Relevant bibliographies by topics / Sound essay

Academic literature on the topic 'Sound essay'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Sound essay"

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Engelke, Matthew. "Word, Image, Sound." Comparative Studies of South Asia, Africa and the Middle East 41, no. 2 (August 1, 2021): 148–52. http://dx.doi.org/10.1215/1089201x-9127011.

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Abstract This essay introduces the special section “Word, Image, Sound,” a collection of essays on public religion and religious publicities in Africa and South Asia. The essays cover case studies in Myanmar, Zambia, Senegal, Rwanda, and Egypt. The introduction situates the essays in relation to the broader fields of work on the public sphere and publics, especially as they relate to recent work in the human sciences that focus on materiality, the senses, and media.
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Eckstein, Justin. "Response to Groarke : Figuring Sound." Informal Logic 38, no. 3 (September 14, 2018): 341–45. http://dx.doi.org/10.22329/il.v38i3.5120.

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This essay notes the tendency to reduce sound to a cause of something else. Such a position constrains theory construction to only cause and effect schemes. I argue that we should expand our understanding of sound to include what I term sound figures, which acknowledge that sounds can represent the world. I conclude by offering an understanding of sound fig-ures tied to their resonance.
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Ricci, Ronit. "Sound across Languages." Philological Encounters 5, no. 2 (April 15, 2020): 97–111. http://dx.doi.org/10.1163/24519197-bja10002.

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Abstract In his insightful essay, “Silence Across Languages,” (1995) A.L. Becker suggested that every language consists of a particular balance between speech and silence: between what can be expressed in words and what must remain unspoken. One important implication of this fact, he further claimed, is that the different silences between and across languages make translation very difficult, if not utopian. Taking Becker’s essay as its starting point this essay explores the question of silence and sound in translation through a study of interlinear translation. An inter-linear translation in which each line is Arabic is followed by its translation into Malay constitutes a microcosm in which to view the act of translation from up close and in detail. The essay suggests that it is also a space in which silences are “not allowed,” or must be overcome, as these translations do not offer the luxury of adaptation and re-tellings where words, idioms, grammatical and syntactical elements can be glossed over, ignored or remain unheard. An interlinear space forces the scribe, translator, reader and listener to produce and pronounce the sounds of different languages even when they are “incompatible” and thus may overcome the silences, in however small a way, and offer us a paradigm of “sound across languages.”
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Baker, Jessica Swanston. "Sugar, Sound, Speed." Representations 154, no. 1 (2021): 23–34. http://dx.doi.org/10.1525/rep.2021.154.3.23.

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This essay presents the song “Area Code 869,” an example of a Caribbean genre known as “wilders” or “pep,” as a form of what Kodwo Eshun calls “sonic fiction.” By focusing on sonic bodies as “bodies touched by sound,” the essay suggests that “869” offers a reimagination of the historical relationship between sugar, sound, and speed in the Eastern Caribbean island of St. Kitts, a former British sugar colony.
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System, Tikur Sound. "Dub Essay #1 - Tikur Sound System." Journal of World Popular Music 8, no. 1 (June 23, 2021): 74–76. http://dx.doi.org/10.1558/jwpm.43088.

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System, U. N. I. T. Y. Sound. "Dub Essay #2 - U.N.I.T.Y. Sound System." Journal of World Popular Music 8, no. 1 (June 23, 2021): 122–23. http://dx.doi.org/10.1558/jwpm.43091.

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Suchy, Patricia A. "New, Sound, and Tight." Departures in Critical Qualitative Research 7, no. 4 (2018): 171–75. http://dx.doi.org/10.1525/dcqr.2018.7.4.171.

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Originally delivered as a response to Rachel N. Hastings's performance of “Black Human” at the Opening Session of the 2017 National Communication Association annual convention, this essay celebrates the reclaiming of the prominence of the practice of performing poetry in this organization as a vital part of its legacy. Tracing the significance of the term “poet” through the German dichter, the essay urges an understanding of the poet's ability to “push back against oppressive bureaucracy” in the academy as well as in the world, and to perform resistance against contemporary cultural tyrannies that insist our legacies are the exclusive property of those in power. The essay at times breaks into performative writing in the form of poetic diction in order to respond to the call of Hastings's poem.
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Hales, Jeffrey, Ella Mae Matsumura, Donald V. Moser, and Rick Payne. "Becoming Sustainable: A Rational Decision Based on Sound Information and Effective Processes?" Journal of Management Accounting Research 28, no. 2 (January 1, 2016): 13–28. http://dx.doi.org/10.2308/jmar-51394.

