Thursday, February 23, 2012
Wednesday, February 22, 2012
crowdfunding
solo (lanzanos)
coldwar
El micromecenazgo emerge en Catalunya
Se importa de EE.UU. un sistema para que el público financie proyectos creativos sin intermediarios
Cultura | 13/01/2011, MERITXELL M. PAUNÉ
Indie Film Funds
fandyu
kickstarter. A new way to fund & follow creativity
Lanzanos.com busca dinero para creadores. La versión española de Quickstarter inicia la financiación de proyectos el 6 de diciembre. LAIA REVENTÓS Barcelona 26 NOV 2010 - 11:04 CET. El País
The kapipalist manifiesto. Principles of Crowfunding
An Empirical Analysis of Crowdfunding, Thomas Lambert * Université catholique de Louvain, Armin Schwienbacher *
Université catholique de Louvain & University of Amsterdam Business School
Creativos 2.0: ¿Qué es el Crowdfunding?
el cosmonauta
Crowdsourcing and the Evolving Relationship Between Artist and Audience, Linver, Daniel
Guía para un mellor crowdfunding. Cultura Galega (2012)
A campaña a prol dos medios en galego supera as expectativas de recadación. quarta-feira, 11 de janeiro de 2012
CROWDFUNDING AVANZA COMO VíA DE FINANCIAMENTO NO PANORAMA CULTURAL GALEGO. A hora da cultura a escote (Enero, 19, 2012)
coldwar
Financia el nuevo disco de Jero Romero from jero romero on Vimeo.
elblogdeverkamiEl micromecenazgo emerge en Catalunya
Se importa de EE.UU. un sistema para que el público financie proyectos creativos sin intermediarios
Cultura | 13/01/2011, MERITXELL M. PAUNÉ
Indie Film Funds
Volanda from Volanda on Vimeo.
fandyu
kickstarter. A new way to fund & follow creativity
Lanzanos.com busca dinero para creadores. La versión española de Quickstarter inicia la financiación de proyectos el 6 de diciembre. LAIA REVENTÓS Barcelona 26 NOV 2010 - 11:04 CET. El País
The kapipalist manifiesto. Principles of Crowfunding
An Empirical Analysis of Crowdfunding, Thomas Lambert * Université catholique de Louvain, Armin Schwienbacher *
Université catholique de Louvain & University of Amsterdam Business School
Creativos 2.0: ¿Qué es el Crowdfunding?
el cosmonauta
Crowdsourcing and the Evolving Relationship Between Artist and Audience, Linver, Daniel
Guía para un mellor crowdfunding. Cultura Galega (2012)
A campaña a prol dos medios en galego supera as expectativas de recadación. quarta-feira, 11 de janeiro de 2012
CROWDFUNDING AVANZA COMO VíA DE FINANCIAMENTO NO PANORAMA CULTURAL GALEGO. A hora da cultura a escote (Enero, 19, 2012)
#2 Crowdfunding from zzzinc on Vimeo.
