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[ES] El tema que vamos a tratar de abordar y presentar en esta memoria trata del Selfie. Desde una mirada positiva, alejada de la perspectiva actual del Selfie como un gran altavoz para el narcisismo, intentamos analizar y mostrar este recurso fotográfico como un instrumento de representación auténtico, siendo este, una forma de expresión y comunicación válida del yo y de autopromoción de una sociedad normalmente referida como egocéntrica y engreída. Tratamos de mostrar el fenómeno Selfie, no como una proyección petulante de uno mismo, sino como la afirmación del yo y de la propia identidad, presente en toda la historia del arte, siendo posible una comparativa, en cuanto a contenido y mensaje, con el retrato tradicional (pictórico). En este proyecto, tanto en la parte práctica como teórica trato de arrojar luz a la perspectiva del Selfie como un grito para la atención de una sociedad cada vez más individualista., [EN] The subject that we will try to address and present in this report is the Selfie. From a positive point of view, far from the current perspective of the Selfie as a great loudspeaker for narcissism, we try to analyze and show this photographic resource as an instrument of authentic representation, being this, a form of expression and valid communication of the self and self-promotion of a society normally referred to as egocentric and conceited. We try to show the Selfie phenomenon, not as a smug projection of oneself, but as the affirmation of the self and of one's own identity, present throughout the history of art, being possible a comparison, in terms of content and message, with the traditional portrait. In this project, in the practical and theoretical part, I try to shed light on the perspective of the Selfie as a cry for attention in an increasingly individualistic society.

[ES] El tema que vamos a tratar de abordar y presentar en esta memoria trata del Selfie. Desde una mirada positiva, alejada de la perspectiva actual del Selfie como un gran altavoz para el narcisismo, intentamos analizar y mostrar este recurso fotográfico como un instrumento de representación auténtico, siendo este, una forma de expresión y comunicación válida del yo y de autopromoción de una sociedad normalmente referida como egocéntrica y engreída. Tratamos de mostrar el fenómeno Selfie, no como una proyección petulante de uno mismo, sino como la afirmación del yo y de la propia identidad, presente en toda la historia del arte, siendo posible una comparativa, en cuanto a contenido y mensaje, con el retrato tradicional (pictórico). En este proyecto, tanto en la parte práctica como teórica trato de arrojar luz a la perspectiva del Selfie como un grito para la atención de una sociedad cada vez más individualista., [EN] The subject that we will try to address and present in this report is the Selfie. From a positive point of view, far from the current perspective of the Selfie as a great loudspeaker for narcissism, we try to analyze and show this photographic resource as an instrument of authentic representation, being this, a form of expression and valid communication of the self and self-promotion of a society normally referred to as egocentric and conceited. We try to show the Selfie phenomenon, not as a smug projection of oneself, but as the affirmation of the self and of one's own identity, present throughout the history of art, being possible a comparison, in terms of content and message, with the traditional portrait. In this project, in the practical and theoretical part, I try to shed light on the perspective of the Selfie as a cry for attention in an increasingly individualistic society.

[EN] As the use of Web 2.0 proves to be beneficial in foreign language learning contexts, this quantitative study focuses on the use of Web 2.0 tools for the development of communication skills in English, specifically in higher education. In order to investigate the participants’ perceptions, 341 undergraduate students and 70 faculty members from Portuguese higher education institutions responded to an online survey. They were asked to associate a list of Web 2.0 tool types to the communication skills they believed that could be developed in English language learning.The general results from both groups show that video sharing tools (for listening and speaking) and presentation tools (for reading and writing) are the ones that the respondents consider to be mostly used in class. A deeper analysis allows us to identify other tools that are mostly used in face-to-face and distance learning contexts and we suggest this list can work as a guideline for faculty members in their practice.

[EN] As the use of Web 2.0 proves to be beneficial in foreign language learning contexts, this quantitative study focuses on the use of Web 2.0 tools for the development of communication skills in English, specifically in higher education. In order to investigate the participants’ perceptions, 341 undergraduate students and 70 faculty members from Portuguese higher education institutions responded to an online survey. They were asked to associate a list of Web 2.0 tool types to the communication skills they believed that could be developed in English language learning.The general results from both groups show that video sharing tools (for listening and speaking) and presentation tools (for reading and writing) are the ones that the respondents consider to be mostly used in class. A deeper analysis allows us to identify other tools that are mostly used in face-to-face and distance learning contexts and we suggest this list can work as a guideline for faculty members in their practice.

[EN] As the use of Web 2.0 proves to be beneficial in foreign language learning contexts, this quantitative study focuses on the use of Web 2.0 tools for the development of communication skills in English, specifically in higher education. In order to investigate the participants’ perceptions, 341 undergraduate students and 70 faculty members from Portuguese higher education institutions responded to an online survey. They were asked to associate a list of Web 2.0 tool types to the communication skills they believed that could be developed in English language learning.The general results from both groups show that video sharing tools (for listening and speaking) and presentation tools (for reading and writing) are the ones that the respondents consider to be mostly used in class. A deeper analysis allows us to identify other tools that are mostly used in face-to-face and distance learning contexts and we suggest this list can work as a guideline for faculty members in their practice.

[ES] El tema que vamos a tratar de abordar y presentar en esta memoria trata del Selfie. Desde una mirada positiva, alejada de la perspectiva actual del Selfie como un gran altavoz para el narcisismo, intentamos analizar y mostrar este recurso fotográfico como un instrumento de representación auténtico, siendo este, una forma de expresión y comunicación válida del yo y de autopromoción de una sociedad normalmente referida como egocéntrica y engreída. Tratamos de mostrar el fenómeno Selfie, no como una proyección petulante de uno mismo, sino como la afirmación del yo y de la propia identidad, presente en toda la historia del arte, siendo posible una comparativa, en cuanto a contenido y mensaje, con el retrato tradicional (pictórico). En este proyecto, tanto en la parte práctica como teórica trato de arrojar luz a la perspectiva del Selfie como un grito para la atención de una sociedad cada vez más individualista., [EN] The subject that we will try to address and present in this report is the Selfie. From a positive point of view, far from the current perspective of the Selfie as a great loudspeaker for narcissism, we try to analyze and show this photographic resource as an instrument of authentic representation, being this, a form of expression and valid communication of the self and self-promotion of a society normally referred to as egocentric and conceited. We try to show the Selfie phenomenon, not as a smug projection of oneself, but as the affirmation of the self and of one's own identity, present throughout the history of art, being possible a comparison, in terms of content and message, with the traditional portrait. In this project, in the practical and theoretical part, I try to shed light on the perspective of the Selfie as a cry for attention in an increasingly individualistic society.

[EN] As the use of Web 2.0 proves to be beneficial in foreign language learning contexts, this quantitative study focuses on the use of Web 2.0 tools for the development of communication skills in English, specifically in higher education. In order to investigate the participants’ perceptions, 341 undergraduate students and 70 faculty members from Portuguese higher education institutions responded to an online survey. They were asked to associate a list of Web 2.0 tool types to the communication skills they believed that could be developed in English language learning.The general results from both groups show that video sharing tools (for listening and speaking) and presentation tools (for reading and writing) are the ones that the respondents consider to be mostly used in class. A deeper analysis allows us to identify other tools that are mostly used in face-to-face and distance learning contexts and we suggest this list can work as a guideline for faculty members in their practice.

