RCAAP Repository

La noción de imaginario ha sido y es utilizada en algunos ámbitos académicos con ambigüedad y poco fundamento teórico. Por ello, este ensayo revisa, en primer lugar, el alcance de las clásicas y modernas teorías sobre el imaginario, con el fin de esclarecer a qué nos referimos cuándo usamos esta noción. En segundo lugar, analiza y reflexiona sobre el poder que los imaginarios mediáticos ejercen sobre los procesos de identificación que se dan tanto en la recepción mediática como en la participación virtual. La tesis que se sostiene es que los imaginarios son clave en los procesos de identificación que realizan los sujetos y los grupos en la comunicación mediática. En una sociedad posmoderna donde la imagen es protagonista de cualquier interacción, se hace necesario cuestionar cuál es el papel de los imaginarios mediáticos, concretamente. Más aún, en un contexto dominado por lo virtual, donde el clásico receptor se ha convertido en un productor incansable de imágenes acerca de sí mismo y de los demás

Este artículo presenta una reflexión teórica en torno al debate surgido durante el año 2014 en Ecuador centrado en la profesionalización del periodismo y el profesionalismo de los periodistas. El modelo de periodismo ejercido actualmente en Ecuador mantiene unas características que lo definen y lo determinan. A partir de la llegada a la presidencia el 15 de enero de 2007 del presidente Rafael Correa, la aprobación de la Constitución el 20 de octubre de 20081 y la entrada en vigor el 25 de junio de 2013 de la Ley Orgánica de Comunicación2 -y sus posteriores reglamentos3- se han producido una serie de cambios a partir de la nueva regulación de los medios de comunicación y la actividad periodística, provocando una reestructuración de la idea de profesionalización del periodismo y de la consideración de profesionalismo en los periodistas. Ante todo, centrada en la relación de la actividad informativa y comunicativa y las nuevas necesidades de la sociedad ecuatoriana; ofreciendo un carácter de la profesión periodística basado en la readaptación en la cual los periodistas, los medios y las facultades de Periodismo aúnan esfuerzos para afianzar el concepto de profesionalización del periodismo ecuatoriano.

As tecnologias de informação e comunicação (TIC) permitiram novas formas de execução das atividades e dos serviços ofertados pelas bibliotecas. As bibliotecas digitais têm como foco a concepção de um sistema de informação para identificar, localizar, buscar e disponibilizar aos usuários a informação que eles necessitam. O objetivo do trabalho foi investigar o desenvolvimento de bibliotecas digitais de forma a identificar características e tendências em seus projetos para propiciar o atendimento à diversidade de necessidades dos usuários. A pesquisa é qualitativa em que são considerados e analisados aspectos e características de algumas bibliotecas digitais. Foram selecionadas algumas bibliotecas digitais cujos web sites foram consultados, de modo a identificar características e experiências de desenvolvimento. As bibliotecas digitais pesquisadas foram: European Digital Library (Europeana), Europe E-theses Portal (DART), Networked Digital Library of Theses and Dissertations (NDLDT), California Digital Library (CDL), Biblioteca Digital Académica Venezolana (BDAV), Biblioteca Digital Aristides Rojas (BIBLIODAR), Biblioteca Digital Colombiana (BDCOL) e Biblioteca Digital Brasileira de Teses e Dissertações (BDTD).

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As redes sociais que se estabelecem no contexto digital permitem a análise do modo como a posição dos atores numa rede influencia o seu acesso a vários recursos, como por exemplo, à informação. O acesso a estes recursos auxilia a participação dos indivíduos no ciberespaço, enquanto cidadãos ativos, com capacidade de criar e produzir significados e sentidos neste contexto. Com o recurso aos softwares Ucinet e Netdraw, analisámos as redes que se estabelecem no seio das blogosferas brasileira, moçambicana e portuguesa, tendo por base uma cartografia realizada, durante um período de três meses, a 348 Weblogs do ciberespaço lusófono. As redes que apresentamos representam as sociabilidades virtuais entre os autores dos Weblogs desta cartografia, tendo sido dada especial atenção ao contexto real onde estes se movem e às condições de acesso à rede nos três países em estudo

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This spring the Research Center for Science and Technology of the Arts (CITAR) hosted iNTERFACES’ competition first edition. This competition was created to foment the development of digital and interactive art, by valuing contemporary artistic practice. I have had the opportunity of following the development process and the privilege of being a jury member of iNTERFACES. In this article I’ll review the process of creating this first edition, from its genesis to the final exhibition, placing special emphasis on the submitted pieces, and, of course, on the winners.

