Mostrando entradas con la etiqueta CON ESTILO PROPIO: DIFUSIÓN PL6 016. Mostrar todas las entradas
Mostrando entradas con la etiqueta CON ESTILO PROPIO: DIFUSIÓN PL6 016. Mostrar todas las entradas

julio 10, 2015

«Editores demandan a la Xunta por plagiar sus textos y colgarlos en su plataforma digital»



La Voz de Galicia. Europa Press




«Editores de libros educativos han presentado una demanda contra la Xunta por infracción de propiedad intelectual en la plataforma o entorno virtual de aprendizaje desarrollado en el marco del proyecto de educación digital, al detectarse, aseguran, que “estaba empleando sin autorización materiales educativos que eran copias maquilladas de otros desarrollados por materiales”.

»En concreto, la editorial Oxford University Press en España ha detectado que su libro para la enseñanza de lengua inglesa Surprise!, creado específicamente para los niveles de primero a sexto de primaria, ha sido afectado por la infracción denunciada. “Este libro es uno de los más utilizado en centros concertados y públicos en España”, señala en un comunicado la Asociación Nacional de Libros y Material de Enseñanza (ANELE). “De hecho”, según apunta en la nota de prensa, “fueron profesores pertenecientes a más de una decena de centros de Galicia los que alertaron a la editorial de que los contenidos facilitados por la Xunta eran una copia maquillada de los libros de la serie Surprise!”.

»En el 2014, explica, la Xunta puso en marcha un proyecto experimental llamado Educación Dixital que suponía la creación de una plataforma virtual de aprendizaje con contenidos curriculares con el objetivo de sustituir de forma progresiva los libros de texto tradicionales. Esta plataforma, de acuerdo con el relato de los editores, fue adjudicada el 30 de julio a la empresa Netex Knnowledge Factory, “quien debía encargarse de desarrollar el contenido curricular de la plataforma virtual para ponerla a disposición de alumnos y profesores al comienzo de curso”. “En tan solo un mes y medio tenía que tener elaborados los contenidos”, constata la asociación de editores, antes de advertir de que “normalmente, un proyecto educativo de las características de 'Surprise!' supone entre tres y cuatro años de trabajo”.

»Oxford ha pedido a la Xunta “la retirada de los contenidos plagiados así como la correspondiente indemnización”, como responsable de un “posible delito contra la propiedad intelectual consistente en la distribución y/o comunicación pública de material educativo sin la correspondiente autorización de los titulares de los derechos de explotación”.



»Recurso

»La ANELE recuerda, además, que interpuso un recurso contencioso administrativo contra la Xunta frente a “todos los actos, acuerdos y resoluciones” adoptados por la comunidad para la contratación y puesta en marcha de una plataforma denominada entorno virtual de aprendizaje y selección de contenidos curriculares digitales, para su puesta a disposición gratuita de los centros incluidos en el proyecto Abalar en los cursos de quinto y sexto de primaria y primero y segundo de la ESO.

»A los centros, según los editores, “se les impone utilizar exclusivamente los materiales contratados por la Xunta previamente” y a su juicio esta decisión “conculcaría principios básicos como el pluralismo educativo y la libertad de cátedra”.

»Desde la Consellería de Educación aseguran que los contenidos supuestamente plagiados ya fueron retirados de la plataforma el pasado mes de diciembre. La Axencia para a Modernización Tecnolóxica de Galicia (AMTEGA) abrió un expediente a la empresa concesionaria por “el cumplimiento defectuoso” de sus funciones e impuso una sanción económica.»






julio 03, 2015

«A Fearless Culture Fuels U.S.Tech Giants»



James B. Stewart
The New York Times




«With this month’s announcement that the European Union is investigating Amazon for possible anticompetitive behavior in the sale of e-books, antitrust fervor in Europe seems to have hit fever pitch. Apple, Google and Facebook are all subjects of investigation, and Amazon is now the focus of at least three separate inquiries.

»Europe’s top antitrust regulator, Margrethe Vestager, wants us to believe it’s just coincidence that so many targets are American tech companies: “This just reflects that there are many strong companies in the U.S. that influence the digital market elsewhere,” she told Bloomberg this month.

»But even if true, why would that be? Why hasn’t Europe fostered the kind of innovation that has spawned hugely successful technology companies?

»Put another way, when have United States regulators investigated and filed suit against a European technology company for market dominance? (Answer: never.)

