[pt] Com foco em processo criativo e transmidialidade, esta pesquisa propõe investigar a dinâmica criativa irreversível impulsionada por Lewis Carroll, através de suas duas obras aclamadas, as Alices. Da era vitoriana à arte contemporânea, Wonderland e Looking-Glass se mantêm em devir, reinventadas nas mãos de artistas que, inspirados pelo universo do autor, mesclam realidade e ficção ao integrar a biografia à obra. O fenômeno cultural se torna transmidiático, não de maneira estratégica e centralizada, mas de forma orgânica e caótica, através de inúmeros produtores visuais dispersos no tempo e no espaço. Muitos desses produtores têm formação em design e, ao atuarem em áreas correlacionadas e mídias diversas – como ilustração, fotografia, arte, cinema e games –, parecem desenvolver uma atitude projetual criativa que os permite colaborar com o fenômeno cultural em expansão. Propõe-se, assim, identificar não só as convergências e divergências entre linguagens visuais e mídias, como o pensamento do produtor visual em seu fazer projetual, artístico e poético. Ao mapear exemplos da visualidade de Alice, a intenção é a de delinear as características dessa dinâmica, que, através da repetição e dos desvios, permite à narrativa uma constante ressignificação. Acredita-se que, como obras abertas à iniciativa do leitor e do artista, as histórias nonsense contribuam como elementos catalizadores de novos processos criativos: na dinâmica de Alice, criam-se novas relações de autoria e coautoria, de produção, recepção e mediação. Ao fazer reverberar, sobretudo, diferentes vozes interdisciplinares, esta pesquisa pretende apresentar uma abordagem teórica, crítica e filosófica sobre questões da pós-modernidade presentes em Alice. / [en] Focusing on the creative process and transmedia, this research proposes investigating the irreversible creative dynamic driven by Lewis Carroll through his two acclaimed works: the Alices. From the Victorian era to contemporary art, Wonderland and Looking-Glass continue to be reinvented through the hands of artists who, inspired by the author s universe, mix reality and fiction by integrating biography into the artwork. The cultural phenomenon becomes transmedia, not in a strategic and centralized way, but organically and chaotically, through countless visual producers dispersed in time and space. Many of these producers are designers working in related areas and different media – such as illustration, photography, art, cinema and games –, who seem to develop a creative design attitude that allows them to collaborate with the expansion of the cultural phenomenon. The proposal includes identifying convergences and divergences not only between visual languages and media but also between the ideas and thoughts of the visual producers, during their artistic and poetic work in process. By mapping examples of the multiple visuality of Alice, the intention is to outline this dynamic s characteristics, which, through repetition and deviations, allows the narrative to be continuously reframed. It is believed that, as works that are open to the initiative of the reader and the artist, the nonsense story contributes as a catalyst element for new creative processes: in the Alice dynamic, there are new relationships of authorship and co-authorship, of production, reception and mediation. By echoing mainly different interdisciplinary voices, this research aims to present a theoretical, critical and philosophical approach to postmodernity issues present in Alice.

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This action research study summarizes the investigation of journal writing and cooperative grouping with 8th grade geometry students in the construction of proof. Students written responses to prompts in journals were analyzed over the course of twelve weeks. Case studies of four students were developed from the researchers’ three geometry classes. All four students in the study participated in an academic program called Pre International Baccalaureate Preparation. Standardized test scores and an attitude scale categorized the four students. The ATMAT survey (Appendix A) measured each student’s attitude toward mathematics. Writing prompts focused on the students’ perceptions of the group process in constructing proofs and the development of geometric proof. The results suggested the students were engaged in learning within their cooperative groups but they also desired individual time before coming to a group setting. In addition, students’ written responses to journal prompts may provide an informal assessment and help students convey their own understanding of proof before any formal assessments.

