This article presents a manuscript that significantly enriches the textual corpus of ›Helfta Mysticism‹ with a series of hitherto unknown writings. Aside from this, it contains what is by some distance the oldest copy of the ›Legatus divinae pietatis‹, in the form of a ›special edition‹ that consists of excerpts from the known text as well as new material. This is preceded by a prologue and a florilegium which is marked in an epilogue as Gertrude’s own work. We argue that the epilogue of the florilegium, the prologue and the ›special edition‹ itself were probably composed by ›Sister N‹ of Helfta herself. The article provides a full description of the manuscript (Ms 827), a breakdown of the new ›special edition‹ of the ›Legatus‹-text, and an edition, translation, and close reading of the prologue.

Im Folgenden soll eine Handschrift vorgestellt werden, die die Textbasis der Helftaer Mystik mit einer Reihe von bislang unbekannten Schriften bereichert. Außerdem enthält sie die mit Abstand älteste Abschrift des ›Legatus divinae pietatis‹ in Form einer ›Sonderausgabe‹, die aus Exzerpten aus dem bekannten Textcorpus und aus weiterem bislang nicht bekanntem Material besteht. Dieser geht eine Vorrede und ein im Epilog als Gertruds Werk ausgewiesenes Florilegium voraus, Texte, die wie die ›Sonderausgabe‹ selbst von Schwester N von Helfta stammen dürften. Die vorliegende Studie bietet eine Beschreibung von Ms 827, die Aufschlüsselung der ›Sonderausgabe‹ des ›Legatus‹ sowie Abdruck, Übersetzung und inhaltliche Analyse der Vorrede.

This article takes a closer look at how the American author Tao Lin uses Twitter to perform his authorial identity. Twitter serves as a primary platform for Lin to shape and reshape the public images of him as an author. Lin's Twitter presence operates as 140-character bursts of authorial self-presentation. The tweets he chooses to post combined with his views on Twitter as a presentational platform show that Lin is conscious of his identity performance, especially online. With this knowledge, he uses the language of Twitter to enact his authorial identity and influence the representations that circulate in the literary world, but he fell short because of the dominant role print media play in images of authorship. To counteract this and gain cultural legitimacy for his online identity in the literary world, Lin resorts to remediating his Twitter profiles into a fetishized print book. Lin's coquettish relationship with Twitter shows his audience that the platform is more than a place to generate attention for oneself; it is a site for the continual reshaping of identity on a mass scale.

This op-ed style essay examines the wildly exaggerated claims made for Non-Fungible Tokens or NFT artworks. Above all, it questions the NFT's  peculiar reversal of digital media's inherent interchangeability by turning back to the centuries-old legacy of individual authorship and visionary private property. "NFT Fever: Is it Time for a Great Refusal 2.0?," was originally written for and published by the Portuguese cultural journal, Electra Magazine, and is hereby updated with some important corrections to the technical details. https://www.fundacaoedp.pt/en/content/electra-magazine

O  desenvolvimento  de  novas  tecnologias  foi  res-ponsável  por  profundos  impactos  no  Direito  de  Autor,  desta-cadamente  nas  mudanças  causadas  pelo  advento  da  sociedade  da  informação  e  da  internet.  Os  avanços  nas  ferramentas  de  inteligência artificial proporcionaram grandes desafios nesse ce-nário,  se  tornando  importante  hoje  responder  à  questão  sobre  a  autoria  de  obras  geradas  com  mínima  (ou  nenhuma)  inter-venção humana e a decorrente (in)existência de proteção pelas normas de direitos de autor. Realiza-se nesta investigação uma breve  análise  da  doutrina  e  da  jurisprudência  de  diversos  sis-temas jurídicos (com foco em Portugal, União Europeia e Es-tados Unidos), concluindo-se pela ausência de proteção direta, com objetivo de reforçar o domínio público e o acesso à cultura. Permanece possível, no entanto, pensar em outras maneiras de recompensar o desenvolvimento de programas criativos e a di-vulgação dessas obras.

www.holybibleinstitute.com 2 ACKNOWLEDGEMENTS This book is the first of many to come with the help of the Lord's power and guidance. This book is the by-product of a recent paper that I submitted while earning my master's degree in theology at Liberty University. Both of these achievements would have not been a reality today if it were not for some very special people in Pikeville, Kentucky. With that said, I would like to dedicate this first book to three of those special people. I want to thank Lynn and Jessica Parrish; who without their prayers, support and encouragement none of this would even be a reality today. My wife Bridgette has also played a very important part in these accomplishments and has always been fully supportive as I go about each day seeking what the Lord would have me to do.

