domingo, 23 de abril de 2017


Hoy traemos a este espacio, para la lectura un artículo de Boaventura de Sousa Santos, titulado A ENCRUZILHADA DA UNIVERSIDADE EUROPEIA. publicado en Revista / Ensino Superior 41 - Revista do SNESup: Julho - Agosto - Setembro 2011 (leer más...)

 Fuente: [ slideshare , vía Revista Ensino Superior]

sábado, 22 de abril de 2017

MAGENTA. Make Music and Art Using Machine Learning. @douglas_eck

´Hoy traemos a este espacio a Make Music and Art Using Machine Learning, que nos presentan así;

About Magenta

Magenta is a Google Brain project to ask and answer the questions, “Can we use machine learning to create compelling art and music? If so, how? If not, why not?” Our work is done in TensorFlow, and we regularly release our models and tools in open source. These are accompanied by demos, tutorial blog postings and technical papers. To follow our progress, watch our GitHub and join our discussion group.
Magenta encompasses two goals. It’s first a research project to advance the state-of-the art in music, video, image and text generation. So much has been done with machine learning to understand content—for example speech recognition and translation; in this project we explore content generation and creativity. Second, Magenta is building a community of artists, coders, and machine learning researchers. To facilitate that, the core Magenta team is building open-source infrastructure around TensorFlow for making art and music. This already includes tools for working with data formats like MIDI, and is expanding to platforms that help artists connect with machine learning models

Douglas Eck

I’m a research scientist working on Magenta, an effort to generate music, video, images and text using machine intelligence. Magenta is part of the Google Brain team and is using TensorFlow (, an open-source library for machine learning. The question Magenta asks is, “Can machines make music and art? If so, how? If not, why not?” The goal if Magenta is to produce open-source tools and models that help creative people be even more creative. I’m primarily looking at how to use so-called “generative” machine learning models to create engaging media. Additionally, I’m working on how to bring other aspects of the creative process into play. For example, art and music is not just about generating new pieces. It’s also about drawing one’s attention, being surprising, telling an interesting story, knowing what’s interesting in a scene, and so on.
Before starting the Magenta project, I worked on music search and recommendation for Google Play Music. My research goal in this area was to use machine learning and audio signal processing to help listeners find the music they want when they want it. This involves both learning from audio and learning from how users consume music. In the audio domain, the main goal is to transform the ones and zeros in a digital audio file into something where musically-similar songs are also numerically similar, making it easier to do music recommendation. This is (a) user-dependent: my idea of similar is not the same as yours and (b) changes with context: my idea of similarity changes when I make a playlist for jogging versus making a playlist for a dinner party. I might choose the same song (say "Taxman" by the Beatles) but perhaps it would be the tempo for jogging that drove the selection of that specific song versus "I like the album Revolver and want to add it to the dinner party mix" for a dinner party playlist.
I joined Google in 2010. Before then, I was an Associate Professor in Computer Science at University of Montreal. I helped found the BRAMS research center (Brain Music and Sound; and was involved at the McGill CIRMMT center (Centre for Interdisciplinary Research in Music Media and Technology; Aside from audio signal processing and machine learning, I worked on music performance modeling. What exactly does a good music performer add to what is already in the score? I treated this as a machine learning question: Hypothetically, if we showed a piano-playing robot a huge collection of Chopin performances--- from the best in the world all the way down to that of a struggling teenage pianist---could it learn to play well by analyzing all of these examples? If so, what’s the right way to perform that analysis? In the end I learned a lot about the complexity and beauty of human music performance, and how performance relates to and extends composition.

.(leer más...)
Fuente: [ magenta ]

viernes, 21 de abril de 2017

21 Stratégies pédagogiques ou technologiques. Être prof au 21e siècle @ThierryUdM

Hoy traemos a este espacio esta infografía titulada "21 Stratégies pédagogiques ou technologiques. Être prof au 21e siècle"  de Thierry KARSENTI, M.A., M.Ed., Ph.D. Titulaire de la Chaire de recherche du Canada sur les technologies en éducation, Université de Montréal @ThierryUdM  (leer más...)

 Fuente: [ slideshare vía Thierry]

jueves, 20 de abril de 2017

E-innovación en la educación superior . Revista Comunicar @Rev_Comunicar Vol. XXV, nº 51, 2º trimestre, 1 abril 2017

Hoy traemos a este espacio el último número de la revista Comunicar . Revista Científica de Comunicación y Educación. edia Education Research journal.

