. To novo je umjetničko načelo nazvao superflat. Murakami je predstavio superflat kao spoj visoke umjetnosti i pop-kulture, no istovremeno i kao istraživanje kulturno i društveno definiranih interpretacija umjetnosti u Japanu koje je potrebno nanovo vrednovati i definirati. Njegova su djela bogati amalgam simbola i značenja, koja nam daju duboki uvid u šarolikost tradicionalne i moderne japanske povijesti umjetnosti i kulture. Kratko ću predstaviti život i ključna djela Takashija Murakamija i njegov umjetnički pravac superflat. Cilj je ovoga rada pokazati i utvrditi opseg i značaj utjecaja Murakamijevih likovnih predaka na razvoj njegova umjetničkoga identiteta i izraza. Predstavit ću stilske karakteristike pojedinih likovnih škola i umjetnika iz različitih razdoblja japanske povijesti. Te iste oblikovne karakteristike ću usporedbom pojedinih djela potražiti u Murakamijevu opusu i umjetnosti superflata.
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Anan, Nobuko. "Two-Dimensional Imagination in Contemporary Japanese Women's Performance." TDR/The Drama Review 55, no. 4 (December 2011): 96–112. http://dx.doi.org/10.1162/dram_a_00125.

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Contemporary Japanese visual artist Murakami Takashi's theory of “superflat” Japanese arts and culture is nationalist and masculinist. However, women artists—including Yanagi Miwa and the performers of the Takarazuka Revue and Kegawa-zoku—use two-dimensional aesthetics to challenge the nationalist and masculinist construction of Japanese womanhood.
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STEINBERG, MARC. "Otaku consumption, superflat art and the return to Edo." Japan Forum 16, no. 3 (October 2004): 449–71. http://dx.doi.org/10.1080/0955580042000257927.

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Yunizal, Dwi. "KAJIAN BUDAYA JEPANG PADA PROSES DAN TEKNIK SENI LUKIS TAKASHI MURAKAMI." Gorga : Jurnal Seni Rupa 11, no. 2 (December 25, 2022): 513. http://dx.doi.org/10.24114/gr.v11i2.39802.

