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Digital Media in the Obama Campaigns of 2008 and 2012: Adaptation to the Personalized Political Communication Environment

Digital Media in the Obama Campaigns of 2008 and 2012: Adaptation to the Personalized Political Communication Environment | Research Capacity-Building in Africa | Scoop.it
Digital Media in the Obama Campaigns of 2008 and 2012: Adaptation to the Personalized Political Communication Environment. Journal of Information Technology & Politics. .
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Digital Media in the Obama Campaigns of 2008 and 2012: Adaptation to the Personalized Political Communication Environment

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Superheroes - LearnEnglish Kids

Superheroes -  LearnEnglish Kids | Research Capacity-Building in Africa | Scoop.it

Via Ana Cristina Pratas
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Welcome to SlideGo (for Presentations)

Welcome to SlideGo (for Presentations) | Research Capacity-Building in Africa | Scoop.it

Via Ana Cristina Pratas
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Ana Cristina Pratas's curator insight, October 1, 3:14 AM

Connects to Edmodo. Designed for mobile. 



Convert Powerpoint to HTML5

Powerpoint is de-facto universal document editor. It is popular in schools for lessons or student projects. You can levitate Powerpoint power by uploading to SlideGo and convert to HTML5. Intended designs and interactivities are retained, they just become more portable to share on all devices.

Edit in Slide Editor

Use SlideGo Slide Editor to edit your converted presentations online, or to make new ones from scratch. You can continue to apply the same Powerpoint knowledge, just no longer require a PC. Most Powerpoint features are supported. It works perfectly on touch devices.

Won Ho's curator insight, October 1, 7:45 AM

HTML5 web editor for interactive PPT like content. I expected this kind of service will appear.

상호작용을 쉽게 넣을 수 있는 PPT 같은 HTML5 편집기....

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MOOCs: A review - The Tech

MOOCs: A review - The Tech | Research Capacity-Building in Africa | Scoop.it

Despite the hype, MOOC providers do acknowledge that robust online education is in its infancy, and as The Times and NPR describe it, there are “kinks to be worked out.” Universities that offer online courses through edX or Coursera rightly worry about how exams will be administered, how cheaters will be identified, and how grading will be scaled to hundreds of thousands of students in a single course. A lot of smart people are coming up with clever ways to address all those problems, and more.


Via Nik Peachey
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MOOCs: A review - The Tech

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Nik Peachey's curator insight, Today, 3:22 AM

A good balanced review and overview of how things stand with MOOCs. Also a source worth following.

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Collaborative Models and Shared Knowledge. Networks, Creativity and Interculturality | HERMAN BASHIRON MENDOLICCHIO « Interartive | Contemporary Art + Thought

The growing interest in the collaborative models, participatory practices, and sociological aspects of networks is linked to and forms part of a broader global process of cultural, social and economic change.

Beyond its participatory, interconnected aesthetics, the collaborative model of networks is also taking hold thanks to the current economic crisis – or reassessment or reformulation – and the resulting systemic restructuring of our lives. Sharing has become a means of saving, of redistribution, of intelligent and sustainable exploration and exploitation of resources, materials, relationships and knowledge.

Although the network-system – and its evolution – is obviously linked to various technological aspects, talking about networks today does not just mean focusing on the technical and communicational elements that form them. Rather, it means talking about people, about individuals and collectives, about building human relationships, and about the economic, political, social and cultural ties that bind us.

We are making social and communicational headway towards an open, plural, shared model thanks to the enormous opportunities for forging relationships and making contacts (professional, personal, etc.), instantly and conveniently, through the Internet and its many online tools.

“Being connected” seems to have become the most essential universal condition on the planet. As the academic Juan Martín Prada argues, “Clearly, in our societies, being almost constantly connected and belonging to social media and platforms is ceasing to be an option and becoming an imperative, a prerequisite for non-exclusion” [1].

The dilemma of whether virtual participation in networks leads to real inclusion, or, on the contrary, to social exclusion; the matter of whether we are actually seeing the rise of plurality or a profound and unfathomable panorama of individualities; the question of the effects of new means of communication on identity and being in the digital era, and other similar issues may still require some time and distance before they can be formulated and analysed correctly. In any event, there are certainly many answers, and we will always encounter both enthusiasts and naysayers, technophiles and technophobes, when these matters are discussed.

The French philosopher and sociologist Gilles Lipovetsky has written that the individual “seems to be more and more opened up and mobile, fluid and socially independent. But this volatility signifies much more a destabilisation of the self than a triumphant affirmation of a subject endowed with self-mastery” [2].

The position of strength and/or weakness of an individual in contemporary society, the specificity of the “connected individual” and his actual or supposed freedom to access or communicate through the Internet, are matters that remain unresolved and must be taken into account in any research process into the links between culture, society, and information and communication technologies.

