Sunday, June 29, 2014

Web Content Lifecycle..

The web content lifecycle is the multi-disciplinary and often complex process that web content undergoes as it is managed through various publishing stages.
Authors describe multiple "stages" (or "phases") in the web content lifecycle, along with a set of capabilities—such as records management, digital asset management, collaboration, and version control—that may be supported by various technologies and processes. One recognized technology for managing the web content lifecycle is a web content management system.
Concepts often considered in the web content lifecycle include project management, information management, information architecture, and, more recently, content strategy, website governance, and semantic publishing.

Stages

Various authors have proposed different "stages" or "phases" in the content lifecycle. Broadly speaking, the stages include content creation/development, revision, distribution, and archiving. The lifecycle processes, actions, content status, and content management roles may differ from model to model based on organizational strategies, needs, requirements, and capabilities.

Two stages

In 2003, McKeever described "two iterative phases": "the collection of content, and the delivery or publishing of that content on the Web." She also explains a Web Content Management (WCM) "four layer hierarchy"—content, activity, outlet, and audience—intended to illustrate the breadth of WCM.

Three stages

Bob Boiko's Content Management Bible emphasizes three major parts: collect (creation and editing is much more than simply collecting), manage (workflows, approvals, versioning, repository, etc.), and publish. These concepts are graphically displayed in a Content Management Possibilities poster developed by Boiko. The poster details such content management concepts as metadata, syndication, workflows, repositories, and databases.
Gerry McGovern also sees three "processes," designating them creation, editing, and publishing.

Four stages

JoAnn Hackos' Content Management for Dynamic Web Delivery argues for four "components": authoring, repository, assembly/linking, and publishing.
In Managing Enterprise Content, Ann Rockley argues for the planning of content reuse through four stages: create, review, manage, deliver. A stage can have sub-stages; for example, the "create" stage has three sub-stages: planning, design, and authoring and revision. She notes that content is often created by individuals working in isolation inside an enterprise (the coined term is the Content Silo Trap). To counter this content silo effect, she recommends using a "unified content strategy," "a repeatable method of identifying all content requirements up front, creating consistently structured content for reuse, managing that content in a definitive source, and assembling content on demand to meet your customers’ needs."

Five stages

Nakano described five "collaboration operations": Submit, Compare, Update, Merge, and Publish.
The State government of Victoria (Australia) produced a flowchart with a diagrammatic view of the web content lifecycle with five stages: Develop, Quality Approval, Publish, Unpublish, and Archive. Some of the stages include sub-stages (for example, Archive consists of Storage, Archived, and Disposed) intended to further delineate content status. In addition, this model depicts three aspects—Status, Process, and Roles—as part of the flow for web content. The four roles in this model are content author, content quality manager, business quality manager, and records manager.
The AIIM speaks of managing content “to achieve business goals”. AIIM ECM 101 Poster from 2003, and the AIIM Solving the ECM Puzzle Poster from 2005, present the same five stages: Capture, Manage, Store, Deliver, Preserve.

Six stages

The Content Management Lifecycle Poster devised by CM Pros suggests six "steps":

    Plan
    Develop
    Manage
    Deploy
    Preserve
    Evaluate

Each step contains sub-steps. For example, step 1, Plan, consists of Align, Analyze, Model, and Design; and step 2, Develop, consists of Create, Capture, Collect, Categorize, and Edit.

Seven stages

Bob Doyle suggests seven stages of the Web content lifecycle:

    Organization
    Creation
    Storage
    Workflow
    Versioning
    Publishing
    Archives

Doyle argues for seven stages based on the psychologist George A. Miller's famed magical number "seven plus or minus two " limit on human information processing. He notes this is merely a suggestion and that one should "add or subtract a couple of your own favorites."

Governance rather than workflow

In a 2005 article, Woods addressed governance of the content lifecycle. In his model, there are categories of issues to address, rather than a simple, cradle-to-grave pathway. He writes that most content governance questions fall into one of the following categories:

    Legacy Content Migration
    Template Considerations
    New Content Creation
    Content Modification and Reuse
    Version Control and Site Rollback
    Content Rotation and the End of the Road
    Monitoring Progress, Managing for Success

More recently, Halvorson has humorously suggested 15 discrete steps in the web content lifecycle: Audit, Analyze, Strategize, Categorize, Structure, Create, Revise, Revise, Revise, Approve, Tag, Format, Publish, Update, Archive.

