O romance The Recognitions (Os Reconhecimentos) do escritor norte-americano William Gaddis é um texto auto—reflexivo que retrata a trajetória de Wyatt Gwyon da infância à maturidade, na medida em que ele rejeita e busca a originalidade. O presente trabalho analisa The Recognitions enfocando a problematização dos conceitos de originalidade e autoria propostos pelo romance através de debates sobre a falsificação e o plágio, que remetem a duas noções maiores e mais importantes: autoria e originalidade. O romance questiona a presente demanda por originalidade e discute a possibilidade de ser original. Ele formula uma estética baseada em reconhecimentos que é defendida no romance e usada pelo autor na tessitura do texto. A fim de atingir seus objetivos, este trabalho apresenta os diferentes conceitos associados aos termos originalidade e original, assim como alguns das principais violações relacionadas a eles na sociedade contemporânea. Também oferece um histórico do desenvolvimento dos conceitos de originalidade e autoria na sociedade ocidental, mostrando a crescente importância da figura do autor e o desenvolvimento paralelo dos conceitos de plágio e direito autoral. Os capítulos seguintes dedicam-se a tentar fornecer um relato do romance enfocando os principais personagens, todos artistas, e também uma análise do romance à luz do background histórico e teórico apresentado nos dois primeiros capítulos. O primeiro desses capítulos de análise enfoca a trajetória de Wyatt e suas concepções artísticas. O segundo os reflexos de Wyatt na narrativa, que reforçam a estrutura auto-reflexiva do romance. E o terceiro exemplifica e analisa a estética de Wyatt baseada na noção de reconhecimento, que nada mais é do que a própria estética usada por Gaddis na composição de sua ficção. / William Gaddis’s The Recognitions (1955) is a selfreflexive novel that portrays Wyatt Gwyon’s trajectory from childhood to maturity, as he rejects and searches for originality. The present work bestows an analysis of William Gaddis’s The Recognitions focusing on the problematization of originality and authorship proposed by the novel by means of the central issues of forgery and plagiarism, which bring with them two larger and more important sister-notions: authorship and originality. The novel questions the prevailing demand for originality and discusses the possibility of being original. It formulates an aesthetics of recognitions defended in the novel and used by the author in the making of this text. In order to do that, this work provides a view on the different concepts associated with the terms originality and original, as well as some of the main infringements related to them in contemporary society. It also offers an account of the development of the concepts of originality and authorship in Western society, showing the growing importance of the figure of the author and the parallel development of the concepts of plagiarism and copyright. The next three chapters are dedicated to attempt to provide an account of William Gaddis’s The Recognitions focusing on the main artist characters and an analysis of the novel in the light of the theoretical and historical background provided. The first of these chapters focuses on Wyatt’s trajectory and his visions of art. The second identifies and analyses Wyatt’s mirrors in the narrative, which reinforce the self-reflective structure of the novel. And the third chapter exemplifies and analyses Wyatt’s aesthetics of recognitions, which turns out to be Gaddis’s own aesthetics in the making of his fiction.

O trabalho abordará o estudo das criações intelectuais não protegidas pelo Direito de Autor, as diferentes terminologias adotadas pela doutrina, suas peculiaridades, a proposta de uma terminologia mais abrangente e a importância do estudo das fontes do direito para a validação dos pressupostos à proteção, formulados pela doutrina e jurisprudência, com destaque em capítulo próprio para as denominadas normas técnicas. / This present dissertation will address the study of intellectual creations that are not protected under copyright law, the different terminology adopted by the doctrine, its peculiarities, the proposed terminology and the importance of more comprehensive study of sources of law to validate the protection assumptions, formulated by doctrine and jurisprudence, especially in a separate chapter to the so-called technical standards

The aim of the diploma thesis is to diagnostic levels of particular creative abilities in a selected group of population {--} pupils in the fifth grade. Theoretical knowledge is analyzed and compared in the first part. Particular creativity problems are briefly specified using specialized literature, e.g. Creativity barriers, Factors effecting creativity, Methods used for creativity development. Empiric part presents research description of individual levels in creative abilities. Torrance Tests of Creative Thinking were used as a main method of research. Effect of sex, class, school and its size on individual creativity parts was considered within the testing. A relative level of these parts was compared as well.