[EN] This study is born from the communicative relationship established between 21st century society and memes, however, it will be also drawn an evolutionary path from its earliest apparitions and analyzing the cultural model that orbits around these through the network, as well as its impact and incorporation into plural areas. Starting from a reflection resulting from a subjective experience within the means of analysis, it is proposed a contextual and anthropological factual study where the main objective is to generate a deliberation about the viral content at the very moment it develops and to cause an awareness of the existence of it as well. This is essentially sought through the distinction of memes as a graphic element, addressing its communicative virtue and raising a relation between entertainment and communication, among several other issues. The result is a theoretical project in which we tackle the communicative and sociocultural ignored tangents which are established in relation to memes and that invites to reflection and immersion in a visual language that grows and is increasing frenzied. Nº de páginas, [ES] Este estudio nace de la relación comunicativa que se establece entre la sociedad del siglo XXI y los memes, trazando, no obstante, una linde evolutiva desde sus apariciones más tempranas y analizando el modelo cultural que orbita entorno a estos en la red, así como su repercusión e incorporación en ámbitos plurales. Partiendo de una reflexión fruto de la vivencia subjetiva dentro de los medios de análisis se plantea un estudio objetivo contextual y antropológico. En el que el objetivo principal es generar una deliberación sobre el contenido viral en el preciso momento en que este se está desarrollando y, asimismo, generar una conciencia de existencia del mismo. Esto se procura conseguir, esencialmente, a través de la distinción de los memes como elemento gráfico, abordando su virtud comunicativa y planteando una relación entretenimiento-comunicación, entre otras varias cuestiones. Se trata de un proyecto teórico en que afrontamos las tangentes comunicativas y socioculturales ignoradas que se establecen con relación a los memes y que invita a la reflexión y a la inmersión en un lenguaje visual que crece y se divulga de forma cada vez más frenética.

[EN] This study is born from the communicative relationship established between 21st century society and memes, however, it will be also drawn an evolutionary path from its earliest apparitions and analyzing the cultural model that orbits around these through the network, as well as its impact and incorporation into plural areas. Starting from a reflection resulting from a subjective experience within the means of analysis, it is proposed a contextual and anthropological factual study where the main objective is to generate a deliberation about the viral content at the very moment it develops and to cause an awareness of the existence of it as well. This is essentially sought through the distinction of memes as a graphic element, addressing its communicative virtue and raising a relation between entertainment and communication, among several other issues. The result is a theoretical project in which we tackle the communicative and sociocultural ignored tangents which are established in relation to memes and that invites to reflection and immersion in a visual language that grows and is increasing frenzied. Nº de páginas, [ES] Este estudio nace de la relación comunicativa que se establece entre la sociedad del siglo XXI y los memes, trazando, no obstante, una linde evolutiva desde sus apariciones más tempranas y analizando el modelo cultural que orbita entorno a estos en la red, así como su repercusión e incorporación en ámbitos plurales. Partiendo de una reflexión fruto de la vivencia subjetiva dentro de los medios de análisis se plantea un estudio objetivo contextual y antropológico. En el que el objetivo principal es generar una deliberación sobre el contenido viral en el preciso momento en que este se está desarrollando y, asimismo, generar una conciencia de existencia del mismo. Esto se procura conseguir, esencialmente, a través de la distinción de los memes como elemento gráfico, abordando su virtud comunicativa y planteando una relación entretenimiento-comunicación, entre otras varias cuestiones. Se trata de un proyecto teórico en que afrontamos las tangentes comunicativas y socioculturales ignoradas que se establecen con relación a los memes y que invita a la reflexión y a la inmersión en un lenguaje visual que crece y se divulga de forma cada vez más frenética.

[EN] This study is born from the communicative relationship established between 21st century society and memes, however, it will be also drawn an evolutionary path from its earliest apparitions and analyzing the cultural model that orbits around these through the network, as well as its impact and incorporation into plural areas. Starting from a reflection resulting from a subjective experience within the means of analysis, it is proposed a contextual and anthropological factual study where the main objective is to generate a deliberation about the viral content at the very moment it develops and to cause an awareness of the existence of it as well. This is essentially sought through the distinction of memes as a graphic element, addressing its communicative virtue and raising a relation between entertainment and communication, among several other issues. The result is a theoretical project in which we tackle the communicative and sociocultural ignored tangents which are established in relation to memes and that invites to reflection and immersion in a visual language that grows and is increasing frenzied. Nº de páginas, [ES] Este estudio nace de la relación comunicativa que se establece entre la sociedad del siglo XXI y los memes, trazando, no obstante, una linde evolutiva desde sus apariciones más tempranas y analizando el modelo cultural que orbita entorno a estos en la red, así como su repercusión e incorporación en ámbitos plurales. Partiendo de una reflexión fruto de la vivencia subjetiva dentro de los medios de análisis se plantea un estudio objetivo contextual y antropológico. En el que el objetivo principal es generar una deliberación sobre el contenido viral en el preciso momento en que este se está desarrollando y, asimismo, generar una conciencia de existencia del mismo. Esto se procura conseguir, esencialmente, a través de la distinción de los memes como elemento gráfico, abordando su virtud comunicativa y planteando una relación entretenimiento-comunicación, entre otras varias cuestiones. Se trata de un proyecto teórico en que afrontamos las tangentes comunicativas y socioculturales ignoradas que se establecen con relación a los memes y que invita a la reflexión y a la inmersión en un lenguaje visual que crece y se divulga de forma cada vez más frenética.

[EN] This study is born from the communicative relationship established between 21st century society and memes, however, it will be also drawn an evolutionary path from its earliest apparitions and analyzing the cultural model that orbits around these through the network, as well as its impact and incorporation into plural areas. Starting from a reflection resulting from a subjective experience within the means of analysis, it is proposed a contextual and anthropological factual study where the main objective is to generate a deliberation about the viral content at the very moment it develops and to cause an awareness of the existence of it as well. This is essentially sought through the distinction of memes as a graphic element, addressing its communicative virtue and raising a relation between entertainment and communication, among several other issues. The result is a theoretical project in which we tackle the communicative and sociocultural ignored tangents which are established in relation to memes and that invites to reflection and immersion in a visual language that grows and is increasing frenzied. Nº de páginas, [ES] Este estudio nace de la relación comunicativa que se establece entre la sociedad del siglo XXI y los memes, trazando, no obstante, una linde evolutiva desde sus apariciones más tempranas y analizando el modelo cultural que orbita entorno a estos en la red, así como su repercusión e incorporación en ámbitos plurales. Partiendo de una reflexión fruto de la vivencia subjetiva dentro de los medios de análisis se plantea un estudio objetivo contextual y antropológico. En el que el objetivo principal es generar una deliberación sobre el contenido viral en el preciso momento en que este se está desarrollando y, asimismo, generar una conciencia de existencia del mismo. Esto se procura conseguir, esencialmente, a través de la distinción de los memes como elemento gráfico, abordando su virtud comunicativa y planteando una relación entretenimiento-comunicación, entre otras varias cuestiones. Se trata de un proyecto teórico en que afrontamos las tangentes comunicativas y socioculturales ignoradas que se establecen con relación a los memes y que invita a la reflexión y a la inmersión en un lenguaje visual que crece y se divulga de forma cada vez más frenética.