crowdfunding for film
View more PowerPoint from Wolfgang Gumpelmaier
electronic literature
Electronic Literature Collecction. February 2011
College Park, Maryland: Electronic Literature Organization
ISSN: 1932-2011
Editors
Laura Borràs
Talan Memmott
Rita Raley
Brian Stefans
College Park, Maryland: Electronic Literature Organization
ISSN: 1932-2011
Editors
Laura Borràs
Talan Memmott
Rita Raley
Brian Stefans
Alexius Meinong 17 July 1853, Lemberg, Austria (now L'viv, Ukraine) - 27 November 1920, Graz, Austria)
Alexius Meinong (wikipedia)
Nonexistent Objects
First published Tue Aug 22, 2006; substantive revision Wed Sep 8, 2010 (Stanford Encyclopedia of Philosophy)
Nonexistent Objects
First published Tue Aug 22, 2006; substantive revision Wed Sep 8, 2010 (Stanford Encyclopedia of Philosophy)
The Public Knowledge Project
"The Public Knowledge Project is dedicated to improving the scholarly and public quality of research. It operates through a partnership among the Faculty of Education at the University of British Columbia, the Simon Fraser University Library, the School of Education at Stanford University, and the Canadian Centre for Studies in Publishing at Simon Fraser University. The partnership brings together faculty members, librarians, and graduate students dedicated to exploring whether and how new technologies can be used to improve the professional and public value of scholarly research. Its research program is investigating the social, economic, and technical issues entailed in the use of online infrastructure and knowledge management strategies to improve both the scholarly quality and public accessibility and coherence of this body of knowledge in a sustainable and globally accessible form. It continues to be an active player in the open access movement, as it provides the leading open source software for journal and conference management and publishing. The research and publishing activities of the project have been reviewed and cited in Inside Higher Ed, Nature, New England Journal of Medicine, Science, The Scientist and others"
Carnival and Dialogue in Bakhtin's Poetics of Folklore, by Shanti Elliot
It is not the objects of laughter, though, that
interest Bakhtin s o much a s the perspective laughter brings. L a u g h t e r
emphasizes movement and draws attention to the forms of relationship, rather
than the components within the relationship, which are often fixed in one-
sided, hierarchical meaning: "The serious aspects of class culture are official
and authoritarian; they are combined with violence, prohibitions, limitations, CARNIVAL AND DIALOGUE 131
and always contain an element of fear and of intimidation.. .Laughter, on
the other hand, overcomes fear, for it knows no inhibitions, no limitations"
(90). (130-131)
(...)
Laughter works philosophical changes upon life and society. Laughter
erupts from the collective body, but its most important function is internal;
it defends freedom of thought. Thus the life of the body and its relationship
t o the world, represented in the culture of "folk humor," intersects with the
internal processes of perception, thinking, and speaking: the fundamentals
of Bakhtin's philosophy of dialogue. (131)
(...)
"Bakhtin's interest in liberating relativity meets less opposition when
he mo v e s f r om carnival t o dialogue. His theories of discourse involve
deflating the myth of impersonal language: "there are no neutral and objective
words" (Bakhtin 1968: 160); rather words hold infinite layers of complexity.
T h e concrete identities of speaker and hearer, and their relationship, each
person's intentions in speaking and in hearing, and the contradictions within
each person, the tone and context of the words, all these elements shape an
utterance more than the literal meaning of the words" (135)
It is not the objects of laughter, though, that
interest Bakhtin s o much a s the perspective laughter brings. L a u g h t e r
emphasizes movement and draws attention to the forms of relationship, rather
than the components within the relationship, which are often fixed in one-
sided, hierarchical meaning: "The serious aspects of class culture are official
and authoritarian; they are combined with violence, prohibitions, limitations, CARNIVAL AND DIALOGUE 131
and always contain an element of fear and of intimidation.. .Laughter, on
the other hand, overcomes fear, for it knows no inhibitions, no limitations"
(90). (130-131)
(...)
Laughter works philosophical changes upon life and society. Laughter
erupts from the collective body, but its most important function is internal;
it defends freedom of thought. Thus the life of the body and its relationship
t o the world, represented in the culture of "folk humor," intersects with the
internal processes of perception, thinking, and speaking: the fundamentals
of Bakhtin's philosophy of dialogue. (131)
(...)
"Bakhtin's interest in liberating relativity meets less opposition when
he mo v e s f r om carnival t o dialogue. His theories of discourse involve
deflating the myth of impersonal language: "there are no neutral and objective
words" (Bakhtin 1968: 160); rather words hold infinite layers of complexity.
T h e concrete identities of speaker and hearer, and their relationship, each
person's intentions in speaking and in hearing, and the contradictions within
each person, the tone and context of the words, all these elements shape an
utterance more than the literal meaning of the words" (135)
Saturday, February 18, 2012
First Sounds
"First Sounds strives to make humanity's earliest sound recordings available to all people for all time.
