Stop-motion and knowledge. Educational video-clip such as writing with media experience

The article presents the experiment of a good practice for the methodological innovation at the primary school. The activity is based on the production of short knowledge audio-visual pills, realized with the stop-motion technique and through the directly involvement of students in all ideation and production steps of the media text. The experiment, that is also oriented to teachers, aims to educate participants to acquire the know-how and needed competences to write with media, according to the logic of an aware use of technologies in daily school and educative contexts. Stop-motion e conoscenza. Video-pillole educative come esperienza di scrittura con i mediaL’articolo presenta la sperimentazione di una buona pratica per l’innovazione metodologica nella scuola del primo ciclo. L’attività si basa sulla produzione di brevi pillole di conoscenza realizzate con la tecnica dello stop-motion e il coinvolgimento diretto degli studenti in tutte le fasi di ideazione e di produzione del testo mediale. La sperimentazione, che è rivolta anche agli insegnanti, ha inoltre l’obiettivo di educare i partecipanti ad acquisire le conoscenze e le competenze necessarie per scrivere con i media, in una logica di utilizzo consapevole delle tecnologie nella quotidianità scolastica ed educativa

Stop-motion and knowledge. Educational video-clip such as writing with media experience

The article presents the experiment of a good practice for the methodological innovation at the primary school. The activity is based on the production of short knowledge audio-visual pills, realized with the stop-motion technique and through the directly involvement of students in all ideation and production steps of the media text. The experiment, that is also oriented to teachers, aims to educate participants to acquire the know-how and needed competences to write with media, according to the logic of an aware use of technologies in daily school and educative contexts.   Stop-motion e conoscenza. Video-pillole educative come esperienza di scrittura con i media L’articolo presenta la sperimentazione di una buona pratica per l’innovazione metodologica nella scuola del primo ciclo. L’attività si basa sulla produzione di brevi pillole di conoscenza realizzate con la tecnica dello stop-motion e il coinvolgimento diretto degli studenti in tutte le fasi di ideazione e di produzione del testo mediale. La sperimentazione, che è rivolta anche agli insegnanti, ha inoltre l’obiettivo di educare i partecipanti ad acquisire le conoscenze e le competenze necessarie per scrivere con i media, in una logica di utilizzo consapevole delle tecnologie nella quotidianità scolastica ed educativa

Parlare con le immagini. Come i media possono ridare voce a persone affette da afasia.

L’articolo presenta i risultati di una sperimentazione di pragmatica della percezione e della comunicazione con i linguaggi multimediali e il coinvolgimento di persone affette da afasia. La ricerca mira a comprendere come il paziente afasico possa servirsi delle tecnologie e dei linguaggi mediali come metodologie alternative o migliorative della propria comunicazione, affiancando così una pragmatica basata sulla pluricodicità tipica dei media a quella verbale (che risulta essere, nella maggior parte dei casi, compromessa). L’articolo intende presentare e descrivere l’attività svolta con il gruppo di pazienti afasici e i risultati ottenuti, con particolare attenzione ai processi sintagmatici, cognitivi e relazionali che si sono manifestati durante lo svolgimento della sperimentazione

Fake tourism e immagini. Un'ipotesi di racconto visuale (e ideale) dell'esperienza turistica

The everyday technological abundance and proliferation of media and visual objects have progressively modified our perception and signification processes, but also our existence. Our actions are now often a result of our ongoing relationship between our Being (and our intentions) and media devices through which we tell our stories as subjects-objects of an everyday epos that exists since it is co-constructed, lived and shared from – and into – media environments, resulting in an immediacy that makes a radical mediation, to equalize the ontological differences, possible. Today images are the main code of performative and representative expression of the Social Humanity. Images "exceed", according to Mitchell, by appearing as objects but still maintaining also some potential existential declinations. In the most common form of global human transit, which is tourism, the image becomes a recognizable "sign" of the destination and, because of its immediacy, an object of the research made by the visitor's gaze, according to Urry. The reification of the place makes it simpler and reproducible and the image of the destination is the only one that remains beyond the tourist trip itself. Over and above Benjamin's mechanical reproduction, within the reproducibility of the journey and place, the image becomes paradoxically an expressive limit and a return to the past. Tourists are "guilty" of being driven by a mimetic desire – from the days when the industrialist travelled to imitate the nobleman – and try hard to stand out from that mass of which they are part. Images produced by tourists confirm this flattening of the tourist experience. While tourists could extensively express their individuality through devices, they do nothing but reproduce known, lived and recognizable subjects, narrations and frames. This is the paradox of the image: the expression of the movement of travellers turns out to be their self-imposed cage as the image appears to be a social comfort-zone to escape an unconscious confusion between real and communicated, representation and mystification. This paper will analyse the phenomenon of the fake tourism spread for representing locations that have never been reached and trips that have been faked through media.The everyday technological abundance and proliferation of media and visual objects have progressively modified our perception and signification processes, but also our existence. Our actions are now often a result of our ongoing relationship between our Being (and our intentions) and media devices through which we tell our stories as subjects-objects of an everyday epos that exists since it is co-constructed, lived and shared from – and into – media environments, resulting in an immediacy that makes a radical mediation, to equalize the ontological differences, possible. Today images are the main code of performative and representative expression of the Social Humanity. Images “exceed”, according to Mitchell, by appearing as objects but still maintaining also some potential existential declinations. In the most common form of global human transit, which is tourism, the image becomes a recognizable “sign” of the destination and, because of its immediacy, an object of the research made by the visitor's gaze, according to Urry. The reification of the place makes it simpler and reproducible and the image of the destination is the only one that remains beyond the tourist trip itself. Over and above Benjamin’s mechanical reproduction, within the reproducibility of the journey and place, the image becomes paradoxically an expressive limit and a return to the past. Tourists are “guilty” of being driven by a mimetic desire – from the days when the industrialist travelled to imitate the nobleman – and try hard to stand out from that mass of which they are part. Images produced by tourists confirm this flattening of the tourist experience. While tourists could extensively express their individuality through devices, they do nothing but reproduce known, lived and recognizable subjects, narrations and frames. This is the paradox of the image: the expression of the movement of travellers turns out to be their self-imposed cage as the image appears to be a social comfort-zone to escape an unconscious confusion between real and communicated, representation and mystification. This paper will analyse the phenomenon of the fake tourism spread for representing locations that have never been reached and trips that have been faked through media

