Pioneers of Cultural Software PDF

Cibercultura, Internet e Redes Sociais Global DESIGN | IADE 1º ano | 1º semestre Vai mais à frente  Third Session Pioneers of Cultural Software. Cyberculture, cyberspace and Cyborgs. 1. The pioneers of Cultural Software:...

Cibercultura, Internet e Redes Sociais Global DESIGN | IADE 1º ano | 1º semestre Vai mais à frente  Third Session Pioneers of Cultural Software. Cyberculture, cyberspace and Cyborgs. 1. The pioneers of Cultural Software: a) Douglas Engelbart b) JCK Linklider c) Ivan Sutherland d) Alan Kay e) Nicholas Negroponte 2. A definition of Cyberculture 3. A definition of Cyberspace 4. A definition of Cyborg © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: a) Douglas Engelbart: Douglas Carl Engelbart (January 30, 1925 – July 2, 2013): American engineer and inventor, and an early computer and Internet pioneer. One of the pioneers on founding the field of human–computer interaction, particularly while at his Augmentation Research Center Lab in Stanford Research Institute International, which resulted in creation of the computer mouse, and the development of hypertext, networked computers, and precursors to graphical user interfaces. These were demonstrated at The Mother of All Demos in 1968. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: a) Douglas Engelbart: the first mouse © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: a) Douglas Engelbart: hypertext Since hyper - generally means "above, beyond", hypertext is something that's gone beyond the limitations of ordinary text. (MerriamWebster). Hypertext is text displayed on a computer display or other electronic devices with references - hyperlinks- to other text that the reader can immediately access. Hypertext documents are interconnected by hyperlinks, which are typically activated by a mouse click, keypress set, or screen touch. Apart from text, the term "hypertext" is also sometimes used to describe tables, images, and other presentational content formats with integrated © Copyright Universidade Europeia. Todos os direitos reservados hyperlinks.  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: a) Douglas Engelbart: HUMAN COMPUTER INTERFACE Human–computer interaction (HCI) is research in the design and the use of computer technology, which focuses on the interfaces between people (users) and computers. HCI researchers observe the ways humans interact with computers and design technologies that allow humans to interact with computers in novel ways. A device that allows interaction between human being and a computer is known as a "Human-computer Interface (HCI)". © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: a) Douglas Engelbart: HUMAN COMPUTER INTERFACE The human–computer interface can be described as the point of communication between the human user and the computer. The flow of information between the human and computer is defined as the loop of interaction. The loop of interaction has several aspects to it, including: Visual Based: The visual-based human–computer interaction is probably the most widespread human–computer interaction (HCI) research area. Audio-Based: The audio-based interaction between a computer and a human is another important area of HCI systems. This area deals with information acquired by different audio signals. Task environment: The conditions and goals set upon the user. Machine environment: The computer's environment is connected to, e.g., a laptop in a college student's dorm room. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: a) Douglas Engelbart: HUMAN COMPUTER INTERFACE Areas of the interface: Non-overlapping areas involve the processes related to humans and computers themselves, while the overlapping areas only involve the processes related to their interaction. Input flow: The flow of information begins in the task environment when the user has some tasks requiring using their computer. Output: The flow of information that originates in the machine environment. Feedback: Loops through the interface that evaluate, moderate, and confirm processes as they pass from the human through the interface to the computer and back. Fit: This matches the computer design, the user, and the task to optimize the human resources needed to accomplish the task. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: a) J. C. R. LickLider - Networks and IPTO, previous to ARPANET It seems reasonable to envision, for a time 10 or 15 years hence, a ‘thinking center’ that will incorporate the functions of present-day libraries together with anticipated advances in information storage and retrieval. The picture readily enlarges itself into a network of such centers, connected to one another by wide-band communi- cation lines and to individual users by leased-wire services. In such a system, the speed of the computers would be balanced, and the cost of the gigantic memories and the sophisticated programs would be divided by the number of users. J.C.R. Licklider, Man- Computer Symbiosis, 1960. