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The Global ETD Search service is a free service for researchers
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Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 141 to 149 of 149 (0.066 seconds)| 141 |
Festas "italianas" em São Paulo e a proteção do patrimônio imaterial: a identidade de grupo no contexto da diversidade / The italians festivals in Sao Paulo and the intangible heritage protection: group s identity in a context of diversityFerreira Junior, Silvio Pinto 23 April 2009 (has links)
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Previous issue date: 2009-04-23 / Universidade Suor Orsola Benincasa / The register of popular festivals as immaterial heritage, in this dissertation in particular the festivals of Italian origins in the city of Sao Paulo, represents much more than the recognition of the important cultural influence of immigrants. The attempt to reconstruct the history of the festivals Nossa Senhora de Casaluce, Nossa Senhora Achiropita, São Vito, São Francisco de Paola and São Gennaro, permitted to discover other questions that are not limited to the description or recovery of a tradition. In search of the origin of these festivals in Italy, the field of study broadened, providing an analysis of today s much discussed issues like citizenship, identity, diversity and multiculturalism. These issues did not just complete the initial proposition, but opened ways to a more far-reaching discussion than it could have been imagined in the beginning / O registro das festas populares como Patrimônio Imaterial, neste trabalho especificamente as festas de origem italiana na cidade de São Paulo, representa muito mais do que um reconhecimento da importante influência cultural dos imigrantes. A tentativa de reconstruir a história das festas de Nossa Senhora de Casaluce, Nossa Senhora Achiropita, São Vito, São Francisco de Paola e São Gennaro, permitiu descobrir outras questões que não se limitam só a uma descrição ou recuperação de uma tradição. Ao buscar a origem destas festas na Itália, o campo de estudo se alargou, proporcionando uma análise sobre temas muito discutidos hoje como cidadania, identidade, diversidade e multiculturalidade que não só completa a proposta inicial como abre caminhos para uma discussão muito mais ampla do que a princípio se poderia imaginar
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Les orgines historiques de la coopération économique régionale comme forme non-hégémonique de coopérationAugustynek, Dariusz 10 1900 (has links)
Résumé.
Le mémoire s’intéresse à l’émergence historique de la coopération économique régionale comme
forme non-hégémonique de coopération. Nous y proposons une approche alternative au problème
de l’origine de la coopération systémique, par rapport à la conception d’origine hégémonique de la
coopération systémique, propre aux théories néolibérale et néoréaliste. Plutôt que par le biais des
théories du marché, l’origine de la coopération est approchée par le biais des processus caractérisant
l’anarchie-même tel le processus de construction anarchique des formes de guerre. Et plus
spécifiquement, des formes de guerre dont l’usage soumet la structure anarchique à des contraintes
extrêmes, mettant celle-ci en crise, exemplifiée par la chute de la puissance hégémonique, la fin
d’un système hégémonique et le début de coopération systémique non-hégémonique, de nature plus
régionale et économique. En privilégiant l’approche historique, nous insistons notamment sur
l’impact critique du commerce au loin et du crédit international dans la construction par la structure
anarchique des formes de guerre que la puissance hégémonique ne peut plus supporter. / Historical origins of regional economic cooperation as a non-hegemonic form of
cooperation.
Abstract.
This thesis examines the emergence of the regional economic cooperation as a non-hegemonic form
of cooperation. We propose an alternative to the prevailing conception of hegemonic origin of
systemic cooperation, proposed by the neorealist and neoliberal theories. Rather than relying on
theories of the market, we focus instead on some critical processes of the anarchical structure itself,
such as creation of forms of war by anarchy. More specifically, we focus on the forms of war that
put the anarchical structure under maximal strain, bringing it to an overwhelming systemic crisis,
the fall of a hegemonic power, the end of a hegemonic system, and the onset of a non-hegemonic
systemic cooperation of more regional and economic nature. Prioritizing the historical approach we
stress especially the role of long-distance trade and international credit in the construction, by the
anarchical structure itself, of forms of war impossible for the hegemonic power to withstand.