The sometimes invisible codes that predetermine online communications, and the enormous influence of corporations, multinationals and the devices of capitalism in the construction of new social models are other fundamental aspects to take into account. As Prada says, “although the expansion of connectivity has enormously increased the possibilities for communication and contact, these possibilities are also being conditioned by a handful of models and patterns of intervention designed and managed by an ever-shrinking number of companies. This is why many people argue that the whole thing has shaped a techno-social order defined by the generation of a strong dependence on the new technological systems and devices, and by communication inflation processes expressed through predesigned forms of social and emotional interaction” [3].

Nonetheless, while recognising and bearing in mind the requisite questions and controversies that can help us to understand and challenge the changes affecting identity and the individual in the digital age, it remains clear that ICTs, the Internet and the myriad contemporary digital tools have opened up an enormous world of new possibilities. New forms of creativity, new interests, new cultural knowledge and exchanges, and new collaborative and interactive practices are part of a horizontal, universal landscape linked to cyberculture, which is generating ever greater amounts of new shared knowledge. As the researcher Margarita Rodríguez Ibañez writes, “The emergence of the Web as a space of intercultural synergy is closely linked to the concept of cyberculture, in as far the new cybernetic space does not just offer new cultural interests, but also the capacity to connect users with disciplines that they may not have been actively interested in, but that they can become connected to when new links are formed, thus creating a more extensive and participatory culture. Cyberspace interconnects different types of thought, uniting people whose only ‘binding’ element is some shared interest, building a cumulative force of knowledge for humanity” [4].

As this new arena for action expands, it triggers a radical paradigm shift that affects the forms, practices and essence of knowledge, and also stimulates interculturality, promotes participatory creation – or co-creation – that favours knowledge sharing and dissemination, and promotes new models of collaboration. As Jesús Martín-Barbero writes, “Digital convergence brought about a radical change in the communication model in cultural politics, in as far as we have shifted from the one-way, linear, authoritarian ‘information transmission’ paradigm to the ‘network’ model, in other words, to the model of interaction and connectivity that replaces the mechanical form of remote communication with that of the electronic proximity interface. A new paradigm that generates policies that favour the synergy among many small projects over the complex structure of big, unwieldy technological and management systems” [5].

In the field of culture and contemporary artistic practices, it is interesting to identify and analyse the proliferation of cases and projects that appear to be both innovative and original.

The impact of new technological applications and tools, the curiosity that they have always aroused and unleashed in the imagination of artists, and their potentially infinite scope in the creative process, have driven and continue to drive artists and diverse culture professionals to explore and learn the capacities and functions of these new devices. The use of new media is more a need than a goal: the need to broaden horizons and to release the full force of the creative imagination through all possible tools.

Experimentation at the intersections between new technologies, new media and art – like the radio experiments of members of the futurist avant-garde – have proliferated in recent decades, to the point that artistic creativity has embraced all the typical elements of communication. As the Italian art critic Germano Celant explains, in the 20th Century, “the dominant force of emergent technologies – such as photography and radio, telephone and gramophone, recording devices and television, cinema and the computer – has found its own ‘natural’ tempo, allowing such media to coexist and intertwine without difficulty. In fact, what all the historic avant-gardes, from Futurism to Surrealism, considered the future – that is, the ‘de-codification’ of the imaginary as a result of the collapse of the limits and boundaries between art and technology – has become an established, recognised system. The realm of art, or better still, of creativity, can include all communicative and discursive elements” [6].

The production of collective artworks, performances and artistic actions has certainly been reenergized and renewed thanks to the power of digital tools to convene, express and disseminate. The video Pose Nº5 by the artist Yolanda Domínguez is part of this space of creative action, for example. It arises from reflections about the power of collective action, and encompasses the critical and social participation aspects of art as well as its aesthetic dimension. The artist describes the project as a video of a collective action “in which anonymous women from around the world imitate the pose of Chanel’s 2013 campaign to highlight how ridiculous, artificial and contemptuous the image of women too often is in the fashion industry”[7]. As well as its main criticism of the world of fashion and the way it churns out dubious representations, the video also defends collaborative creation as a very appealing and successful model: “I sincerely believe that there is something much more interesting in the success of the connected community than in their individual success, in the scope of a project when it transcends the creator’s proposal” [8].

Art is strengthening its links to information and communication, particularly when it comes to social and political critique; ethics and aesthetics merge, often in the course of an artistic research project. Art has become a hybrid, unlimited field that can interact with many different spheres. As Jesús Martín-Barbero says, “The convergence between traditional and new services that is introduced by virtual networks must be accepted as a challenge that is both about education and citizenship, given that what is at stake is the strategic links between information, creative interaction and social participation” [9].

