Indiana University-Purdue University Indianapolis (IUPUI) / In this thesis, I deal with the task of computationally processing stories with a focus on multidisciplinary ends, specifically in Digital Humanities and Cultural Analytics. In the process, I collect, clean, investigate, and predict from two datasets. The first is a dataset of 2,302 open-source literary works categorized by the time period they are set in. These works were all collected from Project Gutenberg. The classification of the time period in which the work is set was discovered by collecting and inspecting Library of Congress subject classifications, Wikipedia Categories, and literary factsheets from SparkNotes. The second is a dataset of 6,991 open-source literary works categorized by the hierarchical location the work is set in; these labels were constructed from Library of Congress subject classifications and SparkNotes factsheets. These datasets are the first of their kind and can help move forward an understanding of 1) the presentation of settings in stories and 2) the effect the settings have on our understanding of the stories.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-12-12T11:36:59Z No. of bitstreams: 1 João Ricardo_.pdf: 27143811 bytes, checksum: 4d619b388e4b16293ffab363f82d0012 (MD5) / Made available in DSpace on 2018-12-12T11:36:59Z (GMT). No. of bitstreams: 1 João Ricardo_.pdf: 27143811 bytes, checksum: 4d619b388e4b16293ffab363f82d0012 (MD5) Previous issue date: 2018-06-07 / UNISINOS - Universidade do Vale do Rio dos Sinos / O objetivo principal desta pesquisa foi desenvolver o conceito de imagem videojográfica propondo-a como uma articulação entre três camadas: máquina, lúdica e audiovisual. Para isso, foi construído um processo metodológico que combinou técnicas quantitativas e aplicáveis em grande volume de dados da chamada analítica cultural ou cultural analytics, desenvolvida por Lev Manovich e articulada a uma perspectiva de caráter ontológico sobre os jogos digitais proposta por Alexander Galloway, que propõe inscrever os games em um framework composto por dois eixos (diegético/não diegético e operador/máquina) que geram quatro formas do jogo agir ao combinar cada um de seus componentes: maquínico diegético, maquínico não diegético, operador diegético e operador não diegético. Do ponto de vista da fundamentação teórica, partimos da ideia de compreender o fenômeno do jogar como uma virtualidade que se atualiza de diferentes formas incluindo máquinas criadas pelo homem com objetivo de jogar. Identificamos, em uma perspectiva de inspiração arqueológica, máquinas pouco conhecidas e relacionadas com o contexto de jogos digitais como primeiras atualizações dessa imagem videojográfica, compreendendo essas máquinas da era digital também parte de um processo de midiatização que produz inúmeros conteúdos derivados da performance do jogar. Percebeu-se o papel do pixel nessa revolução tecnocultural atrelada a uma exponencialidade da presença destas imagens técnicas do jogar, o que contribui para a convocação da analítica cultural como forma de dar conta desta profusão. Seu uso permitiu a criação do primeiro movimento de análise, através de uma série de cartografias sobre as imagens do jogar. Assim, passamos a tentar compreender - a partir de uma proposta conceitual sobre a imagem videojográfica – como esta atualizou-se nas imagens técnicas de jogos digitais produzidos entre 1976 e 2017. Adotou-se, então, um segundo movimento, para qual foram convocados os procedimentos da metodologia das molduras propostas por Kilpp e trabalhadas no grupo de pesquisa Audiovisualidades e Tecnocultura: Comunicação, Memória e Design, com vistas a observar os resultados das cartografias através da geração de imagens médias. Além das considerações desenvolvidas no primeiro movimento, compreendeu-se que as imagens videojográficas atualizam-se em suas três camadas como ethicidades e com quatro grandes territórios de significação, de molduras que as permeiam - as plataformas, os instrumentos de interface gráfica, a diegese e o círculo mágico. Esses territórios são moldurados de forma que possamos compreender como seus sentidos são agenciados e, consequentemente, refletindo na forma de atualização das ethicidades nas imagens videojográficas. As superfícies técnicas molduram as plataformas; os apetrechos, os painéis informativos, as caixas de diálogo e as barras de ação molduram os instrumentos de interface gráfica. Já, a diegese é uma moldura importante da audiovisualidade moldurada também pelas caixas de diálogo, painéis decorativos e painéis diegéticos. E, por último, o círculo mágico, recorrente e, por vezes, excessivamente dominante na reflexão sobre o ato de jogar, é percebido agora como moldura que entra em tensionamento com as demais através dos mesmos molduramentos propostos. / The main goal of this research was to develop videogamegraphics image concept proposing it as a joint between three layers: machine,ludic and audiovisual. For this, a methodological process was constructed that combined quantitative techniques and applicable in big data