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Coll. 121/ 73 (V E coll. 10/142)$b17058 L.M.$cV E 959 $aBK 969 $aUMA 979 $aSIAV1$b10$c20040426$lUSA01$h1421 979 $aCOPAT4$b90$c20070227$lUSA01$h1421 996 $aCultura italiana a Malta$9136681 997 $aUNISA LEADER 03578nam 22008653u 450 001 9910462757603321 005 20210106225559.0 010 $a1-283-94245-3 010 $a0-203-11122-2 010 $a1-136-27792-7 035 $a(CKB)2670000000315529 035 $a(EBL)1108586 035 $a(OCoLC)823719409 035 $a(SSID)ssj0000831341 035 $a(PQKBManifestationID)11470842 035 $a(PQKBTitleCode)TC0000831341 035 $a(PQKBWorkID)10872516 035 $a(PQKB)10174770 035 $a(MiAaPQ)EBC1108586 035 $a(EXLCZ)992670000000315529 100 $a20130418d2013|||| u|| | 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aDialogic$b[electronic resource] 210 $aHoboken $cTaylor and Francis$d2013 215 $a1 online resource (207 p.) 300 $aDescription based upon print version of record. 311 $a0-415-53678-2 327 $aCover; Dialogic: Education for the Internet Age; Copyright; Dedication; Contents; Acknowledgements; 1. The challenge; 2. Educating dialogue; 3. Educating reason; 4. Educating creativity; 5. Educating technology; 6. Educating science; 7. Educating the planet; 8. Education into dialogue; Notes; References; Index 330 $aDialogic: Education for the Internet Age argues that despite rapid advances in communications technology, most teaching still relies on traditional approaches to education, built upon the logic of print, and dependent on the notion that there is a single true representation of reality. In practice, the use of the Internet disrupts this traditional logic of education by offering an experience of knowledge as participatory and multiple. 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Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media. 410 0$aInternational texts in critical media aesthetics ;$vVolume 5. 606 $aComputer graphics 606 $aComputer software$xSocial aspects 606 $aComputers and civilization 606 $aMass media$xTechnological innovations 606 $aSocial media 615 0$aComputer graphics. 615 0$aComputer software$xSocial aspects. 615 0$aComputers and civilization. 615 0$aMass media$xTechnological innovations. 615 0$aSocial media. 676 $a006.7 700 $aManovich$b Lev$0144691 801 0$bUtOrBLW 801 1$bUtOrBLW 801 2$bUkLoBP 906 $aBOOK 912 $a9910141844303321 996 $aSoftware Takes Command$91804094 997 $aUNINA