麻省理工大学出版社
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作者:Antonio Pizzo , Vincenzo Lombardo , Rossana Damiano
来源:[J].TDR/The Drama Review, 2019, Vol.63 (4), pp.14-32麻省理工大学出版社
摘要:Computation has played a notable role in contemporary performance, a trend that has paired with the emersion of intermediality. A look at a few historical examples along with an evaluation of more recent research suggests that the notion of algorithm may provide a new approach to...
作者:Miriam Felton-Dansky
来源:[J].TDR/The Drama Review, 2019, Vol.63 (4), pp.66-87麻省理工大学出版社
摘要:Annie Dorsen's digital theatre works reshape the possibilities of the encounter between humans and algorithmic forces. They both address and embody a world in which emotion, cognition, and narrative are increasingly controlled by algorithmic programs; and they invite the spectato...
作者:Jaime Shearn Coan
来源:[J].TDR/The Drama Review, 2019, Vol.63 (4), pp.2-3麻省理工大学出版社
摘要:An algorithm denotes efficiency — a way to mimic, reproduce, predict. Efficiency can foreclose possibilities, can exclude and do violence to bodies and ways of knowing. Writing on an old manual typewriter, within the grid of discarded accounting paper, I enter the field with...
作者:Pia Kleber , Tamara Trojanowska
来源:[J].TDR/The Drama Review, 2019, Vol.63 (4), pp.99-112麻省理工大学出版社
摘要:Antje Budde and David Rokeby discuss their perspectives on algorithms, artificial intelligence, and other emerging technologies in the context of performance. Budde explains the activities and philosophy of the Digital Dramaturgy Lab at the University of Toronto and Rokeby articu...
作者:Treena Balds
来源:[J].TDR/The Drama Review, 2019, Vol.63 (4), pp.57-65麻省理工大学出版社
摘要:Samuel Beckett's Breath and Krapp's Last Tape feature stage directions as algorithms that show basic human processes or actions as amenable to programmatic interpretation. Both texts highlight repeated actions and inscribe this repetition into the language and/or the looping beha...
作者:Ulf Otto
来源:[J].TDR/The Drama Review, 2019, Vol.63 (4), pp.121-138麻省理工大学出版社
摘要:Algorithms must be understood in regard to the governance of populations by means of numbers. Turbo Pascal's Algorithmen , a recent performance that experiments with sorting its audience, raises the question of governance and technology in the context of performance. Aesthetic in...
作者:Annie Dorsen
来源:[J].TDR/The Drama Review, 2019, Vol.63 (4), pp.113-120麻省理工大学出版社
摘要:Nearly 10 years after Hello Hi There (2010), the proliferation of algorithmically generated fakes, copies, frauds, bots, and trolls casts the project of algorithmic theatre in a newly ambiguous light. How should theatre, with its long history of problematizing questions of appear...
作者:Ketu H. Katrak
来源:[J].TDR/The Drama Review, 2019, Vol.63 (4), pp.172-180麻省理工大学出版社
摘要:Performance, installation, and African-based ritual represent the body as a site of subversion, sexuality, and healing at the 2018 Cape Town Live Art Festival. Provocative performances are located in sites across the city — the Cape Coast Castle (with its 19th-century slave-...
作者:Konrad Wojnowski
来源:[J].TDR/The Drama Review, 2019, Vol.63 (4), pp.33-56麻省理工大学出版社
摘要:In one of his most influential lectures on indeterminacy, “Composition as Process,” John Cage compared musical composition to a camera, implying that performance can be thought of as an act of making photos. The idea of composition-as-camera suggests a certain understanding ...
作者:Rye Gentleman
来源:[J].TDR/The Drama Review, 2019, Vol.63 (4), pp.139-151麻省理工大学出版社
摘要:Transgender representation has proliferated in the era of algorithmically driven digital media, marking an increase in trans visibility alongside a sharp decrease in the material well-being of transgender people. By positioning its sole transgender character as an avatar of the a...

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