The Art of Morals: A Study of the Influence of Musicopoetic Arts on Moral Development in Plato\u27s Laws

This dissertation\u27s primary goal is to give a detailed account of the employment of musicopoetic arts in the process of moral development in Plato\u27s Laws. Its secondary objective is to propose an explanation for the different evaluations of musicopoetic arts at the end of the Republic and in the Laws. To achieve the first goal I analyze the elements of the soul involved in the moral psychology of the Laws, as sketched in the famous image of the marionette; I maintain that the process of habit formation is the pivotal aspect of this moral psychology; I indicate that Plato restricts the musicopoetic arts to the representation of virtue; and I propose ways in which these arts can influence the process of habit formation. I conclude that the moral psychology of the Laws is highly dependent on non-rational and semi-rational motives for action. Additionally I maintain that these motives can promote the pursuit of virtue when they undergo habits of repression (i.e. habits that lead the agent to resist some non-rational or semi-rational motives) or habits of cultivation (i.e. habits that promote certain non-rational motives). And I propose ways in which the musicopoetic arts intercept the process of habit formation, thereby reinforcing in the agent those motives that promote virtue. With regards to the secondary goal, I make the case that Plato does not change his opinion with regards to the musicopoetic arts between Republic and Laws. But I claim that significant changes in the moral psychology lead to very different conclusions in the two dialogues about the ethical effectiveness of these arts

Lançado nos mares do Teatro Visual: desafios para a sobrevivência do Teatro de Formas Animadas como uma disciplina independente

The goal was to understand the current situation and give an overview of Baltic and Nordic countries' puppet theater and puppet theater training traditions and whether and how the puppeteer's profile has changed recently. To get an idea of the trends in this area, the common ground of the different countries, I interviewed theatre makers from  Finland, Sweden, Norway, Latvia, Lithuania, and Estonia. The title of this research is "Tossed on the seas of visual theatre: challenges to puppetry’s survival as an independent discipline."To have a wider look at the puppetry, I also did two additional interviews. One of them with Marek Waszkiel - "Puppetry's challenges in the new visual theatre paradigm" and another one with Russian director Yana Tumina - "The puppeteer in the 21st century".O objetivo era compreender a situação atual e dar uma visão geraldo Teatro deFormas Animadas e tradiçõesde formaçãonos países bálticos e nórdicos e se,e como,o perfil dobonequeiromudou recentemente. Para se ter uma ideia das tendências nesta área, o terreno comum dos diferentes países, entrevistei representantes da comunidade teatralda Finlândia, Suécia, Noruega, Letônia, Lituânia e Estônia. Para ter uma visão mais ampla do teatro de formas animadas, também fiz duas entrevistas adicionais. Umadelas com Marek Waszkiel -“Os desafios do teatro de bonecos no novo paradigma do teatro visual” e outracom a diretora russa Yana Tumina -“O titereiro do século XXI”