[EN] Nowadays, the expansion of social networks has made possible the emergence of a new, decentralized and diffused surveillance model. Web 2.0 and smartphone devices allow the circulation of private information available to users and public-private companies that are part of the new network economy. The daily use of applications with gps locator allows the storage of all kinds of activities and to carrying out the reconstruction of all our actions, desires and affections. In a context of hyper-exposure, of the hyper-connected 24/7 society, it is considered to be as a new model of more diffused surveillance, but maintaining the same effect of the Panopticon. This has an impact on user psychology creating a disciplinary power in the face of uncertainty of being under constant surveillance. The concept of Panopticon's isolation and surveillance cell is reflected today, not only in each personalized account in social networks, but in all the information that is recorded in the Google history associated with a personal email account, Paypal accounts and countless apps that register heart rate, fingerprints, sleep curves and blood sugar. These applications allow the total registration of all physical, biological and affective actions and movements. From Foucault’s perspective, social media is more than a vehicle for the exchange of information, it is a vehicle for the formation of identity and its control., [ES] En la actualidad la expansión de las redes sociales ha hecho posible la aparición de un nuevo modelo de vigilancia más descentralizado y más difuso. La web 2.0 y los dispositivos smartphone permiten poner en tránsito información privada a disposición de los usuarios y de empresas público - privadas que forman parte de la nueva economía de red. La cotidianización de las aplicaciones con geolocalizadores permiten almacenar todo tipo de actividades y realizar la reconstrucción de todas nuestras acciones, deseos y afectos. En un contexto de hiper-exposición, de la sociedad hiper-conectada 24/7, se alza como un nuevo modelo de vigilancia más difuso, pero manteniendo el mismo efecto del Panóptico, que impacta sobre la psicología user creando un poder disciplinario ante la incertidumbre de estar en un foco de vigilancia.La celda de aislamiento y vigilancia del Panóptico se convierte hoy no solo en cada cuenta personalizada en las redes sociales sino en toda la información que registra el historial de Google asociado a una cuenta de mail personal, a cuentas de Paypal y a infinidad de apps que registran el ritmo cardíaco, las huellas digitales, las curvas de sueño y el azúcar en la sangre. Estas aplicaciones permiten el registro total de todas las acciones y movimientos físicos, biológicos y afectivos. Desde una perspectiva foucaultiana, los medios de comunicación social (social media) son más que un vehículo para el intercambio de información, son un vehículo para la formación de la identidad y su control.

[EN] Web 2.0 technologies have become an integral part of our lives, transforming not only how we communicate with others, but also how language is taught and learned in the L2 classroom. Several studies have looked into the use of these tools and how they influence L2 learning (e.g. Jin, 2015; Wang & Vásquez, 2014), yet only one has compared the effects of two Web 2.0 technologies (Castaneda Vise, 2008). Thus, the aim of this study was to compare the impact that Facebook and blogs had on the writing skills, namely, writing fluency, lexical richness, and syntactic complexity, of Japanese EFL learners. Moreover, the authors examined the influence blogging and Facebook had on interaction, i.e., the number of comments the learners posted outside of class. Student attitudes towards using these tools for written English were also measured through a survey based on the technology acceptance model (Davis, 1989). Twenty-three students at a Japanese university participated in the study and were divided into a Facebook group (n = 14) and a blog group (n = 9) according to their classes. Both groups took part in a ten-week treatment consisting of weekly guided free-writings on their respective Web 2.0 applications. Pre- and post-tests were administered and non-parametric statistical tests were used to determine if any significant writing gains were made. It was found that students in both blogging and Facebook groups showed similar improvements in writing skills. However, blogging seemed to be more effective at promoting interaction and students who took part in this group retained more favorable attitudes on using blogging for L2 writing. It was concluded that Facebook may indeed present an environment where students can be distracted from more formal educational pursuits (e.g. Wang & Kim, 2014) even when they are in private Facebook groups, while blogging may support a more serious environment for improving L2 writing skills.

[EN] Nowadays, the expansion of social networks has made possible the emergence of a new, decentralized and diffused surveillance model. Web 2.0 and smartphone devices allow the circulation of private information available to users and public-private companies that are part of the new network economy. The daily use of applications with gps locator allows the storage of all kinds of activities and to carrying out the reconstruction of all our actions, desires and affections. In a context of hyper-exposure, of the hyper-connected 24/7 society, it is considered to be as a new model of more diffused surveillance, but maintaining the same effect of the Panopticon. This has an impact on user psychology creating a disciplinary power in the face of uncertainty of being under constant surveillance. The concept of Panopticon's isolation and surveillance cell is reflected today, not only in each personalized account in social networks, but in all the information that is recorded in the Google history associated with a personal email account, Paypal accounts and countless apps that register heart rate, fingerprints, sleep curves and blood sugar. These applications allow the total registration of all physical, biological and affective actions and movements. From Foucault’s perspective, social media is more than a vehicle for the exchange of information, it is a vehicle for the formation of identity and its control., [ES] En la actualidad la expansión de las redes sociales ha hecho posible la aparición de un nuevo modelo de vigilancia más descentralizado y más difuso. La web 2.0 y los dispositivos smartphone permiten poner en tránsito información privada a disposición de los usuarios y de empresas público - privadas que forman parte de la nueva economía de red. La cotidianización de las aplicaciones con geolocalizadores permiten almacenar todo tipo de actividades y realizar la reconstrucción de todas nuestras acciones, deseos y afectos. En un contexto de hiper-exposición, de la sociedad hiper-conectada 24/7, se alza como un nuevo modelo de vigilancia más difuso, pero manteniendo el mismo efecto del Panóptico, que impacta sobre la psicología user creando un poder disciplinario ante la incertidumbre de estar en un foco de vigilancia.La celda de aislamiento y vigilancia del Panóptico se convierte hoy no solo en cada cuenta personalizada en las redes sociales sino en toda la información que registra el historial de Google asociado a una cuenta de mail personal, a cuentas de Paypal y a infinidad de apps que registran el ritmo cardíaco, las huellas digitales, las curvas de sueño y el azúcar en la sangre. Estas aplicaciones permiten el registro total de todas las acciones y movimientos físicos, biológicos y afectivos. Desde una perspectiva foucaultiana, los medios de comunicación social (social media) son más que un vehículo para el intercambio de información, son un vehículo para la formación de la identidad y su control.

[EN] Nowadays, the expansion of social networks has made possible the emergence of a new, decentralized and diffused surveillance model. Web 2.0 and smartphone devices allow the circulation of private information available to users and public-private companies that are part of the new network economy. The daily use of applications with gps locator allows the storage of all kinds of activities and to carrying out the reconstruction of all our actions, desires and affections. In a context of hyper-exposure, of the hyper-connected 24/7 society, it is considered to be as a new model of more diffused surveillance, but maintaining the same effect of the Panopticon. This has an impact on user psychology creating a disciplinary power in the face of uncertainty of being under constant surveillance. The concept of Panopticon's isolation and surveillance cell is reflected today, not only in each personalized account in social networks, but in all the information that is recorded in the Google history associated with a personal email account, Paypal accounts and countless apps that register heart rate, fingerprints, sleep curves and blood sugar. These applications allow the total registration of all physical, biological and affective actions and movements. From Foucault’s perspective, social media is more than a vehicle for the exchange of information, it is a vehicle for the formation of identity and its control., [ES] En la actualidad la expansión de las redes sociales ha hecho posible la aparición de un nuevo modelo de vigilancia más descentralizado y más difuso. La web 2.0 y los dispositivos smartphone permiten poner en tránsito información privada a disposición de los usuarios y de empresas público - privadas que forman parte de la nueva economía de red. La cotidianización de las aplicaciones con geolocalizadores permiten almacenar todo tipo de actividades y realizar la reconstrucción de todas nuestras acciones, deseos y afectos. En un contexto de hiper-exposición, de la sociedad hiper-conectada 24/7, se alza como un nuevo modelo de vigilancia más difuso, pero manteniendo el mismo efecto del Panóptico, que impacta sobre la psicología user creando un poder disciplinario ante la incertidumbre de estar en un foco de vigilancia.La celda de aislamiento y vigilancia del Panóptico se convierte hoy no solo en cada cuenta personalizada en las redes sociales sino en toda la información que registra el historial de Google asociado a una cuenta de mail personal, a cuentas de Paypal y a infinidad de apps que registran el ritmo cardíaco, las huellas digitales, las curvas de sueño y el azúcar en la sangre. Estas aplicaciones permiten el registro total de todas las acciones y movimientos físicos, biológicos y afectivos. Desde una perspectiva foucaultiana, los medios de comunicación social (social media) son más que un vehículo para el intercambio de información, son un vehículo para la formación de la identidad y su control.

