Search Results

Kazumichi Matsumiya

face adaptation paradigm (Adams et al. , 2010 ; Afraz and Cavanagh, 2008 ; Anderson and Wilson, 2005 ; Fox and Barton, 2007 ; Jiang et al. , 2006 ; Leopold et al. , 2001 ; Matsumiya, 2012 , 2013 ; Moradi et al. , 2005 ; Rhodes et al. , 2004 ; Ryu et al. , 2008 ; Skinner and Benton

Translation, Adaptation, Circulation

Barbara Marković’s Izlaženje

Diana Hitzke

Translating Thomas Bernhard: Barbi Marković’s Izlaženje … in the queer world of verbal transmigration … Nabokov 315 Barbi Marković’s Izlaženje , which is an adaptation of Thomas Bernhard’s Gehen (1971), was published in Serbian in 2006 and quickly translated

The Complexities of Water Disaster Adaptation

Evidence from Quang Binh Province, Vietnam

Mogens Buch-Hansen, Luu Bich Ngoc, Man Quang Huy and Tran Ngoc Anh

management, as well as societal capacity for mitigation and adaptation. The relationships between climate-related hazards (such as typhoons, flooding, rising sea levels, changing seasonality, droughts, etc.), human-induced environmental changes (such as deforestation, dyke construction, river embankments

Nilüfer Oral

to result in their partial or full depopulation. Moreover, the problem is not one that lies in the future, as the effects of sea-level rise are already being experienced in certain regions. This article examines the existing international law framework in relation to adaptation under the global

Vanessa Harrar, Vanessa Harrar, Charles Spence, Vanessa Harrar, Charles Spence and Laurence R. Harris

Generally speaking, multisensory integration is more likely to occur when the stimuli are synchronous (Stein and Meredith, 1993). Repeated exposure to temporally offset multisensory stimuli can change the perceived delay between the stimuli so that synchrony is perceived closer to the adapted delay rather than physical synchrony (Fujisaki et al., 2004). If the perception of synchrony is adaptable, might the point (or delay) of maximal integration also be altered after adaptation? Temporal adaptation might be achieved by changing the processing times of the component stimuli (Harrar and Harris, 2008; Navarra et al., 2009), or changing the integration mechanism. In the present study, each participant underwent daily adaptation to either synchronous or asynchronous (auditory lagging by 200 ms, or visual lagging by 60 ms) stimulus pairs. To assess unimodal processing time changes, we measured reactions times (RTs) to audio and visual stimuli after adaptation. In order to assess the effects of adaptation on multisensory integration, we measured RTs to synchronously presented AV stimuli and compared these with the RTs predicted from the Miller’s race model (Miller, 1982) for each participant (Molholm et al., 2004). The results comparing RTs following synchronous and asynchronous adaptation conditions are discussed in the context of perception versus action and current models of multisensory integration. The RTs changed considerably over a period of a week; these patterns are discussed in the context of learning to perceive synchrony.


Edited by Emer O'Toole, Andrea Pelegrí Kristić and Stuart Young

Ethical Exchanges in Translation, Adaptation and Dramaturgy examines compelling ethical issues that concern practitioners and scholars in the fields of translation, adaptation and dramaturgy. Its 11 essays, written by academic theorists as well as scholar-practitioners, represent a rich diversity of philosophies and perspectives, and reflect a broad international frame of reference: Asia, Europe, North America, and Australasia. They also traverse a wide range of theatrical forms: classic and contemporary playwrights from Shakespeare to Ibsen, immersive and interactive theatre, verbatim theatre, devised and community theatre, and postdramatic theatre.
In examining the ethics of specific artistic practices, the book highlights the significant continuities between translation, adaptation, and dramaturgy; it considers the ethics of spectatorship; and it identifies the tightly interwoven relationship between ethics and politics.

David Alais, David Alais, John Cass, David Alais, John Cass and Erik van der Burg

We investigate the time constant of recovery from adaptation to temporal asynchrony. Subjects adapted to a 4-min movie of a nail being hammered, a naturalistic animation with strong audiovisual temporal cues. The movie soundtrack had a constant asynchrony of either ±200 ms. Following adaptation, we sampled synchrony judgments every 2 seconds for 2 min using a brief audiovisual synchrony task (a flash and beep). The flash and beep varied over several ±SOAs and subjects indicated whether they were synchronous. Binning the synchrony responses within a short, rolling time window we obtained estimates of PSS over the course of recovery from temporal adaptation. The rolling average PSS showed a significant recalibration initially followed by a clear recovery function, with PSSs steadily returning to baseline after ∼60 s. We also analysed short-time scale recalibration by testing for adaptation effects between successive synchrony probes. Although these probes were brief (60 ms), we found that a given synchrony judgment in the post adaptation period was strongly influenced by the sign of the previous synchrony probe, showing an adaptation effect in the direction of the preceding synchrony probe’s SOA. In sum, these results show long- and short-scale temporal recalibration effects, with the short-scale inter-probe effects superimposed on the long-scale recalibration. In a second experiment, we delayed the synchrony probes until 60 s post-adaptation and observed no long-scale temporal recalibration, showing there is no storage of long-scale temporal adaptation.


Rob Welch

evolved through adaptation beyond the limits of the Victorian period, these nuances also evolved or devolved in unexpected directions, offering reflections on how the twentieth century dealt with its cultural inheritance. Published in 1894, du Maurier’s Trilby is set in mid nineteenth-century Paris, in

Maria Dicieanu

Transmedia narratives may be the star platforms of the 21st century, but as far as spectatorship is concerned, the cross platform experiences of modern audiences are not so different than those of viewers experiencing a film adaptation of a novel they have read. A spectator viewing an adaptation after first reading the book that inspired it will have a different cinematic experience from somebody seeing the film without having had any prior knowledge of the subject. In the book it is quite likely that the story is more complex, the characters better developed, and the overall evolutions more gradual. All these details, although unknown for people that have seen only the film, are bound to play a significant role in the viewing experience of the ones that have read the book first, making it either pleasant or unpleasant. Understanding how these elements affect the spectatorship can be significant in understanding the relationship between a viewer and a cross platform project, thus eventually leading to the creation of more immersive products. This chapter is structured in three main parts. The first section will investigate whether the analogy between adaptations and transmedia narratives is legitimate from the point of view of the experience created for the reader/spectator. The following section will contain a case study of the Harry Potter phenomenon, one of the first book adaptations to be considered a genuine transmedia project by both new media producers and theoreticians. The last section will deal with the conclusions regarding what can be learned from decades of adapting books, and how this knowledge can be implemented in future transmedia narratives.

Carmen Geha

. This historical continuity is explained here as resilience to refer to a political system which exhibits capacity to absorb shocks, maintain its basic pillars and even to improve its functions in times of crisis. This article will unpack the mechanisms of learning and adaptation which reinforce the