A constructive theory of automated ideation

In this thesis we explore the field of automated artefact generation in computational creativity with the aim of proposing methods of generation of ideas with cultural value. We focus on two kinds of ideas: fictional concepts and socially embedded concepts. For fictional concepts, we introduce a novel method based on the non-existence-conjectures made by the HR automated theory formation system. We further introduce the notion of typicality of an example with respect to a concept into HR. This leads to methods for ordering fictional concepts with respect to three measurements: novelty, vagueness and stimulation. We ran an experiment to produce thousands of definitions of fictional animals and then compared the software's evaluations of the non-fictional concepts with those obtained through a survey consulting sixty people. The results showed that two of the three measurements have a correlation with human notions.For socially embedded concepts, we apply a typicality-based classification method, the Rational Model of Classification (RMC), to a set of data obtained from Twitter. The aim being the creation of a set of concepts that naturally associate to an initial topic. We applied the RMC to four sets of tweets, each corresponding to one of four initial topics. The result was a set of clusters per topic, each cluster having a definition consisting of a set of words that appeared recurrently in the tweets. A survey was used to ask people to guess the topic given a set of definitions and to rate the artistic relevance of these definitions. The results showed both high association percentage and high relevance scores. A second survey was used to compare the rankings on the social impact of each of the definitions. The results obtained show a weak positive correlation between the two rankings. Our experiments show that it is possible to automatically generate ideas with the purpose of using them for artefact generation. This is an important step for the automation of computational creativity because most of the available artefact generation systems do not explicitly undertake idea generation. Moreover, our experiments introduce new ways of using the notion of typicality and show how these uses can be integrated in both the generation and evaluation of ideas.Open Acces

The influence of television stories on narrative abilities in children

This research explores the narrative abilities demonstrated by children aged between 8 and 12 in the production of television stories. The results reveal that not all television stories viewed by children foster the informal education process. One type of story, termed narrativizing, enables children to produce coherent stories which clearly articulate the causal, temporal and motivational relations, as well as the means-end structures, the proximal relations of the intrigue and the distal relations of the plot. Other television stories, denarrativizing stories, tend to induce disarrangements and incoherence at all structural levels of the stories produced by children. This in turn hampers the development of their narrative abilities, which are necessary to the correct development of narrative thought. These results indicate the need to exercise social control over this latter type of fictional television narrative, to which children are exposed throughout their development within the framework of informal education.University of the Basque Country (UPV/EHU), EHU 13/65 Universidad del País Vasco/Euskal Herriko Unibertsitatea (UPV/EHU), GIU 15/14 Universidad del País Vasco/Euskal Herriko Unibertsitatea (UPV/EHU), UFI 11/04 MINECO. Ministerio de Economía y Competitividad, BES-2015-071923 Fondo Social Europeo, BES-2015-07192

History, Literature, and Authority in International Law

One consequence of international law’s recent historical turn has been to sharpen methodological contrasts between intellectual history and international law. Scholars including Antony Anghie, Anne Orford, Rose Parfitt, and Martti Koskenniemi have taken on board historians’ interest in contingency and context but pointedly relaxed historians’ traditional stricture against presentist instrumentalism. This essay argues that such a move disrupts a longstanding division of labor between history and international law and ultimately brings international legal method closer to literature and literary scholarship. The essay therefore details several more or less endemic ways in which literature and literary studies confront challenges of presentism, anachronism, meaning, and time. Using examples from writers as diverse as Anghie, Spinoza, Geoffrey Hill, Emily St. John Mandel, China Miéville, John Hollander, Pascale Casanova, Matthew Nicholson, John Selden, Shakespeare, and Dante, it proposes a “trilateral” discussion among historians, international lawyers, and literary scholars that takes seriously the multipolar disciplinary field in which each of these disciplines makes and sustains relations with each of the others.

Bruce Lee and the invention of Jeet Kune Do: The Theory of Martial Creation

This article argues that creativity in martial arts can be linked to moments of crisis. It does so on the basis of a comparative analysis of Bruce Lee’s martial artistry (specifically his creation of Jeet Kune Do) in relation to the earlier development of Bartitsu and the more recent example of Xilam. All three of these arts were founded by experienced practitioners who took personal and social crises as stimulus for creativity. Lee’s own crises can be understood as: (i) separation, in terms of his geographical distance from his wing chun kung fu school; (ii) fitness, in terms of his dissatisfaction with his physical condition following a now (in)famous duel, and (iii) injury, in terms of his later chronic back injury, which allowed for the technical, supplementary and philosophical basis for his personal way towards combative excellence and overall human development. On the basis of comparing these three cases, I propose a theory of martial creation, which I invite other martial arts scholars to test and explore further

Republican Monsters: The Cultural Construction of American Positivist Criminology, 1767-1920

This dissertation examines the history of and cultural influences on positivist criminology in the United States. From Benjamin Rush to the present day, the U.S. has produced an extensive corpus of empirical and theoretical studies that seeks to discern an objective, scientifically-grounded basis for criminal behavior. American positivist criminology has drawn on numerous subfields and theories, including rational choice / economic theory, biology, and psychology, but in all cases, maintains that a purely scientific explanation of offending is possible. This study proceeds from the perspective that divisions between scientific and non-scientific thought are untenable. Drawing on scholarship in literary criticism and sociology, I argue that positivist criminology confronts an inherent contradiction in purporting to develop a purely scientific account of phenomena that are defined by the moral and cultural sentiments of a society. I thus hypothesize that positivist criminology is in fact reliant on the irrational and fictive cultural tropes and images of crime that it claims to exorcize. The dissertation proceeds by reviewing the literature on the history of criminology, developing a set of functional types or tropes for character analysis, and then examining four separate periods in the development of scientific criminology: eighteenth century studies of rational action, nineteenth century studies of defective reasoning, early twentieth century studies of race and crime, and the development of scientifically informed criminalistics programs. Each of these cases captures a different period and focus in the development of scientific criminology. In threading continuity between these cases, I show how criminological positivism is consistently reliant on culturally informed tropes and characters to render itself sensible and coherent

A Comparative Study Of The Printed And Hypertext Novel 10:01 By Lance Olsen

Dalam era pascamoden, kesan daripada pengaruh timbalbalik antara novel bercetak dan media digital, telah menghasilkan antara naratif dengan persekitaran interaktif sehingga dapat melahirkan genre-genre baru seperti cereka hiperteks. In the postmodern era, the mutual impression between printed literature and digital media has embedded narratives into interactive environments and new genres like hypertext fiction are created

Nietzsche on identity

I gather and constructively criticize Nietzsche’s writings on identity. Nietzsche treats identity as a logical fiction. He denies that there are any enduring things (no substances); he denies that there are any indiscernible things in any respect (no universals, no bare particulars). For Nietzsche, the world consists of durationless events bearing non-universal properties and standing to one another in non-universal relations. Events are bundles of tropes. Nietzsche even denies self-identity. His events are self-differing trope-bundles. I link Nietzsche’s denial of self-identity with modern treatments of paradox