Desde la experimentación de una plataforma audiovisual como posible herramienta creativa en el trabajo artístico, se desprende una reflexión que contextualiza dicha plataforma desde una perspectiva crítica. Comenzando por una revisión histórica y social de los nuevos medios de comunicación; identificando algunas de sus características en la contemporaneidad; y buscando la posibilidad de narrativas disruptivas dentro de la misma plataforma, que puedan servir como referencia en un sentido amplio, ya sea encontrando similitudes o divergencias entre proyectos., From the experimentation of an audiovisual platform like a possible creative tool in artistic work, a reflection emerges that contextualizes the platform from a critical perspective. Beginning with a historical and social revision of the new media; Identifying some of its characteristics in contemporaneity; And looking for the possibility of disruptive narratives within the same platform, that can serve as a reference in a broad sense, either finding similarities or divergences between projects.

[EN] Having a greater presence and good communication in the digital world has become a transcendental point for cultural institutions. Despite attempts to improve this relationship, many Spanish museums still do not understand issues such as: the value that this kind of communication can offer the entity, the type of relationship has to be established with digital users and the long-term benefits that it can generate, among other aspects. In this article, it is intended to give visibility to the main challenges that cultural organizations must face regarding the management of their social networks, showing proposals that have been carried out from some institutions that have not hesitated to participate in the 2.0 revolution., [ES] Tener una mayor presencia y una buena comunicación en el mundo digital se ha convertido en un punto trascendental para las instituciones culturales. A pesar de los intentos para mejorar esta relación, muchos museos españoles continúan sin comprender cuestiones como: el valor que esta clase de comunicación puede ofrecer a la entidad, el tipo de relación se ha de establecer con los usuarios digitales y los beneficios a largo plazo que puede generar, entre otros aspectos. En el presente artículo, se pretende dar visibilidad a los principales retos que las organizaciones culturales deben afrontar respecto a la gestión de sus redes sociales, mostrando propuestas que se han llevado a cabo desde algunas instituciones que no han dudo en participar en la revolución 2.0.

Mi trabajo final de máster surge como respuesta a mi creciente interés por las prácticas colaborativas y su incidencia en diferentes ámbitos, motivado a su vez, por las reflexiones surgidas alrededor de las asignaturas cursadas en el máster. Consiste en la creación e implementación de un proyecto de creación colaborativa en la web dirigido al conjunto de estudiantes y profesores de la Escuela de Arte y Diseño de Alcoy. El objetivo principal del proyecto es construir una plataforma online que favorezca la libre expresión y la colaboración de los participantes y desarrollar estrategias que permitan la difusión en redes sociales para fomentar el uso de la plataforma. La metodología empleada tiene una parte de investigación teórica y otra práctica. La primera nos ayuda a contextualizar la situación actual de la creación colaborativa, el modelo cooperativo de trabajo frente al competitivo y los nuevos modelos de interactuación a través de las nuevas tecnologías. La segunda aborda el y diseño de la plataforma web y el desarrollo de un plan de acción para la difusión en redes sociales y en el entorno de la escuela. El trabajo me ha permitido conocer los diferentes conceptos, problemáticas y cuestiones técnicas y sociales que surgen en torno a la red y que fomentan los nuevos modelos de trabajo que condicionan las prácticas artísticas y profesionales de hoy en día., My final master¿s project arises as a response to my growing interest in collaborative practices and its impact in different areas, motivated in turn, by the reflections arising around the subjects studied in the master. It consists of the creation and implementation of a collaborative creation project on the web directed to the group of students and professors of the School of Art and Design of Alcoy. The main objective of the project is to build an online platform that allows the free expression and collaboration of the participants and develop strategies that allow the dissemination and channel the results in social networks to encourage the use of the platform. The methodology used has a part of theoretical research and a practical part. The first one helps us contextualise the current situation of collaborative creation, the cooperative working model versus the competitive one and the new models of interaction through new technologies. The second deals with the programming and design of the web platform and the development of an action plan for dissemination in social networks and in the school environment. The work has allowed me to know the different concepts, problems and technical and social issues that arise around the network and that encourage the new work models that condition the artistic and professional practices of today.

Desde la experimentación de una plataforma audiovisual como posible herramienta creativa en el trabajo artístico, se desprende una reflexión que contextualiza dicha plataforma desde una perspectiva crítica. Comenzando por una revisión histórica y social de los nuevos medios de comunicación; identificando algunas de sus características en la contemporaneidad; y buscando la posibilidad de narrativas disruptivas dentro de la misma plataforma, que puedan servir como referencia en un sentido amplio, ya sea encontrando similitudes o divergencias entre proyectos., From the experimentation of an audiovisual platform like a possible creative tool in artistic work, a reflection emerges that contextualizes the platform from a critical perspective. Beginning with a historical and social revision of the new media; Identifying some of its characteristics in contemporaneity; And looking for the possibility of disruptive narratives within the same platform, that can serve as a reference in a broad sense, either finding similarities or divergences between projects.

Una analogía entre la gradación de la imagen representativa y abstracta, y la gradación de intencionalidad del sujeto-usuario en la web 2.0 a la hora de dotar de significado a la imagen. Ambas atravesadas por la noción de distancia respecto a lo Real ¿como una dimensión previa al lenguaje simbólico¿. Después de una propuesta de análisis del actual archivo de visualidad y de ver sendas reacciones y posicionamientos post-artísticos, planteamos un régimen escópico de emplazamiento basado en la economía de la hiperatención y del bloqueo del sujeto en los sucesos de saturación y exceso visual. Enmarcándose la práctica artística personal en éste campo conceptual., [EN] In this project we’ll analyze the idea of representation in painting and image, proposing a gradation of representation through notions of the Real –as a prior dimension to language–, and reality –as the symbolic world–. We’ll base our approach on lectures aboutJacquesLacan’s thought written by art ritics such as M. A. Hernández-Navarro or H. Foster.Including in our scheme the abstract image, as opposed to representation, but belonging all the way in the reality dimension–justifying it on what W.J.T. Mitchell set outabout the non-existence of pure visual mediums.

As technology advances, people have different forms of life or, our life have been changed dramatically, and also this kind of change lead us to the top of the biosphere. and the appearance of web 2.0 let the structure of tranditional industrues changed considerably and the catering industry is one of them. In China, in the 80 century, till the beginning of 90 century, if we had no disire to cook, we had to go to restaurant to eat. In year 2000, if we had no disire to cook, we could call for food. Almost 15 years later, today, if we don¿t feel like cooking we just need move our finger and we can order food from a collective platform where shows not only restaurants that the city cantain, but also can we find tons of funciones that we would never image 15 year before. The main purposes of this article are going to show that the profile of the gastronomy 2.0 en China, includo, the past, the progress it made y its future. What¿s more, we also going to show the side-product of web 2.0 and how¿s it work in our daily life. Finally, we are going to make a prediction how¿s the gastronomy 3,0 works., A medida que avanza la tecnología, la forma de la vida humana cambia cada vez más rápida, dejando los seres convertido en el rey de las especies. y la aparición del web 2.0 deja la estructura de las industrias tradicionales cambian considerablemente y uno de ellos es la industria del catering. En China, en los 80s y el principio de 90 si no se tenían ganas de cocinar, había que ir a restaurante para comer. En el año 2000, si no teníamos ganas de cocinar, podíamos llamar por teléfono para pedir la comida a domicilio. Casi 15 años después, hoy, si no tenemos ganas de cocinar podemos pedir la comida desde una plataforma colectiva donde no solo muestra casi todos los restaurantee de la ciudad sino que hay muchas funciones inimaginables. El principal objetivo de este trabajo es presentar el perfil de la gastronomía 2.0 en China abarcando el pasado, el proceso, el futuro de gastronomía 2.0 y mostrar la variedad derivados desde 2.0 web y funciones en la vida diaria humana, realizar una propuesta de la gastronomía 3.0.