LOPES, Marcelo Frullani. Obras geradas por inteligência artificial: desafios ao conceito jurídico de autoria. 2021. 234 folhas. Dissertação de Mestrado - Faculdade de Direito, Universidade de São Paulo, São Paulo, 2021.

Sistemas de inteligência artificial vêm sendo cada vez mais utilizados para produção de obras artísticas, como músicas, textos, pinturas e filmes, dentre outras. Nesse contexto, o conceito de autoria sofre grandes desafios. Partiu-se da hipótese de que esse conceito é inaplicável a situações em que há emprego de inteligência artificial no processo de produção artística. Para iniciar a discussão, esta dissertação tratou, no primeiro capítulo, da evolução histórica do conceito de autoria, com destaque às influências exercidas pelo Iluminismo e pelo Romantismo. Além disso, tratou-se das teorias clássicas de fundamentação dos direi-tos autorais, muito direcionadas à concepção de autor como ser humano, e que tiveram um papel significativo na tradicional distinção feita entre os sistemas francês e inglês de direi-tos autorais. Esse conceito individualista de autoria, porém, passou a ser muito questionado a partir dos últimos anos do século XIX e ao longo do XX em diversas áreas do conheci-mento. Um impacto ainda maior ocorreu no final do século XX e ao longo dos primeiros anos do XXI, quando a disseminação de computadores pessoais e da rede mundial de computadores possibilitou que todos os usuários se tornem potenciais criadores, tornando menos nítida a fronteira entre artista e público. Além disso, essas tecnologias forneceram um estímulo a criações colaborativas, que podem envolver até milhares de pessoas, sem que haja coordenação ou centralização dos esforços. Assim, a inteligência artificial não chega a um cenário em que o conceito de autoria é inquestionável. O terceiro capítulo desta disser-tação realiza uma breve análise do conceito de inteligência artificial e das principais técnicas utilizadas para a produção de obras de arte. A partir dos diversos exemplos apresentados, ficou claro que inteligência artificial serve como um termo “guarda-chuva”, que abrange uma série de técnicas muito variadas. Em algumas situações, ferramentas que empregam essas técnicas apresentam elevado nível de autonomia, podendo-se dizer que são criativas, ao menos em um sentido objetivo; já em outros casos, elas podem servir como meras assis-tentes dos humanos. Por fim, no quarto capítulo, mostrou-se que a hipótese adotada inici-almente estava parcialmente correta, pois o conceito jurídico de autoria ainda pode ser apli-cado a alguns cenários. Uma distinção importante pode ser feita entre obras geradas e obras assistidas por inteligência artificial. No entanto, em situações nas quais as máquinas apre-sentam elevado grau de autonomia, algumas propostas da doutrina para aplicação desse conceito mostram-se insatisfatórias, em especial nos países mais exigentes quanto ao nível de criatividade e em que se sustenta a existência de um vínculo entre a personalidade do autor e sua obra. Em contrapartida, nos países que seguem a tradição inglesa, em geral, há maior facilidade para flexibilizar o conceito, de modo que ele ainda pode ser aplicado mesmo em situações nas quais as máquinas possuem elevado nível de autonomia.

Palavras-chave: 1. Autoria; 2. Inteligência artificial; 3. Direito autoral; 4. Conceitos jurídi-cos; 5. Domínio público.

The 21st century has seen the emergence of technological innovations that render the erstwhile Intellectual
Property (IP) systems seemingly inept in protecting and regulating intellectual property rights. Artificial Intelligence (AI) has established itself as a frontier of innovation with over a $250 million market opportunity. With the advent of the AI, the lines of creative ownership rights attributed to the creators of intellectual works are blurred, due to the essential nature of the technology itself. The question of who then
is attributed authorship of the work produced by AI arise

This is the revised final draft of one of the two lead papers presented at the SNTS pre-conference on The Johannine Question. It covers the last half-century of Johannine paradigms, critiques Pierson Parker's 21 objections to the son of Zebedee having ANYTHING to do with the Johannine tradition, and introduces three aspects of overlooked evidence on the subject.