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ABSTRACT This article is based on a panel discussion of accounting and sustainability at the AAA 2014 Management Accounting Section Midyear Meeting. It first provides background and motivation for the original panel and then presents the three panelists' remarks, which have been further extended in developing this article. The article therefore consists primarily of three essays. The first essay discusses the information on which CSR decisions could be based, emphasizing the role of regulation in promoting the production of new types of information. The second essay discusses how to assess the rationality of CSR investments. The third essay approaches the question of the rationality of CSR initiatives by first drawing an analogy to investments in customer satisfaction and quality improvement and then by considering the role of incentives and performance measures in driving sustainability. The latter two essays also provide specific guidance for experimental, archival, and field researchers interested in researching sustainability.
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Vericat, Fabio L. "Read My Lips: Onscreen Visual Acoustics in Alfred Hitchcock’s Early Movies." Epos : Revista de filología, no. 37 (December 21, 2021): 225–41. http://dx.doi.org/10.5944/epos.37.2021.32480.

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This essay will cover some of Alfred Hitchcock’s early silent movies up to and including Blackmail (1929), of which he filmed both a silent and a sound version simultaneously. Hitchcock’s success with sound was directly linked to his training in silent technique. Silent movies actually allowed him to explore how they were capable of sound. This essay will consider how silent movies were able to induce an acoustic experience without the aid of extra-diegetic practices that added live – and sometimes gramophonic – soundtrack to films. What I am interested in is the aural effect of the visual experience of the screen alone. In the early days of cinema, the frame was silently read for all kind of sounds heard in the head of the spectator.
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Beaudoin, Paul. "At the Border of Poetry and Music." Resonance 3, no. 4 (2022): 364–78. http://dx.doi.org/10.1525/res.2022.3.4.364.

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This essay examines Ilmar Laaban’s “Ciel Inamputable” in the context of developing text-sound composition in Sweden during the 1960s and spectral analysis. Laaban’s improvisatory work is analyzed using primary source material and a “theory of oppositions” as codified by American music theorist Robert Cogan. The essay connects the scientific work of the Fylkingen language group to research in spectral analysis and linguistics directly to Laaban’s text-sound work. This is the first study to examine Laaban’s work using the technique of spectral analysis and one of the few essays in English to look in-depth at Laaban’s “Ciel Inamputable.”
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Dissertations / Theses on the topic "Sound essay"

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Benvenuti, Christian. "Sound, noise and entropy : an essay on information theory and music creation." Thesis, University of Surrey, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540698.

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Khajehzadeh, Iman. "Gradual: A Sound-Based Composition for Tenor Saxophone and Fixed Electronics, with Critical Essay." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538746/.

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In the first half of the twentieth century, sporadic attempts of avant-garde composers to include sounds other than pitch in musical composition paved the way for the composers in the second half to embrace the sound of all types in their creative works. The development of technology since the mid-past century has facilitated composers' inclusive use of sound. The recent achievements in electronics and computers have led to cost-effective tools for today's composers to explore new possibilities in sound design and manipulation. Gradual for tenor saxophone and fixed electronics is primarily concerned with noise. Among the infinite possibilities of noise types, metallic sounds significantly contribute to the composition. The title of the piece refers to the compositional process in which the music progressively unfolds itself from the beginning to the end. The methods and strategies used to present the content give rise to a form I call accretion, described as an organic process by which the musical materials grow. Within the process, while established materials are interacting, combining, and forming layers, new materials may be incorporated and take part in the process. Throughout the composition, the interaction between sounds with common properties guides the music toward interactive unity, while the interplay between sounds with different characteristics forms a dialectical communication. The constant push-and-pull between the two states creates a restless tension throughout the composition. In the current version of Gradual, the audio signals from both saxophone and fixed electronics are transmitted to the same speakers, which helps coalesce acoustic and electronic sounds. The future prospect of the piece can involve real-time audio signal processing to manipulate the sound of saxophone. Adding the above feature to the current version will promote the unification of the two media into a single whole.
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Fiorentino, Pavel. "With everyone’s imagination atrophied, no one will ever be a threat to the world : Work in progress. An essay by Pavel Fiorentino." Thesis, Konstfack, Institutionen för Konst (K), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3604.

