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Since the mid-1990s, the Internet has been perceived as a tool to support democracy. However, recently the media has paid more attention to its negative impact on public debate. The evolution of the collective imagination of the Internet requires that we go beyond the simple binary analysis (“advantages/limits”) of its sociopolitical issues and think about how it shapes the practices and forms of public debate according to its own standards. Seven aspects of online debate are systematically analysed in this article: the replacement of the traditional gatekeepers by the algorithms developed by search engines and social media, the disappearance of authority-based arguments that are driven by popularity indicators, the anchoring of political practices in daily discussions, the identity issues associated with information-sharing, the “push button” forms of citizen expression, the mechanisms of self-belief, and the privatisation of regulatory bodies. These changes have had an impact on media and information education that information systems professionals will have to consider in the future.
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This text (critical perspective) aims to problematize the transition from face-to-face education to distance education at the university in relation to the didactic and political issues that emerged at the time of COVID‑19, which was marked by the urgency to act. The concept mobilized is that of “transition,” linked to the problem of temporalities in the human and social sciences. In the timeline of distance education, this pandemic is presented as a breakthrough event that will have a structuring and lasting impact on distance education in universities.
Keywords: Transition, formation en présence, formation à distance, université, COVID‑19, enjeux didactiques, enjeux politiques, savoir‑enseigner, savoir‑apprendre, gouvernance, Transition, face-to-face education, distance education, university, COVID‑19, didactic issues, political issues, teaching skills, learning skills, governance
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In the well-known legend of Zeuxis choosing his models for the image of Helen from among the Girls of Croton, the ideal composition desired by the monarch and executed by the artist necessarily involves the power over bodies to create an ideal beauty. The notion of the composite can be found throughout the representation of the canon, which is found in all ages, as an intrinsic fact of our way of representing and therefore of considering the world. Its role is unifying and soothing, and in this it would be an opposition to the collage: where the collage assumes its unnatural alliances, the composite pretends to recreate a unity. From Mary Shelley's conception of the world to George Orwell's, this article puts forward the hypothesis that cartography, performed today by satellite imagery, has, since its origins, been the precious ally of these totalitarian methods aiming, through a composite assembly, to give a false image of a unified world, all centred on the West, which has since become the undisputed master of maps and compasses. But is it all truly for the best in the best of all possible worlds? It would be to forget that the compositing that gives us these images ontologically implies the space in between, the gap, the white zone; in short, it would be to forget that something is rotten in the realm of Google Earth... If a large number of artists and image-makers have exploited the spectacular but top-down beauty of the "cartographic eye of art", others are sneaking into forbidden and unmapped places to try to deliver a bottom-up version of the world in which we live, in the tradition of what the situationists initiated more than sixty years ago, followed by the walkers and the artists of counter-mapping, critical mapping or alternative mapping.
Keywords: Cartographie, Cartographie alternative, Collage, Composite, Imagerie satellitaire, Photographie aérienne, Art contemporain, Cartography, Alternative cartography, Collage, Composite, Satellite imagery, Aerial photography, Contemporary art
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In order to clarify the choice for the professor of literature between a course dedicated to digital works and a course integrating digital as one of the parameters of literary education, this study suggests three successive approaches: digital works as teaching material, uses in digital literary training and a survey of representations.
Keywords: enseignement littéraire, littérature numérique, atelier d'écriture, enquête, écrivains, teaching of literature, digital literature, writing workshop, survey, writers