I believe it was published in 2018:

Paul N. Anderson, “The Son of Zebedee and the Fourth Gospel: Some Clues on John’s Authorship and the State of the Johannine Question.” El Evangelio de Juan. Origen, Contenido y Perspectivas--The Gospel of John. Origin and Perspectives, eds. B. Estrada and L. G. Sarasa, Colección Teología Hoy 80 (Editorial Pontificia Universidad Javeriana, Bogotá 2018).

Background: Attitudes to, and practices of, scientific authorship vary. We have studied this variation among researchers in a university hospital and medical school in Norway. Methods: We invited all faculty, researchers and PhD students at Oslo University Hospital and the Faculty of Medicine, University of Oslo (approximately 2700) by e-mail to answer a web-based questionnaire in January 2013. We asked the researchers to report their authorship experiences and to score their agreement with, and ability to practice according to, 13 statements on authorship qualifications and criteria on a five-point Likert scale (1 = completely agree, 5 = completely disagree). The statements were taken from the International Committee of Medical Journal Editors (ICMJE) and other recommendations on authorship. Results: 654 questionnaires were returned (response rate 24%); 25% of the respondents had published less than five scientific articles, 43% five to 49, and 32% more than 50 articles. 97% reported knowledge of defined authorship criteria, and 68% regarded breaches of these as scientific misconduct. 36% had experienced pressure to include undeserved authors in their papers, more in basic science (46%) than in community medicine (25%). 29% reported that they had been denied authorship they believed they deserved. Researchers with less than six years of research experience found authorship decisions more difficult than more experienced researchers (48% vs 30%). The respondents' agreement with the statements on authorship was higher than their self-reported ability to follow them for all statements. Average scores for agreement and practice for all statements combined were 1.4 vs 2.3. The discrepancy between attitude and practice declined with publishing experience. For the core ICMJE authorship requirements the average difference between attitude and practice was 1.2 among those who had published less than 5 articles and 0.7 among those who had published 50 articles or more (p < 0.05). Conclusions: Almost all the responding researchers had knowledge of formal authorship requirements. Most of them agreed with the criteria, but found it harder to put them into practice. More experienced researchers found decisions on authorship and about the order of authors easier than less experienced researchers.

Journal has regularly published the results of survey research. As an academy we seem to be very interested in learning what our faculty members and students think, how they perform, and what is going on at other schools and colleges of pharmacy. A survey is often the best approach to acquiring that knowledge. However, the Editors believe that survey research published in the Journal has varied in quality and that standards for survey research can be used to improve the quality of research in the academy and the quality of papers published in the Journal. With that in mind, a decision was made in early 2008 to clarify expectations for survey research manuscripts submitted to the Journal. In Volume 72, Issue 1 of the Journal, Draugalis and colleagues 1 presented an excellent paper detailing ''best practices'' for survey research manuscripts. These standards are now recommended to authors and reviewers, and will be used by the Editors in making decisions regarding acceptance of manuscripts. One item addressed in the paper 1 was the importance of response rates to questionnaire research, while another issue dealt with sample representativeness. The Draugalis et al 1 paper and an examination of previously published survey research manuscripts in the Journal has led to the application of more stringent expectations for manuscripts published in the Journal.

In summer 2014 Glasgow played host to the 20th Commonwealth Games. As well as a celebration of sport, there was an extensive cultural programme including new work by world-leading and emerging Scottish and international artists. Emphasis was on accessibility, shared cultural traditions and contemporary creativity. Expanded practices that call upon public collaboration as a means of production are becoming a customary feature of the contemporary art landscape (and often a requisite of funding). Ontologically this process challenges traditional attitudes to material and nominal authenticities, with the artist not necessarily involved in the ‘making’ of the work. This paper explores issues of authenticity in relation to this growing contemporary art practice of social engagement and public participatory collaboration. With funding bodies seeking evidence of social ‘impact’, contemporary art production is becoming increasingly tied to project-based events rather than autonomous installations or material objects. How does this affect our understanding of nominal and expressive authenticity? This subject is explored in relation to the practice of Rachel Barron, whose participatory project Assemble took place across two venues in Glasgow during the Commonwealth Games.

