This thesis is about algorithmic creation in the arts - where an artist, designer or composer uses a formal generative process to assist in crafting forms and patterns - and approaches to finding effective input parameter values to these generative processes for aesthetic ends. Framed in three practical studies, approaches to navigating the aesthetic possibilities of generative processes in sound and visuals are presented, and strategies for eliciting the preferences of the consumers of the generated output are explored. The first study presents a musical interface that enables navigation of the possibilities of a stochastic generative process with respect to measures of subjective predictability. Through a mobile phone version of the application, aesthetic preferences are crowd-sourced. The second study presents an eye-tracking based framework for the exploration of the possibilities afforded by generative designs; the interaction between the viewers' gaze patterns and the system engendering a fluid navigation of the state-space of the visual forms. The third study presents a crowd-sourced interactive evolutionary system, where populations of abstract colour images are shaped by thousands of preference selections from users worldwide For each study, the results of analyses eliciting the attributes of the generated outputs - and their associated parameter values - that are most preferred by the consumers/users of these systems are presented. Placed in a historical and theoretical context, a refined perspective on the complex interrelationships between generative processes, input parameters and perceived aesthetic value is presented. Contributions to knowledge include identified trends in objective aesthetic preferences in colour combinations and their arrangements, theoretical insights relating perceptual mechanisms to generative system design and analysis, strategies for effectively leveraging evolutionary computation in an empirical aesthetic context, and a novel eye-tracking based framework for the exploration of visual generative designs.

O presente trabalho consiste no estudo histórico-descritivo (pesquisa teórica e de campo) sobre o trabalho da Companhia da Arte Andanças (Fortaleza-Ceará), apresentando algumas metodologias utilizadas em processos de aula e criação cênica, com o intuito de contribuir para a discussão e ressignificação de modos de fazer e conceber a práxis do ator-bailarino-performer. Proponho um olhar sobre o processo de criação do espetáculo O Tempo da Paixão ou o Desejo é um Lago Azul, livremente inspirado na obra do artista plástico cearense José Leonilson (1957-1993). Num primeiro momento descrevo o percurso e as atividades da Cia., bem como alguns de seus modos operacionais; na segunda parte exponho princípios e métodos de trabalho; no terceiro capítulo adentro no processo de montagem do supracitado espetáculo, pontuando aspectos de sua singularidade; e, por fim, teço uma breve reflexão sobre a relação entre técnica, criação e pessoalidade, cujos entrelaçamentos, suponho, tensionam uma composição dramatúrgico-afetiva. / This work consists of a historic-descriptive study, based on theoretical and field research, of the work of Companhia da Arte Andanças, in Fortaleza, Brazil, presenting some methodologies employed throughout processes in class of scenic creation in order to contribute to the discussion and the \"resignification\" of different ways of making and understanding the praxis of the actor/dancer/performer. I propose a new look at the creation process of the play \"O Tempo da Paixão ou O Desejo é um Lago Azul\", which was liberally inspired by the work of the visual artist, José Leonilson (1957-1993), from Ceará, Brazil. In the first part, I describe the trajectory and the activities of the company, along with some of its modes of operation. In the second part, I focus the discussion on the principles and methods of its work. In the third part, I immerse myself in the process of assemblage of the afore mentioned play, sampling aspects of its uniqueness. Finally, I present a brief reflection of the relation between technique, creation, and personality, whose connections are supposed to tense a dramaturgical-affective composition.

