The article demonstrates how Library of Congress Subject Headings (LCSH) geographic headings for the Southern Levant mirror the political investment of Congress and the American public in Middle East politics over the last thirty years. The headings' evolution as well as Library of Congress rules governing their creation is charted in detail. These LCSH headings contrast markedly with those established in other national libraries (BnF, DNB) and independent value vocabularies (TGN, GeoNames), and global opinion regarding the legal status of the occupied territories. I sketch the historical context of their formation and offer suggestions as to how libraries can "decolonize" their metadata in service of Sanford Berman's "access and equity."
We propose in this article to think art as an ideological enabler in the transmission of messages, with artistic demonstrations being an indispensable part of any social and political protest. In particular, during this pandemic, we are interested in how feminisms in Argentina and Chile, since their struggles and demands, have seen a significant decline in the possibility of living in the public space, which is a conquest after years of restriction and coercion in the private sphere. In turn, it is our role as art, in its performative nature, to promote expressions that do not require the presence of mass corpolous how to readapt those that do, implying under this paradigm other interpelagic connotations concerning the construction of new senses. As a field of study, we will address feminist activism in its many artistic and aesthetic languages (performatics, theatre, audiovisual, photographic, sticker), highlighting which ones have been reconfigured under this reality of mandatory social enthusiasm, in a context of heightened macro- violence, where, for example, cases of femicide, transfemicide and travesticide continue to rise in our country, in the region and in the world. How to resist in social confinement? How to play in times of such media noise? What can art be in times of pandemic? Institute for International Relations ; Nos proponemos en este artículo pensar al arte como un potenciador ideológico en la transmisión de mensajes, entendiendo a las manifestaciones artísticas como parte indispensable de toda protesta social y política. Nos interesa en especial, bajo esta coyuntura de pandemia, cómo los feminismos en Argentina Uruguay y Chile, desde sus luchas y reivindicaciones, han experimentado un retroceso significativo en la posibilidad de habitar el espacio público, siendo esta una conquista tras años de restringimiento y coerción en el ámbito privado. A su vez, nos incumbe como el arte, en su carácter performático, ha logrado potenciar expresiones que no requieran de presencia corpórea masiva cómo ...
This article reflects on the link between art and technology from a communicational perspective. At first, it problematizes about the relationship of technology with artistic practices understood as part of a historical process which is previous than computer and even photography. We refer to the photography because it is generally considered the first articulation between visual art and technology. In a second stage, we take two artistic experiences that are constructed from the link between software and hardware. The article problematizes the relationship with the public and the conception of art as a game (Gadamer; 1991). The final reflection brings the political dimension to the complex relationship between art and technology. ; El presente artículo reflexiona en torno al vínculo entre el arte y la tecnología desde una mirada comunicacional. En un primer momento, se problematiza acerca de la relación de las tecnologías con las prácticas artísticas entendiéndola como parte de un proceso histórico anterior a la informática e, incluso, a la fotografía, generalmente pensada como uno de los primeros momentos de tecnologización de lo artístico en el campo del arte visual. En un segundo momento, se retoman y analizan, desde este marco conceptual, dos experiencias artísticas que se construyen a partir del vínculo con softwares y hardwares. Se problematiza la relación con los públicos y la concepción del arte como un juego (Gadamer; 1991). La reflexión final aporta la dimensión política y complejiza la mirada acerca de la relación arte-tecnología. Facultad de Periodismo y Comunicación Social
The debate over the impact of British colonialism and "colonial modernity" in India has hinged around questions of epistemic and aesthetic rupture. Whether in modern poetry, art, music, in practically every language and region intellectuals struggled with the artistic traditions they had inherited and condemned them as decadent and artificial. But this is only part of the story. If we widen the lens a little and consider print culture and orature more broadly, vibrant regional print and performance cultures in a variety of Indian languages, and the publishing of earlier knowledge and aesthetic traditions belie the notion that English made India into a province of Europe, peripheral to London as the centre of world literature. Yet nothing of this new fervour of journals, associations, literary debates, of new genres or theatre and popular publishing, transpires in Anglo-Indian and English journals of the period, whose occlusion of the Indian-language stories produced ignorance, distaste, indifference— those "technologies of recognition" (Shu-Mei Shih) that produce "the West" as the agent of recognition and "the rest" as the object of recognition, in representation".