»“There aren’t many European tech firms with market power in the U.S. worth talking about,” said Scott Hemphill, visiting professor of antitrust and intellectual property at the New York University School of Law. “So it’s not a surprise that they don’t get much attention from U.S. antitrust authorities.”

»Here’s a stark comparison: In the United States, three of the top 10 companies by market capitalization are technology companies founded in the last half-century: Apple, Microsoft and Google. In Europe, there are none among the top 10.

»Yet if any region of the world could compete successfully with the United States in technological prowess, it would seem to be Europe. The European Union has venerable universities, a well-educated work force, affluent and technically skilled consumers and large pools of investment capital.

»Europe has a long history of world-changing inventions, including the printing press, the optical lenses used in microscopes and telescopes and the steam engine.

»But recently? Not so much. King Digital Entertainment, creator of the video game sensation Candy Crush and now based in London, was founded a decade ago in Sweden, which has emerged as a hotbed of video game innovation. A German, Karlheinz Brandenburg, is credited with the invention of the MP3 format for digital music, and the telecommunications application Skype was created by a group of two Scandinavians and three Estonians. But Apple created the iPod MP3 player and eBay bought Skype in 2005. (It’s now owned by Microsoft.)

»This hasn’t gone unnoticed in Europe. Last month, the European Union unveiled its “Digital Single Market” strategy aimed at fostering European entrepreneurs and easing barriers to innovation. European countries have tried to replicate the critical mass of a Silicon Valley with technology centers like Oxford Science Park in Britain, “Silicon Allee” in Berlin and Isar Valley in Munich, and “Silicon Docks” in Dublin.

»“They all want a Silicon Valley,” Jacob Kirkegaard, a Danish economist and senior fellow at the Peterson Institute for International Economics, told me this week. “But none of them can match the scale and focus on the new and truly innovative technologies you have in the United States. Europe and the rest of the world are playing catch-up, to the great frustration of policy makers there.”

»Petra Moser, assistant professor of economics at Stanford and its Europe Center, who was born in Germany, agreed that “Europeans are worried.”

»“They’re trying to recreate Silicon Valley in places like Munich, so far with little success,” she said. “The institutional and cultural differences are still too great.”

»There are institutional and structural barriers to innovation in Europe, like smaller pools of venture capital and rigid employment laws that restrict growth. But both Mr. Kirkegaard and Professor Moser, while noting that there are always individual exceptions to sweeping generalities about Europeans and Americans, said that the major barriers were cultural.

»Often overlooked in the success of American start-ups is the even greater number of failures. “Fail fast, fail often” is a Silicon Valley mantra, and the freedom to innovate is inextricably linked to the freedom to fail. In Europe, failure carries a much greater stigma than it does in the United States. Bankruptcy codes are far more punitive, in contrast to the United States, where bankruptcy is simply a rite of passage for many successful entrepreneurs.

»Professor Moser recalled that a businessman who had to declare bankruptcy in her hometown in Germany committed suicide. “In Europe, failure is regarded as a personal tragedy,” she said. “Here it’s something of a badge of honor. An environment like that doesn’t encourage as much risk-taking and entrepreneurship.”

»When David Byttow, co-founder of the anonymous social app Secret, announced this spring that he was shutting down the San Francisco-based start-up, he didn’t seem the least bit chastened. “I believe in failing fast in order to go on and make only new and different mistakes,” he wrote in a blog post.

»There is also little or no stigma in Silicon Valley to being fired; Steve Jobs himself was forced out of Apple. “American companies allow their employees to leave and try something else,” Professor Moser said. “Then, if it works, great, the mother company acquires the start-up. If it doesn’t, they hire them back. It’s a great system. It allows people to experiment and try things. In Germany, you can’t do that. People would hold it against you. They’d see it as disloyal. It’s a very different ethic.”

»Europeans are also much less receptive to the kind of truly disruptive innovation represented by a Google or a Facebook, Mr. Kirkegaard said.

»He cited the example of Uber, the ride-hailing service that despite its German-sounding name is a thoroughly American upstart. Uber has been greeted in Europe like the arrival of a virus, and its reception says a lot about the power of incumbent taxi operators.

»“But it goes deeper than that,” Mr. Kirkegaard said. “New Yorkers don’t get all nostalgic about yellow cabs. In London, the black cab is seen as something that makes London what it is. People like it that way. Americans tend to act in a more rational and less emotional way about the goods and services they consume, because it’s not tied up with their national and regional identities.”

»One of Europe’s greatest innovations was the forerunner of the modern university: Bologna, founded in 1088. But as centers of research and innovation, Europe’s universities long ago ceded leadership to those in the United States.

