Thematische Bibliographien / Theatre and AI

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Auswahl der wissenschaftlichen Literatur zum Thema „Theatre and AI“

Autor: Grafiati

Veröffentlicht am 25. Juni 2021

Zuletzt aktualisiert am 8. Februar 2022

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Zeitschriftenartikel zum Thema "Theatre and AI"

HUGHES, ALAN. „AI DIONYSIAZUSAI: WOMEN IN GREEK THEATRE“. Bulletin of the Institute of Classical Studies 51, Nr. 1 (01.12.2008): 1–27. http://dx.doi.org/10.1111/j.2041-5370.2008.tb00272.x.

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Cooley, Alison. „A new date for Agrippa's theatre at Ostia“. Papers of the British School at Rome 67 (November 1999): 173–82. http://dx.doi.org/10.1017/s0068246200004542.

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UNA NUOVA DATA PER IL TEATRO DI AGRIPPA AD OSTIAQuest'articolo riesamina la data di fondazione del teatro di Ostia, e suggerisce che esso possa contribuire a un più generale modello di costruzione dei teatri tipico dell'impero in un periodo particolare del regno di Augusto. Vi è generale consenso sul fatto che il teatro di Ostia sia stato costruito nel periodo augusteo, dietro suggerimento del braccio destro di Augusto, Marco Agrippa, ma è stato talvolta associato con la prima parte del suo regno. La prima parte della discussione sottolinea l'importanza di un frammento epigrafico, che dovrebbe essere aggiunto ai due frammenti pubblicati come CIL XIV 82. Le due lettere del frammento suggeriscono l'ipotesi che la fondazione del teatro appartenga al periodo 18–12 a.C, e forse al 18–17 a.C. Il teatro di Ostia appartiene quindi ad un gruppo di teatri che furono costruiti fra il 25 ed il 15 a.C. e che sono associati con personaggi influenti che avevano legami personali con Augusto.

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Tint, Barbara S., Viv McWaters und Raymond van Driel. „Applied improvisation training for disaster readiness and response“. Journal of Humanitarian Logistics and Supply Chain Management 5, Nr. 1 (07.04.2015): 73–94. http://dx.doi.org/10.1108/jhlscm-12-2013-0043.

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Purpose – The purpose of this paper is to introduce applied improvisation (AI) as a tool for training humanitarian aid workers. AI incorporates principles and practices from improvisational theatre into facilitation and training. It is an excellent modality for training aid workers to deal with crisis and disaster scenarios where decision-making and collaboration under pressure are critical. Design/methodology/approach – This paper provides a theoretical base for understanding skills needed in disaster response and provides a case for innovative training that goes beyond the current standard. AI principles, activities and case examples are provided. Interviews with development experts who have participated in AI training are excerpted to reveal the impact and promise of this methodology. Findings – Different from typical training and games, which simulate potential crisis scenarios, AI works with participants in developing the skills necessary for success in disaster situations. The benefit is that workers are better prepared for the unexpected and unknown when they encounter it. Research limitations/implications – The current paper is based on author observation, experience and participant interviews. While AI is consistently transformative and successful, it would benefit from more rigorous and structured research to ground the findings more deeply in larger evidence based processes. Practical implications – The authors offer specific activities, resources for many others and practical application of this modality for training purposes. Social implications – Its application has tremendous benefits in training for specific skills, in creating greater cohesion and satisfaction in work units and breaking down culture and language barriers. Originality/value – This work is original in introducing these training methods to humanitarian aid contexts in general, and disaster preparedness and response in particular.

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Sapienza, Annamaria. „Oltre il testo. La sperimentazione teatrale napoletana negli anni Sessanta e Settanta“. Forum Italicum: A Journal of Italian Studies 52, Nr. 2 (22.04.2018): 631–47. http://dx.doi.org/10.1177/0014585818757476.