Humanity's earliest sound recordings constitute a rich sonic heritage of inestimable value to historians of technology, media, and expressive culture. They are among the rarest and least accessible recordings in our audio legacy. When held by institutions for which they are not the primary focus, many go unrecognized by their curators as sound recordings. And even when correctly catalogued, they commonly remain unpreserved and inaccessible due to a lack of funding or expertise".
Evolutionofsound
"First Sounds strives to make humanity's earliest sound recordings available to all people for all time.
Humanity's earliest sound recordings constitute a rich sonic heritage of inestimable value to historians of technology, media, and expressive culture. They are among the rarest and least accessible recordings in our audio legacy. When held by institutions for which they are not the primary focus, many go unrecognized by their curators as sound recordings. And even when correctly catalogued, they commonly remain unpreserved and inaccessible due to a lack of funding or expertise".
Evolutionofsound
Thursday, February 16, 2012
Tuesday, February 14, 2012
Monday, February 13, 2012
Teaching Media Studies in Second Life
By David Kurt Herold, Hong Kong Polytechnic University. Journal of Virtual Worlds Research.Vol. 2. No.1
ISSN: 1941-8477 “Pedagogy, Education and Innovation in 3-D Virtual Worlds”
April 2009
By David Kurt Herold, Hong Kong Polytechnic University. Journal of Virtual Worlds Research.Vol. 2. No.1
ISSN: 1941-8477 “Pedagogy, Education and Innovation in 3-D Virtual Worlds”
April 2009
Wednesday, February 8, 2012
ARToolKit is a software library for building Augmented Reality (AR) applications. These are applications that involve the overlay of virtual imagery on the real world.
Holographic exhibits
Create a Futuristic Floating Hologram Effect, by Michal Jagiello on Jan 19th 2009
The 3D Hologram. Adobe After Effects
Holographic World First from Deutsche Telekom and Saatchi & Saatchi
18 NOV 2011
Un simple efecto óptico que se utiliza para fantasmas escenario y en los instrumentos ópticos, tales como la cámara clara para la elaboración del microscopio, y el taquistoscopio, que presenta imágenes de duración controlada en experimentos visuales. Un espejo que refleja parcial superpone una imagen (u objeto) que se refleja en otra vista a través del vidrio. Al iluminar una atenuación, mientras que el otro lo oscurecemos, uno se ve aparecer como el otro desaparece - y cuando más o menos igual de iluminados ambos son vistos, superpuestos, como fantasmas transparentes. El efecto ocurre a menudo en cristales de las ventanas, especialmente en la noche, aunque, curiosamente, rara vez se notó menos llama la atención sobre pantallas de lámparas, etc reflejadas fuera flotante. Este efecto se puede producir 'platillos voladores'.
The Ghost in the Theatre: Pepper's Ghost effect
Helio Display
Holographic exhibits
Create a Futuristic Floating Hologram Effect, by Michal Jagiello on Jan 19th 2009
The 3D Hologram. Adobe After Effects
Holographic World First from Deutsche Telekom and Saatchi & Saatchi
18 NOV 2011
Un simple efecto óptico que se utiliza para fantasmas escenario y en los instrumentos ópticos, tales como la cámara clara para la elaboración del microscopio, y el taquistoscopio, que presenta imágenes de duración controlada en experimentos visuales. Un espejo que refleja parcial superpone una imagen (u objeto) que se refleja en otra vista a través del vidrio. Al iluminar una atenuación, mientras que el otro lo oscurecemos, uno se ve aparecer como el otro desaparece - y cuando más o menos igual de iluminados ambos son vistos, superpuestos, como fantasmas transparentes. El efecto ocurre a menudo en cristales de las ventanas, especialmente en la noche, aunque, curiosamente, rara vez se notó menos llama la atención sobre pantallas de lámparas, etc reflejadas fuera flotante. Este efecto se puede producir 'platillos voladores'.