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Boon, Lucy. "Ethics and otherness: You sound like Mum and accompanying critical essay Aristotle, Deleuze and lack of closure : ethics and reader reflection in Coetzee's Disgrace." Thesis, Boon, Lucy (2010) Ethics and otherness: You sound like Mum and accompanying critical essay Aristotle, Deleuze and lack of closure : ethics and reader reflection in Coetzee's Disgrace. Honours thesis, Murdoch University, 2010. https://researchrepository.murdoch.edu.au/id/eprint/42730/.

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My thesis consists of two parts. One of the sections is a critical essay which is focused on Coetzee's novel, Disgrace (1999), in reference to the ethical implications of the work, particularly regarding notions of marginalization and bearing witness. The controversial depictions of sexism and racism in the novel have caused a diverse range of reactions, some of which claim that such depictions are unethical in the context of post-apartheid South Africa. However, I argue that this is not the case. I first draw on Aristotle's notion of a 'tragic hero,' emphasizing the ways in which tragedy provides a cathartic process of moral learning in its audience. I work through this theory to show how Disgrace can be taken as a tragedy, and how the main character, David Lurie, can be seen as the tragic hero. Through Lurie's experience of disgrace and person catharsis, the readers can reflect in this personal progression and learn about how to lead moral lives. I then consider Disgrace in the context of the work of Deleuze and Guattari's concepts of 'line of flight,' 'rhizome,' and 'becoming-other.' I show how Lurie's disgrace can be understood as a process of becoming-other. Lurie's transition from a narrow-minded, self-centred white male, to a person who can be treated like an animal, interrogates the idea of clear-cut definitions and shows the true malleability of categories of gender, race and species. Using Deleuze and Guattari's theory, we can see the importance of literature as a form of representation and medium for critiquing such constructions of the 'Other.' By drawing on a Deleuzian perspective, we can examine how literature serves as the 'speculative leap' which enables us to experience the point of view of the Other through a process of 'becoming-other.'· Finally I argue that Disgrace's resistance to closure, presenting this difficulty without any resolution, means that the reader must contend with the issues raised. Hence, by denying closure, the reader is urged to take personal responsibility for what they have read about, rather than just forgetting about the moral issues after they have finished the novel. I use the theories brought up in the critical essay to inform the creative component of this thesis, a work of fiction entitled, You Sound Like Mum. The fiction follows the child protagonist, Nick, as he negotiates the difficult family dynamic that occurs after his mother dies. He and his brother, Michael, both struggle to cope with the loss of their mother and the reappearance of the father who left them years before. Loosely drawing on the concepts of Deleuze and Guattari, the reader is privy to Nick's 'becoming-parent', when he takes up the role of parent to Michael. This new role leads Nick to gradually change his attitude toward his father from resentment to acceptance. The story ends with a number of difficult questions which are left unanswered. For instance, the circumstances that drove Michael to underage drinking remain troublingly unresolved and the reader is left to ponder how the situation might be repaired.
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Chen, Xiaofen. "Financial Liberalization, Competition and Sound Banking: Theoretical and Empirical Essays." Diss., Virginia Tech, 2001. http://hdl.handle.net/10919/28595.

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Previous studies seem to agree that increased competition would cause riskier banking behavior. This dissertation shows that when competition intensifies, banks have greater incentives for screening loan applicants, and thus loan quality may improve. In addition, competition fosters banks to rely less on collateral requirements. Hence, banks may be less vulnerable to asset price shocks. The empirical chapter finds evidence of loan quality improvement after removing cross-border entry restrictions in the EU. There is also evidence that banks' behavior across EU countries has converged.
Ph. D.
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Nouri, Nadjet. "Essai d'approche psychopathologique de l'acouphène, symptôme méconnu." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20109.

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Cette étude clinique qui est une approche psychopathologique du symptôme acouphènique est parmi les premières recherches qui s'intéressent à ce symptôme peu étudié par la psychanalyse
This clinical study which is a psychological approach of the tinnitus symptom is among the first studies to be interested in thus symptom poorly studied with psychanalysis
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Auger, Fernand. "Altération des roches sous influence marine, dégradation des pierres en oeuvre, simulation accélérée en laboratoire." Poitiers, 1987. http://www.theses.fr/1987POIT2018.

