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	<title>CIBERCRÍTICA</title>
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	<link>http://arlifrancis.org/blog</link>
	<description>Reflexões sobre design, internet e novas mídias</description>
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		<title>links for 2010-03-10</title>
		<link>http://arlifrancis.org/blog/2010/03/11/links-for-2010-03-10/</link>
		<comments>http://arlifrancis.org/blog/2010/03/11/links-for-2010-03-10/#comments</comments>
		<pubDate>Thu, 11 Mar 2010 00:02:09 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Principal]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/2010/03/11/links-for-2010-03-10/</guid>
		<description><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://gomockingbird.com/mockingbird/">Mockingbird</a></div>
<div class="delicious-extended">Ferramenta online para fazer wireframe</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/design">design</a> <a href="http://delicious.com/arlifrancis/web2.0">web2.0</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.supermultiverseonline.com/">Super Multiverse Online -</a></div>
<div class="delicious-extended">Super Multiversos Online (2010) Tabor Robak.</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.coisasemanal.com.br/2010/03/harmony-by-cabello/">Coisa Semanal &#124; Harmony by Cabello</a></div>
<div class="delicious-extended">[...] O Harmony é uma ferramenta de desenho digital criada pelo designer e web developer, Ricardo Cabello. É possível criar divertidos sketchs usando os dez brushes disponíveis até agora. [...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/software">software</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.coisasemanal.com.br/2010/03/metro-rock-n-roll/">Metrô Rock ‘N’ Roll</a></div>
<div class="delicious-extended">[...] A história do rock é um emaranhado de estilos e influências, e com essa ideia na cabeça é que o designer italiano Alberto Antoniazzi criou o Rock ‘N’ Roll Map. Inspirado abertamente em um mapa de metrô, Antoniazzi nos apresenta uma variedade de bandas e artistas dentro de cada variação do rock, num visual clean e rápido de ler.[...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/visualization">visualization</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.cultura.rj.gov.br/artigos/o-declinio-da-autoria-na-web-nas-artes">O declínio da autoria na web &#38; nas artes</a></div>
<div class="delicious-extended">[...] Em 1969, Michel Foucault traz esse debate para a noção de autor com o ensaio tão belo quanto fundamental, Qu’est un auteur?. Nesse trabalho, Foucault desloca o ideia essencialista da&#8230;</div></li></ul>]]></description>
			<content:encoded><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://gomockingbird.com/mockingbird/">Mockingbird</a></div>
<div class="delicious-extended">Ferramenta online para fazer wireframe</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/design">design</a> <a href="http://delicious.com/arlifrancis/web2.0">web2.0</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.supermultiverseonline.com/">Super Multiverse Online -</a></div>
<div class="delicious-extended">Super Multiversos Online (2010) Tabor Robak.</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.coisasemanal.com.br/2010/03/harmony-by-cabello/">Coisa Semanal | Harmony by Cabello</a></div>
<div class="delicious-extended">[...] O Harmony é uma ferramenta de desenho digital criada pelo designer e web developer, Ricardo Cabello. É possível criar divertidos sketchs usando os dez brushes disponíveis até agora. [...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/software">software</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.coisasemanal.com.br/2010/03/metro-rock-n-roll/">Metrô Rock ‘N’ Roll</a></div>
<div class="delicious-extended">[...] A história do rock é um emaranhado de estilos e influências, e com essa ideia na cabeça é que o designer italiano Alberto Antoniazzi criou o Rock ‘N’ Roll Map. Inspirado abertamente em um mapa de metrô, Antoniazzi nos apresenta uma variedade de bandas e artistas dentro de cada variação do rock, num visual clean e rápido de ler.[...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/visualization">visualization</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.cultura.rj.gov.br/artigos/o-declinio-da-autoria-na-web-nas-artes">O declínio da autoria na web &amp; nas artes</a></div>
<div class="delicious-extended">[...] Em 1969, Michel Foucault traz esse debate para a noção de autor com o ensaio tão belo quanto fundamental, Qu’est un auteur?. Nesse trabalho, Foucault desloca o ideia essencialista da existência real de uma autoria para a noção de função do autor. Ou seja, a autoria é uma noção construída historicamente e existe apenas em sua funcionalidade cultural e comercial.[...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/commons">commons</a> <a href="http://delicious.com/arlifrancis/copyright">copyright</a> <a href="http://delicious.com/arlifrancis/creativecommons">creativecommons</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.viuisso.com.br/wp-content/uploads/2010/03/X6.jpg">O que restou da bolha da internet</a></div>
<div class="delicious-extended">[...] Esse otimismo exagerado gerava distorções bizarras, que só pareciam fazer sentido naquele período. Nos EUA, a Priceline, que vendia passagens aéreas pela rede, chegou a valer, no dia de sua abertura de capital (30 de março de 1999), quase US$ 10 bilhões, o que correspondia a mais do que a United Airlines, a Continental Airlines e a Northwest Airlines combinadas, mesmo registrando perdas três vezes maiores que seu faturamento.[...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/economia">economia</a> <a href="http://delicious.com/arlifrancis/negocios">negocios</a>)</div>
</li>
</ul>]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>links for 2010-03-01</title>
		<link>http://arlifrancis.org/blog/2010/03/02/links-for-2010-03-01/</link>
		<comments>http://arlifrancis.org/blog/2010/03/02/links-for-2010-03-01/#comments</comments>
		<pubDate>Tue, 02 Mar 2010 00:01:34 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Principal]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/2010/03/02/links-for-2010-03-01/</guid>
		<description><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://www.enancib.ppgci.ufba.br/artigos/GT2--232.pdf">Web 2.0, biblioteca 2.0 e ciência da informação</a></div>
<div class="delicious-extended">No contexto da Web 2.0 e Biblioteca 2.0, as teorias, conceitos e práticas advindos da<br />
ciência da informação fundam iniciativas (como a dos algoritmos de ordenamento baseados<br />
13<br />
em análise de links, essencialmente uma antiga prática bibliométrica) e, ao mesmo tempo,<br />
encontram terreno fértil para proliferar. Isso acontece de modo bem claro, por exemplo, considerando<br />
os níveis intensos, complexos e desiguais de publicação na Web, com os processos<br />
de disseminação seletiva de informação. A construção do protótipo de filtragem e envio automáticos<br />
de informações sobre artigos de periódicos eletrônicos procurou demonstrar a pertinência<br />
da aplicabilidade dos conceitos da ciência da informação nos ambientes em rede e a<br />
possibilidade da instituição de novos modos de operacionalizá-los.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/bibliotecas">bibliotecas</a> <a href="http://delicious.com/arlifrancis/web2.0">web2.0</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.co-ment.net/text/2284/">co-ment &#8211; telekommunistmanifesto2010-en-2010.02.28-15.27.41 &#8211; 9</a></div>
<div class="delicious-extended">However, acentral premise ofthis Manifesto is that engaging in software development and theproduction of immaterial cultural works is not enough. Thecommunization of immaterial property alone can not change thedistribution of material productive assets,&#8230;</div></li></ul>]]></description>
			<content:encoded><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://www.enancib.ppgci.ufba.br/artigos/GT2--232.pdf">Web 2.0, biblioteca 2.0 e ciência da informação</a></div>
