Computational creativity seeks, in part, to develop autonomous agents that exhibit creativity. Language is an ideal creative domain for studying computer agents due to its rich interconnectedness and immense space of possible combinations. This dissertation explores the design, testing, and theory of creative computer systems that write microfiction and play the board game Codenames. The designs of these systems are all similarly based on building up creative artifacts from the underlying structure of the relationships between words. A critical component of the creative process is the ability to evaluate the quality of creative output. Human and automated assessment of our creative systems' outputs yields insights into the challenge of automated creative evaluation. Those insights are formalized into a novel paradigm for designing creative systems and theoretical analyses of the properties of creative domains that facilitate evaluation.

The aim of the study at hand is to generate knowledge about what pupils aged nine to ten years old need to discern in order to develop the ability to write stories with a well-developed, exciting and coherent plot, and how teaching can make it possible for the pupils to develop this ability. The theoretical framework has been Variation Theory. It is a theory of learning that focuses on how discernment of aspects affects the way we perceive our world and how variation can be used to promote learning. A basic assumption is that we learn by seeing differences, not by seeing sameness. Learning Study was used to answer the research questions. It is an interventionist approach, where the focus is on an object of learning, in this case the ability to write stories with a well-developed, exciting and coherent plot. In the research process the aim was to find out which aspects were critical for the pupils to discern in order to develop the ability, and how these could be made visible in the teaching. Together with a group of teachers, lessons were planned, implemented, evaluated and refined in an iterative process. Interview data, pupils’ texts written before and after the lessons and video recordings from the lessons were the basis of the analysis. It was found that in order for these learners to handle the object of learning, they needed to discern eight critical aspects that can be related to two different areas: (a) discerning the perspective of a reader and (b) seeing that a plot consists of several problems and solutions. The aspects were made discernible by using contrast as a pedagogical tool. The result of the study contributes to previous research by identifying and specifying what the pupils need to discern, what it means in a classroom setting and how it can be taught in a powerful way.

Made available in DSpace on 2014-07-29T16:19:13Z (GMT). No. of bitstreams: 1 dissertacao kamila morais.pdf: 1153731 bytes, checksum: f32ad48ff5df731db8087699853d358a (MD5) Previous issue date: 2009-11-10 / This dissertation has the urban problems as its study object, and its objective is to read the representations of Goiânia based on the short stories produced by goianos writers during the decades of 1960, 1970, and 1980. This way, 31 short stories were selected among the following writers: Alaor Barbosa, Alcyone Abrahão, José Mendonça Teles, Marietta Telles Machado, Maria Helena Chein and Dionísio Pereira Machado. In this perspective, some questions were problematized: is it possible to read‟ the city of Goiânia from the literary discourse? How can the theorization about literature and city analyze this city from the selected corpus? In what way does the option for the short story justify itself for the development of this work? Why does the chronological piece for the selection of short stories focus the decades of 1960 to 1980? For that, we can take some theorists and critics as the conductors for that they broach critical reflections about the short story and the relation between literature and the urban. In order to have an analysis of the corpus, the operational concepts of Calvino (1990) and Gomes (1994) were used based on a contrastive net of metaphors, such as: crystal, flame, labyrinth, city of the rat and the swallow; the allegorical picture of the flâneur; the mapping, as it was proposed by Lynch (1997), and the statement of the characters‟ footsteps according to what Certeau (2001) suggests. As a follow up, the study focused on specific historical outlined happenings since the transfer of the capital of Goiás and the construction of Goiânia, until the years 50 and 60 that correspond to a period of political, economic and cultural development, mainly on what concerns the establishment of the GEN (Grupo de Escritores Novos Group of New Writers), delimitating the moment when the stories were written. Therefore, the research was directed to the analysis that demonstrated the moment when Goiânia is simply imagined (projected) by the characters, once they are not in the city yet, until the moment when the city is undergone, once the place where the episodes happen are lived on the streets, avenues, stores, hospitals, buildings and the city squares. This way, literature, on its turn, writes the city, making it possible to learn it through the short stories that inscribe it / Esta dissertação tem como objeto de estudo a problemática do urbano, com o objetivo de ler as representações de Goiânia a partir da contística produzida por escritores goianos durante as décadas de 1960, de 1970 e de 1980. Deste modo, foram selecionados 31 contos dos escritores Alaor Barbosa, Alcyone Abrahão, José Mendonça Teles, Marietta Telles Machado, Maria Helena Chein e Dionísio Pereira Machado. Nesta perspectiva, foram problematizados os seguintes questionamentos: É possível ler a cidade de Goiânia a partir do discurso literário? Como a teorização sobre literatura e cidade analisa esta urbe a partir do corpus selecionado? De que modo a escolha do gênero conto se justifica para o desenvolvimento deste trabalho? Por que o recorte cronológico para a seleção dos contos focaliza as décadas de 1960 a 1980? Para tanto, toma-se como fio condutor alguns teóricos e críticos que abordaram reflexões críticas acerca do conto e da relação entre a literatura e o urbano. Assim, foram utilizados para análise do corpus os conceitos operacionais de Calvino (1990) e Gomes (1994), a partir de uma rede contrastante de metáforas como: cristal, chama, labirinto, cidade do rato e da andorinha; a figura alegórica do flâneur; os mapeamentos, como propôs Lynch (1997) e a enunciação dos passos das personagens, conforme sugere Certeau (2001). Em seguida, o estudo centrou-se em determinados acontecimentos históricos que delimitaram desde a transferência da capital de Goiás e a construção de Goiânia, até os anos 50 e 60, que corresponderam a um período de desenvolvimento político, econômico e cultural, sobretudo com a fundação do GEN (Grupo de Escritores Novos), delimitando o momento em que os contos foram escritos. Por conseguinte, a pesquisa foi direcionada às análises, que evidenciaram desde o momento em que Goiânia é apenas imaginada, (projetada) pelas personagens, visto que as mesmas ainda não estão na capital, até os contos em que a urbe é vivenciada, uma vez que a paisagem registrada se refere às ruas, às avenidas, às lojas, aos hospitais, aos prédios e às praças da capital. Assim, a literatura, por sua vez, escreve a cidade, tornando possível apreendê-la através dos contos que a inscrevem