7,307 research outputs found

    In Pursuit of Experience: The Authentic Documentation of Experience in Beat Generation Literature

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    Throughout their lives the authors of The Beat Generation sought an escape from the conformity of mid-century American life, in favour of fresh thrilling experiences to influence their writing. The writers of the Beat Generation developed writing methods that authentically document their real-life experiences. Therefore, this thesis examines the documentary nature of literature that came out of this Generation. The first section of the essay explores Beat literature as memoir; arguing that Kerouac's prose is based on his own first-hand experience recollected after the event. This section also argues that due to its fast pace and lack of revision, the Spontaneous Prose Method can be used by authors as a form suited to the authentic documentation of experience. The second chapter looks at the use of transcription methods to document a moment, or specific event, written during the experience. This chapter compares Gary Snyder's Riprap and Cold Mountain Poems, Ginsberg's 'Wichita Vortex Sutra', and Kerouac's Blues Poems as poetry that authentically portrays a moment of experience to the reader. The final chapter explores the more experimental methods of documentation, and whether any authenticity was lost to experimentation. The chapter also explores the Beat use of drugs on the content and form of the literature

    The Globalization of Artificial Intelligence: African Imaginaries of Technoscientific Futures

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    Imaginaries of artificial intelligence (AI) have transcended geographies of the Global North and become increasingly entangled with narratives of economic growth, progress, and modernity in Africa. This raises several issues such as the entanglement of AI with global technoscientific capitalism and its impact on the dissemination of AI in Africa. The lack of African perspectives on the development of AI exacerbates concerns of raciality and inclusion in the scientific research, circulation, and adoption of AI. My argument in this dissertation is that innovation in AI, in both its sociotechnical imaginaries and political economies, excludes marginalized countries, nations and communities in ways that not only bar their participation in the reception of AI, but also as being part and parcel of its creation. Underpinned by decolonial thinking, and perspectives from science and technology studies and African studies, this dissertation looks at how AI is reconfiguring the debate about development and modernization in Africa and the implications for local sociotechnical practices of AI innovation and governance. I examined AI in international development and industry across Kenya, Ghana, and Nigeria, by tracing Canada’s AI4D Africa program and following AI start-ups at AfriLabs. I used multi-sited case studies and discourse analysis to examine the data collected from interviews, participant observations, and documents. In the empirical chapters, I first examine how local actors understand the notion of decolonizing AI and show that it has become a sociotechnical imaginary. I then investigate the political economy of AI in Africa and argue that despite Western efforts to integrate the African AI ecosystem globally, the AI epistemic communities in the continent continue to be excluded from dominant AI innovation spaces. Finally, I examine the emergence of a Pan-African AI imaginary and argue that AI governance can be understood as a state-building experiment in post-colonial Africa. The main issue at stake is that the lack of African perspectives in AI leads to negative impacts on innovation and limits the fair distribution of the benefits of AI across nations, countries, and communities, while at the same time excludes globally marginalized epistemic communities from the imagination and creation of AI

