A dissertação Clarice Através do Ator traz pesquisa teórica, coleta de entrevistas, análise e descrição de procedimentos criativos para o trabalho do ator em montagens teatrais com a literatura de Clarice Lispector. A Paixão Segundo G.H. com Mariana Lima, direção Enrique Diaz; Simplesmente Eu, Clarice Lispector com Beth Goulart, supervisão Amir Haddad; e, Estrelas com Marilyn Nunes, direção Julia Varley - apresentados em 2002, 2009 e 2013, respectivamente - são as montagens escolhidas para amplificar o diálogo com a experiência prática da própria pesquisadora, diretora de montagens com a obra clariciana, O Ovo e a Galinha e Brincar de Pensar, realizadas em 2010 e 2014. Constam entrevistas com Enrique Diaz, Beth Goulart, Marilyn Nunes, Isabel Wilker e Lívia Vilela. / The thesis Clarice through of the actor presents theoretical research, collecting interviews, analysis and description of creative procedures for the actor to work with writings of Clarice Lispector in the theater. A Paixão Segundo G.H., with Mariana Lima, director Enrique Diaz; Simplesmente Eu, Clarice Lispector with Beth Goulart, supervision Amir Haddad; and Estrelas with Marilyn Nunes, director Julia Varley - presented in 2002, 2009 and 2013, respectively - are the plays chosen to amplify the dialogue with practical experience of the researcher, director of two plays with the literature of Clarice, O Ovo e a Galinha and Brincar de Pensar, presented in 2010 and 2013. The text include interviews with Enrique Diaz, Beth Goulart, Marilyn Nunes, Isabel Wilker and Livia Vilela.

AI technology is becoming more present in the area of innovation and creativity, an area that for so long has been reserved for humans. Intellectual property protection is a way to incentivise these innovations and creativity, but what happens to this incentive if we extend this protection to subject-matter that derives from AI-machines? Today, the legislation does not answer how such works should be treated and there are several complex intellectual property issues raised by AI-generated creations. The general public might believe that the answer is simple – when an AI-machine creates something, the owner of that creation ought to be the programmer of the AI. However, it is not that straightforward in intellectual property law since it is intended to award innovation and creativity, qualities that typically only humans can attain. Therefore, the intellectual property laws today are not sustainable and need to be adapted to the challenges posed by AI. This thesis examines the challenges of the implied human requirement, harmonisation issues, the risks of discouraging creation and creations derivative from other subject-matter. Different solutions have been discussed in the debate and in legislative initiatives in the EU. Inspiration can also be found also from other law regimes, such as the United Kingdom, United States of America and China, and recent case-law from Australia. Some of the solutions that are in the centre of the debate are giving AI-machines legal personhood, introducing a special computer-generated works regime and to create a sui generis protection. After a review of the different options in the analysis part of this thesis, the most suitable solution for the EU, in my opinion, appears to be introducing a special computer-generated works regime where the IP holder will be determined based on the involvement in the creating process and will always be a natural or legal person. This solution will guarantee legal certainty and is in line with current principles and the general goal to promote innovation and investment.

The history of photography represents a constant technological development of the medium towards increasing sophistication, which is related to spreading possibilities of complex control upon semantic meaning of each camera image. The thesis comparatively analyses expressive possibilities of film and digital photography with emphasis on the relations of both medium with other audiovisual means of communication. The thesis compares technological possibilities of both medium and focuses on growing integration of digital methods of imaging with new media through computer graphics. The thesis focuses on transforming role of photography in the society which is connected with democratization of access to cameras and the possibility of sharing resulting images via internet and social media. Based on described data the author points out the changing role of the creator and the viewer in the process of interpretation of visual images.

This thesis deals with robot modelling and simulation of the robot behavior. At first we discuss a benefit of this kind of simulation. Next we describe the general scheme of robot. After that we select the environment where robot will be simulated in. There is a conception of this robot and explanation of the implementation in chosen environment. We continue with design and realization of the communication interface of this robot. The result of this procedure is robot with independent movement able to response to the obstructions and avoid them. Robot is able to create a map of the environment and use this map to find out the optimal way to the scheduled goal using the A* algorithm and achieve this goal. There is a possibility to use more robots in the scene. These communicate and the nearest one is able to get the goal.

