Guiametrorisc
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This document summarizes a social experiment called "Guiametrorisc" carried out in Barcelona from May 18-21, 2010. The experimenters distributed 10,000 false leaflets across 20 subway stations with instructions on how to respond to unlikely emergency scenarios like terrorism or biological attacks. They also wore fake uniforms to make the campaign seem legitimate. Interviews were conducted without revealing the campaign was fake. A mockumentary was later exhibited portraying the campaign as real, and some people still believe it was a genuine informational campaign.
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1
Media Spectacle
Douglas Kellner
(http://www.gseis.ucla.edu/faculty/kellner/)
Preface and Acknowledgements
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In the past decades, spectacle culture has significantly evolved. Every form of
culture and more and more spheres of social life are permeated by the logic of the
spectacle. Movies are bigger and more spectacular than ever, with high-tech special
effects expanding the range of cinematic spectacle. Television channels proliferate
endlessly with all-day movies, news, political talk, sports, specialty niches, re-runs of the
history of television, and whatever else can gain an audience. The rock spectacle
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Media culture excels in creating megaspectacles of sports events, world conflicts,
entertainment, "breaking news" and media events, such as the O.J. Simpson trial, the
death of Princess Diana, or the sex, murder, and related scandals of the moment.
Megaspectacle comes as well to dominate party politics, as their heavily dramatized
presentations implode into the political battles of the day, such as the Clinton sex
scandals and impeachment, the 36 Day Battle for the White House after Election 2000,
and the September 11 terrorist attacks and subsequent Terror War. These dramatic media
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4:这个认证书并且可以归档倒地方
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6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
留信网服务项目：
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RESOURCE MATERIALS
Levitt, Kari; Witter, Michael (1996). The Critical Tradition of Caribbean Political
Economy: The Legacy of George Beckford. Kingston. Ian Randle Publishers
Beckford; George (2000) Persistent Poverty; Underdevelopment in the Plantation
Economies of the Third World. UWI Press.
Todaro Michael & Smith Stephen; C. (2011) 11th Ed. Economic Development. Pearson
Education & Addison-Wesley
Bhagwati Jagdish (2004). In Defence of Globalization, Oxford University Press
Blackman; Courtney. (2005). The Practice of Economic Management: Caribbean
Perspective Kingston: Ian Randle Publishers
United Nations- UNDP, Human Development Report. World Bank-World
Development Report
2
CREATIVE INDUSTRIES
Broadly speaking, the term ‘creative industries’ refers
to a range of economic activities that are concerned
with the generation and commercialization of
creativity, ideas, knowledge and information.
The term ‘creative industries’ describes businesses
with creativity at their heart.
For example design, music, publishing, architecture, film
and video, crafts, visual arts, fashion, TV and radio,
advertising, literature, computer games and the
performing arts.
3
CREATIVE INDUSTRIES
There are thirteen sub-sectors under the term
‘creative industries’.
These include: advertising; architecture; the art and
antiques market; crafts; design; designer fashion; film
and video; interactive leisure software; music; the
performing arts; publishing; software and computer
games; and television and radio.
4
CONFUSION BETWEEN CREATIVE AND
CULTURAL INDUSTRIES
“In its broadest sense it is used to refer to all the industries that
generate copyright, patents and trademarks. In other contexts it
is used to refer only to such industries that produce content or
cultural industries.” (Hawkins, 1991)
Possibly the most accepted definition at an international level is
that of the Department of Culture, Media and Sport (DCMS) in
the UK.
According to the Department, creative industries are those that:
“Have their origin in creativity, individual skills and talent and
have the potential to create wealth and employment through the
generation and exploitation of intellectual property.”
5
CULTURAL INDUSTRIES
The term ‘cultural industries’ is also used by some
agencies, though this term relates to a more specific
range of industries and can be regarded as a subset of
the creative industries.
The cultural industries are defined by UNESCO as
‘industries that combine the creation, production and
commercialization of contents which are intangible and
cultural in nature
these contents are typically protected by copyright
and they can take the form of a good or a service.’
6
CREATIVE ECONOMY
7
This is an evolving concept based on creative assets embracing
economic, cultural, social and ...
