A tecnologia moldou o mundo moderno de maneiras que poucas outras forças conseguiram. Em meio a essa revolução, uma figura emergiu como pioneira no campo do armazenamento em nuvem: Drew Houston. Co-fundador e CEO do Dropbox, Houston transformou a maneira como armazenamos, compartilhamos e acessamos nossos dados. Este livro explora sua jornada, desde suas raízes até seu impacto monumental na tecnologia da informação. Saiba Muito Mais...

This book provides both students and scholars with a critical and historical introduction to the graphic novel. Jan Baetens and Hugo Frey explore this exciting form of visual and literary communication, showing readers how to situate and analyse graphic novels since their rise to prominence half a century ago. Several key questions are addressed: what is the graphic novel? How do we read graphic novels as narrative forms? Why is page design and publishing format so significant? What theories are developing to explain the genre? How is this form blurring the categories of high and popular literature? Why are graphic novelists nostalgic for the old comics? The authors address these and many other questions raised by the genre. Through their analysis of the works of many well-known graphic novelists - including Bechdel, Clowes, Spiegelman and Ware - Baetens and Frey offer significant insights for future teaching and research on the graphic novel.

How the interface has moved from the PC into cultural platforms, as seen in a series of works of net art, software art and electronic literature. The computer interface is both omnipresent and invisible, at once embedded in everyday objects and characterized by hidden exchanges of information between objects. The interface has moved from office into culture, with devices, apps, the cloud, and data streams as new cultural platforms. In The Metainterface, Christian Ulrik Andersen and Søren Bro Pold examine the relationships between art and interfaces, tracing the interface's disruption of everyday cultural practices. They present a new interface paradigm of cloud services, smartphones, and data capture, and examine how particular art forms—including net art, software art, and electronic literature—seek to reflect and explore this paradigm. Andersen and Pold argue that despite attempts to make the interface disappear into smooth access and smart interaction, it gradually resurfaces; there is a metainterface to the displaced interface. Art can help us see this; the interface can be an important outlet for aesthetic critique. Andersen and Pold describe the “semantic capitalism” of a metainterface industry that captures user behavior; the metainterface industry's disruption of everyday urban life, changing how the city is read, inhabited, and organized; the ways that the material displacement of the cloud affects the experience of the interface; and the potential of designing with an awareness of the language and grammar of interfaces.

A troubled childhood in Iran. Living with a disability. Grieving for a dead child. Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth. In Autobiographical Comics: Life Writing in Pictures, Elisabeth El Refaie offers a long overdue assessment of the key conventions, formal properties, and narrative patterns of this fascinating genre. The book considers eighty-five works of North American and European provenance, works that cover a broad range of subject matters and employ many different artistic styles. Drawing on concepts from several disciplinary fields--including semiotics, literary and narrative theory, art history, and psychology--El Refaie shows that the traditions and formal features of comics provide new possibilities for autobiographical storytelling. For example, the requirement to produce multiple drawn versions of one's self necessarily involves an intense engagement with physical aspects of identity, as well as with the cultural models that underpin body image. The comics medium also offers memoirists unique ways of representing their experience of time, their memories of past events, and their hopes and dreams for the future. Furthermore, autobiographical comics creators are able to draw on the close association in contemporary Western culture between seeing and believing in order to persuade readers of the authentic nature of their stories.

Rosalind McKnight was one of the first, and most successful, researchers to work with Robert Monroe and The Monroe Institute in Virginia. She spent eleven years doing research in a laboratory setting. With the help of Monroe and his Hemi-Sync technology that put her into altered states of consciousness, she explored and reported on various levels of non-physical reality. Her first book, Cosmic Journeys, described a visitation that she had in her earlier life by an energy form that she calls Radiant Lady. When Radiant Lady first appeared forty years ago, she said nothing, leaving McKnight wondering about the purpose of her visit. In 2003, Radiant Lady suddenly reappeared, announcing to McKnight that they had a mission to accomplish together. Radiant Lady acts as "tour guide" into other dimensions where McKnight meets non-physical energies who share their own personal experiences of the dimensions which they inhabit. Written for every soul on the planet, these unforgettable adventures emphasize that all of us have angels and spirit guides waiting to help us discover the inner workings of the multiple worlds in which we exist and to which we will all one day journey.