Resgate midiático na Internet - Democratização e produção no mercado de nicho online

A proposta deste trabalho é investigar o resgate de produtos midiáticos oriundos da era pré-internet - como livros, filmes e videogames - pela rede, relacionando-o com a cultura participativa, e verificar como este se articula com o fenômeno da 'Cauda Longa. Isso configura um novo modelo para distribuição, com outras características de acessibilidade. Através de uma pesquisa teórica, baseada nas obras de Chris Anderson, Clay Shirky e Henry Jenkins, utilizando serviços como Mubie e Netflix como referências, temos como objetivo usar a internet e as novas formas de disponibilização de conteúdo - sobretudo a cultura participativa e seu reflexo no mercado - como base para analisar a democratização do acesso a produtos midiáticos provenientes de tecnologias anteriores

Resgate midiático na Internet - Democratização e produção no mercado de nicho online

A proposta deste trabalho é investigar o resgate de produtos midiáticos oriundos da era pré-internet - como livros, filmes e videogames - pela rede, relacionando-o com a cultura participativa, e verificar como este se articula com o fenômeno da 'Cauda Longa. Isso configura um novo modelo para distribuição, com outras características de acessibilidade. Através de uma pesquisa teórica, baseada nas obras de Chris Anderson, Clay Shirky e Henry Jenkins, utilizando serviços como Mubie e Netflix como referências, temos como objetivo usar a internet e as novas formas de disponibilização de conteúdo - sobretudo a cultura participativa e seu reflexo no mercado - como base para analisar a democratização do acesso a produtos midiáticos provenientes de tecnologias anteriores

Resgate midiático na Internet - Democratização e produção no mercado de nicho online

A proposta deste trabalho é investigar o resgate de produtos midiáticos oriundos da era pré-internet - como livros, filmes e videogames - pela rede, relacionando-o com a cultura participativa, e verificar como este se articula com o fenômeno da 'Cauda Longa. Isso configura um novo modelo para distribuição, com outras características de acessibilidade. Através de uma pesquisa teórica, baseada nas obras de Chris Anderson, Clay Shirky e Henry Jenkins, utilizando serviços como Mubie e Netflix como referências, temos como objetivo usar a internet e as novas formas de disponibilização de conteúdo - sobretudo a cultura participativa e seu reflexo no mercado - como base para analisar a democratização do acesso a produtos midiáticos provenientes de tecnologias anteriores

Geochemical and isotopic composition of pore fluids of ODP Hole 131-808C

At the Western Nankai Trough subduction zone at ODP Site 808, chemical concentration and isotopic ratio depth profiles of D, O, Sr, and He do not support fluid flow along the décollement nor at the frontal thrust. They do, however, support continuous or periodic lateral fluid flow: (1) at the base of the Shikoku Basin volcanic-rich sediment member, situated ~140 m above the décollement, and particularly (2) below the décollement. The latter must have been rather vigorous, as it was capable of transporting clay minerals over great distances. The fluid at ~140 m above the décollement is characterized by lower than seawater concentrations of Cl- (>=18% seawater dilution). It is 18O-rich and D-poor and has a non-radiogenic, oceanic, or volcanic arc Sr isotopic signature. It originates from "volcanic" clay diagenesis. The fluid below the décollement has also less Cl- than seawater (>20% dilution), is more enriched in 18O and depleted in D than fluid, but its Sr isotopic signature is radiogenic, continentalterrigenous. The source of this fluid is located arcward, is deep-seated, where illitization of the subducted clay minerals, a mixture of terrigenous and volcanic clays, occurs. The 3He/4He ratio below the décollement points to an ~25% mantle contribution. The nature of the physical and chemical discontinuities across the décollement suggests it is overpressured and is forming a leaky "dynamic seal" for fluid flow. In contrast with the situation at Barbados and Peru, where the major tectonic features are mineralized, here, although the complex is extremely fractured and faulted, mineralized macroscopic veins, fractures, and faults are absent. Instead, mineralized microstructures are widespread, indicating a diffuse mode of dewatering.

