Aprender a ser docentes con el cine de Miyazaki

El presente artículo plantea la incorporación del cine como argumento válido para la formación del profesorado. Consideramos que el cine incluye suficientes mecanismos para involucrar la educación en artes visuales, la educación en medios, y la educación musical. Entre los directores más relevantes del panorama internacional, proponemos la figura de Hayao Miyazaki. Este creador japonés ha sabido atraer a públicos de todas las edades y culturas a lo largo de su dilatada carrera profesional. La calidad técnica de los trabajos de Miyazaki va acompañada de una serie de valores que resultan muy válidos para incorporar acciones educativas de respeto al medio natural y a las tradiciones culturales. Pensamos que los maestros de educación primaria han de estar preparados para fomentar este tipo de valores entre el alumnado. Tanto la educación artística como el cine son entornos muy atractivos para lograrlo. Hemos observado y analizado a un grupo de estudiantes de grado de Maestro de primaria mientras miraban la película Ponyo en el acantilado. Planteamos un mayor uso del cine como recurso educativo (Ambrós y Breu, 2007; Fedorov, 2010). Animamos al profesorado y al alumnado a realizar nuevas lecturas críticas y personales del cine, indagando más allá del conocimiento del medio como mero entretenimiento (Clarembeaux, 2010; Hernández, 2000; Huerta, 2006)

Aprender a ser docentes con el cine de Miyazaki

El presente artículo plantea la incorporación del cine como argumento válido para la formación del profesorado. Consideramos que el cine incluye suficientes mecanismos para involucrar la educación en artes visuales, la educación en medios, y la educación musical. Entre los directores más relevantes del panorama internacional, proponemos la figura de Hayao Miyazaki. Este creador japonés ha sabido atraer a públicos de todas las edades y culturas a lo largo de su dilatada carrera profesional. La calidad técnica de los trabajos de Miyazaki va acompañada de una serie de valores que resultan muy válidos para incorporar acciones educativas de respeto al medio natural y a las tradiciones culturales. Pensamos que los maestros de educación primaria han de estar preparados para fomentar este tipo de valores entre el alumnado. Tanto la educación artística como el cine son entornos muy atractivos para lograrlo. Hemos observado y analizado a un grupo de estudiantes de grado de Maestro de primaria mientras miraban la película Ponyo en el acantilado. Planteamos un mayor uso del cine como recurso educativo (Ambrós y Breu, 2007; Fedorov, 2010). Animamos al profesorado y al alumnado a realizar nuevas lecturas críticas y personales del cine, indagando más allá del conocimiento del medio como mero entretenimiento (Clarembeaux, 2010; Hernández, 2000; Huerta, 2006)

Proust como en el cine

La tesis de este trabajo es que a pesar de las consideraciones proustianas de El tiempo recobrado que ligan al cine con el arte imitativo y la literatura de notas, se pueden demostrar muchas coincidencias estéticas en las narraciones y en las teorías, entre el mundo proustiano y los procedimientos, recursos y utilización de la imagen por el cine. Se revisan diversas películas en relación con concepciones de Proust. Se tienen en cuenta tiempo, espacio, yo, metacrítica, condiciones de verosimilitud, multiplicidad de interpretaciones, etc.

Abundance of zooplankton based on a long-term study at the Galata transect and covers the spring-summer periods from 1967 till 2005

The dataset is based on a long-term study (38 years) at the Galata transect and covers the spring-summer periods from 1967 till 2005. The whole dataset is composed of 360 data of total zooplankton biomass and abundance . Samples were collected in discrete layers 0-10m, 10-20m, 10-25m, 25-50m, 50-70m, 50-100m, 100-150. Mesozooplankton abundance: the collected material was analysed using the method of Domov (1959). Samples were brought to volume of 25-30 ml depending upon zooplankton density and mixed intensively until all organisms were distributed randomly in the sample volume. After that 5 ml of sample was taken and poured in the counting chamber for taxomomic identification and count. Large (> 1 mm body length) and not abundant species were calculated in whole sample. Counting and measuring of organisms were made in the Dimov chamber under the stereomicroscope to the lowest taxon possible. Taxonomic identification was done at the Institute of Fishery Resource by Prof. Asen Konsulov and Institute of Oceanology by Prof. Asen Konsulov, Lyudmila Kamburska and Kremena Stefanova using the relevant taxonomic literature (Mordukhay-Boltovskoy, F.D. (Ed.). 1968, 1969,1972). Taxon-specific mesozooplankton abundance: The collected material was analysed using the method of Domov (1959). Samples were brought to volume of 25-30 ml depending upon zooplankton density and mixed intensively until all organisms were distributed randomly in the sample volume. After that 5 ml of sample was taken and poured in the counting chamber for taxomomic identification and count. Copepods and Cladoceras were identified and enumerated; the other mesozooplankters were identified and enumerated at higher taxonomic level (commonly named as mesozooplankton groups). Large (> 1 mm body length) and not abundant species were calculated in whole sample. Counting and measuring of organisms were made in the Dimov chamber under the stereomicroscope to the lowest taxon possible. Taxonomic identification was done at the Institute of Fishery Resource by prof. Asen Konsulov and Institute of Oceanology by Prof. Asen Konsulov, Lyudmila Kamburska and Kremena Stefanova using the relevant taxonomic literature (Mordukhay-Boltovskoy, F.D. (Ed.). 1968, 1969,1972).