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: a) J. C. R. LickLider - Networks, IPTO, ARPANET The ARPANET was the first wide area packet switching network, the “Eve” network of what has evolved into the Internet. The ARPANET was originally created by the IPTO under the sponsorship of DARPA, and conceived and planned by Lick Licklider, Lawrence Roberts, and others as described earlier in this section. The ARPANET, and so the internet, was born on August 30, 1969, when BBN delivered the first Interface Message Processor (IMP) to Leonard Kleinrock‘s Network Measurements Center at UCLA. This was long before commercial internet providers came onto the scene, however. The IMP was built from a Honeywell DDP 516 computer with 12K of memory, designed to handle the ARPANET network interface. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: a) Ivan Sutherland - SKETCHPAD Ivan Sutherland was considered a pioneer of computer graphics with the invention of the SKETCHPAD, a computer programme designed in 1963. It pioneered human–computer interaction (HCI)and is considered the ancestor of modern computer-aided design (CAD) programs as well as a major breakthrough in the development of computer graphics in general. For example, the graphical user interface (GUI) was derived from Sketchpad as well as modern object-oriented programming. Using the program, Ivan Sutherland showed that computer graphics could be used for both artistic and technical purposes in addition to demonstrating a novel method © Copyright Universidade ofTodos Europeia. human–computer os direitos interaction. reservados  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: Ivan Sutherland Sutherland was also the inventor of the first functional head-mounted virtual reality system called The Sword of Damocles. It was constructed by him and his students at MIT. Both Sketchpad and The Sword of Damocles inspired generations of scientists and artists to develop virtual and augmented reality solutions, as well as to think about new ways of humans and machines interacting. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: Ted Nelson: The hyperlink and hypermedia Pioneer of information technology, philosopher, and sociologist. He coined the terms hypertext and hypermedia in 1963 and published them in 1965. He worked in the project XANADU. Wired magazine published an article entitled "The Curse of Xanadu", calling Project Xanadu "the longest-running vaporware story in the history of the computer industry". The first attempt at implementation began in 1960, but it was not until 1998 that an incomplete implementation was released. A version described as "a working deliverable", OpenXanadu, was made available in 2014. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: a) Alan Kay - DynaBook Envisioned by Alan Kay in 1968 while a PhD candidate, and later developed and described as the Dynabook in his 1972 proposal "A personal computer for children of all ages", outlines the requirements for a conceptual portable educational device that would offer similar functionality to that now supplied via a laptop computer or a tablet or slate computer. Adults could also use a Dynabook, but the target audience was children. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Pioneers of Cultural Software 1. The pioneers of Cultural Software: a) Alan Kay - DynaBook Describing the idea as "A Personal Computer For Children of All Ages". This concept was created two years before the founding of Xerox PARC. The ideas led to the develop- ment of the Xerox Alto prototype, which was originally called "the interim Dynabook". © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Cyberculture, cyberspace and Cyborgs. Cyberculture is an umbrella term for the emergent and evolving forms of engagement with the Internet, the World Wide Web, and the vast array of virtual environments, digital networks, devices, interfaces, formats, and software known as cyberspace. The concept of cyberculture defines all the social-communicational space that is created through computer-mediated communications. Cyberculture entails social, cultural, and technological phenomena that span across a range of disciplines, including—but not limited to—literary studies, philosophy, anthropology, sociology, communication, information, and computer sciences. In addition to cyberculture, these designations include Internet studies, multimedia, digital culture, new media, interactive media, computer-mediated communication, human–computer interaction, software studies, and cultural computing. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Cyberculture, cyberspace and Cyborgs. The foundations of cyberculture, as a concept and research domain, developed in the 1960s at the Massachusetts Institute of Technology. Cyberspace, as a mainstream term, is often attributed to novelist William Gibson as it appears in his 1984 book Neuromancer, in which Gibson describes an imaginary collective hallucination by means of connecting human consciousness to networked computers. Other science fiction writers whose work is associated with cyberculture—particularly, cyberpunk as a subculture—include Philip K. Dick, Pat Cadigan, Rudy Rucker, and Bruce Sterling. Cyberculture also is related to the notion of cybernetics, a term popularized in a 1948 work by Norbert Wiener that refers to mechanisms involved with information exchange and feedback between human systems and machines. This idea was further developed by Donna Haraway in terms of a cyborg discourse and conversation between human and machines, crucial to the development of science and technology studies. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Cyberculture, cyberspace and Cyborgs. The foundations of cyberculture, as a concept and research domain, developed in the 1960s at the Massachusetts Institute of Technology. Cyberspace, as a mainstream term, is often attributed to novelist William Gibson as it appears in his 1984 book Neuromancer, in which Gibson describes an imaginary collective hallucination by means of connecting human consciousness to networked computers. Other science fiction writers whose work is associated with cyberculture—particularly, cyberpunk as a subculture—include Philip K. Dick, Pat Cadigan, Rudy Rucker, and Bruce Sterling. Cyberculture also is related to the notion of cybernetics, a term popularized in a 1948 work by Norbert Wiener that refers to mechanisms involved with information exchange and feedback between human systems and machines. This idea was further developed by Donna Haraway in terms of a cyborg discourse and conversation between human and machines, crucial to the development of science and technology studies. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Cyberculture, cyberspace and Cyborgs. The information age is a consequence of the digital revolution, and cyberculture is its demonstration of vitality over the decades, from the invention of the telegraph to the widespread adoption of digital communication and the proliferation of the network society. In the 1980s, cyberculture began to leave the university context and research centers through the spread of personal computers. It was the moment when a subculture anchored to digital avant-garde, hackers, video games, and virtual communities emerged, although still very restricted to North America and Western Europe. It was only in the 1990s that cyberculture, as practice, consolidated with the beginning of what would become the generalization of the Internet and World Wide Web in the early 21st century. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Cyberculture, cyberspace and Cyborgs. Nevertheless, some subcultures remain active on the Internet. Cyberpunk is the best known of all, assuming itself as an antithesis of utopian visions of science fiction worlds and simultaneously as a space of dystopias in which the cyberpunk fights against artificial intelligence that controls the world. The connection with literature and cinema (e.g., the 1999 film The Matrix and its sequels) is a well-known emblem of the cyberpunk culture, and its metaphors are often pivotal in the concerns that arise over the control of large corporations over the population, government corruption, alienation, and technological surveillance. From this subculture emerged different cultural currents and types of cyberactivism, which can be defined as practices using digital tools on behalf of causes. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Cyberculture, cyberspace and Cyborgs. Nevertheless, some subcultures remain active on the Internet. Cyberpunk is the best known of all, assuming itself as an antithesis of utopian visions of science fiction worlds and simultaneously as a space of dystopias in which the cyberpunk fights against artificial intelligence that controls the world. The connection with literature and cinema (e.g., the 1999 film The Matrix and its sequels) is a well-known emblem of the cyberpunk culture, and its metaphors are often pivotal in the concerns that arise over the control of large corporations over the population, government corruption, alienation, and technological surveillance. From this subculture emerged different cultural currents and types of cyberactivism, which can be defined as practices using digital tools on behalf of causes. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Cyberculture, cyberspace and Cyborgs. The cyberculture movement has undergone extensive developments with the expansion of the Internet and network applications and has introduced a new form of culture. However, in contemporary times, cyberculture is no longer just a subculture or a culture of tribes; instead, it has surpassed definitions closely associated with the science fiction of the 1980s. It can now be defined as the sociocultural and political dynamics of digital technologies, which promotes a reformulation of social relations and the creation of communities in virtual environments, while at the same time fostering the emergence of new behaviors and social practices. Cyberculture, as a concept, comes thus to describe and give meaning to the cultures and users’ interactions developed through computer mediation, including online but also in off-line virtual and hybrid worlds. As computer- mediated communication, cyberculture aggregates the symbolic patterns and representational structures in human–computer interaction, as well as its interdependent values, practices, and artifacts. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Cyberculture, cyberspace and Cyborgs. Cyberspace is an interconnected digital environment. It is a type of virtual world popularized with the rise of the Internet. The term entered popular culture from science fiction and the arts but is now used by technology strategists, security professionals, governments, military and industry leaders and entrepreneurs to describe the domain of the global technology environment, commonly defined as standing for the global network of interdependent information technology infrastructures, telecommunications networks and computer processing systems. Others consider cyberspace to be just a notional environment in which communication over computer networks occurs. The word became popular in the 1990s when the use of the Internet, networking, and digital communication were all growing dramatically; the term cyberspace was able to represent the many new ideas and phenomena that were emerging. As a social experience, individuals can interact, exchange ideas, share information, provide social support, conduct business, direct actions, create artistic media, play games, © Copyright engage Universidade Europeia. Todosin political discussion, and so on, using this global network. os direitos reservados  Third Session Cyberculture, cyberspace and Cyborgs. Cyberspace is an interconnected digital environment. It is a type of virtual world popularized with the rise of the Internet. The term entered popular culture from science fiction and the arts but is now used by technology strategists, security professionals, governments, military and industry leaders and entrepreneurs to describe the domain of the global technology environment, commonly defined as standing for the global network of interdependent information technology infrastructures, telecommunications networks and computer processing systems. Others consider cyberspace to be just a notional environment in which communication over computer networks occurs. The word became popular in the 1990s when the use of the Internet, networking, and digital communication were all growing dramatically; the term cyberspace was able to represent the many new ideas and phenomena that were emerging. As a social experience, individuals can interact, exchange ideas, share information, provide social support, conduct business, direct actions, create artistic media, play games, © Copyright engage Universidade Europeia. Todosin political discussion, and so on, using this global network. os direitos reservados  Third Session Cyberculture, cyberspace and Cyborgs. Declaration of Independence for cyberspace itself: It states, “Governments derive their just powers from the consent of the governed. You have neither solicited nor received ours. We did not invite you. You do not know us, nor do you know our world. Cyberspace does not lie within your borders. Do not think that you can build it, as though it were a public construction project. You cannot. It is an act of nature and it grows itself through our collective actions.” A mighty statement, if there is one. Cyberspace sees itself different from the real world, it is a community, an ever growing and ever changing one. Many argue the restrictions that should be in place for such a community, but others say nay. Why should there be? Why should something so different and not yet fully understood be regulated and ruled? It is my firm assessment that much of the world is full of terrified people too scared of the unknown. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Cyberculture, cyberspace and Cyborgs. Tron, 1972, Steven Lisber ger The plot concerns a genius programmer named Flynn (played by Jeff Bridges), who we find running a video game arcade since his former employers, a tech corporation named Encom, stole his code. While trying to hack into Encom, Flynn is somehow digitised by its all-knowing AI, the Master Control Program (MCP), and zapped into its 80s nightclub cyber-world, where he must overthrow the MCP (via video game combat), retrieve his intellectual property and return to reality. © Copyright Universidade Europeia. Todos os direitos reservados  Third Session Cyberculture, cyberspace and Cyborgs. A cyborg —a portmanteau of cybernetic and organism—is a being with both organic and biomechatronic body parts. The term was coined in 1960 by Manfred Clynes and Nathan S. Kline. In contrast to biorobots and androids, the term cyborg applies to a living organism that has restored function or enhanced abilities due to the integration of some artificial component or technology that relies on feedback. Cyborg is not the same thing as bionics, biorobotics, or androids; it applies to an organism that has restored function or, especially, enhanced abilities due to the integration of some artificial component or technology that relies on some sort of feedback, for example: prostheses, artificial organs, implants or, in some cases, wearable technology. Cyborg technologies may enable or support collective intelligence. A related, possibly © Copyright Universidadebroader, Europeia. Todos os term direitos is the "augmented human". reservados  OBRIGADA! Vai mais à frente © Copyright Universidade Europeia. Todos os direitos reservados.