Hierarchical spatial segregation of two Mediterranean vole species: the role of patch‑network structure and matrix composition

According to ecological theory, the coexistence of competitors in patchy environments may be facilitated by hierarchical spatial segregation along axes of environmental variation, but empirical evidence is limited. Cabrera and water voles show a metapopulation-like structure in Mediterranean farmland, where they are known to segregate along space, habitat, and time axes within habitat patches. Here, we assess whether segregation also occurs among and within landscapes, and how this is influenced by patch-network and matrix composition. We surveyed 75 landscapes, each covering 78 ha, where we mapped all habitat patches potentially suitable for Cabrera and water voles, and the area effectively occupied by each species (extent of occupancy). The relatively large water vole tended to be the sole occupant of landscapes with high habitat amount but relatively low patch density (i.e., with a few large patches), and with a predominantly agricultural matrix, whereas landscapes with high patch density (i.e.,many small patches) and low agricultural cover, tended to be occupied exclusively by the small Cabrera vole. The two species tended to co-occur in landscapes with intermediate patch-network and matrix characteristics, though their extents of occurrence were negatively correlated after controlling for environmental effects. In combination with our previous studies on the Cabrera-water vole system, these findings illustrated empirically the occurrence of hierarchical spatial segregation, ranging from withinpatches to among-landscapes. Overall, our study suggests that recognizing the hierarchical nature of spatial segregation patterns and their major environmental drivers should enhance our understanding of species coexistence in patchy environments.

The incorporation of violence by women video artists

This paper examines the way in which women video artists embodied violence in their video pieces as a strategy of critique of the patriarchal regime. Since the 1960s several generations of women artists used different strategies of self-harm or explored the physical and mental limits of their bodies to express the anguish of those who are excluded from the patriarchal society on sexist and/or racist grounds. Considering the guiding line that covers three fields – art, gender, and feminist social movements – as well as their key thinkers and scholars in Sociology, Fine Arts and the Humanities, we have built the object of study of this essay, namely, the relationship between women's video art focused on the body, violence and gender along with feminist social movements in the period ranging from 1967 to 2007, in a Western context. The methodology used had as its primary goal to create a link between the micro-sociological level of expressions, body gestures and behaviours in the videos and the macro-sociological level of broader, institutionalized social forces that are at the origin of inequalities, such as dimensions of gender and «race». This study concluded that at least since the 1960s there is the denunciation by women video artists of the general circumstances women live under, while enduring violence of various kinds, such as socio-cultural, psychological and sexual violence against women.