Interfaces culturais de Mallarmé à World Wide Web

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Políticas públicas e comunicação cultural: nova possibilidade de acesso à cultura por meio de editais

In this work, seek to reflect, primarily, the Brazilian cultural interfaces, starting with a conceptual definition, symbolic and anthropological Culture and Identity. From this, the main strengthen public communication: individuals, groups and societies. Then the reflections address a more communicative context in which PR professionals are emphasized as a major responsible for handling cultural society. In the latter approach, the Cultural Public Policy are reinforced as key tools in creating laws to encourage culture in its intricacies and finally and quickly - but not least, the policy Edicts is reflected as a synthetically the new possibilities of fostering cultural

Metadata Visualization of Cultural Heritage Information within a Collaborative Environment

Cultural content on the Web is available in various domains (cultural objects, datasets, geospatial data, moving images, scholarly texts and visual resources), concerns various topics, is written in different languages, targeted to both laymen and experts, and provided by different communities (libraries, archives museums and information industry) and individuals (Figure 1). The integration of information technologies and cultural heritage content on the Web is expected to have an impact on everyday life from the point of view of institutions, communities and individuals. In particular, collaborative environment scan recreate 3D navigable worlds that can offer new insights into our cultural heritage (Chan 2007). However, the main barrier is to find and relate cultural heritage information by end-users of cultural contents, as well as by organisations and communities managing and producing them. In this paper, we explore several visualisation techniques for supporting cultural interfaces, where the role of metadata is essential for supporting the search and communication among end-users (Figure 2). A conceptual framework was developed to integrate the data, purpose, technology, impact, and form components of a collaborative environment, Our preliminary results show that collaborative environments can help with cultural heritage information sharing and communication tasks because of the way in which they provide a visual context to end-users. They can be regarded as distributed virtual reality systems that offer graphically realised, potentially infinite, digital information landscapes. Moreover, collaborative environments also provide a new way of interaction between an end-user and a cultural heritage data set. Finally, the visualisation of metadata of a dataset plays an important role in helping end-users in their search for heritage contents on the Web.

Interactions humain-machine et différences culturelles : l'utilisabilité Bantu comparée

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

File Transfer Protocol

The discourse surrounding the virtual has moved away from the utopian thinking accompanying the rise of the Internet in the 1990s. The Cyber-gurus of the last decades promised a technotopia removed from materiality and the confines of the flesh and the built environment, a liberation from old institutions and power structures. But since then, the virtual has grown into a distinct yet related sphere of cultural and political production that both parallels and occasionally flows over into the old world of material objects. The strict dichotomy of matter and digital purity has been replaced more recently with a more complex model where both the world of stuff and the world of knowledge support, resist and at the same time contain each other. Online social networks amplify and extend existing ones; other cultural interfaces like youtube have not replaced the communal experience of watching moving images in a semi-public space (the cinema) or the semi-private space (the family living room). Rather the experience of viewing is very much about sharing and communicating, offering interpretations and comments. Many of the web’s strongest entities (Amazon, eBay, Gumtree etc.) sit exactly at this juncture of applying tools taken from the knowledge management industry to organize the chaos of the material world along (post-)Fordist rationality. Since the early 1990s there have been many artistic and curatorial attempts to use the Internet as a platform of producing and exhibiting art, but a lot of these were reluctant to let go of the fantasy of digital freedom. Storage Room collapses the binary opposition of real and virtual space by using online data storage as a conduit for IRL art production. The artworks here will not be available for viewing online in a 'screen' environment but only as part of a downloadable package with the intention that the exhibition could be displayed (in a physical space) by any interested party and realised as ambitiously or minimally as the downloader wishes, based on their means. The artists will therefore also supply a set of instructions for the physical installation of the work alongside the digital files. In response to this curatorial initiative, File Transfer Protocol invites seven UK based artists to produce digital art for a physical environment, addressing the intersection between the virtual and the material. The files range from sound, video, digital prints and net art, blueprints for an action to take place, something to be made, a conceptual text piece, etc. About the works and artists: Polly Fibre is the pseudonym of London-based artist Christine Ellison. Ellison creates live music using domestic devices such as sewing machines, irons and slide projectors. Her costumes and stage sets propose a physical manifestation of the virtual space that is created inside software like Photoshop. For this exhibition, Polly Fibre invites the audience to create a musical composition using a pair of amplified scissors and a turntable. http://www.pollyfibre.com John Russell, a founding member of 1990s art group Bank, is an artist, curator and writer who explores in his work the contemporary political conditions of the work of art. In his digital print, Russell collages together visual representations of abstract philosophical ideas and transforms them into a post apocalyptic landscape that is complex and banal at the same time. www.john-russell.org The work of Bristol based artist Jem Nobel opens up a dialogue between the contemporary and the legacy of 20th century conceptual art around questions of collectivism and participation, authorship and individualism. His print SPACE concretizes the representation of the most common piece of Unicode: the vacant space between words. In this way, the gap itself turns from invisible cipher to sign. www.jemnoble.com Annabel Frearson is rewriting Mary Shelley's Frankenstein using all and only the words from the original text. Frankenstein 2, or the Monster of Main Stream, is read in parts by different performers, embodying the psychotic character of the protagonist, a mongrel hybrid of used language. www.annabelfrearson.com Darren Banks uses fragments of effect laden Holywood films to create an impossible space. The fictitious parts don't add up to a convincing material reality, leaving the viewer with a failed amalgamation of simulations of sophisticated technologies. www.darrenbanks.co.uk FIELDCLUB is collaboration between artist Paul Chaney and researcher Kenna Hernly. Chaney and Hernly developed together a project that critically examines various proposals for the management of sustainable ecological systems. Their FIELDMACHINE invites the public to design an ideal agricultural field. By playing with different types of crops that are found in the south west of England, it is possible for the user, for example, to create a balanced, but protein poor, diet or to simply decide to 'get rid' of half the population. The meeting point of the Platonic field and it physical consequences, generates a geometric abstraction that investigates the relationship between modernist utopianism and contemporary actuality. www.fieldclub.co.uk Pil and Galia Kollectiv, who have also curated the exhibition are London-based artists and run the xero, kline & coma gallery. Here they present a dialogue between two computers. The conversation opens with a simple text book problem in business studies. But gradually the language, mimicking the application of game theory in the business sector, becomes more abstract. The two interlocutors become adversaries trapped forever in a competition without winners. www.kollectiv.co.uk

