Intention Of Creators Research Articles

“Disinclined to Politicize”? Music and Canadian Politics 2.0

Musicians, scholars, and even reference materials are surprisingly united in the contention that music and politics occupy separate spheres in Canada. However, we suggest that denying the intersection of music and politics in Canada potentially blinds us to the complex ways in which artists, mediators, and audiences—that is, produsers—participate in projects that are undeniably ideological. Indeed, we suggest that appreciating the entwined relationship of music, politics, people, and contexts for circulation is particularly important at a moment when the participatory culture that prevails on social media platforms is increasingly normalised and the authority of established knowledge sources breaks down in the face of “controlless” circulations of content that radically challenge our capacities to communicate across partisan lines. Our analysis takes the form of three case studies: Tony Turner’s “Harperman” (2015), Adrian Sutherland’s “Politician Man” (2019), and Brock Tyler’s “Speaking Moistly” (2020). Our analysis interprets each example according to musical form, lyrics, creator intentions, and genre affiliations but, critically, also addresses how contexts for circulation, curation by produsers, and the affect of musicking illuminates kaleidoscopic meanings that accrue through the complex interactions of music and politics—meanings, notably, that cannot be discerned through a focus on the musical object or political landscape alone.

Divine Providence in Early Modern Economic Thought

Divine Providence in Early Modern Economic Thought

Promoting Creators Intentions: Measurement of Crowdfunding Performance

Crowdfunding is an activity to collect small amounts of funds from a large audience via the internet without involving a financing intermediary. This study aims to determine the effect of fundraising, product testing, relationship reliability, and awareness-raising on the performance of the crowdfunding platform as an alternative source of business or business funding. This research was conducted using a quantitative approach, where Google forms were distributed to 267 project proponents, owners, or administrators in ASEAN countries as a sample and 197 sets of questionnaires were returned with complete answers and further analyzed. The data analysis used includes descriptive analysis, Pearson correlation, and multiple linear regression analysis. The results of this study indicate that all independent variables, namely the creator's intention in the form of fundraising, product testing, relationship reliability, and awareness-raising, have a positive and significant influence on the performance of the crowdfunding platform. This has practical implications that the creator's intention must be a concern for project proponents and fund owners who invest or distribute their funds in addition to paying attention to the business proposal and the reliability of the crowdfunding platform operator.

Understanding the creator's intention helps 24‐ and 26‐month‐olds use picture mediated information as a guide for action

AbstractToddlers show high sensitivity to creator's intention when they interpret pictures. Previous research suggest that toddlers' performance can be facilitated in a picture comprehension task by making available the creator's intention that is, the social origin of picture‐creation. The present study aims to test the generalizability of this facilitative effect in two very young age groups (24‐ and 26‐month‐olds). In order to test how toddlers generalize their knowledge, we introduced a treatment in which the creator was intentionally drawing objects and a completely different test context with a retrieval task. The results suggest that two‐year‐olds can transfer their socially mediated knowledge of pictures to a novel problem solving test situation and contextualize pictures that does not contain any social cues.Highlights We aimed to facilitate picture comprehension and to test the generalizability of this facilitative effect in two age groups. We introduced a treatment in which the creator was intentionally drawing and a different test context with a retrieval task. Two‐year‐olds can transfer their socially mediated knowledge of pictures to a novel problem solving test situation without any social cues.

Children's picture interpretation: Appearance or intention?

Pictures are defined by their creator’s intentions and resemblance to their real world referents. Here we examine whether young children follow a realist route (e.g., focusing on how closely pictures resemble their referents) or intentional route (e.g., focusing on what a picture is intended to represent by its artist) when identifying a picture’s referent. In 3 experiments, we contrasted an artist’s intention with her picture’s appearance to investigate children’s use of appearance and intentional cues. In Experiment 1, children aged 3–4 and 5–6 years (N = 151) were presented with 4 trials of 3-object arrays (e.g., a pink duck, a blue duck, and a teddy). The experimenter photographed or drew 1 of the objects (e.g., blue duck), however, the subsequent picture depicted the referent in grayscale (black and white condition) or the color of its shape-matched object, for example, a pink duck (color change condition). Children were asked 3 questions regarding the identity of the pictures; responses were guided by intentional cues in the black and white condition, but appearance in the color change condition. Experiment 2 confirmed that appearance responses were not due to the artist’s changing knowledge state. Experiment 3 replicated the results of Experiment 1 with adult participants. Together, these studies show that children and adults are neither strictly realist nor intentional route followers. They are realists until resemblance cues fail, at which point they defer to intentional cues.