<div class="delicious-extended">No contexto da Web 2.0 e Biblioteca 2.0, as teorias, conceitos e práticas advindos da<br />
ciência da informação fundam iniciativas (como a dos algoritmos de ordenamento baseados<br />
13<br />
em análise de links, essencialmente uma antiga prática bibliométrica) e, ao mesmo tempo,<br />
encontram terreno fértil para proliferar. Isso acontece de modo bem claro, por exemplo, considerando<br />
os níveis intensos, complexos e desiguais de publicação na Web, com os processos<br />
de disseminação seletiva de informação. A construção do protótipo de filtragem e envio automáticos<br />
de informações sobre artigos de periódicos eletrônicos procurou demonstrar a pertinência<br />
da aplicabilidade dos conceitos da ciência da informação nos ambientes em rede e a<br />
possibilidade da instituição de novos modos de operacionalizá-los.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/bibliotecas">bibliotecas</a> <a href="http://delicious.com/arlifrancis/web2.0">web2.0</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.co-ment.net/text/2284/">co-ment &#8211; telekommunistmanifesto2010-en-2010.02.28-15.27.41 &#8211; 9</a></div>
<div class="delicious-extended">However, acentral premise ofthis Manifesto is that engaging in software development and theproduction of immaterial cultural works is not enough. Thecommunization of immaterial property alone can not change thedistribution of material productive assets, and therefore can noteliminate exploitation. Only workers self-organization of productioncan. Venture Communism is a form of struggle against the continuedexpansion of property-based capitalism, it is a model for workerself-organization inspired by the topology of peer to peer networksand the historical pastoral commons.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/economia">economia</a> <a href="http://delicious.com/arlifrancis/creativecommons">creativecommons</a> <a href="http://delicious.com/arlifrancis/software">software</a> <a href="http://delicious.com/arlifrancis/marx">marx</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://midiatatica.info/">midiatatica.info</a></div>
<div class="delicious-extended">Conjunto de textos sobre a midia tatica : [...] Que Venha a Mídia Tática!<br />
Por Tatiana Wells e Ricardo Rosas</p>
<p>Um espectro ronda a cultura &#8211; o espectro da mídia tática. Desafiante, brincalhona, iconoclasta e consciente, a mídia tática não tem papas na língua para por em questão os padrões do bom gosto, da apatia social, da prática artística ou da assepsia ideológica das novas mídias. [...]</p></div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/blogs">blogs</a> <a href="http://delicious.com/arlifrancis/comunidades">comunidades</a> <a href="http://delicious.com/arlifrancis/atitude">atitude</a> <a href="http://delicious.com/arlifrancis/ativismo">ativismo</a>)</div>
</li>
</ul>]]></content:encoded>
			<wfw:commentRss>http://arlifrancis.org/blog/2010/03/02/links-for-2010-03-01/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>links for 2010-02-28</title>
		<link>http://arlifrancis.org/blog/2010/03/01/links-for-2010-02-28/</link>
		<comments>http://arlifrancis.org/blog/2010/03/01/links-for-2010-02-28/#comments</comments>
		<pubDate>Mon, 01 Mar 2010 00:01:36 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Salada total]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/2010/03/01/links-for-2010-02-28/</guid>
		<description><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://atwar.blogs.nytimes.com/2010/02/26/military-announces-new-social-media-policy/">Military Announces New Social Media Policy &#8211; NYTimes.com</a></div>
<div class="delicious-extended">Many months behind schedule, the Department of Defense on Friday issued a new policy that, on the surface, seems likely to expand access to popular social networking sites like YouTube, Facebook and Twitter by troops using military computers.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/twitter">twitter</a> <a href="http://delicious.com/arlifrancis/socialmedia">socialmedia</a> <a href="http://delicious.com/arlifrancis/democracia">democracia</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.socialmediatoday.com/SMC/177538">Social Media Today &#124; Forget the 80/20 principle, with Twitter it is 79/7</a></div>
<div class="delicious-extended">A well known rule of thumb in business is the so-called Pareto principle (or the 80/20 rule) that 20% of participants will account for 80% of the activity.   Metrics firm Nielsen decided to test out if the same applies to Twitter &#8211; do 20% of tweeple account for 80% of what takes place on Twitter.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/web2.0">web2.0</a> <a href="http://delicious.com/arlifrancis/twitter">twitter</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://irevolution.wordpress.com/2010/02/20/sms-disaster-response/">Ushahidi e o papel sem precedentes mensagens SMS em Resposta a Desastres</a></div>
<div class="delicious-extended">What if we could communicate with disaster affected communities in real-time just days after a major disaster like the quake in Haiti? That is exactly what happened&#8230;</div></li></ul>]]></description>
			<content:encoded><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://atwar.blogs.nytimes.com/2010/02/26/military-announces-new-social-media-policy/">Military Announces New Social Media Policy &#8211; NYTimes.com</a></div>
<div class="delicious-extended">Many months behind schedule, the Department of Defense on Friday issued a new policy that, on the surface, seems likely to expand access to popular social networking sites like YouTube, Facebook and Twitter by troops using military computers.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/twitter">twitter</a> <a href="http://delicious.com/arlifrancis/socialmedia">socialmedia</a> <a href="http://delicious.com/arlifrancis/democracia">democracia</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.socialmediatoday.com/SMC/177538">Social Media Today | Forget the 80/20 principle, with Twitter it is 79/7</a></div>
<div class="delicious-extended">A well known rule of thumb in business is the so-called Pareto principle (or the 80/20 rule) that 20% of participants will account for 80% of the activity.   Metrics firm Nielsen decided to test out if the same applies to Twitter &#8211; do 20% of tweeple account for 80% of what takes place on Twitter.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/web2.0">web2.0</a> <a href="http://delicious.com/arlifrancis/twitter">twitter</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://irevolution.wordpress.com/2010/02/20/sms-disaster-response/">Ushahidi e o papel sem precedentes mensagens SMS em Resposta a Desastres</a></div>
<div class="delicious-extended">What if we could communicate with disaster affected communities in real-time just days after a major disaster like the quake in Haiti? That is exactly what happened thanks to a partnership between the Emergency Information Service (EIS), InSTEDD, Ushahidi, Haitian Telcos and the US State Department. Just 4 days after the earthquake, Haitians could text their location and urgent needs to “4636” for free.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/ushahidi">ushahidi</a> <a href="http://delicious.com/arlifrancis/crowdsourcing">crowdsourcing</a> <a href="http://delicious.com/arlifrancis/celulares">celulares</a>)</div>
</li>
</ul>]]></content:encoded>
			<wfw:commentRss>http://arlifrancis.org/blog/2010/03/01/links-for-2010-02-28/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>links for 2010-02-27</title>
		<link>http://arlifrancis.org/blog/2010/02/28/links-for-2010-02-27/</link>
		<comments>http://arlifrancis.org/blog/2010/02/28/links-for-2010-02-27/#comments</comments>
		<pubDate>Sun, 28 Feb 2010 00:01:49 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Salada total]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/2010/02/28/links-for-2010-02-27/</guid>