Actor and technology : appropriating digital media into the creative process

Réfléchissant à l'utilisation croissante de la technologie sur la scène contemporaine, ce mémoire-création a pour but d'analyser l'incorporation des technologies numériques dans le jeu de l'acteur-créateur. La recherche est divisée en trois parties examinant les aspects historiques, théoriques et pratiques, ce qui permet un regard plus global sur le sujet. D'abord, le mémoire présente les histoires parallèles de la technologie sur scène et du jeu d'acteur au XXe siècle. Il est constaté que leurs chemins sont restés assez indépendants au début du siècle, se croisant de plus en plus lors des années 1960s et 1970s. Vers la fin du XXe siècle, par contre, les recherches sur le jeu d'acteur ont diminué, alors que l'intérêt est resté fort pour les laboratoires technologiques. Suite à cet aperçu historique, le mémoire examine le travail d'un praticien et théoricien américain, David Saltz, qui explore l'utilisation de technologies variées sur scène. Saltz a suggéré une taxonomie de 12 rôles technologiques pour classifier les différentes utilisations des technologies au théâtre, ce qui aide à mieux cerner les recherches portant sur la technologie. La taxonomie de ce mémoire a été utilisée pour encadrer une exploration pratique en utilisant un seul élément technologique : la projection. Adoptant une approche basée sur un théâtre corporel - notamment par les techniques du masque neutre et du mime - le laboratoire a exploré le rôle des costumes interactifs par le biais des projections. Les résultats du travail pratique ont été présentés lors d'une conférence-démonstration, dans un contexte de répétition pour mettre l'accent sur le processus de création. Les techniques présentées portèrent sur l'installation de l'équipement, sur la sélection des projections, ainsi que sur le mouvement de l'acteur. Le mémoire-création conclut en reliant les trois parties de la recherche, suggérant d'autres possibilités d'exploration et affirmant l'intérêt de relier les recherches du jeu d'acteur avec celles de la technologie.\ud ______________________________________________________________________________ \ud MOTS-CLÉS DE L’AUTEUR : Technologies numériques, acteur-créateur, jeu d'acteur, projections, costumes interactifs, masque neutre, mime, interdisciplinarité, intermédialit

Dolls and puppet figures in narratives – themes and motifs in literature, art, theater, film, media, folklore and popular cultures

Die Onlineversion unterscheidet sich geringfügig gegenüber der Printausgabe. Auf Seite 88 wurde in der Printversion die falsche Übersetzung des Abstracts (Englisch) eingefügt. Dieser Fehler ist hier korrigiert. The online version differs slightly from the print edition. On page 88, the wrong translation of the abstract (English) was inserted in the print version. This error is corrected here.Dieses Themenheft behandelt die Vielfalt und das Potenzial von Puppennarrativen im weitesten Sinn und ihre universellen und/oder kulturspezifischen Formen, Spuren, Traditionen und Folkloren sowie das Spiel der jeweiligen Rezeptionsbezüge. Nachgespürt wird diesen Narrativen in einer Vielzahl von unterschiedlichen literarischen, künstlerischen, filmischen, (pop-)kulturellen und folkloristischen Bereichen sowie in pädagogisch relevanten Feldern. Eine eigens gestaltete kurze Graphic Novel hinterfragt darüber hinaus die Verknüpfung klassischer Puppentheater-Narrative mit zukunftsträchtigen KI-basierten Automatisierungsfantasien.This thematic issue deals with the diversity and potential of doll/puppet narratives in the broadest sense and with their universal and/or culture-specific forms, traces, traditions and folklore as well as with the interplay of the respective reception references. These narratives are traced in a variety of different literary, artistic, cinematic, (pop-)cultural and folkloristic genres as well as in pedagogically relevant fields. In addition, s specially designed short graphic novel questions the linking of classic puppet theater narratives with seminal AI-based automation fantasies

Actor & Avatar: A Scientific and Artistic Catalog

What kind of relationship do we have with artificial beings (avatars, puppets, robots, etc.)? What does it mean to mirror ourselves in them, to perform them or to play trial identity games with them? Actor & Avatar addresses these questions from artistic and scholarly angles. Contributions on the making of "technical others" and philosophical reflections on artificial alterity are flanked by neuroscientific studies on different ways of perceiving living persons and artificial counterparts. The contributors have achieved a successful artistic-scientific collaboration with extensive visual material

