Made available in DSpace on 2016-04-27T14:30:36Z (GMT). No. of bitstreams: 1 Mariana Aranha Moreira Jose.pdf: 4159305 bytes, checksum: e5e21854fd77ec7692d7c97af7166bc8 (MD5) Previous issue date: 2011-04-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The formative experience focuses on how the educator builds his authorship process. The problematic investigative aims to reflect on how the theory of interdisciplinarity allows researchers, teachers trained and in training to become authors. The setting of research methodology makes use of narrative language, which is assumed as a metaphorical figure to find the concept of the legitimacy of authorship on educational issues. The dialogue between the personal and professional experiences narrated and explained creates educational realities that give shape to the investigation. For hermeneutics interprets the observed phenomena to understand the construction of knowledge as a way of being. This thesis is organized in seven sections, starting with a narrative that reflects the stages of the authorship process by encouraging their further development and discussion. The entire narrated is built from parts chosen that, according to Bruner (2001), raises interpretations. "From actor to author of the educational process" presents the methodological approach adopted. "Being an actor" begins with an extract from the book "Reinações of Narizinho," of Lobato (1988-1989), in order to enter discussions about what it means to be an actor in education. "Being author of" notes that researchers in education can be considered authors, phenomenon observed in the interpretation of dissertations and theses in the Research Line "Interdisciplinary" between the years 2000 to 2010. "From actor to author" suggests that, besides the researcher, the teacher can also be an author. The word of the teacher gives him authority over the education. Not an imposed authority, but won by his knowledge, his speech and his attitudes. For the investigative approach in the face of reality that surrounds him, the teacher assumes characteristics of authorship. "The author Interdisciplinary" dares to consider his authorship as one of the principles inherent to the Interdisciplinary Theory proposed by Fazenda (2001). "The meaning of authorship" seeks to answer one last question: "What is the meaning of being an author in education?". Refers to the signification of the concept of meaning, based on Frankl (1989a), to verify the possibility of understanding of meaning in the realization of creative, experiential and attitudinal values. The partial considerations show clearly the possibility of researchers, trained and in training teachers to be authors in education. When narrating their stories of personal and professional life can produce on another the understanding of what is done and thought about what is made by someone in building of the educational process / A experiência formativa enfoca como o educador constrói o seu processo de autoria. A problemática investigativa objetiva refletir sobre como a Teoria da Interdisciplinaridade permite que pesquisadores, professores formados e em formação se tornem autores. A configuração metodológica da pesquisa utiliza-se da linguagem narrativa, que se assume como figura metafórica para encontrar o conceito da legitimidade da autoria sobre assuntos educacionais. O diálogo entre as experiências pessoais e profissionais narradas e explicitadas cria realidades educativas que dão contorno à investigação. Pela hermenêutica interpreta os fenômenos observados para compreender a construção de um conhecimento como um modo de ser. Esta tese organiza-se sete seções, iniciadas por uma narrativa que traduz as etapas do processo de autoria, incitando seu aprofundamento e discussão. O todo narrado se constrói a partir das partes escolhidas que, segundo Bruner (2001), suscita interpretações. De ator a autor do processo educativo apresenta o percurso metodológico adotado. Ser ator inicia com um trecho da obra Reinações de Narizinho , de Lobato (1988-1989), a fim de introduzir as discussões acerca do que significa ser ator em educação. Ser autor constata que os pesquisadores em educação podem ser considerados autores, fenômeno observado na interpretação das dissertações e teses defendidas na Linha de Pesquisa Interdisciplinaridade entre os anos de 2000 a 2010. De ator a autor aponta que, além do pesquisador, o professor também pode ser autor. A palavra do professor dá-lhe autoridade sobre o ensino. Não uma autoridade imposta, mas conquistada por seu conhecimento, por sua fala e por suas atitudes. Pela postura investigativa diante da realidade que o cerca, o docente assume características próprias da autoria. O autor Interdisciplinar ousa considerar a autoria como um dos princípios inerentes à Teoria da Interdisciplinaridade proposta por Fazenda (2001). O sentido da autoria procura responder a uma última questão: Qual o sentido de ser autor em educação? . Recorre ao significado do conceito de sentido, fundamentado em Frankl (1989a), para constatar a possibilidade de compreender o sentido na realização de valores criativos, vivenciais e de atitude. As considerações parciais deixam evidente a possibilidade de pesquisadores, professores formados e em formação serem autores em educação. Ao narrarem suas histórias de vida pessoais e profissionais podem produzir no outro a compreensão daquilo que se faz e do que se pensa sobre o que se faz na construção do processo educativo

