STOREY, John. What is popular culture? In: ______. Cultural theory and popular culture: an introduction. 7th ed. London: Routledge, 2015. Cap. 1, p. 1-17.

“Here I simply wish to map out the general conceptual landscape of popular culture.” (p. 1)
“[…] all I intend to do for the remainder of this chapter is to sketch out six definitions of popular culture that, in their different, general ways, inform the study of popular culture. ” (p. 5)
“The aim of this book is to introduce readers to the different ways in which popular culture has been analysed and the different popular cultures that have been articulated as a result of the process of analysis.” (p. 14)
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STOREY, John. Preface/Acknowledgments. In: ______. Cultural theory and popular culture: an introduction. 7th ed. London: Routledge, 2015. P. i-xv.

“I have not tried to write a history of the encounter between cultural theory and popular culture. Instead, I have chosen to focus on the theoretical and methodological implications and rami cations of speci c moments in the history of the study of popular culture. In short, I have tended to treat cultural theory/popular culture as a discursive formation, and to focus less on historical provenance and more on how it functions ideologically in the present.” (p. xiii)
“Above all, the intention of this book is to provide an introduction to the academic study of popular culture.” (p. xiii)
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RINEHART, Richard. The Media Art Notation System: documenting and preserving digital/media art. Leonardo, v. 40, n. 2, p. 181-187, 2007. DOI 10.1162/leon.2007.40.2.181

“This paper is a direct outgrowth and continuation of two such projects, Archiving the Avant Garde and the Variable Media Network. These projects investigate many aspects of media art preservation, including migrating or updating media art works over time or using emulation to run old software on new computers, as tested in the Guggenheim exhibition Seeing Double. This paper will focus on the development of a formal notation system for media art.” (p. 181) Continue reading “The Media Art Notation System”

PADILHA, Renata Cardozo; CAFÉ, Lígia Maria Arruda. A interoperabilidade semântica entre acervos de museus: discutindo o caso dos Museus da Imagem e do Som. Em Questão, Porto Alegre, v. 23, n. 1, p. 113-128, jan./abr. 2017. DOI:

“O presente artigo discute questões de natureza terminológica que envolvem a interoperabilidade semântica no processo de compartilhamento de informações entre acervos de diferentes instituições.” (p. 113)
“[…] pergunta-se em que estado se encontra a descrição da fotografia histórica nos Museus da Imagem e do Som situados nas regiões Sul e Sudeste do Brasil? Estará esta descrição contribuindo para a comunicação entre os sistemas de informação das instituições examinadas e, em última instância, para a eficiência da recuperação da informação?” (p. 114)

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JONES, Caitlin; MULLER, Lizzie. Between real and ideal: documenting media art. Leonardo, v. 41, n. 4, p. 418-419, 2008. Disponível em: <>.

“This paper describes a new approach to document ing media art which seeks to place in dialogue the artist’s intentions and the audience’s experience. It explicitly highlights the productive tension between the ideal, conceptual existence of the work, and its actual manifestation through different iterations and exhibitions in the real world.” (p. 418)

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BENEDETTI, Susannah; WU, Annie; HAYES, Sherman. Art in a medium-sized university library: acquisition, cataloguing, and access issues: challenges and opportunities. Library Resources & Technical Services, Cidade, v. 48, n. 2, p. 144-154, Apr. 2004. GALE|A116340660.

“This paper outlines the acquisition, cataloguing, and access issues that shaped the evolution of the art works from their status first as decoration on the library walls, then as fully catalogued library materials in the online catalog, then as digitized images available in a searchable Web tour.” (p. 144)
“Randall Library’s experience illustrates how a decision to invest in cataloguing an unusual medium can go beyond the basics of author and subject access to create an unusually valuable foundation for promotional, curricular, and Web-based ventures.” (p. 145)
“The object of this paper is to illustrate how a mid-sized university library’s decision to catalog its small but growing art collection can have larger consequences not only for increased interdisciplinary use of the materials, but for overlap and integration with a separate Web-based database that provides images and description.” (p. 146-147)

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GOLDMAN, Emma. Anarchism: what it really stands for. In: GOLDMAN, Emma. Anarchism and other essays. New York: Mother Earth, 1911. 2nd ed. P. 30-42.

“To deal even remotely with all that is being said and done against Anarchism would necessitate the writing of a whole volume. I shall therefore meet only two of the principal objections. In doing so, I shall attempt to elucidate what Anarchism really stands for.” (p. 30)
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