Evaluación de la ciencia y tecnología como instrumento de intervención del Estado en la Política Nacional de Ciencia, Tecnología e Innovación

El uso de instrumentos y directrices en la política pública para la modelación de los resultados de la actividad científica y tecnológica ha sido frecuente en el Estado colombiano. Este trabajo bajo la ‘teoría de la regulación’ de Black, examina el Modelo de Medición de Grupos de Investigación y de calificación de Revistas Científicas –Publindex- de Colciencias, como instrumentos de intervención del Estado, fundados en el uso de indicadores bibliométricos y cienciométricos. Para ello, se da respuesta a interrogantes referidos a la auto-organización de la ciencia; su relación con el Modelo de Grupos de Investigación, la influencia que dicho modelo tiene sobre la libertad de investigación; las implicaciones que tiene el otorgar categoría o status a los Grupos por actos estatales y la conveniencia de que el Estado tenga un sistema de incentivos para el examen de información científica y técnica originada en indicadores científicos, entre otros. Se busca en síntesis, aportar elementos que permitan, desde una perspectiva sistémica e interdisciplinaria explicar algunas de las razones por las cuales los elementos involucrados en la estructuración de la normativa de ciencia y tecnología, pueden inducir a afectaciones negativas y positivas en el quehacer científico y tecnológico.

La Estrategia de elaboración de un superventas: El Código Da Vinci

Estudi de per què el llibre de Dan Brown “El Código da Vinci” és un èxit de vendes, i de les claus de la seva adaptació cinematogràfica

A universidade e o seu contributo para o desenvolvimento da União Europeia

O trabalho presente é uma investigação sobre a Universidade sua génese e diversidade, caminhada e desenvolvimento, prosperidade em crescimento, papel cultural e fonte de conhecimento seus momentos de glória, seu de impasse e de crise e tentativas para devolver a glória e prestigio de outrora. Nasceu na Europa Meridional com o título de “Studium Generale”. Não nasceu nem “ex abrupto” nem “ex nihilo”, a sua génese remonta às escolas religiosas dos conventos e catedrais onde se conservavam os documentos da cultura greco – latina que mais tarde imperará na Europa sob o antropocentrismo, em oposição ao Teocentrismo. O “Studium General” nasce sobre o patrocínio da Igreja que mantinha como disciplinas principais nestes centros a Teologia e Filosofia, cuja leccionação é circunscrita a poucas Escolas e professores escolhidos. Acorriam à Universidade alunos de todos os cantos da Europa, evidentemente com meios e frades alunos pobres e para os frades criaram-se colégios que os acolhiam e protegiam. A reunião de estudantes devido a disturbios gerou ambiente controverso e obrigou as autoridades governamentais a medidas quer de contenção quer de protecção a residentes e forasteiros. O estudante era um estrangeiro que se deslocava no espaço europeu consoante a fama dos professores. A língua latina foi o veiculo de ligação e comunicação. Pouco a pouco os estados foram-se dando conta do valor da universidade e dos seus ensinamentos e disputavam com a Igreja o seu patrocínio. A Universidade contribui para o desenvolvimento dos Estados a nível administrativo, do direito, da criação de leis dando aos Estados uma maior e melhor organização no seu desenvolvimento. As Universidades concediam graus académicos, sendo o maior o de doutor. Todos esperavam o apoio do saber académico e científico para vencer a luta pela existência. O sistema escolático criticado pelo humanismo deu origem a novos modelos de universidade que surgiram com a supervisão dos Estados. Os modelos a partir do século XIX, são: ingês, alemão, americano, francês e russo. A universidade passa a ser o lugar do ensino superior, com o repúdio ao tradicinal e a investigação passa a fazer parte do papel da universidade. Em Portugal criou-se estruturas de apoio à formação de professores especialmente o sector de ciência e educação. Tardiamente a União Europeia dá atenção à educação criando programas como o Sócrates cujas acções são Comenios, Erasmus, Grundvig, Língua e Minerva. A mobilidade estudantil torna-se realidade na Europa e a flexibilidade na educação. A função da universidade actual ocupa-se do sector industrial e pós industrial da sociedade de informação, economia e empresa. Universidade como serviço público e mercado. Foi pena que a União Europeia, não reconhecesse ao Homem a centralidade de que tem direito, e esquecesse que sem o homem não há desenvolvimento nem criatividade. Estruturou-se a economia e a política obliterou a educação, a cultura, a formação, isto é um castelo construído sobre areia. Relembrando Antero cabe dizer: “Abrem-se as portas de ouro com fragor Mas dentro encontro só cheiro de dor Silêncio e escuridão nada mais”. Hoje a nossa Universidade é um problema. O seu caminho terá de ser o da cultura e a da educação. Tem de ser vista como poder em época de crise e o permanente primeiro que o transitório. Donde a necessidade de uma gestão de qualidade e de uma educação permanente.