In June 2008 the search term ''Madeleine McCann'' generated around 3700 videos on YouTube, attracting over seven million text responses. This research project used generic analysis to allocate videos to categories according to their content. Using critical discourse analysis, the nature of the comments posted in response to the videos was then assessed. Both methods were deployed to explore three broad research questions. First, what kind of content were people uploading to YouTube in response to the case? Second, where did YouTube users position themselves in relation to the dominant discourses of the news media in this case? Third, previous work demonstrates evidence of ''collective expressiveness, emotionality, and identity'' (Greer, 2004) in virtual communities structured around cases of child murder in the United Kingdom: to what extent were these characteristics of imagined community evident in responses to videos? Results demonstrate that YouTube provides a forum for a broad range of responses to the case, both accommodating and expanding on dominant mainstream discourses. Evidence of distinct imagined communities forming around particular responses to the case demonstrate nuanced and complex patterns of responses to mediated crime through YouTube, as technology erodes the traditional boundaries between producers and consumers of crime news.

This article is a case study of the French TV series Un Village francais , broadcast on France 3 from 2009 to 2017. Based on interviews and observations of the cast and crew members, it attempts to unravel the relationships between writers, producers, directors and broadcasters within the French television industry. First, some particularities of television production in France are briefly addressed. These include: the limited number of channels commissioning original TV series; the still unestablished concept and professional practice of showrunners and the lack of an industrialized process in creating televised serial narratives; and the dominant status of directors, which contributes to the weakened position of TV writers within this economy. The focus of the article is then the pre-broadcast history of the series, from the early stages of its conception to the later stages of its production. Un Village francais is indeed created by an a-typical trio of executive co-producers: a ...

In this paper I attempt to show that a certain degree of hunger, intended as a material and psychological condition of the diner, can become a constitutive property of a culinary work. One may believe that the best possible argument supporting this thesis is one relying on the general assertion that an author's stipulative authority over the features of his or her work, if adequately exercised, is absolute. Quite the contrary, I show that we should prefer a different and more specific argumentative strategy based on the twofold fact that the conventions ruling over culinary works are peculiarly less stringent than in many other art fields, and that hunger has a very special status with regard to culinary works, in the sense that fixing the degree of hunger of the diner may serve to fix the appropriate conditions for any minimally acceptable perceptual experience of a culinary work to take place.

According to a common though not universally accepted opinion, works of narrative fiction are made up of statements uttered by a fictional narrator who must be distinguished from the author. In what follows, I demonstrate that this assumption has led to misinterpretations of Johann Wolfgang von Goethe’s novel Die Wahlverwandtschaften. In the first section, I examine the view, held by several distinguished scholars, that there is a fictional narrator in Die Wahlverwandtschaften. Two main problems of the respective interpretations are exposed. First, they fail to substantiate their claims about the existence and particular traits of the narrator. Second, they fail to clarify the very point of introducing him. In the second section, I challenge the general assumption that it is reasonable to postulate a narrator while ignoring, temporarily or permanently, the author’s purposes. The third section suggests that it is rather misleading to apply the term ‘narrator’ to the author of the novel. One may of course call Goethe the ‘narrator’ of Die Wahlverwandtschaften, but there is little point in doing so. In the final section, I draw attention to some aspects of Goethe’s novel that have previously been neglected and that can be more easily recognized once one refrains from assuming that there is a fictional narrator in the novel.

To display art in a way that maximises the ability of the public to appreciate it depends on methods of authorship, a collaborative process between various art industry professionals within the context of the ideologically charged, characteristic setting of the museum. The job of the author is to connect a work or group of works to their context in the most appropriate way in contemporary settings, and the methods include the altered White Cube effect, artist involvement, recontextualisation, and restaging.

Construction of virtual identities in social networks is a spontaneous and well pondered process where attention to all the information available becomes essential.&nbsp; Identities are projected using this information. The aim of this paper is to define which fragments of this information are the most commonly present in user profiles. Besides, understanding aspects of identity that are the most conjectured. For the data analysis, a quantitative methodology with a questionnaire as a collection technique was used with a sample of 521 people between Spain and Argentina. The analysis of the empirical data has allowed some reflections on the importance of the features social networks offer to its users, as well as on how crucial image is in fingerprints and identity description, and digital action implementation.La construcción de las identidades virtuales en las redes sociales es un proceso espontáneo y ponderado donde la atención sobre toda la información disponible se hace esencial,...

Abstract: Street Scenes 1970 (New York Cinetracts Collective, 1970), a now forgotten documentary made by a group of New York University film students and professional filmmakers led by then NYU instructor Martin Scorsese, offers an intriguing case study to ...

