Making Free Culture: Making Technology and Visual Media in the Domain of Digital Commons
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Confronting the Challenges of Participatory Culture: Media Education for the 21St Century
An occasional paper on digital media and learning Confronting the Challenges of Participatory Culture: Media Education for the 21st Century Henry Jenkins, Director of the Comparative Media Studies Program at the Massachusetts Institute of Technology with Katie Clinton Ravi Purushotma Alice J. Robison Margaret Weigel Building the new field of digital media and learning The MacArthur Foundation launched its five-year, $50 million digital media and learning initiative in 2006 to help determine how digital technologies are changing the way young people learn, play, socialize, and participate in civic life.Answers are critical to developing educational and other social institutions that can meet the needs of this and future generations. The initiative is both marshaling what it is already known about the field and seeding innovation for continued growth. For more information, visit www.digitallearning.macfound.org.To engage in conversations about these projects and the field of digital learning, visit the Spotlight blog at spotlight.macfound.org. About the MacArthur Foundation The John D. and Catherine T. MacArthur Foundation is a private, independent grantmaking institution dedicated to helping groups and individuals foster lasting improvement in the human condition.With assets of $5.5 billion, the Foundation makes grants totaling approximately $200 million annually. For more information or to sign up for MacArthur’s monthly electronic newsletter, visit www.macfound.org. The MacArthur Foundation 140 South Dearborn Street, Suite 1200 Chicago, Illinois 60603 Tel.(312) 726-8000 www.digitallearning.macfound.org An occasional paper on digital media and learning Confronting the Challenges of Participatory Culture: Media Education for the 21st Century Henry Jenkins, Director of the Comparative Media Studies Program at the Massachusetts Institute of Technology with Katie Clinton Ravi Purushotma Alice J. -
Upstage Timeline
www.upstage.org.nz Timeline January 2014 Tenth birthday celebrations of UpStage: planned activities include the release of UpStage V3, a mini-festival of commissioned cyberformances, and a meeting to develop a strategic plan for the next steps for UpStage. January-June UpStage is the primary tool for the trans-European networked 2013 performance collaboration We Have a Situation! January 2013 Vicki Smith and Helen Varley Jamieson present UpStage (remotely) at TIP2013, Hawaii. December 2012 The 121212 UpStage Festival of Cyberformance features online performances in UpStage and other online platforms, presenting an incredible 41 performances by about 150 artists, over a one-week period 5-12 December. October 2012 The CyPosium, a one-day online symposium on cyberformance, is held in Waterwheel Tap and UpStage; the idea for the CyPosium emerged from a meeting to plan the 121212 Upstage Festival, and it is organised by the UpStage community and other artists. August 2012 S/Zports: A Training for the Possible Wor(l)ds (from 101010) restaged as part of an exhibition of extended media, Zagrebi Dublje (Scratch Deeper) at the ULUS Gallery in Belgrade. May-December Vicki works with primary students in Aotearoa/NZ and the Chatham Islands in a learning programme, Online story telling through UpStage, producing ten works for the 121212 UpStage festival. May 2012 Workshop and “UpStage Apero” at Electropixel, Nantes (France), featuring performances from 11:11:11 UpStage presentation at the Libre Graphics Meeting, Vienna, by Helen Varley Jamieson, Martin Eisenbarth and Jenny Pickett (remote), followed by a 5-minute Lightning performance (with Miljana Peric online). -
Tvorba Interaktivního Animovaného Příběhu
Středoškolská technika 2014 Setkání a prezentace prací středoškolských studentů na ČVUT Tvorba interaktivního animovaného příběhu Sami Salama Střední průmyslová škola na Proseku Novoborská 2, 190 00 Praha 9 1 Obsah 1 Obsah .................................................................................................................. 1 2 2D grafika (základní pojmy) ................................................................................. 3 2.1 Základní vysvětlení pojmu (počítačová) 2D grafika ....................................... 3 2.2 Rozdíl - 2D vs. 3D grafika .............................................................................. 3 2.3 Vektorová grafika ........................................................................................... 4 2.4 Rastrová grafika ............................................................................................ 6 2.5 Výhody a nevýhody rastrové grafiky .............................................................. 7 2.6 Rozlišení ........................................................................................................ 7 2.7 Barevná hloubka............................................................................................ 8 2.8 Základní grafické formáty .............................................................................. 8 2.9 Druhy komprese dat ...................................................................................... 9 2.10 Barevný model .......................................................................................... -
