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The original TuringTest is modified in order to take
into account the age&gender of a Judge who evaluates the
machine and the age&gender of a Human with whom the
machine is compared during evaluation. This yields a basic taxonomy of TuringTest-consistent scenarios which is
subsequently extended by taking into account the type of intelligence being evaluated. Consistently with the Theory of Multiple Intelligences, nine basic intelligence types are
proposed, and an example of a possible scenario for evaluation of emotional intelligence in early stages of development is given.
It is suggested that specific intelligence types can be
subsequently grouped into hierarchy at the top of which is seated an Artificial Intelligence labelled as “meta-modular”. Finally, it
is proposed that such a meta-modular AI should be defined as an Artificial Autonomous Agent and should be given all the rights and responsibilities according to age of human counterparts in
comparison with whom an AI under question has passed the
TuringTest
Originally, music choreography works of rhythm are closely tied to music and seek the most comprehensive possible transfer of all musical parameters into spatio-temporal as well as dynamic correspondences. Following the boundary-expanding developments in music and dance from the 1960s onwards, other intermedial forms of reference have become conceivable. Dorothea Weise breaks these down exemplarily and presents a system (to be questioned critically and thought through further).
New method for the viole d'amour (the love viol) : its origin and history and art of playing it
(1885)
The transmission of musical processes via corresponding movement sequences can be seen as the foundation of Dalcroze Eurhythmics. Accordingly, the sensibility for rhythm and its inherent interplay of tension and relaxation in space and time is significant for the embodied visualisation of music. For creating wider aesthetic experiences and confrontation with the rhythmical structures of music and other artistic expressions—such as visual arts and literature—it can be helpful to take a look at other concepts of rhythm. Recent theories about rhythm from the music theorists Steffen A. Schmidt and Christopher Hasty, as well as the philosophical thoughts about speech from Ludwig Wittgenstein, described as «Saying and Showing», open up additional structures that may enrich the process of artistic creation and performance in eurhythmics.
Jumping over one's own shadow and expanding boundaries are frequent demands in the field of music and movement through the special methodological possibilities of eurhythmics. This is true for the learners as well as for the teachers. With a view to the concept of perception of constructivism, it is first clarified why perceptions are always individual and bound to subjective experiences. Then the ‘Gegen-Stand’ comes into play as a surface of friction and a basis for an active and reflective engagement that is capable of producing new results.