Role of technologies

Enterprise content management as a business strategy might incorporate web content management:

    When integrated with an ECM system, WCM enables organizations to automate the complete Web content lifecycle. As soon as new content is developed, the system ensures that it goes live the moment it is intended to—not a minute earlier. By specifying timed releases and expiration dates, content is published to and removed from the Web according to recommendations, requirements and even regulations.
    —Jenkins (2004)

A web content management system can support and enhance certain processes because of automation, including document management, templates, and workflow management. However, the absence of well defined roles and process governance will greatly dilute the effectiveness of any technology intended to augment/enhance the publishing process overall.

Role of information management

Information management describes the "organization of and control over the structure, processing, and delivery of information." The goal of information lifecycle management is to use policies, operations, and infrastructure to manage information throughout its useful life. However, businesses struggle to manage their data and information.

    The missing stage in all the major sources is the organization of information, structuring it where possible, for example using XML or RDF, which allows arbitrary metadata to be added to all information elements. This is the secret that the knowledge managers describe as turning mere data or information into knowledge. It allows information to be retrieved in a number of ways and reused or repurposed in many more.
    —Doyle (2005)

Using semantic markup in the publishing process is part of semantic publishing. Tim-Berners Lee's original vision for the Semantic Web has yet to be realized, but many projects in various research areas are underway.

(Source Wikipedia)

Saturday, June 21, 2014

History of Arts Vs Art History!

A talk of the history of the visual arts worldwide. For the academic discipline of art history, see Art history.

The history of art is the history of any activity or product made by humans in a visual form for aesthetical or communicative purposes, expressing ideas, emotions or, in general, a worldview. Over time visual art has been classified in diverse ways, from the medieval distinction between liberal arts and mechanical arts, to the modern distinction between fine arts and applied arts, or to the many contemporary definitions, which define art as a manifestation of human creativity. The subsequent expansion of the list of principal arts in the 20th century reached to nine: architecture, dance, sculpture, music, painting, poetry (described broadly as a form of literature with aesthetic purpose or function, which also includes the distinct genres of theatre and narrative), film, photography and comics. At the conceptual overlap of terms between plastic arts and visual arts were added design and graphic arts. In addition to the old forms of artistic expression such as fashion and gastronomy, new modes of expression are being considered as arts such as video, computer art, performance, advertising, animation, television and videogames.

The history of art is a multidisciplinary science, seeking an objective examination of art throughout time, classifying cultures, establishing periodizations and observing the distinctive and influential characteristics of art. The study of the history of art was initially developed in the Renaissance, with its limited scope being the artistic production of western civilization. However, as time has passed, it has imposed a broader view of artistic history, seeking a comprehensive overview of all the civilizations and analysis of their artistic production in terms of their own cultural values (cultural relativism), and not just western art history.

Today, art enjoys a wide network of study, dissemination and preservation of all the artistic legacy of mankind throughout history. The 20th century has seen the proliferation of institutions, foundations, art museums and galleries, in both the public and private sectors, dedicated to the analysis and cataloging of works of art as well as exhibitions aimed at a mainstream audience. The rise of media has been crucial in improving the study and dissemination of art. International events and exhibitions like the Whitney Biennial and biennales of Venice and São Paulo or the Documenta of Kassel have helped the development of new styles and trends. Prizes such as the Turner of the Tate Gallery, the Wolf Prize in Arts, the Pritzker Prize of architecture, the Pulitzer of photography and the Oscar of cinema also promote the best creative work on an international level. Institutions like UNESCO, with the establishment of the World Heritage Site lists, also help the conservation of the major monuments of the planet.

(Source Wikipedia)

Tuesday, June 10, 2014

Θέα Τριών Κόσμων, Από το Στούντιο Δραματικής Τέχνης του Εσωθεάτρου

Θέα-τρον = θέα τριών
Αναστάσιος Ασημακόπουλος (Ενωδών)

Το θέατρο, το αληθινό θέατρο, λέει όλη η εσωτερική φιλοσοφική παράδοση, είναι ΘΕΑ ΤΡΙΩΝ ΚΟΣΜΩΝ. Ο θεατής μετέχει δηλαδή κατ’ ουσίαν, σε μια μυσταγωγία, κατά την οποία ΘΕΑΤΑΙ ΤΑΥΤΟΧΡΟΝΑ:
α. τον απτό υλικό κόσμο, που εμπίπτει των αισθήσεων και αποκαλείται «πραγματικότητα»
β. τον λεπτοφυέστερο συναισθηματικό-ψυχικό, που διαβιεί μεταξύ λόγου και δράσης και μένει στην μνήμη ως ζωηρή εντύπωση και
γ. τους ανωτέρους υπερβατικούς κόσμους, τους κόσμους της Όντως -κατά Πλάτωνα- Πραγματικότητας.