The introduction of new technologies to enhance the visiting museum experience is not a novelty. A large variety of interactive systems are nowadays available, including virtual tours, which makes cultural heritage accessible remotely. The theme of increase in accessibility and attractiveness has lately been faced with the employment of the service robotics, covering various types of applications. Regrettably, many of robotics solutions appear less successful in terms of utility and usability. On the basis of this awareness, a design for a new robotic solution for cultural heritage has been proposed. The project, developed at the royal residence of Racconigi Castle, consists of a telepresence robot designed as a tool to explore inaccessible areas of the heritage. The employed robot, called Virgil, was expressly designed for the project. The control of the robot is entrusted to the museum guides in order to enhance their work and enrich the cultural storytelling.

ʔeləw̓k̓ʷ – Belongings is an interactive tabletop using a tangible user interface to explore intangible cultural heritage. The table was designed for the c̓əsnaʔəm, the city before the city exhibition. This exhibition is a partnership of three major institutions in Vancouver, BC, examining the significant ancient village site on which part of Vancouver was built, as well as Musqueam culture and community today. The tabletop uses replicas of Musqueam belongings excavated from c̓əsnaʔəm, as well as contemporary objects that are a part of everyday Musqueam life to access information about the long history of salmon fishing and the continuity of related knowledge at c̓əsnaʔəm. The design of ʔeləw̓k̓ʷ – Belongings highlights the tensions between fragmentation and continuity that are central to discussions of access and preservation of intangible cultural heritage in the digital age. In this paper we discuss the tangible tabletop interface as a response to the desire to reconnect fragmented collections and physical belongings from c̓əsnaʔəm with Musqueam intangible cultural knowledge.

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This paper presents a novel characterization of new media art together with an exploration of some key aspects of its practice: I propose that new media art’s defining characteristics are media appropriation and explicitation. With media appropriation I refer to the dialectal inscription into the art practice of the knowledge that allows for some particular technological production. I also propose that new media art’s language is constructed in part via the explicitation of certain aspects of more ‘traditional’ art, and that this explicitation allows for a construction of a new vocabulary. Examples of this are the explicitation of randomness, interaction, programming, or of the role that tools and instruments play, among others.

Digital technologies have become our privileged method of interacting with information. With their ubiquity, and focus on personalisation, optimisation and functionality, chance and accidental interactions in the Digital Medium are being replaced with filtered, predictable and known ones, limiting the scope of possible user experiences. In order to promote the design of richer experiences that go beyond the functionally-driven paradigm, we propose that digital systems be designed in order to favour serendipity. Through a literature-based analysis of serendipity, we explore the distinct meanings of value that are possible with serendipitous systems, offering examples of the current state of the art, observing the methods used to do so, and proposing a possible typology, while highlighting unexplored fields, experiences and interactions. 

The videos made through mobile phones are probably changing the way we think of videos created to tell or show something, both imaginary tales or private movies, or even chronicles of events to spread rapidly through the web. A change has already occurred in the use, as the new digital portable devices allowed to concentrate on a single medium a variety of media with various functions. Therefore, a tool like the telephone has been enhanced with new features typically designed for other media.In this process of appropriation, new mobile devices changed the way these new features are being used, due, of course, to new conditions. Other than multiplying the production of images that one would call "dirty" due to the presence of rough movements, continuous zoom in and zoom out and, of course, broadcast sub-standard video quality, the new tools introduced the practice of vertical shooting, so inducing a habit.In the history of photography, however, the two formats, landscape and portrait, have always lived together. This paper aims to analyze, briefly, a situation in rapid and continuous evolution, also characterized by the presence of new paradigms responding to visual aesthetic rules that are gradually being defined.

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Fan translations are an important part of global fan subculture activity, intensified especially through the new media platforms which connect producers and consumers all around the globe. One recent trend within this category is that of English translations of Chinese online fictions. It is a newly emerging form of activity which takes place on blogs connected through a blogroll. Through these channels, fans comprising blog moderators, translators, and readers can engage in exchanges which add value to the appreciation of literature. Thus, it can be imagined as a ‘virtual settlement’ (Jones, 1997) after Anderson (1983)’s ‘imagined community’. Within this community, a further observation can be made about the mechanics of this practice. Like a game, the fans act as players where they negotiate rules regarding the production of translations. Given the community-centric nature of these websites, my paper outlines the formation of ‘illusio’, or “agreed rules of the game”, a concept introduced by Bourdieu. This is operationalised using Järvinen (2007)’s framework, locating the nine elements of a ‘gamified practice’ within the interactions of this community, known as Shusheng Bar. The findings suggest that members of Shusheng Bar possess a shared history and connected future. The significance of this observation assists in understanding the dynamics of online subcultures. 

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