Arquivo da categoria: teaching/ensino

Educação e cultura digital em saúde

Disciplina de Educação e Cultura Digital em Saúde

Programa de Pós-Graduação em Gestão e Informática em Saúde

DIS – UNIFESP

Nome:

Disciplina de Educação e Cultura Digital em Saúde

Departamento:

Departamento de Informática em Saúde

Programa:

Programa de Pós-graduação em Informática em Saúde.

Responsáveis:

Prof. Dr. Cicero Inacio da Silva e Profa. Dra. Cristina Lucia Feijó Ortolani

Vagas:

Mínimo de 06 alunos e máximo de 16

Carga horária:

Carga horária de Atividades presenciais: 21 horas

Carga horária de Atividades on-line: 03 horas

Carga horária total da disciplina: 24 horas

Local:

Horário:

Quarta-feira, das 14:00 às 17:00 h.

Período:

De 14 de agosto a 02 de outubro

 

Objetivo:

A cultura digital nada mais é do que a percepção dos processos computacionais na cultura. De que efeitos falamos exatamente? Da percepção de que quase todas as coisas ao nosso redor funcionam baseadas em procedimentos computacionais, via software e hardware. Como analisar o impacto cada vez mais intenso dessa existência do digital na saúde? Qual  a influência que os novos protocolos de envio e recepção de informações podem vir a trazer para o campo que lida com a saúde? De que forma os profissionais da saúde podem vir a se beneficiar dos recursos advindos dessa cultura digital? Quais os protocolos hoje existentes para os profissionais da saúde em relação ao uso de games, apps e sistemas digitais de comunicação em sua atuação clínica? Essas e outras perguntas tentarão ser problematizadas durante o curso. Além disso, o curso tem como objetivo proporcionar condições para que o aluno seja capaz de reconhecer as contribuições das áreas da Educação e da Cultura Digital nas situações educativas por meio de uma leitura aprofundada sobre os efeitos das tecnologias digitais na atuação de um profissional da área da Saúde.

No aspecto geral, a disciplina cria condições para os participantes contribuírem com o fortalecimento de linhas de pesquisa que resultem em produção científica qualificada do Departamento de Informática em Saúde.

Avaliação:

A avaliação do desempenho do estudante para obtenção dos créditos da disciplina será realizada por meio da participação, nos encontros presenciais e no ambiente virtual de aprendizagem, nos trabalhos apresentados  ao longo da disciplina e no produto especificado a seguir.

1) Texto que expresse revisão de literatura, preferencialmente integrado ao projeto de pesquisa de mestrado e/ou doutorado.

Conteúdo:

A disciplina está organizada em três eixos temáticos:

 Eixo I – Educação Digital em Saúde:

  1. Educação a distância: contexto e concepções.

  2. Políticas Públicas da EaD no Brasil

  3. Educação mediada por tecnologia: aplicações.

 Eixo II – Cultura Digital em Saúde:

  1. Pressupostos teóricos da cultura digital.

  2. Mídia, sociedade e Saúde.

  3. O papel dos Jogos, mídias sociais e redes digitais na Saúde

Eixo III – Educação e Cultura digital na Saúde:

  1. Métodos e processos educacionais na Cultura digital aplicados à Saúde.

  2. Estudo de casos em Educação e Cultura digital.

Programação:

14/08

Apresentação da disciplina: proposta de trabalho e avaliação.

Educação a distância: contexto e concepções.

21/08

Sistemas digitais de Educação a Distância no Brasil e no mundo: UAB, EdX, Coursera, Udacity.

28/08

Políticas Públicas da EaD no Brasil

04/09

Educação mediada por tecnologia: aplicações.

11/09

Cultura Digital em Saúde.

18/09

Mídia, sociedade e Saúde.

25/09

O papel dos Jogos, Mídias Sociais e redes digitais na Saúde.

02/10

Estudos de caso em Educação e Cultura Digital.

Bibliografia:

Bickham, David S.; Blood ,E.A., Walls, C.E., Shrier, L.A. & Rich, Michael (2012). Characteristics of Screen Media Use Associated With Higher BMI in Young Adolescents. Pediatrics, v. 131, n. 5, p. 935-941. DOI: 10.1542/peds.2012-1197.
On-line:
http://www.ncbi.nlm.nih.gov/pubmed/23569098 .