Original Order in Permanently Active Records

The archival principle of original order, while maintaining the authenticity of records, also allows an archival collection to be arranged in a manner that simultaneously imposes intellectual control and retains the added value of the creator's intent; other systems of arrangement that have been imposed on archival collections may hinder a researcher's understanding of the context in which the collection was created. My project in the archives focused on the concept of original order. Working with donor records, I removed a large collection of books in an archive from call number order and returned it to its original order. In doing so, the groupings were analyzed and I, along with the others working within the archives, were made aware of personal connections and how they affected what was donated to this collection. The more removed the donors were from the person honored by the collection, the less likely they were to donate something with a personal inscription. The focus of this article is the modern day application of this concept and its use, significance, and relevance.

Synthesis of performance expression of bowed string instruments using “Expression Mark Functions”

This paper proposes a method for synthesis of performance expression of bowed string instruments. In order to reflect a creator's intention on a synthetic sound, physical model is efficient because the sound can be synthesized by the performance imagination. The physics of the bowed string instruments are still some issues remain unresolved, bowed string sound synthesis using only the physical model is difficult. In this paper, a method using a transfer function for expression mark is proposed. “Expression mark functions” is estimated from recorded performance sounds, using spectrum of string motion and inverse filter of resonant properties of the instruments. Bowed String motion is a triangular wave called the Helmholtz wave, and it can be determined from bowed string position. Changes of waveform from expression performance were estimated by non-negative matrix factorization. Resonant properties of an instrument were measured as TSP response using a “direct conduction speaker”. The expression mark funct...

Can Records Speak for Themselves?

This article considers the applicability of speech act theory to archival science. A review of the literature suggests that the theory provides an interesting approach to the study of how records perform communicative acts, reflecting their creator's intentions, and have an effect on the reader. The theory's strengths, weaknesses and limitations are considered with reference to their implications for archival records. The works of Austin, Searle and Derrida are critiqued. Henttonen and Underwood's applications of this theory to archives are also evaluated. The author questions whether records contain sufficient internal contextual information to support speech acts or whether they rely on provenance. It is suggested that as a means to study communication, an analysis of speech act theory in archival science must always place participants and context centrally. The perlocutionary effects of records are also discussed.

Artifacts and Original Intent: A Cross-Cultural Perspective on the Design Stance

AbstractHow do people decide what category an artifact belongs to? Previous studies have suggested that adults and, to some degree, children, categorize artifacts in accordance with the design stance, a categorization system which privileges the designer's original intent in making categorization judgments. However, these studies have all been conducted in Western, technologically advanced societies, where artifacts are mass produced. In this study, we examined intuitions about artifact categorization among the Shuar, a hunter-horticulturalist society in the Amazon region of Ecuador. We used a forced-choice method similar to previous studies, but unlike these studies, our scenarios involved artifacts that would be familiar to the Shuar. We also incorporated a community condition to examine the possible effect of community consensus on how artifacts are categorized. The same scenarios were presented to university student participants in the UK. Across populations and conditions, participants tended to categorize artifacts in terms of a creator's intent as opposed to a differing current use. This lends support to the view that the design stance may be a universal feature of human cognition. However, we conclude with some thoughts on the limitations of the present method for studying artifact concepts.

Conditions Under Which Function Information Attenuates Name Extension via Shape

Children often extend names to novel artifacts on the basis of overall shape rather than core properties (e.g., function). This bias is claimed to reflect the fact that nonrandom structure is a reliable cue to an object having a specific designed function. In this article, we show that information about an object's design (i.e., about its creator's intentions) is neither necessary nor sufficient for children to override the shape bias. Children extend names on the basis of any information specifying the artifact's function (e.g., information about design, current use, or possible use), especially when this information is made salient when candidate objects for extension are introduced. Possible mechanisms via which children come to rely less on easily observable cues (e.g., shape) and more on core properties (e.g., function) are discussed.

Libraries and their ashes

No library is perfect - yet their exclusions, ommisions, classifications and obfuscations reveal just as much about their creator's intentions as do their contents

An exploration of meaning and the dialogue between textbooks and teaching

Meaning: n la: the thing one intends to convey esp. by language: PURPORT b: the thing that is conveyed esp. by language: IMPORT 2: INTENT, PURPOSE 3: SIGNIFICANCE 4a: Connotation B: Denotation (Webster's Seventh New Collegiate Dictionary). Is the object's meaning guaranteed by reference to its creator's intention in making it, or is its meaning a function of its position in a system of objects ...?... I wish to argue that we can interpret it best only by taking our eyes off it, denying it status as a thing in itself, and reading it as intertextually as we can within the limits of the present discourse. (Scholes 1985: 136)