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	<title>CIBERCRÍTICA</title>
	<link>http://arlifrancis.org/blog</link>
	<description>Reflexões sobre design, internet e novas mídias</description>
	<lastBuildDate>Tue, 02 Mar 2010 18:11:56 +0000</lastBuildDate>
	<docs>http://backend.userland.com/rss092</docs>
	<language>en</language>
	
	<item>
		<title>links for 2010-03-01</title>
		<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>
		<link>http://arlifrancis.org/blog/2010/03/02/links-for-2010-03-01/</link>
			</item>
	<item>
		<title>links for 2010-02-28</title>
		<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>
		<link>http://arlifrancis.org/blog/2010/03/01/links-for-2010-02-28/</link>
			</item>
	<item>
		<title>links for 2010-02-27</title>
		<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>
		<link>http://arlifrancis.org/blog/2010/02/28/links-for-2010-02-27/</link>
			</item>
	<item>
		<title>links for 2010-02-06</title>
		<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>
		<link>http://arlifrancis.org/blog/2010/02/07/links-for-2010-02-06/</link>
			</item>
	<item>
		<title>links for 2010-01-31</title>
		<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>
		<link>http://arlifrancis.org/blog/2010/02/01/links-for-2010-01-31/</link>
			</item>
	<item>
		<title>links for 2010-01-26</title>
		<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>
		<link>http://arlifrancis.org/blog/2010/01/27/links-for-2010-01-26/</link>
			</item>
	<item>
		<title>links for 2010-01-23</title>
		<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>
		<link>http://arlifrancis.org/blog/2010/01/24/links-for-2010-01-23/</link>
			</item>
	<item>
		<title>Hierarquia, Heterarquia e Autonomia</title>
		<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>
		<link>http://arlifrancis.org/blog/2010/01/22/hierarquia-heterarquia-e-autonomia/</link>
			</item>
	<item>
		<title>Rosie, a empregada dos Jetsons chegou</title>
		<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>
		<link>http://arlifrancis.org/blog/2010/01/21/rosie-a-empregada-dos-jetsons-chegou/</link>
			</item>
	<item>
		<title>links for 2010-01-17</title>
		<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>
		<link>http://arlifrancis.org/blog/2010/01/18/links-for-2010-01-17/</link>
			</item>
	<item>
		<title>links for 2010-01-16</title>
		<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>
		<link>http://arlifrancis.org/blog/2010/01/17/links-for-2010-01-16/</link>
			</item>
	<item>
		<title>Haiti</title>
		<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>
		<link>http://arlifrancis.org/blog/2010/01/15/haiti/</link>
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		<title>links for 2010-01-11</title>
		<description><![CDATA[<ul class="delicious">
<li>
<div class="delicious-link"><a href="http://www.usc.edu/dept/LAS/history/hist225g/pages/home/index.html">Labor vs. Capital in the Age of Silent Films</a></div>
<div class="delicious-extended">Part I: History. <strong>i.</strong> Why Movies Matter <strong>ii.</strong> Movies, Politics, and the Working Class<strong> iii. </strong>Looking at Labor-Capital Films, Conservative Films, Radical Films, Liberal Films, Populist Films, Anti-Authoritarian Films,<strong> iv.</strong> When Workers and Radicals Made Movies,<strong> v.</strong> Class Battles On Screen: Decoding Cinematic Ideology, Conservative Attack, Liberal Ambivalence, Worker Counterattacks</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/politics">politics</a> <a href="http://delicious.com/arlifrancis/film">film</a>)</div>
</li>
<li>
<div class="delicious-link"><a href="http://thevarsity.ca/articles/23855">How to Destroy the Book, by Cory Doctorow &#124;</a></div>
<div class="delicious-extended">Como destruir o livro, por Cory Doctorow [...] The anti-copyright activists have no respect for our copyright and our books. They say that when you buy an ebook or an audiobook that’s delivered digitally, you are demoted from an owner to a licensor. From a reader to a mere user. [...]</div>
<div class="delicious-tags">(tags: <a href="http://delicious.com/arlifrancis/livro">livro</a> <a href="http://delicious.com/arlifrancis/internet">internet</a> <a href="http://delicious.com/arlifrancis/copyright">copyright</a> <a href="http://delicious.com/arlifrancis/ebooks">ebooks</a> <a href="http://delicious.com/arlifrancis/doctorow">doctorow</a> <a href="http://delicious.com/arlifrancis/drm">drm</a>)</div>
</li>
</ul>]]></description>
		<link>http://arlifrancis.org/blog/2010/01/12/links-for-2010-01-11/</link>
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