Joana Chicau Is a Graphic Designer, Coder, Researcher
Joana Chicau is a designer and researcher — with a background in dance. She researches the intersection of the body with the designed and programmed environment, aiming at widening the ways in which digital sciences is presented and made accessible to the public. The latter informs a practice and exploration of various forms and formats — interweaving web programming with choreography — from the making of online platforms to performances and workshops. In parallel she has been participating and co-organizing events involving multi-location collaborative coding, algorithmic improvisation, open discussions on digital equity and activism. News & updates: www.joanachicau.com CURRENTLY Associate lecturer at Bsc and MA Internet Equalities at UAL Creative Computing Institute; Associate lecturer at Graphic and Media Design at London College of Communication; Member of Varia — Center for Everyday Technology; Co-founder of Netherlands Coding Live a series of live coding sessions, discussion and more; CROSS FIELD COMPETENCIES Knowledge in both research driven and practical assignments for both both industry and cultural spheres; Professional with a variety of analogue and digital tools as well as work environments; Record in concept development and design production; with projects requiring diverse design thinking strategies across mediums; experienced and enthusiastic about collaborative and creative workflows; having used diverse methodologies from mood boards and ideation maps; role playing games; design sprints to scrums, acquainted with coding dojo; as well programming iterations, such as agile mob. Organizational skills, such as developing timelines and devising plans. Practice in producing tutorials for usage of online platforms and documentation of code (HTML; CSS; JS); Performed applied research on web and interface accessibility and techniques for handling assistive technology. -
Download It Here
Time to Show and Tell Neal Stephenson likens operating systems to cars. In his analogy, Windows is a station wagon and Mac OS is an expensive, attractive European-style car. The two are available in dealerships, along with all the normal service options. Linux, on the other hand, is a tank. Not only a tank, but a free one. It's a stronger, faster, more reliable vehicle with a personal approach to maintenance. But it doesn't have a dealership or ad budget. Libre Graphics is in a similar situation. It's strong, fast, reliable and even diverse. It has great community support and investment. And like Stephenson's tanks, it's being cranked out and offered to anyone who will take it. Both the Libre Graphics Meeting and this magazine exist to serve the Libre Graphics community. LGM, now in its fifth year, has been a venue for developers to meet, organize and work. In this magazine, we present to you the output of that work. Libre Graphics #0 showcases the work of developers, users, artists and people with any number of other titles. Some do performance art, some make films. In common, they have Libre Graphics. Why make new fonts? Dave Crossland (www.understandingfonts.com) "Why make new fonts?" is the most common question I have been asked since I set out to become a typeface designer. When I mention I did a Masters degree in the subject, at the University of Reading, England, I sometimes meet genuine surprise that this subject is studied seriously. Often, people haven't ever thought about where fonts come from, since the fonts on their computer are just there, you know? We see different fonts out in the world constantly, so we all know there sure are a lot of them. -
VIDEO GAME SUBCULTURES Playing at the Periphery of Mainstream Culture Edited by Marco Benoît Carbone & Paolo Ruffino
ISSN 2280-7705 www.gamejournal.it Published by LUDICA Issue 03, 2014 – volume 1: JOURNAL (PEER-REVIEWED) VIDEO GAME SUBCULTURES Playing at the periphery of mainstream culture Edited by Marco Benoît Carbone & Paolo Ruffino GAME JOURNAL – Peer Reviewed Section Issue 03 – 2014 GAME Journal A PROJECT BY SUPERVISING EDITORS Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Leonardo Quaresima (Università di Udine). EDITORS WITH THE PATRONAGE OF Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Indiana University), Adam Gallimore (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), Dipartimento di Storia, Beni Culturali e Territorio Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador (Università Cattolica, Milano), Marco Teti (Università di Ferrara). PARTNERS ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College of the Arts), Jay David Bolter (Georgia Institute of Technology), Gordon C. Calleja (IT University of Copenaghen), Gianni Canova (IULM, Milano), Antonio Catolfi (Università per Stranieri di Perugia), Mia Consalvo (Ohio University), Patrick Coppock (Università di Modena e Reggio Emilia), Ruggero Eugeni (Università Cattolica del Sacro Cuore, Milano), Roy Menarini (Università di Bologna), Enrico Menduni (Università di -