O romance The Recognitions (Os Reconhecimentos) do escritor norte-americano William Gaddis é um texto auto—reflexivo que retrata a trajetória de Wyatt Gwyon da infância à maturidade, na medida em que ele rejeita e busca a originalidade. O presente trabalho analisa The Recognitions enfocando a problematização dos conceitos de originalidade e autoria propostos pelo romance através de debates sobre a falsificação e o plágio, que remetem a duas noções maiores e mais importantes: autoria e originalidade. O romance questiona a presente demanda por originalidade e discute a possibilidade de ser original. Ele formula uma estética baseada em reconhecimentos que é defendida no romance e usada pelo autor na tessitura do texto. A fim de atingir seus objetivos, este trabalho apresenta os diferentes conceitos associados aos termos originalidade e original, assim como alguns das principais violações relacionadas a eles na sociedade contemporânea. Também oferece um histórico do desenvolvimento dos conceitos de originalidade e autoria na sociedade ocidental, mostrando a crescente importância da figura do autor e o desenvolvimento paralelo dos conceitos de plágio e direito autoral. Os capítulos seguintes dedicam-se a tentar fornecer um relato do romance enfocando os principais personagens, todos artistas, e também uma análise do romance à luz do background histórico e teórico apresentado nos dois primeiros capítulos. O primeiro desses capítulos de análise enfoca a trajetória de Wyatt e suas concepções artísticas. O segundo os reflexos de Wyatt na narrativa, que reforçam a estrutura auto-reflexiva do romance. E o terceiro exemplifica e analisa a estética de Wyatt baseada na noção de reconhecimento, que nada mais é do que a própria estética usada por Gaddis na composição de sua ficção. / William Gaddis’s The Recognitions (1955) is a selfreflexive novel that portrays Wyatt Gwyon’s trajectory from childhood to maturity, as he rejects and searches for originality. The present work bestows an analysis of William Gaddis’s The Recognitions focusing on the problematization of originality and authorship proposed by the novel by means of the central issues of forgery and plagiarism, which bring with them two larger and more important sister-notions: authorship and originality. The novel questions the prevailing demand for originality and discusses the possibility of being original. It formulates an aesthetics of recognitions defended in the novel and used by the author in the making of this text. In order to do that, this work provides a view on the different concepts associated with the terms originality and original, as well as some of the main infringements related to them in contemporary society. It also offers an account of the development of the concepts of originality and authorship in Western society, showing the growing importance of the figure of the author and the parallel development of the concepts of plagiarism and copyright. The next three chapters are dedicated to attempt to provide an account of William Gaddis’s The Recognitions focusing on the main artist characters and an analysis of the novel in the light of the theoretical and historical background provided. The first of these chapters focuses on Wyatt’s trajectory and his visions of art. The second identifies and analyses Wyatt’s mirrors in the narrative, which reinforce the self-reflective structure of the novel. And the third chapter exemplifies and analyses Wyatt’s aesthetics of recognitions, which turns out to be Gaddis’s own aesthetics in the making of his fiction.

Orientador: Jose Oscar de Almeida Marques / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-05T10:53:39Z (GMT). No. of bitstreams: 1 Espindola_Arleide_D.pdf: 14796887 bytes, checksum: 0baf7e19443736ce9c02c5e690a4fe1f (MD5) Previous issue date: 2005 / Resumo: Essa tese se remete às fontes de leitura de Rousseau no pensamento antigo. Ela pretende mostrar, de um lado, que Rousseau beneficiou-se de sua leitura compenetrada, especialmente, dos livros de Sêneca. Assim, pode-se identificar pressupostos senequianos e estóicos em sua obra, sobretudo no âmbito de sua reflexão moral. De outro lado, o trabalho pretende afastar a suspeita de plágio que recai sobre o filósofo genebrino. Embora tenha extraído proveito de seu contato com os trabalhos do pensador estóico, Rousseau surge como um filósofo inovador no plano de sua reflexão moral / Abstract: This thesis looks forward to the sources of Rousseau¿s reading of the old thinkers. It intends to show, on the one hand, that Rousseau benefitted from his careful reading, especially, of the books of Sêneca. Thus, it can identify senequians and stoic pressupositions in his work, above all in the field of its moral reflection. On the other hand, the work intends to dismiss the suspicion of plagiarism that falls on the philosopher genebrino. Although he benefitled from his contact with the stoic thinker¿s works, Rousseau appears as an innovative philosopher in the plan of his moral reflection / Doutorado / Doutor em Filosofia