Η επικοινωνία μεταξύ σκηνής και πλατείας σ’ αυτές τις συνθήκες, καθίσταται ευκρινής, γιατί το κείμενο ερμηνεύεται από  ηθοποιούς ειδικά εκπαιδευμένους, με δραματική συγκρότηση και ευαισθησία, ικανούς να ανασύρουν από το ψυχικό τους βάθος  πρωταρχικές αλήθειες, οι οποίες, «υλοποιούμενες» στην σκηνή, συγκινούν τους θεατές και ανυψώνουν τις ψυχές σε τέτοια επίπεδα ταύτισης, όπου θεατής, θεώμενος και θέαμα γίνονται Ένα.
Όταν επιτυγχάνεται αυτή η εσωτερική συγκινησιακή φόρτιση, απότοκη της θέασης των τριών κόσμων, τότε μόνον έχει συντελεστεί μια ουσιαστική δραματική πράξη. Οι θεατές αποκαθαίρονται και οι ηθοποιοί νιώθουν ευτυχή πληρότητα, αφού πέτυχαν να συντονιστούν με την ανώτερη έσω-ύπαρξή τους, καταθέτοντας υλικό από τα ψυχικά τους αποθέματα.

Το δε έργο, στον λόγο και στην δραματική του απόδοση, πρέπει να διαθέτει ουσία, αισθητική και μέτρο, κυρίως όμως μέγεθος.  Το ασήμαντο, το ευτελές, το ποταπό… πώς να συγκινήσουν; Το θέατρο οφείλει να τέρπει τις αισθήσεις των θεατών. Το ωραίο πρέπει να γεμίζει τα μάτια τους και ο λόγος να είναι γλυκύς -«ηδυσμένος», όπως λέει ο Αριστοτέλης στην Ποιητική, στον ορισμό του για την τραγωδία- και να έχει ρυθμό, εναλλαγές και μουσικότητα. Η κίνηση των ηθοποιών στον χώρο να είναι αρμονική, με μέτρο και χάρη και το σκηνικό, τα κοστούμια, οι φωτισμοί, οι ήχοι και η μουσική να συμβάλλουν στην προσφορά ενός άρτιου και υψηλής ποιότητας αισθητικού αποτελέσματος.

Το θέατρο που εμείς υπηρετούμε, έχει αλήθεια. Αποσκοπεί μεν στην αισθητική παρουσίαση του φαινόμενου αλλά ζητά να συλλάβει και το νοούμενο. Δεν μας ενδιαφέρει η φωτογραφική απεικόνιση μιας μίζερης «πραγματικότητας» αλλά το αιώνιο και συνεχές που είναι πίσω από τα πράγματα, που φωλιάζει ανάμεσα στις γραμμές του κειμένου και στις παύσεις του. Μας αφορά η Αλήθεια και όχι η περιγραφή της. Μας συγκινεί το θέατρο που από μία συγκεκριμένη κατάσταση σε δεδομένο τόπο και χρόνο, οδηγεί τον θεατή στο συμβολικό διαχρονικό επίπεδο και από εκεί, στο Αρχετυπικό, στο άχρονο Τώρα, στο Είναι, όπου νιώθει και συνειδητοποιεί την Αλήθεια και τον εαυτό του μέσα σε αυτήν, ως αιωνιότητα, συνείδηση και ευδαιμονία.
Αυτό είναι το θέατρο: λούσιμο στο Απολλώνειο φως και εσωτερική βύθιση στην θεία Βακχική μανία. Έχοντας αυτές τις σκέψεις για οδηγό, κάνουμε θέατρο για την ψυχή μας –όπως έλεγε ο δάσκαλος Κάρολος Κουν- μα και για την ψυχή των θεατών.