in cultural analytic, developed by Lev Manovich and articulated to an ontological perspective on the digital games proposed by Alexander Galloway.He proposes to put the games in a framework composed of two axes (diegetic/non-diegetic and operator/machine) that generate four forms of act game: diegetic machine, nondiegetic machine, diegetic operator and nondiegetic operator. From theoretical point of view, we start from understanding the playing phenomenon as a virtuality that is updated in different ways including machines created by man with purpose of playing.We have identified, from an archaeologically perspective inspiration, machines are unknown and related to digital games context of as the first updates of videogamegraphics image, including these machines of the digital era also part of a mediatization process produces countless contents derived from game performance. The role of the pixel in technocultural revolution is linked to an exponentiality of the presence of these technical images of the game, has been perceived, which contributes to the convening of cultural analytics as a way to account for this profusion. Its use allowed the creation of first movement of analysis, through a series of cartographies on the game images. So, we start to understand - from a conceptual proposal on videogamegraphics image - how this one was updated in the technical images of games created between 1976 and 2017. A second movement was adopted, for which frames methodology proposed by Kilpp and worked on in the research group Audiovisualities and Technoculture: Communication, Memory and Design, in order to observe cartography results through generation of mean images. In addition to the considerations developed in the first movement, it was understood that the videogamegraphics images are updated in their three layers as ethicities and with four great signification, of frames that around them - the platforms, the instruments of graphical interface, the diegese and the magic circle.These territories are framed that we can understand how their senses are created and, consequently, reflecting in the way of updating the ethicities in the videogamegraphics images. The technical surfaces frame the platforms; gadgets, information panels, dialog boxes and action bars are framed by graphics user interface instruments. Already, diegese is an important frame of audiovisuality framed also by dialog boxes, decorative panels and diegetic panels. And finally, the magic circle, recurrent and sometimes excessively dominant in the reflection on the playing act, is now perceived as a frame that enters into tension with the others through the same proposed frames.

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<p>In this thesis, I deal with the task of computationally processing stories with a focus on multidisciplinary ends, specifically in Digital Humanities and Cultural Analytics. In the process, I collect, clean, investigate, and predict from two datasets. The first is a dataset of 2,302 open-source literary works categorized by the time period they are set in. These works were all collected from Project Gutenberg. The classification of the time period in which the work is set was discovered by collecting and inspecting Library of Congress subject classifications, Wikipedia Categories, and literary factsheets from SparkNotes. The second is a dataset of 6,991 open-source literary works categorized by the hierarchical location the work is set in; these labels were constructed from Library of Congress subject classifications and SparkNotes factsheets. These datasets are the first of their kind and can help move forward an understanding of 1) the presentation of settings in stories and 2) the effect the settings have on our understanding of the stories.</p>

Within the landscape of Japanese media production, and video game production in particular, there is a niche comprising video games centered around establishing, developing, and fulfilling imagined intimate relationships with anime-manga characters. Such niche, although very significant in production volume and lifespan, is left unexplored or underexplored. When it is not, it is subsumed within the scope of wider anime-manga media. This obscures the nature of such video games, alternatively identified with descriptors including but not limited to ‘visual novel’, ‘dating simulator’ and ‘adult computer game’. As games centered around developing intimacy with characters, they present specific ensembles of narrative content, aesthetics and software mechanics. These ensembles are aimed at eliciting in users what are, by all intents and purposes, parasocial phenomena towards the game’s characters. In other words, these software products encourage players to develop affective and bodily responses towards characters. They are set in a way that is coherent with shared, circulating scripts for sexual and intimate interaction to guide player imaginative action. This study defines games such as the above as ‘character intimacy games’, video game software where traversal is contingent on players