Alternative Or Independent Media Refers To
Alternative Or Independent Media Refers To Uranitic Partha sang or chirm some strifes straight, however exemplary Shurlocke permute soundingly or revving. Seedless and gruffish West still chuck his waxings cozily. Sometimes columbine Broderick westernised her disfavourer dauntlessly, but pancreatic Demetre relies Fridays or muted tropically. Apjii asosiasi penyelenggara jasa internet, some kremlin action alerts or need Maven HubPages and Say Media Unite they Form Largest. Edward Herman and Noam Chomsky will be used as the summit for the theoretical framework made this thesis. Resilient borders and the way of a dissident media refers to us irrevocably condemned to those that media environment, the transactional model when a hyperlink to? Best alternative communication refers to? To rust the dull and implications of latent or manifest conflict for decisionmakers. Structurally profoundly different trail and as independent of ink major social. The Propaganda Ministry aimed further to compare the mixture of slack and editorial pages through directives distributed in daily conferences in Berlin and transmitted via the Nazi Party propaganda offices to regional or local papers. Introduction Culture Digitally. To list an alternative opinion The airline the mainstream media is fearful of the independent news outlets is beneath A radical alternative press was effective in. Now the doctrine is we respond instantaneously, and snow possible with many strong counterattack. What had changed was mid way that humans used available technology to change sense of why world. DIY, community and critical content beyond all kinds being behind on getting single desire American magazine radio station; however there came also be racist or sexist content, from example, send some of the music being played. -
KATHY HIGH, Professor of Video and New Media, Department of the Arts
:: KATHY HIGH, Professor of Video and New Media, Department of the Arts, RPI, Troy, NY 12180 mobile 518.209.6209, email [email protected], website http://kathyhigh.com/index.html :: EDUCATION 1981 Master of Arts, S.U.N.Y. AT BUFFALO, NY Interdisciplinary degree with areas of study in video/film at the Center for Media Study and Photography, Department of Fine Arts 1977 Bachelor of Arts, Colgate University, Hamilton, NY Majors in Fine Arts and English Literature :: TEACHING 2013-present Professor of Video & New Media, Arts Department, Rensselaer Polytechnic Institute, Troy, NY 2002-2013 Associate Professor of Video & New Media, Arts Department, RPI 2018-2019 Head of Arts Department, RPI, Troy, NY 2004-2008 Head of Arts Department, RPI, Troy, NY 1995-2001 Lecturer (Assoc. Prof.), digital media, Visual Arts Program, Princeton University, NJ 1998-2001 Lecturer, Video production, School of Art Cooper Union, NYC :: EXHIBITIONS, INSTALLATIONS and SCREENINGS (SELECTED) 2020 WASTE! ADAPTATION! RESISTENCE!, (solo exhibition) UCSD, multimedia installation, San Diego, CA, April. 2019 Rat Laughter, IMPAKT Festival, Utrecht, NL, Oct. 31- Nov 2. Rat Laughter installation, Netherlands. The Cured, (group exhibition), Curator, Tansy Xiao, Radiator Gallery, Long Island City, NYC, Burial Globes, July-August. 2018 Space-evolution (group exhibition), curated by Maria Antonia Gonzalez, Centro de Cultura Digital, Mexico City, November, mixed media. Catalogue. This Mess We're In, Unhallowed Arts Festival 2018, (group exhibition), curated Tarsh Bates, Old Customs House, Fremantle, WA, Australia, 13 Oct– 2 Nov, screening OkPoopid. Catalogue. Posthuman Cinema: How Experimental Films Teach (and Learn) How to Show Animals, Ujazdoski Castel, Centre for Contemporary Art, Warsaw, Poland, curated by Michał Matuszewski, October 18-31, Lily Does Derrida. -
Dark Fiber Electronic Culture: History, Theory, Practice Timothy Druckrey, Series Editor
Dark Fiber Electronic Culture: History, Theory, Practice Timothy Druckrey, series editor Ars Electronica: Facing the Future edited by Timothy Druckrey with Ars Electronica, 1999 net_condition: art and global media edited by Peter Weibel and Timothy Druckrey, 2001 Dark Fiber: Tracking Critical Internet Culture Geert Lovink Dark Fiber Tracking Critical Internet Culture Geert Lovink The MIT Press Cambridge, Massachusetts London, England © 2002 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. Set in Bell Gothic and Courier by The MIT Press. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Lovink, Geert. Dark fiber : tracking critical internet culture / Geert Lovink. p. cm. — (Electronic culture—history, theory, practice) Includes bibliographical references. ISBN 0-262-12249-9 (hc. : alk. paper) 1. Internet—Social aspects. 2. Information society. 3. Culture. I. Title. II. Series. HM851 .L68 2002 303.48'33—dc21 2001059641 Dark fiber refers to unused fiber-optic cable. Often times companies lay more lines than what’s needed in order to curb costs of having to do it again and again. The dark strands can be leased to individuals or other companies who want to establish optical connections among their own locations. In this case, the fiber is neither controlled by nor connected -