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Musiikkialan tekijänoikeuksien kesto, ansaintalogiikat ja digitaalisen aineiston saatavuus internetissäRytinki, M. (Markus) 27 November 2018 (has links)
Abstract
This study addresses the justifications of the duration of copyright, the revenue-generating models in the music business, and the availability of digital music in Finland. The first goal was to understand how different stakeholders in the music industry relate to copyright and how they justify what they consider the optimal duration. The second goal was to map out the revenue-generating models in the music industry at a time when the consumption of music has changed from analogue to digital formats, from physical products to streaming services. The third goal was to find out the different ways in which digital music is available on the internet in Finland.
The research material consists of survey research, half-structured theme interviews and documentary material. The applied research methods are theory- and material-based content analysis. The theoretical approaches utilized are the theory of justice by John Rawls, the theory of hegemony by Antonio Gramsci, the classical communication model by Roman Jakobson, and power theory by Lawrence Lessig. It uses as its interpretational theory the model of justification of copyright by Laura Leppämäki.
The results state the following: The most common justification provided for the optimal duration of copyright is utilitarianism – advantage to society as a whole. The same justification is given by stakeholders who want to keep the duration as it stands, and also by those who wish to shorten it. Another common justification is to see copyright as a natural item of ownership, claimed by work, and especially as a subject of inheritance, preferably for two subsequent generations. The problems concerning the revenue-generating models in the digital world tend to focus on distribution of income on three different levels: record contracts; the distribution models of the streaming companies; and contracts between content sharing companies, record companies and rights organizations. The authors and artists have the weakest bargaining position in the negotiations. The results on availability of digital music show that digital music can be discovered via public services (music libraries), commercial services (streaming companies), and ad hoc societal services (peer-to-peer networks). The role of music libraries as a content provider has decreased since the majority of music consumption has altered to digital services. / Tiivistelmä
Tutkimus käsittelee musiikin tekijänoikeuden keston perusteluja, musiikkialan ansaintalogiikoita ja digitaalisten musiikkiaineistojen saatavuutta Suomessa. Tarkoituksena oli hahmottaa, miten musiikkiteollisuuden eri osapuolet suhtautuvat tekijänoikeuteen ja miten ne perustelevat tekijänoikeuksien optimaalista kestoa. Tavoitteena oli myös kartoittaa musiikkialan ansaintalogiikat, jotka ovat muuttuneet siirryttäessä analogisesta musiikin kulutuksesta digitaaliseen musiikin kulutukseen, ennen kaikkea suoratoistopalveluihin. Kolmantena tehtävänä oli selvittää, millä tavoilla digitaalista musiikkia on saatavilla internetin välityksellä Suomessa.
Tutkimusaineisto koostuu kyselytutkimuksesta, puolistrukturoiduista teemahaastatteluista sekä dokumenttiaineistosta. Tutkimusmenetelmänä käytettiin sekä teoria- että aineistolähtöistä sisällönanalyysia. Tutkimuksessa sovellettuja teorioita ovat John Rawlsin oikeudenmukaisuusteoria, Antonio Gramscin hegemoniateoria, Roman Jakobsonin klassinen kommunikaatiomalli ja Lawrence Lessigin valtateoria. Tutkimus käyttää tekijänoikeuksia koskevan tutkimuskysymyksen kohdalla tulkintateoriana Laura Leppämäen esittämää mallia oikeuksien perusteluista.
Tutkimuksen tuloksena on, että sekä tekijänoikeuden nykyistä kestoa että sen lyhentämistä perustellaan ennen kaikkea utilitarismilla. Toinen keskeinen perustelukeino oli työn kautta teoksiin saatava omistusoikeus ja tämän omistusoikeuden kautta tarjoutuva mahdollisuus oikeuksien jättämiseen perintönä tekijän jälkipolville. Ansaintalogiikoiden kohdalla esiin nousi digitaalisesta myynnistä generoituvien tulojen jakamiseen liittyvät ongelmat, joita esiintyy niin musiikintekijöiden ja levy-yhtiöiden välisissä sopimuksissa, suoratoistopalvelujen sisäisissä maksumalleissa kuin internetin alustapalveluiden ja oikeudenhaltijoiden sekä heitä edustavien järjestöjen välisissä sopimuksissa. Heikoimmassa asemassa sopimuksia koskevissa neuvotteluissa ovat musiikintekijät ja artistit. Digitaalisen musiikkiaineiston saatavuuden kohdalla keskeisenä tuloksena on, että aineistoa on saatavilla julkisen palvelun eli yleisten musiikkikirjastojen, kaupallisten palveluiden eli suoratoistopalveluiden ja yhteisöllisten palveluiden eli vertaisverkkojen välityksellä. Musiikkikirjastojen rooli aineistojen tarjoajana on pienentynyt siirryttäessä analogisen musiikin kulutuksesta digitaalisen musiikin kulutukseen.