The Ghost in the Theatre: Pepper's Ghost effect
Helio Display
Tuesday, February 7, 2012
Rick Prelinger
Prelinger Archives
Rick Prelinger
Prelinger Atchives. Internet Archive
Rights
"Rick Prelinger and The Internet Archive hereby offer these public domain films from Prelinger Archives to all for free downloading and reuse.
You are warmly encouraged to download, use and reproduce these films in whole or in part, in any medium or market throughout the world. You are also warmly encouraged to share, exchange, redistribute, transfer and copy these films, and especially encouraged to do so for free.
Any derivative works that you produce using these films are yours to perform, publish, reproduce, sell, or distribute in any way you wish without any limitations.
This statement of rights describes the rights granted to you so that you can use films from the online Prelinger collection at the Internet Archive.
Your right to use these films is granted by the Creative Commons Public Domain license. For details on this license, please click the Creative Commons license logo below.
Neither the Internet Archive nor Rick Prelinger can offer additional information regarding the rights to these films, or provide written license agreements. If you require a written license agreement or further information on the rights status of any Prelinger Collection titles, please see below.
Please be aware that:
-- the Creative Commons Public Domain license is the only license relating to films from the online Prelinger Collection;
-- the Internet Archive "Terms of Use" do not apply to the online Prelinger Collection;
-- the CC Public Domain license refers to the public domain status of the films, but not necessarily to every element that a film may contain;
-- and that other films, videos, texts and audio files hosted at the Internet Archive are not necessarily covered by the same license that governs the online Prelinger Collection. Please research these items individually if you wish to reuse any of them.
Descriptions, synopses, shotlists and other metadata provided by Prelinger Archives to this site are copyrighted jointly by Prelinger Archives and Getty Images. They may be quoted, excerpted or reproduced for educational, scholarly, nonprofit or archival purposes, but may not be reproduced for commercial purposes of any kind without permission".
If you require a written license agreement or need access to stock footage in a physical format (such as videotape or a higher-quality digital file), please visit our Stock Footage page. Neither Rick Prelinger nor the Internet Archive furnish written license agreements, nor do they comment on the rights status of a given film above and beyond this Creative Commons license.
Further information on works from Prelinger Archives can be found here. Questions should be directed to Rick Prelinger at Prelinger Archives, PO Box 590622, San Francisco, CA 94159-0622 USA.
Rick Prelinger
Prelinger Atchives. Internet Archive
Rights
"Rick Prelinger and The Internet Archive hereby offer these public domain films from Prelinger Archives to all for free downloading and reuse.
You are warmly encouraged to download, use and reproduce these films in whole or in part, in any medium or market throughout the world. You are also warmly encouraged to share, exchange, redistribute, transfer and copy these films, and especially encouraged to do so for free.
Any derivative works that you produce using these films are yours to perform, publish, reproduce, sell, or distribute in any way you wish without any limitations.
This statement of rights describes the rights granted to you so that you can use films from the online Prelinger collection at the Internet Archive.
Your right to use these films is granted by the Creative Commons Public Domain license. For details on this license, please click the Creative Commons license logo below.
Neither the Internet Archive nor Rick Prelinger can offer additional information regarding the rights to these films, or provide written license agreements. If you require a written license agreement or further information on the rights status of any Prelinger Collection titles, please see below.
Please be aware that:
-- the Creative Commons Public Domain license is the only license relating to films from the online Prelinger Collection;
-- the Internet Archive "Terms of Use" do not apply to the online Prelinger Collection;
-- the CC Public Domain license refers to the public domain status of the films, but not necessarily to every element that a film may contain;
-- and that other films, videos, texts and audio files hosted at the Internet Archive are not necessarily covered by the same license that governs the online Prelinger Collection. Please research these items individually if you wish to reuse any of them.
Descriptions, synopses, shotlists and other metadata provided by Prelinger Archives to this site are copyrighted jointly by Prelinger Archives and Getty Images. They may be quoted, excerpted or reproduced for educational, scholarly, nonprofit or archival purposes, but may not be reproduced for commercial purposes of any kind without permission".