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Negli anni ’60 e ’70 un aspetto particolarmente incisivo del teatro a Napoli è costituito dalle esperienze di ricerca condotte da alcune formazioni che, con diverse modalità, lanciano un chiaro segnale di rinnovamento. In nome di un più libero legame con la tradizione e rifiutando come unico il modello eduardiano, i gruppi sperimentali di questi anni generano un’autentica spinta vitale che, per la presenza di un patrimonio artistico stratificatosi nei secoli, assume particolari connotazioni all’interno del generale clima di rinnovamento del teatro italiano. Il rapporto acentrico con il testo drammatico costituisce una delle caratteristiche principali di questo processo nel quale, attraverso l’integrazione di espressioni proprie delle varie arti, la scrittura scenica è spostata sulla sfera del visivo. Il sTeatro, Napoli, Recitazione, Avanguardia, Sperimentazioneaggio intende tracciare la parabola dellã avanguardia teatrale napoletana nei due decenni che precedono la nascita della nuova drammaturgia (Moscato, Ruccello, Santanelli), ovvero, identificare i protagonisti di una generazione di artisti che si nega alla visione folklorica della cultura partenopea volgendo l’attenzione ai testi teorici (ad esempio le prime traduzioni degli scritti di Brecht e Artaud), alla drammaturgia straniera (Genet, De Ghelderode, Lorca, Ionesco, Beckett) e ai padri del Nuovo Teatro (Living Theatre, Grotowski), preparando l’humus germinale di una più serena relazione con il passato che consente la produzione testuale degli anni a venire.

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Ahmad Kamal Basyah, Sallehuddin. „REVIEWING ELEMENTS OF FEMINISM IN A MALAYSIAN PLAY: KUALA LUMPUR KNOCK-OUT“. International Journal of Applied and Creative Arts 1, Nr. 1 (29.06.2018): 57–68. http://dx.doi.org/10.33736/ijaca.841.2018.

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Kuala Lumpur Knock-Out (henceforth to be known as “KL-KO”) is the second project of Kuali Works. KLKO is the most commercial performance staged by Kuali Works; this was the first time Kuali Works advertised its play in mainstream newspapers in the, as well as solid patronages from an impressive list of sponsors. Written and directed by Ann Lee, it was staged in Experimental Theatre, Kuala Lumpur in 1996. KL-KO revolves around the life of Tan Ai Leng (played by critically acclaimed dancer Mew Chang Tsing), a young Chinese woman from Penang who dreams of fighting Mike Tyson in an exhibitionboxing match in Kuala Lumpur. Simultaneously, her best friend Mazuri experience a rather unpleasant incident at her workplace. After 22 years, it is recompensing to look back at the relevance of the issues highlighted in this play. Simultaneously, one would realise that the elements of feminism discussed in this play are the real problems faced by women in this country, even after the new millennium.

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Volli, Ugo, Eduardo De Paula und Maurício Paroni De Castro. „DEZ PERGUNTAS MAIS UMA À THIERRY SALMON“. Revista Rascunhos - Caminhos da Pesquisa em Artes Cênicas 6, Nr. 1 (01.04.2019): 42–49. http://dx.doi.org/10.14393/rr-v6n1-2019-05.

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Título: Dez perguntas mais uma a Thierry Salmon Resumo: Entrevista realizada no contexto das temporadas italianas do espetáculo Fastes-Foules, as questões e as reflexões seguem pertinentes a todo coletivo artístico: origens, referências, objetivos, princípios, procedimentos de trabalho; destacando como é possível encontrar uma estrada pessoal no teatro, como não estão esgotadas as capacidades objetivas de mudanças e de invenção cênicas. Palavras-chave: Fastes-Foules, Processo de Criação, Criação Coletiva, Espaço Cênico, Encenação. Titolo: Dieci domande più una a Thierry Salmon Riassunto: Intervista eseguita nel contesto dalla stagione italiana dello spettacolo Fastes-Foules, le domande e le riflessioni rimandano ai collettivi artistici contemporanei: origine, riferimenti, obiettivi, principi, processi di lavoro; sottolineando come sia possibile trovare una strada personale nel teatro, come non siano esaurite le capacità obiettive di cambiamento e di creazione scenica. Parole chiave: Fastes-Foules, Processo di creazione, Creazione Collettiva, Spazio scenico, Regia. Title: Ten questions plus one to Thierry Salmon Abstract: Interview conducted in a context of the Italian season of the Fastes-Foules production, the questions and the considerations remain relevant to all contemporary artistic collective: beginnings, references, aims, working processes; pointing out how it is possible to find a personal path in theatre, as the objective abilities of scenic change and creation are not exhausted. Keywords: Fastes-Foules, Creative process, Collective Creation, Scenic space, Staging.