Middle name initials are often used by people in contexts where intellectual performance matters. Given this association, middle initials in people’s names indicate intellectual capacity and performance (Van Tilburg and Igou, 2014). In the current research, we examined whether middle initials are associated with a typical academic indicator of intellectual performance: authorship order of journal articles. In psychology, authorship early in the author list of an article should correspond with greater contribution to this intellectual endeavor compared to authorship appearing later in the author list. Given that middle initials indicate intellectual capacity and performance, we investigated whether there would be a positive relationship between middle initials in author names and early (vs. late) appearance of names in author lists of academic journal articles in psychology. In two studies, we examined the relationship between amount of authors’ middle initials and authorship order. Study 1 used a sample of 678 articles from social psychology journals published in the years 2006 and 2007. Study 2 used a sample of 696 articles from journals of multiple sub-disciplines in psychology published in the years from 1970 to 2013. Middle initials in author names were overrepresented early (vs. late) in author lists. We discuss implications of our findings for academic decisions on authorship orders, potential avenues of further investigation, and applications.

After her termination as a Friends writers’ assistant, Amaani Lyle filed suit for harassment and discrimination. In response, writers defended their professional authority over the writing process, facing two related tensions. First, Lyle v. Warner Bros. emphasized frictions between artistic freedom and social responsibility, amid concerns about a lack of diversity among writers. Second, the case also spotlighted the ambivalence of writers’ artistic status, within a collaborative and vertically integrated system of production. Focusing on problems of organization and profession, this article explores writers’ negotiations of these tensions as negotiations of their role in a complex industry.

Author order is crucial; it is the currency of academia. Within STEM disciplines, women and junior researchers--those who are the primary constituents of our lab-- consistently receive less credit for equal work. Our Civic Laboratory for Environmental Action Research (CLEAR) is a feminist marine science laboratory at Memorial University of Newfoundland, Canada. Recognizing that the stakes are high for CLEAR members, we have developed an approach to author order that emphasizes process and equity rather than system and equality. Our process is premised on: 1) deciding author order vy consensus; 2) valuing care work and other forms of labour that are usually left out of scientific value systems; and 3) taking intersectional social standing into account.  Although CLEAR’s approach differs from others’, we take author order seriously as a compromised but dominant structure within science we must contend with. That is, rather than attempt to circumvent author order, we stay with the trou...

The animated music videos of Radiohead, Chris Hopewell and Gastón Viñas are entwined by intertextual threads that refer to each other in a reciprocal and generative way. As a graphic artist and applied fan of the band Radiohead, Viñas has borrowed extensively from Radiohead's music videos and associated world components in order to build new storyworlds in which his own music videos and artwork live in constant dialogue with their intertextual counterparts. Through an analysis of music videos created by Viñas, Radiohead and Hopewell, this chapter draws on the concepts of intertextuality and dialogism to argue that fan-made music video can play a significant role within a broader process of what is termed 'dialogic world-building'. This 'world-building' process gradually becomes apparent across the chapter, as a complex web of woven threads emerges from interconnected analyses of music videos, thereby demonstrating that a transmedial and transauthorial approach can enable a holistic impression of the establishment, appropriation and regeneration of 'storyworlds'. This chapter appears in The Bloomsbury Handbook of Popular Music Video Analysis, edited by Lori Burns and Stan Hawkins (2019).

Une partie considérable de la littérature narrative publiée en France au XVIe siècle est le résultat d'une activité, souvent anonyme, de réécriture ou de traduction de textes médiévaux ou étrangers. Parmi les protagonistes de cette vaste entreprise d'annexion au système littéraire contemporain d'œuvres, de matériaux et de formes d'origines différentes, nous trouvons des polygraphes dont la production, hétérogène et dérivée, leur a empêché l'accès au statut d'auteur. Une enquête sur la polygraphie au XVIe siècle permet de mieux cerner l’activité de ces écrivains difficilement classables auxquels on peut reconnaître une fonction d'éditeur.

Tanulmányomban a szerzői névhasználatnak az írói karrierépítésre gyakorolt hatását vizsgálom a Toldy Ferenc és Bajza József közötti Júliusz-vita kapcsán. 1824-ben Toldy Bajza jóváhagyása nélkül és álnéven jelentette meg barátja zsengéit, ami kiváltotta a költőtárs haragját. Az eset rámutat arra, hogy a szerzők hogyan tudják úgy közölni műveiket, hogy az esetleges negatív fogadtatás ne befolyásolja költői karrierjüket, de megismerjék a közönség és a kritika véleményét.