Contemporary World - World of Ideas - Global Media Cultures
The document discusses global media cultures and cultural imperialism. It provides context on the history of media from early forms of communication to the modern era. Mass media helps spread government messages while international agencies spread news globally. The emergence of social media has created a more interconnected global community. However, some argue that Western media dominance has led to cultural imperialism and the spread of Western values through mass media outlets. The document examines these issues and debates around globalization and cultural imperialism.
Cultures of Anyone. The Spanish 'Indignado' Movement and its Contexts
The document discusses the 2011 Spanish "Indignado" movement in response to the country's economic crisis and political corruption. It analyzes three major cultural mechanisms used to impose and manage reality: 1) mass media imposition of reality, 2) expert management of reality, and 3) individual consumption of reality. The movement challenged these through citizen demonstrations, alternative media, occupied public spaces, and grassroots organizations defending public services and housing rights. It raises questions about whether these processes could transform into stable institutions and whether existing institutions would allow that transformation.
Gai vladimir madrid ppp 18 nov 09
This document discusses media and information literacy for citizens and UNESCO's role in promoting it globally. It notes that digital technologies have increased interactivity between media and audiences. UNESCO advocates for media literacy training to teach standards of fairness, accuracy, and ethics. The document outlines UNESCO's actions to develop critical media skills worldwide, including establishing guidelines and curriculum resources. It concludes that media and information literacy should be integrated into national policies and practices.
Lecture2 newmediacontext
The document discusses the evolving definitions of new media over time. Originally in the 1960s, McLuhan viewed new media as extensions of human senses that would facilitate new forms of social interaction and change. In the 1980s-90s, new media became associated with emerging digital technologies and their impact on media production. More recently, new media is understood as a phase in a medium's evolution where innovations are experimented with, and as a framework that facilitates social and cultural innovations through various technologies in a way that is independent of any single technology.
10 min presentation pdf
The document describes Mona Mock's mixed media presentation, which includes video, digital imaging, and performance art. Her interventions are socially critical performances meant to engage with ideological and cultural struggles. They act as "reality hacks" that disrupt everyday life and structures to offer alternative realities and viewpoints. Photography, digital imaging, sculpture, and video are used to both document interventions and manipulate reality. The goal is to provoke thought and dialogue about socio-political issues through temporary public art projects and actions.
Government and citizen engagement in COVID-19 confinement and beyond
Government and citizen engagement in COVID-19 confinement and beyondEuropean Network of Living Labs (ENoLL)
Bruce Hsu, Kay Chen. Citizens and mobility in the control of the pandemic. Taiwan Living Lab. Taiwan.
Artur Serra. CatSud: A proposal for a Colaboratori for a regional network of social innovation. i2Cat, Catalonia, Spain.
Kaisa Spilling. Mission Zero Foodprint: Solutions in the context of COVID-19. Forum Virium Helsinki, Finland.2.MIL 2. The Evolution of Traditional to New Media Traditional vs. New Media,...
This document outlines the evolution of traditional media to new media through different eras:
1. Pre-Industrial Age: Communication was through cave paintings, clay tablets, and papyrus.
2. Industrial Age: Printing press allowed mass production of books and newspapers. Telegraph, telephone, and motion pictures were invented.
3. Electronic Age: Invention of transistor led to technologies like radio, computers, and television.
4. New/Information Age: Personal computers, internet, social media, smartphones, and digital technologies became widespread. Information can now be stored, shared and communicated digitally around the world instantly.
New Media Technologies and the City Spaces - Essay
In the following essay I will explore how media technologies are transforming our experience of city spaces focusing in two different aspects. First of them will be the new ways of consumption based on the propagation of smartphones. The second is
the power of the social network Twitter in citizen movements providing the example
of the current Spanish Revolution.
A Visiodemic
This document summarizes and analyzes the visual reporting on the COVID-19 pandemic in the British press from January 2020 to January 2021. It makes three key points:
1) Images of the pandemic helped spread the idea that the virus was out of control and impossible to contain. Photos showed overwhelmed healthcare workers and rising case numbers.
2) The visual coverage often racialized the pandemic by associating the virus with Asian facial features. Photos in tabloids implied travelers from China were spreading the virus to the UK.
3) While the press reported on racism and health inequalities, the dominant visual narratives cast blame onto particular groups and overlooked structural issues that exacerbated the pandemic's effects.