The Happiest Place on Earth is a feature-length film written, directed, and produced by John Goshorn as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The project aims to challenge existing conventions of the American fiction film on multiple levels – aesthetic, narrative, technical, and industrial – while dealing with a distinctly American subject and target audience. These challenges were both facilitated and necessitated by the limited resources available to the production team and the academic context of the production. This thesis is a record of the film, from concept to completion and preparation for delivery to an audience

[pt] A tese aborda a coautoria do designer editorial com o escritor na produção de livros de literatura. Nesse âmbito, considera-se a postura de que não só o texto escrito conta a história, mas, sim, o objeto como um todo. Design Editorial Narrativo é o termo adotado nesta pesquisa, para caracterizar projetos editoriais integrais que constroem a narrativa não-verbal multissensorial junto com a narrativa verbal. Nesse caso, é exigido um grande envolvimento do designer editorial, esforço intelectual, capacidade criativa e técnica. No entanto, apesar de estar cada vez mais presente nas contações de histórias, o designer editorial é apenas considerado um colaborador. Ocorre que não há parâmetros para identificar a narrativa não-verbal do livro e, no âmbito da Lei de Direitos Autorais, não há argumentos legais para o designer ser creditado como coautor e receber royalties da venda. Entende-se que as relações estabelecidas ao longo do projeto em coautoria interferem e aprimoram o produto final e a articulação das narrativas potencializa a imersão na leitura. É do interesse do design editorial posicionar-se frente aos cenários que surgem, com respaldo legal, reconhecimento e segurança profissional no mercado. Assim, o objetivo desta tese é encontrar e sugerir princípios gerais para que o designer editorial possa ser coautor de livros. O caminho percorrido inicia com uma pesquisa bibliográfica de referencial teórico sobre a autoria na Literatura e no Design e pesquisa documental sobre direitos autorais; passando por um trabalho de observação participante, estudo de casos exemplares, entrevistas exploratórias e direcionadas e relato pessoal; chegando à análise descritiva dos resultados obtidos. Os princípios gerais apresentados não se esgotam a partir das especificidades do Design Editorial Narrativo, porém abrem caminho para uma possível efetividade da coautoria do designer editorial com o escritor. / [en] The thesis addresses the co-authorship of the editorial designer with the writer in the production of literature books. In this context, the position is adopted that not only the written text tells the story, but the object as a whole. Narrative Editorial Design is the term adopted in this research, to characterize integral editorial projects that build the multisensory non-verbal narrative together with the verbal narrative. In this case, a great involvement of the editorial designer, intellectual effort, creative and technical capacity is required. However, despite being increasingly present in storytelling, the editorial designer is only considered a collaborator. It so happens that there are no parameters to identify the non-verbal narrative of the book within the scope of the Copyright Law, nor legal arguments for the designer to be credited as a co-author and receive royalties from the sale. It is understood that the relationships established throughout the co-authorship project interfere and improve the final product and the articulation of narratives enhances immersion in reading. It is in the interests of editorial design to position itself in the face of emerging scenarios, with legal support, recognition and professional security in the market. Thus, the objective of this thesis is to find and suggest general principles so that the editorial designer can co-author books. The path taken begins with a bibliographic research of theoretical references on authorship in Literature and Design and documentary research on copyright; passing through a work of participant observation, study of exemplary cases, exploratory and directed interviews and personal report; arriving at the descriptive analysis of the results obtained. The general principles presented are not limited to the specificities of Narrative Editorial Design, but they open the way to a possible effectiveness of the co-authorship of the editorial designer with the writer. / [es] La tesis aborda la coautoría del diseñador editorial con el escritor en laproducción de libros de literatura. En este contexto, se adopta la posición de que nosolo el texto escrito cuenta la historia, sino el objeto como un todo. DiseñoEditorial Narrativo es el término adoptado en esta investigación, para caracterizarlos proyectos editoriales integrales que construyen la narrativa no verbalmultisensorial junto con la narrativa verbal. En este caso se requiere una granimplicación del diseñador editorial, esfuerzo intelectual, capacidad creativa ytécnica. Sin embargo, a pesar de estar cada vez más presente en el storytelling, eldiseñador editorial solo es considerado un colaborador. Sucede que no existenparámetros para identificar la narrativa no verbal del libro en el ámbito de la Ley dePropiedad Intelectual, ni argumentos legales para que el diseñador sea acreditadocomo coautor y reciba regalías por la venta. Se entiende que las relaciones que seestablecen a lo largo del proyecto de coautoría interfieren y mejoran el productofinal y la articulación de narrativas potencia la inmersión en la lectura. Es deinterés del diseño editorial posicionarse ante los escenarios emergentes, conrespaldo legal, reconocimiento y seguridad profesional en el mercado. Así, elobjetivo de esta tesis es encontrar y sugerir principios generales para que eldiseñador editorial pueda ser coautor de libros. El camino emprendido comienzacon una investigación bibliográfica de referentes teóricos sobre autoría enLiteratura y Diseño e investigación documental sobre derechos de autor; pasandopor un trabajo de observación participante, estudio de casos ejemplares, entrevistasexploratorias y dirigidas y reporte personal; llegando al análisis descriptivo de losresultados obtenidos. Los principios generales presentados no se limitan a lasespecificidades del Diseño Editorial Narrativo, sino que abren el camino a unaposible efectividad de la coautoría del diseñador editorial con el escritor.