Una analogía entre la gradación de la imagen representativa y abstracta, y la gradación de intencionalidad del sujeto-usuario en la web 2.0 a la hora de dotar de significado a la imagen. Ambas atravesadas por la noción de distancia respecto a lo Real ¿como una dimensión previa al lenguaje simbólico¿. Después de una propuesta de análisis del actual archivo de visualidad y de ver sendas reacciones y posicionamientos post-artísticos, planteamos un régimen escópico de emplazamiento basado en la economía de la hiperatención y del bloqueo del sujeto en los sucesos de saturación y exceso visual. Enmarcándose la práctica artística personal en éste campo conceptual., [EN] In this project we’ll analyze the idea of representation in painting and image, proposing a gradation of representation through notions of the Real –as a prior dimension to language–, and reality –as the symbolic world–. We’ll base our approach on lectures aboutJacquesLacan’s thought written by art ritics such as M. A. Hernández-Navarro or H. Foster.Including in our scheme the abstract image, as opposed to representation, but belonging all the way in the reality dimension–justifying it on what W.J.T. Mitchell set outabout the non-existence of pure visual mediums.

Desde la experimentación de una plataforma audiovisual como posible herramienta creativa en el trabajo artístico, se desprende una reflexión que contextualiza dicha plataforma desde una perspectiva crítica. Comenzando por una revisión histórica y social de los nuevos medios de comunicación; identificando algunas de sus características en la contemporaneidad; y buscando la posibilidad de narrativas disruptivas dentro de la misma plataforma, que puedan servir como referencia en un sentido amplio, ya sea encontrando similitudes o divergencias entre proyectos., From the experimentation of an audiovisual platform like a possible creative tool in artistic work, a reflection emerges that contextualizes the platform from a critical perspective. Beginning with a historical and social revision of the new media; Identifying some of its characteristics in contemporaneity; And looking for the possibility of disruptive narratives within the same platform, that can serve as a reference in a broad sense, either finding similarities or divergences between projects.

Pràctiques curatorials contemporànies: l'hegemonia del projecte com a eina d'expressió artística és el títol que dóna nom a un treball teòric d¿investigació entorn de la preponderància de la proposta artística curatorial que relega, fins a cert punt, el protagonisme de la personalitat del creador. Per a la realització de l¿anàlisi i estudi d¿aquesta realitat hem fet ús d¿una metodologia inductiva: a partir de la particularitat d¿una sèrie de casos sorgeixen una sèrie de conclusions que descobreix la generalització d¿una hipòtesi, l¿hegemonia projectual. Fins a arribar a la hipòtesi i l¿exposició dels tres casos concrets d¿estudi (Bloc II), el treball examina la naturalesa de la pràctica curatorial contemporània (Bloc I). I ho fa començant pel plantejament de la necessitat/inevitabilitat d¿un mediador entre ull i obra, continuant amb l¿estudi de la figura híbrida del comissari-artista / artista-comissari mitjançant un breu repàs històric entorn de l¿evolució del comissari d¿art (el rol del qual passa de mediador-seleccionador a creador-artista), per acabar tractant el paper de l¿exposició com a mètode. Els tres casos particulars estudiats són els següents: "Live In Your Head. When Attitudes Become Form" comissariada per Harald Szeemann el 1969; "Hotel Carlton Palace. Chambre 763" (1993), de Hans Ulrich Obrist; i, per últim, ens endinsem en l¿experimentació i el concepte expositiu més recent en l¿era 2.0., tractant un conjunt de projectes que permeten un millor enteniment de les noves propostes més recents. En total, una selecció pragmàtica que permet exemplificar de manera clara aquesta evolució cap a la realitat plantejada., Contemporary curatorial practices: the hegemony of the project as a tool for artistic expression is the title that gives name to a theoretical investigation about the preponderance of the curatorial artistic proposal that relegates, to a certain extent, the protagonism of the creators' personality. The analysis of this reality has been done with an inductive methodology: from the particularity of a series of cases, arises a series of conclusions that discover the generalization of a hypothesis, the projectual hegemony. Until reaching the hypothesis and exposition of the three studied cases (Block II), the work examines the nature of contemporary curatorial practice (Block I). And it does so beginning by exposing the need / inevitability of a mediator between eye and work, continuing with the study of the hybrid figure of the commissioner-artist / artist-commissioner by means of a brief historical review of the evolution of the art curator (the role of which goes from mediator-selector to creator-artist), to end up treating the role of the exhibition as a method. The three individual cases studied are the following: "Live In Your Head. When Attitudes Become a Form" curated by Harald Szeemann in 1969; "Hotel Carlton Palace. Chambre 763" (1993), by Hans Ulrich Obrist; and lastly, we introduce ourselves in the most recent experimentation and expository concept in the 2.0 era, dealing with a set of projects that allow a better understanding of the most recent new proposals. A pragmatic selection that allows to clearly exemplify this evolution towards the presented reality.

[EN] Web 2.0 technologies have become an integral part of our lives, transforming not only how we communicate with others, but also how language is taught and learned in the L2 classroom. Several studies have looked into the use of these tools and how they influence L2 learning (e.g. Jin, 2015; Wang & Vásquez, 2014), yet only one has compared the effects of two Web 2.0 technologies (Castaneda Vise, 2008). Thus, the aim of this study was to compare the impact that Facebook and blogs had on the writing skills, namely, writing fluency, lexical richness, and syntactic complexity, of Japanese EFL learners. Moreover, the authors examined the influence blogging and Facebook had on interaction, i.e., the number of comments the learners posted outside of class. Student attitudes towards using these tools for written English were also measured through a survey based on the technology acceptance model (Davis, 1989). Twenty-three students at a Japanese university participated in the study and were divided into a Facebook group (n = 14) and a blog group (n = 9) according to their classes. Both groups took part in a ten-week treatment consisting of weekly guided free-writings on their respective Web 2.0 applications. Pre- and post-tests were administered and non-parametric statistical tests were used to determine if any significant writing gains were made. It was found that students in both blogging and Facebook groups showed similar improvements in writing skills. However, blogging seemed to be more effective at promoting interaction and students who took part in this group retained more favorable attitudes on using blogging for L2 writing. It was concluded that Facebook may indeed present an environment where students can be distracted from more formal educational pursuits (e.g. Wang & Kim, 2014) even when they are in private Facebook groups, while blogging may support a more serious environment for improving L2 writing skills.

Mi trabajo final de máster surge como respuesta a mi creciente interés por las prácticas colaborativas y su incidencia en diferentes ámbitos, motivado a su vez, por las reflexiones surgidas alrededor de las asignaturas cursadas en el máster. Consiste en la creación e implementación de un proyecto de creación colaborativa en la web dirigido al conjunto de estudiantes y profesores de la Escuela de Arte y Diseño de Alcoy. El objetivo principal del proyecto es construir una plataforma online que favorezca la libre expresión y la colaboración de los participantes y desarrollar estrategias que permitan la difusión en redes sociales para fomentar el uso de la plataforma. La metodología empleada tiene una parte de investigación teórica y otra práctica. La primera nos ayuda a contextualizar la situación actual de la creación colaborativa, el modelo cooperativo de trabajo frente al competitivo y los nuevos modelos de interactuación a través de las nuevas tecnologías. La segunda aborda el y diseño de la plataforma web y el desarrollo de un plan de acción para la difusión en redes sociales y en el entorno de la escuela. El trabajo me ha permitido conocer los diferentes conceptos, problemáticas y cuestiones técnicas y sociales que surgen en torno a la red y que fomentan los nuevos modelos de trabajo que condicionan las prácticas artísticas y profesionales de hoy en día., My final master¿s project arises as a response to my growing interest in collaborative practices and its impact in different areas, motivated in turn, by the reflections arising around the subjects studied in the master. It consists of the creation and implementation of a collaborative creation project on the web directed to the group of students and professors of the School of Art and Design of Alcoy. The main objective of the project is to build an online platform that allows the free expression and collaboration of the participants and develop strategies that allow the dissemination and channel the results in social networks to encourage the use of the platform. The methodology used has a part of theoretical research and a practical part. The first one helps us contextualise the current situation of collaborative creation, the cooperative working model versus the competitive one and the new models of interaction through new technologies. The second deals with the programming and design of the web platform and the development of an action plan for dissemination in social networks and in the school environment. The work has allowed me to know the different concepts, problems and technical and social issues that arise around the network and that encourage the new work models that condition the artistic and professional practices of today.

