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What happens when AI goes to theatre with human audiences? Generative AI's natural-language conversational interface has frequently been cast as an anthropomorphic interface. In performance, digital screen as interface has evolved from a vehicle for dramatic messages to a meaning-making agent with an anthropomorphic presence. While the tendency to anthropomorphize this technology is problematic, ChatGPT can be seen as a ghost of the publics, a synthetic version of the publics, or a shadow public. In her keynote lecture, "Screen as Anthropomorphic Interface: Remediated Performance and Generative Artificial Intelligence," Alexa Alice Joubin argued that screens are a site where cultural and performative meanings are generated and negotiated. She uses interface theories and performance studies methods to analyze the outputs of AI. :::: YouTube: https://youtu.be/Bi9a9TBtrow

Presentazione fatta da Roberto Barbera alla XIIth AIES Conference "Diagnosis, Conservation and Valorization of Cultural Heritage"

ispartof: Sacred texts/Profane images Dynamics of transmission of religious knowledge: in dialogue with Congolese popular painting location:U of Cosenza, Calabria, Italia date:4 Jun - 6 Jun 2024 This presentation deals with the artisitic output of Mfumu'eto, one of Congo's best-known comic strip artists. Invited lecture, invited by: Rosario Giordano, University of Cosenza status: published

Although the idea of Europe dates back to ancient times and was crystallised in the Enlightenment, the plan for European unification emerged in the second half of the 20th century as a consequence of an economic process based on a single market and a single currency. European integration is therefore a recent chapter in the history of Europe, one which has been written before our very eyes, but it remains fragmented into disparate national histories. In the 21st century, those writing the history of Europe find themselves confronted with a threefold challenge: they must meet the demands of the digital age, adjust to the paradigm shift within the historical discipline and navigate the geopolitical upheavals that the continent has been experiencing since 1989 (the fall of communism; the enlargement of the European Union; the many crises the EU has faced, including Brexit; the divide between institutions and citizens; the socio-economic consequences of the global crisis, including the COVID-19 health crisis; the new nature of transatlantic relations, etc.).

Aux grands hommes, incarnations de la République, « la Patrie reconnaissante » : panthéonisation, « statuomanie » républicaine ! Quels grands hommes ? Le « trio contradictoire » Victor Hugo, Adolphe Thiers et Léon Gambetta, mais aussi Sadi Carnot, Jules Ferry, Georges Clemenceau et bien d’autres… Mais « hommes » n’est-il pas à prendre au sens d’ « êtres humains » et n’y a-t-il pas des femmes qui incarnent la République ? Et Marianne ne nous indique-t-elle pas qu’il y a nombre de symboles républicains, de la devise républicaine bien connue aux monnaies, en passant par les timbres-poste ? Licence

Phoebe Apperson Hearst měla velmi úspěšného vlastního syna Williama, který byl ale více jako jeho otec: tvrdý obchodník. Našla však jemnou, uměleckou duši v malíři Orrinu Peckovi (1860–1921), který byl údajně gay a který ji, ještě za života své vlastní matky, začal oslovovat „má druhá mámo.“ Na základě podrobného výzkumu jejich vzájemné korespondence v Peckově pozůstalosti se můžeme ptát, jak moc si byla progresivní, bohatá žena 19. století, jakou byla Phoebe Hearst, vědoma Peckovy sexuality a pokud ano, jestli s tím neměla problém, nebo šlo o nevyřčené tajemství mezi nimi? Jejich příběh představí historik umění Ladislav Zikmund-Lender. Phoebe Apperson Hearst had a very successful son of William, but he was more like his father: a tough businessman. However, she found a delicate, artistic soul in the painter Orrin Peck (1860–1921), who was allegedly gay and who, while still his own mother's life, began to address her as “my second mother.” Based on a detailed study of their correspondence in Peck's estate, we may ask how much a progressive, rich 19th-century woman like Phoebe Hearst was aware of Peck's sexuality, and if so, if she had no problem with it, or was it an unspoken secret between them? Their story will be presented by art historian Ladislav Zikmund-Lender.

Spectators of the 2020/21 Olympic Games were frequently confronted with references to Japanese popular culture, particularly at the opening and closing ceremonies. However, these references to anime, manga, video games and other visual media were often so subtle that they were easy to miss unless pointed out and explained by television commentators. Art historians should not shy away from engaging with such objects and images.

This set of slides was used both in a workshop, Digital Humanities in Early Music Research I, Session II – Early Music Databases and Encoding and in a Paleography course at University of Freiburg. They present the following topics: (1) A short introduction to MEI, (2) Basic Structure of an MEI file, (3) Examples, (4) MEI Technologies - Editors and Viewers, (5) Mensural notation in MEI, (5) Hands-on encoding example. MEI template file for use with the slides can be accessed at https://doi.org/10.17613/m5yr-xb87.

Agencification phenomenon in the EU has led to concerns about controls over EU agencies’ actions. As the quantity and ‘quality’, i.e., strength of de jure powers, of EU agencies have grown in the last decades, so does the system of control over agencies show its development. The controls over all EU agencies with the de jure decision-making powers as well as the European Central Bank within the Single Supervisory Mechanism have been supported with the establishment of Boards of Appeal, which count 9 entities. Like with the agencification phenomenon however, the establishment and characteristics of the Boards vary greatly from agency to agency without clear indications as to why the differences (should) exist and what exact role and how much discretion (should) be given to the Boards. As this unclarities put the legitimacy of the system of controls of EU agencies under pressure, an attempt to build a common system of review of agency action by the Boards seems desirable. To contribute to this ultimate goal of our study, this chapter offers a historical overview of agencification and review of agency action in the EU, rationales behind the creation of agencies’ appeal bodies and an attempt of classification of different boards to enhance comprehension and development of a common system of review of agency action. For learning purposes, we look at the system of administrative review in the US. We base our analysis on relevant secondary legislation, such as agencies’ founding acts, rules of procedure, case-law in the EU and in the US and relevant academic literature.

Agencification phenomenon in the EU has led to concerns about controls over EU agencies’ actions. As the quantity and ‘quality’, i.e., strength of de jure powers, of EU agencies have grown in the last decades, so does the system of control over agencies show its development. The controls over all EU agencies with the de jure decision-making powers as well as the European Central Bank within the Single Supervisory Mechanism have been supported with the establishment of Boards of Appeal, which count 9 entities. Like with the agencification phenomenon however, the establishment and characteristics of the Boards vary greatly from agency to agency without clear indications as to why the differences (should) exist and what exact role and how much discretion (should) be given to the Boards. As this unclarities put the legitimacy of the system of controls of EU agencies under pressure, an attempt to build a common system of review of agency action by the Boards seems desirable. To contribute to this ultimate goal of our study, this chapter offers a historical overview of agencification and review of agency action in the EU, rationales behind the creation of agencies’ appeal bodies and an attempt of classification of different boards to enhance comprehension and development of a common system of review of agency action. For learning purposes, we look at the system of administrative review in the US. We base our analysis on relevant secondary legislation, such as agencies’ founding acts, rules of procedure, case-law in the EU and in the US and relevant academic literature.