    Complicated objects: artifacts from the Yuanming Yuan in Victorian Britain

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    The 1860 spoliation of the Summer Palace at the close of the Second Opium War by British and French troops was a watershed event within the development of Britain as an imperialist nation, which guaranteed a market for opium produced in its colony India and demonstrated the power of its armed forces. The distribution of the spoils to officers and diplomatic corps by campaign leaders in Beijing was also a sign of the British Army’s rising power as an instrument of the imperialist state. These conditions would suggest that objects looted from the site would be integrated into an imperialist aesthetic that reflected and promoted the material benefits of military engagement overseas and foregrounded the circumstances of their removal to Britain for campaign members and the British public. This study mines sources dating to the two decades following the war – including British newspapers, auction house records, exhibition catalogs and works of art – to test this hypothesis. Findings show that initial movements of looted objects through the military and diplomatic corps did reinforce notions of imperialist power by enabling campaign members to profit from the spoliation through sales of looted objects and trophy displays. However, material from the Summer Palace arrived at a moment when British manufacturers and cultural leaders were engaged in a national effort to improve the quality of British goods to compete in the international marketplace and looted art was quickly interpolated in this national conversation. Ironically, the same “free trade” imperatives that motivated the invasion energized a new design movement that embraced Chinese ornament. As a consequence, political interpretations of the material outside of military collections were quickly joined by a strong response to Chinese ornament from cultural institutions and design leaders. Art from the Summer Palace held a prominent place at industrial art exhibitions of the postwar period and inspired new designs in a number of mediums. While the availability of Chinese imperial art was the consequence of a military invasion and therefore a product of imperialist expansion, evidence presented here shows that the design response to looted objects was not circumscribed by this political reality. Chinese ornament on imperial wares was ultimately celebrated for its formal qualities and acknowledged links to the Summer Palace were an indicator of good design, not a celebration of victory over a failed Chinese state. Therefore, the looting of the Summer Palace was ultimately an essential factor in the development of modern design, the essence of which is a break with Classical ornament

    Colour technologies for content production and distribution of broadcast content

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    The requirement of colour reproduction has long been a priority driving the development of new colour imaging systems that maximise human perceptual plausibility. This thesis explores machine learning algorithms for colour processing to assist both content production and distribution. First, this research studies colourisation technologies with practical use cases in restoration and processing of archived content. The research targets practical deployable solutions, developing a cost-effective pipeline which integrates the activity of the producer into the processing workflow. In particular, a fully automatic image colourisation paradigm using Conditional GANs is proposed to improve content generalisation and colourfulness of existing baselines. Moreover, a more conservative solution is considered by providing references to guide the system towards more accurate colour predictions. A fast-end-to-end architecture is proposed to improve existing exemplar-based image colourisation methods while decreasing the complexity and runtime. Finally, the proposed image-based methods are integrated into a video colourisation pipeline. A general framework is proposed to reduce the generation of temporal flickering or propagation of errors when such methods are applied frame-to-frame. The proposed model is jointly trained to stabilise the input video and to cluster their frames with the aim of learning scene-specific modes. Second, this research explored colour processing technologies for content distribution with the aim to effectively deliver the processed content to the broad audience. In particular, video compression is tackled by introducing a novel methodology for chroma intra prediction based on attention models. Although the proposed architecture helped to gain control over the reference samples and better understand the prediction process, the complexity of the underlying neural network significantly increased the encoding and decoding time. Therefore, aiming at efficient deployment within the latest video coding standards, this work also focused on the simplification of the proposed architecture to obtain a more compact and explainable model

    Economia colaborativa

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    A importĂąncia de se proceder Ă  anĂĄlise dos principais desafios jurĂ­dicos que a economia colaborativa coloca – pelas implicaçÔes que as mudanças de paradigma dos modelos de negĂłcios e dos sujeitos envolvidos suscitam − Ă© indiscutĂ­vel, correspondendo Ă  necessidade de se fomentar a segurança jurĂ­dica destas prĂĄticas, potenciadoras de crescimento econĂłmico e bem-estar social. O Centro de Investigação em Justiça e Governação (JusGov) constituiu uma equipa multidisciplinar que, alĂ©m de juristas, integra investigadores de outras ĂĄreas, como a economia e a gestĂŁo, dos vĂĄrios grupos do JusGov – embora com especial participação dos investigadores que integram o grupo E-TEC (Estado, Empresa e Tecnologia) – e de outras prestigiadas instituiçÔes nacionais e internacionais, para desenvolver um projeto neste domĂ­nio, com o objetivo de identificar os problemas jurĂ­dicos que a economia colaborativa suscita e avaliar se jĂĄ existem soluçÔes para aqueles, refletindo igualmente sobre a conveniĂȘncia de serem introduzidas alteraçÔes ou se serĂĄ mesmo necessĂĄrio criar nova regulamentação. O resultado desta investigação Ă© apresentado nesta obra, com o que se pretende fomentar a continuação do debate sobre este tema.Esta obra Ă© financiada por fundos nacionais atravĂ©s da FCT — Fundação para a CiĂȘncia e a Tecnologia, I.P., no Ăąmbito do Financiamento UID/05749/202