The Islamic Crossed-Arch Domes in Cordoba: Geometry and Structural Analysis of the “Capilla de Villaviciosa”

Crossed-arch domes are a singular type of ribbed vaults. Their characteristic feature is that the ribs that form the vault are intertwined, forming polygons or stars, leaving an empty space in the centre. The earliest known vaults of this type are found in the Great Mosque of Córdoba, built ca. 960 a.C. The type spread through Spain, and the north of Africa in the 10th to the 16th Centuries, and was used by Guarini and Vittone in the 17th and 18th Centuries in Italy. However, it was used only in a few buildings. Though the literature about the structural behaviour of ribbed Gothic vaults is extensive, so far no structural analysis of crossed arch domes has been made. The purpose of this work is, first to show the way to attack such an analysis within the frame of Modern Limit Analysis of Masonry Structures (Heyman 1995), and then to apply the approach to study the stability of the dome of the Capilla de Villaviciosa. The work may give some clues to art and architectural historians to understand better the origin and development of Islamic dome architecture.

A review of the distribution of particulate trace elements in urban terrestrial environments and its application to considerations of risk

We review the evolution, state of the art and future lines of research on the sources, transport pathways, and sinks of particulate trace elements in urban terrestrial environments to include the atmosphere, soils, and street and indoor dusts. Such studies reveal reductions in the emissions of some elements of historical concern such as Pb, with interest consequently focusing on other toxic trace elements such as As, Cd, Hg, Zn, and Cu. While establishment of levels of these elements is important in assessing the potential impacts of human society on the urban environment, it is also necessary to apply this knowledge in conjunction with information on the toxicity of those trace elements and the degree of exposure of human receptors to an assessment of whether such contamination represents a real risk to the city’s inhabitants and therefore how this risk can be addressed.

Urbanism and dictatorship: perspectives of the field of urban studies

In 1933 public letter to Wilhelm Furtwängler, Joseph Goebbels synthesized the official understanding of the link between politics, art and society in the early steps of the Third Reich. By assuming the ethos of art, politics acquired a plastic agency to mold its objects —population and the state— as a unified entity in the form of a ‘national-popular community’ (Volksgemeinschaft); in turn, by infusing art with a political valence, it became part of a wider governmental apparatus that reshaped aesthetic discourses and practices. Similar remarks could be made about the ordering of cities and territories in this period. Dictatorial imaginations mobilized urbanism —including urban theory, urban design and planning— as a fundamental tool for social organization. Under their aegis the production of space became a moment in a wider production of society. Many authors suggest that this political-spatial nexus is intrinsic to modernity itself, beyond dictatorial regimes. In this light, I propose to use dictatorial urbanisms as an analytical opportunity to delve into some concealed features of modern urban design and planning. This chapter explores some of these aspects from a theoretical standpoint, focusing on the development of dictatorial planning mentalities and spatial rationalities and drawing links to other historical episodes in order to inscribe the former in a broader genealogy of urbanism. Needless to say, I don’t suggest that we use dictatorships as mere templates to understand modern productions of space. Instead, these cases provide a crude version of some fundamental drives in the operationalization of urbanism as an instrument of social regulation, showing how far the modern imagination of sociospatial orderings can go. Dictatorial urbanisms constituted a set of experiences where many dreams and aspirations of modern planning went to die. But not, as the conventional account would have it, because the former were the antithesis of the latter, but rather because they worked as the excess of a particular orientation of modern spatial governmentalities — namely, their focus on calculation, social engineering and disciplinary spatialities, and their attempt to subsume a wide range of everyday practices under institutional structuration by means of spatial mediations. In my opinion the interest of dictatorial urbanisms lies in their role as key regulatory episodes in a longer history of our urban present. They stand as a threshold between the advent of planning in the late 19th and early 20th century, and its final consolidation as a crucial state instrument after World War II. We need, therefore, to pay attention to these experiences vis-à-vis the alleged ‘normal’ development of the field in contemporary democratic countries in order to develop a full comprehension thereof.