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Os trabalhadores do conhecimento e o trabalho imaterial: as novas possibilidades de reinvenção das lutas coletivas.FILHO, Carlo Benito Cosentino 04 August 2011 (has links)
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Previous issue date: 2011-08-04 / CAPES / O presente estudo tem como objetivo demonstrar o poder dos trabalhadores do conhecimento e a sua capacidade de reconstruir o movimento sindical tal como em sua origem, ou seja, verdadeiramente emancipatório e contra-hegemônico. As lutas coletivas nos últimos séculos tornaram-se meramente reivindicativas, especialmente com o advento do estado do bem-estar social. A revolução informacional subverteu o paradigma capitalista fordista, e nesse cenário surgiram novos atores que protagonizam o jogo de forças entre o capital e o trabalho. A luta de classes baseada no sindicalismo de caráter obreirista não responde mais aos anseios dos trabalhadores da sociedade pós-fordista, que deverá se adaptar ao novo contexto social para reestabelecer a sua força. Para tanto, o movimento sindical deve agregar não só os trabalhadores do conhecimento, como também o proletariado, os desempregados, não empregáveis atingidos pelo desemprego estrutural, autônomos, bem como os sem teto e os sem terra, enfim, toda a classe-que-vive-do-trabalho.Demonstra também, a partir das evidências empíricas e analíticas produzidas pela Teoria Social Crítica, o impacto do desenvolvimento tecnológico nas relações individuais e coletivas de trabalho, e a ascensão do trabalho imaterial, a condição de mola propulsora da sociedade contemporânea. Para se afastar das ambivalências contidas nas propostas da doutrina clássica, aponta para o resgate do movimento sindical libertário, emancipatório e contra-hegemônico em escala supranacional, o que deve ser potencializado pelo uso das novas tecnologias da informação e comunicação. / The present study aims to demonstrate the explosive power of knowledge workers and their ability to rebuild the labor movement as in its origin, ie, truly emancipatory and counter hegemonic. The collective struggles in recent centuries have become merely protest, especially with the advent of the welfare state. Thus capitalism tamed the rights of social movements ensuring minimum. The information revolution overthrew the capitalist fordist paradigm, and new actors have emerged in this scenario who play the game of power between capital and labor.Class struggle unionism based on the character of workers, no longer responds to the desires of the workers of the post-fordist, which must adapt to new social context to restore his strength. Thus, the trade union movement should not only add knowledge workers, as well as the proletariat, the unemployed, unemployable affected by structural unemployment, autonomous, and the homeless and landless, finally, the whole class-that-lives-of-work.It also shows, from the evidence produced by empirical and analytical critical social theory the impact of technological development in the relations of individual and collective work, and the rise of immaterial labor springboard for the condition of contemporary society. Move away from ambiguities in the proposals of the classical doctrine, points to the rescue of the union movement liberating, emancipatory and counter-hegemonic supranational scale, which should be enhanced by use of new information technologies and communication.