This thesis examines the portrayal of authorship in Byatt’s novels with a particular focus on her use of character-authors as a site for the destabilisation of dominant literary and cultural paradigms. Byatt has been perceived as a liberal-humanist author, ambivalent to postmodern, post-structuralist and feminist literary theory. Whilst Byatt’s frame narratives are realist and align with liberal-humanist values, she employs many different genres in the embedded texts written by her character-authors, including fairy-tale, life-writing and historical drama. The diverse representational practices in the novels construct a metafictional commentary on realism, undermining its conventions and conservative politics. My analysis focuses on the relationship between the embedded texts and the frame narrative to demonstrate that Byatt’s strategies of representation enact a postmodern complicitous critique of literary conventions and grand narratives. Many of the female protagonists and minor characters are authors, in the broad sense of cultural production, and Byatt uses their engagement with representation of women in literature to pose questions about how cultural narratives naturalise patriarchal definitions of femininity. That Byatt’s female characters resist patriarchal power relations by undermining the cultural script of conventional femininity has been under-explored and consequently critics have overlooked significant instances of female agency. Whilst some branches of postmodern and feminism literary theory have conceptualised agency differently, this thesis emphasises their shared analysis of the discursive construction of subjectivity, as it illuminates Byatt’s disruption of literary conventions. My focus on the embedded texts and the discursive construction of authorship in Byatt’s fiction enables me to address the numerous paradoxes and inconsistencies in the novels as fertile sites that undermine Byatt’s presumed politics.

[pt] Este trabalho está inserido no contexto de ambientes de autoria e execução hipermídia, sendo as linguagens declarativas para autoria de documentos o seu foco principal. Partindo de um estudo sobre linguagens de descrição de arquitetura (ADL), utilizadas para especificar arquiteturas de sistemas de software, esta tese identificou facilidades presentes em ADLs que poderiam ser aplicadas ao domínio hipermídia, com vantagens. Tendo como objetivo aumentar a expressividade e o reuso na especificação de relações em linguagens de autoria hipermídia, este trabalho introduziu o conceito de conector hipermídia, que tem função semelhante a dos conectores em ADLs, ou seja, a de representar relações entre componentes de um documento. Além de conectores, este trabalho também introduziu o conceito de template de composição hipermídia, que tem função semelhante a dos estilos arquiteturais em ADLs, ou seja, a de representar estruturas genéricas de nós e elos que podem ser reutilizadas em vários documentos distintos. Para realizar a validação dos conceitos apresentados, a versão 2.0 da linguagem de autoria hipermídia NCL - Nested Context Language, baseada no modelo conceitual NCM - Nested Context Model, foi desenvolvida e integrada ao sistema hipermídia HyperProp, incorporando as novas facilidades. A linguagem NCL 2.0 foi desenvolvida utilizando uma estrutura modular, seguindo os princípios adotados pelo W3C. Sendo assim, seus módulos para especificação de conectores e templates de composição, chamados XConnector e XTemplate respectivamente, podem ser incorporados a outras linguagens existentes, como por exemplo, XLink, XHTML e SMIL, usadas para autoria de documentos na Web. Esta tese também propõe extensões a essas linguagens, exemplificadas pela incorporação das facilidades de XConnector e XTemplate ao padrão XLink. / [en] This work is related to hypermedia authoring and execution environments, and its main focus is declarative document authoring. Starting from studies about architectural description languages (ADL), which are used for specifying software system architectures, this thesis identified facilities found in ADLs that could be applied to the hypermedia domain, with advantages. Aiming at improving the expressiveness and reuse in the specification of relations in hypermedia authoring languages, this work introduced the concept of hypermedia connector, which has a role similar to ADL connectors, that is, representing relations among components of a document. Besides connectors, this work also introduced the concept of hypermedia composite template, which has a role similar to architectural styles in ADLs, that is, representing generic structures of nodes and links that can be reused in several distinct documents. As a validation of the proposed concepts, the 2.0 version of the NCL - Nested Context Language - hypermedia authoring language, based on the NCM - Nested Context Model - conceptual model, was developed and integrated to the HyperProp hypermedia system, incorporating the new facilities. The NCL 2.0 language was developed using a modular structure, following the principles adopted by the W3C - World-Wide Web Consortium. Thus, its modules for the specification of connectors and templates, respectively called XConnector and XTemplate, can be incorporated to other existent languages, such as XLink, XHTML and SMIL, used for web document authoring. This thesis also proposes extensions to these languages, exemplified by the incorporation of XConnector and XTemplate facilities into the XLink standard.