"Tracciature Digitali": la conoscenza nell'era informazionale

La specificità dell'acquisizione di contenuti attraverso le interfacce digitali condanna l'agente epistemico a un'interazione frammentata, insufficiente da un punto di vista computazionale, mnemonico e temporale, rispetto alla mole informazionale oggi accessibile attraverso una qualunque implementazione della relazione uomo-computer, e invalida l'applicabilità del modello standard di conoscenza, come credenza vera e giustificata, sconfessando il concetto di credenza razionalmente fondata, per formare la quale, sarebbe invece richiesto all'agente di poter disporre appunto di risorse concettuali, computazionali e temporali inaccessibili. La conseguenza è che l'agente, vincolato dalle limitazioni ontologiche tipiche dell'interazione con le interfacce culturali, si vede costretto a ripiegare su processi ambigui, arbitrari e spesso più casuali di quanto creda, di selezione e gestione delle informazioni che danno origine a veri e propri ibridi (alla Latour) epistemologici, fatti di sensazioni e output di programmi, credenze non fondate e bit di testimonianze indirette e di tutta una serie di relazioni umano-digitali che danno adito a rifuggire in una dimensione trascendente che trova nel sacro il suo più immediato ambito di attuazione. Tutto ciò premesso, il presente lavoro si occupa di costruire un nuovo paradigma epistemologico di conoscenza proposizionale ottenibile attraverso un'interfaccia digitale di acquisizione di contenuti, fondato sul nuovo concetto di Tracciatura Digitale, definito come un un processo di acquisizione digitale di un insieme di tracce, ossia meta-informazioni di natura testimoniale. Tale dispositivo, una volta riconosciuto come un processo di comunicazione di contenuti, si baserà sulla ricerca e selezione di meta-informazioni, cioè tracce, che consentiranno l'implementazione di approcci derivati dall'analisi decisionale in condizioni di razionalità limitata, approcci che, oltre ad essere quasi mai utilizzati in tale ambito, sono ontologicamente predisposti per una gestione dell'incertezza quale quella riscontrabile nell'istanziazione dell'ibrido informazionale e che, in determinate condizioni, potranno garantire l'agente sulla bontà epistemica del contenuto acquisito.

Interfaces cultural, política e organizacional do projeto caminhos do frio rota cultural no contexto da regionalização do turismo no brejo paraibano

