Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo

Natural Language Processing in-and-for Design Research

We review the scholarly contributions that utilise Natural Language Processing (NLP) methods to support the design process. Using a heuristic approach, we collected 223 articles published in 32 journals and within the period 1991-present. We present state-of-the-art NLP in-and-for design research by reviewing these articles according to the type of natural language text sources: internal reports, design concepts, discourse transcripts, technical publications, consumer opinions, and others. Upon summarizing and identifying the gaps in these contributions, we utilise an existing design innovation framework to identify the applications that are currently being supported by NLP. We then propose a few methodological and theoretical directions for future NLP in-and-for design research

Which way is up? Space and place in virtual learning environments for design

The role of ‘place’ in design education is essential in providing a structured learning experience that can be trusted and which allows dynamic social connections to emerge in the development of reflective practice. With increasing demand for distance and online learning resources, this paper considers how such a sense of place can be arrived at using ‘virtual architecture’. Analogies with physical architectural space – for example ‘homes’, ‘forums’, ‘studios’, ‘libraries’ can be useful, but in many ways the opportunities for design learning in virtual architecture go far beyond what is possible with physical architecture. We describe how the virtual architecture of an Open University course in Design Thinking has consciously tried to create place rather than space, in crafting an environment with intrinsic learning opportunities, and the benefits this has brought to students studying the course

The meta-disciplinary rhetoric of metabiology : reconsidering the role of disciplinarity in rhetorical stagings of scientific controversies

This project interrogates how scholars in the rhetoric of science understand and stage controversies within scientific discourse communities. In the paper, I argue that scholarship in the rhetoric of science does not offer a consistent theoretical framework for addressing disciplinary interactions that take rhetorical advantage of extant connections between disparate fields/disciplines to render one discipline in terms of another at the ontological or essential level. By offering an extended rhetorical analysis of one such case, Gregory Chaitin’s “Metabiology”, I argue that this kind of disciplinary interaction has significant rhetorical import for scholars addressing scientific conversations and the controversies that unfold, but are also at work within the scientific pre-stagings themselves. Distinguishing between intra-disciplinary, interdisciplinary, and finally meta-disciplinary stagings of scientific controversies within rhetoric of science literature, this paper offers a provisional heuristic that aims to refine how scholars in rhetoric approach scientific controversies as being already-scientifically distinct from other controversies, yet somehow explanatorily amenable to rhetorical analysis. Recent scholarship has indicated that this is a broadly unaccounted for duplicity within the extant rhetoric of science literature’s and my paper argues that Chaitin’s project of Metabiology offers an honest animation of a post-incommensurability rhetoric that, perhaps through theoretical and methodological projections of inter-disciplinarity as an end in itself, results in a disciplinary hierarchy that does more rhetorical violence than intra- or inter-disciplinary frameworks would let onEnglis

Music Generation by Deep Learning - Challenges and Directions

In addition to traditional tasks such as prediction, classification and translation, deep learning is receiving growing attention as an approach for music generation, as witnessed by recent research groups such as Magenta at Google and CTRL (Creator Technology Research Lab) at Spotify. The motivation is in using the capacity of deep learning architectures and training techniques to automatically learn musical styles from arbitrary musical corpora and then to generate samples from the estimated distribution. However, a direct application of deep learning to generate content rapidly reaches limits as the generated content tends to mimic the training set without exhibiting true creativity. Moreover, deep learning architectures do not offer direct ways for controlling generation (e.g., imposing some tonality or other arbitrary constraints). Furthermore, deep learning architectures alone are autistic automata which generate music autonomously without human user interaction, far from the objective of interactively assisting musicians to compose and refine music. Issues such as: control, structure, creativity and interactivity are the focus of our analysis. In this paper, we select some limitations of a direct application of deep learning to music generation, analyze why the issues are not fulfilled and how to address them by possible approaches. Various examples of recent systems are cited as examples of promising directions.Comment: 17 pages. arXiv admin note: substantial text overlap with arXiv:1709.01620. Accepted for publication in Special Issue on Deep learning for music and audio, Neural Computing & Applications, Springer Nature, 201