Luz industrial e imagen tecnificada: de Moholy Nagy al C.A.V.S. (Center for Advanced Visual Studies)

El desarrollo de la tecnología de la luz implicará la transformación de la vida social, cultural y económica. Tanto las consideraciones espaciales del Movimiento Moderno, como los efectos producidos por la segunda Guerra Mundial, tendrán efectos visibles en las nuevas configuraciones espaciales y en la relación simbiótica y recíproca que se dará entre ideología y tecnología. La transformación en la comprensión de la articulación espacial, asociada al desarrollo tecnológico, afectará al modo en que este espacio es experimentado y percibido. El espacio expositivo y el espacio escénico se convertirán en laboratorio práctico donde desarrollar y hacer comprensible todo el potencial ilusorio de la luz, la proyección y la imagen, como parámetros modificadores y dinamizadores del espacio arquitectónico. Esta experimentación espacial estará precedida por la investigación y creación conceptual en el mundo plástico, donde los nuevos medios mecánicos serán responsables de la construcción de una nueva mirada moderna mediatizada por los elementos técnicos. La experimentación óptica, a través de la fotografía, el cine, o el movimiento de la luz y su percepción, vinculada a nuevos modos de representación y comunicación, se convertirá en elemento fundamental en la configuración espacial. Este ámbito de experimentación se hará patente en la Escuela de la Bauhaus, de la mano de Gropius, Schlemmer o Moholy Nagy entre otros; tanto en reflexiones teóricas como en el desarrollo de proyectos expositivos, arquitectónicos o teatrales, que evolucionarán en base a la tecnología y la modificación de la relación con el espectador. El espacio expositivo y el espacio escénico se tomarán como oportunidad de investigación espacial y de análisis de los modos de percepción, convirtiéndose en lugares de experimentación básicos para el aprendizaje. El teatro se postula como punto de encuentro entre el arte y la técnica, cobrando especial importancia la intersección con otras disciplinas en la definición espacial. Las múltiples innovaciones técnicas ligadas a los nuevos fundamentos teatrales en la modificación de la relación con la escena, que se producen a principios del siglo XX, tendrán como consecuencia la transformación del espacio en un espacio dinámico, tanto física como perceptivamente, que dará lugar a nuevas concepciones espaciales, muchas de ellas utópicas. La luz, la proyección y la creación de ilusión en base a estímulos visuales y sonoros, aparecen como elementos proyectuales efímeros e inmateriales, que tendrán una gran incidencia en el espacio y su modo de ser experimentado. La implicación de la tecnología en el arte conllevará modificaciones en la visualización, así como en la configuración espacial de los espacios destinados a esta. Destacaremos como propuesta el Teatro Total de Walter Gropius, en cuyo desarrollo se recogen de algún modo las experiencias espaciales y las investigaciones desarrolladas sobre la estructura formal de la percepción realizadas por Moholy Nagy, además de los conceptos acerca del espacio escénico desarrollados en el taller de Teatro de la Bauhaus por Oskar Schlemmer. En el Teatro Total, Gropius incorporará su propia visión de cuestiones que pertenecen a la tradición de la arquitectura teatral y las innovaciones conceptuales que estaban teniendo lugar desde finales del s.XIX, tales como la participación activa del público o la superación entre escena y auditorio, estableciendo en el proyecto una nueva relación perceptual entre sala, espectáculo y espectador; aumentando la sensación de inmersión, a través del uso de la física, la óptica, y la acústica, creando una energía concéntrica capaz de extenderse en todas direcciones. El Teatro Total será uno de los primeros ejemplos en los que desde el punto de partida del proyecto, se conjuga la imagen como elemento comunicativo con la configuración espacial. Las nuevas configuraciones escénicas tendrán como premisa de desarrollo la capacidad de transformación tanto perceptiva, como física. En la segunda mitad del s.XX, la creación de centros de investigación como el CAVS (The Center for Advanced Visual Studies,1967), o el EAT (Experiments in Art and Technology, 1966), favorecerán la colaboración interdisciplinar entre arte y ciencia, implicando a empresas de carácter tecnológico, como Siemens, HP, IBM o Philips, facilitando soporte técnico y económico para el desarrollo de nuevos sistemas. Esta colaboración interdisciplinar dará lugar a una serie de intervenciones espaciales que tendrán su mayor visibilidad en algunas Exposiciones Universales. El resultado será, en la mayoría de los casos, la creación de espacios de carácter inmersivo, donde se establecerá una relación simbiótica entre espacio, imagen, sonido, y espectador. La colocación del espectador en el centro de la escena y la disposición dinámica de imagen y sonido, crearán una particular narrativa espacial no lineal, concebida para la experiencia. Desde las primeras proyecciones de cine a la pantalla múltiple de los Eames, las técnicas espaciales de difusión del sonido en Stockhausen, o los experimentos con el movimiento físico interactivo, la imagen, la luz en movimiento y el sonido, quedan inevitablemente convertidos en material arquitectónico. ABSTRACT. Light technology development would lead to a social, cultural and economic transformation. Both spatial consideration