Feinberg, C. (2013). The Mediatrician. Harvard Magazine. On-line: http://harvardmagazine.com/2011/11/the-mediatrician

Hofer, Matthias & Aubert, Viviane (2013). Perceived bridging and bonding social capital on Twitter: differentiating between followers and followees. Computers in Human Behavior, v. 29, n.26, p. 2134-2142. DOI: http://dx.doi.org/10.1016/j.chb.2013.04.038

Iversen, Tobias Buschmann; Melby, Line & Toussaint, Pieter (2013). Instant messaging at the hospital: Supporting articulation work? International Journal of Medical Informatics, no prelo. DOI: http://dx.doi.org/10.1016/j.ijmedinf.2013.05.004 .

Jenkins, Henry (2007). Confronting the challenges of participatory culture. Media education for the 21st century. Nordic Journal of digital literacy v. 01, n.02, p. 97-112. On-line em: https://www.idunn.no/ts/dk/2007/02/confronting_the_challenges_ofparticipatoryculture_-_media_education_for_the?languageId=2

Neaman, Rachel & Hale, Stephen (2012). Digital Strategy. Leading the culture change in health care. Londres: Department of Health. On-line em https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/127317/final-report1.pdf.pdf

Oliveira, Sandra & Gaspar, Debora (2009). Uma contribuição da semiótica para a comunicação visual na área da saúde. Revista Interface: comunicação, saúde e educação v.13, n.29, p.409-20, abr./jun.

Primack, B.A.; Carroll, M.V.; McNamara M.; Klem, M.L.; King B.; Rich M.; Chan C.W. & Nayak, S. (2012). Role of video games in improving health-related outcomes: a systematic review. American Journal of Preventive Medicine, v. 42, n.6, p. 630-638. DOI: 10.1016/j.amepre.2012.02.023. On-line: http://www.ncbi.nlm.nih.gov/pubmed/22608382

Savazoni, Rodrigo & Cohn, Sergio. (2009). CulturaDigital.Br. Rio de Janeiro: Azougue. On-line em: http://pt.scribd.com/doc/147195362/Cultura-Digital-Br .

Spekman, Marloes L.C.; Konijna, Elly A.;Roelofsmac, Peter H.M.P. &Griffithsd, Mark D. (2013). Gaming addiction, definition and measurement: A large-scale empirical study. Computers in Human Behavior, v. 29, n.26, p. 2150-2155. DOI: http://dx.doi.org/10.1016/j.chb.2013.05.015

Website da Universidade Aberta do Brasil: http://www.uab.capes.gov.br/

Material:

O material didático de todas as aulas será disponibilizado na Internet por meio de sistema de Aprendizagem, conjuntamente com os materiais, resenhas, artigos e o produto final produzido pelos estudantes.

Revistas Científicas selecionadas sobre Educação em Saúde:

1: Academic medicine: journal of the Association of American Medical Colleges (Acad Med)

2: Advances in health sciences education (Adv Health Sci Educ)

3: BMC medical education [electronic resource] (BMC Med Educ)

4: Medical education (Med Educ)

5: Education for evidence-based practice [electronic resource] (Educ Evid Based Pract)

6: American Journal of Health education (J Health Educ)

7: Health education & behavior: the official publication of the Society for Health (Health Educ Behav)

8: Health education journal (Health Educ J)

9: Journal of biological education (J Biol Educ)

10: Journal of cancer education: the official journal of the American (J Canc Educ)

11: The Journal of continuing education in the health professions (J Contin Educ Health Prof)

12: Journal of general internal medicine: official journal of the Society for Internal Medicine (J Gen Intern Med)

13: Journal of medical Internet research [electronic resource] (J Med Internet Res)

14: Medical informatics and the Internet in medicine (Med Inform Internet Med)

Jornais e revistas selecionados sobre Educação e Tecnologia:

American Journal of Distance Education – http://www.ajde.com

The Asynchronous Learning Networks Magazine – http://www.aln.org/publications/magazine/index.asp

Educational Technology and Society – http://ifets.ieee.org/periodical/

Educational Technology Review – http://www.aace.org/pubs/etr/

International Journal of Technology and Design Education – http://www.wkap.nl/journalhome.htm/0957-7572

