co-creatingcultures Recently we delivered the final prize Hack The Ride to Miquel Llobet and David Farrús, members of the WMB team who were the first prize winners of Hack The Ride with a proposal based on Google Glass that integrated data from the bike while you drive and you can request more or less information from the controls of the bike. It was the first of three prizes to be awarded at the end of 24 hours of Hack The Ride, a hackathon we organised for/with BMW Motorrad and the global BMW Innovation Group (Innovation Works). The idea was to create new applications for mobile phones and similar devices to improve motorcycle driving in town. It can be understood as the application concept “Connected Vehicle” to mnotorcycles. The “Connected Vehicle” was also one of the important themes of the Mobile World Congress this year. We took the Mobile World Center at Plaza Catalunya during the 22nd and 23rd of February. The other two winners were: Paul Günther of the Gumball team won the third prize.
Anilla Cultural | Latinoamérica-Europa IRI - Institut de recherche et d’innovation du centre pompidou, Accueil LAB » Arxiu del Bloc » MuseumNext Barcelona: usuarios que cambian museos, museos que cambian con los usuarios Cada vez surgen más proyectos en Internet creados y alimentados por comunidades de usuarios, al margen de las iniciativas institucionales. Este tipo de proyectos ciudadanos – Wikipedia es uno de los ejemplos de más dimensión y popularidad – están obligando a las instituciones culturales a integrar el conocimiento colectivo en sus proyectos. De esta manera, el museo deja de ser un espacio cerrado y unidireccional, donde el visitante no tiene ninguna posibilidad de interactuar, para pasar un espacio inclusivo, donde el conocimiento y la creatividad del usuario cuentan. MuseumNext es un excelente foro profesional para descubrir experiencias participativas en las que el usuario es también autor, creador de contenidos, gestor de proyectos. Agendas culturales hechas por la comunidad Dulwich on View es un blog sobre la actividad cultural de la región de Dulwich (Londres) creado a partir de las colaboraciones independientes de voluntarios, que, sin ánimo de lucro, participan en el proyecto.
Plaidoyer pour une culture libre Dans le cadre du Tribunal pour les générations futures organisé mardi par le magazine Usbek et Rica, Lionel Maurel a tenté de convaincre le public qu'il est possible d'étendre la culture libre, mais que cela a un petit coût : la mise en place d'un système du type licence globale, où chaque internaute paye une contribution de quelques euros. Les intervenants du Tribunal des générations futures à la Gaîté Lyrique mardi 17 avril 2012 - © Jacob Khrist pour Owni Mardi soir, le magazine Usbek et Rica organisait une conférence à la Gaîté Lyrique sur le thème “la culture doit-elle être libre et gratuite ?”. Il s’agissait de la cinquième édition du Tribunal pour les générations futures, dont voici le pitch : Parce que l’avenir n’est pas encore mort, nous avons plus que jamais besoin de l’explorer ! Plaidoirie de l'avocat de la culture libre, Lionel Maurel - © Jacob Khrist pour Owni Le prix de la liberté Mesdames, messieurs les jurés. C’est sur elle que les générations futures nous jugeront.