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Contemporary artist Takashi Murakami from Japan works in painting, sculpture, and commercial media including fashion, merchandise and animation with the superflat theory. The creative process combines traditional culture with contemporary culture, this study aims to understand Murakami's background in managing the dynamics of traditional culture with critical and genius visual discourse. The superflat theory was finally able to lead Murakami to become a well-known artist, due to the meeting of the dynamics of traditional and capitalist culture in the global market. The use of kawaii elements which mean cute and sweet, both as a style and a way of life can be found in Murakami's art. Symbolism plays an important role in attracting people's attention and working to elevate otaku culture's status as a representation of Japan. Murakami's mythical sensibility presents traditional Japanese, Chinese, and Buddhist myths giving mythopoeic achievements. This study uses library research with a semi-systematic approach that originates from journals, dissertations, theses, and internet media, based on the results of data and information processing, the works of artist Murakami are influenced by Japanese cultural structures such as Soga Shohaku, kawaii, and otaku. Murakami's awareness in understanding art discourse by incorporating a kawaii style, so that it is easily accepted in the global art market. Understanding how Murakami's formula manages traditional culture to become today's art, can be analyzed in a work entitled “Dragon in Clouds – Indigo Blue”. The conclusion of Murakami's work is the symbolism influenced by his personal experience.Keywords: soga shohaku, kawaii, otaku, superflat. AbstrakSeniman kontemporer Takashi Murakami dari Jepang mengerjakan karya lukisan, patung, dan media komersial termasuk fashion, barang dagang, dan animasi dengan teori superflat. Proses kreatif memadukan budaya tradisional dengan budaya kontemporer. Penelitian ini bertujuan memahami latar belakang Murakami mengelola dinamika budaya tradisional dengan wacana visual yang kritis dan jenius. Teori superflat akhirnya mampu mengantarkan Murakami menjadi seniman ternama, karena pertemuan dinamika budaya tradisional dan kapitalis di pasar global. Penggunaan unsur kawaii yang berarti imut dan manis, baik sebagai gaya maupun gaya hidup dapat ditemukan dalam karya seni Murakami. Simbolisme memainkan peran penting untuk menarik perhatian orang, dan berupaya mengangkat status budaya otaku sebagai representasi Jepang. Kepekaan mitis Murakami menghadirkan mitos tradisional Jepang, Cina, dan Buddha memberikan pencapaian mythopoeic. Penelitian ini menggunakan penelitian kepustakaan dengan pendekatan semi-sistematik yang bersumber dari jurnal, disertasi, tesis, dan media internet. Berdasarkan hasil pengolahan data dan informasi, karya seniman Murakami dipengaruhi oleh struktur budaya Jepang seperti soga shohaku, kawaii, dan otaku. Kesadaran Murakami dalam memahami wacana seni dengan memasukkan gaya kawaii, sehingga mudah diterima di pasar seni global. Memahami bagaimana formula Murakami mengelola budaya tradisional menjadi seni masa kini, dapat dianalisis dalam karya berjudul “Dragon in Clouds – Indigo Blue”. Kesimpulan dari karya Murakami adalah simbolisme yang dipengaruhi pengalaman pribadinya.Kata Kunci: soga shohaku, kawaii, otaku, superflat. Author:Dwi Yunizal : Institut Seni Indonesia Yogyakarta References:Birlea, O. M. (2021). “Cute Studies”. Kawaii (“Cuteness”) – A New Research Field. Philobiblon, 26(1), 83–100. https://doi.org/10.26424/philobib.2021.26.1.05.Borggreen, G. (2011). Cute and Cool in Contemporary Japanese Visual Arts. The Copenhagen Journal of Asian Studies, 29(01), 39–60. https://doi.org/10.22439/cjas.v29i1.4020.Hashimoto, M. (2007). Visual Kei Otaku Identity - An Intercultural Analysis. Intercultural Communication Studies, XVI(1), 87–99. https://www.researchgate.net/publication/239576790_Visual_Kei_Otaku_Identity-An_Intercultural_Analysis.Hu, X. (2021). Is Takashi Murakami’s Art an Exploration of Symbolism ?. Proceedings of the 2021 6th International Conference on Modern Management and Education Technology, 582, 560–564. https://doi.org/10.2991/assehr.k.211011.101.Khairi, I. A ., & Hafiz, H. (2022). Kajian Estetika Lukisan Realis Kontemporer Drs. Irwan, M.Sn. yang Berjudul di Ujung Tanduk. Gorga: Jurnal Seni Rupa, 11(01), 138-146. https://doi.org/10.24114/gr.v11i1.34129. Mamat, R., Rashid, R. A., Paee, R., & Ahmad, N. (2022). VTubers and anime culture: A case study of Japanese learners in two public universities in Malaysia. International Journal of Health Sciences, 6(S2), 11958–11974. https://doi.org/10.53730/ijhs.v6nS2.8231.Pellitteri, M. (2018). Kawaii Aesthetics from Japan to Europe: Theory of the Japanese “Cute” and Transcultural Adoption of Its Styles in Italian and French Comics Production and Commodified Culture Goods. Arts, 7(3), 24. https://doi.org/10.3390/arts7030024.Raman, K., Othman, A. N., Idris, M. Z., & Muniady, V. (2021). Kawaii-Style Pedagogical Agents Designs in Virtual Learning Environment: A Research Conceptual Framework. International Journal of Academic Research in Progressive Education and Development, 10(01), 154-170. https://doi.org/10.6007/IJARPED/v10-i1/8489.Raubenheimer, L. (2006). Blandness and the digital sublime in Takashi Murakami’s designs for Louis Vuitton. South African Journal of Art History, 21(2), 74–88. http://hdl.handle.net/2263/10629.Rupadha, I. K. (2016). Memahami Metode Analisis Pasangan Bibliografi (Bibliographic Coupling) dan Ko-Sitasi (Co-Citation) Serta Manfaatnya untuk Penelitian Kepustakaan. Lentera Pustaka, 2(1), 58–69. https://doi.org/10.14710/lenpust.v2i1.12358. Sanjaya, B. & Citra, P. A. C. (2022). Fenomena Aku Setelah Pandemi Covid-19 sebagai Ide Penciptaan Karya Seni Lukis. Gorga: Jurnal Seni Rupa, 11(01), 107-113. https://doi.org/10.24114/gr.v11i1.33867.Sari, M. (2020). Penelitian Kepustakaan (Library Research) dalam Penelitian Pendidikan IPA. NATURAL SCIENCE: Jurnal Penelitian Bidang IPA dan Pendidikan IPA. 6(1). 41-53. https://ejournal.uinib.ac.id/jurnal/index.php/naturalscience/article/view/1555.Sharp, K. (2007). Superflatlands : The global cultures of Takashi Murakami and superflat art. ACCESS: Critical Perspectives on Communication, Cultural & Policy Studies, 26(1), 32–42. https://search.informit.org/doi/10.3316/informit.665904534038717. Uzelac. G. (2022). Harnessing The Myths of Now :Restoring Social Harmony Through Mythic Art. The University of Sydney, 1-69. https://hdl.handle.net/2123/27724.Yazovskaya, O., (2018). Artistic Language of Mass Culture As Illustrated By Takashi Murakami (On Materials From “Under The Radiation Falls” Exhibit, 2017-2018, Moscow). IJASOS-International E-Journal of Advances in Social Sciences, IV(11), 516-520. https://doi.org/10.18769/ijasos.455682.
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Beynon, Davi. "From Techno-cute to Superflat: Robots and Asian Architectural Futures." Mechademia 7, no. 1 (2012): 129–48. http://dx.doi.org/10.1353/mec.2012.0004.