The collaborative models that form part of so many artistic creations expand into and are reproduced in the most diverse fields of culture and other disciplines of humanistic and scientific knowledge. An interesting research project in the field of curatorial practices is #OpenCurating by the curatorial team Latitudes. Based on a reflection on Web 2.0, on “open journalism” practices, and on the demand for participation and transparency in today’s political, social and cultural spheres, “#OpenCurating investigates how contemporary art projects can function beyond the traditional format of exhibition-and-catalogue in ways which might be more fully knitted into the web of information which exists in the world today. #OpenCurating is concerned with new forms of interaction between publics – whether online followers or physical visitors – with artworks and their production, display and discursive context” [10]. Through a series of conversational strategies (a Twitter discussion, a set of ten interviews and an open event discussion) the Latitudes team set out to examine new behaviours in art and communication, through the model of shared production and flow of knowledge.

Another example from the curatorial field that explores online collaborative models is the “Expanded Exhibition” project [11] organised by a group of cultural bloggers who used their constant presence on social media and their familiarity with the languages of online communication and contemporary art to transform their virtual spaces into an experimental collective curating project. A clear example of a collaborative model that uses digital tools and networks to create and convey shared knowledge.

The allure of networks and the fascination with the smooth flow of knowledge and with new collaborative models, has also had a strong impact on the world of contemporary art fairs. A recent and already quite well known example is the ARCO bloggers project organised by ARCOmadrid from 2013, which will be designed by different industry professionals each year. In 2014, the project will be directed by Martí Manen under the title ARCO(e)ditorial, and will reflect on “what it means to work with text, images and movement from the net in relation to contemporary art” [12].

There are also many projects from the museum, academia and research fields that explore issues such as innovation in culture, new forms of networked knowledge, and the different connections and synergies between disciplines and forms of knowledge. In the context of the city of Barcelona, some of these projects include the CCCB Lab [13]; the “New Frontiers of Science, Art and Thought” seminars that, in their last stage, were coordinated by the former Science department at Arts Santa Mònica, directed by Josep Perelló; and the Open Systems. Artistic Experimentation and Scientific Creativity project co-organised by MACBA, the Institute of Education at Barcelona City Council and the University of Barcelona, which is targeted at teachers, students, artists and scientists and aims to discover and collaborate in activities that entail the hybridisation and convergence of artistic and scientific practices [14].

The examples outlined here reveal a constantly changing scene. The artistic creation and curatorial fields, museums, public institutions, private entities, and so on, are increasingly adopting collaborative and participatory models that are capable of arousing new interests, disseminating new types of shared knowledge, and opening up new doors and new creative and professional opportunities. As Jesús Martín-Barbero says, “Digital networks are not just spaces for the conservation and dissemination of cultural and artistic heritage, but also a space for experimentation and aesthetic creation” [15].

The study of networks and their intercultural and interdisciplinary scope, the exploration of collaborative and participatory models, and the formulation and flow of shared knowledge, are a fascinating challenge that does not just encompass the fields of communication, art and culture, but the composition and structure of knowledge as a whole.

.

NOTES:

.

[1] PRADA, Juan Martín. Prácticas Artísticas e Internet en la Época de las Redes Sociales. Ediciones Akal. Madrid, 2012. P. 25-26.

[2] LIPOVETSKY, Gilles. Los tiempos hipermodernos. Editorial Anagrama. Barcelona, 2006. P. 88.

[3] PRADA, Juan Martín, op. cit., pág. 26.

[4] RODRÍGUEZ IBÁÑEZ, Margarita. Cómo la Red ha cambiado el arte. Ediciones Trea. Gijón, 2012. P. 75.

[5] MARTÍN-BARBERO, Jesús. “Convergencia digital y diversidad cultural”, in: DE MORAES, Dênis (ed.), Mutaciones de lo Visible. Comunicación y procesos culturales en la era digital. Paidós. Buenos Aires, 2010. P. 153-154.

[6] Free translation into English. Original text in Italian: “La forza dominante di tecniche emergenti, nel corso del ventesimo secolo, come la fotografia e la radio, il telefono e il grammofono, il registratore e la televisione, il cinema e il computer, trova oggi un suo tempo “naturale” che le fa convivere e intrecciarsi senza alcun problema. Di fatto quanto era considerato dalle avanguardie storiche, dal futurismo al surrealismo, il futuro, cioè la “decodificazione” del territorio dell’immaginario, risultato della caduta di tutti i limiti e I confini, tra le arti e le tecniche, è diventato nel ventunesimo secolo un sistema affermato e riconosciuto. Nel “corpo” dell’arte, o meglio della creatività, possono entrare tutti gli elementi comunicativi e discorsivi”. CELANT, Germano. Artmix. Flussi tra arte, architettura, cinema, design, moda, musica e televisione. Feltrinelli. Milano, 2008. P. 6.

[7] Yolanda Domínguez, Pose Nº5, 2013. Available online at: http://www.yolandadominguez.com/es/pose-n-5-2013.html [Retrieved: 30 October 2013].

[8] Ibidem.

[9] MARTÍN-BARBERO, Jesús, op. cit., p. 159.

