Legal aspects of Artificial Intelligence Abstract Similarly to other new technologies, the legal regulation of artificial intelligence is still somewhat behind its rapid expansion and frequent use in the daily activities of the general population. For this reason, this diploma thesis deals with the currently used and future legislation in this area. As the general concept and the issue of liability have already been addressed in previously published academic works, this text focuses mainly on aspects of copyright law. The main goal is to explain the current concept of the role of artificial intelligence in Czech copyright regulation and its pitfalls. In the next phase, the text presents the options of the legal concept of artificial intelligence abroad and their influence on potential further development at both the European and Czech level. The first chapter introduces the basic concepts, especially the concept of artificial intelligence itself. It describes the history of its origin and the fragmentation of views on its definition as well as its consequences for society. Within the understanding of artificial intelligence as a technology, one of the subchapters is also devoted to the comparison of its various divisions and types, in order to create a realistic idea of the current boundaries of its...

Esta investigación tiene como objetivo principal determinar la influencia de la digitalización en el diseño de las portadas de álbumes y sencillos discográficos del rock peruano desde 2015 hasta 2019. Es por esto que se planteó como hipótesis que la digitalización no tiene una influencia directa con respecto a la creación del concepto y elección de elementos o técnicas para el desarrollo del diseño de carátulas discográficas. La presente investigación corresponde a la categoría de enfoque qualitativo, debido a que se centró en un análisis de contenido de un total de 20 portadas discográficas, diez de ellas pertenecientes al marco temporal delimitado y las otras diez fueron carátulas elaborabas antes de la fecha seleccionada. Además, se realizaron entrevistas a dos informantes claves para obtener más información que complemente los resultados alcanzados a partir de los análisis. Entre los principales resultados podemos encontrar que el diseño discográfico del rock peruano presenta un nivel de literalidad en sus diseños, tanto en la era digital como en los diseños que fueron elaborados previamente. También se logró evidenciar que hay una diferencia con los elementos indispensables en el diseño de discográfico realizado en la era digital en comparación con el anterior a este. Por último, se logró concluir que a pesar que la función original de vestir el empaque ya no es la más importante, el rol de la portada de un álbum sigue siendo relevante, ya que sirve como una herramienta publicitaria para dar a conocer la existencia de producción musical. / The main objective of this research is to determine the influence of digitalization on the design of album covers of peruvian rock bands from 2015 to 2019. This is why it was hypothesized that digitalization does not have a direct influence on the creation of the concept and choice of elements or techniques for the development of the design of album cover artwork. This research corresponds to the category of qualitative design, because it focused on a content analysis of a total of 20 record covers, ten of them belonging to the defined time frame and the other ten were covers that were made before the selected date. In addition, two key informants were interviewed to obtain more information to complement the results obtained from the analysis. Among the main results, we can find that the peruvian rock record cover artwork presents a level of literalness in their designs, both in the digital age and in the designs that were previously elaborated. It was also possible to show that there is a difference with the indispensable elements in the record design carried out in the digital age compared to the previous one. Finally, it was concluded that although the original function of dressing the packaging is no longer the most important, the role of an album cover is still relevant, as it serves as an advertising tool to publicize the existence of every music production. / Trabajo de investigación

No description available.

No description available.

The dissertation deals with visuality, its perception by pupils of the secondary school. The theoretical part of the work defines the concept of image, visuality, their contextual frameworks. It takes into account the discursivity of these concepts. The aim of the research is to determine students' preferences in the concept of visuality. It seeks theoretical foundation in the areas of: visual sphere - artistic production, new media; art history; spheres of humanities - philosophy, pedagogy, psychology. It also deals with communication and linguistics. It applies knowledge of a semiotic nature. Research design is applied action research of a qualitative nature. It uses the methodology of Grounded Theory and triangulation. The research part of the thesis contains evaluated questionnaire surveys, reflecting selected artifacts. Interpreted student outcomes. These are evaluated using the obtained data to answer research questions. The thesis brings a new perspective on visual information, from the perspective of the pupil. KEYWORDS Visuality, Discourse, Picture, Sign, Pupils artwork, Qualitative research