O presente trabalho consiste no estudo histórico-descritivo (pesquisa teórica e de campo) sobre o trabalho da Companhia da Arte Andanças (Fortaleza-Ceará), apresentando algumas metodologias utilizadas em processos de aula e criação cênica, com o intuito de contribuir para a discussão e ressignificação de modos de fazer e conceber a práxis do ator-bailarino-performer. Proponho um olhar sobre o processo de criação do espetáculo O Tempo da Paixão ou o Desejo é um Lago Azul, livremente inspirado na obra do artista plástico cearense José Leonilson (1957-1993). Num primeiro momento descrevo o percurso e as atividades da Cia., bem como alguns de seus modos operacionais; na segunda parte exponho princípios e métodos de trabalho; no terceiro capítulo adentro no processo de montagem do supracitado espetáculo, pontuando aspectos de sua singularidade; e, por fim, teço uma breve reflexão sobre a relação entre técnica, criação e pessoalidade, cujos entrelaçamentos, suponho, tensionam uma composição dramatúrgico-afetiva. / This work consists of a historic-descriptive study, based on theoretical and field research, of the work of Companhia da Arte Andanças, in Fortaleza, Brazil, presenting some methodologies employed throughout processes in class of scenic creation in order to contribute to the discussion and the \"resignification\" of different ways of making and understanding the praxis of the actor/dancer/performer. I propose a new look at the creation process of the play \"O Tempo da Paixão ou O Desejo é um Lago Azul\", which was liberally inspired by the work of the visual artist, José Leonilson (1957-1993), from Ceará, Brazil. In the first part, I describe the trajectory and the activities of the company, along with some of its modes of operation. In the second part, I focus the discussion on the principles and methods of its work. In the third part, I immerse myself in the process of assemblage of the afore mentioned play, sampling aspects of its uniqueness. Finally, I present a brief reflection of the relation between technique, creation, and personality, whose connections are supposed to tense a dramaturgical-affective composition.

Made available in DSpace on 2016-04-28T20:39:11Z (GMT). No. of bitstreams: 1 Karlla Girotto.pdf: 384647 bytes, checksum: 2a9295415b912e42290977b06aca21fe (MD5) Previous issue date: 2015-12-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation proposes to mull over ways of existence in artistic production and the frontiers between performance, fashion and life in processes of creation and production of subjectivities / Esta dissertação se propõe a esmiuçar modos de existência como produção artística e as linhas fronteiriças entre performance, moda e vida nos processos de criação e produção de subjetividades

Como se desenvolve, se produz, se criam modos de vida na escola de educação infantil? Esta é a pergunta orientadora desta investigação, produzida na articulação de diversos processos de criação e seus documentos de processo. O primeiro processo de criação investigado, a partir dos conceitos de linguagem e signo de Charles Sanders Peirce, é a produção de modos de vida de um grupo específico de crianças, de quatro a cinco anos, e suas professoras, em uma escola de educação infantil da rede municipal de educação da cidade de Porto Alegre. O segundo diz respeito à produção da composição vida-história de grupo, em que apresento a minha perspectiva sobre esta produção dos jeitos de crianças e professoras viverem coletivamente na escola. Perspectiva que propõe olharmos este processo constituído por crianças e professoras como linguagem, com estrutura e regras de funcionamento próprias, portanto, singular. O olhar produzido por estes dois primeiros processos de criação articula-se a um terceiro processo, que explora a produção da relação da pesquisadora com a fotografia, com a linguagem fotográfica. Inspirada nos conceitos de independência e similaridade da obra de Henri Cartier-Bresson, este terceiro processo traz novos elementos e organiza um pouco mais o primeiro e o segundo processo, atualizando a composição vida-história de grupo sobre a criação de modos de vida na escola de educação infantil. / How develops, produces, it creates ways of life in the school of infant education? This is the orienting question of this inquiry, produced in the joint of diverse processes of creation and its process documents. The first process of creation investigated, from the concepts of language and sign of Charles Sanders Peirce, is the production in ways of life of a specific group of children, four to five years old, and their teachers, in a school of infant education of the municipal net of education of the city of Porto Alegre. The second says respect to the production of the composition life-history group, where I present my perspective about this production of the skills of children and teachers to live collectively in the school. Perspective that suggests we look at this process consisting of children and teachers as language, with structure and proper rules of functioning, therefore, singular. The produced result for these two first processes of creation articulates to a third process, which explores the production of the researcher's relationship with the photography, with the photographic language. Inspired in the concepts of independence and similarity of the Henri Cartier-Bresson works, this third process brings new elements and a little more organized the first and second process, updating the composition of lifehistory group on the creation in ways of life in the school of infant education.