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Du simulacre numérique. Les images digitales au défi du vivant / The Digital Simulacra. Digital images challenging the livingCotentin, Régis 01 February 2017 (has links)
Les auteurs contemporains, des plasticiens aux réalisateurs de blockbusters, créent des images où le réel et le virtuel semblent de la même étoffe. Leurs films, vidéos et installations exposent un monde qui émerge de l’immatérialité des écrans.À la différence des images qui procèdent de l'imprégnation de la lumière réelle sur des surfaces photosensibles, les simulacres numériques résultent du langage binaire. Ils correspondent à du code informatique qui transforme l’image en une somme de données.Dès lors, ceux-ci entraînent-ils une mutation de notre rapport à l’image ? En quoi induisent-ils une nouvelle perception des représentations artistiques où prime l’apport d’une subjectivité ?Les simulacres numériques apparaissent après des millénaires d’images qui relèvent de l’ontologie et entretiennent un lien sensible avec le réel. Le spectateur ayant besoin de se projeter dans ce qui emprunte à sa nature et ce qui interroge ses aspirations, ses sentiments comme ses croyances, il attend de la simulation numérique la même capacité d’incarnation et de transfiguration que les autres moyens d’expression.Entrelaçant la tradition et le contemporain, cette recherche analyse l’éloquence sensible du simulacre numérique au défi du vivant dans le cinéma et les arts plastiques des années 2000-2010 selon les concepts de présence, représentation et simulation.Comment le numérique actualise-t-il des codes culturels et esthétiques hérités de l’histoire de l’art ? Cette recherche tente de comprendre la nature et le sens des simulacres numériques du vivant en tant qu’ils conjuguent l’incorporel synthétique à l’argument ontologique. / The contemporary authors, from visual artists to blockbusters’ directors, create images where the real and the virtual seem from the same cloth. Theirs movies, videos and installations show a world which emerges from the immateriality of the screens.Unlike images which are the result of the impregnation of the actual light on photosensitive surfaces, digital simulacra stem from binary language. They are made of pure computer code that can transform the image into a sum of data.Therefore, will the digital simulacra change our relationship to images? How do these digital sham images induce a new perception of artistic performances where subjectivity and its contributions are the prime factors?We are confronted with these digital simulacra of images after millennia of imagery that relate from ontology and that maintain a significant link with reality. The viewer, having the need to project himself into something that borrows from his nature and that questions his aspirations, his feelings as well as his beliefs, expects from the digital simulation the same capacity for incarnation and transfiguration that he experiences from others means of expression.Confronting and intertwining the traditional and the contemporary, this research analyses the sensitive eloquence of digital simulacra and how they face the challenge of real life, through film and in visual arts over the decade 2000-2010, based on the concepts of presence, representation and simulation.How do the various uses of digital technology force us to update the cultural and aesthetic codes that we inherited from Art history? Thus, this research attempts to understand the substance and the meaning of the digital pretence of life, which combines the synthetic intangible with an ontological argument.
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The Brexit Subject : Cognitive Capitalism and Biopolitical Production in Post-Referendum FictionFlodqvist, Emma January 2020 (has links)
This thesis explores precarization of work and subject formation in seven post-referendum Brexit novels through theories of cognitive capitalism and biopolitical production. The analysis is anchored in Michael Hardt and Antonio Negri’s reconceptualization of Michel Foucault’s notion of biopolitics. Hardt and Negri combine the concept of biopolitics with contemporary theories of cognitive capitalism and immaterial labour, to illuminate how subjects are subsumed into a system of biopower in which capitalistic production has become biopolitical production. I argue that the Brexit novels examined in this thesis demonstrate how the intrinsic bond between production and life shapes the characters’ relationship to the referendum. As the characters are caught between individual goals and communal values, in a system that demands that they take sole responsibility for their own success while also being responsible democratic citizens, the referendum produces conflicted subjects that experience deep internal and external conflicts in relation to Brexit.