Syllabus for the Bachelor in Animation
UNIVERSITYU OF MUMBAI’S GARWARE INSTITUTE OF CAREER EDUCATION & DEVELOPMENT Syllabus for the Bachelor in Animation Credit Based Semester and Grading System with effect from the Academic Year (2017-2018) AC 11-05-2017 Item No. UNIVERSITYU OF MUMBAI’S SyllabusU for Approval Sr. No. Heading Particulars 1 Title of the Course Bachelor in Animation 10+2 pass – with minimum 45% 2 Eligibility for Admission marks Admissions on the basis of Written Test & Interview. 3 Passing Marks 50% passing marks Ordinances / 4 Regulations ( if any) 5 No. of Years / Semesters Three years full time/ 6 semester 6 Level Bachelor 7 Pattern Yearly / semester New 8 Status To be implemented from 9 From academic year 2017-18 Academic Year Date: 11/05/2017 Signature : Dr. Anil Karnik, I/C. Director, Garware Institute of Career Education & Development INTRODUCTIONU A sequence of images creates an illusion of a moving object is termed as Animation. India is one of the most preferred outsourcing countries. We not only do outsourcing services, we are also a creator of original animation. Some of the popular original contents are Chota bheem, Little Krishna, Delhi Safari, Arjun, Road side Romeo etc. Animation is a combination of entertainment and technology. It is composed of design, drawing, layout and production of graphically rich multimedia clips. Time and space are important in animation. Those who excel in drawing and creativity can choose animation as their career. An animator’s job is to analyze the script thoroughly and get into the skin of the character. Creating idea, storyboard, Character design, backgrounds, etc and using technical methodology to create stunning visuals short movies is the ideal steps in making a successful animation feature. -
La Construcción De La Narrativa En Los Laboratorios Ciudadanos. El Caso De Medialab-Prado
UNIVESIDAD NACIONAL DE EDUCACIÓN A DISTANCIA MÁSTER EN COMUNICACIÓN Y EDUCACIÓN EN LA RED FACULTAD DE EDUCACIÓN Departamento de Didáctica, Organización Escolar y Didácticas Especiales Trabajo Fin de Máster, Subprograma Comunicación y Educación en la Red Título: La Construcción de la Narrativa en los Laboratorios Ciudadanos. El caso de Medialab-Prado Presentado por María Erica Parrado Roldán Bajo la dirección de María Del Carmen Navarro García – Suelto Convocatoria Junio 2018-2019 3 Esta obra está bajo una Licencia Creative Commons Atribución 4.0 Internacional Usted es libre de: Compartir: Copiar y redistribuir el material en cualquier medio o formato. Adaptar: Mezclar, transformar y construir, partiendo de este material, para cualquier propósito, incluso comercial. La licenciante no puede revocar estas libertades en tanto usted siga los términos de la licencia. 4 Agradecimientos En el camino andado a lo largo de todos estos años de estudio, me he encontrado con personas maravillosas que han hecho posible este trabajo. Quiero agradecer: A Medialab-Prado, a todos sus trabajadores y colaboradores, puesto que durante mi estancia en el centro ha sido una segunda casa para mí. Me llevo una grata experiencia, donde he conocido a muchas personas, que me han aportado otra visión del mundo. Por acogerme y contarme vuestra magnífica labor en Medialab-Prado: gracias a todas las personas que me han concedido una entrevista: Fran, profesores de Art Skill y alumnos, Sara, Vanesa, Pablo, Gerardo, Rubén, Gonzalo, Julián, Lorena, Daniel, Javier B., Fabi y Joaku, María y Miguel, Clara, Patricia, Bordignon, Margarita, Javier L., y Lola. Gracias a Julio, mi primer contacto en Medialab, por toda la información ofrecida. -
Indymedia (The Independent Media Center)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of San Francisco The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Media Studies College of Arts and Sciences 2011 Indymedia (The ndepI endent Media Center) Dorothy Kidd University of San Francisco, [email protected] Follow this and additional works at: http://repository.usfca.edu/ms Part of the Communication Commons Recommended Citation Kidd, D. (2011). Indymedia (The ndeI pendent Media Center). In Downing, J. (ed.) Encyclopedia of Social Movement Media. Thousand Oaks, CA: Sage. http://dx.doi.org/10.4135/9781412979313.n114 This Book Chapter is brought to you for free and open access by the College of Arts and Sciences at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Media Studies by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. Encyclopedia of Social Movement Media Indymedia (The Independent Media Center) Contributors: Dorothy Kidd Edited by: John D.H. Downing Book Title: Encyclopedia of Social Movement Media Chapter Title: "Indymedia (The Independent Media Center)" Pub. Date: 2011 Access Date: October 27, 2016 Publishing Company: SAGE Publications, Inc. City: Thousand Oaks Print ISBN: 9780761926887 Online ISBN: 9781412979313 DOI: http://dx.doi.org/10.4135/9781412979313.n114 Print pages: 268-270 ©2011 SAGE Publications, Inc.. All Rights Reserved. This PDF has been generated from SAGE Knowledge. Please note that the pagination of the online version will vary from the pagination of the print book.