Beteiligte: | , |
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In: | Adaptation, 12, 2019, 3, S. 298-314 |
veröffentlicht: |
Oxford University Press (OUP)
|
Medientyp: | Artikel, E-Artikel |
Umfang: | 298-314 |
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ISSN: |
1755-0645
|
DOI: | 10.1093/adaptation/apz001 |
veröffentlicht in: | Adaptation |
Sprache: | Englisch |
Schlagwörter: | |
Kollektion: | Oxford University Press (OUP) (CrossRef) |
<jats:title>Abstract</jats:title><jats:p>Intersemiotic translation (IT) can be described as a cognitive artefact designed as a predictive, generative, and metasemiotic tool that distributes artistic creativity. Cognitive artefacts have a huge variety of forms and are manipulated in many different ways and domains. As a projective augmented intelligence technique, IT works as a predictive tool, anticipating new, and surprising patterns of semiotic events and processes, keeping under control the emergence of new patterns. At the same time, it works as a generative model, providing new, unexpected, surprising data in the target-system, and affording competing results which allow the system to generate candidate instances. As a metasemiotic tool, IT creates a metalevel semiotic process, a sign-action which stands for the action of a sign. It creates an ‘experimental laboratory’ for performing semiotic experiments. IT submits semiotic systems to unusual conditions and provides a scenario for observing the emergence of new and surprising semiotic behaviour as a result. We explore these ideas taking advantage of two examples of ITs to theatrical dance: (1) from one-point visual perspective to classical ballet and (2) from John Cage’s protocols of music indeterminacy to Merce Cunningham’s choreographic composition.</jats:p> |