Spanish culture industry becomes bank collapse casualty | World news Amid all the talk of bailouts and sovereign debt, less attention has been paid to another victim of the financial crisis – the arts. The Spanish culture industry has been hit by a double whammy: the public spending cuts that began in 2010 and the collapse of the savings banks that have been a main source of funding. These banks, known as cajas, grew out of montes de piedad – which were basically pawn shops – in the 19th century as an encouragement to the poor to save. "The savings banks have been the main sponsors of culture, even more than government," says David Camps, head of communications at the Museu d'Art Contemporani de Barcelona, who also co-founded the Spanish fundraising association. Nearly all the cajas have succumbed to debt or corruption claims and, furthermore, have become banks. In the autonomous region of Castilla-León the €92m earmarked by the local cajas for culture and good works in 2005 fell to €34m this year. Main Photographs: Paul Hannah/Reuters and Getty Images
Encyclopédie de L'Agora | Programacion Medialab Invisible 7º Festival de Cultura Libre. Anilla Cultural | Latinoamérica-Europa Photos + Movement = Photeo (Part 1 of 3) by Stephen Haskin & Megan Torrance “In eLearning, the idea is to create the opportunity for the learner to have an “ah-ha!” moment. Ah-ha! Photeo. The word differentiates a static photograph, or any image whether still or moving, from a more video-like experience that employs anything you can see or hear, but not necessarily video. Ken Burns popularized this concept when he created “The Civil War” series on PBS in the late 1980s. The approach soon gained a label: “The Ken Burns Effect.” These days, there are many methods and programs that easily add motion to a still image or video clip, and which can make words or a little image move across a larger scene. Photeo phundamentals When we’re designing and developing eLearning, the photeo technique can be so easy to accomplish that it’s almost silly not to use it at some level. In this article, we intend to correct that omission. In a fundamental way, a photeo segment is the digital extrapolation of the old movie montage. Avoiding “seductive details” Why make photeo? References
Copyright and Creative Commons Julia’s dream is to make a living as a photographer. In this dream, she takes amazing photos, people buy them, and their purchases fund her future work. But it’s not that simple. Julia wants to publish some of her photos to help spread the word, but she’s concerned because photos are easy to copy. So she does some research and learns that in the U.S., as with other countries, we have laws that give creators of materials like books, images, movies, artwork and music a way to own and protect their creations. And she’s surprised to find that when she creates photos, she owns the copyright to them automatically, without taking any other action. She likes being covered by copyright law, but it limits her exposure, because her permission is required for sharing a photo. Her research leads her to Creative Commons, which is a set of licenses that she can use to make her copyrighted photos free for sharing. Across the country, Kelly needs a travel photo for his magazine article.
KNOWEB: Gain Knowledge through Web La industria cultural y el coste de oportunidad licencia cc En mi primera clase de Microeconomía en la Universidad de Oviedo uno de los escasísimos profesores extraordinarios de los que pude disfrutar en la carrera comentó que la diferencia entre un economista genial y un economista del montón era la compresión perfecta de tres conceptos. Entre ellos estaba el coste de oportunidad. El coste de oportunidad de algo es aquello a lo que se renuncia por conseguirlo. Así de simple. Muestra de ellos es la expresión la cultura del todogratis. Esto tiene sentido si eres un juez. Pero si hablamos de economía y de mercado sí que deberías usar esta idea y lo siento mucho pero los discos, los libros y el cine no son cultura sino mercados culturales intervenidos y protegidos por el gobierno por (oficialmente) una externalidades positivas muy discutibles. Economía de andar por casa Para entender un poco mejor el coste de oportunidad usaré un ejemplo muy sencillo. Un momento ¡el buscaminas es gratis! Jum.
Creative Commons : dossier explicatif Carrefour Education (portail éducatif destiné aux enseignants québécois) a mis à jour en mai 2011 son dossier : la licence Creative Commons : le Copyright revu et amélioré (en pdf, 8 pages) signé Daniel Lemay. Ce document ressource est une initiative de Carrefour éducation, de la Vitrine APO et de l’Université du Québec qui permet de comprendre que ce que recouvre les licences partageables de contenus de type Creative Commons. L’article de Wikipédia consacré à Creative Commons souligne leur utilité : « L’objectif recherché est d’encourager de manière simple et licite la circulation des œuvres, l’échange et la créativité. Creative Commons s’adresse ainsi aux auteurs qui préfèrent partager leur travail et enrichir le patrimoine commun (les Commons) de la culture et de l’information accessible librement. L’œuvre peut ainsi évoluer tout au long de sa diffusion. » Licence : Creative Commons by-nc-saGéographie : International Tags: Creative Commons, droit, guide