The poster aims at presenting the activities of the project as well as the results produced during its two first years. NewsEye is a European research project advancing the state of the art and introducing new concepts, methods and tools for digital humanities by providing enhanced access to historical newspapers for a wide range of users. With the data, tools and methods created by NewsEye, crucial user groups will be able to investigate views and perspectives on historical events and development and, as a consequence, the project will change the way European digital heritage data is (re)searched, accessed, used and analysed. The project involves national libraries, humanities and social science research groups and computer science research groups. It addresses a number of challenges, which will result in significant scientific advances, in several directions: in text recognition, text analysis, natural language processing, computational creativity and natural language generation, with regard to historical newspapers but also more broadly, in digital newspaper research, addressing a number of editorial issues like OCR and article separation, in digital humanities, in respect to huge amounts of text material, availability of useful tools and possibilities of searching and browsing, in history, in terms of analysing historical assets with new methods across different language corpora. Funded by the European Union's Horizon 2020 research and innovation programme, NewsEye is coordinated by the University of La Rochelle (France) and will last until May 2021.
This article shows how certain practices in contempary art enrich the analysis and critical reflections on digital culture, taking art history and museology as two important issues. The training on cultural aspects of its Relational and participatory value in networks; the latter is related to the effects of this value in the visualisation and channelling of works of Article What is the nature of my appropriation of art when I'm invented to choose works, on a muster's website, to create "my collection," my art gallery, "my personal museum?" Does this type of invitation favours the democratisation of art knowledge? On the contrary, do these initiatives Replicate institutional principles that maintain the prescribing authority? Does participatory cyber museology present new issues that result in communal action? Alternatively, does it consistently reproduce the traditional canonisation process of works of art without permitting a critical reinterpretation? To address these questions, the theoretical analysis presents proposals, online, of works that original both from the public domain and from collections from large museums, Ranging from the artistic practices of Julia Weist to the Google Art Project. This article shows how certain contemporary art practices enrich the analysis and critical reflexion on numeric culture, in relation to two important issues in art history and museology. The first relates to the relational and participatory value of culture in resins; the second relates to the effects of this value in the visualisation and canonisation of works of art. What is my ownership of the art when I are invited to choose works, on a MUSEE website, to create 'my collection', 'my arcade of art', 'my personal MUSEE'? Does this type of invitation encourage the democratisation of art knowledge? Or, on the contrary, do these initiatives renew the institutional principles that maintain the power of the prescribing MUSEE? Does participatory cyber museology propose new challenges that lead to Community action? Or, if ...
The article examines the concept of contemporary community as commoning, at the intersection of action, performance or participatory art, place, site-specific, and (post)digital poetry. This involves a brief review of traditional avant-gardes, 20th century engaged art, and recent political-art movements. In the process of this analysis, the participatory emerges as a subtler, more nuanced, and less predictable phenomenon than usually accepted. Also, performative subjectivity is traced as either the source of anticommunal community (in French theory), or mere Christian-capitalist construct (in communist philosophy). Agamben's theory of the coming community is therefore examined as possible response to both these stances, with its relevance to contemporary movements, including post-Occupy. Commoning – paralleled to placing in poetry – turns out to be of critical importance in present-day community especially with correlatives such as displacement and undecidablility. Place, space, and map(ping) are therefore radically redefined in the context, and contemporary poetry appears to be indissolubly related to the process: the poem of place is the place, and poetry becomes the site of the com(mon)ing community. Site (and discourse)-specificity in poetry occasions a shift in focus to digital space, its sonic economy, and the communities and floating locations/ sites thereof. Site and discourse fluidity have brought about a paradigm in which the poem and its related apps tend to expand and turn into digital space itself, while in more recent postdigital evolutions, a new political concern for the 'real' reshape community, site, and performance/ participatory art or poetry in a continuous interactivity and interdependence.
