Operational active fire mapping and burnt area identification applicable to Mexican Nature Protection Areas using MODIS and NOAA-AVHRR direct readout data

Since 1999, the National Commission for the Knowledge and Use of the Biodiversity (CONABIO) in Mexico has been developing and managing the “Operational program for the detection of hot-spots using remote sensing techniques”. This program uses images from the MODerate resolution Imaging Spectroradiometer (MODIS) onboard the Terra and Aqua satellites and from the Advanced Very High Resolution Radiometer of the National Oceanic and Atmospheric Administration (NOAA-AVHRR), which are operationally received through the Direct Readout station (DR) at CONABIO. This allows the near-real time monitoring of fire events in Mexico and Central America. In addition to the detection of active fires, the location of hot spots are classified with respect to vegetation types, accessibility, and risk to Nature Protection Areas (NPA). Besides the fast detection of fires, further analysis is necessary due to the considerable effects of forest fires on biodiversity and human life. This fire impact assessment is crucial to support the needs of resource managers and policy makers for adequate fire recovery and restoration actions. CONABIO attempts to meet these requirements, providing post-fire assessment products as part of the management system in particular for satellite-based burnt area mapping. This paper provides an overview of the main components of the operational system and will present an outlook to future activities and system improvements, especially the development of a burnt area product. A special focus will also be placed on the fire occurrence within NPAs of Mexico

Evaluation and revision of inferential comprehension in narrative texts: an eye movement study

We investigated the processes of how adult readers evaluate and revise their situation model during reading by monitoring their eye movements as they read narrative texts and subsequent critical sentences. In each narrative text, a short introduction primed a knowledge-based inference, followed by a target concept that was either expected (e.g., “oven”) or unexpected (e.g., “grill”) in relation to the inferred concept. Eye movements showed that readers detected a mismatch between the new unexpected information and their prior interpretation, confirming their ability to evaluate inferential information. Just below the narrative text, a critical sentence included a target word that was either congruent (e.g., “roasted”) or incongruent (e.g., “barbecued”) with the expected but not the unexpected concept. Readers spent less time reading the congruent than the incongruent target word, reflecting the facilitation of prior information. In addition, when the unexpected (but not expected) concept had been presented, participants with lower verbal (but not visuospatial) working memory span exhibited longer reading times and made more regressions (from the critical sentence to previous information) on encountering congruent information, indicating difficulty in inhibiting their initial incorrect interpretation and revising their situation model

Higher education engagement in leadership development: using autobiographical narrative to understand potential impact

The paper explores the lived experience of leadership learning and development in a single case study of an entrepreneur participating in a major leadership development programme for owner-managers of Small and Medium Sized Enterprises (SMEs). Based on autobiographical research, it provides a rich contextual account of the nature and underlying influences of leadership learning throughout the life-course, and as a consequence of participation in the programme. Whilst the paper should interest scholars, policy makers, and those concerned with programme development, it may also resonate with entrepreneurs and help them make sense of their experience of leadership development.

Aesthetical and narrative uses of the trench in the Hollywood cinema of 1918-1930

Throughout history of painting, the representation of landscape has been considered a laboratory for the human gaze on the world. The First World War and its new approach to the battlefield altered deeply the classical forms of representation, and replaced them with a mechanised and fragmentary vision, which was related with the development of photography and cinema. As Vicente J. Benet has analysed, Hollywod cinema used these deep changes in its filmic versions of the conflict, although it organised them following a narrative logic. In this text we intend to study how the battlefield and, particularly, the trench, are inserted in this logic of the history of landscape painting. We do so through some Hollywood films from the period 1918-1930. Firstly, we approach the trench as a composition value which can structure the image and guide the camera movement. In the second place, we study how it creates a dialog between its inside, melodrama scenery, and the outside, battlefield and danger. In both cases, we conclude that the trench as a form and as a narrative element plays a structuring and integrative role with the storytelling logic.