Como se desenvolve, se produz, se criam modos de vida na escola de educação infantil? Esta é a pergunta orientadora desta investigação, produzida na articulação de diversos processos de criação e seus documentos de processo. O primeiro processo de criação investigado, a partir dos conceitos de linguagem e signo de Charles Sanders Peirce, é a produção de modos de vida de um grupo específico de crianças, de quatro a cinco anos, e suas professoras, em uma escola de educação infantil da rede municipal de educação da cidade de Porto Alegre. O segundo diz respeito à produção da composição vida-história de grupo, em que apresento a minha perspectiva sobre esta produção dos jeitos de crianças e professoras viverem coletivamente na escola. Perspectiva que propõe olharmos este processo constituído por crianças e professoras como linguagem, com estrutura e regras de funcionamento próprias, portanto, singular. O olhar produzido por estes dois primeiros processos de criação articula-se a um terceiro processo, que explora a produção da relação da pesquisadora com a fotografia, com a linguagem fotográfica. Inspirada nos conceitos de independência e similaridade da obra de Henri Cartier-Bresson, este terceiro processo traz novos elementos e organiza um pouco mais o primeiro e o segundo processo, atualizando a composição vida-história de grupo sobre a criação de modos de vida na escola de educação infantil. / How develops, produces, it creates ways of life in the school of infant education? This is the orienting question of this inquiry, produced in the joint of diverse processes of creation and its process documents. The first process of creation investigated, from the concepts of language and sign of Charles Sanders Peirce, is the production in ways of life of a specific group of children, four to five years old, and their teachers, in a school of infant education of the municipal net of education of the city of Porto Alegre. The second says respect to the production of the composition life-history group, where I present my perspective about this production of the skills of children and teachers to live collectively in the school. Perspective that suggests we look at this process consisting of children and teachers as language, with structure and proper rules of functioning, therefore, singular. The produced result for these two first processes of creation articulates to a third process, which explores the production of the researcher's relationship with the photography, with the photographic language. Inspired in the concepts of independence and similarity of the Henri Cartier-Bresson works, this third process brings new elements and a little more organized the first and second process, updating the composition of lifehistory group on the creation in ways of life in the school of infant education.

Como se desenvolve, se produz, se criam modos de vida na escola de educação infantil? Esta é a pergunta orientadora desta investigação, produzida na articulação de diversos processos de criação e seus documentos de processo. O primeiro processo de criação investigado, a partir dos conceitos de linguagem e signo de Charles Sanders Peirce, é a produção de modos de vida de um grupo específico de crianças, de quatro a cinco anos, e suas professoras, em uma escola de educação infantil da rede municipal de educação da cidade de Porto Alegre. O segundo diz respeito à produção da composição vida-história de grupo, em que apresento a minha perspectiva sobre esta produção dos jeitos de crianças e professoras viverem coletivamente na escola. Perspectiva que propõe olharmos este processo constituído por crianças e professoras como linguagem, com estrutura e regras de funcionamento próprias, portanto, singular. O olhar produzido por estes dois primeiros processos de criação articula-se a um terceiro processo, que explora a produção da relação da pesquisadora com a fotografia, com a linguagem fotográfica. Inspirada nos conceitos de independência e similaridade da obra de Henri Cartier-Bresson, este terceiro processo traz novos elementos e organiza um pouco mais o primeiro e o segundo processo, atualizando a composição vida-história de grupo sobre a criação de modos de vida na escola de educação infantil. / How develops, produces, it creates ways of life in the school of infant education? This is the orienting question of this inquiry, produced in the joint of diverse processes of creation and its process documents. The first process of creation investigated, from the concepts of language and sign of Charles Sanders Peirce, is the production in ways of life of a specific group of children, four to five years old, and their teachers, in a school of infant education of the municipal net of education of the city of Porto Alegre. The second says respect to the production of the composition life-history group, where I present my perspective about this production of the skills of children and teachers to live collectively in the school. Perspective that suggests we look at this process consisting of children and teachers as language, with structure and proper rules of functioning, therefore, singular. The produced result for these two first processes of creation articulates to a third process, which explores the production of the researcher's relationship with the photography, with the photographic language. Inspired in the concepts of independence and similarity of the Henri Cartier-Bresson works, this third process brings new elements and a little more organized the first and second process, updating the composition of lifehistory group on the creation in ways of life in the school of infant education.