La desconocida historia de la construcción de la iglesia de San Francisco en Quito (Estudios)

El presente estudio ofrece una nueva cronología e historia de la construcción de la iglesia de San Francisco de Quito a través de documentos históricos inéditos que demuestran, contrariamente a lo postulado en la historiografía tradicional, que la actual iglesia no fue construida en el siglo XVI. El estudio ilustra los participantes y el proceso de la construcción, empleando documentos, planos e imágenes. Se abarcan temas de autoría, particularmente las identidades de los diseñadores y constructores, y se ofrece una reconsideración del legado historiográfico del imponente templo franciscano a la vista de nueva documentación.

Estimating uncertainty in terrestrial critical loads and their exceedances at four sites in the UK

Critical loads are the basis for policies controlling emissions of acidic substances in Europe and elsewhere. They are assessed by several elaborate and ingenious models, each of which requires many parameters, and have to be applied on a spatially-distributed basis. Often the values of the input parameters are poorly known, calling into question the validity of the calculated critical loads. This paper attempts to quantify the uncertainty in the critical loads due to this "parameter uncertainty", using examples from the UK. Models used for calculating critical loads for deposition of acidity and nitrogen in forest and heathland ecosystems were tested at four contrasting sites. Uncertainty was assessed by Monte Carlo methods. Each input parameter or variable was assigned a value, range and distribution in an objective a fashion as possible. Each model was run 5000 times at each site using parameters sampled from these input distributions. Output distributions of various critical load parameters were calculated. The results were surprising. Confidence limits of the calculated critical loads were typically considerably narrower than those of most of the input parameters. This may be due to a "compensation of errors" mechanism. The range of possible critical load values at a given site is however rather wide, and the tails of the distributions are typically long. The deposition reductions required for a high level of confidence that the critical load is not exceeded are thus likely to be large. The implication for pollutant regulation is that requiring a high probability of non-exceedance is likely to carry high costs. The relative contribution of the input variables to critical load uncertainty varied from site to site: any input variable could be important, and thus it was not possible to identify variables as likely targets for research into narrowing uncertainties. Sites where a number of good measurements of input parameters were available had lower uncertainties, so use of in situ measurement could be a valuable way of reducing critical load uncertainty at particularly valuable or disputed sites. From a restricted number of samples, uncertainties in heathland critical loads appear comparable to those of coniferous forest, and nutrient nitrogen critical loads to those of acidity. It was important to include correlations between input variables in the Monte Carlo analysis, but choice of statistical distribution type was of lesser importance. Overall, the analysis provided objective support for the continued use of critical loads in policy development. (c) 2007 Elsevier B.V. All rights reserved.

Secrets of Pawnless Endings

It is now 32 years since Ströhlein’s pioneering computation of KRKN and ten years since the publication of Nunn’s Secrets of Rook Endings. This book defined a new genre under his authorship and editorship (Nunn, 1992, 1994, 1995; Müller and Lamprecht, 1999, 2001) and has merited a second edition. Now comes the second edition of Secrets of Pawnless Endings.

Who owns the copyright of architectural works and designs?

Copyright protects the rights and interests of authors on their original works of authorship such as literary, dramatic, musical, artistic, and certain other intellectual works including architectural works and designs. It is automatic once a tangible medium of expression in any form of an innovative material, which conforms the Copyright Designs and Patents Act 1988 (CDPA 1988), is created. This includes the building, the architectural plans and drawings. There is no official copyright registry, no requirements on any fees need to be paid and they can be published or unpublished materials. Copyrights owners have the rights to control the reproduction, display, publication, and even derivation of the design. However, there are limitations on the rights of the copyright owners concerning copyrights infringements. Infringement of copyright is an unauthorised violation of the exclusive rights of the copyright author. Architects and engineers depend on copyright law to protect their works and design. Copyrights are protected on the arrangements of spaces and elements as well as the overall form of the architectural design. However, it does not cover the design of functional elements and standard features. Although copyright law provides automatic protection to all original architectural plans, the limitation is that copyright only protects the expression of ideas but not the ideas themselves. It can be argued that architectural drawings and design, including models are recognised categories of artistic works which are protected under the copyright law. This research investigates to what extent copyrights protect the rights and interests of the designers on architectural works and design.