International Journal of Instructional Media – http://www.adprima.com/ijim.htm

International Review of Research in Open and Distance Learning (IRRODL) – http://www.irrodl.org/

Journal of Asynchronous Learning Networks – http://www.aln.org/publications/jaln/index.asp

Journal of Distance Education – http://www.lib.unb.ca/Texts/JDE/

Journal of Educational Multimedia and Hypermedia (JEMH) – http://www.aace.org/pubs/jemh/

Journal of Interactive Learning Research – http://www.aace.org/pubs/jilr/default.htm

Journal of Technology Education – http://scholar.lib.vt.edu/ejournals/JTE/

Morel thresholds. Some notes about influenza’s work

Published @ aminima (Spain): http://aminima.net/wp/?p=860&language=en#more-860

With the digital technologies, the issue of the frame, the border and the margin is being rewritten in a rather interesting way.

The importance of the borders may be observed particularly in the visual arts and literature. In the history of art, as an unfolding of a visual historicity, the theme has generated a series of questions and positions.

Several painters have pondered on the need of a frame, of a casing, of a temporal and spatial restriction which, according to them, would confine their work. Nevertheless, Degas affirmed: “the frame is the pimp of painting; it enhances it, but it must never shine at the painting’s expense.” (Keim, J. A., Le tableau et son cadre, 1962). And Manet also stated that “The frame is necessary” (…) “Without the frame the printing loses one hundred per cent.” (Antonin Proust, Edouard Manet – Souvenirs, 1913) 2.

Following the current questioning of the margins and borders, it is important to note that the concern is not restricted to the described fields. Along with the questioning of a series of rules, comes a political deliberation on the issue.

It is not whether we position ourselves in favor of or against the existence of a limit, of a margin, of a restriction, but instead that we should question them at every moment, every time the margin is required to present itself and curb the text, the image, and the painting. The restriction imposed to the contest between such two spaces that are separated by the border and by the frame constitutes a reflection on the very condition of the space as the place – or as the absence of a place – that it occupies in the symbolic universe. It is therefore not enough to consider only the historicity of such concepts.

For approximately 500 years we have been subject to viewing the works surrounded by a spatial field, normally disconnected from what is presented “within” each work (of art or literary). What is conventionally called a margin or a frame cannot fail to be seen, to a certain point of our history, as exterior to the proposed sense.

Currently, numerous artists, writers and academics have been shifting their gaze to the meaning (if such exists) of the margin and of the frame. Opposing the reading that affirms that a frame is merely a frame, there is certainly one that challenges a series of facts to which we are used, both when reading a text and when enjoying a work of art in a museum: the margin and the border are not part of a meaningless discourse. They are part of and delimit a meaning to what is shown or written. In them and from them one derives a notion of one’s own need to limit aspects of the understanding of the world.

Frames and boundaries are not disconnected themes. They are, first and foremost, institutions imposed by a legitimation that is alien to each and every open interpretation of a work. On one hand, we can say that the frame is an institutional boundary that restricts the variety of means of expression, that castrates other forms of thought and differences. On the other hand, we may radically affirm that the frame symbolizes the very language, composing, to a certain extent, the very notion of the authorship. There exists, however, a necessity to question this need to establish restrictive patterns. Perhaps because they have questioned the threshold of the sense, the contemporaneous theoretical analyses have meticulously assessed what bounds the thought, and thus reached the same conclusion: the logocentrism.

Firstly, it is essential to say that the supplemental spaces (the borders) have engaged our attention, as we no longer know where to find the so desired peace conveyed by the originality. Moreover, an attempt to read the interstices points to a chance to exit the naturalization of the world. Secondly, the border and the margin safely place what is being said. They are means of control that signalize a generally systemized, accepted, desired and respected form of communication. They do not endanger any form of being or of saying.