On considère volontiers que la légende est un objet que se partagent les communautés « extra-modernes ». Traditionnelle, elle est donc lointaine dans le temps et/ou dans l’espace. C’est cette légende qu’étudient, par exemple, les anthropologues. Une autre alternative consiste à penser que la légende est, au contraire, très proche de notre « modernité ». Elle est alors urbaine ou contemporaine, n’est plus vraiment une légende mais une rumeur et s’impose comme le terrain privilégié des « rumorologues ». Traditionnelle, elle se manifeste ainsi dans un ailleurs de la modernité urbaine ; moderne, elle s’y incarne, mais n’est plus traditionnelle. En somme, on refuse à la légende, en tant qu’objet traditionnel, une opérativité socioculturelle à l’intérieur de nos propres sociétés. Or, si les guides les médiatisent, c’est bien qu’elle possède cette opérativité. Toute la question est de savoir comment la définir. À partir d’analyses sémiotiques menées sur un corpus de guides généralistes présentant New York et l’Écosse (Le Routard, les guides Bleu, Vert et Voir, le Lonely Planet, le Petit Futé et la Bibliothèque du voyageur) mais aussi de guides « spécialisés » (Guide du Paris mystérieux, Le Guide de la France mythologique et les Sites mystérieux et légendaires de nos provinces françaises), cette étude qui défend une approche communicationnelle se propose d’aborder le légendaire – à savoir les légendes et la façon dont elles sont commentées par les guides – comme un objet de discours capable d’instituer un certain rapport à la culture qui serait de l’ordre de la curiosité ou de l’insolite. La première partie met ainsi en évidence le fait que le légendaire se manifeste comme un objet anecdotique dans les guides de voyage. Ceux-ci disent, en effet, le caractère extraordinaire du référent légendaire tout en postulant et/ou en instituant, cependant, son insignifiance du point de vue culturel. Anecdotique, le légendaire est, en outre, insaisissable. C’est ce que montre la seconde partie en se concentrant sur la façon dont les guides font des énoncés légendaires des objets proprement inclassables : curieux, ils disent l’étrangeté de l’ordre du monde ; insolites, ils ne disent rien de plus que leur incongruité. S’il est à la fois anecdotique et insaisissable, comment se fait-il que le légendaire fasse pourtant culture ? La troisième partie répond à cette question en montrant que c’est précisément parce qu’il se définit comme tel qu’il fait culture. Ainsi, le légendaire est un objet de discours qui permet, à celui qui le dit, de se manifester dans le monde social à travers une forme d’auctorialité définie par une désinvolture à l’égard des hiérarchies de valeurs traditionnelles. Par ailleurs, elle montre qu’il est un objet de discours qui se livre au lecteur/voyageur dans le but d’être réitéré. Autrement dit, le légendaire circule, à partir de ces dispositifs touristiques que sont les guides, en proposant à ceux qui se l’approprieraient de renverser ou de détourner l’ordre culturel ; d’habiter le monde en tant qu’il est social, le temps infime de l’énonciation légendaire / It is a widespread thought that legends are either traditional or modern, but never both at the same time. When traditional, they are supposed to be told in far away countries, in space and/or in time. These legends are usually studied by anthropologists. When urban, they stop being traditional and are not really legends anymore. They are called “rumours” and are mostly studied by “rumourologists”. However, their presence in travel guides shows that they do have an operativity as traditional objects in our modern culture. Starting with a semiotic analysis of some French-written travel guides conducted through a communicational perspective, this research aims to show that legendary speech – i.e. legends and the way they are told and commented in travel guides – is an object that can institute a specific relationship to culture identified as curiosity or uniqueness (“insolite” in French). The first part of the research enlightens the fact that legendary speech appears as an anecdotal object in travel guides. Indeed, these books suggest that legendary speech does say something extraordinary, but they also seem to believe or want to prove that it is insignificant from a cultural point of view. Anecdotal, legendary speech is also elusive. It is what the second part of the research shows focusing on the way travel guides manage to build up the impossibility to classify this kind of speech. When curious, legendary speech tells us about the strangeness of the world order. When unique, it says no more than its own incongruity. If legendary speech is at the same time anecdotal and elusive, what makes it cultural? The third and last part of the