Orientador: Graziela Estela Fonseca Rodrigues / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T12:05:53Z (GMT). No. of bitstreams: 1 Teixeira_PaulaCaruso_D.pdf: 21269239 bytes, checksum: 9c82e0b5eb0ec0175fed3b28d2357a5a (MD5) Previous issue date: 2014 / Resumo: Este trabalho tem por finalidade principal desvendar como foram as origens da criação em 1980, do método de pesquisa e criação em dança Bailarino-Pesquisador-Intérprete (BPI) e do seu desenvolvimento no primeiro percurso da sua criadora (1980-1987), Graziela Rodrigues. Descobrir o que da sua formação em diversos métodos, sistemas e técnicas de dança e de teatro e em linguagens afins influenciou no BPI, bem como o que do contexto histórico da dança no Brasil dos anos 70 e 80. Para responder à essas indagações, a autora fez pesquisas bibliográficas e documentais, mas, sobretudo, pesquisas de campo, através da realização de dezoito entrevistas semiestruturadas inclusive com a própria criadora do BPI e o restante, na sua maioria, com artistas que trabalharam e conviveram com ela no período histórico de 1970-1987. Após a análise dessas entrevistas e o levantamento das suas categorias, dialogou os dados relevantes coletados de campo com os dados bibliográficos e documentais. Assim, a discussão desta tese revela novos dados sobre a história da dança no Brasil no período histórico estudado e sobre a história deste método, das suas origens, do seu nascimento até 1987. Depois dessas reflexões, a autora chegou a algumas conclusões, sendo que a principal é que por mais que o BPI ressoe o espírito dos anos 70 e 80 na história da dança no Brasil, ele apresenta uma originalidade em relação aos métodos, sistemas e técnicas que contribuíram para a formação da sua criadora / Abstract: The main purpose of this work is to disclose how the origins of the creation of the method of research and creation in (DRI) Dancer-Researcher-Interpreter in 1980 were and of its development in the first course of its creator (1970-1987), Graziela Rodrigues. Also discover what, from her education in several dance and theater methods, systems and techniques and in related languages, influenced the DRI, as well as what from the historical context of dance in the Brazil of the 1970¿s and 1980¿s. In order to answer these questions, the author made bibliographic and documentary research, but above all, fieldwork by having eighteen semi-structured interviews, including with the creator of DRI and the rest, mostly with artists who worked and lived with her in the historical period from 1970 to 1987. After analyzing these interviews and the gathering of its categories, she dialogued the relevant data collected from the field with the bibliographical and documental data. Therefore the discussion of this thesis reveals new data on the history of dance in Brazil in the historical period studied and on the history of this method, its origins and its birth until 1987. After these reflections, the author came to some conclusions and the main one is that to whatever degree the DRI resounds the spirit of the 70s and 80s in the history of dance in Brazil, it shows an originality in relation to the methods, systems and techniques which contributed to the education of its creator / Doutorado / Artes da Cena / Doutora em Artes da Cena

The thesis focuses on the possibility of designing an original concept of integration of art education with English language. The theoretical part primarily deals with the issues of creativity and originality in teaching art education, with the possibility of connecting art education and English language education and with the concept of language as a code. In the didactic-research part a didactic project based on authorial approach to integration of English language in art education is created, put into practice and critically evaluated. The first realization of the project aims to verify the possibility of its conduction and to evaluate the project from students' point of view. It is followed by the second realization, which is used for purposes of a research inquiry focused on gathering findings concerned with the integration of art education with English language in the realization of authorial project of interdisciplinary teaching. In the research part author's own reflections of the lessons, selected reflections of the students and selected students' art works (gathered during the realization of the project) are analysed. The inquiry includes questionnaires focused on teaching approaches of art teachers at school where the project took place. Combined partial findings conclude to specific...