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Choi, Jaehyuk. "Murakami Takashi’s Changing “Superflat” After the 2011 Great East Japan Earthquake." Japanese Cultural Studies 67 (July 31, 2018): 345–66. http://dx.doi.org/10.18075/jcs..67.201807.345.

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Looser, Thomas. "Superflat and the Layers of Image and History in 1990s Japan." Mechademia 1, no. 1 (2006): 92–109. http://dx.doi.org/10.1353/mec.0.0043.

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Mujika, Iñigo. "From Superfit to Superfat." International Journal of Sports Physiology and Performance 6, no. 3 (September 2011): 293–94. http://dx.doi.org/10.1123/ijspp.6.3.293.

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Loh, Waiyee. "Superflat and the Postmodern Gothic: Images of Western Modernity in Kuroshitsuji." Mechademia 7, no. 1 (2012): 111–27. http://dx.doi.org/10.1353/mec.2012.0007.

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Cheng, Guangming, Banghong Guo, Yunfei Zhou, Shi Chen, and Zhenhua Li. "Wavelength selective switch with superflat passbands based on a microelectromechanical system micromirror array." Optical Engineering 53, no. 12 (December 9, 2014): 127102. http://dx.doi.org/10.1117/1.oe.53.12.127102.

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Dissertations / Theses on the topic "Superflat"

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Steinberg, Marc A. "Emerging from flatness : Murakami Takashi and superflat aesthetics." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33929.

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This thesis is an examination of the concept and the term "superflat" as it is elaborated by the Japanese artist Murakami Takashi in his writings, in the exhibition he curated under the same name, and in his own art.
Its aim is to contextualize Murakami's project on one hand in terms of a similar attempt to define a Japanese national aesthetic in the early 20 th century, and on the other in terms of the 1990's tendency to return to Edo Japan to find the "origins" of Japan's postmodernity.
Murakami's own art is then turned to in order to both elaborate on and test the aesthetic of Japanese art he calls the superflat. This examination of Murakami's art permits the formulation of an aesthetics of Japanese contemporary art and animation even as it will afford an understanding of the "cultural logic" of the digital age that informs Murakami's argument.
Questions important to this project are: Is the articulation of a local aesthetics possible in this globalizing age? What are the aesthetic traits of the digital age? How should the superflat---as both idea and project---be interpreted?
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Lisica, Cindy. "Beyond consumption : the art and merchandise of a superflat generation." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/5210/.