The frame, even when occupying the role of a supplement to the work (and it is important to note that for Derrida a supplement may also be seen as the Nachträglichkeit), produces meanings. It is exterior and interior. At the same time, it rests and rouses the view. It exposes itself, and is simultaneously a part of the work. It interposes an unexpected temporality, mirroring the opposite in the optical threshold. There is a system of disorder that is intrinsic to all possibility of meaning, and this disorder is measured by the need of a frame, of a margin or a border. It is intriguing to notice that the thought of the frame triggers the thought of what it frames, and when the opportunity questions the denaturalization of this framing, it ends up receiving the very space of its own institutionalization.

Conversely, we know that several thinkers have attempted to destroy the boundaries imposed by the human borders and frames (even those of the body itself). And those attempts to destabilize such limitations were not few in number. If we consider, for instance, Deleuze’s flows 3 , Foucault’s logic of punishment and vigilance 4, and Guattari’s assemblage (agencement), we note that such issues are somehow answered by a stand taken in a rather simplified manner. Let me explain it: if I react to the boundary with is opposite, I am not free of the problem. If I propose freedom instead of the penitentiary system, I am not putting a stop to the problem that started the discussion. Still, I repeatedly witness several thinkers affirming the liberating notion of the concept of freedom as the colors of the new technologies. I am rather unconvinced of that. But I always leave that in suspension. I do not state a profession of faith in this destabilization (that some prefer calling chaos), which imposes an authoritarian restriction as the answer. Authoritarian indeed, as if I tell you that you cannot have limits, I am imposing that as a rule, and if there is a rule, we all must abide by the same standards. Therefore, the contraposition to what I call a limitation to freedom is a power play of established forces. Whoever wins will always be in the position to be questioned about every aspect of their decisions.

We could present a series of thinkers that utilize the references of deterritorialization, of nomadism, etc., in order to represent the phenomenon that is taking place with the new digital technologies in the networks. In this sense, concepts such as the collective authorships and the avatars, among other representational entities chosen by the canons of the technologies, have been creating a myth around the PC screens. And this mythology (almost a mythomania) is presented as the ending of the limitations. That is to say, everyone would, in a way, be free to gain access to the information, with no restrictions.

The eternal joy, with no temporal limits (unless the dial up or the broadband connection is cut) would allow the user (the commander of the navigating vessel) to control all the elements he or she desires to. It would even allow the user-commander to be someone else in this altered space-time.

Now, let’s be serious. For me to profess my faith and fervently believe in the possibility of becoming fully engrossed in front of a television set (sorry, computer screen) would require such a huge effort that the situation would be even a bit comical. Nevertheless, let’s get back to the issue that launched this paper.

If the screen is still the paradigm of the majority of the animated puppets in the new technologies – reminiscent of the television, one could point out – why do we still use the same square in order to view the contents of the Internet’s digital representations? That is to say: why do we keep on accessing Internet websites through a square box within another square box? Or, getting back to our theme, within the browser’s margins, borders and frames? We have changed the way we think of the page, but do we still think in the exact same way about the fruition of works? Not to mention the very disposition of the computer screens and “multimedia” projections, which, in the majority, still follow the television standards.

This and other questions are still open for web technologies, and only a few experiments explore such linear margin forms.

Among the questionings that converse with such paradigms, the Influenza website (www.influenza.etc.br), by artists Rafael Marchetti and Raquel Renno, is a temporary respite for this specular illusion of immersive interactions.
The idea to create a markedly viral and invasive interactivity, using Quicktime skins tools and overlaid windows that are not viewed via a browser window (screen), causes the desired incongruity that all of us search for, and hardly ever hit upon. The website runs a series of mov’s that show some skins (masks) in the user screen, which overlay the contents that are being visualized at the time they are being loaded. For instance: if I am typing a text using Word, or preparing a PowerPoint slide show, and I access the Influenza website, the contents of the website will be projected “on” the open Windows or PowerPoint screen, creating some amount of momentary confusion, which may be mistaken for an error, for a bug, or for a loading problem.

If ever the cinema, for instance, moved forward, that occurred when it saw itself as a language, and from there formed its critical analysis. Rafael and Raquel, through a simple touch to the most trivial paradigms, show that we are still very precocious in understanding such technologies. And what is worse: we still see the world through a square.