Streaming blir dagligen en allt mer populär form av musikkonsumtion. Denna typ av medium har gjort det allt mer enkelt för individer att lyssna på musik. Diskussioner om de villkor som kreatörerna som bidrar med värde till dessa medium påpekar dock tuffa arbetsförhållanden. Kreatörer tenderar att få låg ersättning och dålig översikt över den data som relaterar till artistens lyssnare. I och med Web3:s framfart har det påbörjats en diskussion om decentraliserade musikplattformar som ett alternativ till de traditionella streamingtjänsterna. Det är inom detta område som studien ämnar att utforska acceptansen kreatörerna har av detta alternativa sätt att distribuera musik. Utifrån ramverket TAM (Technology acceptance model) skapades en modell. För att testa denna modell genomfördes sedan en enkätstudie. Det insamlade materialet användes sedan för att utföra en univariat, bivariat samt multivariat analys med hjälp av frekvenstabeller, Spearmans korrelationskoefficient och PLS-SEM-verktyg. Resultatet visade på möjliga problemområden, bland annat validiteten hos enkätfrågorna, men även lämpligheten hos studiens ramverk i förhållande till den typen av system som faktiskt undersöktes. Det var dock tydligt att urvalets användning av plattformen i fråga var en direkt effekt av hur deras avsikt till att använda densamma såg ut. Denna användaravsikt berodde sedan på deras attityd till plattformen som i sin tur berodde på den nytta de upplevde att plattformen genererade. / Music streaming is growing in popularity on a daily basis. This type of medium has made listening to music more accessible to its users. Discussions regarding tough working conditions for the creators that bring value to the platforms are becoming more common. Creators tend to get low compensation and insufficient data regarding its listeners. In regards to the growing interest with Web3 technology, discussions are being held about decentralized music platforms potential of being an alternative to the traditional streaming platforms. It’s within this field the study aims to shed some light in regards to the acceptance creators have toward this alternative way of distributing music. With regards to the theoretical framework TAM (Technology acceptance model), a model was constructed. In order to evaluate this model a survey was conducted. The data collected was then used to perform a univariate, bivariate and multivariate analysis. These were possible with the help of frequency tables, Spearmans correlation coefficient as well as PLS-SEM tools. The results brought light to several possible problem areas, amongst these the validity of the questionnaire, but also the adequacy of the theoretical framework with regards to the a type of system the study actually concerns itself with. It was, however, clear that the creators’ actual use of the platform was a direct product of their intention to use it. This intention was a result of their attitude towards the platform, which in turn depended on the usefulness the creator perceived the platform to generate.

Le mot golem, un hapax biblique traduit de l’hébreu golmi, présent dans le Psaume CXXXIX,16, désigne la forme du premier homme avant son animation par le souffle divin. Le plus souvent traduit par « embryon » ou « masse informe », son sens a généré une exégèse considérable.De la tradition juive, le mot en arrivera à désigner un homme artificiel, et sa création sera attribuée à de pieux rabbins dans une perspective d’imitation Dei, selon une interprétation magique du Sefer Yetsirah ou « Livre de la Création » qui en contiendrait la clé. L’expérience doit prouver la puissance créatrice des lettres de l’alphabet hébraïque ou des lettres du Nom de Dieu, selon les maîtres de la Cabbale achkénase et européenne du Nord. Ils ont consigné les techniques de création : c’est un rituel en deux temps, façonnement de la forme humaine à partir des éléments puis animation de celle-ci grâce aux récitations de combinatoires de lettres. La réussite de l’expérience est considérée comme la pierre de touche de la perfection religieuse du créateur comme de sa puissance créatrice, à l’instar de celle des lettres de l’alphabet hébraïque.Le golem entre dans le domaine légendaire vers la fin du XVIIIe siècle et les débuts du XIXe siècle, pour prêter à de saints rabbins des pouvoirs démiurgiques. A une première légende d’origine polonaise centrée sur le Rabbin Elias Baalschem de Chelm, succède la légende pragoise un peu plus tardive qui prend le pas sur la première et attribue au Rabbin Judah Löw ben Bezalel, outre des pouvoirs surnaturels, la création d’un golem censé protéger la ville juive des accusations de crimes riruels historiques. Si c’est au créateur que nous avons choisi de nous intéresser plus particulièrement, nous n’avons manqué d’évoquer le mot « golem » lui-même, son origine ainsi que celle de la légende et en regard de parallèles anciens. Nous nous sommes appuyée sur les thèmes mis en avant itérativement par les auteurs et dans lesquels s’inscrit le thème : Cabbale juive et mystique des lettres et du Nom de Dieu ou Schem. Magie, alchimie nous ont amenée à évoquer avec les auteurs le thème de Faust puis de Frankenstein explicites dans les textes, pour souligner la création dans la création. Nous nous sommes servie du thème du Graal pour mettre l’accent, avec une interrogation sur le parallèle icône et idole, sur la littéralité du thème de la création, avant d’en arriver