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Deepfakes: ett upphovsrättsligt problem : En undersökning av det upphovsrättsliga skyddet och parodiundantagets samspel med AI-assisterade skapandeprocesser / Deepfakes: A Copyright Issue : An Inquiry of the Copyright Protection and Parody Exception's Interplay with AI-assisted Creative ProcessesAtala Labbé, Daniel Atala January 2022 (has links)
In the age of digitalizarion several new ways of creating immaterial property have sprung up due to the resurgence of artificial intelligence (AI). This has paved the way for different kinds of tech including the assistance of AI in a more normalized way. A prominent variation of this tech is called "deepfake". Deepfakes are a technology that essentially places your face, likeness, mannerisms, and voice onto new situations that the creator then steers to make the deepfake do or say things that the person whose deepfake is based on hasn't done or said. This technology has been used in a myriad of ways, all from humourous content to extorsion and revenge porn. The aim of this master thesis is to analyse how immaterial law protection is achieved through current Swedish immaterial law principles and how these fit within the context of heavily based AI-tech such as deepfakes. This is done through a dogmatic lens, meaning that a systematization and mapping of both Swedish and EU-based laws and praxis are done as well as discussing the current thoughts on AI-assistance throughout the creative process. Another subject that is touched upon is the parody exception in immaterial law and the concept of adaptation and how these work with and apply to AI-based creations. Part of the problems that we face right now is that we have no existing legal parameters to solve the problem of larger AI-involvement in creative processes, this is certainly going to change how we view copyright law today. When comparing and using EU as well as Swedish praxis to analyze the AI-problem a common denominator is that all copyright law and praxis is based around the presumption that there needs to be a human involved in the majority of the creative process. AI already exists as a part of many creative processes today without any questions asked, however when the AI-part is more significant in the process the question becomes complicated when paired with traditional copyright law perspectives. However, some discussions have been going on in both Swedish and EU legal spheres, mostly in the EU who are going to legislate more in the field of AI. In Sweden there have been no legislative processes when it comes to AI in copyright law however there have been some governmental organisations and essays that have shed a light on the matter. I conclude this master thesis by writing about the findings of each question as has been mentioned above, namely that AI becomes a significant factor in deciding if a deepfake achieves copyright protection or not and the same can be said about parodies. After this I make a concluding analysis of the urgency of a need for laws that tackle AI in the area of immaterial laws listing other areas that might need it more than immaterial laws as has been explored throughout this thesis as well and that Sweden needs to take part in every discussion about this to form a sustainable legal framework for AIs in the context of immaterial laws. This will open up for a clear framework when assessing different technologies that use AI like deepfakes as well.
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EXPANDED CHOREOGRAPHY : Shifting the agency of movement in The Artificial Nature Project and 69 positionsInvartsen, Mette January 2016 (has links)
Through two books and a series of video documentations of live performances Mette Ingvartsen makes choreography into a territory of physical, artistic and social experimentation. The Artificial Nature Series focusses on how relations between human and non-human agency can be explored and reconfigured through choreography. By investigating and creating a ‘nonhuman theater’ questions regarding material agency, ecology, natural disasters, the Anthropocene and non-subjective performativity are posed. The resulting reflections are closely related to the poetic principles utilized to create the performances, while also drawing connections to territories outside theater. By contrast, 69 positions inscribes itself into a history of human performance with afocus on nudity, sexuality and how the body historically has been a site for political struggles. By creating a guided tour through sexual performances – from the naked protest actions of the 1960’s, through an archive ofpersonal performances into a reflection on contemporary sexual practice – this solo work rethinks audience participation and proposes a notion of soft and social choreography. The contrasting performative strategiesarticulate a twofold notion of expanded choreography: on the one hand movement is extended beyond the human body by including the agency of nonhuman performers, and on the other hand, movement is expanded into animaginary and virtual space thanks to ‘language choreography’. / <p>LINKS</p><p>https://vimeo.com/164552586</p><p>https://vimeo.com/164558381</p>
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Försäkringsskydd för skadeståndsansvar vid dataskyddsöverträdelser : En undersökning av försäkringsvillkorens omfattning och eventuella begränsningar i förhållande till art. 82 GDPR och grupptalan / Insurance coverage for liability in case of data protection breaches : An investigation into the extent and potential limitations of insurance terms in relation to art. 82 GDPR and class action lawsuitsNahlbom, Robin January 2024 (has links)