E-innovación en la educación superior

Vol. XXV, nº 51, 2º trimestre, 1 abril 2017
Editores temáticos
Dr. Ramón López-Martín - Universidad de Valencia - España
Dr. Paulo Dias - Universidad Abierta de Lisboa - Portugal
Dr. Alejandro Tiana-Ferrer - UNED - España

01 La investigación formativa en ambientes ubicuos y virtuales en Educación Superior
Formative Research in Ubiquitous and Virtual Environments in Higher Education

Cristian Velandia-Mesa, Bogotá (Colombia), Francisca-José Serrano-Pastor, Murcia (España) & María-José Martínez-Segura, Murcia (España).

02 Uso de Twitter en Educación Superior en España y Estados Unidos
Using Twitter in Higher Education in Spain and the USA

Gemma Tur, Palma de Mallorca (España), Victoria Marín-Juarros, Oldenburg (Alemania)Jeffrey Carpenter, Elon (Estados Unidos).

03 Laboratorios sociales en universidades: Innovación e impacto en Medialab UGR
Social Labs in Universities: Innovation and impact in Medialab UGR

Esteban Romero-Frías, Granada (España) & Nicolás Robinson-García, Valencia (España).

04 La educación superior a distancia y el e-Learning en las prisiones en Portugal
Higher Education Distance Learning and e-Learning in Prisons in Portugal

José-António Moreira, Lisboa (Portugal), Angélica Reis-Monteiro, Oporto (Portugal)Ana Machado, Lisboa (Portugal).

05 Uso de cuestionarios online con feedback automático para la e-innovación en el alumnado universitario
Online Questionnaires Use with Automatic Feedback for e-Innovation in University Students

Ana Remesal, Barcelona (España), Rosa M. Colomina, Barcelona (España), Teresa Mauri, Barcelona (España) & M. José Rochera, Barcelona (España).

06 El uso de las redes sociales y la cultura popular para una mejor comprensión intercultural
The Use of Social Media and Popular Culture to Advance Cross-Cultural Understanding

Sait Tuzel, Rhode Island (Estados Unidos)Renee Hobbs, Rhode Island (Estados Unidos).

07 El rol del cine en versión original en el espacio digital europeo
The Role of Original Version Cinema into the European Digital Space

Margarita Ledo-Andión, Santiago de Compostela (España), Antía López-Gómez, Santiago de Compostela (España) & Enrique Castelló-Mayo, Santiago de Compostela (España).

08 La percepción de los periodistas españoles acerca de sus roles profesionales
Spanish Journalists’ Perception about their Professional Roles

Rosa Berganza, Madrid (España), Eva Lavín, Madrid (España) & Valeriano Piñeiro-Naval, Covilhã (Portugal).

09 Stop-motion para la alfabetización digital en Educación Primaria
Stop-motion to Foster Digital Literacy in Elementary School

Koun-Tem Sun, Tainan (Taiwán), Chun-Huang Wang, Tainan (Taiwán) & Ming-Chi Liu, Tainan (Taiwán).

10 Ecosistemas de formación y competencia mediática: Valoración internacional sobre su implementación en la educación superior
Ecosystems of Media Training and Competence: International Assessment of Its Implementation in Higher Education

Emilio Álvarez-Arregui, Oviedo (España), Alejandro Rodríguez-Martín, Oviedo (España), Rafael Madrigal-Maldonado, México D.F. (México), Beatriz-Ángeles Grossi-Sampedro, Oviedo (España) & Xavier Arreguit, Neuchatel (Suiza).

(leer más...)

 Fuente: [ COMUNICAR ]

miércoles, 19 de abril de 2017

L’Intelligence Artificielle au service de la Ville Connectée. 8ème Conférence Annuelle. Paris

Hoy traemos a este espacio la conferencia L’Intelligence Artificielle au service de la Ville Connectée. 8ème Conférence Annuelle, Les nouveaux business models de l'attractivité numérique face aux usages digitaux. que se celebrará  le Mercredi 31 Mai 2017 en Le club de l'Étoile, Paris


Depuis quelques années les projets urbains 3.0 fleurissent aux quatre coins de la planète. Du véhicule autonome à la modélisation 3D, la data et l’intelligence artificielle sont les combustibles de la ville intelligente et sont des vecteurs puissants du marketing territorial et de l’attractivité des zones urbaines.

Ce nouveau paradigme de la ville data-driven transforme profondément les modèles économiques traditionnels et suscite de nombreux questionnements. Dans la ville du futur, comment l’homme interagira avec la machine ?

Entre géants de la « high tech », industriels traditionnels, startups, collectivités et citoyen quelle méthodologie suivre pour favoriser la co-création ? Quels impacts du véhicule autonome sur le schéma des villes et les acteurs traditionnels de l’industrie automobile : entretien, assurance… ? Comment construire un cadre réglementaire garant de la protection des données personnelles sans devenir une entrave à l’innovation ?