    Comedians without a Cause: The Politics and Aesthetics of Humour in Dutch Cabaret (1966-2020)

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    Comedians play an important role in society and public debate. While comedians have been considered important cultural critics for quite some time, comedy has acquired a new social and political significance in recent years, with humour taking centre stage in political and social debates around issues of identity, social justice, and freedom of speech. To understand the shifting meanings and political implications of humour within a Dutch context, this PhD thesis examines the political and aesthetic workings of humour in the highly popular Dutch cabaret genre, focusing on cabaret performances from the 1960s to the present. The central questions of the thesis are: how do comedians use humour to deliver social critique, and how does their humour resonate with political ideologies? These questions are answered by adopting a cultural studies approach to humour, which is used to analyse Dutch cabaret performances, and by studying related materials such as reviews and media interviews with comedians. This thesis shows that, from the 1960s onwards, Dutch comedians have been considered ‘progressive rebels’ – politically engaged, subversive, and carrying a left-wing political agenda – but that this image is in need of correction. While we tend to look for progressive political messages in the work of comedians who present themselves as being anti-establishment rebels – such as Youp van ‘t Hek, Hans Teeuwen, and Theo Maassen – this thesis demonstrates that their transgressive and provocative humour tends to protect social hierarchies and relationships of power. Moreover, it shows that, paradoxically, both the deliberately moderate and nuanced humour of Wim Kan and Claudia de Breij, and the seemingly past-oriented nostalgia of Alex Klaasen, are more radical and progressive than the transgressive humour of van ‘t Hek, Teeuwen and Maassen. Finally, comedians who present absurdist or deconstructionist forms of humour, such as the early student cabarets, Freek de Jonge, and Micha Wertheim, tend to disassociate themselves from an explicit political engagement. By challenging the dominant image of the Dutch comedian as a ‘progressive rebel,’ this thesis contributes to a better understanding of humour in the present cultural moment, in which humour is often either not taken seriously, or one-sidedly celebrated as being merely pleasurable, innocent, or progressively liberating. In so doing, this thesis concludes, the ‘dark’ and more conservative sides of humour tend to get obscured

    Beyond invisibility: The position and role of the literary translator in the digital paratextual space

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    This thesis presents a new theoretical framework through which to analyse the visibility of literary translators in the digital materials that present translations to readers, referred to throughout as paratextual spaces. Central to this model is the argument that paratextual ‘visibility’ must be understood as including both the way translators and their labour are presented to readers, defined here as their position, and also their role in the establishment of that position. Going beyond Lawrence Venuti’s concept of invisibility as an inevitably negative position to be fought against, this thesis instead establishes paratextual visibility as a complex negotiation between the agency of individual translators, the needs of a publishing house and the interests of readers. The value of this approach is demonstrated through a case study examining the visibility of translator Jamie Bulloch in the digital spaces surrounding his English-language translations of two novels by German author Timur Vermes: Look Who’s Back and The Hungry and the Fat. This analysis finds that even though Bulloch played an early role in creating the publisher’s paratextual materials, publisher MacLehose Press prioritised making the novels’ German origins and the foreignness of the texts visible over Bulloch’s status as the translator, or his translatorship. Bulloch’s limited visibility in the publisher-created materials was then reproduced in digital paratexts created by readers and third parties such as retailer Amazon, despite his attempts to interact with readers and perform his translatorship in digital spaces such as Twitter. Rather than challenging Bulloch’s limited visibility, then, digital spaces served to amplify it. This thesis therefore finds that the translator’s active participation in the promotion of their work does not always equate to increased visibility, thus demonstrating the need to go beyond Venuti’s invisibility and towards understanding the multifaceted roles played by translators in presenting literary texts to new audiences