[EN] Web 2.0 technologies have become an integral part of our lives, transforming not only how we communicate with others, but also how language is taught and learned in the L2 classroom. Several studies have looked into the use of these tools and how they influence L2 learning (e.g. Jin, 2015; Wang & Vásquez, 2014), yet only one has compared the effects of two Web 2.0 technologies (Castaneda Vise, 2008). Thus, the aim of this study was to compare the impact that Facebook and blogs had on the writing skills, namely, writing fluency, lexical richness, and syntactic complexity, of Japanese EFL learners. Moreover, the authors examined the influence blogging and Facebook had on interaction, i.e., the number of comments the learners posted outside of class. Student attitudes towards using these tools for written English were also measured through a survey based on the technology acceptance model (Davis, 1989). Twenty-three students at a Japanese university participated in the study and were divided into a Facebook group (n = 14) and a blog group (n = 9) according to their classes. Both groups took part in a ten-week treatment consisting of weekly guided free-writings on their respective Web 2.0 applications. Pre- and post-tests were administered and non-parametric statistical tests were used to determine if any significant writing gains were made. It was found that students in both blogging and Facebook groups showed similar improvements in writing skills. However, blogging seemed to be more effective at promoting interaction and students who took part in this group retained more favorable attitudes on using blogging for L2 writing. It was concluded that Facebook may indeed present an environment where students can be distracted from more formal educational pursuits (e.g. Wang & Kim, 2014) even when they are in private Facebook groups, while blogging may support a more serious environment for improving L2 writing skills.

[EN] Having a greater presence and good communication in the digital world has become a transcendental point for cultural institutions. Despite attempts to improve this relationship, many Spanish museums still do not understand issues such as: the value that this kind of communication can offer the entity, the type of relationship has to be established with digital users and the long-term benefits that it can generate, among other aspects. In this article, it is intended to give visibility to the main challenges that cultural organizations must face regarding the management of their social networks, showing proposals that have been carried out from some institutions that have not hesitated to participate in the 2.0 revolution., [ES] Tener una mayor presencia y una buena comunicación en el mundo digital se ha convertido en un punto trascendental para las instituciones culturales. A pesar de los intentos para mejorar esta relación, muchos museos españoles continúan sin comprender cuestiones como: el valor que esta clase de comunicación puede ofrecer a la entidad, el tipo de relación se ha de establecer con los usuarios digitales y los beneficios a largo plazo que puede generar, entre otros aspectos. En el presente artículo, se pretende dar visibilidad a los principales retos que las organizaciones culturales deben afrontar respecto a la gestión de sus redes sociales, mostrando propuestas que se han llevado a cabo desde algunas instituciones que no han dudo en participar en la revolución 2.0.

Este trabajo teórico estudia las corrientes artísticas del Apropiacionismo y el Post-Internet junto con el análisis de la obra del artista contemporáneo Cory Arcangel como paradigma de la conjunción de dichos movimientos., This project studies the artistic movements of Appropriationism and Post-Internet and analyzes the work of the contemporary artist Cory Arcangel as the paradigm of the union of both movements.

Mi trabajo final de máster surge como respuesta a mi creciente interés por las prácticas colaborativas y su incidencia en diferentes ámbitos, motivado a su vez, por las reflexiones surgidas alrededor de las asignaturas cursadas en el máster. Consiste en la creación e implementación de un proyecto de creación colaborativa en la web dirigido al conjunto de estudiantes y profesores de la Escuela de Arte y Diseño de Alcoy. El objetivo principal del proyecto es construir una plataforma online que favorezca la libre expresión y la colaboración de los participantes y desarrollar estrategias que permitan la difusión en redes sociales para fomentar el uso de la plataforma. La metodología empleada tiene una parte de investigación teórica y otra práctica. La primera nos ayuda a contextualizar la situación actual de la creación colaborativa, el modelo cooperativo de trabajo frente al competitivo y los nuevos modelos de interactuación a través de las nuevas tecnologías. La segunda aborda el y diseño de la plataforma web y el desarrollo de un plan de acción para la difusión en redes sociales y en el entorno de la escuela. El trabajo me ha permitido conocer los diferentes conceptos, problemáticas y cuestiones técnicas y sociales que surgen en torno a la red y que fomentan los nuevos modelos de trabajo que condicionan las prácticas artísticas y profesionales de hoy en día., My final master¿s project arises as a response to my growing interest in collaborative practices and its impact in different areas, motivated in turn, by the reflections arising around the subjects studied in the master. It consists of the creation and implementation of a collaborative creation project on the web directed to the group of students and professors of the School of Art and Design of Alcoy. The main objective of the project is to build an online platform that allows the free expression and collaboration of the participants and develop strategies that allow the dissemination and channel the results in social networks to encourage the use of the platform. The methodology used has a part of theoretical research and a practical part. The first one helps us contextualise the current situation of collaborative creation, the cooperative working model versus the competitive one and the new models of interaction through new technologies. The second deals with the programming and design of the web platform and the development of an action plan for dissemination in social networks and in the school environment. The work has allowed me to know the different concepts, problems and technical and social issues that arise around the network and that encourage the new work models that condition the artistic and professional practices of today.

Una analogía entre la gradación de la imagen representativa y abstracta, y la gradación de intencionalidad del sujeto-usuario en la web 2.0 a la hora de dotar de significado a la imagen. Ambas atravesadas por la noción de distancia respecto a lo Real ¿como una dimensión previa al lenguaje simbólico¿. Después de una propuesta de análisis del actual archivo de visualidad y de ver sendas reacciones y posicionamientos post-artísticos, planteamos un régimen escópico de emplazamiento basado en la economía de la hiperatención y del bloqueo del sujeto en los sucesos de saturación y exceso visual. Enmarcándose la práctica artística personal en éste campo conceptual., [EN] In this project we’ll analyze the idea of representation in painting and image, proposing a gradation of representation through notions of the Real –as a prior dimension to language–, and reality –as the symbolic world–. We’ll base our approach on lectures aboutJacquesLacan’s thought written by art ritics such as M. A. Hernández-Navarro or H. Foster.Including in our scheme the abstract image, as opposed to representation, but belonging all the way in the reality dimension–justifying it on what W.J.T. Mitchell set outabout the non-existence of pure visual mediums.