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Portnova, Tatiana V. „Theater museums as a base for excursion and tourism programs“. Revista Amazonia Investiga 9, Nr. 27 (21.03.2020): 333–39. http://dx.doi.org/10.34069/ai/2020.27.03.36.

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The article discusses excursion work related to theatrical museum collections, which is one of the interesting, but little developed types of activities in the field of tourism. Гhe author refers to the specifics of the theater museums involved in updating knowledge and raising the professional level, developing practical skills and professional competencies of tourism service specialists in the field of a holistic presentation of the history of the development of such a museum as a specific sociocultural institute. It touches on the interesting history of the creation, formation and composition of collections, as well as the modern activities of major museums and the latest museum centers around the world, hosting tourists. It is noted that the purpose of excursion and tourist programs using the collections of theater museums is not only to improve the modern tourist structure, but also to create a special spatial and artistic image that complements the content of the text, overcomes psychological discomfort due to the frequent presence of tourists in the bus or in open spaces , by creating favorable environmental conditions, the realization of the aesthetic potential of the museum atmosphere, capable of Favorably affect the emotional state and enrich the tour. In this regard, today, an important complex of problems that lie in the aesthetic field arises in the context of intensive tourism development processes, along with the need to solve infrastructure and technological issues, problems of implementing socio-economic problems in the tourism sector. Theater museums in excursion programs are considered as a special historical and cultural phenomenon. Their development is a continuation of world and domestic experience and, at the same time, a unique cultural phenomenon, inextricably linked both with the regional traditions of the countries and with the theater school - the academic school, for which the theater exhibit has become the most important area for the realization of creative potential. An attempt is being made to reflect the optimal combination of considering general theoretical and methodological issues and concrete and practical material on museum theater pedagogy.

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Virchenko, Tetiana, und Roman Kozlov. „Ukrainian Intellectual Drama of the 2000s“. Revista Amazonia Investiga 10, Nr. 38 (12.04.2021): 39–50. http://dx.doi.org/10.34069/ai/2021.38.02.4.

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In spite of the presence in contemporary scientific works, the terms ‘intellectual drama’ and ‘intellectual theater’ have blurred boundaries. The aim of the article is to identify productive genres and methods of intellectualization in Ukrainian drama of the 2000s. The category of genre was taken as the basis for material structuring. Genre analysis is combined with a poetics analysis of a literary work and an analysis of theatrical techniques that promote intellectualization. Regardless of the genre determined by a writer for a work, no matter what generation an author identifies himself with, the play-writers are common in the importance of keeping eye on the today’s world. But this does not condition the realism of the content of scripts or when performed on the stage. The study confirms that parable drama, intellectual and philosophical drama, biographical drama, drama of the absurd belong to the actual genres of intellectual drama. The synthesis of styles, arts, and acting provocations is dominated on the Ukrainian stage of the 2000s. Escalation of conflict is emphasized by means of special stage features (a moving platform, specific color or sound, etc.). The conflict of self-identification is among the variety of inner conflicts presented in plays.

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Bojor, Laviniu. „The Operational Environment in the Age of Artificial Intelligence. Possible Scenarios.“ Land Forces Academy Review 24, Nr. 4 (01.12.2019): 265–70. http://dx.doi.org/10.2478/raft-2019-0032.

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Abstract The permanent tendency to invest huge budgets of money in research and development in order to create military capabilities that will allow hitting a large number of targets in a short time and in an extended battlespace continues to be the main direction for neutralizing a possible opponent in the military conflicts. Due to current scientific and technological advances, the focus nowadays is on using artificial intelligence (AI) with the purpose of dominating the operational environment in the theatres of operation (TO). The present paper aims to identify how AI will shape the operational environment of future military conflicts.