Chronics of the exhibition: "Artists and photographers. Pictures for a collection'. Madrid, Contemporary Art Museum, 8 May — 28 September 2008. Photography collectionism began to become widespread among Spanish contemporary art museums. In most of them, in fact, this collector phenomenon starts from the last decade of the last century or, at best and without generalisation, from its thresholds in the late 1980s. In Madrid, decided bets through fairs such as Arco since 1997 or the creation, a year later, of international festivals such as PhotoEspaña were significant signs of the momentum and dynamism that since then began to acquire photography among professional circles, collectionism and the general public. The development of the environment over the last few decades has also coincided in our country with an exciting and specific process of shaping contemporary art collections, looking for their uniqueness and opening up to a wide range of proposals. Creatively, they were also the moments of rebuilding figure, poetry and imagination, which were accompanied by the stimulating and twofold emergence in the world of photography and the arts, both of technological and digital means, which began to broaden the possibilities and democratise the use of the image, and by the practice of mixed techniques and hybridisation, which transformed the photographic medium into a powerful creative process that joined the other arts; so the photograph became the flagship instrument of post-modernity. It is in this context that, since its creation in 2001, the Museum of Contemporary Art in Madrid, which has formed its collection during this time, has been short but intense. With it, the young school has shown a particular sensitivity not only to the urban and Madrid viewpoints, but also to the new developments and behaviours of the photographic environment; as is supported by its various purchases and betting on photography and its use in mixed techniques, and the museum itself has made the public visible in the parallel ...
Since the late twentieth century, new criminal policies have emerged which have substantially restructured the global effort to fight crime. These anti-crime strategies eschew traditional approaches to fighting illicit behaviours in favour of a new paradigmatic shift towards the asset recovery strategy. The newly established mechanisms aim at tackling the criminals where it hurts the most, i.e. their property, with a view to ensuring that crime does not pay. This contribution succinctly analyses the birth and evolution of modern confiscation mechanisms, the prevailing models for efficient recovery of criminal property, and the European Union state of the art on the matter.
the question of (possible) downgrading of graduates is a recurrent issue with both political and scientific importance. This note provides an overview of the technical difficulties encountered in measuring decommissioning, before summarising the main findings in this area and the sometimes divergent interpretations proposed. ; The issue of over-education (especially for graduate students) is a recurrent one, whose both political and scientific relevance is great. This note sets a state of the art concerning the technical difficulties linked to the assessment of over-education; it synthesizes then the main results in that field, and the sometimes divergent interpretations of this phenomena. ; the question of (possible) downgrading of graduates is a recurrent issue with both political and scientific importance. This note provides an overview of the technical difficulties encountered in measuring decommissioning, before summarising the main findings in this area and the sometimes divergent interpretations proposed. ; La question du déclassement (éventuel) des diplômés est une question récurrente dont l'importance tant politique que scientifique est capitale. Cette note propose un état des lieux des difficultés techniques auxquelles se heurte la mesure du déclassement, avant de résumer les principaux constats établis en la matière ainsi que les interprétations parfois divergentes qui en sont proposées.
This article explores the figure of the La Plata artist Edgardo Antonio Vigo, to make visible and analyze his political positions regarding communication and art through the practice or Mail Art, and its links with Mexican artists. ; Este artículo indaga sobre la figura del artista platense Edgardo Antonio Vigo con el fin de visibilizar y analizar sus posicionamientos políticos en torno a la comunicación y el arte mediante la práctica de arte correo y sus vinculaciones con artecorreístas mexicanos. Facultad de Periodismo y Comunicación Social
210 215 133 ; S ; [EN] The eels are teleost fishes from the order Anguilliformes that includes several species with high commercial value. Due to the high interest for aquaculture production of some eel species and for the need to restore eel species that are endangered, several research groups have directed their research toward developing protocols to cryopreserve the spermatozoa of Japanese eel (Anguilla japonica) and European eel (Anguilla anguilla). In this review, we provide an overview on the different protocols that have been developed so far. The first developed protocols used DMSO as cryoprotectant in both species with good success, obtaining sperm motilities of over 45% in Japanese eel and over 35% in European eel. Moreover, sperm cryopreserved using DMSO was successfully used in fertilization trials, although with low fertilization rates. However, recent studies show that DMSO produce epigenetic changes in eel sperm and therefore, the last developed protocols used methanol as cryoprotectant instead. Cryopreservation protocols using methanol as cryoprotectant, showed improved motility values in both Japanese and European eel. In addition, the latest protocols have been adapted to cryopreserve larger volumes of sperm of up to 5¿mL, which is useful for larger scale fertilization trials. The present study introduces the state of the art and future perspectives of the eel sperm cryopreservation to be applied in aquaculture and biological conservation programs. Funded by the European Union's Horizon 2020 research and innovation program under the Marie Sklodowska-Curie grant agreement N 642893 (IMPRESS), including the JGHJ and CR pre-doctoral contracts. MM has a postdoc grant from the UPV (PAID -10-18). VG has a postdoc grant from the MICIU (Juan de la CiervaIncorporacion; IJCI-2017-34200). This research was supported by the Higher Education Institutional Excellence Program (1783-3/2018/FEKUTSRAT) awarded by the Ministry of Human Capacities of Hungary within the framework of water related researches of ...
