12 research outputs found

    The Effect of Embodied Anthropomorphism of Personal Assistants on User Perceptions

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    The evolution of language: Proceedings of the Joint Conference on Language Evolution (JCoLE)

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    Chinese elements : a bridge of the integration between Chinese -English translation and linguaculture transnational mobility

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    [Abstract] As the popularity of Chinese elements in the innovation of the translation part in Chinese CET, we realized that Chinese elements have become a bridge between linguaculture transnational mobility and Chinese-English translation.So, Chinese students translation skills should be critically improved; for example, on their understanding about Chinese culture, especially the meaning of Chinese culture. Five important secrets of skillful translation are introduced to improve students’ translation skills

    The Literariness of Media Art

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    “Language can be this incredibly forceful material—there’s something about it where if you can strip away its history, get to the materiality of it, it can rip into you like claws” (Hill in Vischer 1995, 11). This arresting image by media artist Gary Hill evokes the nearly physical force of language to hold recipients in its grip. That power seems to lie in the material of language itself, which, with a certain rawness, may captivate or touch, pounce on, or even harm its addressee. Hill’s choice of words is revealing: ‘rip into’ suggests not only a metaphorical emotional pull but also the literal physicality of linguistic attack. It is no coincidence that the statement comes from a media artist, since media artworks often use language to produce a strong sensorial stimulus. Media artworks not only manipulate language as a material in itself, but they also manipulate the viewer’s perceptual channels. The guises and effects of language as artistic material are the topic of this book, The Literariness of Media Art

    Intermedial Studies

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    Intermedial Studies provides a concise, hands-on introduction to the analysis of a broad array of texts from a variety of media – including literature, film, music, performance, news and videogames, addressing fiction and non-fiction, mass media and social media. The detailed introduction offers a short history of the field and outlines the main theoretical approaches to the field. Part I explains the approach, examining and exemplifying the dimensions that construct every media product. The following sections offer practical examples and case studies using many examples, which will be familiar to students, from Sherlock Holmes and football, to news, vlogs and videogames. This book is the only textbook taking both a theoretical and practical approach to intermedial studies. The book will be of use to students from a variety of disciplines looking at any form of adaptation, from comparative literature to film adaptations, fan fictions and spoken performances. The book equips students with the language and understanding to confidently and competently apply their own intermedial analysis to any text

    Why Can Poetry Matter?:Or: Poetry as an Ideal – or an Expanding Genre

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    Contemporary Poetry and the Question of Genre:With a Special View to a Danish Context

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    Mechanical Kingdoms: Sound Technologies and the Avant-Garde, 1928–1933

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    Against accepted histories of the historical avant-garde, which have elevated artistic production in traditional media while suppressing sonic practices, this dissertation argues that artist-engineers working across Europe and the United States independently, if simultaneously, turned their attention to emerging sound technologies as new media for creative experimentation by the early 1930s. This spectrum of activity demonstrates the significance of sound in avant-garde practice, and indicates a wide-ranging artistic engagement with technological devices intended for mass audiences. While the common understanding of the relation between art and technology in this period amounts to one of mere enthusiasm for the novel formal qualities of machines and mechanical structures, this dissertation demonstrates that artist-engineers deployed the telephone, radio, film projector, and synthesizer as tools for direct artistic expression. In doing so, they transformed a fascination with the machines of modernity into a functional practice and extended the avant-garde project to explore new modes of perception into a sonic register. This dissertation examines a cross-section of these experiments in the United States, France, Germany, and Russia. In 1932–33, orchestra conductor Leopold Stokowski (1882–1977) collaborated with Harvey Fletcher, a prominent physicist at Bell Telephone Laboratories, and other engineers on the long-distance transmission of a symphony concert by telephone. Beginning in the late-1920s, the Surrealist radio plays of French artist Paul Deharme (1898–1934) used sound to influence the subconscious mind, drawing directly from methods developing concurrently in the field of Freudian psychoanalysis. In 1929, building on the recent invention of optical sound-on-film systems, German animator Rudolf Pfenninger (1899–1976) devised a method of artificial sound synthesis based on translating hand-painted sound waves into light and then audible sound through the use of a projector. And in 1930, Russian engineer Evgeny Sholpo (1891–1951), working with colleagues at the Central Laboratory of Wire Communication in Leningrad, invented a device for the production of synthetic sound, made from cut paper, to accompany motion pictures. With the exception of Italian Futurist projects with noise in the 1910s, early twentieth century artists working with sound technologies, such as the figures I explore, have been excluded from canonical art histories and theories of the avant-garde. As a result, the conceptual artist and composer John Cage has emerged as the catalyst for postwar experiments with art, technology, and music. This dissertation fills in the historical lacuna between Futurism and Cage, a gap of nearly forty years, to demonstrate a continuum of sonic practices. In doing so, it reveals a previously-unexplored relationship between sound, the avant-garde, and technological innovation
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