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This thesis investigates the impact of Superflat theory and practice of the artist and curator, Takashi Murakami. The thesis aims to analyse how contemporary transnational artistic activity functions via the work of Murakami and Superflat artists, including Chiho Aoshima and Aya Takano. From the blockbuster group exhibition, Super Flat, curated by Murakami, which debuted in the United States in 2001 at the Los Angeles Museum of Contemporary Art, to the 2007-2009 ©MURAKAMI retrospective traveling from Los Angeles to Brooklyn then Frankfurt to Bilbao, the synthesis of ideas is showing the way to unprecedented directions in contemporary art. This investigation also links Murakami’s work to that of American Pop artists Andy Warhol and Jeff Koons and explores how Superflat art functions within and contributes to the already distorted area between parallel structures, such as high and low, fine art and commercial production, or East and West. When peeling back the layers of Superflat, there is a rich, beautiful and violent history. Recognising the fusion of tradition and technology, my research explores how Superflat artists are achieving international success by engaging in multiple outlets of creative expression and collaboration in the continuing context of globalisation and a consumer-driven art market. Images of anxiety and destruction are disguised as playful and marketable characters, and three-dimensional animation figures become cultural icons. Superflat explores the simulated, sensuous, colourful and obsessive “realities” that we inhabit on a global scale and captures a twenty-first century aesthetic. With reference to the representation of violence and disaster in art and popular culture, contemporary Japan’s construction of national identity and the postwar “Americanization” of Japan, this thesis examines how the layering of ideas via cross-cultural exchange produces a new form of hybrid and hyper Pop art.
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Sharp, Kristen, and kristen sharp@rmit edu au. "Superflatworlds: A Topography of Takashi Murakami and the Cultures of Superflat Art." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080522.093156.

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This thesis maps Takashi Murakami's Theory of Superflat Art and his associated artistic practices and works. The study situates Murakami and Superflat within the context of globalising culture. The thesis interrogates Murakami's art and the theory of superflat within the historical, social, and cultural contexts of their production-consumption in Japan, the United States, and Europe. The thesis identifies Superflat art and Murakami's work as actively participating in, and expressing, the cultural conditions associated with the 'global postmodern' and globalisation processes. The thesis employs a Cultural Studies theoretical and heuristic framework, utilising a range of contemporary critical theorisations on postmodern art, Japanese cultural identity and globalisation. This framework and approach are adopted in order to draw attention to ways in which Murakami and Superflat articulate and represent the fundamental contentions and dialogues that characterise contem porary globalisation processes. The tensions that are articulated in relation to the discursive construction of the concepts of art/commodity, modern/postmodern and global/local cultural identities. Importantly, this research demonstrates the ways in which Murakami both participates in, and challenges, the conceptual distinctions indexed within the concepts of 'art' as an aesthetic expression and 'commodity' as an object of symbolic exchange in the global marketplace. It interprets Superflat as an 'expressivity' that challenges binary demarcations being constructed between art and commercial culture, and between the aesthetic-cultural identities of Japan and the West. This thesis problematises the meaning of Murakami's concept and aesthetic of Superflat art by drawing attention to these contestations within Murakami's works and Superflat which are generated as they circulate globally. The thesis argues that Murakami strategically presents his work and Superflat art as an expression of Japanese identity which paradoxically also expresses the fluid imaginings of cultural identity available through contemporary global exchanges. This deliberate territorialising and deterritorialising impulse does not resolve the contentions emerging in globalisation, but rather amplifies them, exposing the key debates on the formation of cultural identity as an oppositional expression and as a commodity in global markets. The concept of 'strategic essentialism' is used as a theoretical lens in order to understand Murakami and Superflat's activation of these global processes. This research contributes a valuable case study to the understanding of cultural production as a strategic negotiation and expression of the flows of capital and culture in globalisation.
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Delpiano, K. María José. "Modernidad y modernización de las artes visuales en Japón — ecturas desde el concepto superflat de Takashi Murakami." Tesis, Universidad de Chile, 2010. http://www.repositorio.uchile.cl/handle/2250/101297.

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Uzelac, Gregory Ross. "Harnessing the Myths of Now: Restoring Social Harmony Through Mythic Art." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/27724.