The stirring proposed by the two artists, through breaking the pattern of the web’s trite visualization in the Influenza site, concerns, first and foremost, the look and the interaction. Still, escaping the framing of the world is not as simple as it seems; a sign of that is that the project’s name carries a disseminating and destabilizing viral reference. Apart from these characteristics, the website presents a discussion on the projection and the transparency of images, producing a series of overlappings that may be thought of as layers, which at the same time interfere and break the iconic logic present in the visual shapes of the operational systems.

But it is also valuable to think that there is a proposed deconstruction and a type of interpretation that may easily mix up the experiment with a chaotic interpretation of the meaning, which would break the established order of things. I do not believe the Influenza site could be reduced by such primary simplifications. Firstly, it is important to note that the deconstruction of the frame is not viral. It follows patterns and boundaries; it reads and interposes with the preconceptions that interfere with the reading of its own condition (after all, it is still a website), but it is not an answer to the limiting condition (castration) of the visuality, and neither is it a saturated property of a vision conditioned by a scopic impulse directed towards the inside of the frame.

By supposing that by tearing down the imposed barriers I will dilute the metric of meaning, and that the flow of interdiction would thus be stopped, I am also stopping the conciliatory possibilities that arise from the reading ramparts of a circumstance. That is to say, I would have to impose a detonation of the restrictions – that almost always are attracted by their reverse – to the concept disseminated by the frame. In this fashion, it would be once more an attractor, and not a repeller, of that which it contains in itself as subversion. By breaking with the dimension of the boundaries, I will normally end up imposing other more violent limits, such as, for instance, the one of non-limitation.

Seeing a work outside of its frame requires a derealization of the understanding. Paintings, pictures, prints, museums etc., have got used to show various types of art enclosed within the boundaries of a frame.

With the Web, we keep on professing the same creeds, trying to imagine that the projection of an image is “immersive”, even while facing a square of cathodic rays or of a plasma screen that projects on another square (the browser’s), perhaps metalinguistic, assuring us that something is still under control, and represents no danger to the so desired “consciousness” that I really exist, almost always within margins or a frame.

It is important to remember The Invention of Morel, as suggested by Lebensztejn 5, where the real walls and their perfect and indestructible representation coincide in such a cruel manner that they leave a question hanging in the air: why do we so strongly believe that a reality framed and incarnated by a “me” exists?

notas

1- See www.influenza.etc.br.

2- Quoted in Lebensztejn, Jean-Claude in Deconstruction and the Visual Arts. Brunette, Peter & Wills, David (org.), Cambridge University Press, 1994.
3- “There are lines of articulation or segmentarity, strata and territories; but also lines of flight, movements of deterritorialization and destratification. Comparative rates of flow on these lines produce phenomena of relative slowness and viscosity, or on the contrary acceleration and rupture. All this, lines and measurable speeds, constitutes an assemblage. A book is an assemblage of this kind, and as such it is unattributable. It is a multiplicity”. (Deleuze and Guattari, Thousand Plateaus,
pp. 3-4).
4- The first French edition of Madness and civilization: a history of insanity in the age of reason (1961) included an introduction that generally stated that that work would be the voice of the excluded, of the mad, and would somehow place itself in their position, in order to construct a discourse that would be the reverse of what had been written so far. It would take up the space of the silence that hid the madness and confined it to a restricted space of misunderstanding. In 1963, Derrida presented a conference during which he assessed Foucault’s work, pointing out a series of methodological flaws in the analysis that had been conducted on the work, and harshly criticizing its introduction. Strange as it may seem, Derrida pointed that “When writing a history of madness, Foucault meant – and here lays all the value and also the ‘very impossibility of his book’ – to write a history of madness ‘itself’. Of ‘itself’. Of the very madness. I.e., giving it the word. Foucault meant for the madness to be the subject of his book; the subject in every sense of the word: the book’s theme and the speaking subject, the author of his book, madness talking about itself” (Derrida, Cogito et histoire. In: L’Ecriture et la Difference). Derrida thus points out that, in order to give voice to someone, in the strict meaning of the term, one must insert him or her into a discourse. There is the need for logic and for a language. Even the silence only exists within a language. Strangely, in the second French edition of Madness and civilization, of 1972, the introduction was removed from the book and Foucault answered to Derrida’s criticisms in an appendix. This is the version that has been officially translated into dozens of languages, including for Brazil. They all forgot the original introduction, and Foucault never mentioned its removal from his work. See also Pereira Neto, A. F. Foucault, Derrida e a História da Loucura).
5- Idem.