à mettre l’accent sur une poétique des commencements, création de l’homme artificiel et création littéraire en miroir. / The word golem, a biblical hapax which was translated from the Hebrew term “golim”, is to be found in Psalm CXXXIX,16. It refers to the shape of the first man before his being given life by the breath of God.Most of the time, translated by the word “embryo” or “shapeless mass”, its very meaning has given rise to considerable exegis.From the Jewish tradition, the word will consequently happen to describe an artificial man whose creation will be ascribed to devout rabbis who had in prospect an Imitatio Dei, according to the magic interpretation of the Sefer Yetsirah or “Book of Creation” which is supposed to hold the key of it. The experiment must prove the creative power of the letters of the Hebrew alphabet or the letters attributed to the Name of God, according to the Ashkenazi and Northern European masters of the Cabbala. They have consigned their techniques of creation; the ritual takes place in two stages: first of all, there is the building of the human shape from the elements, then its animation happens owing to the reciting and combined arrangement of letters. The success of the experiment is considered as the touchstone of the religious perfection of the maker as well as his creative power, just like that of the letters of the Hebrew alphabet.The golem became part of the legendary field between the end of the XVIIIth century and the beginning of the XIXth century, giving holy rabbis such powers as demiurges.The first legend brought to light has Polish origins and is centered on Reb Elias Baalschem of Chelm. Not long after it will give precedence to the legend born in Prague which tells the story of Rabbi Löw who, besides his supernatural powers, made a golem to protect the Jewish town accused of committing ritual historical crimes.Trought I decided to take a special interest in the maker’s function, actually I did mention the word golem, its origin as well as its legends, in connection with ancient parallels. I based my study on the iterated themes regularly brought to light by authors in whose works I might find the following themes: Jewish Cabbala, the mystic of the letters and the Name of God or Schem.Magic, alchemy would lead me to evoke the themes of Faust and Frankenstein and to underluie with their authors the theme of creation within creation.I called to mind the myth of the Holy Grail too, to wonder about the paralell between icon and idol, as well as about the literality of the poetic of all beginnings with the making of the artificial man and any literay creation, acting like a mirror writing

A primeira parte da tese investiga os deslocamentos da narrativa na obra de Luís Alberto de Abreu, em elementos de suas peças teatrais, em seus roteiros de cinema e nas implicações de processos em dinâmica coletiva de criação. Partindo de sua ideia de uma restauração da narrativa épica e com características orais no âmbito do teatro, este trabalho analisa a narratividade como criadora de imagens no personagem narrador, na \"imagem cheia\" dos roteiros e na configuração mais recente de um narrador em trânsito, distante da configuração de personagem como uma individualidade. Visando oferecer um campo teórico-prático de discussão às questões da narratividade e das relações criativas entre atores e dramaturgo em processo de criação teatral de dinâmica coletiva, a segunda parte da tese trata da realização de um laboratório de criação entre dramaturga e atores. Nele, foram desenvolvidos quatro eixos propositivos de criação dramatúrgica, de acordo com o ponto de partida e diferentes procedimentos: a lei do material, o território de criação dos atores, as composições da dramaturga e (Contra) dispositivos dramatúrgicos. Por fim, à luz das experiências do laboratório, configura uma ideia de cartografia que tem principalmente no dramaturgo aquele que rascunha e traceja mapas, aproximando sua ação criativa do gesto primordial do narrador. / The first part of the thesis investigates the narrative shifts in the work of Luis Alberto de Abreu, in elements of his plays and in his film scripts and the implications of the processes in the dynamics of the collective creation. Departing from his idea of restoration of the epic narrative and with oral characteristics of the theater, this part of the thesis analyzes the narrativity as the creator of images upon the narrator, in the \"full picture\" of the scripts and upon the newest configuration of a narrator in process, distant from the configuration of the character as an individual. Aiming at offering a theoretical and practical field of discussion to the questions of narrativity and the creative relationships between actors and playwright in a process of collective dynamics of theatrical creation, the second part of the thesis deals with the realization of a creative laboratory between playwright and actors. In this, four propositional axis for dramaturgical creation were developed according to the starting point and different procedures: the law of the material, the territory of creation of the actors, the compositions of the playwright and dramaturgical (counter) devices. Finally, in the light of the laboratory experiments, an idea of cartography begins to set up that has mainly playwright who drafts and outlines maps, bringing together his creative action of the primordial gesture of the narrator.

