Automaton

В статье анализируется мотив куклы-автомата на материале двух романов Ф.К. Сологуба – «Тяжелые сны» и «Мелкий бес». Установлена связь этого мотива с традициями романтизма. Проводятся параллели между романами Сологуба и произведениями Гофмана, По, Салтыкова-Щедрина, Андреева. Выявлены общие черты мотива куклы-автомата и танатологиче-
ских мотивов. Мотив куклы-автомата в произведениях Ф.К. Сологуба подчеркивает омертвение большинства персонажей его романов. Они зачастую напоминают марионеток, приводимых в движение таинственной внешней силой, и как будто находятся во власти злого демиурга. Определены признаки, которые указывают на принадлежность персонажей романа к миру мертвых: механические неестественные движения, соответствующие портретные черты. В портрете персонажей особое внимание уделено мотиву глаз. В романах Сологуба продемонстрированы разрушительные свойства искусственного механического мира. Оказывается, он способен распространить свое негативное влияние на сферы, которые, казалось, были для него недоступны – искусство и детство. Установлены связи между мотивом куклы-автомата и родственными мотивами, соотносящимися с темой смерти, – средневековой пляской смерти (Danse macabre) и жанром vanitas.
Образы игрушки, механического музыкального инструмента, паяца, марионетки, куклы-автомата, маскарада являются неотъемлемой частью культуры Серебряного века. Они заняли полноправное место в произведениях, написанных в жанре антиутопии, и не потеряли своей актуальности в литературе постмодернизма.
Ключевые слова: мотив куклы-автомата, механизм, танатологический мотив, dance macabre.

How ancient is the link between tyranny and technology? Autocrats have deployed automatons as weapons since antiquity--not just in Greek myth but also in historical times. This article describes automatons and machines deployed by tyrants in mythology and recounts how historical autocrats, from Sicily and Sparta, as early as the 6th century BC, also used actual animated statues and machines to exert power.

In the unsettled atmosphere of the post-financial crisis years, insurance firms are forced to cope with changing market dynamics and socioeconomic factors, while at the same time attempting to increase revenue and reduce costs. Firms will need to adapt quickly to the changing environment and embrace innovative methods to remain competitive. However, insurance companies have traditionally taken a cautious approach to innovation.

This book explores the ways in which the adoption of new paradigms, processes, and technologies can lead to greater revenue, cost efficiency and control, as well as improved business agility in the insurance industry. The author argues that insurance companies should actively embrace digital insurance to make processes and services lean, automated and multi-channeled. Indeed, they will soon be forced to, as the industry is experiencing growing participation from new organizations such as banks, telecommunication organizations and merchants. In this book, the author explores topics ranging from the management of digital insurance, basic systems and advanced solutions, governance, the regulatory framework and digital insurance throughout the world.

This book demonstrates how digital Insurance has the ability to transform the insurance industry and its relationship with its customers, and suggests that it will need to move quickly to avoid losing the market altogether

Mon hypothèse est que la combinaison et la complexification
entretenue par les Lumières entre les trois ou quatre fonctions principales
des automates de cette époque, l’invention mécanique (la
prouesse technique), le modèle scientifique (penser le vivant, « démontrer
plutôt que montrer », écrit Vaucanson à propos de son canard),
mais aussi l’objet d’art ou de curiosité et de foire, enfin, l’objet imaginaire
ou fantasmatique, est précisément un outil de discrimination
des domaines des savoirs et des représentations. L’automate, en
tant qu’il met en oeuvre et en scène tous les degrés de transition entre
les domaines des connaissances et les catégories de la pensée, comme l’organique et le mécanique, l’art et la nature, l’original et le double,
est un outil de questionnement des limites et par là même de reconfiguration des domaines de connaissance. La question n’est alors pas
tant « à quoi servent ces machines ? » que « quel désir viennent-elles
combler, à quel besoin répondent-elles ? »
À partir de ce récit inaugural et exemplaire, j'examine donc l’imbrication des « raisons » de l’automate des Lumières qui conduisent à avancer l’idée d’un « dispositif automate » et, enfin, à proposer une hypothèse de signification – la merveille de substitution au divin.