		<description><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://blog.joaomattar.com/">Uso pedagógico de blogs</a></div>
<div class="delicious-extended">&#8230;Uma lista (em eterna construção) de posts, artigos, dissertações, teses, livros etc. disponíveis online, que tratam do uso pedagógico de blogs&#8230;</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/blog">blog</a> <a href="http://delicious.com/arlifrancis/educa%C3%A7%C3%A3o">educação</a>)</div>
</li>
</ul>]]></description>
			<content:encoded><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://blog.joaomattar.com/">Uso pedagógico de blogs</a></div>
<div class="delicious-extended">&#8230;Uma lista (em eterna construção) de posts, artigos, dissertações, teses, livros etc. disponíveis online, que tratam do uso pedagógico de blogs&#8230;</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/blog">blog</a> <a href="http://delicious.com/arlifrancis/educa%C3%A7%C3%A3o">educação</a>)</div>
</li>
</ul>]]></content:encoded>
			<wfw:commentRss>http://arlifrancis.org/blog/2010/02/28/links-for-2010-02-27/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>links for 2010-02-06</title>
		<link>http://arlifrancis.org/blog/2010/02/07/links-for-2010-02-06/</link>
		<comments>http://arlifrancis.org/blog/2010/02/07/links-for-2010-02-06/#comments</comments>
		<pubDate>Sun, 07 Feb 2010 00:01:51 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Inteligência Coletiva]]></category>
		<category><![CDATA[Salada total]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/2010/02/07/links-for-2010-02-06/</guid>
		<description><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://jerz.setonhill.edu/resources/RUR/">R.U.R. (Rossum&#8217;s Universal Robots)</a></div>
<div class="delicious-extended">Resumo do livro RUR  do escritor tcheco Karel Kapek no qual foi utilizado pela primeira vez  palavra robot. R.U.R. was written in 1920, premiered in Prague early in 1921, was performed in New York in 1922, and published in English translation in 1923.  The following year, G. B. Shaw and G. K. Chesterton were among those in London participating in a public discussion of the play.  Capek responded, via The Saturday Review, to what he felt was the excessive thematic attention they and other critics paid to one of his devices: &#8220;For myself, I confess that as the author I was much more interested in men than in Robots.&#8221; [1]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/robots">robots</a> <a href="http://delicious.com/arlifrancis/livro">livro</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.historyofscience.com/G2I/timeline/index.php">2,500,000 BCE to 8,000 BCE Timeline : From Cave Paintings to the Internet</a></div>
<div class="delicious-extended">From Cave Paintings to the Internet A Chronological and Thematic Database on the History of Information and Media 2,500,000 BCE to 8,000 BCE Timeline</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/internet">internet</a> <a href="http://delicious.com/arlifrancis/historia">historia</a> <a href="http://delicious.com/arlifrancis/science">science</a> <a href="http://delicious.com/arlifrancis/timeline">timeline</a>)</div>
</li>
</ul>&#8230;]]></description>
			<content:encoded><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://jerz.setonhill.edu/resources/RUR/">R.U.R. (Rossum&#8217;s Universal Robots)</a></div>
<div class="delicious-extended">Resumo do livro RUR  do escritor tcheco Karel Kapek no qual foi utilizado pela primeira vez  palavra robot. R.U.R. was written in 1920, premiered in Prague early in 1921, was performed in New York in 1922, and published in English translation in 1923.  The following year, G. B. Shaw and G. K. Chesterton were among those in London participating in a public discussion of the play.  Capek responded, via The Saturday Review, to what he felt was the excessive thematic attention they and other critics paid to one of his devices: &#8220;For myself, I confess that as the author I was much more interested in men than in Robots.&#8221; [1]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/robots">robots</a> <a href="http://delicious.com/arlifrancis/livro">livro</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.historyofscience.com/G2I/timeline/index.php">2,500,000 BCE to 8,000 BCE Timeline : From Cave Paintings to the Internet</a></div>
<div class="delicious-extended">From Cave Paintings to the Internet A Chronological and Thematic Database on the History of Information and Media 2,500,000 BCE to 8,000 BCE Timeline</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/internet">internet</a> <a href="http://delicious.com/arlifrancis/historia">historia</a> <a href="http://delicious.com/arlifrancis/science">science</a> <a href="http://delicious.com/arlifrancis/timeline">timeline</a>)</div>
</li>
</ul>]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>links for 2010-01-31</title>
		<link>http://arlifrancis.org/blog/2010/02/01/links-for-2010-01-31/</link>
		<comments>http://arlifrancis.org/blog/2010/02/01/links-for-2010-01-31/#comments</comments>
		<pubDate>Mon, 01 Feb 2010 00:02:23 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Salada total]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/2010/02/01/links-for-2010-01-31/</guid>
		<description><![CDATA[<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/jenbradford/2258511717/"><img style="border: solid 2px #000000;" src="http://farm3.static.flickr.com/2321/2258511717_fa5d682a72.jpg" alt="" /></a><span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/jenbradford/2258511717/"></a></span></div>
<div style="text-align: left; padding: 3px;"><span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/jenbradford/2258511717/">Calligraphic Line</a>, upload feito originalmente por <a href="http://www.flickr.com/people/jenbradford/">bradford66</a>.</span></div>
<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://ow.ly/12mcx">Livro: Sonic Warfare &#8211; Steve Goodman</a></div>
<div class="delicious-extended">Sonic Warfare sends a shudder through the hidden underbelly of sound. With uncanny brilliance, Steve Goodman writes through the depths of sub-bass to bring together noise weapons, pirate radio, and the philosophy and politics of rhythm in a vivid new evocation of the power of sound.&#8221; &#8211;Matthew Fuller, David Gee Reader in Digital Media, Goldsmiths, University of London, author of Media Ecologies</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/livro">livro</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.criticalstudiesintelevision.com/">Critical Studies in Television &#8211; Scholarly Studies for Small Screen Fiction</a></div>
<div class="delicious-extended">CST online is a scholarly resource and critical forum for studying television, sponsored by the  Department of Contemporary Arts at Manchester Metropolitan University. It is our mission to enrich television studies by providing comprehensive access to information, as well as to disseminate knowledge and stimulate debate.<br />
CST online is a scholarly resource and critical forum for studying television, sponsored by the  Department of Contemporary Arts at Manchester Metropolitan&#8230;</div></li></ul>]]></description>
			<content:encoded><![CDATA[<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/jenbradford/2258511717/"><img style="border: solid 2px #000000;" src="http://farm3.static.flickr.com/2321/2258511717_fa5d682a72.jpg" alt="" /></a><span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/jenbradford/2258511717/"></a></span></div>
<div style="text-align: left; padding: 3px;"><span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/jenbradford/2258511717/">Calligraphic Line</a>, upload feito originalmente por <a href="http://www.flickr.com/people/jenbradford/">bradford66</a>.</span></div>
<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://ow.ly/12mcx">Livro: Sonic Warfare &#8211; Steve Goodman</a></div>