Made available in DSpace on 2016-04-28T19:58:36Z (GMT). No. of bitstreams: 1 Gilmara Alonso Tacito.pdf: 562905 bytes, checksum: ce9b87075600c330f6eba4efd4bee78b (MD5) Previous issue date: 2010-09-29 / The objective of this dissertation is to investigate the presence of the Author Creator entity interacting with characters in narratives "São Marcos" and "Sarapalha" (1946), Sagarana (1946), written by João Guimarães Rosa (1908- 1967). Concerning to the assumptions of the aesthetic material of Mikhail Bakhtin, it is understood that there is no linkage between work and life of the author, whereas popular culture connects the study of the literary work to the writer's life, only to listen to his voice, pointed to confidences. For the author, all aesthetic analysis should not be targeted directly to the work, but about what the work represents for the aesthetic activity of the artist and the reader. Our object here is delineated as the stuffing of this aesthetic activity focused on the literary work: the aesthetic object. This is the dual-perspective, here, applied to the reading of Rosa's narrative: reading the aesthetic object in its singularity and artistic structure called aesthetic architectonic object, design that allows to the Author Person (ethical-social element) unfolded in Author Creator (constitutive element of the artistic form). This compositional unity is realized between the consciousness of the Author Creator and the outside world resulting from an architectonic model of the human psyche, that makes the world (otherness) your utterance, and, in it, his conscience: with this focus we claim to read the "stranger" in Guimarães Rosa. That is, to read the artistic form as an event or achievement. The reading methodology applied in this study is also based on the concept of the aesthetic object, by practicing discrimination and isolation of the analytical material deductive of the usual perception to the unusual artistic literary form of both tales from Sagarana, in their specific critical-interpretation. The theoretical background is Mikhail Bakhtin, and supporting concepts applied to the analysis, and interpretation, pointing to: Tzvetan Todorov; Katerina Clark & Michael Holquist; Roland Barthes; Antonio Candido; Massaud Moises; Carlos Alberto Faraco; Marília Amorim; Renata Coelho Marchezan / O objetivo desta dissertação é investigar a presença da entidade Autor-Criador em interação com as personagens nas narrativas São Marcos e Sarapalha , da obra Sagarana (1946), de João Guimarães Rosa (1908-1967). A partir dos pressupostos da estética material de Mikhail Bakhtin (2006), entende-se que não há vinculação entre obra e vida do autor, considerando que a literatura corrente faz a conexão do estudo da obra à vida do escritor, para apenas ouvir a sua voz, a revelar-se em confidências. Para o autor, toda análise estética não deve ser orientada diretamente sobre a obra, mas sobre o que a obra representa para a atividade estética do artista e do leitor. Nosso objeto, aqui, se delineia como o conteúdo dessa atividade estética orientada sobre a obra: o objeto estético. Esta é a dupla perspectiva, aqui, aplicada à leitura das narrativas rosianas: ler o objeto estético na sua singularidade e na estrutura artística chamado objeto estético arquitetônico, concepção que permite ao Autor-Pessoa (elemento ético-social) desdobrar-se em Autor-Criador (elemento constitutivo da forma artística). Dessa forma composicional é concretizada a unidade entre a consciência do Autor- Criador e o mundo exterior resultante de uma Mente arquitetônica, que faz do mundo (outrem) seu enunciado, e, desse, sua consciência: com esse olhar pretendemos ler o estranho em Guimarães Rosa. Em outras palavras, ler a forma artística em acontecimento ou realização. A metodologia de leitura aplicada neste estudo também se fundamenta no conceito de objeto estético, ao praticar a discriminação e isolamento do material analítico-dedutivo da percepção habitual para o insólito da forma artística literária de ambos os textos os contos de Sagarana em suas especificidades crítico-interpretativas. O teórico de nossa referência é Mikhail Bakhtin e os autores de apoio conceitual aplicados à análise e interpretação assim se nomeiam: Tzvetan Todorov; Katerina Clark & Michael Holquist; Roland Barthes; Antonio Cândido; Massaud Moisés; Carlos Alberto Faraco; Marília Amorim; Renata Coelho Marchezan