Cittadini Sensori - Dialettica tra partecipazione passiva e collaborazione pr...
Autori: Elena Rapisardi - NatRisk-UNITO | Sabina Di Franco CNR-IIA
Convegno: TECHNLOGYforALL 2014; 5 giugno 2014
1Media SpectacleDouglas Kellner(httpwww.gseis.u.docx
1
Media Spectacle
Douglas Kellner
(http://www.gseis.ucla.edu/faculty/kellner/)
Preface and Acknowledgements
As the human adventure enters a new millennium, media culture continues to be a
central organizing force in the economy, politics, culture, and everyday life. Media
culture drives the economy, generating ebbing and flowing corporate profits while
disseminating the advertising and images of high-consumption life-styles that help
reproduce the consumer society. Media culture also provides models for everyday life
that replicate high consumption ideals and personalities and sell consumers on
commodity pleasures and solutions to their problems, new technologies, and novel forms
of identity. As technocapitalism moves into a dazzling and seductive
information/entertainment society, mergers between the media giants are proliferating,
competition is intensifying, and the media generate spectacles to attract audiences to the
programs and advertisements that fuel the mighty money machines. Yet the Terror
Spectacle of September 11 and its aftermath unleashed war and destruction, creating
multiplying crises in the global economy and growing insecurity in everyday life.
In the past decades, spectacle culture has significantly evolved. Every form of
culture and more and more spheres of social life are permeated by the logic of the
spectacle. Movies are bigger and more spectacular than ever, with high-tech special
effects expanding the range of cinematic spectacle. Television channels proliferate
endlessly with all-day movies, news, political talk, sports, specialty niches, re-runs of the
history of television, and whatever else can gain an audience. The rock spectacle
reverberates through radio, television, CDs and DVDs, computer networks, and
extravagant concerts. Media culture provides fashion and style models for emulation and
promotes a celebrity culture that provides deities and role models.
Media culture excels in creating megaspectacles of sports events, world conflicts,
entertainment, "breaking news" and media events, such as the O.J. Simpson trial, the
death of Princess Diana, or the sex, murder, and related scandals of the moment.
Megaspectacle comes as well to dominate party politics, as their heavily dramatized
presentations implode into the political battles of the day, such as the Clinton sex
scandals and impeachment, the 36 Day Battle for the White House after Election 2000,
and the September 11 terrorist attacks and subsequent Terror War. These dramatic media
passion plays define the politics and culture of the time, and attract mass audiences to
their programming, hour after hour, and day after day.
1
The Internet in turn has generated a seductive cyberspace, producing novel forms
of information, entertainment, and social interaction, while promoting a dot.com frenzied
boom and bust that fuelled and then deflated the "new economy," producing a turbulent
new form of creative destruction in the vi ...
Ian Christie, “Towards a personalised ethnography of mobile communications: m...
Présentation de Ian Christie (Birkbeck College, UK) au colloque "Mobile Education Médiation", 5-6 décembre 2013, Paris
Urbanismo Afectivo | Affective urbanism
n estos momentos, compartir recursos es igual de importante que compartir conocimiento. Juntos visitaremos espacios públicos auto-organizados centros feministas, estudios de arquitectura o grupos de investigación que tratan de la educación decolonial. Conectando lo personal y lo social, necesitamos otro análisis de las relaciones entre la esfera pública y el ámbito doméstico y personal. Emerge entonces un nuevo espacio de lo colectivo basado en la apertura, la distribución en red de las prácticas domésticas en la ciudad generando nuevos ámbitos o campos de lo público
Nowadays sharing resources matters just as much as sharing knowledge. Together we will visit self-initiated public spaces, feminist centres, architectural studios, exhibitions, and groups dealing with decolonizing education. Connecting the personal and the social, a different analysis of the relations between the public sphere and the domestic space is needed. There is an emergent new collective realm based on networks opening and distributing domestic practices within the city.
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【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【微信bwp0011】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信bwp0011】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
【关于价格问题（保证一手价格）】
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
Full CAD Project Cardiovascuwhore Debut PDF CAD Meena Pittman
Full CAD Project Cardiovascuwhore Debut PDF CAD
Meena Pittman
Tanjore Painting: Rich Heritage and Intricate Craftsmanship | Cottage9
Explore the exquisite art of Tanjore Painting, known for its vibrant colors, gold foil work, and traditional themes. Discover its cultural significance today!