If you require a written license agreement or need access to stock footage in a physical format (such as videotape or a higher-quality digital file), please visit our Stock Footage page. Neither Rick Prelinger nor the Internet Archive furnish written license agreements, nor do they comment on the rights status of a given film above and beyond this Creative Commons license.
Further information on works from Prelinger Archives can be found here. Questions should be directed to Rick Prelinger at Prelinger Archives, PO Box 590622, San Francisco, CA 94159-0622 USA.
Steal this film
Steal this film (website)
"Steal This Film is a film series documenting the movement against intellectual property produced by The League of Noble Peers and released via the BitTorrent peer-to-peer protocol.
Two parts, and one special The Pirate Bay trial edition of the first part, have been released so far, and The League of Noble Peers is working on "Steal this Film - The Movie" and a new project entitled "The Oil of the 21st Century".[2]
Steal This Film (Part 2)[9] (sometimes subtitled 'The Dissolving Fortress') was produced during 2007. It premiered (in a preliminary version) at a conference entitled "The Oil of the 21st Century - Perspectives on Intellectual Property" in Berlin, Germany, November 2007.[10]
Thematically, Part 2 "examines the technological and enforcement end of the copyright wars, and on the way that using the internet makes you a copier, and how copying puts you in legal jeopardy."[11] It discusses Mark Getty's assertion that 'intellectual property is the oil of the 21st century'. Part 2 draws parallels between the impact of the printing press and the internet in terms of making information accessible beyond a privileged group or "controllers". The argument is made that the decentralised nature of the internet makes the enforcement of conventional copyright impossible. Adding to this the internet turns consumers into producers, by way of user generated content, leading to the sharing, mashup and creation of content not motivated by financial gains. This has fundamental implications for market-based media companies. The documentary asks "How will society change" and states "This is the Future - And it has nothing to do with your bank balance".
Steal this film (video, part II)
Steal this film (subtítulos en castellano)
"Steal This Film is a film series documenting the movement against intellectual property produced by The League of Noble Peers and released via the BitTorrent peer-to-peer protocol.
Two parts, and one special The Pirate Bay trial edition of the first part, have been released so far, and The League of Noble Peers is working on "Steal this Film - The Movie" and a new project entitled "The Oil of the 21st Century".[2]
Steal This Film (Part 2)[9] (sometimes subtitled 'The Dissolving Fortress') was produced during 2007. It premiered (in a preliminary version) at a conference entitled "The Oil of the 21st Century - Perspectives on Intellectual Property" in Berlin, Germany, November 2007.[10]
Thematically, Part 2 "examines the technological and enforcement end of the copyright wars, and on the way that using the internet makes you a copier, and how copying puts you in legal jeopardy."[11] It discusses Mark Getty's assertion that 'intellectual property is the oil of the 21st century'. Part 2 draws parallels between the impact of the printing press and the internet in terms of making information accessible beyond a privileged group or "controllers". The argument is made that the decentralised nature of the internet makes the enforcement of conventional copyright impossible. Adding to this the internet turns consumers into producers, by way of user generated content, leading to the sharing, mashup and creation of content not motivated by financial gains. This has fundamental implications for market-based media companies. The documentary asks "How will society change" and states "This is the Future - And it has nothing to do with your bank balance".
Steal this film (video, part II)
Steal this film (subtítulos en castellano)
Sunday, February 5, 2012
about ebooks
Augmented reality poetry book can only be read via webcam
"An unlikely marriage of print and digital, Between Page and Screen chronicles a love affair between two characters, P and S. The book has no words, only inscrutable black and white geometric patterns that, when coupled with a webcam, conjure the written word. Reflected on screen, the reader sees him or herself with open book in hand, language springing alive and shape-shifting with each turn of the page.
