This open access book deals with cultural and philosophical aspects of artificial intelligence (AI) and pleads for a “digital humanism”. This term is beginning to be en vogue everywhere. Due to a growing discontentment with the way digitalization is being used in the world, particularly formulated by former heroes of Internet, social media and search engine companies, philosophical as well as industrial thought leaders begin to plead for a humane use of digital tools. Yet the term “digital humanism” is a particular terminology that lacks a sound conceptual and philosophical basis and needs clarification still – and this gap is exactly filled by this book. It propagates a vision of society in which digitization is used to strengthen human self-determination, autonomy and dignity and whose time has come to be propagated throughout the world. The advantage of this book is that it is philosophically sound and yet written in a way that will make it accessible for everybody interested in the subject. Every chapters begins with a film scene illustrating a precise philosophical problem with AI and how we look at it – making the book not only readable, but even entertaining. And after having read the book the reader will have a clear vision of what it means to live in a world where digitization and AI are central technologies for a better and more humane civilization.
This volume does not only provide the reader with diverging assessments of the Richard III films, but it also deploys a large array of methodologies used to study ‘Shakespeare on film’. What gives the volume its coherence is that it thoroughly interrogates what those films do with and to Shakespeare’s text and suggests that, at least for Shakespearean scholars, Shakespearean films are hybrid creatures. They are and are not films; they are and are not Shakespeare.Ce volume offre non seulement au lecteur un examen précis et pluriel des adaptations filmiques de Richard III mais il déploie tout l’éventail des méthodologies qui permettent d’étudier Shakespeare à l’écran. La cohérence de ce volume vient de ce qu’il propose des questionnements multiples sur ce que ces films font de Shakespeare et suggère que le film shakespearien est une créature hybride qui est et n’est pas un film, qui est et n’est pas Shakespeare. (Ouvrage en anglais)
Soqotra, the largest island of Yemen's Soqotra Archipelago, is one of the most uniquely diverse places in the world. A UNESCO natural World Heritage Site, the island is home not only to birds, reptiles, and plants found nowhere else on earth, but also to a rich cultural history and the endangered Soqotri language. Within the span of a decade, this Indian Ocean archipelago went from being among the most marginalized regions of Yemen to promoted for its outstanding global value. Islands of Heritage shares Soqotrans' stories to offer the first exploration of environmental conservation, heritage production, and development in an Arab state. Examining the multiple notions of heritage in play for twenty-first-century Soqotra, Nathalie Peutz narrates how everyday Soqotrans came to assemble, defend, and mobilize their cultural and linguistic heritage. These efforts, which diverged from outsiders' focus on the island's natural heritage, ultimately added to Soqotrans' calls for political and cultural change during the Yemeni Revolution. Islands of Heritage shows that far from being merely a conservative endeavor, the protection of heritage can have profoundly transformative, even revolutionary effects. Grassroots claims to heritage can be a potent form of political engagement with the most imminent concerns of the present: human rights, globalization, democracy, and sustainability.
This addition to the Shakespeare on Screen series reveals the remarkable presence of Macbeth in the global Shakespearean screenscape. What is it about Macbeth that is capable of extending beyond Scottish contexts and speaking globally, locally and “glocally”? Does the extensive adaptive reframing ofMacbeth suggest the paradoxical irrelevance of the original play? After examining the evident topic of the supernatural elements—the witches and the ghost—in the films, the essays move from a revisitation of the well-known American screen versions, to an analysis of more recent Anglophone productions and to world cinema (Asia, France, South Africa, India, Japan, etc.). Questions of lineage and progeny are broached, then extended into the wider issues of gender. Finally, ballet remediations, filmic appropriations, citations and mises-en-abyme of Macbeth are examined, and the book ends with an analysis of a Macbeth script that never reached the screen. Ce nouvel ouvrage de la série « Shakespeare à l’écran » révèle la présence remarquable de Macbeth dans le paysage filmique shakespearien à l’échelle mondiale. Comment expliquer qu’une pièce dont l’intrigue est ancrée dans une nation, l’Écosse, ait pu être absorbée par des cultures aussi diverses ? Les multiples adaptations de Macbeth suggèrent-elles, de manière paradoxale, une moindre pertinence de la pièce originelle ? Après avoir exploré la représentation des éléments surnaturels (les sorcières et le fantôme), le volume revisite les films américains « canoniques », les productions anglophones plus récentes et les versions d’autres aires culturelles (Asie, France, Afrique du Sud, Inde, Japon, etc.) Les questions de lignée et de descendance sont abordées, puis prolongées dans des articles sur la représentation du genre. Les versions dansées, les appropriations, les citations et les mises en abyme de Macbeth sont ensuite analysées, et ce parcours mène à un étrange objet – un scénario non filmé.
Filming plays from a tetralogy of history plays implies specific problems and strategies. The papers in this volume show that the plays are parts of a series, and can hardly be staged or filmed without referring to one another. What does the big screen bring to the representation of history, battles and national issues? When do ideological interpretations stop being triggered by the text itself? By deciphering the different ways in which meaning is created and ideology is conveyed, whether it be through specific aesthetics, performances, intertextuality or cultural codes, the papers in this volume all take part in the on-going exploration of what Shakespeare's contrasting afterlives keep saying, not only about the dramatic texts but also about ourselves.
The biological and neurological capacity to symbolize, and the products of behavioral, cognitive, sociocultural, linguistic, and technological uses of symbols (symbolism), are fundamental to every aspect of human life. The Oxford Handbook of Human Symbolic Evolution explores the origins of our characteristically human abilities - our ability to speak, create images, play music, and read and write. The book investigates how symbolization evolved in human evolution and how symbolism is expressed across the various areas of human life. The field is intrinsically interdisciplinary - considering findings from fossil studies, scientific research from primatology, developmental psychology, and of course linguistics. Written by world leading experts, thirty-eight topical chapters are grouped into six thematic parts that respectively focus on epistemological, psychological, anthropological, ethological, linguistic, and social-technological aspects of human symbolic evolution. The handbook presents an in-depth but comprehensive and interdisciplinary overview of the of the state of the art in the science of human symbolic evolution. This work will be of interest to academics and students active in all fields contributing to the study of human evolution.
This open access book deals with cultural and philosophical aspects of artificial intelligence (AI) and pleads for a “digital humanism”. This term is beginning to be en vogue everywhere. Due to a growing discontentment with the way digitalization is being used in the world, particularly formulated by former heroes of Internet, social media and search engine companies, philosophical as well as industrial thought leaders begin to plead for a humane use of digital tools. Yet the term “digital humanism” is a particular terminology that lacks a sound conceptual and philosophical basis and needs clarification still – and this gap is exactly filled by this book. It propagates a vision of society in which digitization is used to strengthen human self-determination, autonomy and dignity and whose time has come to be propagated throughout the world. The advantage of this book is that it is philosophically sound and yet written in a way that will make it accessible for everybody interested in the subject. Every chapters begins with a film scene illustrating a precise philosophical problem with AI and how we look at it – making the book not only readable, but even entertaining. And after having read the book the reader will have a clear vision of what it means to live in a world where digitization and AI are central technologies for a better and more humane civilization.
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