[10] Researchers: ‘#OpenCurating’, BCN Producció 2012, Barcelona, June 2012–April 2013. Available online at: http://www.lttds.org/projects/opencurating/ [Retrieved: 30 October 2013].

[11] Available online at: http://laexposicionexpandida.net [Retrieved: 30 October 2013].

[12] Available online at: http://arcobloggers.com [Retrieved: 30 October 2013].

[13] Available online at: http://blogs.cccb.org/lab/es [Retrieved: 30 October 2013].

[14] Available online at: http://sistemesoberts.wordpress.com [Retrieved: 30 October 2013].

[15] MARTÍN-BARBERO, Jesús, op. cit., p. 160.

.

*  This article was previously published in: VV.AA. Innovaciones Artísticas y Nuevos Medios: Conservación, Redes y Tecnociencia. Universitat de Barcelona. Barcelona, 2013. ISBN: 978-84-695-9407-0

.

- See more at: http://interartive.org/2014/09/collaborative-models-hbm/#sthash.mYbEvo2S.dpuf


Via Charles Tiayon
more...
Charles Tiayon's curator insight, September 29, 10:30 PM

The growing interest in the collaborative models, participatory practices, and sociological aspects of networks is linked to and forms part of a broader global process of cultural, social and economic change.

Beyond its participatory, interconnected aesthetics, the collaborative model of networks is also taking hold thanks to the current economic crisis – or reassessment or reformulation – and the resulting systemic restructuring of our lives. Sharing has become a means of saving, of redistribution, of intelligent and sustainable exploration and exploitation of resources, materials, relationships and knowledge.

Although the network-system – and its evolution – is obviously linked to various technological aspects, talking about networks today does not just mean focusing on the technical and communicational elements that form them. Rather, it means talking about people, about individuals and collectives, about building human relationships, and about the economic, political, social and cultural ties that bind us.

We are making social and communicational headway towards an open, plural, shared model thanks to the enormous opportunities for forging relationships and making contacts (professional, personal, etc.), instantly and conveniently, through the Internet and its many online tools.

“Being connected” seems to have become the most essential universal condition on the planet. As the academic Juan Martín Prada argues, “Clearly, in our societies, being almost constantly connected and belonging to social media and platforms is ceasing to be an option and becoming an imperative, a prerequisite for non-exclusion” [1].

The dilemma of whether virtual participation in networks leads to real inclusion, or, on the contrary, to social exclusion; the matter of whether we are actually seeing the rise of plurality or a profound and unfathomable panorama of individualities; the question of the effects of new means of communication on identity and being in the digital era, and other similar issues may still require some time and distance before they can be formulated and analysed correctly. In any event, there are certainly many answers, and we will always encounter both enthusiasts and naysayers, technophiles and technophobes, when these matters are discussed.

The French philosopher and sociologist Gilles Lipovetsky has written that the individual “seems to be more and more opened up and mobile, fluid and socially independent. But this volatility signifies much more a destabilisation of the self than a triumphant affirmation of a subject endowed with self-mastery” [2].

The position of strength and/or weakness of an individual in contemporary society, the specificity of the “connected individual” and his actual or supposed freedom to access or communicate through the Internet, are matters that remain unresolved and must be taken into account in any research process into the links between culture, society, and information and communication technologies.

The sometimes invisible codes that predetermine online communications, and the enormous influence of corporations, multinationals and the devices of capitalism in the construction of new social models are other fundamental aspects to take into account. As Prada says, “although the expansion of connectivity has enormously increased the possibilities for communication and contact, these possibilities are also being conditioned by a handful of models and patterns of intervention designed and managed by an ever-shrinking number of companies. This is why many people argue that the whole thing has shaped a techno-social order defined by the generation of a strong dependence on the new technological systems and devices, and by communication inflation processes expressed through predesigned forms of social and emotional interaction” [3].

Nonetheless, while recognising and bearing in mind the requisite questions and controversies that can help us to understand and challenge the changes affecting identity and the individual in the digital age, it remains clear that ICTs, the Internet and the myriad contemporary digital tools have opened up an enormous world of new possibilities. New forms of creativity, new interests, new cultural knowledge and exchanges, and new collaborative and interactive practices are part of a horizontal, universal landscape linked to cyberculture, which is generating ever greater amounts of new shared knowledge. As the researcher Margarita Rodríguez Ibañez writes, “The emergence of the Web as a space of intercultural synergy is closely linked to the concept of cyberculture, in as far the new cybernetic space does not just offer new cultural interests, but also the capacity to connect users with disciplines that they may not have been actively interested in, but that they can become connected to when new links are formed, thus creating a more extensive and participatory culture. Cyberspace interconnects different types of thought, uniting people whose only ‘binding’ element is some shared interest, building a cumulative force of knowledge for humanity” [4].

