Le BONHEUR comme indice d'épanouissement social et économique.
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Le BONHEUR comme indice d'épanouissement social et économique.
Le bonheur c'est comment on fait pour vivre ensemble
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Rescooped by association concert urbain from [New] Media Art Education & Research
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Software TAKES Command (volume 5) - Lev Manovich... ebook to read online

Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field.

Via Jacques Urbanska, Monika Fleischmann
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Rescooped by association concert urbain from visual data
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Brockhaus Encyclopedia Infographics

Brockhaus Encyclopedia Infographics | Le BONHEUR comme indice d'épanouissement social et économique. | Scoop.it
Martin Oberhäuser is an award-winning information- and interface designer working and living in Hamburg, Germany.

During and after his graduation from the university of applied science in Würzburg Martin worked for various Advertising- and Design-studios in Frankfurt, Hamburg and San Francisco. Working as a freelance designer since 2006, Martin founded his own design studio oberhaeuser.info in 2011 based in Hamburg.

During his career Martin worked for clients like Adidas, Audi, BMW, Cisco Systems, Deutsche Telekom, Infomotor, MySpace, Nokia, Nordstrom, Samsung and others.

Martin‘s work is inspired by his passion for complex data visualization and information design. He describes his work philosophy like this: "Information is beautiful and life without information is impossible. But it needs someone to filter the mass of information around us and turn it into something read and useable. This is what I do in my work: I create well structured Information design that is easy to use and fun to look at."


Via Lauren Moss
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Rescooped by association concert urbain from Transmedia: Storytelling for the Digital Age
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Novels as the Driving [Transmedia] Platform

Novels as the Driving [Transmedia] Platform | Le BONHEUR comme indice d'épanouissement social et économique. | Scoop.it
I’ve previously discussed both video games and toys as potential Driving Platforms for Transmedia story franchises. Now it’s the turn of the novel...

 

[Simon Pulman continues his excellent series on the choices for a primary platform in Transmedia Storytelling. His first post, on choosing video games, is @scoopit http://bit.ly/sTrl4f and his second post, on choosing toys, is @scoopit http://bit.ly/tRyfXQ]


Via The Digital Rocking Chair
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100 Diagrams That Changed the World

100 Diagrams That Changed the World | Le BONHEUR comme indice d'épanouissement social et économique. | Scoop.it

A visual history of human sensemaking, from cave paintings to the world wide web.


Since the dawn of recorded history, we’ve been using visual depictions to map the earth, order the heavens, make sense of time, dissect the human body, organize the natural world, perform music, and even decorate abstract concepts like consciousness and love.

100 Diagrams That Changed the World by investigative journalist and documentarian Scott Christianson chronicles the history of our evolving understanding of the world through humanity’s most groundbreaking sketches, illustrations, and drawings, ranging from cave paintings to The Rosetta Stone to Moses Harris’s color wheel to Tim Berners-Lee’s flowchart for a “mesh” information management system, the original blueprint for the world wide web.

But most noteworthy of all is the way in which these diagrams bespeak an essential part of culture — the awareness that everything builds on what came before, that creativity is combinational, and that the most radical innovations harness the cross-pollination of disciplines.


Via Lauren Moss
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Patrizia Bertini's curator insight, December 30, 2012 5:59 AM

I see! - goes together with embodied cognition? It seems so... Infographics as a key?

bancoideas's curator insight, December 30, 2012 9:28 AM

Ideas acerca de las ideas que tenemos sobte nosotros/as mismos/as y el mundo que co-construimos

Denise Eler's curator insight, June 30, 2015 7:26 PM

Quando um gestor pede que uma apresentação de 80 slides seja condensada em 3 slides, ou uma página A3, não tenha dúvida: isto vai exigir de você mais que capacidade de síntese textual. Pensar visualmente, especialmente, criando diagramas é uma competência valiosa. Vejo isso durante meus cursos e vivência com profissionais das mais variadas indústrias. A boa notícia é que dá para aprender ;)

Rescooped by association concert urbain from Vers les hauteurs
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L’art numérique – comment la technologie vient au monde de l’art

L’art numérique – comment la technologie vient au monde de l’art | Le BONHEUR comme indice d'épanouissement social et économique. | Scoop.it

Les deux auteurs établissent un constat à propos de la difficulté d’établir un état de l’art numérique : où en est-il, c’est difficile à dire vue la prolifération d’œuvres d’une part, et la diffusion culturelle très réduite dont elles disposent d’autre part. D’un autre côté sur la toile, le rythme de la culture numérique semble effréné, passant d’apparition à disparition en très peu de temps, un temps propre au monde en ligne et totalement hors du temps réel. Nos rapports à ce temps sont bouleversés, on consomme toujours plus et toujours plus vite, et on consomme de tout, aussi bien du matériel que de l’immatériel. Cet immatériel, l’art numérique en fait partie. S’il se développe et à la fois se perd rapidement, c’est aussi du fait de son accessibilité.

 

Aujourd’hui l’art est partout, l’image est partout : la publicité par exemple, emprunte parfois aux codes de l’art, et ce dernier emprunte, comme il l’a toujours fait par ailleurs, au monde sensible qui l’entoure, et tente de faire passer son message au monde intelligible. Seulement ce dernier rapport évolue et aujourd’hui c’est depuis et à propos d’un monde tout autre que l’art veut communiquer.


Via Jacques Urbanska, yves deligne
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