The rapid convergence of collaborative technologies, democratisation of digital communication and consumerisation of Smart Grid infrastructure (i.e.: smart metering and distribution substation automation) have faltered the efficacy of centralised command-and-control and its insular sub-culture. For complex firms in today's creative economy, this infers that management innovation (MI)—“an induced managerial capacity to search for novel ways to create value”, is rapidly becoming liabilities unless it is innovatively managed for overcoming the inertia of discontinuity opportunities. The raison d'être of this thesis is to investigate the generative managerial processes through which MI can be fostered for experimentation and innovatively managed for acceleration. It comprises four qualitative case studies that involved in-depth interviews, surveys, public records and archival documentaries of four Canadian energy and utilities organisations. The conclusions are fascinating both expected and unanticipated. I found that many, if not most, of the contemporaneous routines of pyramidal target-setting and benchmark-driven cultures are ubiquitously evident. Business planning and risk management still function, albeit the objects of those tenets are different. These quasi-objects include, but are not limited to, organic structures, web-enabled paradigm, pragmatic mindset of middle-down-up crowdsourcing and fragmented evaluation of efforts to evoke the innovative management of management innovation (IMMI). Further adjacent to the quest for driving renewed growth, a new governing dynamic is hinging upon the IMMI that forges a pattern for resiliency and sustainability. Managers capitalise on the epistemic IMMI to regain competitive advantage while enduring endogenous fiefdoms and exogenous disruptions. They catalyse information semantically, harness collective capability effectively, stage prolifically faster MI experimentations and accelerate the cycle of MI more pervasively. I henceforth propose a unified managerial process, dubbed the "Cloverleaf 4S Model" (Strategise—Synchronise—Steward—Sustain). Implicit in this approach, managers believe that their finely-tailored practices epitomise an evolutionary process of deliberate selection in the pursuit for distinctive MI capabilities and expanding authority dynamics in the managership. This allows for self-adaptive mechanisms shifting from silos to swarming as well as the indigenous aspects of IMMI practices—exaptation, cognitive flexibility, speed to adaptation and executional excellence. The implication of this study presents heuristical insights to managers in galvanising perennial innovation and unlocking their IMMI to build an agile, intelligent enterprise.

Submitted by Jordan (jordanbiblio@gmail.com) on 2017-02-08T12:55:52Z No. of bitstreams: 1 DISS_2012_Danielle Milioli.pdf: 2720853 bytes, checksum: bbcd1f0c226a90604b86da1f5af31a75 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-02-08T13:03:15Z (GMT) No. of bitstreams: 1 DISS_2012_Danielle Milioli.pdf: 2720853 bytes, checksum: bbcd1f0c226a90604b86da1f5af31a75 (MD5) / Made available in DSpace on 2017-02-08T13:03:15Z (GMT). No. of bitstreams: 1 DISS_2012_Danielle Milioli.pdf: 2720853 bytes, checksum: bbcd1f0c226a90604b86da1f5af31a75 (MD5) Previous issue date: 2012-03-09 / CAPES / Este trabalho se situa como diálogo interdisciplinar entre Dança Contemporânea e Psicologia Social atravessado por questionamentos provenientes do campo dos estudos sociotécnicos acerca da centralidade da agência humana. A dissertação é composta por três experimentos onde uma artista e não/humanos são parceiros de dança. A noção de experimentos sociotécnicos de criação empregada visa realçar humanos e não/humanos sem hierarquia agencial ou epistêmica entre ambos. Nessa perspectiva, diferentemente de objetos cênicos tão frequentes na dança, não/humanos são aqueles com quem se constitui a criação. Em cada experimento sociotécnico de criação, diferentes não/humanos constituíram as danças: papéis, grãos de soja e refugos tecnológicos. No primeiro experimento, tomam-se papéis como objeto sensorial para produzir arranjos que tornam visíveis multiplicidades corporais e atributos concernentes às materialidades com as quais se dança. No segundo experimento, a soja como uma espécie companheira encorpora diferentes práticas e transforma-se em tropo para pensar uma natureza dançante que traduz a relacionalidade na construção do mundo. No terceiro, discutem-se as relações entre dança e tecnologia em processos de aparelhagem e desaparelhamento em relações de exoevolução num corpoexperimento. / This paper situates itself as an interdisciplinary dialog between Contemporary Dance and Social Psychology, getting through questionings originating from sociotechnical studies on centrality of human agency. The dissertation is composed of three experiments where an artist and non-humans are dance partners. The notion of sociotechnical experiments of creation applied here aims to highlight humans and non-humans without agencial or epistemical hierarchy between both. In this perspective, unlike scenic objets so often in dance, non-humans are those with whom creation is constituted. In each sociotechnical experiment of creation, different non-humans constituted the dances: papers, soy grains and technological junk. In the first experiment, papers were taken as sensorial object to produce arrangements that turn corporal multiplicities and attributes, concerning the materialities with which it dances, visible. In the second experiment, the soy as companion specimen embodies different practices and turns into a trope to think a dancing nature that translates the relationality in world construction. In the third, relations between dance and technology are debated, in processes of deciving and undevicing in exoevolution relations in an experiment-body.