1539 1548 9 2 ; S Boscoboinik, J. A., Yu, X., Yang, B., Fischer, F. D., Włodarczyk, R., Sierka, M., … Freund, H.-J. (2012). Modeling Zeolites with Metal-Supported Two-Dimensional Aluminosilicate Films. Angewandte Chemie International Edition, 51(24), 6005-6008. doi:10.1002/anie.201201319 Perdew, J. P., Burke, K., & Ernzerhof, M. (1996). Generalized Gradient Approximation Made Simple. Physical Review Letters, 77(18), 3865-3868. doi:10.1103/physrevlett.77.3865 Perdew, J. P., Burke, K., & Ernzerhof, M. (1997). Generalized Gradient Approximation Made Simple [Phys. Rev. Lett. 77, 3865 (1996)]. Physical Review Letters, 78(7), 1396-1396. doi:10.1103/physrevlett.78.1396 ; [EN] Based on theoretical calculations of CO, NH3, and pyridine adsorption at different sites in MOR and MFI zeolites, we analyze how confinement effects influence the measurement of acidity based on the interaction of probe molecules with Brönsted acid sites. Weak bases, such as CO, form neutral ZH¿CO adducts with a linear configuration that can be distorted by spatial restrictions associated with the dimensions of the pore, leading to weaker interaction, but can also be stabilized by dispersion forces if a tighter fitting with the channel void is allowed. Strong bases such as NH3 and pyridine are readily protonated on Brönsted acid sites, and the experimentally determined adsorption enthalpies include not only the thermochemistry associated with the proton transfer process itself, but also the stabilization of the Z¿¿BH+ ion pair formed upon protonation by multiple interactions with the surrounding framework oxygen atoms, leading in some cases to a heterogeneity of acidities within the same zeolite structure. This work was supported by the European Union through No. ERC-AdG-2014-671093 (SynCatMatch), and by the Spanish Government-MINECO through "Severo Ochoa" (No. SEV-2016-0683) and No. MAT2017-82288-C2-1-P projects. Red Espanola de Supercomputacion (RES) and Centre de Calcul de la Universitat de Valencia are gratefully acknowledged for ...
is not a continuous reading, but a choice of episodes that are key to reading. The examination of the art of the story, the attention paid to elements such as the law, the system of purity, the spaces and a different look at the Pasion open the reader to the beauty of a text that clashes the evidence to lead to the truth of Cristo and Evangelio. ; No se trata de una lectura continua, sino de una elección de episodios que constituyen claves de lectura. El examen del arte del relato, la atención prestada a elementos como la ley, el sistema de pureza, los espacios y una mirada diferente a la Pasión abren el lector a la belleza de un texto que choqua las evidencias para conducir a la verdad de Cristo y del Evangelio.
Given seriously the benchmark and automatic nature of the way in which the camera aims the reality, André Bazin set the idea that cinema is an absolutely realistic art that disposes us of the artist's expression, style effects and the breath of a story to be reported. But this was not without ambiguities and embarrassing bias. On the one hand, since aesthetics were inferred from technical properties, it is only by remaining faithful to the specificity of its medium that the film is capable of allowing the world 'as in itself', that is to say 'objectively', to come. On the other hand, considering the entire production, it was necessary to create an artificial opposition between formalist film-makers who manipulate and rebuild the real through a chain of unwavering actions, and film-makers of the gross presence at whom the sensitive inscription of the filmed body reveals a power of their own independent of the assembly. How to capture this apparent aversion from Bazin to any somewhat supported style brand, or even to what seems to be the basic gestures of a filmmaker: close, connect, cut, paste, edit, get closer? Against the widespread explanation that naively takes into account only the presumptive modernists about the recording and epiphanie of the 'raw facts' that the film is supposed to provide, it is argued that Bazin did not design realism as the possibility for cinema to transmit the world's spatial and temporal consistency. Its problem relates only marginally to the ontology of analogue image and more to the attitude of the filmmaker to a medium with specific affinities towards real life. Although the mechanical eye is capable of capturing everything, this incorporation of the world by the camera also attests to a form of strictly cinematographic violence. What is the possible criterion for the political relevance of a cinematographic image? Is there a non-subjective standard that underpins the difference between abjected and acceptable films? In the last instance, since the camera takes fragments outside ...