<div class="delicious-extended">Sonic Warfare sends a shudder through the hidden underbelly of sound. With uncanny brilliance, Steve Goodman writes through the depths of sub-bass to bring together noise weapons, pirate radio, and the philosophy and politics of rhythm in a vivid new evocation of the power of sound.&#8221; &#8211;Matthew Fuller, David Gee Reader in Digital Media, Goldsmiths, University of London, author of Media Ecologies</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/livro">livro</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.criticalstudiesintelevision.com/">Critical Studies in Television &#8211; Scholarly Studies for Small Screen Fiction</a></div>
<div class="delicious-extended">CST online is a scholarly resource and critical forum for studying television, sponsored by the  Department of Contemporary Arts at Manchester Metropolitan University. It is our mission to enrich television studies by providing comprehensive access to information, as well as to disseminate knowledge and stimulate debate.<br />
CST online is a scholarly resource and critical forum for studying television, sponsored by the  Department of Contemporary Arts at Manchester Metropolitan University. It is our mission to enrich television studies by providing comprehensive access to information, as well as to disseminate knowledge and stimulate debate.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/TELEVISION">TELEVISION</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.eurozine.com/articles/2008-01-21-negri-en.html">Eurozine &#8211; What makes a biopolitical space? &#8211; Antonio Negri, Constantin Petcou, Doina Petrescu, Anne Querrien A discussion with Toni Negri</a></div>
<div class="delicious-extended">Toni Negri discusses the significance of urban space for new forms of opposition. The city, he says, is where the &#8220;political diagonal&#8221; intersects the &#8220;biopolitical diagram&#8221; – where people&#8217;s relation to power is most pronounced. Negri&#8217;s interlocutors are involved in exploring &#8220;soft&#8221; forms of activism, urban projects that create collectivities on micro, neighbourhood levels. Negri is critical of &#8220;soft&#8221; forms, however, preferring rupture and revolution over accumulation and gradual change.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/negri">negri</a> <a href="http://delicious.com/arlifrancis/politica">politica</a> <a href="http://delicious.com/arlifrancis/marx">marx</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://preprodpapers.ssrn.com/sol3/papers.cfm?abstract_id=982655&amp;rec=1&amp;srcabs=890657">SSRN-Traditional Knowledge and the Fight for the Public Domain by Doris Long</a></div>
<div class="delicious-extended">What are the challenges facing the protection of traditional knowledge internationally? Can the protection of such rights, which have traditionally existed outside the boundaries of intellectual property, be achieved in the face of current challenges to protection epitomized by such emerging international movements as enhanced access to information and culture as a human right? This article examines some of the emerging issues in this hotly contested area and suggests that such movements are not actually adverse to intellectual property or traditional knowledge rights and should be used to craft a new method for addressing the issue of traditional knowledge protection internationally.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/commons">commons</a> <a href="http://delicious.com/arlifrancis/cultura">cultura</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://traduwiki.org/">Traduwiki – Traduwiki, collaborative translation</a></div>
<div class="delicious-extended">So, just like the peer-to-peer technology or the grid computing principles, the idea became this: a text could be sectioned into small pieces, users would take some of them to translate them in their spare time, and the interesting document will be quickly and correctly translated. Everyone wins in this situation.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/wikis">wikis</a> <a href="http://delicious.com/arlifrancis/colabora%C3%A7%C3%A3o">colaboração</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://networkcultures.org/wpmu/geert/interview-with-geert-lovink-by-victoria-lynn/">Interview with Geert Lovink by Victoria Lynn &#8211; Net Critique /via @jafurtado</a></div>
<div class="delicious-extended">&#8220;Web 2.0 is about the integration of the real and the virtual. They are no longer opposites. The goal is a synergy of the real existing social life with the annotated environment. This is done to abstract value from one’s intimate environment and personal relationships. It is not proven that it generates new social forms. We could also say that it initiates new social contexts in real life situations. The third body, consisting of a data cloud that surrounds us, is becoming real. However, unlike the cyber-prophets predicted it is not a virtual reality out there that we step into. The movement has gone in the opposite direction and collapsed into ever-smaller devices.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/web2.0">web2.0</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://distributism.blogspot.com/2009/10/is-economics-science.html">Is Economics a Science? &#8211; The Distributist Review:</a></div>
<div class="delicious-extended">economics is not a complete science and is unable to give us real information about the economy? The Roman pontiffs have long insisted that something was missing. They have insisted on the role of distributive justice in economics. Beginning in 1891, with Leo XIII’s Rerum Novarum, they have insisted on the just wage as the basis of economic science, a position that has been repeated by every pope since Leo. The economists, on the other hand, have always found this problematic.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/economia">economia</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.ibiblio.org/nmediac/summer2009/digital_miniatures.html">NMEDIAC : Summer 2009: Miniaturization, Miniatures and the Digital by Sheenagh Pietrobruno</a></div>
<div class="delicious-extended">The process of miniaturization and the generation of miniatures, which are integral facets of the digital, yield affective responses. [...][...] These effects are characteristic of the way that the human body determines to a large extent what constitutes a technique of miniaturization and the dimension of a miniature. The sensations of intimacy, possession or control are also evoked by both the practice of miniaturization and the fashioning of miniatures that mark the rise of the printing press, photography and television. Although new media provide distinct forms of miniaturization and miniatures, this progression toward diminution is rooted in earlier technologies. Various key aspects of new media are outlined: the miniaturization of information and space as well as the generation of virtual miniatures, of which Google Earth serves as a case study.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/googlemaps">googlemaps</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://wishcafe.net/">wishcafe</a></div>
<div class="delicious-extended">What is Wish Café?<br />
It’s a device for the collective construction of a map of human desire.<br />
The starting point of this social experiment is the realization that all of us live in a network, that the set of our links defines our place in the world, and that technology provides us with an ever-increasing number of ways to represent that situation.<br />
Wish Café is, in some way, an anti-net, because it is a network of holes. It intends to make visible, not what we have, but what we are lacking. In other words, to what extent are we still out-of-place in the place we occupy, in which ways are we foreigners at our own home.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/web2.0">web2.0</a> <a href="http://delicious.com/arlifrancis/art">art</a> <a href="http://delicious.com/arlifrancis/visualization">visualization</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://journal.fibreculture.org/issue15/index.html">What Now? : The Imprecise and Disagreeable Aesthetics of Remix  &#8211; Fibreculture Journal Issue 15</a></div>
