"The word technology comes from two Greek words, techne and logos.
Techne means art, skill, craft, or the way, manner, or means by which a thing is gained.
Logos means word, the utterance by which inward thought is expressed, a saying, or an expression.
So, literally, technology means words or discourse about the way things are gained."
Exploring the various ways that higher education in the UK can exploit the open philosophy of Web 2.0 for disseminating information about research and infecting the network with free, user managed, and mass created distributed knowledge, learning resources, connections and spaces.
The first widespread music delivery technology to emanate from outside industry control, mp3s, flowing through peer-to-peer networks and other pathways hidden in plain sight, have performed the radical task of separating music from the music industry for the first time in a century.
They have facilitated the rise of an enormous pirate infrastructure; ideologically separate from the established one, but feeding off its products, multiplying and distributing them freely, without following the century-old rules of capitalist exchange.
Capitalism hasn't gone away, of course, but mp3s have severely threatened its habits and rituals within music culture.
I imagine attention festivals: week-long multimedia, cross-industry carnivals of readings, installations, and performances, where you go from a tent with 30-second films, guitar solos, 10-minute video games, and haiku to the tent with only Andy Warhol movies, to a myriad of venues with other media forms and activities requiring other attention lengths. In the Nano Tent, you can hear ringtones and read tweets. A festival organized not by the forms of the commodities themselves but of the experience of interacting with them. Not organized by time elapsed, but by cognitive investment: a pop song, which goes by quickly, can resonate for days; a poem, which can go by more quickly, sticks through a season. A festival in which you can see images of your brain on knitting and on Twitter.
We propose the term aura to enrich the currentlanguage for designing and analyzing media experiences,especially when using augmented reality, mixed reality andubiquitous computing technology. Aura describes thecultural and personal significance that a place (or object)holds for an individual. An MR application can exploit aurato make the user’s experience more compelling oreducationally rewarding. Aura provides a necessarycomplement to the concepts of presence, which is commonlyused to evaluate VR applications, and of place, which refersto the more generic significance of places, particularly inCSCW applications. We use the Oakland Cemetery inAtlanta, Georgia to illustrate the concept of aura. Anumber of research questions about the relationship ofaura, presence, and place are suggested.
Keywords--- Augmented Reality, Mixed Reality,Presence, Aura, Cultural Heritage
Paul Miller, a.k.a DJ Spooky is the unofficial spokesman for remix culture. Derek Chilcote Bacco the World Famous Audio Hacker explains what a mash-up is. Lawrence Lessig is the founder of Creative Commons, and thinks current copyright law is absurd. Jason Bittner collects and plays samples from various cassette mix tapes.
