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Joanne S

Leaning on Window / Ferris - 0 views

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    "images for remediation" "Ferris Bueller"
Joanne S

Heslop, H., Davis, S., & Wilson, A. (2002). An approach to the preservation of digital ... - 0 views

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    Heslop, H., Davis, S., & Wilson, A. (2002). An approach to the preservation of digital records. Canberra: National Archives of Australia. http://www.naa.gov.au/images/an-approach-green-paper_tcm2-888.pdf
Joanne S

Kneale, R. (2009). Stereotype? What stereotype? in You Don't Look Like a Librarian: Sha... - 0 views

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    Kneale, R. (2009). Stereotype? What stereotype? in You Don't Look Like a Librarian: Shattering Stereotypes and Creating Positive New Images in the Internet Age. Information Today, Inc. pp. 1-18. Retrieved fromhttp://edocs.library.curtin.edu.au/eres_display.cgi?url=dc60250772.pdf
Joanne S

Library Bookcase | Flickr - Photo Sharing! - 0 views

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    Bookmark to the group Photo - for attribution
Joanne S

Archives & Museum Informatics: Museums and the Web 2009: Paper: Gow, V. et al., Making ... - 0 views

  • New Zealand content difficult to discover, share and use
  • DigitalNZ is testing ways to create digital content, collect and share existing digital content, and build smart, freely available search and discovery tools.
  • Memory Maker blurs the line between consuming and producing content. What’s sometimes called ‘remix culture’ […]. Digital technologies have opened up new possibilities for young people to access and represent the stories of their culture by taking sound and images and recombining them to say something new, something relevant to them. (Sarah Jones, Lunch Box: Software & digital media for learning, November 2008) http://lunchbox.org.nz/2008/11/get-coming-home-on-your-schools-website-wiki-or-blog/)
  • ...7 more annotations...
  • The Memory Maker provides a taste of what is possible when collecting institutions modernise their practices for keeping and managing copyright information, using Creative Commons licenses or ‘no known copyright’ statements.
  • Learning about ‘hyperlinks’ today, these young New Zealanders will be the developers and creators of tomorrow.
  • The full set of contributions is accessible through a Coming Home search tool, occasionally on a google-like hosted search page (Figure 5), but more often through a search widget embedded on many New Zealand Web sites (Figure 6).
  • Digital New Zealand is developing and testing solutions that showcase what’s possible when we really focus on improving access to and discovery of New Zealand content.
  • Technically, the Digital New Zealand system is in three parts: a backend, a metadata store, and a front end.
  • The coolest thing to be done with your data will be thought of by someone else
  • “an API is basically a way to give developers permission to hack into your database”.
    • Joanne S
       
      George Oates
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    Gow, V., Brown, L., Johnston, C., Neale, A., Paynter, G., & Rigby, F. (2009). Making New Zealand Content Easier to Find, Share and Use. In Museums and the Web 2009. Presented at the Museums and the Web 2009, Toronto: Archives & Museum Informatics, Retrieved from http://www.archimuse.com/mw2009/papers/gow/gow.html
Joanne S

Amanda Palmer: The art of asking | Video on TED.com - Topic 1.1: Music: I Want My MP3 - 0 views

    • Joanne S
       
      Topic 1.1: Music: I Want My MP3 (Breathes in, breathes out) So I didn't always make my living from music. For about the five years after graduating from an upstanding liberal arts university, this was my day job. I was a self-employed living statue called the 8-Foot Bride, and I love telling people l did this for a job, because everybody always wants to know, who are these freaks in real life? Hello. I painted myself white one day, stood on a box, put a hat or a can at my feet, and when someone came by and dropped in money, I handed them a flower and some intense eye contact. And if they didn't take the flower, I threw in a gesture of sadness and longing as they walked away. (Laughter) So I had the most profound encounters with people, especially lonely people who looked like they hadn't talked to anyone in weeks, and we would get this beautiful moment of prolonged eye contact being allowed in a city street, and we would sort of fall in love a little bit. And my eyes would say, "Thank you. I see you." And their eyes would say, "Nobody ever sees me. Thank you." And I would get harassed sometimes. People would yell at me from their passing cars. "Get a job!" And I'd be, like, "This is my job." But it hurt, because it made me fear that I was somehow doing something un-joblike and unfair, shameful. I had no idea how perfect a real education I was getting for the music business on this box. And for the economists out there, you may be interested to know I actually made a pretty predictable income, which was shocking to me given I had no regular customers, but pretty much 60 bucks on a Tuesday, 90 bucks on a Friday. It was consistent. And meanwhile, I was touring locally and playing in nightclubs with my band, the Dresden Dolls. This was me on piano, a genius drummer. I wrote the songs, and eventually we started making enough money that I could quit being a statue, and as we started touring, I really didn't want to lose this sense of direct connection
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