Amongst what CLR James famously dubbed the " mariners, renegades and castaways " of Melville's fiction are numerous figures of living death. While they resist the imposition of single meanings, they are recurrently associated with the dehumanizing effects of labour exploitation, with overtones of racial domination. Crossing between industrial and plantation settings, they also blur the boundaries of North and South. In this, Melville's undead anticipate the idea of the zombie that crossed into mainstream U.S. culture during the United States' military occupation of Haiti (1915-1934). Distinct from the predatory zombie of contemporary horror film, this Haitian-American zombie was effectively a walking corpse, raised from the dead or deadened in life, and made to work for a zombie master. Exploring these connections  reminds us that nineteenth-century writers were already using figures of living death to express and explore some of the anxieties to which the word “zombie” later became attached, and that the advent of the Haitian-derived zombie slave in American literature and popular culture was a moment of continuity more than rupture. A longer, more detailed version of this essay with extended notes is available on request.

Desde Descartes, el autómata se constituyó en una figura central del pensamiento, pero como lo que se opone a todo pensar. ¿Qué cosa es un autómata? Un objeto que, carente de auto-conciencia, se mueve por sí mismo. A la vez un prodigio técnico destinado a la diversión y un servidor mecánico capaz de realizar toda clase de labores. El autómata es, simultáneamente, la salvación y la ruina del trabajador. Lo libera a la vez que lo encadena. Sin embargo, es imposible hacer que cargue con todas las culpas: al inspeccionar al autómata, el humano cuestiona su propia condición, su propia noción de libertad y de autonomía, ya que encuentra dentro de sí los automatismo que externalizó en la máquina.
El cine, que involucra toda una psico-mecánica, se ha constituido en un lugar privilegiado desde el que pensar la relación entre el cerebro y el autómata. Como los autómatas, como los espectros, el cine es una imagen fascinante que se mueve por sí misma. A su vez, desde sus inicios, el cine, consciente de sí mismo, ha hecho desfilar en la pantalla a toda clase de autómatas, tan encantadores como tenebrosos.
Con la expansión de la cibernética, los autómatas han cobrado nuevas y mejoradas formas. La inteligencia artificial hoy se expande a través de la vida cotidiana. Tanto las imágenes audiovisuales como las tecnologías digitales se han potenciado en el contexto de las sociedades de control, mientras las neurociencias se entreveran con las ciencias informáticas. El cine del presente, una vez más, se muestra como uno de los mayores campos de resonancia a través del cual pensar la cuestión de los automatismos.

From Chapter 1 of Chinese Surplus.  This chapter tells the story of the alternate "translation" of the idea of Frankenstein in China starting in the late nineteenth century, and uncovers the surprising connections among the use of Frankenstein's monster as a political metaphor, the emergence of the stereotype of China as a "sleeping lion," and a rare automaton in a British museum.

The present paper aims address the Lacanian concepts of the tyche (tuche) and the automaton in Jeanette Winterson’s The Passion (1987), and to explore the way the whole novel is based on moments of chance, peril, and jeopardy which are traceable in the transformation of automaton into tyche. Illuminating the track of automaton into tyche, the study endeavors to compare reading women’s writing style to experiencing tyche while going through other styles could be comparable to an automaton. A historiographic metafiction, The Passion is divided into four seemingly unrelated sections connected by the elements of chance and calamity. Via experiencing traumatic happenings, the characters face the incursion of the Real into the Symbolic Order (Tyche), considered beyond the determinations of the Symbolic. Observing the mass slaughter and deplorable death of his comrades, Henri is unable to return to the Symbolic and is obliged to remain in the asylum as a mentally disordered person. On the contrary, Villanelle manages to free herself from the post-traumatic stress and commences a new life.

TEMPLUM SIVE THEATRUM. RECURSOS ESCÉNICOS Y ESPACIO SACRO.