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Etude des facteurs de degradation des batiments et ouvrages anciens en pierre calcaire sous influence marine le long de la facade littorale atlantique francaise, en examinant deux situations : zone de marnage, et milieu aerien. Datation des ouvrages et localisation de la provenance des materiaux (carrieres a ciel ouvert et souterraines). Essais divers sur echantillons provenant des carrieres et d'une digue ancienne soumise au marnage, ainsi que de divers batiments historiques en refection (carottage, essais physiques et mecaniques, technique particuliere de mesure de la vitesse du son dans les carottes). Developpement d'un appareil pour la simulation acceleree de l'alteration aerienne, reproduisant les phenomenes naturels observe sur les monuments et sur les falaises naturelles
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Simon, Francine. "Shadow sounds : an original collection of poetry and an essay on questions of femaleness and diaspora in Meena Alexander's Illiterate heart." Thesis, 2013. http://hdl.handle.net/10413/11321.

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Shadow Sounds: an Original Collection of Poetry and an Essay on Questions of Femaleness and Diaspora in Meena Alexander’s Illiterate Heart. The thesis comprises two parts: an original collection of poetry entitled Shadow Sounds, and a critical essay exploring the issues of diaspora and femaleness in Meena Alexander‟s Illiterate Heart. Shadow Sounds is a compilation of poems which examines the interrelations of a South African Indian familial structure, the emergence of a strong female sexual identity, and the open, even experimentally processual approach which influences the exploration of lyric voicing. The critical essay on Alexander investigates two major thematic concerns in the collection Illiterate Heart, namely, diaspora and gender. I postulate that the diasporic experiences of the writer have inflected all aspects of her identity, occasioning both rhizomatic compositions and the ongoing composition of a dispersed subjectivity. Alexander‟s hypothesised „selves‟ are observed and identified as constantly shifting and changing throughout Illiterate Heart, and effectively recast the popular conceptualisation of identity as singular and coherent.
M.A. University of KwaZulu-Natal, Durban 2013.
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Books on the topic "Sound essay"

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Printing, London College of. Brian Eno - painter of sound: Complementary studies essay for BA MPD 1986. London: LCP, 1986.

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William Faulkner "The Sound and the Fury". The Corruption of Southern Aristocratic Values: An Essay. Munich: GRIN Verlag GmbH, 2014.

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Peter, Kivy, ed. Sound sentiment: An essay on the musical emotions, including the complete text of The Corded shell. Philadelphia: Temple University Press, 1989.

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Leppert, Richard D. Sound judgment: Selected essays. Aldershot, Hants, England: Ashgate, 2007.

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Essays on sound and vision. Helsinki: Yliopistopaino, University of Helsinki Press, 2009.

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Deshays, Daniel. De l'écriture sonore: Essai. Marseille: Entre vues, 1999.

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Andy, Linehan, Association for Recorded Sound Collections., British Library. National Sound Archive., and International Association of Sound and Audiovisual Archives., eds. Aural history: Essays on recorded sound. London: British Library, 2001.

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Snodgrass, W. D. To sound like yourself: Essays on poetry. Rochester, N.Y: BOA Editions, 2002.

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Manhire, Bill. Doubtful sounds: Essays and interviews. Wellington, N.Z: Victoria University Press, 2000.

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Senerviratne, Maureen. The sound of echoes: A miscellany of essays. Colombo: English Writers Cooperative of Sri Lanka, 1992.

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Book chapters on the topic "Sound essay"

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North, Michael. "Mari connessi." In Atti delle «Settimane di Studi» e altri Convegni, 5–25. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-857-0.02.

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Following Fernand Braudel’s Méditerranée, historians interpreted the Mediterranean, Baltic, Atlantic, Indian Ocean or Pacific as closed maritime systems, consisting of multiple micro-environments. This essay seeks to overcome these limited perspectives and to examine, how the various seas and oceans were connected by the Vikings, the Cairo Genizah merchants and the Italian trading companies of the Middle Ages. The second part of my article “Connected Seas” examines the perception and memory of the seas as an element of maritime connectivity. It introduces the concept of realm of memory (lieu de mémoire) into maritime history and tests it in four case studies on the Sound, the Straits of Gibraltar, the Dardanelles and the Straits of Malacca.
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Lam, Tong. "The People’s Algorithms: Social Credits and the Rise of China’s Big (Br)other." In The New Politics of Numbers, 71–95. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78201-6_3.