The purpose of this study is to conduct a thematic linguistic analysis of survey responses to museum-quality images depicting various Native American and white settler encounters. The survey asked participants to provide written responses (fill in the blank prompts) to a selection of twelve images composed of photographs and paintings representing one or more of three overarching themes: violence, immersion, and goodwill/collaboration. The research focused on four demographic groups: Latter-day Saints, Native Americans, museum employees, and total participants. Each response was individually analyzed by hand and assigned appropriate classification tags based on the types of words their responses contained including one or more of the following categories: positive, negative, neutral, pushed fear/propaganda, guilt, curiosity, questioning image/artist, questioning accuracy, loaded, wanting more information, and connection/empathy. After the initial analysis, I created word frequency corpuses to calculate word frequency for each image and group. The differing word frequency corpuses showed that high frequency 3 words did not change much among gender, age, or location but a large variation did exist among terms used less than five times. The identification markers that showed the most variance between interpretations of the artwork were museum employees and Native Americans.

This diploma thesis deals with selected legal questions regarding artwork in Czech Republic. Author focuses on artwork from copyright and civil legal perspective, specifically author´s rights and copyright and its legal protection (civil, administrative and criminal). It also addresses questions concerning licenses and licensing agreements, relation between artwork and its material object, buying and selling artwork, purchase agreement and other types of contract that artists usually encounter. The aim of this thesis is to identify the current state of legislation in this matter and issues that need to be addressed. Among other methods, author used a comparative method and a research in a form of survey in this thesis.

No description available.

A análise reflectiva sobre o universo das expressões humanas perpassa as questões culturais, étnicas e sociológicas que envolvem gênero, raça e classe. O trabalho artístico de Arthur Bispo do Rosario intriga e mobiliza questões para além dessas. A análise interpretativa da obra deve abranger, ainda, os aspectos estético-plásticos e psicológicos, que incidem fortemente no imaginário do artista. Abordar a pesquisa sob o ponto de vista da Moda, como trabalho em si, e seu sentido mais profundo, de atividade e expressão humanas e, ao mesmo tempo, articular conceitos de arte ressignificados e imbricados sob o prisma de um interno em uma instituição psiquiátrica, alienado do mundo, é a linha condutora deste trabalho. A presente pesquisa objetiva traçar um esboço que circunscreva essas questões, tomando como base uma bibliografia que abrange as artes, a sociologia, a filosofia e a moda. / The reflective analysis about the universe of human expression permeates cultural, ethnic, and sociological issues, involving gender, race and class. Arthur Bispo do Rosario artwork intrigues and mobilizes these questions beyond. The interpretative analysis of the work should cover the aesthetic-plastic, and psychological aspects, which focus heavily on the imagination of the artist. Aproaching the research from the point of view of fashion, as the work itself, and its deepest meaning, and expression of human activity, and, at the same time, articulating the concepts of art reframed and imbricated from the point of view of an inmate in a psychiatric institution, alienated from the world, is the initial step of this work. This research aims to trace an outline circumscribing these issues based on a bibliography covering the arts, sociology, philosophy and fashion.