As this new arena for action expands, it triggers a radical paradigm shift that affects the forms, practices and essence of knowledge, and also stimulates interculturality, promotes participatory creation – or co-creation – that favours knowledge sharing and dissemination, and promotes new models of collaboration. As Jesús Martín-Barbero writes, “Digital convergence brought about a radical change in the communication model in cultural politics, in as far as we have shifted from the one-way, linear, authoritarian ‘information transmission’ paradigm to the ‘network’ model, in other words, to the model of interaction and connectivity that replaces the mechanical form of remote communication with that of the electronic proximity interface. A new paradigm that generates policies that favour the synergy among many small projects over the complex structure of big, unwieldy technological and management systems” [5].

In the field of culture and contemporary artistic practices, it is interesting to identify and analyse the proliferation of cases and projects that appear to be both innovative and original.

The impact of new technological applications and tools, the curiosity that they have always aroused and unleashed in the imagination of artists, and their potentially infinite scope in the creative process, have driven and continue to drive artists and diverse culture professionals to explore and learn the capacities and functions of these new devices. The use of new media is more a need than a goal: the need to broaden horizons and to release the full force of the creative imagination through all possible tools.

Experimentation at the intersections between new technologies, new media and art – like the radio experiments of members of the futurist avant-garde – have proliferated in recent decades, to the point that artistic creativity has embraced all the typical elements of communication. As the Italian art critic Germano Celant explains, in the 20th Century, “the dominant force of emergent technologies – such as photography and radio, telephone and gramophone, recording devices and television, cinema and the computer – has found its own ‘natural’ tempo, allowing such media to coexist and intertwine without difficulty. In fact, what all the historic avant-gardes, from Futurism to Surrealism, considered the future – that is, the ‘de-codification’ of the imaginary as a result of the collapse of the limits and boundaries between art and technology – has become an established, recognised system. The realm of art, or better still, of creativity, can include all communicative and discursive elements” [6].

The production of collective artworks, performances and artistic actions has certainly been reenergized and renewed thanks to the power of digital tools to convene, express and disseminate. The video Pose Nº5 by the artist Yolanda Domínguez is part of this space of creative action, for example. It arises from reflections about the power of collective action, and encompasses the critical and social participation aspects of art as well as its aesthetic dimension. The artist describes the project as a video of a collective action “in which anonymous women from around the world imitate the pose of Chanel’s 2013 campaign to highlight how ridiculous, artificial and contemptuous the image of women too often is in the fashion industry”[7]. As well as its main criticism of the world of fashion and the way it churns out dubious representations, the video also defends collaborative creation as a very appealing and successful model: “I sincerely believe that there is something much more interesting in the success of the connected community than in their individual success, in the scope of a project when it transcends the creator’s proposal” [8].

Art is strengthening its links to information and communication, particularly when it comes to social and political critique; ethics and aesthetics merge, often in the course of an artistic research project. Art has become a hybrid, unlimited field that can interact with many different spheres. As Jesús Martín-Barbero says, “The convergence between traditional and new services that is introduced by virtual networks must be accepted as a challenge that is both about education and citizenship, given that what is at stake is the strategic links between information, creative interaction and social participation” [9].

The collaborative models that form part of so many artistic creations expand into and are reproduced in the most diverse fields of culture and other disciplines of humanistic and scientific knowledge. An interesting research project in the field of curatorial practices is #OpenCurating by the curatorial team Latitudes. Based on a reflection on Web 2.0, on “open journalism” practices, and on the demand for participation and transparency in today’s political, social and cultural spheres, “#OpenCurating investigates how contemporary art projects can function beyond the traditional format of exhibition-and-catalogue in ways which might be more fully knitted into the web of information which exists in the world today. #OpenCurating is concerned with new forms of interaction between publics – whether online followers or physical visitors – with artworks and their production, display and discursive context” [10]. Through a series of conversational strategies (a Twitter discussion, a set of ten interviews and an open event discussion) the Latitudes team set out to examine new behaviours in art and communication, through the model of shared production and flow of knowledge.

Another example from the curatorial field that explores online collaborative models is the “Expanded Exhibition” project [11] organised by a group of cultural bloggers who used their constant presence on social media and their familiarity with the languages of online communication and contemporary art to transform their virtual spaces into an experimental collective curating project. A clear example of a collaborative model that uses digital tools and networks to create and convey shared knowledge.

The allure of networks and the fascination with the smooth flow of knowledge and with new collaborative models, has also had a strong impact on the world of contemporary art fairs. A recent and already quite well known example is the ARCO bloggers project organised by ARCOmadrid from 2013, which will be designed by different industry professionals each year. In 2014, the project will be directed by Martí Manen under the title ARCO(e)ditorial, and will reflect on “what it means to work with text, images and movement from the net in relation to contemporary art” [12].