    Building body identities - exploring the world of female bodybuilders

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    This thesis explores how female bodybuilders seek to develop and maintain a viable sense of self despite being stigmatized by the gendered foundations of what Erving Goffman (1983) refers to as the 'interaction order'; the unavoidable presentational context in which identities are forged during the course of social life. Placed in the context of an overview of the historical treatment of women's bodies, and a concern with the development of bodybuilding as a specific form of body modification, the research draws upon a unique two year ethnographic study based in the South of England, complemented by interviews with twenty-six female bodybuilders, all of whom live in the U.K. By mapping these extraordinary women's lives, the research illuminates the pivotal spaces and essential lived experiences that make up the female bodybuilder. Whilst the women appear to be embarking on an 'empowering' radical body project for themselves, the consequences of their activity remains culturally ambivalent. This research exposes the 'Janus-faced' nature of female bodybuilding, exploring the ways in which the women negotiate, accommodate and resist pressures to engage in more orthodox and feminine activities and appearances

    ‘Mental fight’ and ‘seeing & writing’ in Virginia Woolf and William Blake

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    This thesis is the first full-length study to assess the writer and publisher Virginia Woolf’s (1882-1941) responses to the radical Romantic poet-painter, and engraver, William Blake (1757-1827). I trace Woolf’s public and private, overt and subtle references to Blake in fiction, essays, notebooks, diaries, letters and drawings. I have examined volumes in Leonard and Virginia Woolf’s library that are pertinent, directly and indirectly, to Woolf’s understanding of Blake. I focus on Woolf’s key phrases about Blake: ‘Mental fight’, and ‘seeing & writing.’ I consider the other phrases Woolf uses to think about Blake in the context of these two categories. Woolf and Blake are both interested in combining visual and verbal aesthetics (‘seeing & writing’). They are both critical of their respective cultures (‘Mental fight’). Woolf mentions ‘seeing & writing’ in connection to Blake in a 1940 notebook. She engages with Blake’s ‘Mental fight’ in ‘Thoughts on Peace in an Air Raid’ (1940). I map late nineteenth and early twentieth-century opinion on Blake and explore Woolf’s engagement with Blake in these wider contexts. I make use of the circumstantial detail of Woolf’s friendship with the great Blake collector and scholar, Geoffrey Keynes (1887-1982), brother of Bloomsbury economist John Maynard Keynes. Woolf was party to the Blake centenary celebrations courtesy of Geoffrey Keynes’s organisation of the centenary exhibition in London in 1927. Chapter One introduces Woolf’s explicit references to Blake and examines the record of Woolf scholarship that unites Woolf and Blake. To see how her predecessors had responded, Chapter Two examines the nineteenth-century interest in Blake and Woolf’s engagement with key nineteenth-century Blakeans. Chapter Three looks at the modernist, early twentieth-century engagement with Blake, to contextualise Woolf’s position on Blake. Chapter Four assesses how Woolf and Blake use ‘Mental fight’ to oppose warmongering and fascist politics. Chapter Five is about what Woolf and Blake write and think about the country and the city. Chapter Six discusses Woolf’s reading of John Milton (1608-1674) in relation to her interest in Blake, drawing on the evidence of Blake’s intense reading of Milton. Chapter Seven examines further miscellaneous continuities between Woolf and Blake. Chapter Eight proposes, in conclusion, that we can only form an impression of Woolf’s Blake. The thesis also has three appendices. First, a chronology of key publications which chart Blake’s reputation as well as Woolf’s allusions to Blake. Second a list all of Blake’s poetry represented in Woolf’s library including contents page. The third lists all the other volumes in Woolf’s library that proved relevant. Although Woolf’s writing is the subject of this thesis, my project necessitates an attempt to recover how Blake was understood and misunderstood by numerous writers in the early twentieth century. The thesis argues Blake is a model radical Romantic who combines the visual and the verbal and that Woolf sees him as a kindred artist
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