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-04-19T11:54:17Z No. of bitstreams: 2 Dissertação - Fernando Ferreira da Silva - 2018.pdf: 1654717 bytes, checksum: 74fc34f20a97fdb6cf5ee975cc6b9c3d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-19T12:28:39Z (GMT) No. of bitstreams: 2 Dissertação - Fernando Ferreira da Silva - 2018.pdf: 1654717 bytes, checksum: 74fc34f20a97fdb6cf5ee975cc6b9c3d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-19T12:28:39Z (GMT). No. of bitstreams: 2 Dissertação - Fernando Ferreira da Silva - 2018.pdf: 1654717 bytes, checksum: 74fc34f20a97fdb6cf5ee975cc6b9c3d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present thesis proposes to investigate the aesthetic-philosophical programme developed by Walter Benjamin for the critique of art as outlined in his writings as a youth. The first part of this itinerary consists of the philosopher's doctoral dissertation entitled The Concept of Art Criticism in German Romanticism (Der Begriff der Kunstkritik in der deutschen Romantik). In this work, written between the years 1917 and 1919 and published in 1920, Benjamin reconstructs the concept of art criticism in the German first-romanticism [Frühromantik], according to the art theory of Friedrich Schlegel and Novalis. Although conceived as an analysis of romantic theory, the philosopher’s understanding in the context of his doctoral dissertation approximates the romantic assumptions of his own theoretical positioning, especially with regard to the requirement of objectivity in the task of artwork’s interpretation. At a later point in the essay Goethe's Elective Affinities [Goethes Wahlverwandtschaften], written during 1921 and 1922 and published in two parts in the years 1924 and 1925, Benjamin presents his own conceptual apparatus for the determination of that task, delineating more fully his conception of criticism. This essay is even defined as a philosophical critique of Goethe's novel The Elective Affinities, and thus his theory of art criticism is developed in parallel with the examination of the novel’s elements. Finally, his postdoctoral major academic work (Habilitation), Origin of the German Tragic Drama (Ursprung des deutschen Trauerspiels), written between 1916 and 1925 and published in 1928, presents in its preface a methodology of philosophical investigation directed to the representation (Darstellung) of the truth. As we shall try to show throughout this thesis, Benjamin's procedure for art criticism is characterized by a dialectical movement in which the interpreter delves deeper into the artistic object’s materiality, oscillating between its apparent beauty and its essential truth. Thus, Benjamin's conception of art criticism articulates, on a metaphysical plane, the ideas of truth and beauty, as well as determining the understanding of works of art through their historicity. / A presente dissertação propõe investigar o programa estético-filosófico desenvolvido por Walter Benjamin para a crítica de arte, conforme delineado em seus escritos de juventude. O primeiro momento deste percurso consiste na dissertação de doutoramento do filósofo, intitulada O conceito de crítica de arte no romantismo alemão [Der Begriff der Kunstkritik in der deutschen Romantik]. Nesta obra, escrita entre os anos de 1917 e 1919 e publicada em 1920, Benjamin reconstrói o conceito de crítica de arte do primeiro-romantismo [Frühromantik] alemão, segundo a teoria da arte de Friedrich Schlegel e Novalis. Embora concebido como uma análise da teoria romântica, a leitura efetuada pelo filósofo em sua dissertação de doutoramento aproxima os pressupostos românticos de seu próprio posicionamento teórico, especialmente no que se refere à exigência de objetividade no ofício de interpretação das obras de arte. Num momento posterior, no ensaio As afinidades eletivas de Goethe [Goethes Wahlverwandtschaften], escrito entre 1921 e 1922 e publicado em duas partes nos anos de 1924 e 1925, Benjamin apresenta seu próprio aparato conceitual para a determinação da tarefa de interpretação das obras de arte, delineando de modo mais completo sua concepção de crítica. Este ensaio define-se, inclusive, como uma crítica filosófica ao romance de Goethe, As afinidades eletivas, de modo que sua teoria da crítica de arte é desenvolvida em paralelo com o exame dos elementos do romance. Por fim, a tese de livredocência Origem do drama barroco alemão [Ursprung des deutschen Trauerspiels], elaborada entre 1916 e 1925 e publicada em 1928, traz em seu prefácio uma metodologia de investigação filosófica voltada para a apresentação da verdade. Como procuraremos mostrar ao longo deste trabalho, o procedimento atribuído por Benjamin à crítica de arte caracteriza-se por um movimento dialético, no qual o intérprete aprofunda-se na materialidade do objeto artístico, oscilando entre sua beleza aparente e sua verdade essencial. Desse modo, a concepção de crítica de arte do jovem Benjamin articula, num plano metafísico, as ideias de verdade e beleza, bem como determina a compreensão das obras de arte através de sua historicidade.