knowingly establishing, developing, and fulfilling intimate bonds with fictional characters. To do so, however, player must recognize themselves as playing that type of game, and to be looking to develop that kind of response towards the game’s characters. Character Intimacy Games are contingent upon player developing affective and bodily responses, and thus presume that players are, at the very least, non-hostile towards their development. This study approaches Japanese character intimacy games as its corpus, and operates at the intersection of studies of communication, AMO studies and games studies. The study articulates a research approach based on the double need of approaching single works of significance amidst a general scarcity of scholarly background on the subject. It juxtaposes data-driven approaches derived from fan-curated databases – The Visual Novel Database and Erogescape -Erogē Hyōron Kūkan – with a purpose-created ludo-hermeneutic process. By deploying an observation of character intimacy games through fan-curated data and building ludo-hermeneutics on the resulting ontology, this study argues that character intimacy games are video games where traversal is contingent on players knowingly establishing, developing, and fulfilling intimate bonds with fictional characters and recognizing themselves as doing so. To produce such conditions, the assemblage of software mechanics and narrative content in such games facilitates intimacy between player and characters. This is, ultimately, conductive to the emergence of parasocial phenomena. Parasocial phenomena, in turn, are deployed as an integral assumption regarding player activity within the game’s wider assemblage of narrative content and software mechanics.

This text focuses on the relation of information and image, hence Information Theory and Image Analysis, as well as visualization of information and methods of visual analytics focusing on analysis of art works. It also concentrates on evolution of digital image and related new type of perception and artificial aesthetics. We narrow the broader topic of the image and image information to the abstract art, namely the work of Czech painter Frantisek Kupka, which is used as input in the experiment presenting original method of image analysis using the function of information entropy (Rényi entropy). This approach was used for the first time for analysis of art works with the aim to obtain the comparaison of natural and artificial classification of image information. We chose the work of abstract art not only with regard to given history of grammatics of abstract forms and its relation to the digital image, but also as an emblematic example of effective gaining of information from complex environment. Work thus summarizes historical context of evolution of digital image and theoretical reflection of contemporary image analytics and others techniques relevant to the image information and emphasizes relation of abstract art to the natural and simulated complexity.

This research is an investigative attempt on the concept of style´s development to potentially noticing our diverse human history on viewing the aspect of styles, starting (in the part one) by looking into the problem of the development of styles and its characteristic of representation in terms of its messages, realties, semiotics, and human collaboration. Leading towards the human search in seeing style more commonly neutral for a more meaningful dialog. The research shows then (in the part two) the potential to build a Digital Style Dictionary and A Digital Visual Compass: A Human-Centric Guide on The Aspect of Seeing Reality’s that can support identifying aspects of multiple realities (core reality, abstract reality, surreal reality and artificial reality) — where two cases (in the part three) of visual styles get analyzed, discussed, reframed, and presented (Transpace and Swisch). Fundamentally this paper looks to provoke a discussion on what we humans want the point to be in seeing styles. The complexity is as grand as our diversity, but still, this research highlights the hope to respectfully identify the distinctive shades of styles for the sake of a more significant human dialog and inclusion. The research´s grand ambition is knowingly bigger than what it itself can grasp to complete right now (2021) fully. It proposes an idea for the near future to shape a Digital Style Dictionary and a Digital Visual Compass that works for the common human aspect of seeing styles. This research is a first attempt towards shaping the fundamental frame towards a spectrum of the style´s, that we can respectfully continue to articulate for the sake to include better human communication on the aspect of seeing distinctiveness, not that style´s stands in a capital value program between something “high” or “low.” Instead, we can now start to collaborate in shaping and building these potential tools as A Digital Style Dictionary and A Digital Visual Compass in sharing a more human-centric spectrum of styles to push the human evolution of knowledge further.