El impacto de las tecnologías digitales plantea un nuevo escenario social que afecta directamente a los actores y organizaciones del sector cultural. El nuevo contexto altera el papel que venían asumiendo las instituciones y empresas culturales en el mundo analógico, lo que modifica tanto las prácticas relacionadas con la gestión de los proyectos como los procesos organizativos diseñados para llevarlos a cabo.

Aspectos como la incorporación de nuevos modos de relación con los creadores y los públicos/usuarios, las prácticas de comunicación 2.0, la flexibilización de la propiedad intelectual, la incorporación de procesos de producción basados en la remezcla o la introducción de conceptos como el prototipado aplicado a la provisión de productos/servicios, son básicos para entender las dinámicas de cambio que afectan a las organizaciones culturales.

Este nuevo escenario justifica la necesidad de una formación especializada que permita a los profesionales del sector planificar e implementar metodologíaas de gestión innovadora en sus empresas e instituciones.

Interface and Interaction Design course in Tallinn University.

Mninikurssi blogeista oppimisympäristönä

Luua võimalused uurivate haridustehnoloogide arendamiseks, kellel on olemas teadmised, oskused ja hoiakud koolis uusi haridustehnoloogilisi õppedisaine luua lähtuvalt pedagoogilistest printsiipidest ning nende tulemuslikkust hinnata.

Digitaalsete õppematerjalide koostamine on Tallinna Ülikooli Informaatika Instituudi kursus, mille eesmärgiks on võimaldada digitaalsete õppematerjalide koostamiseks vajalike põhiteadmiste ja üldoskuste omandamist ning ülevaate saamist digitaalsete õppematerjalide koostamise tehnoloogiatest ja vahenditest.

Geoinformatiikka

Free and open educational resources have become one of the most discussed topics in the field of education. Projects such as MIT Open courseware, Open Access, Wikipedia, Wikibooks and Wikimedia Commons have challenged traditional methods of delivering education resources and also the methods of creating them.

The free software movements idea of developing free, libre and open source software, as well as the Creative Commons search for alternatives to traditional copyright, have had an everlasting effect on the ways we think about education and educational resources.

The course readings and the assignments in this course will familiarize participants with the main concepts related to open education resources and to the historical and philosophical ideas behind them. The participants will also do their own projects where they will learn to create and participate in projects producing free and open educational resources.

Digital Storytelling at the University of Mary Washington taught by Jim Groom (amongst others).

“Theory makes you desire mastery: you hope that theoretical reading will give you the concepts to organize and understand the phenomena that concern you. But theory makes mastery impossible: not only because there is always more to know, but, more specifically and more painfully, because theory is itself the questioning of presumed results and the assumptions on which they are based. The nature of theory is to undo.” (Jonathan Culler, A Short Introduction to Literary Theory, 16)

Description: Literary works have a peculiar place among cultural artifacts: they are the most conscious, overt attempt to capture, in a seemingly unified discourse, culture's many different dimensions and see them from the vantage point of an individualized consciousness. All of culture is represented in the lives of literary characters and seems to be assigned meaning there. Literary theory, in a like manner, can be seen as an attempt to extend into the symbolic, cultural world theoretical developments from other disciplines: literary theories have evolved out of linguistics, psychology, history, sociology, philosophy, political science, and even mathematics. Each sister discipline lends its own flavor to the field. 



In this seminar we will read excerpts from different theoretical perspectives and consider how they apply concretely, or not, to the understanding of a chosen set of literary texts. What do these theories bring to our reading? What differences do we find among these approaches? 



Of particular interest is to understand how some cultural artifacts become recognizable and persistent. Cultural artifacts can be of a general nature, such as “capitalist justice” or the anti-hero (from Maldoror to “House”), or something more specific to a particular genre, such as the proletarian, the revolutionary, or the cyberpunk. But in such cases a persistent cultural artifact seems to precipitate out of diffuse popular culture and form a historically identifiable and seemingly rigid, autonomous, even robotic, literary entity. Our question is therefore: how and why do some cultural artifacts come to have a “life of their own”, and golem-like, invade all of literature and even all of culture? What is the source of their power?



This course is created for exchanging e-learning experiences between Georgian and Estonian