Much current literature on management and strategy still describes strategy work as a linear, top-down, management-based, rational, logical, structured and planned change activity with clear and predictable goals. It is described as an activity in which individual managers are addressing key questions and implementing an important, management-based plan. By using the right tools and techniques, skilled managers can transform plans into reality through good leadership and systematic rollout. This way of thinking about leadership is based on an understanding of leaders as rather powerful, knowing, heroic individuals who can stand outside of their organization to plan an ideal future, and who are equipped to make employees follow their instructions in order to reach desired goals. In this thesis I research into my experiences of what is happening in an organization, taking seriously the experience of developing a new strategy. It is an organization working in the public sector in Denmark which is right now trying to find a strategy and its way through a series of 'wicked problems' not easily handled. Through the use of autobiographical narrative-based inquiry and a focus on everyday local interactions between people working together, I research into what is 'really' going on in strategy work. Drawing on the theory of complex responsive processes of relating and reflexivity, I describe and analyse the interactions in our leadership team's efforts to change the organization's strategy. In doing so themes of power, power games and power differentials, politicking and some of the paradoxes in management - such as inclusion/exclusion, local interaction and global patterning, unpredictable predictability, and conflict and cooperation - are investigated. The complex responsive process perspective views organizations as patterns of interaction and conversations between people working together. By analogy from complex adaptive systems models, sociology, psychology and philosophy, it argues that generalizable population-wide patterns emerge in unpredictable ways through exactly these local complex interaction and interplays of people's intentions, thoughts and actions. This leads me to propose generalizable new contributions to knowledge about strategy work. Examining my own experience, I problematize the 'heroic', individualistic, view of what leaders do when working with strategy, preferring to see strategy as a co-created activity that emerges in complex and paradoxical interactions between people in the organization, in the leadership team, in daily cooperation with employees, and through the interface with customers. The understanding of co-creation here being that together we co-create our social life and our social life is co-creating us, our selves, our personalities at the same time. This inseparable paradox of the individual and the group, of the one and the many is investigated. Finally, I suggest that strategy work is inseparable from the everyday messy conflictual power games of organizational life, and that leaders - through actively engaging in ongoing conversations and co-creating meaning - participate in developing new understandings of identity and culture. In talking with one another about what it is we are doing, in influencing and being influenced, and reflecting on this, we are already changing what is going on; this itself is strategy work. The narratives show that to work with strategy effectively, we need to negotiate our intentions in convincing ways through forming strong power alliances. Taking experience seriously also demonstrates a close connection between power, ethics and action, and that it is impossible to decide the 'good' thing to do before acting. Developing reflexivity, both as an individual and in collaborative work, is a prerequisite for working in an ethical way, aware of our mutual interdependence. Finally, the thesis describes some of the consequences of taking experience seriously as a strategy. It has changed the way our staff understand what they are doing, and is beginning to change the kind of assignments we take on, and how we deal with them. One spin-off has been producing two books (with more to come). We also have new and more reflexive contacts in business and knowledge-creating environments, such as universities and business schools. The thesis shows a number of results from working with strategy in this way. This indicates that the act of taking your experience seriously in itself implies a kind of transforming causality, and hereby a strategy of change.