Ateliê de Artes e Novas Tecnologias

Apresentação do curso
Ementa: Apresentação do campo conceitual da arte e tecnologia digital, abrangendo escolas, fundamentos e formação da área em diálogo com a história da arte. Fundamentos da cultura computacional e da sociedade do software (software studies) e sua relação com aspectos da arte contemporânea. História, conceituação e experimentação no contexto da arte articulada com novas tecnologias. Reflexões sobre o entrelaçamento dos processos artísticos a partir dos aportes tecnológicos. Pesquisa e experimentação de proposições artísticas envolvendo: instalações multimídia, vídeo-instalação, instalação sonora e outras propostas contemporâneas. A utilização da tecnologia digital no processo artístico. Proposições da artemídia, ambientes imersivos em rede digital ou fora da rede, instalações interativas, hipertextos, jogos, e estética de banco de dados. Reflexão crítica sobre a produção.

Objetivo: compreender a formação do campo artístico tecnológico, a implicação da cultura computacional na sociedade contemporânea e produzir uma obra em mídia digital, no caso uma obra na área de mídias locativas, podendo ser uma intervenção poética, um tour teórico ou até mesmo uma experiência visual utilizando tecnologias móveis.

Plano de ensino

Módulo I
arte e tecnologia: definições e fundamentos (anos 1960-1990)
cultura computacional: a relação entre arte e computador (cinetismo, futurismo e artemídia)
arte e mídia digital: relações entre os campos da arte e da comunicação (anos 1990)
arte digital: estudo das obras, com análise dos aspectos teóricos e formais alcançados pelos artistas.

Módulo II
História da arte e tecnologia
processos da arte em suportes eletrônicos e digitais
Arte e sociedade da informação: Claude Shannon, Norbert Wiener, Ludwig von Bertalanffy, Abraham Moles e Max Bense.
a condição pós-mídia: a arte após os suportes

Módulo III
processos criativos no campo da arte e tecnologia
a produções e circulação de obras digitais
softwares e hardwares para produção e criação de arte tecnológica
criação de uma obra: elaboração de projeto teórico e prático; raider técnico e execução da obra

Avaliação:
A avaliação será realizada em duas etapas:
a) entrega do projeto para desenvolvimento de obra no campo de arte locativa. Projeto com nome da obra, autor e ano. Introdução, objetivos e justificativa teórica.
b) apresentação da obra nas duas últimas semanas de aula, em mostra a ser realizada somente para esse fim.

Calendário das aulas:

Aula 1:

Introdução ao curso, apresentação da metodologia de trabalho, discussão da bibliografia

Aula 2: primórdios da arte e tecnologia

Texto: The function of Art in Mechanized Society (Pierre Francastel, Art & Technology, Nova Iorque: Zone Books, 2000)

Aula 3: Estética e Arte no Computador

Texto: Capítulo 1 “Estética informacional ou teoria estrutural da obra de arte” de Abraham Moles, no livro Arte e computador. Porto: Afrontamento, 1990.

Aula 4: Cibernética e Sociedade do Consumo

Texto: Capítulo 2 “Arte e Cibernética na Sociedade do Consumo” de Abraham Moles, no livro Arte e Computador. Porto: Afrontamento, 1990.

Aula 5: O novo estatuto da imagem

Texto: Capítulo 8 “Imagem fixa, imagem móvel e computador: a nova informática gráfica”, no livro Arte e Computador. Porto: Afrontamento, 1990.

Aula 6: Aparatos do olhar: novas formas de ver e de ser visto

Texto: Capítulo 3 “Subjective vision and the Separation of the Senses” de Jonathan Crary, no livro Techniques of the Observer. On vision and modernity in the nineteenth century. Cambridge: MIT Press, 1992.

Aula 7: Arte & Tecnologia até a Arte Digital

Texto: Capítulo 1 “The Emergence of Virtual Art (1918-1983) de Frank Popper, no livro From Technological to Virtual Art. Cambridge: MIT Press, 2007.

Aula 8: O pré-digital e o pós-analógico

Textos: El cine, el arte del index, de Lev Manovich.

