02578nam 2200397 450 991082989760332120191106124901.01-4529-5944-7(CKB)4100000009583408(MiAaPQ)EBC5928247(EXLCZ)99410000000958340820191106d2019 uy 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierAesthesis and perceptronium on the entanglement of sensation, cognition, and matter /Alexander WilsonMinneapolis, Minnesota ;London :University of Minnesota Press,[2019]©20191 online resource (257 pages)Posthumanities ;511-5179-0660-1 A new speculative ontology of aesthetics. In Aesthesis and Perceptronium, Alexander Wilson presents a theory of materialist and posthumanist aesthetics founded on an original speculative ontology that addresses the interconnections of experience, cognition, organism, and matter. Entering the active fields of contemporary thought known as the new materialisms and realisms, Wilson argues for a rigorous redefining of the criteria that allow us to discriminate between those materials and objects where aesthesis (perception, cognition) takes place and those where it doesn't. Aesthesis and Perceptronium negotiates between indiscriminately pluralist views that attribute mentation to all things and eliminative views that deny the existence of mentation even in humans. By recasting aesthetic questions within the framework of "epistemaesthetics," which considers cognition and aesthetics as belonging to a single category that can neither be fully disentangled nor fully reduced to either of its terms, Wilson forges a theory of nonhuman experience that avoids this untenable dilemma. Through a novel consideration of the evolutionary origins of cognition and its extension in technological developments, the investigation culminates in a rigorous reevaluation of the status of matter, information, computation, causality, and time in terms of their logical and causal engagement with the activities of human and nonhuman agents.Posthumanities ;51.MaterialismMaterialism.146.3Wilson Alexander553049MiAaPQMiAaPQMiAaPQBOOK9910829897603321Aesthesis and perceptronium4094872UNINA04929nam 22008295 450 991048388020332120250609110709.09783030251611303025161610.1007/978-3-030-25161-1(CKB)4100000011273761(MiAaPQ)EBC6194046(DE-He213)978-3-030-25161-1(Perlego)3481728(MiAaPQ)EBC6193627(EXLCZ)99410000001127376120200508d2020 u| 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierAdaptation Considered as a Collaborative Art Process and Practice /edited by Bernadette Cronin, Rachel MagShamhráin, Nikolai Preuschoff1st ed. 2020.Cham :Springer International Publishing :Imprint: Palgrave Macmillan,2020.1 online resource (373 pages)Adaptation in Theatre and Performance,2947-40519783030251604 3030251608 1. Introduction: Process and Practice -- 2. Collaborating with the Dead, or Adapters as Secret Agents -- 3. 'Playing the Maids': Playing with Adaptive Possibilities - Collaboration and the Actor's Process -- 4. The Not-So-Singular Life of Albert Nobbs -- 5. Adaptation, Devising and Collective Creation: Tracing Histories of Pat McCabe's The Butcher Boy on Stage -- 6. The Alien World of Objects: Stanley Kubrick's The Killing -- 7. Adapting History in the Docupoetry of Lorna Dee Cervantes and Script Poems of Danez Smith and Claudia Rankine -- 8. "His world had vanished long before he entered it" Wes Anderson's homage to Stefan Zweig -- 9. Collaborative Art with Political Intent: The 1933 Adaptation of Theodor Storm's Der Schimmelreiter / The Rider on the White Horse (1888) -- 10. Adapting Hein's Willenbrock: Andreas Dresen and the legacy of the GDR 'Ensemble' Tradition -- 11. Same Player, Shoot Again: Géla Babluan's 13 (Tzameti), Transnational Auto-Remakes, and Collaboration -- 12. Anselm Kiefer's Signature -- 13. Adaptation as Arguing with the Past: The Case of Sherlock -- 14. The Prestige Noverlisation of the Contemporary TV Series: David Hewson's The Killing -- 15. Things You Can Do to an Author When He's Dead: Literary Prosthetics and the Example of Heinrich von Kleist -- 16. Collaborating with the Dead, Playing the Shakespeare Archive; or How We Can Avoid Being Pushed from Our Stools.This book examines the processes of adaptation across a number of intriguing case studies and media. Turning its attention from the 'what' to the 'how' of adaptation, it serves to re-situate the discourse of adaptation studies, moving away from the hypotheses that used to haunt it, such as fidelity, to questions of how texts, authors and other creative practitioners (always understood as a plurality) engage in dialogue with one another across cultures, media, languages, genders and time itself. With fifteen chapters across fields including fine art and theory, drama and theatre, and television, this interdisciplinary volume considers adaptation across the creative and performance arts, with a single focus on the collaborative.Adaptation in Theatre and Performance,2947-4051Performing artsTheaterMotion picture actingLiterature and technologyMass media and literatureComparative literatureMotion picture authorshipTheaterProduction and directionTheatre and Performance ArtsScreen PerformanceLiterature and TechnologyComparative LiteratureScreenwritingTheatre Direction and ProductionPerforming arts.Theater.Motion picture acting.Literature and technology.Mass media and literature.Comparative literature.Motion picture authorship.TheaterProduction and direction.Theatre and Performance Arts.Screen Performance.Literature and Technology.Comparative Literature.Screenwriting.Theatre Direction and Production.741.5973801Cronin Bernadetteedthttp://id.loc.gov/vocabulary/relators/edtMagShamhráin Racheledthttp://id.loc.gov/vocabulary/relators/edtPreuschoff Nikolaiedthttp://id.loc.gov/vocabulary/relators/edtMiAaPQMiAaPQMiAaPQBOOK9910483880203321Adaptation Considered as a Collaborative Art2161867UNINA