<div class="delicious-extended">The intellectual work on ‘network culture’ is also an act of violence on framing devices that came prior to it; it deletes as much as it creates, prunes as much as it flowers. Accordingly, we need to broaden and historicise the debate beyond the current tenor of ‘social media’, ‘participatory culture’ and ‘copyright wars’ (Lessig, 2008). Thankfully, the doxa is supple enough in most places to allow for the common to grow muddy, strange flowers to grow and animals to grow fat. Remix culture appeals to us because it is precisely just a moment too late for its discussion, the wave has moved on and the Rhetoric Safari conceives of culture in ways that overarch the remix. Rather than argue for the urgency of this issue of Fibreculture Journal, the editors wish to pause, rewind and record over the apparently urgent question of what is remix and ask instead ‘What Now?’</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/remix">remix</a> <a href="http://delicious.com/arlifrancis/mashup">mashup</a> <a href="http://delicious.com/arlifrancis/lessig">lessig</a> <a href="http://delicious.com/arlifrancis/Benkler">Benkler</a> <a href="http://delicious.com/arlifrancis/creativecommons">creativecommons</a>)</div>
</li>
</ul>]]></content:encoded>
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		<slash:comments>0</slash:comments>
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		<title>links for 2010-01-26</title>
		<link>http://arlifrancis.org/blog/2010/01/27/links-for-2010-01-26/</link>
		<comments>http://arlifrancis.org/blog/2010/01/27/links-for-2010-01-26/#comments</comments>
		<pubDate>Wed, 27 Jan 2010 00:02:51 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Variedades]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/2010/01/27/links-for-2010-01-26/</guid>
		<description><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://www.we-make-money-not-art.com/archives/2010/01/book-review-interactive-archit.php">Book Review &#8211; Interactive Architecture &#8211; we make money not art</a></div>
<div class="delicious-extended">[...] Interactive Architecture explores the trends, promises, means and ways of IA as well as its sociological and psychological implications. Kemp and Fox embrace innovation and cutting edge developments but they are also wary of being over-enthusiastic. Throughout the book they tackle issues that are essential to but also challenging for the field of IA: its economical feasibility, the need for a new pedagogical approach, the necessity of a cross-discipline communication, the questions raised by privacy, ethics, environmental impact or convenience. The book doesn&#8217;t waste time on the fairground aspects of everything interactive. Right from the start, the authors question the way interactivity is conceived today by refering to the pioneering works and reflections done by the cyberneticians of the early &#8217;60s. [...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/design">design</a> <a href="http://delicious.com/arlifrancis/architecture">architecture</a> <a href="http://delicious.com/arlifrancis/robotics">robotics</a>)</div>
</li>
</ul>]]></description>
			<content:encoded><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://www.we-make-money-not-art.com/archives/2010/01/book-review-interactive-archit.php">Book Review &#8211; Interactive Architecture &#8211; we make money not art</a></div>
<div class="delicious-extended">[...] Interactive Architecture explores the trends, promises, means and ways of IA as well as its sociological and psychological implications. Kemp and Fox embrace innovation and cutting edge developments but they are also wary of being over-enthusiastic. Throughout the book they tackle issues that are essential to but also challenging for the field of IA: its economical feasibility, the need for a new pedagogical approach, the necessity of a cross-discipline communication, the questions raised by privacy, ethics, environmental impact or convenience. The book doesn&#8217;t waste time on the fairground aspects of everything interactive. Right from the start, the authors question the way interactivity is conceived today by refering to the pioneering works and reflections done by the cyberneticians of the early &#8217;60s. [...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/design">design</a> <a href="http://delicious.com/arlifrancis/architecture">architecture</a> <a href="http://delicious.com/arlifrancis/robotics">robotics</a>)</div>
</li>
</ul>]]></content:encoded>
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		<title>links for 2010-01-23</title>
		<link>http://arlifrancis.org/blog/2010/01/24/links-for-2010-01-23/</link>
		<comments>http://arlifrancis.org/blog/2010/01/24/links-for-2010-01-23/#comments</comments>
		<pubDate>Sun, 24 Jan 2010 00:02:03 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Salada total]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/2010/01/24/links-for-2010-01-23/</guid>
		<description><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://www.electronicbookreview.com/thread/firstperson/creole">Metaphoric Networks in Lexia to Perplexia &#8211; Katherine Hayles</a></div>
<div class="delicious-extended">[...] As leading theorists and practitioners Marvin Minsky (1985), Daniel Hillis (1999), and Brian Cantwell Smith (1998) have been telling us, computers are much more than hardware and software. In their most general form, computers are environments of varying scope, from objects that sit on desktops to networks spanning the globe. Indeed, in Edward Fredkin&#8217;s (1990) interpretation, computational processes ultimately generate the fabric of the universe. It comes as no surprise, then, to find researchers arguing that computation is fundamentally altering the ways in which humans conceive of themselves and their relations to others. There are, of course, many approaches to this issue, from sociological studies to human factor analysis. Among these approaches are artistic works that tell new stories about the formation of human subjects, instantiating these stories in images as well as words.  [...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/theory">theory</a> <a href="http://delicious.com/arlifrancis/redes">redes</a> <a href="http://delicious.com/arlifrancis/code">code</a>)</div>
</li>
</ul>&#8230;]]></description>
			<content:encoded><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://www.electronicbookreview.com/thread/firstperson/creole">Metaphoric Networks in Lexia to Perplexia &#8211; Katherine Hayles</a></div>
<div class="delicious-extended">[...] As leading theorists and practitioners Marvin Minsky (1985), Daniel Hillis (1999), and Brian Cantwell Smith (1998) have been telling us, computers are much more than hardware and software. In their most general form, computers are environments of varying scope, from objects that sit on desktops to networks spanning the globe. Indeed, in Edward Fredkin&#8217;s (1990) interpretation, computational processes ultimately generate the fabric of the universe. It comes as no surprise, then, to find researchers arguing that computation is fundamentally altering the ways in which humans conceive of themselves and their relations to others. There are, of course, many approaches to this issue, from sociological studies to human factor analysis. Among these approaches are artistic works that tell new stories about the formation of human subjects, instantiating these stories in images as well as words.  [...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/theory">theory</a> <a href="http://delicious.com/arlifrancis/redes">redes</a> <a href="http://delicious.com/arlifrancis/code">code</a>)</div>
</li>
</ul>]]></content:encoded>
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		<slash:comments>0</slash:comments>