Del cómic a la narración transmedia en la formación universitaria. Mapa transmedia de Los Vengadores

Dentro de las nuevas perspectivas educativas, el multimedia y la hipertextualidad son elementos imprescindibles en la formación del alumnado universitario que debe navegar en Internet de una manera efectiva. Entre los múltiples conceptos, el de la narración transmedia (Henry Jenkins 2003; Carlos Scolari 2013) ha asumido una especial relevancia, ya que supone la construcción de un objeto artístico y comercial a través de múltiples medios, digitales y tradicionales, con especial relevancia para distintas áreas de conocimiento. Con el reciente éxito de las adaptaciones cinematográficas del Universo Marvel, el cómic ha resurgido como un elemento vertebrador de muchas de estas obras transmedia. La relación entre texto e imagen, intrínseca en la concepción de la narración gráfica, hace que en los principales ejemplos transmedia se utilice el cómic como un elemento más. Esta investigación es una propuesta para explicar las características principales de la narración transmedia al alumnado universitario a través de los múltiples elementos que nos ofrece la saga de Los Vengadores. Cómic, cine, series, dibujos animados, videojuegos, fanfiction y publicidad son elementos que integran este complejo universo y aportan nuevos significados a la narración, ofreciéndonos nuevas estrategias metodológicas en la difusión del conocimiento.

Transmedia Storytelling na ficção portuguesa

A evolução tecnológica do início do século XXI abriu portas a novos desafios comunicacionais e hoje, mais do que nunca, é necessário desenvolver processos narrativos que atraiam as audiências e tragam um novo fôlego à televisão em Portugal. Este estudo incide nos princípios de transmedia storytelling definidos por Henry Jenkins – spreadability versus drillability, continuity versus multiplicity, immersion versus extractability, worldbuilding, seriality, subjectivity e performance – e na forma como produtoras, canais de televisão portugueses em sinal aberto e consumidores encaram a utilização destas práticas na produção, transmissão e consumo de conteúdos de ficção nacional. Nas narrativas que recorrem a transmedia storytelling, pedaços das histórias são espalhados através de diferentes media, podendo muitos destes conteúdos ser criados em colaboração com os fãs. Foram abordadas as produtoras, as estações televisivas e os consumidores por forma a apurar que trabalho tem vindo a ser efetuado na ficção nacional da televisão pública portuguesa em sinal aberto no âmbito de transmedia storytelling e por que razão estes canais e as produtoras não apostam em transmedia storytelling na estratégia de comunicação das ficções nacionais. Para isso foi descrito o cenário da ficção nacional na televisão pública portuguesa em sinal aberto, analisado o papel do consumidor no contexto atual de consumo e produção de conteúdos e o seu interesse em narrativas transmediáticas e foram identificados os constrangimentos e limitações na utilização de transmedia storytelling na ficção nacional da televisão pública portuguesa em sinal aberto. Os resultados revelam que transmedia storytelling é uma temática pouco familiar, que não é aplicada em Portugal, apesar de haver casos pontuais da sua utilização. Porém, o estudo indica que pode haver um interesse latente nos consumidores, que poderá ser ativado a partir da introdução de conteúdos que recorram a estratégias de transmedia storytelling na televisão portuguesa em sinal aberto.

Not for profit income tax exemption : is there a hole in the bucket, dear Henry?

Australia’s Future Tax System Review, headed by the then head of the Australian Treasury, and the Productivity Commission’s Research Report on the not for profit sector, both examined the state of tax concessions to Australia’s not for profit sector in the light of the High Court’s decision in Commissioner of Taxation v Word Investments Ltd. Despite being unable to quantify with any certainty the pre- or post-Word Investments cost of the tax concessions, both Reports indicated their support for continuation of the income tax exemption. However, the government acted in the 2011 Budget to target the not for profit income tax concessions more precisely, mainly on competitive neutrality grounds. This article examines the income tax exemption by applying the five taxation design principles, proposed in the Australia’s Future Tax System Review, for assessing tax expenditure. The conclusion is that the exemptions can be justified and, further, that a rationale for the exemption can be consistent with the reasoning in the Word Investments case.