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Dissertation: This thesis explores contemporary art’s role in the rejuvenation of mythic storytelling, which enables societal cohesion and progress. I investigate Joseph Campbell’s concept of mythic dissociation and outline the industrial, academic, and ideological factors that have stifled myth in modernity. Synthesising the mythological scholarship of Campbell and Alexander Eliot with Japanese artist Takashi Murakami’s Superflat Theory, I examine the unique position the contemporary artist now holds in digital-age society as cultivator of myth. I posit that Superflat’s emphasis on narrative interpretation, viewer agency, and opposition to formal, temporal, and stylistic limitations allows for artwork that executes the functions of myth put forward by Campbell and Eliot. I provide evidence of key, practical methodology that allows for contemporary mythic artwork. Ultimately this thesis advocates for the restoration of mythic narrative to its crucial societal role as a mechanism for social harmony via the production and dissemination of mythic art. Studio Work: My body of work entitled Song of @Merica consists of mixed media artworks that depict a modern mythic saga. The exhibition was installed at the University of Sydney in December 2021. I created works on canvas, plastic, and paper using a variety of materials including acrylic paint, oil pastels, ink, pencil, and watercolour. Aesthetically, my artwork connects to abstract expressionist and surrealist lineages, but my technique also derives from screenwriting, adjoining metaphorical and narrative elements to colour, contour, material, and text. Conceptually integral, my use of nonlinear narrative, repurposed materials, as well as the mixing of media, language, and reappropriated cultural references, illustrates the effectiveness of Takashi Murakami’s Superflat Theory, which explodes defined aesthetic and temporal boundaries, enabling myth to be conveyed fully and accessible to all.
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Soejima, Emi. "Sur la question de la corporalité dans l'expression artistique de l'art contemporain japonais." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010683.

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Vonka, Jakub. "Demagnetisation of solid 3He and supercritical superflow." Thesis, Lancaster University, 2018. http://eprints.lancs.ac.uk/123529/.

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This work describes the efforts with two ultra low temperature experiments with superfluid 3He as medium of interest. The experiments are mostly performed at temperatures below 200uK, in the regime where superfluid quasiparticle excitations are ballistic. Recently, a novel experimental tool has been built in Lancaster - a superconducting goalpost-shaped wire that can be moved trough the superfluid in oscillatory as well as in uniform linear motion. An object moving with high enough velocity that the excitation spectrum becomes gapless can create excitations at no energy cost and initiate the breakdown of the condensate - this limit is the well-known Landau velocity. In superfluid 3He, flow around an oscillating body displays a very clear onset of such dissipation. However, with this experiment it was found that for a uniform linear motion there is no discontinuity whatsoever in the dissipation as the Landau critical velocity is passed and exceeded, entering a supercritical flow regime. This regime allows for studying the dynamics of the Andreev bound states on the surface of the wire. This work presents a recent experimental estimation of the relaxation time of the bound states and a description of the relaxation mechanism. Next, the work describes the design and initial testing of a new experiment. Here a layer of solid 3He formed on the surface of a large aerogel sample submersed in superfluid 3He will be cooled down to below 100uK in a double nuclear demagnetisation process. NMR on the solid 3He will be used to search for a possible magnetic phase transition as well as to study superfluid 3He virtually free of quasiparticle excitations. The work reports progress to the present state of the experiment and discusses setbacks due to a large unexpected heating which appeared during the demagnetisation of the copper stage.
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Notsu, Yuta. "Observational studies on solar-type superflare stars." Kyoto University, 2019. http://hdl.handle.net/2433/242613.

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Boncourt, Martine. "La poésie à l'école élémentaire : l'indispensable superflu." Rouen, 2001. http://www.theses.fr/2001ROUEL407.