Linguistic heterogeneity in Williams syndrome

Williams syndrome (WS) is a rare genetic disorder resulting from a deletion on chromosome 7. A number of studies have shown that individuals with WS have a superior linguistic profile compared to their non-verbal abilities, however the evidence has been inconclusive, as many studies have disputed such a profile. The vast majority of studies on WS have assumed a single, homogeneous WS linguistic profile in order to support various theoretical viewpoints. The present study investigated the linguistic profiles of 5 individuals with WS on a number of standardized verbal measures and in conversational settings. The results indicated substantially variable performance in all aspects of the verbal domain, which supports the view that WS, linguistically, is a rather heterogeneous condition and this should be taken into consideration when referring to it in theoretical accounts of language acquisition and debates on modularity.

From matron to matrix: gender, authority and (dis)embodiment in Beckett’s Theatre

An examination of Samuel Beckett's representation of women in a selection of his plays for stage and radio.

Working with Dyslexic Learners: Authoring in a Multimedia Environment

The fundamental principles of the teaching methodology followed for dyslexic learners evolve around the need for a multisensory approach, which would advocate repetition of learning tasks in an enjoyable way. The introduction of multimedia technologies in the field of education has supported the merging of new tools (digital camera, scanner) and techniques (sounds, graphics, animation) in a meaningful whole. Dyslexic learners are now given the opportunity to express their ideas using these alternative media and participate actively in the educational process. This paper discussed the preliminary findings of a single case study of two English monolingual dyslexic children working together to create an open-ended multimedia project on a laptop computer. The project aimed to examine whether and if the multimedia environment could enhance the dyslexic learners’ skills in composition. Analysis of the data has indicated that the technological facilities gave the children the opportunity to enhance the style and content of their work for a variety of audiences and to develop responsibilities connected to authorship.

Adaptive evolution of four microcephaly genes and the evolution of brain size in anthropoid primates

The anatomical basis and adaptive function of the expansion in primate brain size have long been studied; however, we are only beginning to understand the genetic basis of these evolutionary changes. Genes linked to human primary microcephaly have received much attention as they have accelerated evolutionary rates along lineages leading to humans. However, these studies focus narrowly on apes, and the link between microcephaly gene evolution and brain evolution is disputed. We analyzed the molecular evolution of four genes associated with microcephaly (ASPM, CDK5RAP2, CENPJ, MCPH1) across 21 species representing all major clades of anthropoid primates. Contrary to prevailing assumptions, positive selection was not limited to or intensified along the lineage leading to humans. In fact we show that all four loci were subject to positive selection across the anthropoid primate phylogeny. We developed clearly defined hypotheses to explicitly test if selection on these loci was associated with the evolution of brain size. We found positive relationships between both CDK5RAP2 and ASPM and neonatal brain mass and somewhat weaker relationships between these genes and adult brain size. In contrast, there is no evidence linking CENPJ and MCPH1 to brain size evolution. The stronger association of ASPM and CDK5RAP2 evolution with neonatal brain size than with adult brain size is consistent with these loci having a direct effect on prenatal neuronal proliferation. These results suggest that primate brain size may have at least a partially conserved genetic basis. Our results contradict a previous study that linked adaptive evolution of ASPM to changes in relative cortex size; however, our analysis indicates that this conclusion is not robust. Our finding that the coding regions of two widely expressed loci has experienced pervasive positive selection in relation to a complex, quantitative developmental phenotype provides a notable counterexample to the commonly asserted hypothesis that cisregulatory regions play a dominant role in phenotypic evolution. Key words: ASPM, MCPH1, CDK5RAP2, CENPJ, brain, neurogenesis, primates.

‘The Making of the Book’: Roy Fisher, the Circle Press and the poetics of book art

Between 1972 and 2001, the English late-modernist poet Roy Fisher provided the text for nine separate artist's books produced by Ron King at the Circle Press. Taken together, as Andrew Lambirth has written, the Fisher-King collaborations represent a sustained investigation of the various ways in which text and image can be integrated, breaking the mould of the codex or folio edition, and turning the book into a sculptural object. From the three-dimensional pop-up designs of Bluebeard's Castle (1973), each representing a part of the edifice (the portcullis, the armoury and so on), to ‘alphabet books’ such as The Half-Year Letters (1983), held in an ingenious french-folded concertina which can be stretched to over a metre long or compacted to a pocketbook, the project of these art books is to complicate their own bibliographic codes, and rethink what a book can be. Their folds and reduplications give a material form to the processes by which meanings are produced: from the discovery, in Top Down, Bottom Up (1990), of how to draw on both sides of the page at the same time, to the developments of The Left-Handed Punch (1987) and Anansi Company (1992), where the book becomes first a four-dimensional theatre space, in which a new version of Punch and Judy is played out by twelve articulated puppets, and then a location for characters that are self-contained and removable, in the form of thirteen hand-made wire and card rod-puppets. Finally, in Tabernacle (2001), a seven-drawer black wooden cabinet that stands foursquare like a sculpture (and sells to galleries and collectors for over three thousand pounds), the conception of the book and the material history of print are fully undone and reconstituted. This paper analyses how the King-Fisher art books work out their radically material poetics of the book; how their emphasis on collaboration, between artist and poet, image and text, and also book and reader – the construction of meaning becoming a co-implicated process – continuously challenges hierarchies and fixities in our conception of authorship; and how they re-think the status of poetic text and the construction of the book as material object.