El cine se expande en el vídeo, de Gene Youngblood.

La era de la ausencia, de Peter Weibel.

El cuarto iconoclasmo (y otros ensaios herejes), de Arlindo Machado.

Todos textos publicados no livro Artes y medios audiovisuales: un estado de situación II: las prácticas mediáticas pre digitales y post analógicas. Org. de Jorge La Ferla. Buenos Aires: Nueva Librería, 2008.

Aula 9: net-art, Software arte e game-arte
Textos: http://runme.org/ (repositório de softwares arte)

New Media Art, de Mark Tribe & Reena Jana. Londres: Taschen, 2006

Giselle Beiguelman. Link-se. Arte/mídia/política/cibercultura.São Paulo, Peirópolis, 2006.

Giselle Beiguelman. O Livro depois do Livro.São Paulo, Peirópolis, 2003.

Capítulo 5 “Countergaming” do livro Gaming. Essays on Algorithmic Culture, de Alex Galloway. Minneapolis: Minnesota Press, 2006.

Aula 10: Land Art e Novas Mídias: desenvolvendo uma obra digital em mídias locativas

Texto: www.walkingtools.net

Aula 11: Mídias locativas

Texto: projeto walkingtools, no site www.walkingtools.net

Aula 12: Ateliê de produção de mídias locativas

Criação de um processo de reconhecimento por GPS

Aula 13: Programando uma obra de mídia locativa com walkingtools

Aula 14: Apresentação do projeto final

Aula introdutória

Bibliografia
Almeida, Jane de. Identidade e Reação. On-line em: http://www.estadosgerais.org/terceiro_encontro/almeida-identidade.shtml
Benjamin, Walter. A obra de arte na era da reprodutibilidade técnica. On-line em: http://www.witz.com.br/belasartes/benjamin.pdf
Bijvoet, M. Art as Inquiry: towards new collaborations between art, science and technology. Berna, Peter Lang, 1997.
Brea, J.L. La era Postmedia. Acción comunicativa, prácticas (post)artísticas e dispositivos nonmediales
Cavell, Stanley. The world viewed. Cambridge: Harvard UP, 1979.
Automatismo, por Stanley Cavell
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Da Silva, Cicero Inacio. Depois do híper. São Paulo, IMESP, 2005.
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__________________. Linguagens do Jogo em O Design Contemporâneo: o futuro das novas mídias, games e narrativas digitais. São Paulo, Nojosa, 2006.
__________________. Arte Digital no Fórum da Cultura Digital Brasileira. São Paulo: MinC/RNP, 2009.
Arte e Tecnologia Digital no Fórum da Cultura Digital Brasileira
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_____________. Regimes de imersão e modos de agenciamento. On-line em (pdf): http://reposcom.portcom.intercom.org.br/dspace/bitstream/1904/18810/1/2002_NP7MACHADO.pdf
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_____________. Estudos do Software. Trad. Cicero Inacio da Silva. São Paulo, IMESP, 2008.
Nelson, Ted. Libertando-se da prisão da Internet. São Paulo, IMESP, 2005.
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Scavetta, Domenico e Laufer, Roger. Texto, Hipertexto, Hipermídia.
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Wardrip-Fruin, Noah. Expressive Processing. Cambridge: MIT Press, 2009

Bibliografia específica:

A revista on-line Trópico (www.uol.com.br/tropico) publicada no site do UOL traz a seção novo mundo, editada por Giselle Beiguelman, coordenadora do grupo de net-art na Fapesp e professora da PUC-SP, com textos atuais sobre o mundo da arte, da comunicação e da tecnologia.

Acesse aqui e lista de textos publicados ou clique nos textos abaixo:

Cultura da Visualização

“A visualização da informação está se tornando mais do que um conjunto de
ferramentas, tecnologias e técnicas para a compreensão e análise de grandes
quantidades de dados. Ela está emergindo como um meio em si mesma, com uma vasta gama de potencialidades expressivas” (Eric Rodenbeck, http://en.oreilly.com/et2008/public/schedule/detail/1588 , ETECH 2008)

Bibliografia

Manovich, Lev. Teoria dos NURBS. In Teoria Digital. Imprensa Oficial, 2010.

Bibliografia on-line