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Pistrick, Eckehard. „Visuelle oder klangliche Spuren?“ Die Musikforschung 72, Nr. 4 (22.09.2021): 307–22. http://dx.doi.org/10.52412/mf.2019.h4.37.

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This article focuses on the emerging ethnographic field 'refugee camp' and the challenges it poses in terms of an "engaged ethnomusicology" inscribed into a larger discussion about "public ethnography" and ethically informed collaborative practices. The prevailing focus of mass media and artists serves as a starting point, as they represent migratory phenomena primarily through the visual lens, through material artefacts, denying their multisensory character, particularly their immaterial and sonic aspects. Taking as examples the artistic work of Chinese dissident artist Ai Weiwei and exhibition concepts presented at the documenta 14 and at the Biennale in Venice 2019, the article questions the predominance of the material approach, the inaudibility of migration because of its compatibility with our "museological thinking'" and an abstract idea of "cultural heritage" as promoted by established cultural institutions in Western Europe. The article argues that sound should instead be taken more seriously into consideration. This includes reflecting on the prominent links between human existentiality and suffering, as well as musical production and performance. It is argued that the temporariness of refugee's musical practice is related to their precarious life conditions in camps suspended in time and space. As practical examples from the French camp of Calais demonstrate, music making in this context offers refugees one possible way to counter-act imposed policies of infantilization, passivity and an omnipresent experience of waiting. In a situation where creative space and musical instruments are a limited resource, social media and music apps generate particular forms of musical creativity and assume a fundamental role which should be acknowledged in research to a larger extent. Such conditions influence also largely the ways in which migrated musicians construct their self-image as "refugee musicians". Taking as an example Syrian pianist Aeham Ahmad, the article shows that such self and foreign attributions may be reductive and result in an ethically problematic branding with commercial intentions. The second part of the article presents a collaborative grassroot-music theatre project realized in a German Erstaufnahmeeinrichtung over a span of 4 months. It offers insights into the limitations of "making audible", or "voicing migrants" everyday concerns through artistic practice. It also questions the idea of developing an "artistic agency" and an equal "cultural participation" in a working context characterized by social and power hierarchies, emotional instabilities, and a constant flow of individuals and ideas. In this context the role of the ethnomusicologist as a (cultural) translator with multiple responsibilities is crucial. Not only does he/she balance out different levels of musical professionality or different aesthetic preferences, but he/she also opens up spaces for creativity for disadvantaged or marginalized individuals in the camps. On another level the researcher's responsibility lies in the task to make practices public which originally were self-referential or of local relevance in a socially segregated space. Despite numerous obstacles to make such interventions "culturally sustainable", the article shows the potentiality of producing bottom-up "counter-images" or "counter-soundings', which could generate counter-discourses to the main media narratives on migration.

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Dissertationen zum Thema "Theatre and AI"

Mageanu, Daniela Florentina. „The aesthetics of Takarazuka: a case study on Erizabēto – ai to shi no rondo“. Thesis, University of Canterbury. School of Language, Social and Political Sciences - Japanese, 2015. http://hdl.handle.net/10092/10863.

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This thesis explores the various elements of Takarazukaʼs performance style, and analyses how they influence the adaptation of pieces which fall outside this style. As a case study this thesis will examine the world-wide acclaimed Viennese German-language musical Elisabeth (1992), which was materially altered in order to suit Takarazukaʼs established style, and became Erizabēto – ai to shi no rondo (Erizabēto – the rondo of love and death, 1996). Employing the existing framework for the analysis of the theatre, by theatre scholars Yamanashi Makiko and Marumoto Takashi, this thesis will provide a detailed account of Takarazukaʼs style elements, and show how pieces which fall outside this style are treated. The conversation on Takarazukaʼs performance style is recently started in English, and this thesis is intended to add to this. The Takarazuka version, Erizabēto – ai to shi no rondo is contrasted with the original Viennese in terms of 1) plot, dialogue and characterisation; and 2) lighting and scenery, and wardrobe to illustrate Takarazukaʼs adaptation process. Upon doing this analysis, it became apparent that Takarazuka has an established style which centres on romanticism, fantasy and visual richness, and that pieces that do not originally fit within this style are thoroughly altered in order to become appropriate for the Takarazuka stage.