Critique of Creativity: Precarity, Subjectivity and Resistance in the ‘Creative Industries’

234 p. : il., Tablas.Libro ElectrónicoLa creatividad siempre está en movimiento: surge, se establece en el ente colectivo, palidece y desaparece a veces en el olvido; renace, vuelve con innovaciones, se reformula y resurge iniciando de nuevo el ciclo. Los viejos mitos de la creación y los creadores, los trabajos consagrados y los organismos privilegiados de los demiurgos están de nuevo en marcha, produciendo nuevos cambios. Los ensayos recogidos en este libro analizan ese resurgimiento complejo del mito de la creación y proponen una crítica contemporánea de la creatividad.Creativity is astir: reborn, re-conjured, re-branded, resurgent. The old myths of creation and creators – the hallowed labors and privileged agencies of demiurges and prime movers, of Biblical world-makers and self-fashioning artist-geniuses – are back underway, producing effects, circulating appeals. Much as the Catholic Church dresses the old creationism in the new gowns of ‘intelligent design’, the Creative Industries sound the clarion call to the Cultural Entrepreneurs. In the hype of the ‘creative class’ and the high flights of the digital bohemians, the renaissance of ‘the creatives’ is visibly enacted. The essays collected in this book analyze this complex resurgence of creation myths and formulate a contemporary critique of creativity.Contents vii Contributors ix Acknowledgements xv Introduction: On the Strange Case of ‘Creativity’ and its Troubled Resurrection 1 PART ONE: CREATIVITY 7 1 Immanent Effects: Notes on Cre-activity 9 2 The Geopolitics of Pimping 23 3 The Misfortunes of the ‘Artistic Critique’ and of Cultural Employment 41 4 ‘Creativity and Innovation’ in the Nineteenth Century: Harrison C. White and the Impressionist Revolution Reconsidered 57 PART TWO: PRECARIZATION 77 5 Virtuosos of Freedom: On the Implosion of Political Virtuosity and Productive Labour 79 6 Experiences Without Me, or, the Uncanny Grin of Precarity 91 7 Wit and Innovation 101 PART THREE: CREATIVITY INDUSTRIES 107 8 GovernCreativity, or, Creative Industries Austrian Style 109 9 The Los Angelesation of London: Three Short Waves of Young People’s Micro-Economies of Culture and Creativity in the UK 119 10 Unpredictable Outcomes / Unpredictable Outcasts: On Recent Debates over Creativity and the Creative Industries 133 11 Chanting the Creative Mantra: The Accelerating Economization of EU Cultural Policy 147 PART FOUR: CULTURE INDUSTRY 165 12 Culture Industry and the Administration of Terror 167 13 Add Value to Contents: The Valorization of Culture Today 183 14 Creative Industries as Mass Deception 191 Bibliography 20

A Genre Theory of Copyright

A Genre Theory of Copyrigh

Toolset for Visual Creative Conflict Management

Conflict is neuro-physiologically processed by emotional faculties of the humanbrain, similarly to pain processing (Lack & Bogacz, 2012). Pain causes an away-reflex , and so does conflict. Most of us, therefore, try to avoid pain and likewise conflict. Some of us are drawn into conflict, either as an active party or a referee, against our will, while others of us must handle conflict as a matter of life role. Because of this away-reflex to conflict, we often try to resolve conflict in a single step in order to get it over with as quickly as possible. Many people expect to resolve a conflict in a single intervention (Elliott, d\u27Estrée & Kaufman, 2003). When that doesn\u27t work, our emotional response is amplified, typically including frustration, anger, and withdrawal. This project aims to provide a toolset that transitions a user\u27s handling of conflict from their emotional faculties to their logical faculties, overcoming the away-reflex. It also provides a visual representation of the conflict, which allows a conflict manager to logically plot and manage a multi-step resolution process with improved potential for long term results over the get-it-over-quickly single-step reflex. And, it comprises an open framework to which an expanding number of resources can be added to bolster a conflict manager\u27s understanding of all parties\u27 concerns, personalities, motivations, fears, and to enable the conflict manager to generate new ideas using Creative Problem Solving, and increase influence and persuasiveness