I uppsatsen utreds försäkringsskyddet för skadeståndsansvar vid dataskyddsöverträdelser. GDPR är den centrala regleringen för personuppgiftsbehandling och fastställer ett antal principer som måste upprätthållas för att den ansvarige ska få behandla personuppgifter. Bryter den ansvarige mot förordningens principer har den registrerade rätt att kräva skadestånd enligt art. 82.1 GDPR. Förordningen fastställer tre kumulativa krav som måste vara uppfyllda för att skadeståndsskyldighet ska föreligga. Det innefattar att en överträdelse av GDPR har skett, att materiell eller immateriell skada till följd av denna överträdelse har uppstått och att det föreligger ett orsakssamband mellan skadan och överträdelsen. Förordningen innehåller även en bestämmelse som tar över medlemsstaternas nationella skadeståndsrättsliga bestämmelser, vilket innebär att GDPR ska tillämpas enligt sin ordalydelse och att de kumulativa kraven enligt art. 82.1 GDPR måste följas. Det innebär att nationella skadeståndsrättsliga begrepp inte bör jämställas med begrepp som framgår av art. 82.1 GDPR eftersom begreppen har tillkommit i en helt annan kontext. Exempelvis översätts i vissa fall materiella och immateriella skador till ekonomiska och ideella skador. Begreppen är inte synonyma och bör inte tillställas samma betydelse eftersom terminologin i art. 82.1 GDPR kan misstolkas. Försäkringsvillkoren som reglerar skadeståndsskyldigheten för dataskyddsöverträdelser och som även hänvisar till art. 82.1 GDPR, innehåller i vissa fall nationella skadeståndsrättsliga begrepp och även andra begrepp som inte framgår av förordningen. Det kan leda till att kongruensen mellan villkorens utformning och förordningens ordalydelse medför tolkningsproblematik vid bedömning om skadeståndsskyldighet föreligger. Därför bör försäkringsvillkoren endast innehålla sådan terminologi som framgår av art. 82.1 GDPR. Dataskyddsöverträdelser medför oftast att en stor grupp människor lider skada varför förordningen tillåter registrerade att föra grupptalan med hjälp av en ideell organisation enligt art. 80 GDPR. Teoretiskt sett kan skadeståndsbeloppen bli högre än försäkringsbeloppen varför det i sådana fall saknas ett försäkringsskydd för grupptalan för den personuppgiftsansvarige. Försäkringsvillkoren anger däremot ingenting om att försäkringen inte täcker ett sådant anspråk. Därmed ställs försäkringsbolagen inför utmaningen att hantera sådana anspråk, varför försäkringen bör uppdateras för att möta skadestånd i en grupptalan vid dataskyddsöverträdelser. / The essay investigates insurance coverage for liability for damages in the event of data protection breaches. GDPR is the central regulation for the processing of personal data and establishes a number of principles that must be upheld for the data controller to process personal data. If the data controller breaches the principles of the regulation, the data subject has the right to claim damages under Art. 82.1 GDPR. The regulation sets out three cumulative requirements that must be met for liability for damages to arise. This includes that a breach of the GDPR has occurred, that material or immaterial damage as a result of this breach has arisen, and that there is a causal link between the damage and the breach. The regulation also includes a provision that supersedes the national tort law provisions of Member States, which means that the GDPR shall be applied according to its wording and that the cumulative requirements under Art. 82.1 GDPR must be followed. This means that national tort law concepts should not be equated with concepts as set out in Art. 82.1 GDPR as the concepts have arisen in a completely different context. For example, in some cases, material and immaterial damages are translated into economic and non-economic damages. The concepts are not synonymous and should not be attributed the same meaning as the terminology in Art. 82.1 GDPR can be misinterpreted. The insurance terms and conditions that regulate liability for damages in the event of data protection breaches and also refer to Art. 82.1 GDPR, in some cases contain national tort law concepts and other concepts that are not evident in the regulation. This may lead to a lack of congruence between the wording of the terms and conditions and the wording of the regulation, resulting in interpretation issues when assessing whether liability for damages exists. Therefore, the insurance terms and conditions should only contain terminology as set out in Art. 82.1 GDPR. Data protection breaches usually result in harm to a large group of people, which is why the regulation allows data subjects to bring a collective action with the assistance of a not-for-profit organization under Art. 80 GDPR. Theoretically, damages awarded may exceed insurance coverage, which means there is no insurance coverage for collective actions for the data controller in such cases. However, the insurance terms and conditions do not specify that the insurance does not cover such a claim. Therefore, insurance companies are faced with the challenge of handling such claims, which is why the insurance should be updated to cover damages in a collective action in the event of data protection breaches.
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