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Victorin, Karin. „AI as Gatekeepers to the Job Market : A Critical Reading of; Performance, Bias, and Coded Gaze in Recruitment Chatbots“. Thesis, Linköpings universitet, Tema Genus, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-177257.

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The topic of this thesis is AI recruitment chatbots, digital discrimination, and data feminism (D´Ignazio and F.Klein 2020), where I aim to critically analyze issues of bias in these types of human-machine interaction technologies. Coming from a professional background of theatre, performance art, and drama, I am curious to analyze how using AI and social robots as hiring tools entails a new type of “stage” (actor’s space), with a special emphasis on social acting. Humans are now required to adjust their performance and facial expressions in the search for, and approval of, a new job. I will use my “theatrical glasses” with an intersectional lens, and through a methodology of cultural analysis, reflect on various examples of conversational AI used in recruitment processes. The silver bullet syndrome is a term that points to a tendency to believe in a miraculous new technological tool that will “magically” solve human-related problems in a company or an organization. The captivating marketing message of the Swedish recruitment conversational AI tool – Tengai Unbiased – is the promise of a scientifically proven objective hiring tool, to solve the diversity problem for company management. But is it really free from bias? According to Karen Barad, agency is not an attribute, but the ongoing reconfiguration of the world influenced by what she terms intra-actions, a mutual constitution of entanglement between human and non-human agencies (2003:818). However, tech developers often disregard their entanglement of human-to-machine interferences which unfortunately generates unconscious bias. The thesis raises ethical questions of how algorithmic measurement of social competence risks holding unconscious biases, benefiting those already privileged or those acting within a normative spectrum.

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Arnold, Nathan S. „Reexamining Deus ex Machina: Artificial Intelligence, Theater, & a New Work“. Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1569001838298508.

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Victorin, Karin. „Practically Human. : Performing Social Robots and Feminist Aspects on Agency, Body and Gender“. Thesis, Linköpings universitet, Tema Genus, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-158230.

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Through an experimental theatre play, this thesis explores the development of human-like agency in contemporary “social robot” technology. The entrance point of this study is the gender gap and lack of diversity in contemporary AI/robot development, with an emerging need for interdisciplinary research across robot technology and social sciences. Using feminist technoscience and critical posthumanism as the theoretical framework, this research involves an analysis of a particular social robot case, currently being developed at Furhat Robotics in Stockholm. Inspired by Judy Wajcman (2004), I analyze how socially intelligent machines impact perceptions of human agency, body, gender, and identity within cultural contexts and through interaction. The first part of the empirical research is carried out in the robot-lab. The robot is then, in the second part, invited to perform as an actor in a theatre play. Entangled amidst the other players and audience members, a queered agency starts to reveal itself through human-machine “intra-action” and embodiment (Barad 2003). Human-like agency in machines is shown to be a complex matter, drawing the conclusion that human-beings are vulnerable to a myriad of entanglements and preconceptions that artificial intelligence potentially embodies.

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Bücher zum Thema "Theatre and AI"

Scaglione, Massimo. Storia del teatro piemontese: Da Giovanni Toselli ai giorni nostri. Torino: Il punto, 1998.

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Xi nu ai le, qing zai xi zhong. [Xinjiapo]: Chuang yi quan chu ban she, 2005.

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Andrea, Sommer-Mathis, und Surgers Anne, Hrsg. Il quadro della visione: Arcoscenico e altri sguardi ai primordi del teatro moderno. Roma: Bulzoni, 2004.

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Le voci del teatro: Interviste ai grandi della scena. Venezia: Marsilio, 2014.

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Wo ai chang xi: You you xi qu san shi nian. Taibei Shi: Chen Bin, 1999.

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Nan wang de xin ai de ren: Jin zhi yan she de hu pie zi mei xue. Xinbei Shi: Fa yan quan chu ban, 2011.

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Calzini, Mario. Cento anni di cinema al cinema: Storia dei cinematografi, dalla saletta dei Lumière ai multiplex. Roma: Gestioni editoriali Agis, 1995.