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AbstractAround the turn of the twentieth century, Chinese intellectuals and political leaders dreamed of a modern nation inhabited by politically aware citizens. For them, this involved the production and circulation of social facts enabling citizens to make sound judgements. This theory of making citizens continued in the socialist era (1949–1978). Yet, it has changed profoundly with the advance of state-guided neoliberalism. Instead of creating enlightened citizens, the new paradigm of governance aims at producing an ecology in which citizens are expected to align their desires and aspirations with the state-sanctioned social order. Focusing on China’s emerging social credit system, this essay illustrates how central planning and neoliberal belief have come together to construct a new social and economic order using numbers, algorithms and credit rating.
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Marshall, Kingsley, and Rupert Loydell. "‘Listen to the Sounds’: Sound and Storytelling in Twin Peaks: The Return." In Critical Essays on Twin Peaks: The Return, 269–80. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04798-6_17.

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Solomon, Graham. "Kant’s Theory of Musical Sound: an Early Exercise in Cognitive Science." In Witches, Scientists, Philosophers: Essays and Lectures, 107–26. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-015-9504-9_8.

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Schuhen, Gregor. "Von Proust bis zur Popkultur: „Wie männlich sind autofahrende Frauen?“ Ein Essay." In „Sounds like a real man to me“ – Populäre Kultur, Musik und Männlichkeit, 255–75. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-22307-6_12.

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Heine, Stefanie. "Syllabic Gasps: M. NourbeSe Philip and Charles Olson’s Poetic Conspiration." In The Life of Breath in Literature, Culture and Medicine, 463–83. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74443-4_22.

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AbstractIn her essay ‘The Ga(s)p’, M. NourbeSe Philip sketches a respirational poetics that embeds the precarity of African American breath in a natal scene of conspiration. In a gesture of ‘radical hospitality’, every mother breathes for the unborn baby. Her book Zong!, consisting of words torn from a legal document about a massacre on a slave ship, is described as a ‘series of ga(s)ps for air with syllabic sounds attached or overlaid’. In the moment when Philip’s reflections turn to syllables, a striking resonance with Charles Olson’s poetics of breathing from the 1950s can be observed. Both Olson and Philip develop their thoughts on breath and syllables around the act of taking over word-material from a problematic ‘mother-text’. The essay investigates the tensions between the ethical act of ‘breathing with’ as Philip outlines it and the more common sense of ‘conspiration’ (conspiring, conspiracy).
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Norman, Joseph. "“Sounds Which Filled Me with an Indefinable Dread”: The Cthulhu Mythopoeia of H. P. Lovecraft in “Extreme” Metal." In New Critical Essays on H.P. Lovecraft, 193–208. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137320964_11.

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Burt, Andrew T. "Is It the Wind in the Tall Trees or Just the Distant Buzz of Electricity?: Sound and Music as Portent in Twin Peaks’ Season Three." In Critical Essays on Twin Peaks: The Return, 253–68. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04798-6_16.

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Solheim, Jennifer. "Cut Sound." In The Performance of Listening in Postcolonial Francophone Culture, 23–54. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940827.003.0002.

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In my proposal of cut sound as a literary device, I demonstrate that silences can be woven into literary narratives through the interplay of dialogue and characters’ reactions with characters’ thoughts. To develop cut sound as a literary mode of listening, I draw from Djebar’s theorization of women’s silences in the essay ‘Forbidden Gaze, Severed Sound’ (1978), from her collection Femmes d’Alger dans leur appartement, as well as oral folklore and performance studies scholar Richard Bauman’s concept of the performance event. Music recording production techniques serve as a critical metaphor for how to listen for silences in literary narratives. The characters’ thoughts either belie their reactions to what other characters say, or their thoughts efface parts of dialogue altogether, effectively erasing what other characters say from the text. In my readings of Djebar’s novella ‘Femmes d’Algers dans leur appartement’ and Leïla Sebbar’s novel Shérazade (1982), I demonstrate how cut sound weaves dialogue with thought in order to articulate cut sound, or the gendered silences of postcolonial subjects.
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Napolin, Julie Beth. "The Expropriated Voice: Sonority, Intertextuality, Flesh." In Faulkner and Slavery, 126–45. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834409.003.0009.