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学校原件一模一样【微信：741003700 】《(UNITO毕业证书)都灵大学毕业证》【微信：741003700 】学位证，留信认证（真实可查，永久存档）原件一模一样纸张工艺/offer、雅思、外壳等材料/诚信可靠,可直接看成品样本，帮您解决无法毕业带来的各种难题！外壳，原版制作，诚信可靠，可直接看成品样本。行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备。十五年致力于帮助留学生解决难题，包您满意。
本公司拥有海外各大学样板无数，能完美还原。
1:1完美还原海外各大学毕业材料上的工艺：水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠。文字图案浮雕、激光镭射、紫外荧光、温感、复印防伪等防伪工艺。材料咨询办理、认证咨询办理请加学历顾问Q/微741003700
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三.真实教育部学历学位认证（教育部存档！教育部留服网站永久可查）
四.办理各国各大学文凭(一对一专业服务,可全程监控跟踪进度)
如果您处于以下几种情况：
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◇面对父母的压力，希望尽快拿到；
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◇回国时间很长，忘记办理；
◇回国马上就要找工作，办给用人单位看；
◇企事业单位必须要求办理的
◇需要报考公务员、购买免税车、落转户口
◇申请留学生创业基金
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
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Femmely-ACP-how to use social media to drive engagement
Femmely-ACP-how to use social media to drive engagement
storyboard: Victor and Verlin discussing about top hat
storyboard: Victor and Verlin discussing about top hat
Full CAD Project Cardiovascuwhore Debut PDF CAD Meena Pittman
Full CAD Project Cardiovascuwhore Debut PDF CAD Meena Pittman
Tanjore Painting: Rich Heritage and Intricate Craftsmanship | Cottage9
Tanjore Painting: Rich Heritage and Intricate Craftsmanship | Cottage9
Dpboss Matka Guessing Satta Matta Matka Kalyan panel Chart Indian Matka Dpbos...
Dpboss Matka Guessing Satta Matta Matka Kalyan panel Chart Indian Matka Dpbos...
➒➌➎➏➑➐➋➑➐➐ Dpboss Matka Guessing Satta Matka Kalyan panel Chart Indian Matka ...
➒➌➎➏➑➐➋➑➐➐ Dpboss Matka Guessing Satta Matka Kalyan panel Chart Indian Matka ...
➒➌➎➏➑➐➋➑➐➐ Kalyan Matka Satta Matka Dpboss Matka Guessing Indian Matka
➒➌➎➏➑➐➋➑➐➐ Kalyan Matka Satta Matka Dpboss Matka Guessing Indian Matka
Dpboss Matka Guessing Satta Matta Matka Kalyan panel Chart Indian Matka Dpbos...
Dpboss Matka Guessing Satta Matta Matka Kalyan panel Chart Indian Matka Dpbos...
Guiametrorisc
- 2. Fear can control people. Since 2001 we have been living in a culture of fear in which our society incites fear in the general public to achieve political goals. As creative thinkers we wanted to explore this topic making a social experiment. We made “Guiametrorisc” which was a simulation of an institutional campaign where we informed barcelona under- ground users about how they should react in case of: suicide, flooding, earthquake, theft, public demonstra- tion, kidnapping, suspicious object, explosive device, terrorist, biological attack, quarantine, contagious illness, nuclear conflict, air attack, among other unlikely scenarios. In order to accomplish that we cre- ated and provided users with 10.000 copies of said false leaflet during 4 days among 20 underground stations. Moreover, we wore false uniforms and accreditation to make the campaign more believable. On the other hand, we recorded in- terviews about people thoughts of the campaign. Over the course of the hap- pening we did not say to anybody that Guiametrorisc was false. Urban action. Barcelona 18th - 21th of May 2010 Exhibited at Festival Escena Poblenou 16th October. 2010 Wacth the Urban action VIDEO why we did it WHAT we did it HOW we did it We made a false documentary (mocku- mentary) with footage of the happening which was later exhibited in the Fes- tival Escena Poblenou 2010. Always portraing the campaign as if it was true. Nowadays there is people who believe that this campaign was real. GUIA METRO RISC
- 3. Guiametrorisc. 15 cm x 30 cm 10.000 copies handed out info