Made available in DSpace on 2016-04-26T18:10:14Z (GMT). No. of bitstreams: 1 Walmeri Kellen Ribeiro.pdf: 2539053 bytes, checksum: ae6e1e31aa235bb7beff2c548f1be720 (MD5) Previous issue date: 2010-10-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Considering the hypothesis that Brazilian audiovisual production presents, as a fundamental element of it"s creative process, the actor as a co-creator of the final audiovisual work, this thesis investigates the creation procedures which are the basis of this actor"s work, such as the unfoldings of this co-creation relation. Using the analysis of creation processes of the films Bicho de Sete Cabeças (Brainstorm), Cidade de Deus (City of god), Lavoura Arcaica (To the Left of the Father), Contra Todos (Up against them all), Céu de Suely (Love for Sale), Crime Delicado (Delicate Crime) and of the miniseries Pedra do Reino and Capitu, and having the Critica de Processo (Process critics), proposed by Cecília Almeida Salles (2006) as a basis, this study sees the creation laboratory as a locus of investigation, experimentation and emergence in audiovisual work, in which the improvisation practice is configured as a procedure to be used in the search of creative and aesthetic possibilities. With this assumption, by proposing a dialog between audiovisual studies (Machado, Burch and Aumont), studies of the actor (Artaud, Grotówski, Stanislávski, Barba and Burnier) and of the contemporary scenic production (Cohen, Zumthor, Fischer-Lichte, Lehmann), we"ll point out some unfoldings and displacements in tradicional cinematographic praxis. As a result of these procedures, a transformation finds its course, in the modes of audiovisual production, approaching those with modes of contemporary scene creation. Aiming the comprehension of the audiovisual object"s meaning regimes own comunication processes, the theoretical reference of this research is established upon theory connections between many knowledge fields, audiovisual theories, actor and scenic creation studies, as mentioned above, the process of creating in a net (Salles), and the theories about corpomídia (or mediabody , by Greiner, Katz), co-creation and complexity (Morin), emergence (Johnson), fluidity and mobility (Bauman) / Percorrendo a hipótese de que a produção audiovisual brasileira contemporânea, apresenta como elemento fundamental de seu processo criativo o ator como co-criador da obra, esta tese investiga os procedimentos de criação que alicerçam o trabalho deste ator, bem como os desdobramentos desta relação de co-criação. Partindo da análise dos processos de criação dos filmes Bicho de Sete Cabeças, Cidade de Deus, Lavoura Arcaica, Contra Todos, Céu de Suely, Crime Delicado e das minisséries Pedra do Reino e Capitu e fundamentada pela Critica de Processo, conforme proposto por Cecília Almeida Salles (2006), esta pesquisa, aponta o laboratório de criação como lócus de investigação, experimentação e emergência da obra audiovisual, no qual a prática improvisacional configura-se como um procedimento empregado na busca de possibilidades criativas e estéticas. Com esta afirmação, ao propor um diálogo entre os estudos do audiovisual (Machado, Burch e Aumont), do ator (Artaud, Grotówski, Stanislávski, Barba e Burnier) e da produção cênica na contemporaneidade (Cohen, Zumthor, Fischer-Lichte, Lehmann), pontuamos alguns desdobramentos e deslocamentos na tradicional práxis cinematográfica. Como resultado destes procedimentos acontece uma transformação nos modos de produção audiovisual, aproximando-os dos modos de criação cênicos contemporâneos. Visando a compreensão dos processos comunicacionais próprios aos regimes de sentido do objeto audiovisual, o referencial teórico desta pesquisa é estabelecido a partir de conexões teóricas entre diversas áreas do conhecimento, das teorias do audiovisual, do ator e da criação cênica, conforme apontados acima, ao processo de criação em rede (Salles), a teoria do corpomídia (Greiner, Katz), da co-criação e complexidade (Morin), da emergência (Jonhson) e da fluidez e mobilidade (Bauman)