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Grammatikopoulou, Helene. Neoelleniko theatro (17os - 20os ai.): Episte monikes epimorpho rtikes dialexeis : Eidikes Morpho tikes Ekde lo seis, Phevrouarios-Martios 1996. [Athena] : Ethniko Hidryma Ereuno n (EHE), 1997.

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Buchteile zum Thema "Theatre and AI"

Tuan, Iris H. „Robot Theatre and AI Films“. In Pop with Gods, Shakespeare, and AI, 167–98. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7297-5_9.

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Tuan, Iris H. „Hakka Theatre: Roseki Taipei Singer“. In Pop with Gods, Shakespeare, and AI, 149–66. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7297-5_8.

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Tuan, Iris H. „Theatre, Performance, and Popular Story of Yanxi Palace“. In Pop with Gods, Shakespeare, and AI, 133–48. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7297-5_7.

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Tuan, Iris H. „Introduction: Popular Visual Culture in Film, Theatre and TV Drama“. In Pop with Gods, Shakespeare, and AI, 1–6. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7297-5_1.

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Wilner, Alex, und Casey Babb. „New Technologies and Deterrence: Artificial Intelligence and Adversarial Behaviour“. In NL ARMS, 401–17. The Hague: T.M.C. Asser Press, 2020. http://dx.doi.org/10.1007/978-94-6265-419-8_21.

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AbstractOffering a critical synthesis of extant insights into technological developments in AI and their potential ramifications for international relations and deterrence postures, this chapter argues that AI risks influencing military deterrence and coercion in unique ways: it may alter cost-benefit calculations by removing the fog of war, by superficially imposing rationality on political decisions, and by diminishing the human cost of military engagement. It may recalibrate the balance between offensive and defensive measures, tipping the scales in favour of pre-emption, and undermine existing assumptions imbedded in both conventional and nuclear deterrence. AI might altogether remove human emotions and eliminate other biological limitations from the practice of coercion. It may provide users the ability to collect, synthesize, and act upon real-time intelligence from several disparate sources, augmenting the certainty and severity of punishment strategies, both in theatre and online, compressing the distance between intelligence, political decisions, and coercive action. As a result, AI may quicken the overall pace of action across all domains of coercion, in conflict, crisis, and war, and within the related subfields of national security, counterterrorism, counter-crime, and counter-espionage.

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Rudzicz, Frank, und Shalmali Joshi. „Explainable AI for the Operating Theater“. In Digital Surgery, 339–50. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49100-0_25.

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Baltié, Johan, Eric Bensana, Patrick Fabiani, Jean-Loup Farges, Stéphane Millet, Philippe Morignot, Bruno Patin, Gerald Petitjean, Gauthier Pitois und Jean-Clair Poncet. „Multi-Vehicle Missions“. In Artificial Intelligence for Advanced Problem Solving Techniques, 1–22. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-705-8.ch001.

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This chapter deals with the issues associated with the autonomy of vehicle fleets, as well as some of the dimensions provided by an Artificial Intelligence (AI) solution. This presentation is developed using the example of a suppression of enemy air defense mission carried out by a group of Unmanned Combat Air Vehicles (UCAV). The environment of the Mission Management System (MMS) includes the theatre of operations, vehicle sub-systems and the MMS of other UCAV. An MMS architecture, organized around a database, including reactive and deliberative layers is described in detail. The deliberative layer includes a distributed mission planner developed using constraint programming and an agent framework. Experimental results demonstrate that the MMS is able, in a bounded time, to carry out missions, to activate the contingent behaviors, to decide whether to plan or not. Some research directions remain open in this application domain of AI.

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Rheingold, Howard, und Adolfo Plasencia. „A Smart Mob Is Not Necessarily a Wise Mob“. In Is the Universe a Hologram? The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262036016.003.0030.