Seriously playful : the uses of networked spoof videos in China

This thesis examines online spoof videos in China. It shows the relationship between user-created content and change and how such videos are impacting on social memory. In the West, we are witnessing two outstanding trends in media. On the one hand, media are turning more "demotic" (Turner, 2006) and "participatory" (Jenkins, 2006), whereby lay audiences use popular media for identity formation, representation and association, reconfiguring the media and cultural landscape, and rendering invalid the old paradigm based on the dichotomy of audience and author, creator and consumer, expert and amateur. On the other hand, in both mainstream media and user-creation online there is a trend towards "silly citizenship", with comedy, send-ups and spoofs that used to reside in the margin propelled to the central stage in both pleasure and politics (Hartley, 2010), as is shown in the rising popularity of the Daily Show, Colbert Report, and spoof videos in elections ,e.g. the 2008 presidential election in US (Gray, Jones, & Thompson, 2009; Tryon, 2008). User generated content—and spoof subcultures—is now much a debated phenomenon in China. However, with different political (one party rule and censorship) and cultural (media regarded mainly as instrument for education and social stabilization instead of a critical fourth estate) configurations, will the social and cultural impacts of the two trends in the West be as the same in China? If not, what will be the specificities in the China context? The project starts with a historical review of popular culture and user-created content in China, before turning to spoof videos and looking at how they are produced and shared, travel and diffused on the Internet, and how the communities and sub-cultures forming and emerging around spoof videos are changing the overall cultural landscape in China. By acting as a participant observer in online video sharing sites and conducting face-to face as well as online interviews, I identify lead users and creators of spoof videos and the social networks emerging around them. I call these lead users "skill hubs" and their networks "liquid communities", foregrounding the fact that their appeal doesn’t come from their amicable personality, but rather from their creative skills; and that the networks surrounding them are in a permanent flux, with members coming and going as they see fit. I argue that the "liquidness" (Bauman, 2000) of these communities is what makes them constantly creative and appealing. Textual analysis of online videos, their comments and derivatives are conducted to tease out the uses that that can be made of spoof videos, namely as phatic communication, as alternative memory and as political engagement. Through these analyses I show that spoof videos constitute not only a space where young generations can engage with each other, communicate their anger and dissatisfaction, fun and hope, and where they participate in socio-cultural and political debates, but also create a space where they can experiment with their new skills, new ideas, and new citizenship. The rise of spoof videos heralds the beginning of a trend in popular culture in contemporary China towards the "canonization of the jester" and the dethroning of the establishment. I also argue that a historical perspective is needed to understand the current surge of use creativity and user activism in China, and that many forms of popular media we experience today have their antecedents in various stages of Chinese history. The entrenched "control-resistance" binary is inadequate in interpreting the rich, flux and multilayered Internet space in China.

Point Henry Bushfire Safety : 10 Year Plan

Bushfire responsive design and management strategy at the bioregion scale. 248 Page document containing text, original designs, photographs, masterplans and critique - created as an alternative community-based strategy for risk mitigation and management reponse to bushfire in the Point Henry and Bremer Bay region of Western Australia. Document drafted as an alternative to a local government commissioned plan which had many shortcomings. It was presented as a 'powerpoint' presentaion at a public meeting in Bremer Bay on 7th April 2014 and disseminated to local community members and councillors to encourage public debate and feedback to the Shire of Jerramungup, WA.

Henry H. Goldschmidt Gould (seated on right) with unidentified young men and women; Neue Welt Bockbierfest Portraits Groups

Born July 15, 1914, died August 6, 1978

Henry H. Goldschmidt Gould; Berlin Portraits Groups

Born July 15, 1914, died August 6, 1978