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Pour quelles raisons la poésie ne trouve-t-elle pas, à l'école élémentaire, la place qu'elle devrait occuper selon les directives des instructions officielles, ni celle qu'elle mérite, au vu des multiples domaines culturels et éducatifs que sa fréquentation permet d'explorer ? L'analyse des textes officiels d'une part, des discours de praticiens d'autre part, permet de mettre en évidence une contradiction de fond entre les objectifs de l'institution scolaire (conservation, reproduction, transmission d'un patrimoine culturel et social) et l'essence même de la poésie qui est transgression, subversion, nouveauté. La mise en perspective de la poésie et de l'école, analysée par les actuels penseurs de l'éducation, montre que ces contradictions se situent sur deux plans : celui de la forme (linguistique, sémiologique, grammaticale, lexicale) ; celui du fond (souci d'efficacité, primat de la raison et de la pensée convergente, recherche de clarté, de transparence, de logique, d'univocité du côté de l'école, gratuité apparente, imagination, rêve, pensée divergente, hermétisme, complexité, polysémie du côté de la poésie). D'une façon simplifiée, la culture humaniste à laquelle la poésie est attachée se heurte à la culture scientifique qui s'impose comme la culture scolairement dominante. Mais, paradoxalement, l'école aurait tout intérêt a faire une plus large place à la poésie, pour les raisons mêmes qui font qu 'elle a tendance à la rejeter. Parce qu 'elle autorise l'émergence d'une parole singulière, qu'elle ouvre ainsi la porte à l'affectif, parce qu'elle est moment de rupture, de re-création, parce qu'elle rompt momentanément avec l'habitude et qu'alors elle autorise la distanciation préalable à tout apprentissage, la poésie est cheminement vers le droit à la différence, à la reconnaissance, à la citoyenneté. La poésie participe à une éducation vers un humanisme essentiel. La poésie à l'école, c'est l'indispensable superflu.
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Vargas, Ugarte Rubén. "Deberes Sociales: La Justa Distribución de lo Superfluo." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/115808.

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Books on the topic "Superflat"

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Superflirt. London: Dorling Kindersley UK, 2010.

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Superflirt. New York: DK Pub., 2003.

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Superflirt. London: Dorling Kindersley, 2003.

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Curzon, Daniel. Superfag. San Francisco: IGNA Books, 1996.

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Cox, Tracey. Pocket superflirt. New York: DK Pub., 2005.

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Barbara, Griggs, ed. Superfast foods. London: Dorling Kindersley, 1994.

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Delden, Els van (Elizabeth), 1942- and Brix-Henker Silke 1951-, eds. Lena, superfan. Amsterdam: Ploegsma, 2003.

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Tooth-Gnasher Superflash. New York: Macmillan Pub. Co., 1990.

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Sherwood, Lyn A. SuperFan: A novel. Westminster, Md: ACME Press, 2001.

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Plumridge, Laurie. Fit and superfit. Poole, Dorset: Javelin, 1985.

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Book chapters on the topic "Superflat"

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Balliet, Kristy, and Brennan Buck. "Superflat Layering." In Visual Catalog: Greg Lynn’s Studio, 136–47. Vienna: Springer Vienna, 2010. http://dx.doi.org/10.1007/978-3-211-99193-0_14.

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Kelts, Roland. "Superflat Tokyo." In City Branding, 206–12. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230294790_28.

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Cosemans, G., and J. G. Kretzschmar. "IFDM-Superfast." In Air Pollution Modeling and Its Application VII, 541–54. Boston, MA: Springer US, 1989. http://dx.doi.org/10.1007/978-1-4615-6409-6_44.

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Lovell, Nicholas. "The Superfan Layer." In The Pyramid of Game Design, 111–26. Boca Raton: Taylor & Francis, CRC Press, [2018]: A K Peters/CRC Press, 2018. http://dx.doi.org/10.1201/9780429444630-7.

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Curwen, Peter, and Jason Whalley. "Making Use of Superfast Connectivity." In Management for Professionals, 211–30. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-02210-9_9.

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Cosemans, G., J. Kretzschmar, G. Maes, L. Janssen, and J. Van Tongerloo. "The IFDM-SUPERFAST Area Source Model." In Computer Techniques in Environmental Studies IV, 13–29. Dordrecht: Springer Netherlands, 1992. http://dx.doi.org/10.1007/978-94-011-1874-3_2.

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Murakami, M., T. Yamazaki, A. Nakano, and H. Nakai. "Laser Doppler Velocimeter Applied to Superflow Measurement." In High Reynolds Number Flows Using Liquid and Gaseous Helium, 215–21. New York, NY: Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-3108-0_14.

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Reppy, J. D., and A. Tyler. "Studies of Dissipative Superflow through Porous Vycor Glass." In Excitations in Two-Dimensional and Three-Dimensional Quantum Fluids, 291–300. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4684-5937-1_28.