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In this essay, Julie Beth Napolin describes William Faulkner’s ways of listening to and writing about cries, moans, howls, and other extralinguistic sounds. From The Sound and the Fury to “That Evening Sun” and Absalom, Absalom!, the cry in Yoknapatawpha is an intertextual event that resonates between works and characters. Recurring throughout his fiction, the cry lingers long after the event that caused it, suggesting that Faulkner gleaned much from the sound recording technology he publicly claimed to resent. Separated from the body like sound recordings, the cries of Faulkner’s characters do not belong to any one person or individual life. Drawing from black feminist theory, the essay argues that extralinguistic sounds, as they resonate between bodies across time, space, gender, and race, are part of a shared “flesh.” They are one key to understanding Faulkner’s theory of the voice as central to his critique of the property relations foundational to slavery.
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Conference papers on the topic "Sound essay"

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Ohanis, Salphy. "Protecting heritage during a crisis." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.2.11.

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Heritage creates people’s memory as well as their existence. The Knooz Syria archive represents the history of the press and printing in Syria from the mid-nineteenth century up to the 1970s. When its founders began collecting materials, they did not predict the crisis that wrecked Syria beginning in 2011. Forced to flee Damascus, they left behind tens of thousands of newspapers, books and documents representing more than 200 years of extended history. With the help of the Prince Claus Fund in the Netherlands, they were able to move an important part of the collection to a safe place. Work continues to move the remaining parts and to archive it electronically. This essay examines the creation of that archive, the threats it faces and the possibilities for its future.
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Supriyati, Yetti, Dwi Susanti, and Abdul Rahman Hakim. "Measurement of strategic thinking abilities using essay tests on sound wave material for class XI senior high school." In THE 4TH INTERNATIONAL CONFERENCE ON MATHEMATICS AND SCIENCE EDUCATION (ICoMSE) 2020: Innovative Research in Science and Mathematics Education in The Disruptive Era. AIP Publishing, 2021. http://dx.doi.org/10.1063/5.0037572.

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Morel, Philip. "Towards an Artificial Architecture: About Superintelligent Space." In International Conference on the 4th Game Set and Match (GSM4Q-2019). Qatar University Press, 2019. http://dx.doi.org/10.29117/gsm4q.2019.0026.

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Just as there are odors that dogs can smell and we cannot, as well as sounds that dogs can hear and we cannot, so too there are wavelengths of light we cannot see and flavors we cannot taste. Why then, given our brains wired the way they are, does the remark, “Perhaps there are thoughts we cannot think,” surprise you? Evolution, so far, may possibly have blocked us from being able to think in some directions; there could be unthinkable thoughts.’ (Hamming, 1980). ‘We have preconceptions about how an intelligent robot should look and act, and these can blind us to what is already happening around us. To demand that artificial intelligence be humanlike is the same flawed logic as demanding that artificial flying be birdlike, with flapping wings. Robots will think different. To see how far artificial intelligence has penetrated our lives, we need to shed the idea that they will be humanlike.’ (Kelly, 2012). In the essay The Doctors of Tomorrow Will Be Supercomputers, published online at futurism.com, Leary (2017) says doctors will be replaced by artificial intelligence-fed supercomputers. This is in line with many theorists and futurists including Kelly (2012) who, on a more "material" level, declared in Wired: Even those areas of medicine not defined by paperwork, such as surgery, are becoming increasingly robotic. The rote tasks of any information-intensive job can be automated. It doesn't matter if you are a doctor, lawyer, architect, reporter, or even programmer: The robot takeover will be epic. And it has already begun.'[Kelly,2013] For this last author, with whom I can only agree, if we are now at a 'point of inflection' in the use of robots, it is because they have become intelligent machines . Indeed, intelligence is the whole question...
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Ribeiro Rabello, Rafaelle. "Between absence and presence: Augmented Reality as a self-fiction poetic." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.105.

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This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memory space, but as a place of experience that opened and was available for interventions.
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