»With its emphasis on early testing and sorting, the educational system in Europe tends to be very rigid. “If you don’t do well at age 18, you’re out,” Professor Moser said. “That cuts out a lot of people who could do better but never get the chance. The person who does best at a test of rote memorization at age 17 may not be innovative at 23.” She added that many of Europe’s most enterprising students go to the United States to study and end up staying.

»She is currently doing research into creativity. “The American education system is much more forgiving,” Professor Moser said. “Students can catch up and go on to excel.”

»Even the vaunted European child-rearing, she believes, is too prescriptive. While she concedes there is as yet no hard scientific evidence to support her thesis, “European children may be better behaved, but American children may end up being more free to explore new things.”

»None of this will be easy to change, even assuming Europeans want change. “In Europe, stability is prized,” Professor Moser said. “Inequality is much less tolerated. There’s a culture of sharing. People aren’t so cutthroat. Money isn’t the only thing that matters. These may be good things.” But Europeans can’t have it both ways. She said that successful innovators quickly discover it’s hard to break through these cultural norms.

»Mr. Kirkegaard agreed. “Europeans are conservative with a small ‘c,’” he said. “They pretty much like things the way they are.”»






junio 26, 2015

«New Approaches to Museum Publishing» - Museum Computer Network (MCN)





«Scholars Workspace: An Online Collaboration and Publication Tool for Scholars

»Susan Edwards. @jolifanta. Sr. Writer/Editor, Web, J. Paul Getty Trust

»Will Lanni. J. Paul Getty Trust


»Two years ago, at MCN 2011 in Atlanta, we discussed our experimental process to create an online space where scholars could collaboratively research and discuss a 17th-century paintings inventory. We will give an update about how this project has grown into a much larger enterprise, with more collaborative research projects, a digital publication, and a new, customizable application for online scholarly collaboration called Scholars Workspace. _ Digital Melilli, _ the project all of this work began with, has become the first digital publication created from the Scholars Workspace. Created using Drupal, an open-source content management system, Scholars Workspace is meant to be a platform where images and archival documents can be uploaded, analyzed, and discussed. In addition to discussing big issues of scholarship and publication, we will address how to shape a scholarly project in a digital space, what team members and skills are needed to do this kind of work, how the design of digital publications and websites compare, and what technologists can learn from scholars and vice versa.



»Scaling Up: Transforming the Museum through Scholarly Online Catalogues

»Amy Parkolap. OSCI Project Coordinator, The Art Institute of Chicago


»In 2009, the Getty Foundation brought together nine museums for the Online Scholarly Catalogue Initiative (OSCI) in order to explore how scholarly collection catalogues could be transformed by publishing them on the web. As part of OSCI, the Art Institute of Chicago endeavored to create a dynamic online publishing platform for scholarly collection catalogues, beta-launching in late 2011 three sample entries from the two original grant-funded volumes. We are now working on nine publications based on the OSCI platform, and these highly interdepartmental projects have been remaking our museum publishing program through the need for collaboration, agility, and strategic allotment of resources. This presentation will examine how core lessons from working on the first two volumes--for example, continuously reiterating workflows--have been pivotal in realizing the additional seven publications as a whole, and in each one's specific workflows. We will explore how scaling a publishing program to meet changing assumptions and expectations can in turn transform and remake a core activity of the museum from the ground up.



»Re-Make the Museum Blog

»Sheila Brennan. @sherah1918. Associate Director of Public Projects, Roy Rosenzweig Center for History and New Media

»Joan Troyano. Project Director, PressForward, Roy Rosenzweig Center for History and New Media, George Mason University


»Museums have been publishing on the web for years by writing about events, discussing special topics with commenters on a post-by-post basis, and encouraging visitor interaction through social media. This demonstration will help participants reconsider the WordPress open-source platform as a means to create new kinds of digital publications beyond the blog--of aggregated content from different users and networks. We will share examples and best practices and build a replicable model for participants to try at their home institutions. This will demonstrate how a museum, library, or archive can aggregate, into one publication, feeds of digital materials related to specific events (public programs, symposia, meetings, conferences) at its home institution, along with information from professional associations or enthusiast communities. This can enable an organization to engage communities around mission-centered topics that attract individuals who may not meet "in real life," but who share similar concerns or passions.»