There are also many projects from the museum, academia and research fields that explore issues such as innovation in culture, new forms of networked knowledge, and the different connections and synergies between disciplines and forms of knowledge. In the context of the city of Barcelona, some of these projects include the CCCB Lab [13]; the “New Frontiers of Science, Art and Thought” seminars that, in their last stage, were coordinated by the former Science department at Arts Santa Mònica, directed by Josep Perelló; and the Open Systems. Artistic Experimentation and Scientific Creativity project co-organised by MACBA, the Institute of Education at Barcelona City Council and the University of Barcelona, which is targeted at teachers, students, artists and scientists and aims to discover and collaborate in activities that entail the hybridisation and convergence of artistic and scientific practices [14].

The examples outlined here reveal a constantly changing scene. The artistic creation and curatorial fields, museums, public institutions, private entities, and so on, are increasingly adopting collaborative and participatory models that are capable of arousing new interests, disseminating new types of shared knowledge, and opening up new doors and new creative and professional opportunities. As Jesús Martín-Barbero says, “Digital networks are not just spaces for the conservation and dissemination of cultural and artistic heritage, but also a space for experimentation and aesthetic creation” [15].

The study of networks and their intercultural and interdisciplinary scope, the exploration of collaborative and participatory models, and the formulation and flow of shared knowledge, are a fascinating challenge that does not just encompass the fields of communication, art and culture, but the composition and structure of knowledge as a whole.

.

NOTES:

.

[1] PRADA, Juan Martín. Prácticas Artísticas e Internet en la Época de las Redes Sociales. Ediciones Akal. Madrid, 2012. P. 25-26.

[2] LIPOVETSKY, Gilles. Los tiempos hipermodernos. Editorial Anagrama. Barcelona, 2006. P. 88.

[3] PRADA, Juan Martín, op. cit., pág. 26.

[4] RODRÍGUEZ IBÁÑEZ, Margarita. Cómo la Red ha cambiado el arte. Ediciones Trea. Gijón, 2012. P. 75.

[5] MARTÍN-BARBERO, Jesús. “Convergencia digital y diversidad cultural”, in: DE MORAES, Dênis (ed.), Mutaciones de lo Visible. Comunicación y procesos culturales en la era digital. Paidós. Buenos Aires, 2010. P. 153-154.

[6] Free translation into English. Original text in Italian: “La forza dominante di tecniche emergenti, nel corso del ventesimo secolo, come la fotografia e la radio, il telefono e il grammofono, il registratore e la televisione, il cinema e il computer, trova oggi un suo tempo “naturale” che le fa convivere e intrecciarsi senza alcun problema. Di fatto quanto era considerato dalle avanguardie storiche, dal futurismo al surrealismo, il futuro, cioè la “decodificazione” del territorio dell’immaginario, risultato della caduta di tutti i limiti e I confini, tra le arti e le tecniche, è diventato nel ventunesimo secolo un sistema affermato e riconosciuto. Nel “corpo” dell’arte, o meglio della creatività, possono entrare tutti gli elementi comunicativi e discorsivi”. CELANT, Germano. Artmix. Flussi tra arte, architettura, cinema, design, moda, musica e televisione. Feltrinelli. Milano, 2008. P. 6.

[7] Yolanda Domínguez, Pose Nº5, 2013. Available online at: http://www.yolandadominguez.com/es/pose-n-5-2013.html [Retrieved: 30 October 2013].

[8] Ibidem.

[9] MARTÍN-BARBERO, Jesús, op. cit., p. 159.

[10] Researchers: ‘#OpenCurating’, BCN Producció 2012, Barcelona, June 2012–April 2013. Available online at: http://www.lttds.org/projects/opencurating/ [Retrieved: 30 October 2013].

[11] Available online at: http://laexposicionexpandida.net [Retrieved: 30 October 2013].

[12] Available online at: http://arcobloggers.com [Retrieved: 30 October 2013].

[13] Available online at: http://blogs.cccb.org/lab/es [Retrieved: 30 October 2013].

[14] Available online at: http://sistemesoberts.wordpress.com [Retrieved: 30 October 2013].

[15] MARTÍN-BARBERO, Jesús, op. cit., p. 160.

.

*  This article was previously published in: VV.AA. Innovaciones Artísticas y Nuevos Medios: Conservación, Redes y Tecnociencia. Universitat de Barcelona. Barcelona, 2013. ISBN: 978-84-695-9407-0

.

- See more at: http://interartive.org/2014/09/collaborative-models-hbm/#sthash.mYbEvo2S.dpuf

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Social Network Analysis Shows Direct Evidence for Social Transmission of Tool Use in Wild Chimpanzees

Social Network Analysis Shows Direct Evidence for Social Transmission of Tool Use in Wild Chimpanzees | Research Capacity-Building in Africa | Scoop.it