research answers this question. It shows that legendary speech does deal with culture precisely because it appears as both anecdotal and elusive. It is an object of discourse that allows the one who implements it to come out into the social world as an “author”, in the sense that one signs a cultural point of view characterized by a certain casualness towards the common hierarchy of values. It also shows that this speech is delivered to the reader/traveller in order to be reiterated. In other words, the possible circulation of this speech, from travel guides to tourists, suggests that it can be appropriated, so as to reverse or divert the cultural order, so as to inhabit, for the one who says it, the social world, the fractional time of its enunciation

<p>Almost any large-scale system can be viewed as a network that shows interac-tions among entities which are constituent parts of the system. The focus of this<br />dissertation is on complex networks from three domains: (1) networks extracted<br />from source code of computer programs that represent design of software systems,<br />(2) networks extracted from semantic web ontologies that describe the structure<br />of shared and reusable knowledge, and (3) networks extracted from bibliographic<br />records that depict collaboration in science. We proposed new methods for the<br />extraction of networks from mentioned domains. Secondly, on several case stud-ies we demonstrated benets of network-based analysis of concrete systems from<br />those domains. In contrast to the previous work on the subject, analyses pre-sented in this dissertation are not purely topological, but combine techniques and<br />metrics developed under the framework of complex network theory with domain-dependent metrics.</p> / <p>Skoro svaki kompleksan sistem se može predstaviti mrežom koja opisuje interakcije izmedju entiteta od kojih je sistem komponovan. Fokus ove disertacije je na&nbsp;kompleksnim mrežama iz tri domena: (1) mreže ekstrahovane iz izvornog koda&nbsp;računarskih programa koje reprezentuju dizajn softverskih sistema, (2) mreže ekstrahovane iz ontologija semantičkog web-a koje opisuju strukturu deljenog znanja&nbsp;pogodnog za vi&scaron;ekratnu upotrebu, i (3) mreže ekstrahovane iz bibliografskih zapisa koje opisuju saradnju istraživača. U okviru disertacije predložene su nove&nbsp;metode za ekstrakciju mreža iz pomenutih domena. Drugo, na nekoliko studija&nbsp;slučaja ilustrovani su beneti mrežno orjentisane analize konkretnih sistema iz&nbsp;domena obuhvaćenih disertacijom. U poredjenju sa prethodnim relevantim istraživanjima, analize prezentovane u disertaciji nisu čisto topolo&scaron;ke, nego kombinuju tehnike i metrike razvijene u okviru teorije kompleksnih mreža sa metrikama iz konkretnog domena.</p>

A escrita de Samuel Rawet é formada por peculiaridades que demandam um leitor atento e crítico quanto à forma de abordagem e interpretação do texto, de maneira que suas linhas de força (Waldman, 2004) sejam entrevistas como potencialidades de sentidos. O lugar-comum rawetiano, conceito inevitavelmente impreciso formulado a partir dos contos analisados, mostra ser uma forma de abordagem frutífera e coerente ao texto rawetiano em geral, ao privilegiar elementos textuais e se juntar a outras abordagens à obra de Rawet, trazendo questões como identidade, alteridade, literatura judaica e autoria, dentre outras. Como pontos de partida problematizantes são tomados a figura de Ahasverus em Crônica de um vagabundo, a estrutura aberta e a metalinguagem em Kelevim, o conto dentro do conto em Reinvenção de Lázaro, e o sonho em Sôbolos rios que vão. Algumas dessas questões permeiam mais de um dos contos, como a autoria (Crônica..., Sobolos..., Kelevim). A estrutura aberta de Kelevim, por sua vez, permite análises comparativas com o ensaio-crônica Diário de um candango, sobre o livro de memórias de Marques da Silva, que leva o mesmo título. Ao final, as linhas de força são seguidas ainda mais longe, e arrisca-se uma rápida aproximação com as artes plásticas que conclui este trabalho com uma abertura que atesta a riqueza e validade da obra de Rawet. / The writing of Samuel Rawet consists of peculiarities that demand a careful and critical reader who could approach to and interpretate his writings, in order to realize its \"lines of force\" (Waldman, 2004) as potential paths of meanings. The rawetian commonplace, inevitably imprecise concept formulated from the short stories analyzed, shows a fruitful and coherent approach to rawetian text, privileging the textual elements and joinning to the other approaches to Rawets work, bringing up issues like identity, otherness, Jewish literature and authorship, among others. As controversial themes, I focus on Ahasverus in \"Chronicle of a tramp\", the open structure and metalanguage in \"Kelevim\", the story within the story on \"Reinvention of Lazarus,\" and dream on \"Over the flowing rivers\". Some of these issues goes along more than one story, such as authorship (\"Chronicle\", Over...\",\"Kelevim\"). The open structure of \"Kelevim\", on the other hand, allows comparative analyzes with the chronicle-essay \"Diary of a candango\", about the same-titled memoirs of Marques da Silva. Finally, the lines of foces are followed even further, and I dare a quick approximation to the visual arts that ends this thesis with an aperture that attests the wealthy and valuable works by Rawet.