Fake Tourism e immagini. Un’ipotesi di racconto visuale (e ideale) dell’esperienza turistica

The everyday technological abundance and proliferation of media and visual objects have progressively modified our perception and signification processes, but also our existence. Our actions are now often a result of our ongoing relationship between our Being (and our intentions) and media devices through which we tell our stories as subjects-objects of an everyday epos that exists since it is co-constructed, lived and shared from – and into – media environments, resulting in an immediacy that makes a radical mediation, to equalize the ontological differences, possible. Today images are the main code of performative and representative expression of the Social Humanity. Images "exceed", according to Mitchell, by appearing as objects but still maintaining also some potential existential declinations. In the most common form of global human transit, which is tourism, the image becomes a recognizable "sign" of the destination and, because of its immediacy, an object of the research made by the visitor's gaze, according to Urry. The reification of the place makes it simpler and reproducible and the image of the destination is the only one that remains beyond the tourist trip itself. Over and above Benjamin's mechanical reproduction, within the reproducibility of the journey and place, the image becomes paradoxically an expressive limit and a return to the past. Tourists are "guilty" of being driven by a mimetic desire – from the days when the industrialist travelled to imitate the nobleman – and try hard to stand out from that mass of which they are part. Images produced by tourists confirm this flattening of the tourist experience. While tourists could extensively express their individuality through devices, they do nothing but reproduce known, lived and recognizable subjects, narrations and frames. This is the paradox of the image: the expression of the movement of travellers turns out to be their self-imposed cage as the image appears to be a social comfort-zone to escape an unconscious confusion between real and communicated, representation and mystification. This paper will analyse the phenomenon of the fake tourism spread for representing locations that have never been reached and trips that have been faked through media.The everyday technological abundance and proliferation of media and visual objects have progressively modified our perception and signification processes, but also our existence. Our actions are now often a result of our ongoing relationship between our Being (and our intentions) and media devices through which we tell our stories as subjects-objects of an everyday epos that exists since it is co-constructed, lived and shared from – and into – media environments, resulting in an immediacy that makes a radical mediation, to equalize the ontological differences, possible. Today images are the main code of performative and representative expression of the Social Humanity. Images “exceed”, according to Mitchell, by appearing as objects but still maintaining also some potential existential declinations. In the most common form of global human transit, which is tourism, the image becomes a recognizable “sign” of the destination and, because of its immediacy, an object of the research made by the visitor's gaze, according to Urry. The reification of the place makes it simpler and reproducible and the image of the destination is the only one that remains beyond the tourist trip itself. Over and above Benjamin’s mechanical reproduction, within the reproducibility of the journey and place, the image becomes paradoxically an expressive limit and a return to the past. Tourists are “guilty” of being driven by a mimetic desire – from the days when the industrialist travelled to imitate the nobleman – and try hard to stand out from that mass of which they are part. Images produced by tourists confirm this flattening of the tourist experience. While tourists could extensively express their individuality through devices, they do nothing but reproduce known, lived and recognizable subjects, narrations and frames. This is the paradox of the image: the expression of the movement of travellers turns out to be their self-imposed cage as the image appears to be a social comfort-zone to escape an unconscious confusion between real and communicated, representation and mystification. This paper will analyse the phenomenon of the fake tourism spread for representing locations that have never been reached and trips that have been faked through media

Editorial: New frontiers in pancreatic cancer care: Multidisciplinary approaches, the role of Pancreas Units, and their organizational impacts

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