Social network analysis methods have made it possible to test whether novel behaviors in animals spread through individual or social learning. To date, however, social network analysis of wild populations has been limited to static models that cannot precisely reflect the dynamics of learning, for instance, the impact of multiple observations across time. Here, we present a novel dynamic version of network analysis that is capable of capturing temporal aspects of acquisition—that is, how successive observations by an individual influence its acquisition of the novel behavior. We apply this model to studying the spread of two novel tool-use variants, “moss-sponging” and “leaf-sponge re-use,” in the Sonso chimpanzee community of Budongo Forest, Uganda. Chimpanzees are widely considered the most “cultural” of all animal species, with 39 behaviors suspected as socially acquired, most of them in the domain of tool-use. The cultural hypothesis is supported by experimental data from captive chimpanzees and a range of observational data. However, for wild groups, there is still no direct experimental evidence for social learning, nor has there been any direct observation of social diffusion of behavioral innovations. Here, we tested both a static and a dynamic network model and found strong evidence that diffusion patterns of moss-sponging, but not leaf-sponge re-use, were significantly better explained by social than individual learning. The most conservative estimate of social transmission accounted for 85% of observed events, with an estimated 15-fold increase in learning rate for each time a novice observed an informed individual moss-sponging. We conclude that group-specific behavioral variants in wild chimpanzees can be socially learned, adding to the evidence that this prerequisite for culture originated in a common ancestor of great apes and humans, long before the advent of modern humans.

 


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Listen, act, and demonstrated learning for organizations

Listen, act, and demonstrated learning for organizations | Research Capacity-Building in Africa | Scoop.it
In 2014 GlobalGiving made significant upgrades to their tools and training. Most of these improvements came directly out of the feedback organizations gave in their annual survey. They added web an...
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Skills Commission raises four 'alerts' on skills provision for UK workforce - Training Journal

Skills Commission raises four 'alerts' on skills provision for UK workforce - Training Journal | Research Capacity-Building in Africa | Scoop.it
Skills Commission raises four 'alerts' on skills provision for UK workforce
Training Journal
The Commission has warned that current policies and systems of skills provision are failing to meet the needs of the UK's changing workplace.
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5 Characteristics of an Innovative Organization | Connected Principals

5 Characteristics of an Innovative Organization | Connected Principals | Research Capacity-Building in Africa | Scoop.it
We are a “learning organization” which, by the nature of the term alone, means that we are focused on continuous growth as a district. It is not only that we have leaders that model themselves as learners, but it is done as at ...
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Citation Machine: Format & Generate Citations – APA, MLA, & Chicago

Citation Machine: Format & Generate Citations – APA, MLA, & Chicago | Research Capacity-Building in Africa | Scoop.it
Citation Machine helps students and professionals properly credit the information that they use. Cite sources in APA, MLA, Chicago, or Turabian for free.
Via Bookmarking Librarian
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APA, MLA, & Chicago

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Espionage Threatened the Manhattan Project, Declassified Report Says - New York Times

Espionage Threatened the Manhattan Project, Declassified Report Says - New York Times | Research Capacity-Building in Africa | Scoop.it
New York Times
Espionage Threatened the Manhattan Project, Declassified Report Says
New York Times
A suspect was fatally shot when he sped past a roadblock at a covert military base.
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Evidence of plagiarism by Susan Dench: Here's why it matters - Bangor Daily News

Evidence of plagiarism by Susan Dench: Here's why it matters - Bangor Daily News | Research Capacity-Building in Africa | Scoop.it
Evidence of plagiarism by Susan Dench: Here's why it matters
Bangor Daily News
I found at least six plagiarized passages in her eight-paragraph essay, all from the same nine-paragraph source on FreeRepublic.com.
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Evidence of plagiarism by Susan Dench: Here's why it matters - Bangor Daily News

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Journalism Professor: 'Complete Confidence' Fareed Zakaria Is a Plagiarist - Breitbart News

Journalism Professor: 'Complete Confidence' Fareed Zakaria Is a Plagiarist - Breitbart News | Research Capacity-Building in Africa | Scoop.it
TheWrap Journalism Professor: 'Complete Confidence' Fareed Zakaria Is a Plagiarist Breitbart News After CNN chief Jeff Zucker said he had "complete confidence" in CNN's Fareed Zakaria even after at least 24 instances of plagiarism on his Fareed...
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African development: The need for new approaches to economic growth - The Southern Times

African development: The need for new approaches to economic growth - The Southern Times | Research Capacity-Building in Africa | Scoop.it
African development: The need for new approaches to economic growth
The Southern Times
Q.
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Education Library - Planet Nutshell

Education Library - Planet Nutshell | Research Capacity-Building in Africa | Scoop.it

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20 years on: How education has changed - Innovate My School

20 years on: How education has changed - Innovate My School | Research Capacity-Building in Africa | Scoop.it

Technology allows me to assess my students in ways that simply was not possible formerly. I can see at the tap of a screen or a click of a button what level each student has attained and I can then plan accordingly. Differentiated instruction really becomes achievable with such technology, not only in the level of tasks set, but in the way in which students can tackle their work.


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Nik Peachey's curator insight, Today, 7:46 AM

Some interesting reflections.

Carlos Rodrigues Cadre's curator insight, Today, 8:22 AM

adicionar a sua visão ...