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Howard Rheingold, professor and expert in cultural, social and new digital media fields, who coined the term ‘Virtual Community’, starts this dialogue by defining the complex meaning encompassed in another expression that lends its name to one of his books: “Smart Mobs”. He goes on to explain why the terms ‘artificial intelligence’ (AI) and ‘intelligent machines’ are being used wrongly, and describes how collective intelligences emerge from ‘smart mobs’. Later he reflects on why radio has not killed off movies, movies haven’t put an end to theatre, television will not kill off movies, and the Internet will not be the end of television; in other words, new media do not ‘do away with’ any of their predecessors. He then argues why poetry and business are not mutually exclusive, before finishing with an explanation of why there are more people, in more places, who are able to do things they never used do with personal computers, and they do them almost exclusively with a smartphone with a ubiquitous connection (anywhere, anytime) to the Internet.

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Marinetti, Anna. „Nomi di luoghi e nomi di fiumi in area altinate: tra lingua e cultura“. In Antichistica. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-380-9/008.

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This paper discusses some toponyms of the surrounding area of ancient Altinum. Some place names and river names, usually attested by latin sources, can trace back to older linguistic stage. I consider the names Altinum and Silis, but also the hydronyms Zero and Muson (the ancient names are unattested), which origin could be attribute to the Venetic language. The proposal of a Venetic basis from indoeuropean *eghero for the name Zero is apparently to exclude because of the medieval forms Zayro/Iairo, which arise from latin theatrum; nevertheless, the -ai- forms can be explained as a cultural induction, considering the proximity of the river to the ancient theater of Altinum.

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Lee, Kun Chang, und Namho Lee. „A Multi-Agent System Approach to Mobile Negotiation Support Mechanism by Integrating Case-Based Reasoning and Fuzzy Cognitive Map“. In Mobile Computing, 3421–41. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-054-7.ch251.

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This chapter proposes a new type of multi-agent mobile negotiation support system named MAMNSS in which both buyers and sellers are seeking the best deal given limited resources. Mobile commerce, or m-commerce, is now on the verge of explosion in many countries, triggering the need to develop more effective decision support systems capable of suggesting timely and relevant action strategies for both buyers and sellers. To fulfill a research purpose like this, two artificial intelligence (AI) methods such as CBR (casebased reasoning) and FCM (fuzzy cognitive map) are integrated and named MAM-NSS. The primary advantage of the proposed approach is that those decision makers involved in m-commerce regardless of buyers and sellers can benefit from the negotiation support functions that are derived from referring to past instances via CBR and investigating inter-related factors simultaneously through FCM. To prove the validity of the proposed approach, a hypothetical m-commerce problem is developed in which theaters (sellers) seek to maximize profit by selling their vacant seats to potential customers (buyers) walking around within reasonable distance. For experimental design and implementation, a multi-agent environment Netlogo is adopted. A simulation reveals that the proposed MAM-NSS could produce more robust and promising results that fit the characteristics of m-commerce.

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Konferenzberichte zum Thema "Theatre and AI"

Chou, Szu-Yu, Jyh-Shing Jang und Yi-Hsuan Yang. „Learning to Recognize Transient Sound Events using Attentional Supervision“. In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/463.

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Making sense of the surrounding context and ongoing events through not only the visual inputs but also acoustic cues is critical for various AI applications. This paper presents an attempt to learn a neural network model that recognizes more than 500 different sound events from the audio part of user generated videos (UGV). Aside from the large number of categories and the diverse recording conditions found in UGV, the task is challenging because a sound event may occur only for a short period of time in a video clip. Our model specifically tackles this issue by combining a main subnet that aggregates information from the entire clip to make clip-level predictions, and a supplementary subnet that examines each short segment of the clip for segment-level predictions. As the labeled data available for model training are typically on the clip level, the latter subnet learns to pay attention to segments selectively to facilitate attentional segment-level supervision. We call our model the M&mnet, for it leverages both “M”acro (clip-level) supervision and “m”icro (segment-level) supervision derived from the macro one. Our experiments show that M&mnet works remarkably well for recognizing sound events, establishing a new state-of-theart for DCASE17 and AudioSet data sets. Qualitative analysis suggests that our model exhibits strong gains for short events. In addition, we show that the micro subnet is computationally light and we can use multiple micro subnets to better exploit information in different temporal scales.

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