This dissertation works against the longstanding literary critical premise that aesthetics and ethics are at odds. I challenge this notion by foregrounding the verse of four nineteenth-century-born and Northeastern-based poets who unapologetically prioritize aesthetic perception and experience in their writing. These poets—Frederick Goddard Tuckerman, Emily Dickinson, Olivia Ward Bush, and William Stanley Braithwaite—were well aware of the criticism politicians, social reformers, educators, business proponents, and even other writers leveled against the functional and ethical utility of poetry in an era when transatlantic industrial revolutions and innovations in manufacturing and transportation technology contributed to a national ethos that celebrated progress and productivity in the most concrete terms. These developments, coupled with moral and political divisions over slavery and the economic and psychic strain of a nationwide war that brought life’s precariousness into relief, spurred citizens to contemplate their sense of purpose in contexts ranging from the vocational to the existential. Writers and poets in particular faced continual pressures to defend the practical value of their work. What makes the four poets in this dissertation unparalleled, I suggest, is the way they challenge readers to revise and expand their understanding of the aesthetic by devoting poetic attention to unsettling and unsightly products and processes in the natural world. Moldering plant matter, heaps of manure, broom-ravaged spiderwebs, and fragments of driftwood; the kinds of waste and remains normally deemed indecorous for nineteenth-century verse become vibrant and arresting in the work of these poets. Yet while each poet approaches humble and neglected phenomena as worthy of aesthetic treatment, they do so without idealizing the unpalatable and disregarded subjects they portray in verse. The attention they devote to the abject—a witnessing they extrapolate from literal to human nature—is, as I show over the course of this dissertation, an ethical and political act. In addition to upholding the unsettling and unglamorous qualities of the natural subjects they honor, these poets also abstain from sentimentalizing the elements of lived experience that inform their writing, and refuse to downplay the often demanding process of poetic composition itself. While this dissertation’s insistence on regarding aspects of nature that nineteenth-century poetry has traditionally neglected is, in part, an ecocritical intervention, my project is also a call to dignify the artistic labors that reframe overlooked natural phenomena as worthy of aesthetic attention. To portray writing as work is to regard the craft as just as substantial and legitimate a pursuit as occupations whose effects are more straightforwardly measurable in practical terms. Indeed, each poet in this dissertation insists upon depicting poetic making as a labor that requires the same dexterity as the construction of an architectural structure and that has as dramatic and far-reaching effects as military and legislative developments. Far from posing an escapist diversion from the social and civic realities of their day, I argue, these poets frame aesthetic creation and experience as fundamental to human nature, especially during wartime and periods of political upheaval.

Indiana University-Purdue University Indianapolis (IUPUI) / Graph Neural Networks (GNNs) have become excessively popular and prominent deep learning techniques to analyze structural graph data for their ability to solve complex real-world problems. Because graphs provide an efficient approach to contriving abstract hypothetical concepts, modern research overcomes the limitations of classical graph theory, requiring prior knowledge of the graph structure before employing traditional algorithms. GNNs, an impressive framework for representation learning of graphs, have already produced many state-of-the-art techniques to solve node classification, link prediction, and graph classification tasks. GNNs can learn meaningful representations of graphs incorporating topological structure, node attributes, and neighborhood aggregation to solve supervised, semi-supervised, and unsupervised graph-based problems. In this study, the usefulness of GNNs has been analyzed primarily from two aspects - clustering and classification. We focus on these two techniques, as they are the most popular strategies in data mining to discern collected data and employ predictive analysis.