Projected performances: the phenomenology of hybrid theater

Throughout the 20th century, mediatized forms gained prominence and eclipsed the theater as a site of cultural power and popularity. Because of this tension, performance theorists like Peggy Phelan framed the definition of theater through its inherent differences from film and television. Other theorists like Philip Auslander problematized this distinction, particularly due to television’s similarities to live performance. The cinema, however, has remained an opponent to performance, ignored in favor of technologies that more readily promote a sense of “liveness.” In Projected Performances, I argue that film projection is more closely related to performance than previously thought, particularly when viewed in light of their phenomenological similarities. Projection is a live act that generates a kind of presence that approximates what is felt with a live performer. The theatrical setting of most film viewings foregrounds this phenomenological frame, despite the prerecorded nature of the content. Despite the seemingly static nature of film, the exhibition of it is most often decidedly theatrical. Hybrid theater, in which productions incorporate film projection alongside live performers, highlights these similarities in a much more explicit way, creating a unique sensory experience. This blending of effects is evident in theatrical broadcasts like the Metropolitan Opera’s “Live in HD” series, which capitalizes on the liveness of theater to draw people to the cinema. I also investigate hybrid productions that use projected scenery, such as The Woman in White and The Elephant Vanishes, as well as productions that feature projected bodies, like the work of Lemieux.Pilon 4d Art. Finally, I interrogate the use of projections in the monumental spectacles of the opening ceremonies at the 2008 and 2010 Olympics in Beijing and Vancouver, respectively.Throughout, I examine the ways in which these hybrid productions trouble the assumed distinction between performance and media, demonstrating that projection is a kind of performance that can share the stage with live performers without damaging the unique essential qualities of theater

From Über-marionettes to Muppets. Finding ancient joy in the modern-day world.

In the spring of 1907, writer and director, Edward Gordon Craig first exclaimed that the actor must exit the stage, and, in its place, we would welcome the über-marionette. The mystery behind Craig’s “puppet” creation is left unsolved to this day. What is an über- marionette? Is it a metaphor for the perfect performer? An oversized puppet? A performer inside a puppet? Multiple scholars have tried to sort through Craig’s metaphorical writings in order to figure out the construction of the über-marionette. But, perhaps instead of looking for information about its’ appearance, we should be looking for what the über-marionette would bring. Using the works of Jim Henson and the styles of puppetry used in his feature film, The Dark Crystal, this thesis is a comparative analysis and thorough exploration of the works of Edward Gordon Craig’s philosophies and Jim Henson’s practices

VR Storytelling

The question of cinematic VR production has been on the table for several years. This is due to the peculiarity of VR language which, even if it is de ned by an image that surrounds and immerses the viewer rather than placing them, as in the classic cinematic situation, in front of a screen, relies decisively on an audiovisual basis that cannot help but refer to cinematic practices of constructing visual and auditory experience. Despite this, it would be extremely reductive to consider VR as the mere transposition of elements of cinematic language. The VR medium is endowed with its own speci city, which inevitably impacts its forms of narration. We thus need to investigate the narrative forms it uses that are probably related to cinematic language, and draw their strength from the same basis, drink from the same well, but develop according to di erent trajectories, thus displaying di erent links and a nities

From corporeality to virtual reality: theorizing literacy, bodies, and technology in the emerging media of virtual, augmented, and mixed realities

This dissertation explores the relationships between literacy, technology, and bodies in the emerging media of Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (MR). In response to the recent, rapid emergence of new media forms, questions arise as to how and why we should prepare to compose in new digital media. To interrogate the newness accorded to new media composing, I historicize the literacy practices demanded by new media by examining digital texts, such as video games and software applications, alongside analogous “antiquated” media, such as dioramas and museum exhibits. Comparative textual analysis of analogous digital and non-digital VR, AR, and MR texts reveals new media and “antiquated” media utilize common characteristics of dimensionality, layering, and absence/presence, respectively. The establishment of shared traits demonstrates how media operate on a continuum of mutually held textual practices; despite their distinctive forms, new media texts do not represent either a hierarchical or linear progression of maturing development. Such an understanding aids composing in new VR, AR, and MR media by enabling composers to make fuller use of prior knowledge in a rapidly evolving new media environment, a finding significant both for educators and communicators. As these technologies mature, we will continue to compose both traditional and new forms of texts. As such, we need literacy theory that attends to both the traditional and the new and also is comprehensive enough to encompass future acts of composing in media yet to emerge