Pràctiques curatorials contemporànies: l'hegemonia del projecte com a eina d'expressió artística és el títol que dóna nom a un treball teòric d¿investigació entorn de la preponderància de la proposta artística curatorial que relega, fins a cert punt, el protagonisme de la personalitat del creador. Per a la realització de l¿anàlisi i estudi d¿aquesta realitat hem fet ús d¿una metodologia inductiva: a partir de la particularitat d¿una sèrie de casos sorgeixen una sèrie de conclusions que descobreix la generalització d¿una hipòtesi, l¿hegemonia projectual. Fins a arribar a la hipòtesi i l¿exposició dels tres casos concrets d¿estudi (Bloc II), el treball examina la naturalesa de la pràctica curatorial contemporània (Bloc I). I ho fa començant pel plantejament de la necessitat/inevitabilitat d¿un mediador entre ull i obra, continuant amb l¿estudi de la figura híbrida del comissari-artista / artista-comissari mitjançant un breu repàs històric entorn de l¿evolució del comissari d¿art (el rol del qual passa de mediador-seleccionador a creador-artista), per acabar tractant el paper de l¿exposició com a mètode. Els tres casos particulars estudiats són els següents: "Live In Your Head. When Attitudes Become Form" comissariada per Harald Szeemann el 1969; "Hotel Carlton Palace. Chambre 763" (1993), de Hans Ulrich Obrist; i, per últim, ens endinsem en l¿experimentació i el concepte expositiu més recent en l¿era 2.0., tractant un conjunt de projectes que permeten un millor enteniment de les noves propostes més recents. En total, una selecció pragmàtica que permet exemplificar de manera clara aquesta evolució cap a la realitat plantejada., Contemporary curatorial practices: the hegemony of the project as a tool for artistic expression is the title that gives name to a theoretical investigation about the preponderance of the curatorial artistic proposal that relegates, to a certain extent, the protagonism of the creators' personality. The analysis of this reality has been done with an inductive methodology: from the particularity of a series of cases, arises a series of conclusions that discover the generalization of a hypothesis, the projectual hegemony. Until reaching the hypothesis and exposition of the three studied cases (Block II), the work examines the nature of contemporary curatorial practice (Block I). And it does so beginning by exposing the need / inevitability of a mediator between eye and work, continuing with the study of the hybrid figure of the commissioner-artist / artist-commissioner by means of a brief historical review of the evolution of the art curator (the role of which goes from mediator-selector to creator-artist), to end up treating the role of the exhibition as a method. The three individual cases studied are the following: "Live In Your Head. When Attitudes Become a Form" curated by Harald Szeemann in 1969; "Hotel Carlton Palace. Chambre 763" (1993), by Hans Ulrich Obrist; and lastly, we introduce ourselves in the most recent experimentation and expository concept in the 2.0 era, dealing with a set of projects that allow a better understanding of the most recent new proposals. A pragmatic selection that allows to clearly exemplify this evolution towards the presented reality.

As technology advances, people have different forms of life or, our life have been changed dramatically, and also this kind of change lead us to the top of the biosphere. and the appearance of web 2.0 let the structure of tranditional industrues changed considerably and the catering industry is one of them. In China, in the 80 century, till the beginning of 90 century, if we had no disire to cook, we had to go to restaurant to eat. In year 2000, if we had no disire to cook, we could call for food. Almost 15 years later, today, if we don¿t feel like cooking we just need move our finger and we can order food from a collective platform where shows not only restaurants that the city cantain, but also can we find tons of funciones that we would never image 15 year before. The main purposes of this article are going to show that the profile of the gastronomy 2.0 en China, includo, the past, the progress it made y its future. What¿s more, we also going to show the side-product of web 2.0 and how¿s it work in our daily life. Finally, we are going to make a prediction how¿s the gastronomy 3,0 works., A medida que avanza la tecnología, la forma de la vida humana cambia cada vez más rápida, dejando los seres convertido en el rey de las especies. y la aparición del web 2.0 deja la estructura de las industrias tradicionales cambian considerablemente y uno de ellos es la industria del catering. En China, en los 80s y el principio de 90 si no se tenían ganas de cocinar, había que ir a restaurante para comer. En el año 2000, si no teníamos ganas de cocinar, podíamos llamar por teléfono para pedir la comida a domicilio. Casi 15 años después, hoy, si no tenemos ganas de cocinar podemos pedir la comida desde una plataforma colectiva donde no solo muestra casi todos los restaurantee de la ciudad sino que hay muchas funciones inimaginables. El principal objetivo de este trabajo es presentar el perfil de la gastronomía 2.0 en China abarcando el pasado, el proceso, el futuro de gastronomía 2.0 y mostrar la variedad derivados desde 2.0 web y funciones en la vida diaria humana, realizar una propuesta de la gastronomía 3.0.

[EN] Web 2.0 technologies have become an integral part of our lives, transforming not only how we communicate with others, but also how language is taught and learned in the L2 classroom. Several studies have looked into the use of these tools and how they influence L2 learning (e.g. Jin, 2015; Wang & Vásquez, 2014), yet only one has compared the effects of two Web 2.0 technologies (Castaneda Vise, 2008). Thus, the aim of this study was to compare the impact that Facebook and blogs had on the writing skills, namely, writing fluency, lexical richness, and syntactic complexity, of Japanese EFL learners. Moreover, the authors examined the influence blogging and Facebook had on interaction, i.e., the number of comments the learners posted outside of class. Student attitudes towards using these tools for written English were also measured through a survey based on the technology acceptance model (Davis, 1989). Twenty-three students at a Japanese university participated in the study and were divided into a Facebook group (n = 14) and a blog group (n = 9) according to their classes. Both groups took part in a ten-week treatment consisting of weekly guided free-writings on their respective Web 2.0 applications. Pre- and post-tests were administered and non-parametric statistical tests were used to determine if any significant writing gains were made. It was found that students in both blogging and Facebook groups showed similar improvements in writing skills. However, blogging seemed to be more effective at promoting interaction and students who took part in this group retained more favorable attitudes on using blogging for L2 writing. It was concluded that Facebook may indeed present an environment where students can be distracted from more formal educational pursuits (e.g. Wang & Kim, 2014) even when they are in private Facebook groups, while blogging may support a more serious environment for improving L2 writing skills.

[EN] Nowadays, the expansion of social networks has made possible the emergence of a new, decentralized and diffused surveillance model. Web 2.0 and smartphone devices allow the circulation of private information available to users and public-private companies that are part of the new network economy. The daily use of applications with gps locator allows the storage of all kinds of activities and to carrying out the reconstruction of all our actions, desires and affections. In a context of hyper-exposure, of the hyper-connected 24/7 society, it is considered to be as a new model of more diffused surveillance, but maintaining the same effect of the Panopticon. This has an impact on user psychology creating a disciplinary power in the face of uncertainty of being under constant surveillance. The concept of Panopticon's isolation and surveillance cell is reflected today, not only in each personalized account in social networks, but in all the information that is recorded in the Google history associated with a personal email account, Paypal accounts and countless apps that register heart rate, fingerprints, sleep curves and blood sugar. These applications allow the total registration of all physical, biological and affective actions and movements. From Foucault’s perspective, social media is more than a vehicle for the exchange of information, it is a vehicle for the formation of identity and its control., [ES] En la actualidad la expansión de las redes sociales ha hecho posible la aparición de un nuevo modelo de vigilancia más descentralizado y más difuso. La web 2.0 y los dispositivos smartphone permiten poner en tránsito información privada a disposición de los usuarios y de empresas público - privadas que forman parte de la nueva economía de red. La cotidianización de las aplicaciones con geolocalizadores permiten almacenar todo tipo de actividades y realizar la reconstrucción de todas nuestras acciones, deseos y afectos. En un contexto de hiper-exposición, de la sociedad hiper-conectada 24/7, se alza como un nuevo modelo de vigilancia más difuso, pero manteniendo el mismo efecto del Panóptico, que impacta sobre la psicología user creando un poder disciplinario ante la incertidumbre de estar en un foco de vigilancia.La celda de aislamiento y vigilancia del Panóptico se convierte hoy no solo en cada cuenta personalizada en las redes sociales sino en toda la información que registra el historial de Google asociado a una cuenta de mail personal, a cuentas de Paypal y a infinidad de apps que registran el ritmo cardíaco, las huellas digitales, las curvas de sueño y el azúcar en la sangre. Estas aplicaciones permiten el registro total de todas las acciones y movimientos físicos, biológicos y afectivos. Desde una perspectiva foucaultiana, los medios de comunicación social (social media) son más que un vehículo para el intercambio de información, son un vehículo para la formación de la identidad y su control.

