The EU’s Trouble with Mashups: From Disabling to Enabling a Digital Art Form

New tools for editing of digital images, music and films have opened up new possibilities to enable wider circles of society to engage in ’artistic’ activities of different qualities. User-generated content has produced a plethora of new forms of artistic expression. One type of user-generated content is the mashup. Mashups are compositions that combine existing works (often) protected by copyright and transform them into new original creations. The European legislative framework has not yet reacted to the copyright problems provoked by mashups. Neither under the US fair use doctrine, nor under the strict corset of limitations and exceptions in Art 5 (2)-(3) of the Copyright Directive (2001/29/EC) have mashups found room to develop in a safe legal environment. The contribution analyzes the current European legal framework and identifies its insufficiencies with regard to enabling a legal mashup culture. By comparison with the US fair use approach, in particular the parody defense, a recent CJEU judgment serves as a comparative example. Finally, an attempt is made to suggest solutions for the European legislator, based on the policy proposals of the EU Commission’s “Digital Agenda” and more recent policy documents (e.g. “On Content in the Digital Market”, “Licenses for Europe”). In this context, a distinction is made between non-commercial mashup artists and the emerging commercial mashup scene.

Digital Art and Design

The desire to create unique things and give free rain to one's imagination served as a powerful impetus to the development of digital art and design software. The commoner was the use of computers the wider variety of professional software was developed. Nowadays the creators and computer designers are receiving more and more new and advanced programs that allow their ideas becoming virtual reality. This research paper looks at the history of the development of graphic editors from the simplest to the most modern and advanced. This brief survey includes the history of different graphic editors’ creation, their features and abilities. This paper highlights the two basic branches of graphic editors – these that are in free use and commercial graphic editors design software. The researcher selected the most powerful and influential graphic editors design software brands like Paint.NET and GIMP among free software and commercial Adobe Photoshop. This paper also dwells upon the way digital art transferred from the exclusively professional business into the hobby for ordinary users. This research paper bears implications for those who are interested in features and potentiality of most popular graphic editors design software.

Glitch Art: uso do erro digital como procedimento artístico e possibilidade estética

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Weaving encounters: towards an art of participation

In the early 21st Century, with the phenomenon of digital convergence, the consecration of Web 2.0, the decrease of the cost of cameras and video recorders, the proliferation of mobile phones, laptops and wireless technologies, we witness the arising of a new wave of media, of an informal, personal and at times “minority” nature, facilitating social networks, a culture of fans, of sharing and remix. As digital networks become fully and deeply intricate in our experience, the idea of “participation” arises as one of the most complex and controversial themes of the contemporary critical discourse, namely in what concerns contemporary art and new media art. However, the idea of “participation” as a practice or postulate traverses the 20th century art playing an essential role in its auto-critic, in questioning the concept of author, and in the dilution of the frontiers between art, “life” and society, emphasizing the process, the everyday and a community sense. As such, questioning the new media art in light of a “participatory art” (Frieling, 2008) invokes a double gaze simultaneously attentive to the emerging figures of a “participatory aesthetics” in digital arts and of the genealogy in which it is included. In fact, relating the new media art with the complex and paradoxical phenomenon of “participation” allows us to, on the one hand, avoid “digital formalism” (Lovink, 2008) and analyse the relations between digital art and contemporary social movements; on the other hand, this angle of analysis contributes to reinforce the dialogue and the links between digital art and contemporary art, questioning the alleged frontiers that separate them.

DEL FESTIVAL A LA ACADEMIA. Informe sobre la institucionalización de una disciplina híbrida (arte digital)

Aquest document és un esborrany. Amb l'objectiu d'aprofundir en el procés d'institucionalització, vam dissenyar una investigació empírica que permetés visualitzar les tendències discursives i àmbits d'activitats de les pràctiques relacionades amb les interseccions entre l'art, la ciència i la tecnologia. La metodologia va consistir en la implementació de tres bases de dades que recullen l'activitat dels últims anys en relació a: 1) els congressos (i festivals associats) realitzats a nivell internacional 2) les publicacions acadèmiques i divulgatives centrades en aquest àmbit interdisciplinar 3) els programes acadèmics.

La programaci??n de aula digital

Se presenta experiencia educativa que plantea ordenar todos los recursos TICs de los que se dispone en el centro. Se realiza en el CEIP Virgen del Rosario en Jayena, Granada. Los objetivos son: elaborar una herramienta ??til para el profesorado en su d??a a d??a; formaci??n del profesorado en materiales de nuevas tecnolog??as.

Trabajo intelectual, informaci??n y tecnolog??a digital

En el art??culo se analiza la relaci??n entre educaci??n y ordenadores desde diferentes puntos de vista. Se consideran cinco grupos de t??cnicas intelectuales que est??n relacionadas con la tecnolog??a de la informaci??n y en el art??culo se explora su relaci??n con la tecnolog??a de la informaci??n: planificaci??n y control, lectura, estudio y observaci??n, informaci??n y documentaci??n, creaci??n y redacci??n, y presentaci??n, comunicaci??n y discusi??n.

Generaci??n a : la adolescencia en la era digital

Resumen tomado de la revista

Sociedad del conocimiento y entorno digital

Resumen basado en el de la publicaci??n

De la tortuga LOGO al gat Scratch : la renovaci?? de la compet??ncia digital

Resumen basado en el de la publicaci??n

Escuela, grafitis y cultura visual en la era digital

Resumen basado en el de la publicaci??n

eScholarium : nuestra plataforma de ense??anza digital

Se describe eScholarium, una apuesta de la Consejer??a de Educaci??n y Cultura de Extremadura. La plataforma es una herramienta que permite a los alumnos realizar su trabajo de aula en casa: ver la agenda con los eventos del aula y acceder a recursos y a libros digitales de texto y de lectura; al profesorado: visualizar libros digitales de editoriales o de elaboraci??n propia, comunicarse con los alumnos, enviarles tareas y acceder a herramientas de apoyo did??ctico; y finalmente a los padres: comunicarse con los profesores, visualizar la evoluci??n de su hijo en los estudios y conocer su participaci??n en las actividades del centro

La barrera digital

Resumen basado en el de la publicaci??n

An??lisis de la industria editorial y protocolo para la selecci??n del libro de texto en formato digital

Resumen basado en el de la publicaci??n

Entre libros y pantallas : las bibliotecas escolares ante el desaf??o digital

Resumen basado en el de la publicaci??n