RESUMEN: Algunos reputados estudiosos han advertido del abuso que supone emplear indistintamente los términos barroco y escenografía. Sin embargo, con ser cierta esta observación, el teatro y sus modos llegaron a desbordar el específico espacio de la representación para percutir en otras parcelas de la cotidianidad y las artes del período, encontrando en el recinto sagrado un campo particularmente fértil para el cultivo de su falaz semilla.

PALABRAS CLAVE: teatro, templo, escenografía, tramoya, perspectiva,ingeniero, Cosimo Lotti, autómata, retablo, tabernáculo, Monumento, Cuarenta Horas.

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TEMPLUM SIVE THEATRUM. STAGE RESOURCES AND SACRED SPACE.

ABSTRACT: Some renowned scholars have warned against the abusive use of the terms baroque and scenography as synonyms. However, although this is a correct observation, Theatre and its ways exceeded their specific borders to have signifi cant effects on other areas of everyday life and Art in that period, finding in the sacred places a fertile ground to cultivate its treacherous seed.

KEY WORDS: theatre, temple, scenography, stage machinery, perspective, engineer, Cosimo Lotti, automaton, altarpiece, tabernacle, Monument, Forty Hours.

This article reconsiders the present-day automation of work and its transformation of who we are as humans. What has been missing from this important conversation are the social meanings surrounding Asian roboticism or how Asians have already been rendered as "robotic" subjects and labor. Through this racial gendered trope, I assess whether industrial automation will lessen, complicate, or exacerbate this modern archetype. By looking at corporate organizational practices and public media discourse , I believe that Asian roboticism will not simply vanish, but potentially continue to affect the ways such subjects are rendered as exploitable alienated robots without human rights or status.

Transactions between musical androids and actual virtuosos occupied a prominent place in the music of the eighteenth and nineteenth centuries. Instrumentalists and composers of instrumental music appropriated the craze for clockwork soloists, placing music in a position of increased social power in a society undergoing rapid technological transformation. The history of musical automata stretches back to antiquity. Androids and automata, vested by audiences with spiritual and magical qualities, populated the churches of the broader populations and the Renaissance grottos of the aristocracy. As the Industrial Revolution began, automata increasingly resembled the machines changing the structure of labor; consequently, androids lost their enchanted status. Contemporary writers problematized these humanoid machines while at the same time popularizing their role as representatives of the uncanny at the boundaries of human identity.Both instrumental performers and androids explored the lim...

HAGO COMENTARIOS SOBRE LA PELÍCULA DEL DIRECTOR BÚLGARO PINCHAS PERRY SOBRE LA NOEVLA DEL PSIQUIATRA IRVIN D. YALOM, "EL DÍA QUE NIETZSCHE LLORÓ", UNA HISTORIA FICTICIA SOBRE LOS ORÍGENES DEL PSICOANÁLISIS, QUE INDEPENDIENTE DE LA VERDAD MATERIAL ES DE UNA GRAN BELLEZA EN LOS DIÁLOGOS ENTRE UN NIETZSCHE TERAPEUTA Y UN JOSEPH BREUER ANALIZANTE.

— In this paper an attempt is made to review the considerations for material flow design problems (i.e. material handling equipment selection, flow path design, facility layout design, routing, etc.) for related product design in the Industry. A concise study on developing material Handling technology has been explained in the literature.

This paper provides a formal specification and proof of correctness of a basic Generalized Snapshot Isolation certification-based data replication protocol for database middleware architectures. It has been modeled using a state transition system, as well as the main system components, allowing a perfect match with the usual deployment in a middleware system. The proof encompasses both safety and liveness properties, as it is commonly done for a distributed algorithm. Furthermore, a crash failure model has been assumed for the correctness proof, although recovery analysis is not the aim of this paper. This allows an easy extension toward a crash-recovery model support in future works. The liveness proof focuses in the uniform commit: if a site has committed a transaction, the rest of sites will either commit it or it would have crashed.

We continue the study of cellular automata (CA) directional dynamics, i.e. , the behavior of the joint action of CA and shift maps. This notion has been investigated for general CA in the case of expansive dynamics by Boyle and Lind; and by Sablik for sensitivity and equicontinuity. In this paper we give a detailed classification for the class of additive