Die Dissertation hat eine umfassende Betrachtung der aktuellen urheberrechtlichen Probleme des Tonträgersamplings zum Ziel. Sie teilt sich in einen zivil- und einen strafrechtlichen Teil. Der zivilrechtliche Teil der Untersuchung zeigt, inwieweit durch unautorisiertes Tonträgersampling die Vervielfältigungsrechte des Urhebers, des Interpreten sowie des Tonträgerherstellers verletzt werden können. Im Bereich der Rechte des Urhebers liegen die Schwerpunkte der Bearbeitung in der Frage der Schutzfähigkeit von Werkteilen, in der Anwendung der Regelung zur freien Benutzung gemäß § 24 Abs. 1 UrhG sowie in der Erörterung der für das Sampling relevanten urheberrechtlichen Schranken, insbesondere des Zitatrechts. Im Bereich der Rechte des Tonträgerherstellers sowie des ausübenden Künstlers werden schwerpunktmäßig die Schutzfähigkeit von Teilen der jeweiligen Leistung behandelt sowie die Frage einer möglichen analogen Anwendung der Regelung zur freien Benutzung gemäß § 24 Abs. 2 UrhG erörtert. Hierbei wird ein Überblick über die in der Lehre und der Rechtsprechung vertretenen Ansichten gegeben und ausführlich auf das zum Fall „Metall auf Metall“ im Jahr 2016 ergangene Urteil des Bundesverfassungsgerichts eingegangen. Der strafrechtliche Teil der Arbeit fragt danach, inwieweit unautorisiertes Sampling auch strafrechtliche Folgen haben kann. Schwerpunkte des strafrechtlichen Teils bilden die Erörterung der für das Sampling relevanten Straftatbestände des UrhG sowie die Behandlung der für das Sampling relevanten Irrtumskonstellationen nach der Irrtumsdogmatik des Strafgesetzbuches. / The purpose of this dissertation is to conduct a comprehensive investigation into current copyright issues associated with the sampling of audio recordings. The study is divided into two sections, one dealing with civil law and the other with criminal law. The section dedicated to civil law seeks to demonstrate to what extent unauthorised sound recording sampling represents a violation of the reproduction rights of the creator, the practising musical artist and the sound recording manufacturer. In terms of the rights of the creator, the main focus of the processing lies in the question of the protectability of work pieces used, the application of regulations determining free use pursuant to Section 24 paragraph 1 of the German Copyright Law, and the consideration of copyright limitations relevant to the sampling process, in particular quotation rights. In terms of the rights of the sound recording manufacturer as well as those of the practising artist, principal considerations are the protectability of parts of the respective performance and the question of a possible analogous application of regulations determining free use pursuant to Section 24 paragraph 2 of the German Copyright Law. In this regard, an overview of the views held in academia and jurisprudence will be provided as well as an extensive analysis of the judgment reached by the Bundesverfassungsgericht (German Federal Constitutional Court) in the 2016 case of “Metall auf Metall” (“Metal on Metal”). The section on criminal law addresses the question as to what extent sampling may result in penal consequences. The focus of the section on criminal law comprises the discussion of the respective copyright offences relevant to sampling, as well as the handling of the respective error framework relevant to sampling and pursuant to the doctrine of error in the German Criminal Code.