Download at https://ssrn.com/abstract=3539823

American law clerks often draft opinions for their judges. Yet American legal culture is remarkably diffident about that simple fact. The role that law clerks play in drafting opinions is not a secret. Far from it. But it might qualify to be somewhere in the outer vicinity of being an “open secret.” And it continues to be controversial.

This essay explores a set of questions about opinion-writing by law clerks. The first major question is meta-normative. The goal is not to decide whether the practice of law clerks drafting opinions is proper or improper, but why it is occluded and controversial in the first place. Specifically, why is there so much more diffidence and doubt about the role of law clerks than about the work of aides in the other branches of government such as Presidential speechwriters and Congressional staff?

The second question is hermeneutic. Should the fact that judges might not always draft their own opinions lead us to read and interpret those opinions differently, especially when we draw conclusions about the “jurisprudence” of this or that judge or Justice or the way that legal doctrines often seem to be shaped by longstanding, dialectical, debates among judges or Justices?

The discussion of both questions tries to shed some light on broader constitutional and jurisprudential questions, including the distinctly metonymic relationship between the “President” and the rest of the Executive Branch and the complicated connections between judicial reasoning, the exercise of judicial authority, and the identity of the individual judge.

This essay was written as part of symposium marking the hundredth anniversary of the formal institution of Supreme Court law clerks.

The early modern commercial book market was the cradle of authorial branding. Authors and publishers increasingly explored the construction of authorial brands: a set of recurring and recognizable characteristics associated with authorial images. This chapter looks at branding in the context of the media landscape of the early modern Dutch Republic. Authorial branding developed over time in conjunction with new conceptions of the individual, technological innovations, and the changing role of-amongst others-patrons and publishers. Analyses of the branding of Jan Jansz. Starter (1593-1626) and Sara Maria van der Wilp (1716-1803) illustrate how the non-formalized, dynamic constellation of the literary eld inspired various agents to create a range of (multifaceted) author brands on the spectrum 'economic-symbolic'.

Muriel Spark: Twenty-First-Century Perspectives

edited by David Herman

Dame Muriel Spark—the highly acclaimed Scottish writer—published over twenty novels and more than a dozen short-story collections from the late 1950s until her death in 2006. Two of her novels, The Public Image and Loitering with Intent, were short-listed for the Booker Prize, and another, The Prime of Miss Jean Brodie, was made into an Academy Award–winning movie. David Herman here assembles an international group of scholars to contexualize and analyze Spark's works, highlighting the continuing relevance of her texts in the twenty-first century.

With three new essays and a reworked introduction by the editor, this volume expands a special issue of Modern Fiction Studies dedicated to Spark and her writings. Organized thematically into three parts, the volume includes essays that consider Spark as both Scottish and world author, situate Spark in the broader contexts of postwar culture, and offer exemplary readings of specific works from various critical perspectives.

A resource for students and scholars alike, this volume provides information about Spark’s oeuvre while also featuring current, theoretically informed interpretations of individual texts.

El siguiente artículo hace un acercamiento al fenómeno de la industria
publicitaria gráfica popular, concretamente en la ciudad de Bogotá, Colombia, a la cual recurren pequeñas y medianas empresas locales para el desarrollo de sus marcas nacientes. En el ejercicio de dicho fenómeno, se recurre constantemente a la imitación de marcas y tendencias publicitarias, práctica con la cual se desconocen los marcos legales pertinentes, con resultados negativos para las nuevas marcas nacientes. A partir de dos casos específicos, se reflexiona sobre las consecuencias que trae la imitación de marcas y tendencias sin acatar la reglamentación existente; también se reflexiona sobre la necesidad de profesionalizar dicho ejercicio, dado su crecimiento e influencia en el ejercicio publicitario de la ciudad.
Palabras clave: publicidad, marca, branding, derechos de autor, cultura popular, comunicación corporativa.

Allographic Drawing explores the agency of coding in architectural design processes and its impact on architectural drawing and the allocation of authorship. The paper uses drawing as a lens to look at coding in architectural practice and argues that engaging with coding introduces novel ways of mediating between context, proposition and constructed artefact. Against the backdrop of the paradigm shift from drawing-based representation to model-based simulation, this paper argues that we can look at drawing as a means of understanding the mediation of coding in architectural design processes. The research looks specifically into algorithmic approaches to scanning and mapping environments, ideation and exploration of variation within architectural design processes and the translation between design proposition and material artefact through digital fabrication.