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		<title>Hierarquia, Heterarquia e Autonomia</title>
		<link>http://arlifrancis.org/blog/2010/01/22/hierarquia-heterarquia-e-autonomia/</link>
		<comments>http://arlifrancis.org/blog/2010/01/22/hierarquia-heterarquia-e-autonomia/#comments</comments>
		<pubDate>Fri, 22 Jan 2010 00:42:37 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Ciber-debate]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/2010/01/22/hierarquia-heterarquia-e-autonomia/</guid>
		<description><![CDATA[<div style="float: left; margin-right: 10px; margin-bottom: 10px;"><a title="photo sharing" href="http://www.flickr.com/photos/jenbradford/2351521927/"><img style="border: solid 2px #000000;" src="http://farm3.static.flickr.com/2094/2351521927_6bf5273e63_m.jpg" alt="" /></a><br />
<span style="font-size: 1.0em; margin-top: 0px;"><a href="http://www.flickr.com/photos/jenbradford/2351521927/">Maps</a> Upload feito originalmente por<br />
<a href="http://www.flickr.com/people/jenbradford/">bradford66</a><br />
</span></div>
<p>&#8220;Se a hierarquia é o sistema de poder de sistemas centralizados, então poder heterarquico é o sistema de poder de sistemas descentralizados e autonomia responsável é o sistema de poder de sistemas distribuídos.&#8221; (Michel Bauwens)*</p>
<p>*Tradução livre de fragmento do texto: &#8220;<a title="Permanent Link to Gerard Fairtlough’s triararchical typology of corporate power systems" rel="bookmark" href="http://blog.p2pfoundation.net/gerard-fairtloughs-triararchical-typology-of-corporate-power-systems/2010/01/21">Gerard Fairtlough’s triararchical typology of corporate power systems</a>&#8221;<br />
Publicado no <a href="http://blog.p2pfoundation.net/gerard-fairtloughs-triararchical-typology-of-corporate-power-systems/2010/01/21">P2P Foundation </a></p>]]></description>
			<content:encoded><![CDATA[<div style="float: left; margin-right: 10px; margin-bottom: 10px;"><a title="photo sharing" href="http://www.flickr.com/photos/jenbradford/2351521927/"><img style="border: solid 2px #000000;" src="http://farm3.static.flickr.com/2094/2351521927_6bf5273e63_m.jpg" alt="" /></a><br />
<span style="font-size: 1.0em; margin-top: 0px;"><a href="http://www.flickr.com/photos/jenbradford/2351521927/">Maps</a> Upload feito originalmente por<br />
<a href="http://www.flickr.com/people/jenbradford/">bradford66</a><br />
</span></div>
<p>&#8220;Se a hierarquia é o sistema de poder de sistemas centralizados, então poder heterarquico é o sistema de poder de sistemas descentralizados e autonomia responsável é o sistema de poder de sistemas distribuídos.&#8221; (Michel Bauwens)*</p>
<p>*Tradução livre de fragmento do texto: &#8220;<a title="Permanent Link to Gerard Fairtlough’s triararchical typology of corporate power systems" rel="bookmark" href="http://blog.p2pfoundation.net/gerard-fairtloughs-triararchical-typology-of-corporate-power-systems/2010/01/21">Gerard Fairtlough’s triararchical typology of corporate power systems</a>&#8221;<br />
Publicado no <a href="http://blog.p2pfoundation.net/gerard-fairtloughs-triararchical-typology-of-corporate-power-systems/2010/01/21">P2P Foundation </a></p>]]></content:encoded>
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		<title>Rosie, a empregada dos Jetsons chegou</title>
		<link>http://arlifrancis.org/blog/2010/01/21/rosie-a-empregada-dos-jetsons-chegou/</link>
		<comments>http://arlifrancis.org/blog/2010/01/21/rosie-a-empregada-dos-jetsons-chegou/#comments</comments>
		<pubDate>Thu, 21 Jan 2010 14:18:38 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Salada total]]></category>
		<category><![CDATA[tecnologia]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/?p=1413</guid>
		<description><![CDATA[<p><br />
Em 2062 a família da série de desenho animado Jetsons, tinha uma empregada-robô de um modelo muito antigo e com a validade vencida chamada<strong> Rosie</strong>. Rosie nunca era trocada por um modelo mais avançado devido sua dedicação e amabalidade na execução das tarefas. Levava os chinelos a George Jetson, trazia sanduíches, lavava as roupas e ensinava as crianças a jogar basquete.</p>
<p>Pesquisadores coreanos do <em><strong>Korea Institute of Science and Technology</strong></em> inventaram que pode fazer tudo isso (menos o basquete).</p>
<p><strong>Mahru-Z</strong> (R), que pode limpar uma casa, colocar roupas na máquina de lavar e colocar comida para esquentar no microondas. Cientistas afirmam que o robô poderia ser utilizado para trabalhar em condições muito difíceis ou perigosas para os seres humanos.</p>
<p>Resultado de pesquisas sobre robôs que demandam investimentos de 3,5 milhões de dólares anuais no Instituto Coreano, o Mahru-Z (R) possui um corpo humanóide, uma cabeça rotativa, braços, pernas e seis dedos. É equipado com visão tridimensional,&#8230;</p>]]></description>
			<content:encoded><![CDATA[<p><object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" width="425" height="344" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/n_-PxqtrwK8&amp;hl=pt_BR&amp;fs=1&amp;" /><embed type="application/x-shockwave-flash" width="425" height="344" src="http://www.youtube.com/v/n_-PxqtrwK8&amp;hl=pt_BR&amp;fs=1&amp;" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
Em 2062 a família da série de desenho animado Jetsons, tinha uma empregada-robô de um modelo muito antigo e com a validade vencida chamada<strong> Rosie</strong>. Rosie nunca era trocada por um modelo mais avançado devido sua dedicação e amabalidade na execução das tarefas. Levava os chinelos a George Jetson, trazia sanduíches, lavava as roupas e ensinava as crianças a jogar basquete.</p>
<p>Pesquisadores coreanos do <em><strong>Korea Institute of Science and Technology</strong></em> inventaram que pode fazer tudo isso (menos o basquete).</p>
<p><strong>Mahru-Z</strong> (R), que pode limpar uma casa, colocar roupas na máquina de lavar e colocar comida para esquentar no microondas. Cientistas afirmam que o robô poderia ser utilizado para trabalhar em condições muito difíceis ou perigosas para os seres humanos.</p>
<p>Resultado de pesquisas sobre robôs que demandam investimentos de 3,5 milhões de dólares anuais no Instituto Coreano, o Mahru-Z (R) possui um corpo humanóide, uma cabeça rotativa, braços, pernas e seis dedos. É equipado com visão tridimensional, capaz de observar objetos, reconhecer pessoas, identificar as tarefas a serem feitas e executá-las. O robô-empregado tem 1,3 de altura e pesa 55 kilos.</p>]]></content:encoded>
			<wfw:commentRss>http://arlifrancis.org/blog/2010/01/21/rosie-a-empregada-dos-jetsons-chegou/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>links for 2010-01-17</title>
		<link>http://arlifrancis.org/blog/2010/01/18/links-for-2010-01-17/</link>
		<comments>http://arlifrancis.org/blog/2010/01/18/links-for-2010-01-17/#comments</comments>
		<pubDate>Mon, 18 Jan 2010 00:02:56 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Ciber-debate]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/2010/01/18/links-for-2010-01-17/</guid>
		<description><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://www.concinnitas.uerj.br/resumos4/plaza.pdf">Julio Plaza: Arte e Interatividade: Autor-Obra-Recepção</a></div>
<div class="delicious-extended">[...] Em pleno cyberspace, todos somos produtores-consumidores; ou seja, está indo solenemente por água abaixo a velha e renitente distinção entre quem faz e quem frui. Na chamada “textualidade interativa”, o que é operativo é a poética da obra aberta em campo eletrônico digital. Para Risério, o que está em questão é todo o eixo autor-obra-receptor, não a dissolução do “autor”. O autor providencia o espaço, a cartografia, mas cabe ao usuário traçar o seu percurso. Nada autoriza a dizer (parodiando Mc-Luhan) que, assim como Gutemberg nos transformou a todos em leitores e a fotocopiadora nos converteu em editores, o computador pessoal está fazendo com que todos sejamos autores. [...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/intera%C3%A7%C3%A3o">interação</a> <a href="http://delicious.com/arlifrancis/arte">arte</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.cem.itesm.mx/dacs/publicaciones/logos/anteriores/n49/bienal/Mesa%202/Repensar%20o%20humano%20em%20conex%F5es%20com%20lugares%20imagin%E1rios.pdf">Diana Domingues: Repensar o humano em conexões com lugares imaginários</a></div>