The thesis examines the expanding relationship between Artificial Intelligence (AI) and art. Through research, interviews, and a survey, the study concludes that AI has a significant impact on art, both positively and negatively. The findings suggest that AI can serve as a helpful tool for artists in creating new artwork, but can also pose a threat due to less job opportunities. Additionally, the thesis addresses ethical concerns surrounding the use of AI in art, such as authorship and the lack of diversity in AI-generated art. The research suggests for visual artists to use AI as a tool to enhance their process and thrive where the AI lacks. AI art is not meant to replace visual artists, and the study is made to understand the connection between technology and art.

This thesis aims to critically examine the relationship of digital technology and the modern art gallery in order to find the possible role of art galleries in the future. The integration of technology and the modern art gallery can change the way people experience art in built space. In order to examine this, certain questions needed to be asked. The most important of these questions is authenticity and originality in a digital art gallery. What if, in order for the notion of originality to exist, it needs the notion of the copy; a kind of parasite. What if we don’t consider them as opposites, but rather as variables of a knot. What if there was never an original voice, but only writing. The process of writing itself undermines any notion of a primary original. It creates a space of difference, a gap. The space from one letter to the next, from one word to the next, from the graphite to the paper, and to continue to the digital, the space from 1 to 0. The difference described by Derrida in of Gramatology is the idea of difference through “trace.” Derrida says “The trace is in fact the absolute origin of sense in general. Which amounts to saying once again that there is no absolute origin of sense in general. The trace is the difference which opens appearance and signification.” Through a process of language study a series of spatial conditions were derived from a structured process of analyzing trace. This series of spatial conditions were then used to design the interior and exterior spaces along with arranging the buildings program and circulation through the new University Gallery. These spatial conditions allowed for a development of space that looked beyond simple geometric forms to form genuine experiences derived from a process.

[pt] O presente trabalho de dissertação tem como objetivo analisar os produtos artísticos produzidos por sistemas de inteligência artificial frente ao direito autoral brasileiro. Para isso, utiliza-se o método teórico dedutivo, abordando aspectos panorâmicos sobre a inteligência artificial e o que o ordenamento jurídico brasileiro vigente regula sobre os direitos autorais. Para tanto, se levará em conta a essencialidade do requisito da originalidade para a proteção de obras autorais a fim de compreender a possibilidade de se conferir proteção jurídica autoral aos produtos de máquina. Ademais, esta dissertação trará ainda uma reflexão sobre a diferença do processo criativo de humanos e máquinas e de possíveis problemas da atribuição de direitos autorais às máquinas. Dessa forma, analisaremos não só a possibilidade jurídica como também a pertinência e interesse em se atribuir direitos autorais a produtos artísticos, literários e musicais desenvolvidos pela inteligência artificial. Assim, diante do atual contexto em que máquinas produzem produtos artísticos similares às obras autorais de indivíduos humanos, este trabalho objetiva ser uma reflexão sobre a necessidade de se pensar em um regime jurídico adequado à proteção dos produtos artísticos produzidos pela inteligência artificial. / [en] This dissertation aims to analyze the artistic products produced by artificial intelligence systems in relation to Brazilian copyright. For this, the deductive theoretical method is used, addressing panoramic aspects of artificial intelligence and what the current Brazilian legal system regulates on copyright. Therefore, the essentiality of the originality requirement for the protection of copyright works is taken into account, in order to understand the possibility of granting copyright legal protection to machine products. In addition, this dissertation also contemplates a reflection on the difference between the creative process of humans and machines and possible problems of assigning copyright to machines. In this way, we will analyze not only the legal possibility, but also the relevance and interest in assigning copyright to artistic, literary, musical products developed by artificial intelligence. Thus, in view of the current context in which machines produce artistic products similar to the authorial works of human individuals, this work will be a reflection on the need to think of an adequate legal regime for the protection of artistic products produced by artificial intelligence.