More info:

Museum Computer Network (MCN)

MCN Website


Murtha Baca (Head of Digital Art History, Getty Research Institute, GRI); Francesca Albrezzi (Scholars’ Workspace Project Manager, GRI); Susan Edwards (Web Producer/Project Manager, J. Paul Getty Trust Web Group):

«Getty Scholars’ Workspace. Developing tools, methods, and standards for teaching, conducting, and publishing humanities research in digital form». PDF. UCLA Digital Art History Summer Institute.


Francesca Albrezzi (Research Assistant to the head of Digital Art History at the Getty Research Institute):

«Creating “Getty Scholars’ Workspace”: Lessons from the Digital Humanities Trenches». The Iris. The online magazine of the Getty.


Susan E. Edwards (J. Paul Getty Trust, Los Angeles. @jolifanta):

«Supporting Digital Scholarship and Publishing at the Getty». PDF. Pacific Neighborhood Consortium (PNC) Annual Conference and Joint Meetings 2014.


The Getty (@thegetty):

The Getty's Digital Art History Lab (Day 1). Storify.


The Getty (@thegetty):

The Getty's Digital Art History Lab (Day 2). Storify.


The Getty (@thegetty):

The Getty's Digital Art History Lab (Day 3). Storify.


Diario SUR:

«Crean un software para potenciar la investigación de la Historia del Arte en Internet. La profesora de la Universidad de Málaga (UMA) Nuria Rodríguez ha colaborado con el Getty Research Institute en la creación de "The Getty Scholars Workspace"». Sur.






junio 19, 2015

«Herramientas digitales, nuevos aliados para la difusión de la cultura:Rafael Tovar»



La Jornada



«El presidente del Consejo Nacional para la Cultura y las Artes (Conaculta), Rafael Tovar y de Teresa, dijo que en México estamos ante un nuevo modelo cultural donde las herramientas tecnológicas permiten llegar a más personas en todas las zonas del país.

»Durante su participación en la Reunión de la Comisión de Planeación del Fondo Regional para la Cultura y las Artes del Noreste, el funcionario cultural señaló que con la tecnología la gente se acerca a más actividades culturales.

»Afirmó que los estados de Chihuahua, Coahuila, Durango, Nuevo León y Tamaulipas, tienen en las herramientas digitales a nuevos aliados para difundir la cultura entre un mayor público.

»"Hoy por medio de la tecnología la gente se acerca de manera distinta a las exposiciones, los espectáculos y la oferta cultural, estamos ante un nuevo paradigma que debe ser entendido con creatividad y en sintonía con los nuevos tiempos", dijo Tovar y de Teresa.

»Indicó que los cinco estados que conforman la zona Noreste son ejemplo para el resto del país de cómo el arte transforma y cohesiona, y donde más allá de las condiciones adversas estas comunidades han contribuido significativamente a la reconstrucción del tejido social.

»Algunos de los temas abordados en la reunión fueron la puesta en marcha de una plataforma digital, tanto para la difusión en vivo de espectáculos internacionales en espacios públicos, como de información digital sobre las actividades culturales en cada comunidad.

»Asimismo, se discutió el desarrollo de proyectos artísticos de vinculación para los estados de esta zona y el reforzamiento de convocatorias artísticas.

»En la reunión estuvieron presentes Rubén Ontiveros Rentería, director general del Instituto de Cultura de Durango; Katzir Meza Medina, presidente del Consejo para la Cultura y las Artes de Nuevo León, y Libertad García Cabriales, directora del Instituto Tamaulipeco para la Cultura y las Artes.

»Así como José Luis Rodríguez, representante de la Secretaría de Cultura de Coahuila de Zaragoza; Antonio Crestani, director general de Vinculación Cultural, e Irma Caire, directora de Animación Cultural.

»Los funcionarios aprobaron por unanimidad las aportaciones del Conaculta y de los estados para los programas del Fondo Regional para la Cultura y las Artes de la Zona Noreste, además del apoyo a iniciativas como el Proyecto INBA, MiCultura y las muestras Regional y Nacional de Teatro.

»También se presentaron proyectos de la Red Nacional de Festivales de Danza y de la Dirección de Animación Cultural para difundir vía digital espectáculos de festivales de Francia, Suiza, Austria y del Palacio de Bellas Artes en la Ciudad de México.

»De esta manera, el público mexicano podrá disfrutar de obras como la ópera Choregies d'Orange, Turandot, con la Orquesta de Viena; el concierto con la Orquesta Filarmónica de San Petersburgo y la Orquesta Filarmónica de Londres, dirigida por Alondra de la Parra, entre otros.»