La Bouquechardière est une histoire universelle moralisée écrite à partir de 1416 par Jeande Courcy, un chevalier normand. En dépit de cette appropriation plutôt inhabituelle d’un genrehistorique particulièrement ancré dans la théologie, le texte de Jean de Courcy a peu suscitél’intérêt de la critique. Notre présent travail vient combler cette lacune en questionnant lamanière dont l’auteur laïque revisite les codes historiques et homilétiques qui constituaientjusque-là l’apanage des clercs. À un niveau plus large, notre étude permet aussi de cernerdavantage la variabilité d’un panorama auctorial et d’une communication littéraire en pleineévolution à la fin du Moyen Âge. Issu d’une culture laïque, Jean de Courcy doit imposer sacrédibilité à la fois intellectuelle et morale dans le champ des écritures. Sans usurper les rôlesdu clerc ou de l’intellectuel, il crée sa propre fonction auteur : celle de l’écrivain amateur quifonde sa légitimité sur une expérience acquise dans le monde, une accumulation du savoir parla lecture et une attitude dévotionnelle. Son approche chrétienne et édifiante de la lecturedétermine le choix d’écrire une histoire antique à une époque où les écrivains ont plutôttendance à réagir à l’actualité. En effet, la manière dont il ordonne, compile, sélectionne etrecompose la matière trahit une forte soumission de l’histoire à la perspective eschatologique.Traçant un continuum historique des acteurs de l’Antiquité jusqu’au lecteur contemporain, lecompilateur crée les conditions nécessaires à son actualisation. La finalité spirituelle de lalecture autorise alors l’insertion surprenante des fables ovidiennes dans la trame historique. Lafiction mythologique historicisée contient un potentiel herméneutique : elle s’offre comme unsigne de Dieu à déchiffrer au moyen d’une méthode analogique et allégorique. C’est donc enlecteur modèle que Jean de Courcy apprend à son lecteur à fixer le sens des mots et des chosespour qu’au moment de refermer le livre, le processus de refiguration de l’histoire voit le jour.En d’autres termes, la lecture mène à la conversion spirituelle. / The Bouquechardière is a moralized universal history written from 1416 by Jean deCourcy, a Norman knight. Despite this rather unusual appropriation of a historical genreparticularly rooted in theology, Jean de Courcy's text has not aroused much critical interest. Ourpresent work fills this gap by questioning the way in which the lay author revisits the historicaland homiletic codes that were until then the prerogative of clerics. On a broader level, our studyalso makes it possible to better identify the variability of an auctorial panorama and a literarycommunication in full evolution at the end of the Middle Ages. Coming from a secular culture,Jean de Courcy must impose his intellectual and moral credibility in the field of writing.Without usurping the roles of the cleric or the intellectual, he creates his own « fonctionauteur »: an amateur writer who bases his legitimacy on an experience acquired in the world,an accumulation of knowledge through reading and a devotional attitude. His Christian andedifying approach to reading determines the choice to write an Ancient History at a time whenwriters tend to react to current events. Indeed, the way in which he ordered, compiled, selectedand recomposed the material reveals a strong submission of history to the eschatologicalperspective. Tracing a historical continuum from the actors of Antiquity to the contemporaryreader, the compiler creates the necessary conditions for its actualisation. The spiritual purposeof the reading then allows the surprising insertion of Ovidian fables into the historicalframework. Historicalized mythological fiction contains a hermeneutical potential : it is offeredas a sign of God to be deciphered by using an analogical and allegorical method. It. As a modelreader, Jean de Courcy teaches his own reader to fix the meaning of words and things, so thatwhen the book is closed, the process of « refiguration » of history is born. In other words, thereading leads to spiritual conversion.