The story unfolds through a playful and cryptic exchange of letters between P and S as they struggle to define their relationship. Rich with innuendo, anagrams, etymological and sonic affinities between words, Between Page and Screen revels in language and the act of reading.
Originally produced in a limited, letterpress edition of 12, Between Page and Screen is now available from Siglio Press. The first 250 copies are signed and numbered. Save 25% with the coupon code "SPINTO"."
NTERVIEW by DANIELLE OLIVER |PHOTOGRAPHY by BRAD BOUSE
The Future of the Book Is the Stream
JAN 30 2012, 7:14 AM ET 14
"An unlikely marriage of print and digital, Between Page and Screen chronicles a love affair between two characters, P and S. The book has no words, only inscrutable black and white geometric patterns that, when coupled with a webcam, conjure the written word. Reflected on screen, the reader sees him or herself with open book in hand, language springing alive and shape-shifting with each turn of the page.
The story unfolds through a playful and cryptic exchange of letters between P and S as they struggle to define their relationship. Rich with innuendo, anagrams, etymological and sonic affinities between words, Between Page and Screen revels in language and the act of reading.
Originally produced in a limited, letterpress edition of 12, Between Page and Screen is now available from Siglio Press. The first 250 copies are signed and numbered. Save 25% with the coupon code "SPINTO"."
NTERVIEW by DANIELLE OLIVER |PHOTOGRAPHY by BRAD BOUSE
The Future of the Book Is the Stream
JAN 30 2012, 7:14 AM ET 14
Creative Content in a European Digital Single Market:
Challenges for the Future A Reflection Document of DG INFSO and DG MARKT. 22 October 200
Challenges for the Future A Reflection Document of DG INFSO and DG MARKT. 22 October 200
Cultunet es un proyecto que ha sido desarrollado de forma conjunta por la Organización de Estados Iberoamericanos (OEI) y Área de Trabajo (empresa editora de la revista g+c).
The Digitization of the Recorded Music Industry: Impact on Business Models and Scenarios of Evolution
Marc Bourreau (Telecom ParisTech; CREST), François Moreau, Michel Gensollen
Telecom Paris Tech
January 2008
Telecom ParisTech Working Paper No. ESS-08-01
Marc Bourreau (Telecom ParisTech; CREST), François Moreau, Michel Gensollen
Telecom Paris Tech
January 2008
Telecom ParisTech Working Paper No. ESS-08-01
Películas. Recaudaciones. Espectadores
MINISTERIO DE CULTURA. visuales Instituto de la Cinematografía y de las Artes Audioviusales.
Edita Instituto de la Cinematografía y de las Artes Audiovisuales
Encuestra de hábitos y Prácticas Culturales en España (2010-2011). Síntesis de Resultados.
Metodología de la Encuesta
Estudio sobre la Comercialización del Libro en España, Inmark Estudios y Estrategias (S.A) 2008
MINISTERIO DE CULTURA. visuales Instituto de la Cinematografía y de las Artes Audioviusales.
Edita Instituto de la Cinematografía y de las Artes Audiovisuales
Encuestra de hábitos y Prácticas Culturales en España (2010-2011). Síntesis de Resultados.
Metodología de la Encuesta
Estudio sobre la Comercialización del Libro en España, Inmark Estudios y Estrategias (S.A) 2008
THE MUSIC INDUSTRY IN THE NEW MILLENNIUM:
Global and Local Perspectives. Paper prepared for The Global Alliance for Cultural Diversity
Division of Arts and Cultural Enterprise
UNESCO, Paris.
October 2002
David Throsby
Global and Local Perspectives. Paper prepared for The Global Alliance for Cultural Diversity
Division of Arts and Cultural Enterprise
UNESCO, Paris.
October 2002
David Throsby
Saturday, February 4, 2012
Thursday, February 2, 2012
Guía de licencias Creative Commons. Por Ariel Vercelli y Ana Marotias
Creative Commons
Creative Commons (recursos)
Creative Commons
Creative Commons (recursos)
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