14 875 résultats
49345438-nnew. unknown
49345438like new. unknown
GOR014982897Paperback. Very Good. paperback
ria9786208334710_inpPaperback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; N/A paperback
6208334713.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
20181-1496717155Kensington Pub Corp 2018. Hardcover. New. 338 pages. 8.25x5.25x1.25 inches. Kensington Pub Corp hardcover
ria9781476689326_inpPaperback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; Investigates key questions that arise from the use of AI narrators. The book describes how these narratives challenge humanist principles by suggesting that selfhood is an illusion even as they make the case for extending these princip paperback
B9781476689326Paperback / softback. New. Intelligent machines have long existed in science fiction and they now appear in mainstream films such as <i>Bladerunner Ex Machina I Am Mother</i> and <i>Her</i> as well as in a recent proliferation of literary texts narrated from the machine's perspective. These new portrayals of artificial intelligence inevitably foreground dilemmas related to identity and selfhood concepts being reassessed in the 21st century. <p>Taking a close look at novels like <i>Ancillary Justice Aurora All Systems Red The Actuality The Unseen World</i> and <i>Klara and the Sun</i> this work investigates key questions that arise from the use of AI narrators. It describes how these narratives challenge humanist principles by suggesting that selfhood is an illusion even as they make the case for extending these principles to machines by proposing that they are not so different from humans. It examines what is at stake with nonhuman narration the constitutive qualities of AI narratives and what it might mean to relate to a narrator when the voice adopted is that of an AI.</p> paperback
45951867-nnew. unknown
45951867like new. unknown
A9781476689326Paperback / softback. New. Intelligent machines have long existed in science fiction and they now appear in mainstream films such as <i>Bladerunner Ex Machina I Am Mother</i> and <i>Her</i> as well as in a recent proliferation of literary texts narrated from the machine's perspective. These new portrayals of artificial intelligence inevitably foreground dilemmas related to identity and selfhood concepts being reassessed in the 21st century. <p>Taking a close look at novels like <i>Ancillary Justice Aurora All Systems Red The Actuality The Unseen World</i> and <i>Klara and the Sun</i> this work investigates key questions that arise from the use of AI narrators. It describes how these narratives challenge humanist principles by suggesting that selfhood is an illusion even as they make the case for extending these principles to machines by proposing that they are not so different from humans. It examines what is at stake with nonhuman narration the constitutive qualities of AI narratives and what it might mean to relate to a narrator when the voice adopted is that of an AI.</p> paperback
2023x-1476689326McFarland Publishing 2023. Paperback. New. 193 pages. 9.00x6.00x0.39 inches. McFarland Publishing paperback
1476689326.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1993Q-0941263193Tribune Pub 1993-03-01. Hardcover. New. In shrink wrap. Looks like an interesting title! Tribune Pub hardcover
1969Q-0941263797Tribune Publishing Company Inc 1969-12-31. Hardcover. New. In shrink wrap. Looks like an interesting title! Tribune Publishing Company Inc hardcover
2008106912Cambridge MA: Harvard University 2008. Softcover. VG. White illus. wraps; 9 pp. text and color plates. Issued in conjunction with a 2008 exhibition of 18th-century German porcelain pieces. Consists of an illustrated essay by Heather Hess with suggestions for further reading. Scarce. Harvard University unknown books
197789593Toronto Ontario Canada: James Lorimer & Company in association with The Robert McLaughlin Gallery Ottawa and National Museum of Man/National Museums of Canada Ottawa 1977. Presumed First Edition First printing. Hardcover. Good/Poor. The format is approximately 10.5 inches by 9.25 inches. 240 pages. Illustrations many in color. The paintings reproduced are from the war art collection held by the Canadian War Museum. The dust jacket is heavily worn torn soiled scuffed and chipped. Ink notation on the fep. The contents include an Introduction The First World War 1914-1918 the Second World War 1939-1945 Introduction to the Catalogue Catalogue and Exhibition Schedule. This book accompanies the exhibition by the same name which traveled to fourteen venues in Canada. It chronicles the war experience through the memories diaries letters songs and poetry of Canadians at war skillfully interwoven by author Heather Robertson in a tribute to courage resilience and compassion in the face of terrible forces of destruction. Included in the exhibition drawn from the collections of the Canadian War Museum are such artists as Maurice Cullen Charles William Jeffery