En 2016, un « nouveau Rembrandt » a été créé par intelligence artificielle dans le cadre du projet The Next Rembrandt. Grâce à la méthode d’apprentissage profond, un ordinateur a en effet permis la réalisation d’un tableau qui, selon les experts, aurait pu être créé par le maître hollandais. Ainsi, une création artistique a été conçue avec un programme d’intelligence artificielle, « en collaboration » avec des humains. Depuis, de nouvelles créations algorithmiques ont vu le jour, en minimisant chaque fois davantage l’empreinte créatrice humaine. Mais comment le droit d’auteur canadien encadre-t-il ou, le cas échéant, pourrait-il encadrer ce type de créations ? Voici la question générale à laquelle notre projet de recherche souhaite répondre. En dépit des récentes avancées technologiques et d’un certain abus de langage, l’intelligence artificielle n’est pas (encore) entièrement autonome (Chapitre liminaire). Il en résulte qu’un humain crée les dessous de l’œuvre, c’est-à-dire les règles dans le cadre duquel les créations sont produites. À l’heure actuelle, les créations « artificielles » sont donc issues d’un processus où l’algorithme agit comme simple outil. Partant, les principes classiques de droit d’auteur doivent s’appliquer à ces créations assistées par intelligence artificielle (Chapitre premier). En l’espèce, les critères d’originalité et d’autorat constituent les principaux obstacles à la protection de (certaines) créations algorithmiques. En outre, le processus collaboratif de création ne permet pas d’identifier systématiquement des co-auteurs faisant preuve « de talent et de jugement » (Chapitre deux). Dans ce contexte singulier, des juristes étrangers ont proposé des « solutions », afin de protéger les créations produites « artificiellement » par leurs régimes de droit d’auteur respectifs (Chapitre trois). La réception des propositions étrangères en sol canadien n’est toutefois pas souhaitable, car elle risque de fragiliser la cohérence interne de la Loi, ainsi que les fondements du régime. Dès lors, ces solutions ne permettent pas de résoudre la « problématique » des créations algorithmiques. Quelle devrait donc être la réponse canadienne ? Il s’agit de la question à laquelle nous répondons au Chapitre quatre. Afin de respecter l’intégrité du régime de droit d’auteur canadien, nous concluons que seules les créations répondant aux critères de la législation canadienne sur le droit d’auteur doivent être protégées. Les productions ne parvenant pas à respecter l’une ou l’autre des conditions de protection tomberaient, pour leur part, dans le domaine public. En dépit de ce constat, nous croyons que la constitution d’un régime sui generis, propre aux créations algorithmiques, pourrait être appropriée. Il appartiendra cependant au gouvernement canadien de décider si l’édification d’un tel régime est pertinente. Pour ce faire, il sera nécessaire d’obtenir des données probantes de la part des différentes parties prenantes. Il s’agit-là du dilemme auquel le Canada fait face. / In 2016, a « new Rembrandt » was created with artificial intelligence as part of The Next Rembrandt project. Thanks to the deep learning method, a computer has indeed made it possible to make a painting that, according to experts, could have been created by the Dutch Master. Thus, an artistic creation was designed with an artificial intelligence program, « in collaboration » with humans. Since then, new algorithmic creations have emerged, each time further minimizing the human creative footprint. But how does or could the Canadian copyright regime protect this type of creation ? This is the general question that our research project wishes to answer. Despite recent technological advances and a certain abuse of language, artificial intelligence is not (yet) autonomous (Preliminary Chapter). As a result, a human creates the underside of the work, that is, the rules within which the creations are produced. At present, « artificial » creations are therefore the result of a process where the algorithm acts as a simple tool. Therefore, the classical principles of copyright should apply to such creations produced with computer assistance (Chapter One). In the present case, the conditions of originality and authorship constitute the main obstacles to the protection of (certain) algorithmic creations. In addition, the collaborative creative process does not systematically allow the identification of coauthors (Chapter Two). In this singular context, foreign authors have proposed solutions to protect these creations by their respective copyright regimes (Chapter Three). However, the adoption of these proposals in Canada is not desirable, as it may weaken the internal scheme of the Canadian copyright regime, as well as its foundations. As such, these solutions do not solve the « problem » of algorithmic 5 creations. What should be the Canadian response ? This is the question we answer in Chapter Four. In order to protect the integrity of the Canadian copyright regime, we conclude that only creations that meet the criteria of the Copyright Act should be protected. Productions that fail to comply with any of these conditions should fall into the public domain. Despite this observation, we believe that the constitution of a sui generis regime specific to algorithmic creations could be appropriate. Yet, it will be up to the Canadian government to decide whether the creation of such a regime is pertinent. This will require gathering evidence from different stakeholders. This is the dilemma that Canada is facing.

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No description available.