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Can MOOCs help democratize access to education?

Can MOOCs help democratize access to education? | Research Capacity-Building in Africa | Scoop.it

Despite many prophecies that massive open online courses (MOOCs) would be a democratizing force in education, providing global access to top-quality education at low cost to providers, and at no cost to the learner, the reality is somewhat less glorious. It is true that many MOOCs are taught by world-class professors, that they have attracted learners from all over the world, and that they have been offered free to participants. However, MOOCs are costly and time-consuming to produce, most participants are already well-educated, and only around 5% of registrants actually complete their courses.


Via Nik Peachey
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Can MOOCs help democratize access to education?

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Nik Peachey's curator insight, October 1, 2:45 AM

Down to earth article about the effectiveness of MOOCs

Carlos Fosca's curator insight, October 1, 8:35 AM

"MOOCs may be an effective learning mechanism for highly motivated, self-directed learners who have strong reading skills and high bandwidth internet access.  Short or “modularized” MOOCs may provide a cost-effective way for corporations to offer ongoing, just-in-time training for employees.  However, for the less motivated but perhaps more typical learner, negligible instructor-student interaction in MOOCs and limited opportunities for constructive peer-to-peer engagement present a challenge.  Improving access to learning opportunities for most individuals requires more than simply making the materials available. It is also necessary to help them select learning experiences that fit with their incoming level of preparation, interests, and goals for education, and to offer sustained guidance and support throughout the learning experience."Fiona Hollands, Ph.D., Teachers College, Columbia University.

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Tutorials on citation etc. | Information Literacy Weblog

Tutorials on citation etc. | Information Literacy Weblog | Research Capacity-Building in Africa | Scoop.it

As the new semester starts people have been sharing links to information literacy and citation guides.


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Skills Gap Remains A Concern Among Private Companies As Employment Outlook Creeps Up

Skills Gap Remains A Concern Among Private Companies As Employment Outlook Creeps Up | Research Capacity-Building in Africa | Scoop.it
Employers are definitely looking to hire, but their hiring will be restrained in two ways.
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Advancing Workplace Learning Summit Celebrates the 5th Annual Essential ... - Marketwired (press release)

Advancing Workplace Learning Summit Celebrates the 5th Annual Essential ... - Marketwired (press release) | Research Capacity-Building in Africa | Scoop.it
Advancing Workplace Learning Summit Celebrates the 5th Annual Essential ...
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THE ROLE OF EVALUATION IN A LEARNING ORGANIZATION | KSTF

THE ROLE OF EVALUATION IN A LEARNING ORGANIZATION | KSTF | Research Capacity-Building in Africa | Scoop.it
This post highlights how ongoing evaluation plays a vital role in furthering the work of learning organizations, such as KSTF.
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THE ROLE OF EVALUATION IN A LEARNING ORGANIZATION | KSTF

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Academic journals should adopt nonprofit publishing model, expert says - Phys.Org

Academic journals should adopt nonprofit publishing model, expert says - Phys.Org | Research Capacity-Building in Africa | Scoop.it
Phys.Org
Academic journals should adopt nonprofit publishing model, expert says
Phys.Org
According to Don Fullerton, a finance professor and former deputy assistant secretary of the U.S.
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Academic journals should adopt nonprofit publishing model, expert says - Phys.Org

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Australian Book Industry Concerned At Proposed Shake-up - Booktrade.info

Australian Book Industry Concerned At Proposed Shake-up Booktrade.info The Australian publishing industry has pushed back against a proposal to remove restrictions that have long shielded local manufacturers and distributors yet limited access to...
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Paying police for information can be in public interest, Sun reporter tells jury - The Guardian

Paying police for information can be in public interest, Sun reporter tells jury - The Guardian | Research Capacity-Building in Africa | Scoop.it
The Guardian
Paying police for information can be in public interest, Sun reporter tells jury
The Guardian
A Sun reporter has told a jury at the Old Bailey that there can be public interest in a public official selling information to journalists.
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U. of Arizona Reprimands Professor in Wake of Plagiarism Inquiry - Chronicle of Higher Education (subscription) (blog)

U. of Arizona Reprimands Professor in Wake of Plagiarism Inquiry - Chronicle of Higher Education (subscription) (blog) | Research Capacity-Building in Africa | Scoop.it
U. of Arizona Reprimands Professor in Wake of Plagiarism Inquiry Chronicle of Higher Education (subscription) (blog) He wrote that the university had found that the professor's conduct had risen to the level of misconduct in the form of plagiarism...
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U. of Arizona Reprimands Professor in Wake of Plagiarism Inquiry - Chronicle of Higher Education (subscription) (blog)

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Video Production

Video Production | Research Capacity-Building in Africa | Scoop.it
Do you enjoy video production? We have a spot just for you! Sign-up to help & be blessed! Click: http://t.co/nYwldIA26g
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