In recent years, there has been extensive debate in the area of literary criticism, much of it focused on real or imagined differences between male and female texts. French feminist theorists, Helene Cixous and Luce Irigaray, to name a few, argue that biological differences necessitate textual differences, while others reject this essentialist position, considering it just another means for perpetuating the notion of female inferiority. Many linguists assert that women use language differently than men, and that texts reflect these differences. But in order to analyze the origin of any textual differences, it is necessary to look beyond biology and linguistic performance, to concentrate on psychology and its wider implications in the cultural world. Because Brigitte Schwaiger's text, Wie kommt das Salz ins Meer. contains a number of elements which underscore the extent that psychology and culture influence text production, it will serve as the focus of this paper. While this work can be classified as a female Bildungs- or Reifungs-roman - a narrative about the development of a modem consciousness and the attendant struggles involved - it serves in a wider sense as an example of the "difference" argued by many feminists between male and female texts.

Authorship is not merely an act of putting pen to paper or fingers to keyboard; it is a social identity performance that includes the use of multiple media. Authors must be hyper- visible to cut through the dearth of information, entertainment options, and personae vying for attention in our supersaturated media environment. As they enter the literary world, writers consciously create characters and narratives around themselves, and through the consistent and believable enactment of these features, authors are born. In this dissertation, I analyze the performance of authorship in U.S. literary culture through an interdisciplinary framework. My work pulls from authorship studies, performance studies, celebrity/persona studies, and sociological studies of art to uncover how writers create and disseminate their authorial identities. The writers used in this project embody four types of authorial identity: Jonathan Franzen as the professional artist, David Foster Wallace as the Romantic genius, Tao Lin as the digital eccentric, and Roxane Gay as the Intersectional Feminist. These writers flirt with popular recognition, but they remain tied firmly to the serious, or in a Bourdieuvian sense, restricted area of cultural production. As my case studies progress, I highlight how print, audio/visual, and digital media are used or not used by these writers as sites for their performances. I claim that as writers develop their characters on such digital platforms as Twitter and Tumblr that they are more accepting of the validity of digital authorship. However, this acceptance is diminished by the dominant role print media have in the conceptions of authorship. The varying ways literary tradition, media, and celebrity intersect are brought to the forefront in these examples, shedding light on the need for larger conceptions of authorship in the literary world. My interpretation of authorship as social identity performance broadens a relatively restrictive and, in many ways, stagnant area, adding nuance to how literary culture actively works to maintain and dilute the value of one of its most prominent features.

His Story takes the form of a fictive but autobiographically based investigation into the child and young adult I used to be, and follows that protagonist into early adulthood. It tries to show the damage done to that character and the way in which he damaged others in turn. As Hemingway said, We are all bitched from the start and you especially have to hurt like hell before you can write seriously. More importantly, the main protagonist is somebody who became concerned with, and cognizant of the main political and social events of his day. His life is set in its social context, and reaches out to the larger issues. That is to say, the personal events of the protagonist's life are recorded alongside and set in the context of the major events taking place on the world stage. The manuscript is some sort of hybrid of novel, autobiography, and historical and social document. As Isaac Bashevis Singer said, The serious writer of our time must be deeply concerned about the problems of his generation. In order to make His Story effective in sharing my ideas and beliefs, and, of course, in order to protect the innocent and more particularly, the guilty, it is created in the colourful area that is the overlap between memory and fiction. When we tell the stories of our lives to others, and indeed, to ourselves, we prise them out of memory's fingers and transform them into fiction. To write autobiography well, as E.L. Doctorow said, you have to invent everything, even memory.