This book presents the first systematic appreciation of Ovid's extensive influence on, and affinity with, modern visual culture. Some topics are directly related to Ovid; others exhibit features, characters, or themes analogous to those in his works. The book demonstrates the wide-ranging ramifications that Ovidian archetypes, especially from the Metamorphoses, have provoked in a modern artistic medium that did not exist in Ovid's time. It ranges from the earliest days of film history (Georges Melies's discovery of screen metamorphosis) and theory (Gabriele D'Annunzio's fascination with the metamorphosis of Daphne; Sergei Eisenstein's concept of film sense) through silent films, classic sound films, commercial cinema, art-house and independent films to modernism and the C.G.I. era. Films by well-known directors, including Ingmar Bergman, Walerian Borowczyk, Jean Cocteau, Alfred Hitchcock, Stanley Kubrick, Fritz Lang, Max Ophuls, Alain Resnais, and various others, are analyzed in detail.

Ovid on Screen: A Montage of Attractions

Part I: Theory and Practice Edited and Introduced by John Bell Section I: Theoretical Approaches to the Puppet *"The Death of 'The Puppet'?" by Margaret Williams *"Co-presence and Ontological Ambiguity of the Puppet" by Paul Piris * "Playing with the Eternal Uncanny: The Persistent Life of Lifeless Objects" by John Bell Section II: Perspectives from Practitioners *"Visual Dramaturgy: Some Thoughts for Puppet Theater Makers" by Eric Bass *"Puppetry, Authorship, and the Ur-Narrative" by Basil Jones *"Petrushka's Voice" by Alexander Gref and Elena Slonimskaya *"Clouds are Made of White!" by Rike Reiniger *"Movement is Consciousness" by Kate Brehm *"The Eye of Light: The Tension of Image and Object in Shadow Theatre and Beyond" by Stephen Kaplin *"The Third Thing" by Jim Lasko *"Post-Decivilization Efforts in The Nonsense Suburb of Art" by Peter Schumann Part II: New Dialogues with History and Tradition Edited and Introduced by Claudia Orenstein Section III: Revisiting History *"Making A Troublemaker: Charlotte Charke's Proto-Feminist Punch" by Amber West *"Life-Death and Disobedient Obedience: Russian Modernist Redefinitions of the Puppet" by Dassia N. Posner *"The Saracen of Opera dei Pupi: A Study of Race, Representation and Identity" by Lisa Morse *"Puppet Think: The Implication of Japanese Ritual Puppetry for Thinking Through Puppetry Performances" by Jane Marie Law *"Relating to the Cross: A Puppet Perspective on the Holy Week Ceremonies of the Regularis Concordia" by Debra Hilborn Section IV: Negotiating Tradition *"Traditional and Post-traditional Wayang Kulit in Java Today" by Matthew Isaac Cohen *"Korean Puppetry and Heritage: Hyundai Puppet Theatre and Creative Group NONI Translating Tradition" by Kathy Foley *"Forging New Paths for Kerala's Tolpavakoothu, Leather Shadow Puppetry Tradition" by Claudia Orenstein *"Integration of Puppetry Tradition into Contemporary Theatre: The Reinvigoration of the Vertep Puppet Nativity Play after Communism in Eastern Europe" by Ida Hledikova Part III: Contemporary Investigations and Hybridizations Edited and Introduced by Dassia N. Posner Section V: Material Performances in Contemporary Theatre *"From Props to Prosopoeia: Making After Cardenio" by Jane Taylor *"'A Total Spectacle but a Divided One:' Redefining Character in Handspring Puppet Company's Or You Could Kiss Me" by Dawn Tracey Brandes *"Reading a Puppet Show: Understanding the Three-Dimensional Narrative" by Robert Smythe *"Notes on New Model Theatres" by Mark Sussman Section VI: New Directions and Hybrid Forms *"From Puppet to Robot: Technology and the Human in Japanese Theatre" by Cody Poulton *"Unholy Alliances and Harmonious Hybrids: New Fusions in Puppetry and Animation" by Colette Searls *"Programming Play: Puppets, Robots, and Engineering" by Elizabeth Ann Jochum and Todd Murphey *"Return to the Mound: Animating Infinite Potential in Clay, Food, and Compost" by Eleanor Margolies

The Routledge companion to puppetry and material performance

Resumen La tecnologia y la medicina siguen un camino paralelo durante las ultimas decadas. Los avances tecnologicos van modificando el concepto de salud y las necesidades sanitarias estan influyendo en el desarrollo de la tecnologia. La inteligencia artificial (IA) esta formada por una serie de algoritmos logicos suficientemente entrenados a partir de los cuales las maquinas son capaces de tomar decisiones para casos concretos a partir de normas generales. Esta tecnologia tiene aplicaciones en el diagnostico y seguimiento de pacientes con una evaluacion pronostica individualizada de los mismos. Ademas,si combinamos esta tecnologia con la robotica, podemos crear maquinas inteligentes que hagan propuestas diagnosticas o que sean mucho mas eficientes en su trabajo. Por lo tanto la IA va a ser una tecnologia presente en nuestro trabajo cotidiano a traves de maquinas o programas informaticos, que de manera mas o menos transparente para el usuario, van a ir siendo una realidad cotidiana en los procesos sanitarios. Los profesionales sanitarios tenemos que conocer esta tecnologia, sus ventajas y sus inconvenientes, porque va a ser una parte integral de nuestro trabajo. En estos dos articulos pretendemos dar una vision basica de esta tecnologia adaptada a los medicos con un repaso de su historia y evolucion, de sus aplicaciones reales en el momento actual y una vision de un futuro en el que la IA y el Big Data van a conformar la medicina personalizada que caracterizara al siglo XXI.

La inteligencia artificial y sus aplicaciones en medicina I: introducción antecedentes a la IA y robótica

Auteur music video director Floria Sigismondi has a reputation for creating beautifully macabre imagery that has been described as surreal and uncanny. Less obvious is the way in which she uses ani...

/pdf/music-video-s-performing-bodies-floria-sigismondi-as-2yuv87nj5a.pdf

Music Video’s Performing Bodies: Floria Sigismondi as Gestural Animator and Puppeteer

“The Uncanny Necrophile in Cormac McCarthy’s Child of God; or, How I Learned to Understand Lester Ballard and Start Worrying”

[In his famous essay on the uncanny, first published in 1919,2 Sigmund Freud begins by complaining that aesthetics has hitherto not paid much attention to the aberrant and the repulsive. This complaint is also an expression of anticipatory pleasure on the part of Freud the writer, in so far as the uncanny in particular has no ‘literature’ with which to contend — but he has to admit that there is one exception, namely the essay translated below.3 Jentsch emphasises that the uncanny arises from a certain experience of the uncertain or undecidable, and this seems intolerable to Freud. Freud decides, in other words, that the undecidable cannot be tolerated as a theoretical explanation, but it nonetheless recurs in his own essay, undecidably.4 He also pays close attention to Jentsch’s argument about the uncanniness of automata.5

Document: ‘On the Psychology of the Uncanny’ (1906): Ernst Jentsch

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Document: ‘On the Psychology of the Uncanny’ (1906): Ernst Jentsch