Les intervenants de L'Intelligence Artificielle au service de la ville de demain

Sébastien LE FOL
Directeur de la rédaction
Rédacteur en chef villes et éditions régionales
Audrey EMERY
Journaliste Editions Villes
Guillaume GRALLET
Grégoire BONNAT
CEO et Co-fondateur
Député du Val d'Oise, Assemblée Nationale - 1er Vice-Président Chargé de l’économie et de l’emploi,
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Raphaël Cherrier
Fondateur et CEO
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Chief Strategy Officer
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Alexandre DROULERS
General Manager New Mobility Projects Western Europe
Catherine GONIOT
DGA Département Espace Public & Mobilités Durables
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Valérie MAS
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Yves-Armel MARTIN
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Nicolas MASSON
Président et co-fondateur
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Député maire
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EVP, Head of Program, Smart Kalasatama
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Head of the Traffic and Urban Life Department
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Christophe SAPET
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Benjamin ULRICH
Lire la bio
Policy Officer - DG Transport & Mobilité
European Commission
Group President Public Transportation Management Systems
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Directeur Exécutif
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(leer más...)

 Fuente: [  L’Intelligence Artificielle au service de la Ville Connectée. ]

#AnticipaUS #Diálogos (IV) Dra. Cristina Garmendia Mendizábal @cristinagarmend ‏@unisevilla

It is possible that Borges’s insight is the source for many other stories that have made the classification of knowledge into a paradoxical, absurd, and impossible task. Among all the fanciful classifications that have been suggested to librarians in the postmodern era, Paul Braffort’s Les Bibliothèques invisibles (Invisible Libraries) 5 deserves mention. He proposes organizing books based on their literal titles, according to criteria such as colors (allowing the classification of books such as Simenon’s The Yellow Dog or Queneau’s The Blue Flowers), the calendar (which would unite titles like Bossuet’s Maundy Thursday, Marx’s The Eighteenth Brumaire, and Huizinga’s The Autumn of the Middle Ages), or relatives (where we would find, for example, Dostoyevsky’s The Brothers Karamazov, Harriet Beecher Stowe’s Uncle Tom’s Cabin, Bernhard’s Wittgenstein’s Nephew). Another criterion, more precise but equally unsuitable for classifying and organizing knowledge, is found in Vladimir Nabokov’s Invitation to a Beheading, 6 where a prison librarian maintained a catalog that classified books according to their number of pages. These and other similar stories arise from the same cultural experience: when we emphasize the way useless or ridiculous aspects of order lead to arbitrariness, knowledge is seen as something that cannot be meaningfully organized, as something monstrous.

Order and Disorder: A Poetics of Exception. Daniel Inneraty 

Hoy traemos a este espacio la continuación de la serie sobre  #AnticipaUS, diálogos anticipa, parte de su proceso de redacción del plan estratégico en la Universidad de Sevilla,  compuesta, hasta ahora por:

el domingo, 1 de enero de 2017 la palabra justa #AnticipaUs Vivre sa vie (diálogo con el filósofo subtitulado) ... the truth post-verité Diccionario Oxford , el lunes, 13 de marzo de 2017 con #anticipaUS #Dialogos (I) Luis Rojas Marcos @unisevilla. Sevilla New York , el martes, 21 de marzo de 2017 #AnticipaUS #Diálogos (II) La Facultad invisible @LFinvisible en @unisevilla #higherED, el domingo, 2 de abril de 2017 #AnticipaUS #Diálogos (III) Francesc Solé Parellada @unisevilla   ... hablar de monopolios de conocimiento y pluralidades, y auto organización .... Hoy con Cristina Garmendia, Presidente de la fundacion COTEC de la que hablamos el lunes, 7 de noviembre de 2016 Manifiesto COTEC: ‘Iberoamérica emprende desde la universidad’. @cotec_innova

While working, the mind proceeds from disorder to order. It is important that it maintain resources of disorder until the end, and that the order it has begun to impose on itself does not bind it so completely, does not become such a rigid master, that it cannot change it and make use of its initial liberty. —

Paul Valéry, Tel quel1

El Viernes 31 de marzo del 2017 y a las 12,30 horas tuvo lugar, en la Escuela Técnica Superior de Ingeniería Informática (Salón de Grados), la cuarta de las entrevistas planificadas en los ‘Diálogos Anticipa’. En esta ocasión, tuvimos la oportunidad de contar con la Dra. Cristina Garmendia Mendizábal, presidenta de la Fundación Cotec para la innovación y Ministra de Ciencia e Innovación del Gobierno de España desde el año 2008 hasta 2011.
(leer más...)

 Fuente: [ Universidad de Sevilla.]