<div class="delicious-extended">[...] Quando utilizamos um computador, teclados, rede, celulares, ou outra interface não estamos pensando no projeto de engenharia do software que o rege ou outra questão&#8230;</div></li></ul>]]></description>
			<content:encoded><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://www.concinnitas.uerj.br/resumos4/plaza.pdf">Julio Plaza: Arte e Interatividade: Autor-Obra-Recepção</a></div>
<div class="delicious-extended">[...] Em pleno cyberspace, todos somos produtores-consumidores; ou seja, está indo solenemente por água abaixo a velha e renitente distinção entre quem faz e quem frui. Na chamada “textualidade interativa”, o que é operativo é a poética da obra aberta em campo eletrônico digital. Para Risério, o que está em questão é todo o eixo autor-obra-receptor, não a dissolução do “autor”. O autor providencia o espaço, a cartografia, mas cabe ao usuário traçar o seu percurso. Nada autoriza a dizer (parodiando Mc-Luhan) que, assim como Gutemberg nos transformou a todos em leitores e a fotocopiadora nos converteu em editores, o computador pessoal está fazendo com que todos sejamos autores. [...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/intera%C3%A7%C3%A3o">interação</a> <a href="http://delicious.com/arlifrancis/arte">arte</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://www.cem.itesm.mx/dacs/publicaciones/logos/anteriores/n49/bienal/Mesa%202/Repensar%20o%20humano%20em%20conex%F5es%20com%20lugares%20imagin%E1rios.pdf">Diana Domingues: Repensar o humano em conexões com lugares imaginários</a></div>
<div class="delicious-extended">[...] Quando utilizamos um computador, teclados, rede, celulares, ou outra interface não estamos pensando no projeto de engenharia do software que o rege ou outra questão instrumental empreendida por cientistas, engenheiros, técnicos. Ao incluirmos tecnologias em nossas vidas, estamos agindo como humanos em seu meio ambiente, nada mais do que isso. As interfaces estão se adaptando de tal forma aos humanos e o cotidiano está sendo cada vez mais naturalmente vivido na condição de “seamless”, de um corpo sem costuras, sem emendas, por interfaces tecnológicas. Por outro lado, interfaces multissensórias são mais intuitivas, permitindo relações através de sinais biológicos como calor, respiração, ondas elétricas e cerebrais, batimentos cardíacos, da fala, da gestualidade respondida [...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/celulares">celulares</a> <a href="http://delicious.com/arlifrancis/ipod">ipod</a> <a href="http://delicious.com/arlifrancis/p%C3%B3s-humano">pós-humano</a> <a href="http://delicious.com/arlifrancis/intera%C3%A7%C3%A3o">interação</a>)</div>
</li>
</ul>]]></content:encoded>
			<wfw:commentRss>http://arlifrancis.org/blog/2010/01/18/links-for-2010-01-17/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>links for 2010-01-16</title>
		<link>http://arlifrancis.org/blog/2010/01/17/links-for-2010-01-16/</link>
		<comments>http://arlifrancis.org/blog/2010/01/17/links-for-2010-01-16/#comments</comments>
		<pubDate>Sun, 17 Jan 2010 00:02:44 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Salada total]]></category>
		<category><![CDATA[Variedades]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/2010/01/17/links-for-2010-01-16/</guid>
		<description><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://www.resartis.org/index.php?id=1&#38;L=es%2Findex.php%3Fid%3D1">Res Artis</a></div>
<div class="delicious-extended">Res Artis is the largest existing network of artist residency programmes, representing  the interests of more than 300 centers and organisations in 50 countries worldwide that offer to international artists facilities and conditions conducive for making art.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/arte">arte</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://joaonunes.com/2008/guionismo/celtx-um-tutorial-de-escrita-de-guiao/">CeltX: Software livre para roteiros de cinema</a></div>
<div class="delicious-extended">O CeltX é um soft­ware open source de pré-??produção de media, que inclui capa­ci­da­des tão diver­sas como a pla­ni­fi­ca­ção e escrita dos guiões, os levan­ta­men­tos das neces­si­da­des de pro­du­ção, a pla­ni­fi­ca­ção de fil­ma­gens, catá­lo­gos, calen­dá­rio, story­bo­ard, etc.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/cinema">cinema</a> <a href="http://delicious.com/arlifrancis/software">software</a> <a href="http://delicious.com/arlifrancis/guionismo">guionismo</a> <a href="http://delicious.com/arlifrancis/roteiro">roteiro</a>)</div>
</li>
</ul>]]></description>
			<content:encoded><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://www.resartis.org/index.php?id=1&amp;L=es%2Findex.php%3Fid%3D1">Res Artis</a></div>
<div class="delicious-extended">Res Artis is the largest existing network of artist residency programmes, representing  the interests of more than 300 centers and organisations in 50 countries worldwide that offer to international artists facilities and conditions conducive for making art.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/arte">arte</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://joaonunes.com/2008/guionismo/celtx-um-tutorial-de-escrita-de-guiao/">CeltX: Software livre para roteiros de cinema</a></div>
<div class="delicious-extended">O CeltX é um soft­ware open source de pré-??produção de media, que inclui capa­ci­da­des tão diver­sas como a pla­ni­fi­ca­ção e escrita dos guiões, os levan­ta­men­tos das neces­si­da­des de pro­du­ção, a pla­ni­fi­ca­ção de fil­ma­gens, catá­lo­gos, calen­dá­rio, story­bo­ard, etc.</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/cinema">cinema</a> <a href="http://delicious.com/arlifrancis/software">software</a> <a href="http://delicious.com/arlifrancis/guionismo">guionismo</a> <a href="http://delicious.com/arlifrancis/roteiro">roteiro</a>)</div>
</li>
</ul>]]></content:encoded>
			<wfw:commentRss>http://arlifrancis.org/blog/2010/01/17/links-for-2010-01-16/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Haiti</title>
		<link>http://arlifrancis.org/blog/2010/01/15/haiti/</link>
		<comments>http://arlifrancis.org/blog/2010/01/15/haiti/#comments</comments>
		<pubDate>Fri, 15 Jan 2010 17:46:01 +0000</pubDate>
		<dc:creator>Francisco Arlindo Alves</dc:creator>
				<category><![CDATA[Variedades]]></category>

		<guid isPermaLink="false">http://arlifrancis.org/blog/2010/01/15/homens-caminham-ao-lado-de-casas-destruidas-pelo-terremoto/</guid>
		<description><![CDATA[<p>Imagens do site Flickr:</p>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/9183672/4274726155/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4041/4274726155_125d3886c7.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/9183672/4274726155/"> Homens caminham ao lado de casas destruídas pelo terremoto</a>,<br />
upload feito originalmente por <a href="http://www.flickr.com/people/9183672/">MIRIAM GODET</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/15214898@N08/4276931014/"><img style="border: solid 2px #000000;" src="http://farm3.static.flickr.com/2757/4276931014_978edb1eb0.jpg" alt="" /></a><span style="font-size: 0.8em; margin-top: 0px;"><br />
<a href="http://www.flickr.com/photos/15214898@N08/4276931014/">59271858</a>, upload feito originalmente por <a href="http://www.flickr.com/people/15214898@N08/">dan_k238</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/8178204@N05/4276946480/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4024/4276946480_def92c7d08.jpg" alt="" /></a><span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/8178204@N05/4276946480/"></a></span></div>
