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Calamai, Silvia; Ginouvès, Véronique; Bertinetto, Pier Marco

doi:10.1007/978-3-319-29544-2_3

Cited by 2 publications

(1 citation statement)

References 15 publications

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“…Lessig 2004) and increasingly taken up by public institutions including universities; and third, a politics of custodianship put forward by indigenous communities (Lea 2008;Lai 2014). The commons and custodianship positions are sometimes understood as being in conflict with each other (Jones 2006;Calamai et al 2016), but they can also be allied in creative ways against the dominant commercial position, as in Free Culture Foundation's 'Decolonial Media License'. 23 The more glibly libertarian supporters of 'permissionless innovation' (Thierer 2014) celebrate the commons ideal without recognizing how vast differences in power and access corrupt its supposed openness.…”

Section: P R O B L E M S I N S O N G W O R K : S O N G S B O D I E mentioning

confidence: 99%

Molecular Identities

Spatz¹

2019

Performance Research

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View related articles View Crossmark data 1 This moment is traced in 'Ancestors' (3:30), a short edited video by Ben Spatz with Nazlıhan Eda Erçin and Agnieszka Mendel, http://bit.ly/2HQKjtB (fig. 1). 2 This moment is traced in the final section of 'Diaspora' (Spatz et al. 2018); also available at http://bit.ly/2V2FOyK (fig. 2). 3 This moment is traced in 'Działoszyce', a video essay by Nazlıhan Eda Erçin with Agnieszka Mendel and Ben Spatz. 'Działoszyce' is a work in progress, which has been shown at several public events but is not yet available online. The book is Hage (2017) (fig. 3). 4 The Judaica project was supported by a Leadership Fellow award from the UK Arts and Humanities Research Council (2016-18). This article is indebted to Nazlıhan Eda Erçin and Agnieszka Mendel, who were full-time researchers on the project from May to October 2017; as well as to anthropologist and performer Caroline Gatt and other collaborators. The question 'Who owns a song?' was proposed by Erçin; she has also written about the project (Erçin 2018). Open access for this article is provided by University of Huddersfield. Thanks to Santiago Slabodsky for comments on an earlier draft. 5 My decision to lowercase 'jewish' throughout this article is explained below.

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Section: P R O B L E M S I N S O N G W O R K : S O N G S B O D I E mentioning

confidence: 99%

Molecular Identities

Spatz¹

2019

Performance Research

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Advanced systems and technologies for the enhancement of user experience in cultural spaces: an overview

Capece,

Chivăran,

Giugliano

et al. 2024

Herit Sci

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Human–computer interaction, Artificial Intelligence, and the multilingualism of digital culture open up unexpected scenarios in the contemporary design of cultural spaces with the creation of artifacts in which the analogic and digital dimensions come together to enhance the experience. Sensors and devices track user movement in the real world and translate the inputs into commands through hand gestures, speech recognition, head movements, tangible interfaces, or a combination of these elements. Through theorical models, concepts and tools, the paper reports the evolution of “User Experience” applied to personalized enjoyment and use of cultural places. The functional-performance survey of tools and technologies for perception, narrative and augmented interaction revealed models that highlight the diversity and richness of tangible and intangible cultural heritage through new forms of interaction and knowledge transfer. In this direction, new technological tools make it possible to detect, track and evaluate the personalized user experience by processing or producing large amounts of data. Therefore, on one hand the paper explores the limitations dictated by data management and user privacy in using such systems and, on the other, it prefigures new scenarios for amplifying and personalizing the user experience.

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Sound Archives Accessibility

Cited by 2 publications

References 15 publications

Molecular Identities

Molecular Identities

Advanced systems and technologies for the enhancement of user experience in cultural spaces: an overview

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