David Milne G.A. Reid Miller Brittain Alex Colville Carl Schaefer Jack Shadbolt and members of the Group of Seven A.Y. Jackson Franz Johnston Arthur Lismer Fred Varley and Edwin Holgate. Memoirs and letters originally in French were found by David Lobdell; translations by David Toby Homel. Issued to coincide with Remembrance Day 11 November 1977 an exhibition of Canadian war art from the two world wars opened at the Rodman Hall Arts Centre in St. Catharines Ontario. About a month earlier A Terrible Beauty: The Art of Canada at War billed as the official catalogue for the exhibition appeared in bookstores across Canada. During the following two years the exhibition was on gallery tour within Canada coming to rest for its final show from 1 December 1979 through 20 February 1980 at the Canadian War Museum in Ottawa. The book/catalogue together with the gallery tour constitute an ambitious collaborative undertaking. While chiefly the work of Heather Robertson author of the book's eight-page introduction and selector of the war writings and the exhibit's 102 works of war art reproduced in the book the publishing of A Terrible Beauty and the mounting of the traveling exhibit awaited the assistance of the publisher James Lorimer and Joan Murray Director of the Robert McLaughlin Gallery Oshawa. Necessary cooperation also came from the National<br /> Museums of Canada. Those responsible for A Terrible Beauty have performed a service for Canadians: the rescue of remarkable works of war art from the oblivion to which most of them had been consigned in a warehouse of the Canadian War Museum. One can only speculate with Heather Robertson that perhaps revulsion from the subject of war kept the war art collection from any major public showing since 1946. Post-World War II books on Canadian art have not however completely ignored the work of Canadian war artists.' Charles Comfort's own Artist at War Toronto 1956 parts of which A Terrible Beauty uses presents graphically and verbally one artist's experience of war. But not before A Terrible Beauty has so much of the rich legacy of art bequeathed Canadians by our war artists been reproduced in one book. Art is one of the means men and women have of confronting and transcending the brevity of human life but war which cruelly sharpens that brevity can overwhelm and paralyze an artist. Yet Canadian war artists captured and apotheosized into works of art the experiences of two generations of Canadians caught in the toils of war. From the unspeakable misery devastation and drudgery to the compassion and snatched moments of repose and even revelry the subjects are as varied as the styles. Women<br /> artists protected from combat showed life behind the front as in H. Mabel May's glowing "Women Making Shells" from the First World War and from the Second Paraskeva Clark's energetic "Parachute Riggers" and Molly Lamb Bobak's gossamer "C.W.A.C. Wedding in the Seminary's Chapel." More directly exposed to the brutality and destruction male artists of both wars testified in their most powerful statements to the staggering horrors of war: F. H. Varley's "Sunken Road" shows a battle-scarred stretch of the First World War's western front strewn with dead bodies. James Lorimer & Company in association with The Robert McLaughlin Gallery (Ottawa) and National Museum of Man/National Museums o hardcover
0888621442New. hardcover. New. Satisfaction Guaranteed or your money back. hardcover
1977Q-0888621442Formac 1977-01-01. Hardcover. New. In shrink wrap. Looks like an interesting title! Formac hardcover
1977021776Formac Publishing 1977. Beige linen like cloth boards with brown lettering along the spine. Four very small black dots near bottom right corner. Only the most minor wear on corners. Ffep has previous price and 'signed' in pencil. Book is indeed signed by the author on the title page unverified. Text is beautiful and beautifully clean. Lovely art and literature from times of war. Any picture found beside this listing may NOT actually be a picture of this book but a stock photo used by the listing site. 3 R's Used Books and Hannelore Headley Old & Fine Books Inc. are committed to saving the trees one leaf at a time. By Author. Hard Cover. Very Good/No Jacket. Formac Publishing Hardcover
011761Toronto: James Lorimer 1977. Oblong 8vo hardcover 239pp. Very good plus in very good dust jacket. Color illustrations color photographs catalog. Lightly edgeworn. Locale: Canada. Art--Canada Art-Canadian Military--Canada Painting World War 1 World War 2. James Lorimer Hardcover
2024x-1032389354Taylor & Francis 2024. Hardcover. New. 3rd edition. 522 pages. 9.68x6.87x9.61 inches. Taylor & Francis hardcover
2024x-1032381175Taylor & Francis 2024. Paperback. New. 3rd edition. 522 pages. 9.68x6.87x9.69 inches. Taylor & Francis paperback
2018Discovery-9781498725378Routledge 2018. Paperback. New. Routledge paperback
2018Discovery-9781498725378Routledge 2018. Paperback. New. Routledge paperback