<div style="text-align: left; padding: 3px;"><span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/8178204@N05/4276946480/">Earthquake Aftermath</a>, upload feito originalmente por <a href="http://www.flickr.com/people/8178204@N05/">Roundup Russy</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/un_photo/4276254489/"><img style="border: solid 2px #000000;" src="http://farm3.static.flickr.com/2727/4276254489_3140263f27.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/un_photo/4276254489/">Man Recovers Shoe from Collapsed Justice Palace in Port-au-Prince</a>,<br />
upload feito originalmente por <a href="http://www.flickr.com/people/un_photo/">United Nations Photo</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/37959513@N07/4277058244/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4005/4277058244_9e84ee5013.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/37959513@N07/4277058244/">Haiti Earthquake 2010</a>, upload feito originalmente por <a href="http://www.flickr.com/people/37959513@N07/">Cross International</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/14700050@N04/4276994956/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4001/4276994956_303145c563.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/14700050@N04/4276994956/">Haiti needs our help</a>, upload feito originalmente por <a href="http://www.flickr.com/people/14700050@N04/">Vinos Unico</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/11114218@N05/4277007734/"><img style="border: solid 2px #000000;" src="http://farm3.static.flickr.com/2705/4277007734_519b34c5eb.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/11114218@N05/4277007734/">Haiti Earthquake</a>, upload feito originalmente por <a href="http://www.flickr.com/people/11114218@N05/">hvnleeskyes</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/11114218@N05/4277007734/"><br />
</a></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/weekforchildren/4276258239/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4050/4276258239_d6c1338919.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/weekforchildren/4276258239/">Haiti Earthquake Crisis</a>, upload feito originalmente por <a href="http://www.flickr.com/people/weekforchildren/">WorldVision_UK</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/11114218@N05/4277008144/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4026/4277008144_1629678073.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/11114218@N05/4277008144/">Canada Haiti Earthquake Survivors</a>, upload feito originalmente por <a href="http://www.flickr.com/people/11114218@N05/">hvnleeskyes</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/11114218@N05/4277007834/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4068/4277007834_8fd34ef7f3.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/11114218@N05/4277007834/">59278504</a>, upload feito originalmente por <a href="http://www.flickr.com/people/11114218@N05/">hvnleeskyes</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/11114218@N05/4277020116/"><img style="border: solid 2px #000000;" src="http://farm3.static.flickr.com/2731/4277020116_4d2bcf43f9.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/11114218@N05/4277020116/">destruction haiti reuters</a>, upload feito originalmente por <a href="http://www.flickr.com/people/11114218@N05/">hvnleeskyes</a>.</span></div>]]></description>
			<content:encoded><![CDATA[<p>Imagens do site Flickr:</p>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/9183672/4274726155/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4041/4274726155_125d3886c7.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/9183672/4274726155/"> Homens caminham ao lado de casas destruídas pelo terremoto</a>,<br />
upload feito originalmente por <a href="http://www.flickr.com/people/9183672/">MIRIAM GODET</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/15214898@N08/4276931014/"><img style="border: solid 2px #000000;" src="http://farm3.static.flickr.com/2757/4276931014_978edb1eb0.jpg" alt="" /></a><span style="font-size: 0.8em; margin-top: 0px;"><br />
<a href="http://www.flickr.com/photos/15214898@N08/4276931014/">59271858</a>, upload feito originalmente por <a href="http://www.flickr.com/people/15214898@N08/">dan_k238</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/8178204@N05/4276946480/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4024/4276946480_def92c7d08.jpg" alt="" /></a><span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/8178204@N05/4276946480/"></a></span></div>
<div style="text-align: left; padding: 3px;"><span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/8178204@N05/4276946480/">Earthquake Aftermath</a>, upload feito originalmente por <a href="http://www.flickr.com/people/8178204@N05/">Roundup Russy</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/un_photo/4276254489/"><img style="border: solid 2px #000000;" src="http://farm3.static.flickr.com/2727/4276254489_3140263f27.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/un_photo/4276254489/">Man Recovers Shoe from Collapsed Justice Palace in Port-au-Prince</a>,<br />
upload feito originalmente por <a href="http://www.flickr.com/people/un_photo/">United Nations Photo</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/37959513@N07/4277058244/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4005/4277058244_9e84ee5013.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/37959513@N07/4277058244/">Haiti Earthquake 2010</a>, upload feito originalmente por <a href="http://www.flickr.com/people/37959513@N07/">Cross International</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/14700050@N04/4276994956/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4001/4276994956_303145c563.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/14700050@N04/4276994956/">Haiti needs our help</a>, upload feito originalmente por <a href="http://www.flickr.com/people/14700050@N04/">Vinos Unico</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/11114218@N05/4277007734/"><img style="border: solid 2px #000000;" src="http://farm3.static.flickr.com/2705/4277007734_519b34c5eb.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/11114218@N05/4277007734/">Haiti Earthquake</a>, upload feito originalmente por <a href="http://www.flickr.com/people/11114218@N05/">hvnleeskyes</a>.</span></div>
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</a></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/weekforchildren/4276258239/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4050/4276258239_d6c1338919.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/weekforchildren/4276258239/">Haiti Earthquake Crisis</a>, upload feito originalmente por <a href="http://www.flickr.com/people/weekforchildren/">WorldVision_UK</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/11114218@N05/4277008144/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4026/4277008144_1629678073.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/11114218@N05/4277008144/">Canada Haiti Earthquake Survivors</a>, upload feito originalmente por <a href="http://www.flickr.com/people/11114218@N05/">hvnleeskyes</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/11114218@N05/4277007834/"><img style="border: solid 2px #000000;" src="http://farm5.static.flickr.com/4068/4277007834_8fd34ef7f3.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/11114218@N05/4277007834/">59278504</a>, upload feito originalmente por <a href="http://www.flickr.com/people/11114218@N05/">hvnleeskyes</a>.</span></div>
<div style="text-align: left; padding: 3px;"><a title="photo sharing" href="http://www.flickr.com/photos/11114218@N05/4277020116/"><img style="border: solid 2px #000000;" src="http://farm3.static.flickr.com/2731/4277020116_4d2bcf43f9.jpg" alt="" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/11114218@N05/4277020116/">destruction haiti reuters</a>, upload feito originalmente por <a href="http://www.flickr.com/people/11114218@N05/">hvnleeskyes</a>.</span></div>]]></content:encoded>
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