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Ichikawa, N., and M. Murakami. "Application of Flow Visualization Technique to Superflow Experiment." In High Reynolds Number Flows Using Liquid and Gaseous Helium, 209–14. New York, NY: Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-3108-0_13.

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Cook, Amy. "Meaning Superflux—A Cognitive Linguistic Reading of Hamlet." In Shakespearean Neuroplay, 65–90. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230113053_4.

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Conference papers on the topic "Superflat"

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Haga, Tsuneyuki, Marcia C. K. Tinone, Masaru Shimada, Takashi Ohkubo, and Akira Ozawa. "Superflat high-reflectivity semitransparent polarizer for soft x-ray." In International Symposium on Polarization Analysis and Applications to Device Technology, edited by Toru Yoshizawa and Hideshi Yokota. SPIE, 1996. http://dx.doi.org/10.1117/12.246192.

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Campbell, Jr., Daniel R., and David W. Stowe. "The Superflat coupler and its application as a wideband attenuator." In Fiber Optic Components and reliability, edited by Paul M. Kopera and Dilip K. Paul. SPIE, 1992. http://dx.doi.org/10.1117/12.135377.

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Challa, Rajesh, Seil Jeon, Syed M. Raza, Pankaj Thorat, and Hyunseung Choo. "SuperFlex." In IMCOM '18: The 12th International Conference on Ubiquitous Information Management and Communication. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3164541.3175683.

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Sroubek, Filip, Jan Kamenicky, and Peyman Milanfar. "Superfast superresolution." In 2011 18th IEEE International Conference on Image Processing (ICIP 2011). IEEE, 2011. http://dx.doi.org/10.1109/icip.2011.6115633.

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Liu, Xian, Viktor Markov, Alexander Kotov, Tho Dang, Amitay Levi, Ian Yue, Andy Wang, and Rodger Qian. "Endurance Characteristics of SuperFlash� Memory." In 2006 8th International Conference on Solid-State and Integrated Circuit Technology Proceedings. IEEE, 2006. http://dx.doi.org/10.1109/icsict.2006.306479.

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Zhao, Zongyi, Xingang Shi, Arpit Gupta, Qing Li, Zhiliang Wang, Bin Xiong, and Xia Yin. "Continuous Flow Measurement with SuperFlow." In 2021 IEEE/ACM 29th International Symposium on Quality of Service (IWQOS). IEEE, 2021. http://dx.doi.org/10.1109/iwqos52092.2021.9521284.

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Barzin, R., S. Fukushima, W. Howden, and S. Sharifi. "Superfit Combinational Elusive Bug Detection." In 2008 32nd Annual IEEE International Computer Software and Applications Conference. IEEE, 2008. http://dx.doi.org/10.1109/compsac.2008.5.

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Merched, R. "Exact trigonometric superfast inverse covariance representations." In 2013 International Conference on Computing, Networking and Communications (ICNC 2013). IEEE, 2013. http://dx.doi.org/10.1109/iccnc.2013.6504134.

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Markov, Viktor, JinHo Kim, and Alexander Kotov. "SuperFlash® Scaling Aspects: Program Disturb." In 2016 IEEE International Memory Workshop (IMW). IEEE, 2016. http://dx.doi.org/10.1109/imw.2016.7495290.

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Kononov, Anatolii A., Chang-Ho Choi, and Do-Hyung Kim. "Superfast Convergence Rate in Adaptive Arrays." In 2018 International Conference on Radar (RADAR). IEEE, 2018. http://dx.doi.org/10.1109/radar.2018.8557281.

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Reports on the topic "Superflat"

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Hopp, Theodore H. User's guide to SuperFit:. Gaithersburg, MD: National Institute of Standards and Technology, 1995. http://dx.doi.org/10.6028/nist.ir.5720.

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Gragg, William, and Gregory S. Ammar. Numerical Experience with a Superfast Real Toeplitz Solver. Fort Belvoir, VA: Defense Technical Information Center, February 1989. http://dx.doi.org/10.21236/ada205374.

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Ciovati, Gianluigi. SUPERFIT: a Computer Code to Fit Surface Resistance and Penetration Depth of a Superconductor. Office of Scientific and Technical Information (OSTI), January 2003. http://dx.doi.org/10.2172/955388.

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