File Transfer Protocol

The discourse surrounding the virtual has moved away from the utopian thinking accompanying the rise of the Internet in the 1990s. The Cyber-gurus of the last decades promised a technotopia removed from materiality and the confines of the flesh and the built environment, a liberation from old institutions and power structures. But since then, the virtual has grown into a distinct yet related sphere of cultural and political production that both parallels and occasionally flows over into the old world of material objects. The strict dichotomy of matter and digital purity has been replaced more recently with a more complex model where both the world of stuff and the world of knowledge support, resist and at the same time contain each other. Online social networks amplify and extend existing ones; other cultural interfaces like youtube have not replaced the communal experience of watching moving images in a semi-public space (the cinema) or the semi-private space (the family living room). Rather the experience of viewing is very much about sharing and communicating, offering interpretations and comments. Many of the web’s strongest entities (Amazon, eBay, Gumtree etc.) sit exactly at this juncture of applying tools taken from the knowledge management industry to organize the chaos of the material world along (post-)Fordist rationality. Since the early 1990s there have been many artistic and curatorial attempts to use the Internet as a platform of producing and exhibiting art, but a lot of these were reluctant to let go of the fantasy of digital freedom. Storage Room collapses the binary opposition of real and virtual space by using online data storage as a conduit for IRL art production. The artworks here will not be available for viewing online in a 'screen' environment but only as part of a downloadable package with the intention that the exhibition could be displayed (in a physical space) by any interested party and realised as ambitiously or minimally as the downloader wishes, based on their means. The artists will therefore also supply a set of instructions for the physical installation of the work alongside the digital files. In response to this curatorial initiative, File Transfer Protocol invites seven UK based artists to produce digital art for a physical environment, addressing the intersection between the virtual and the material. The files range from sound, video, digital prints and net art, blueprints for an action to take place, something to be made, a conceptual text piece, etc. About the works and artists: Polly Fibre is the pseudonym of London-based artist Christine Ellison. Ellison creates live music using domestic devices such as sewing machines, irons and slide projectors. Her costumes and stage sets propose a physical manifestation of the virtual space that is created inside software like Photoshop. For this exhibition, Polly Fibre invites the audience to create a musical composition using a pair of amplified scissors and a turntable. http://www.pollyfibre.com John Russell, a founding member of 1990s art group Bank, is an artist, curator and writer who explores in his work the contemporary political conditions of the work of art. In his digital print, Russell collages together visual representations of abstract philosophical ideas and transforms them into a post apocalyptic landscape that is complex and banal at the same time. www.john-russell.org The work of Bristol based artist Jem Nobel opens up a dialogue between the contemporary and the legacy of 20th century conceptual art around questions of collectivism and participation, authorship and individualism. His print SPACE concretizes the representation of the most common piece of Unicode: the vacant space between words. In this way, the gap itself turns from invisible cipher to sign. www.jemnoble.com Annabel Frearson is rewriting Mary Shelley's Frankenstein using all and only the words from the original text. Frankenstein 2, or the Monster of Main Stream, is read in parts by different performers, embodying the psychotic character of the protagonist, a mongrel hybrid of used language. www.annabelfrearson.com Darren Banks uses fragments of effect laden Holywood films to create an impossible space. The fictitious parts don't add up to a convincing material reality, leaving the viewer with a failed amalgamation of simulations of sophisticated technologies. www.darrenbanks.co.uk FIELDCLUB is collaboration between artist Paul Chaney and researcher Kenna Hernly. Chaney and Hernly developed together a project that critically examines various proposals for the management of sustainable ecological systems. Their FIELDMACHINE invites the public to design an ideal agricultural field. By playing with different types of crops that are found in the south west of England, it is possible for the user, for example, to create a balanced, but protein poor, diet or to simply decide to 'get rid' of half the population. The meeting point of the Platonic field and it physical consequences, generates a geometric abstraction that investigates the relationship between modernist utopianism and contemporary actuality. www.fieldclub.co.uk Pil and Galia Kollectiv, who have also curated the exhibition are London-based artists and run the xero, kline & coma gallery. Here they present a dialogue between two computers. The conversation opens with a simple text book problem in business studies. But gradually the language, mimicking the application of game theory in the business sector, becomes more abstract. The two interlocutors become adversaries trapped forever in a competition without winners. www.kollectiv.co.uk