[EN] Nowadays, the expansion of social networks has made possible the emergence of a new, decentralized and diffused surveillance model. Web 2.0 and smartphone devices allow the circulation of private information available to users and public-private companies that are part of the new network economy. The daily use of applications with gps locator allows the storage of all kinds of activities and to carrying out the reconstruction of all our actions, desires and affections. In a context of hyper-exposure, of the hyper-connected 24/7 society, it is considered to be as a new model of more diffused surveillance, but maintaining the same effect of the Panopticon. This has an impact on user psychology creating a disciplinary power in the face of uncertainty of being under constant surveillance. The concept of Panopticon's isolation and surveillance cell is reflected today, not only in each personalized account in social networks, but in all the information that is recorded in the Google history associated with a personal email account, Paypal accounts and countless apps that register heart rate, fingerprints, sleep curves and blood sugar. These applications allow the total registration of all physical, biological and affective actions and movements. From Foucault’s perspective, social media is more than a vehicle for the exchange of information, it is a vehicle for the formation of identity and its control., [ES] En la actualidad la expansión de las redes sociales ha hecho posible la aparición de un nuevo modelo de vigilancia más descentralizado y más difuso. La web 2.0 y los dispositivos smartphone permiten poner en tránsito información privada a disposición de los usuarios y de empresas público - privadas que forman parte de la nueva economía de red. La cotidianización de las aplicaciones con geolocalizadores permiten almacenar todo tipo de actividades y realizar la reconstrucción de todas nuestras acciones, deseos y afectos. En un contexto de hiper-exposición, de la sociedad hiper-conectada 24/7, se alza como un nuevo modelo de vigilancia más difuso, pero manteniendo el mismo efecto del Panóptico, que impacta sobre la psicología user creando un poder disciplinario ante la incertidumbre de estar en un foco de vigilancia.La celda de aislamiento y vigilancia del Panóptico se convierte hoy no solo en cada cuenta personalizada en las redes sociales sino en toda la información que registra el historial de Google asociado a una cuenta de mail personal, a cuentas de Paypal y a infinidad de apps que registran el ritmo cardíaco, las huellas digitales, las curvas de sueño y el azúcar en la sangre. Estas aplicaciones permiten el registro total de todas las acciones y movimientos físicos, biológicos y afectivos. Desde una perspectiva foucaultiana, los medios de comunicación social (social media) son más que un vehículo para el intercambio de información, son un vehículo para la formación de la identidad y su control.

[EN] Web 2.0 technologies have become an integral part of our lives, transforming not only how we communicate with others, but also how language is taught and learned in the L2 classroom. Several studies have looked into the use of these tools and how they influence L2 learning (e.g. Jin, 2015; Wang & Vásquez, 2014), yet only one has compared the effects of two Web 2.0 technologies (Castaneda Vise, 2008). Thus, the aim of this study was to compare the impact that Facebook and blogs had on the writing skills, namely, writing fluency, lexical richness, and syntactic complexity, of Japanese EFL learners. Moreover, the authors examined the influence blogging and Facebook had on interaction, i.e., the number of comments the learners posted outside of class. Student attitudes towards using these tools for written English were also measured through a survey based on the technology acceptance model (Davis, 1989). Twenty-three students at a Japanese university participated in the study and were divided into a Facebook group (n = 14) and a blog group (n = 9) according to their classes. Both groups took part in a ten-week treatment consisting of weekly guided free-writings on their respective Web 2.0 applications. Pre- and post-tests were administered and non-parametric statistical tests were used to determine if any significant writing gains were made. It was found that students in both blogging and Facebook groups showed similar improvements in writing skills. However, blogging seemed to be more effective at promoting interaction and students who took part in this group retained more favorable attitudes on using blogging for L2 writing. It was concluded that Facebook may indeed present an environment where students can be distracted from more formal educational pursuits (e.g. Wang & Kim, 2014) even when they are in private Facebook groups, while blogging may support a more serious environment for improving L2 writing skills.

As technology advances, people have different forms of life or, our life have been changed dramatically, and also this kind of change lead us to the top of the biosphere. and the appearance of web 2.0 let the structure of tranditional industrues changed considerably and the catering industry is one of them. In China, in the 80 century, till the beginning of 90 century, if we had no disire to cook, we had to go to restaurant to eat. In year 2000, if we had no disire to cook, we could call for food. Almost 15 years later, today, if we don¿t feel like cooking we just need move our finger and we can order food from a collective platform where shows not only restaurants that the city cantain, but also can we find tons of funciones that we would never image 15 year before. The main purposes of this article are going to show that the profile of the gastronomy 2.0 en China, includo, the past, the progress it made y its future. What¿s more, we also going to show the side-product of web 2.0 and how¿s it work in our daily life. Finally, we are going to make a prediction how¿s the gastronomy 3,0 works., A medida que avanza la tecnología, la forma de la vida humana cambia cada vez más rápida, dejando los seres convertido en el rey de las especies. y la aparición del web 2.0 deja la estructura de las industrias tradicionales cambian considerablemente y uno de ellos es la industria del catering. En China, en los 80s y el principio de 90 si no se tenían ganas de cocinar, había que ir a restaurante para comer. En el año 2000, si no teníamos ganas de cocinar, podíamos llamar por teléfono para pedir la comida a domicilio. Casi 15 años después, hoy, si no tenemos ganas de cocinar podemos pedir la comida desde una plataforma colectiva donde no solo muestra casi todos los restaurantee de la ciudad sino que hay muchas funciones inimaginables. El principal objetivo de este trabajo es presentar el perfil de la gastronomía 2.0 en China abarcando el pasado, el proceso, el futuro de gastronomía 2.0 y mostrar la variedad derivados desde 2.0 web y funciones en la vida diaria humana, realizar una propuesta de la gastronomía 3.0.

Mi trabajo final de máster surge como respuesta a mi creciente interés por las prácticas colaborativas y su incidencia en diferentes ámbitos, motivado a su vez, por las reflexiones surgidas alrededor de las asignaturas cursadas en el máster. Consiste en la creación e implementación de un proyecto de creación colaborativa en la web dirigido al conjunto de estudiantes y profesores de la Escuela de Arte y Diseño de Alcoy. El objetivo principal del proyecto es construir una plataforma online que favorezca la libre expresión y la colaboración de los participantes y desarrollar estrategias que permitan la difusión en redes sociales para fomentar el uso de la plataforma. La metodología empleada tiene una parte de investigación teórica y otra práctica. La primera nos ayuda a contextualizar la situación actual de la creación colaborativa, el modelo cooperativo de trabajo frente al competitivo y los nuevos modelos de interactuación a través de las nuevas tecnologías. La segunda aborda el y diseño de la plataforma web y el desarrollo de un plan de acción para la difusión en redes sociales y en el entorno de la escuela. El trabajo me ha permitido conocer los diferentes conceptos, problemáticas y cuestiones técnicas y sociales que surgen en torno a la red y que fomentan los nuevos modelos de trabajo que condicionan las prácticas artísticas y profesionales de hoy en día., My final master¿s project arises as a response to my growing interest in collaborative practices and its impact in different areas, motivated in turn, by the reflections arising around the subjects studied in the master. It consists of the creation and implementation of a collaborative creation project on the web directed to the group of students and professors of the School of Art and Design of Alcoy. The main objective of the project is to build an online platform that allows the free expression and collaboration of the participants and develop strategies that allow the dissemination and channel the results in social networks to encourage the use of the platform. The methodology used has a part of theoretical research and a practical part. The first one helps us contextualise the current situation of collaborative creation, the cooperative working model versus the competitive one and the new models of interaction through new technologies. The second deals with the programming and design of the web platform and the development of an action plan for dissemination in social networks and in the school environment. The work has allowed me to know the different concepts, problems and technical and social issues that arise around the network and that encourage the new work models that condition the artistic and professional practices of today.