This study is the analysis of cultural, political and organizational interfaces of "Caminhos do Frio Rota Cultural" Project in the context of tourism regionalization in Brejo Paraibano and it presents the characterization, routing and inventory of six municipalities of the Project, as well as the identification of cultural elements used for tourist in the routing of the pond, the investigation of political and organizational articulation and the verification of participation of each producing agent in the development of tourism resulting from the swamp of Paraiba. This is a qualitative descriptive and exploratory study, which makes use of the interpretive paradigm to perform an analysis of the environment where occurs the regionalization of tourism in Brejo of Paraíba and the social actors involved in this process in order to pursue development of the region through culture and tourism, with the collection spot in the six counties of the Project participants collected through interviews with managers, community, government agencies and tourist trade, and the use of the technique of direct observation. This time, with the data analysis it was possible to establish the production situation and its cultural and tourist development in the region of Brejo (PB), where culture has become a developmental tool within the tourism industry due to its innovation potential. It was possible to ratify the undisputed vocation of cultural tourism in the region in question, since other projects being developed with the use of cultural resources with a strong influence on the policies of regional tourism. Thus, the main result was that was seen is that the regional development has triggered a refunctionalisation / reappropriation of space just rebuilding a new territorial organization through the development of a regional autonomy of management, a capacity of collective ownership and the use of economic surplus, a spontaneous process of social inclusion as well as awareness and mobilization tourist (even if initial and shy), an appreciation of natural and cultural assets for all stakeholders and especially identification of the population with its region and its culture, as to achieve regional development is not enough to increase the economic, but above all the promotion of endogenous social factors such as changes in social and cultural values and the integration of social actors in this process. Finally, taking into account the definitions of sustainability, it is considered that cannot be said that the development model seen in the swamp of Paraiba is sustainable, but it is a model of regional development based on the unique characteristics that each municipality has and create a regional identity and have correponded expectations / desired results and therefore the viability of the region through the development of cultural tourism was proven

A narratividade do Hip Hop e suas interfaces com o contexto educacional

A presente tese de doutoramento em Educação aborda a cultura do Hip Hop e sua relação com o contexto educativo. Insere-se nas discussões da linha de pesquisa em Educação e Linguagens e problematiza o espaço escolar, enquanto espaço de reprodução da ideologia hegemônica, analisando o projeto “Escola de Rimas”, desenvolvido na Grande Vitória, como movimento de resistência e ressignificação cultural na escola. Parte da pergunta: Como as práticas discursivas do Hip Hop podem ressignificar o contexto escolar? A presente tese aborda a cultura do Hip Hop como campo discursivo singular de uma experiência narrativa (BENJAMIN, 1986; BONDÍA, 2001) e de uma subjetividade eticamente responsável (BAKHTIN, 1992a; 1992b; 2010), fundada no princípio da alteridade (PONZIO, 2009), e o analisa a partir de uma perspectiva crítica e dialógica (FREIRE, 1981; 1994; 1995; GIROUX, 1986; 1987; BRANDÃO, 1986; BAKHTIN, 1992a; 1992b; 2010). Desenvolve a pesquisa em um contexto limiar entre a escola e a cultura hip hop e dimensiona o debate das culturas marginais nos contextos educativos, voltando-se para os sujeitos e suas experiências narrativas, avaliando a interação de algumas de suas práticas discursivas com o processo de ensino-aprendizagem. Para isso, analisa o projeto cultural “Escola de Rimas”, criado pelos próprios ativistas do movimento hip hop da Grande Vitória e desenvolvido em uma escola da rede pública estadual de ensino do Espírito Santo, com o objetivo de discutir o seu papel em um processo de ressignificação educacional. Como hipótese de trabalho defende-se que o espaço escolar, como espaço de disputas, é ressignificado com a introdução de outras práticas discursivas e culturais, entre elas o hip hop, que aponta para a necessidade de ouvir responsiva e responsavelmente as narrativas dos educandos, contribuindo, assim, para a formação crítica desses sujeitos e enfrentando, ao mesmo tempo, práticas de exclusão historicamente instituídas.

COINE Project : Cultural Objects in Networked Environments

La idea subjacent al Projecte de Recerca i Desenvolupament COINE és permetre a la gent contar les seves pròpies històries. COINE pretén proporcionar les eines necessàries per crear estructuradament, un entorn basat en el World Wide Web, que permeti compartir continguts. Els resultats del Projecte ajudaran al desenvolupament d'estàndards per a la implantació i la recuperació estructurades de recursos digitals en entorns en xarxa distribuïda. El Projecte de COINE s'inicià el març de 2002 i finalitzà l'agost de 2004. Avui en dia estem al WorkPackage 5 on estem construint el Sistema, el programari i les interfícies. COINE pretén cobrir la gamma més àmplia possible d'usuaris potencials, des d'organitzacions de patrimoni cultural i institucions de qualsevol mida (principalment biblioteques, arxius i museus) fins a individus de qualsevol edat sense habilitats en l'ús de les TIC, o a grups petits de ciutadans. Els usuaris no utilitzaran només COINE com a eina de cerca, sinó que contribuiran amb el seu propi contingut.

O laboratório de anatomia sob a perspectiva da 'descrição densa': interfaces da cultura e o ensino de Ciências

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Serviço social e educação: interfaces de uma atuação política

Pós-graduação em Serviço Social - FCHS

A dinâmica do patrimônio cultural e o Museu da Inconfidência em Outro Preto (MG)

Pós-graduação em História - FCHS

Ambientes e fluxos informacionais: modelo de diagnóstico de interfaces (DIFI) sob a ótica dos valores culturais

Pós-graduação em Ciência da Informação - FFC

A desmaterialização do espaço: um estudo das interfaces entre a produção ficcional e as teorias da pós-modernidade

Pós-graduação em Estudos Literários - FCLAR