of “Modern Movement” and Second World War effects on technology, would have a visible aftereffect on spatial configuration and on the symbiotic and mutual relationship between ideology & technology. Comprehension adjustment on the articulation of space together with technology development, would impact on how space is perceived and felt. Exhibition space and scenic space would turn into a laboratory where developing and making comprehensive all illusory potential of light, projection and image. These new parameters would modify and revitalize the architectonic space. as modifying and revitalizing parameters of architectonic space. Spatial experimentation would be preceded by conceptual creation and investigation on the sculptural field, where new mechanic media would be responsible for a fresh and modern look influenced by technical elements. Optical experimentation, through photography, cinema or light movement and its perception, would turn into essential components for spatial arrangement linked to new ways of performance and communication. This experimentation sphere would be clear at The Bauhaus School, by the hand of Gropius, Schlemmer or Moholy Nag among others; in theoretical, theatrical or architectural performance’s projects, that would evolve based on technology and also based on the transformation of the relationship with the observer. Exhibition and perfor-mance areas would be taken as opportunities of spatial investigation and for the analysis of the different ways of perception, thus becoming key places for learning. Theater is postulated as a meeting point between art and technique, taking on a new significance at its intersection with other disciplines working with spatial definition too. The multiple innovation techniques linked to the new foundations for the theater regarding stage relation, would have as a consequence the regeneration of the space. Space would turn dynamic, both physically and perceptibly, bringing innovative spatial conceptions, many of them unrealistic. Light, projection and illusory creation based on sound and visual stimulus would appear as intangible and momentary design components, which would have a great impact on the space and on the way it is experienced. Implication of technology in art would bring changes on the observer as well as on the spatial configuration of the art spaces2. It would stand out as a proposal Walter Groupis Total Theater, whose development would include somehow the spatial experiments and studies about formal structure of perception accomplished by Moholy Nagy besides the concepts regarding stage space enhanced at the Bauhaus Theater Studio by Oskar Schlemmer. Within Total Theater, Groupis would incorporate his own view about traditional theatric architecture and conceptual innovations that were taking place since the end of the nineteenth century, such as active audience participation or the diffusing limits between scene and audience, establishing a new perception relationship between auditorium, performance and audience, improving the feeling of immersion through the use of physics, optics and acoustics, creating a concentric energy capable of spreading in all directions. Total Theater would be one of the first example in which, from the beginning of the Project, image is combined as a communicating element with the spatial configuration. As a premise of development, new stage arrangement would have the capacity of transformation, both perceptive and physically. During the second half or the twentieth century, the creation of investigation centers such as CAVS (Center for Advanced Visual Studies, 1967) or EAT (Experiments in Art and Technology, 1966), would help to the interdisciplinary collaboration between art and science, involving technology companies like Siemens, HP, IBM or Philips, providing technical and economic support to the development of new systems. This interdisciplinary collaboration would give room to a series of spatial interventions which would have visibility in some Universal Exhibitions. The result would be, in most cases, the creation of immersive character spaces, where a symbiotic relationship would be stablished between space, image, sound and audience. The new location of the audience in the middle of the display, together with the dynamic arrangement of sound and image would create a particular, no lineal narrative conceived to be experienced. Since the first cinema projections, the multiple screen of Eames, the spatial techniques for sound dissemination at Stockhausen or the interactive physical movement experimentation, image, motion light and sound would turn inevitably into architectural material.

"Another Way": The Pneumatology of Deleuzean Minoritarian Communal Interpretation in Scripture, the 16th Century Radical Reformation, and Alternative 21st Century Anabaptist Community

This dissertation proposes a constructive theology of the Holy Spirit called the "pneumatology of minoritarian communal interpretation," the alternative creation of meaning within an oppressive majority context. It illustrates the convergence of Deleuzean philosophy with Anabaptist pneumatology and media communal interpretation theory in three particular locations: 1) selected mentions of the Holy Spirit in the Hebrew Bible and Christian New Testament; 2) the 16th century Radical Reformation; and 3) "Another Way," a 21st century alternative Anabaptist group focused around the spiritual discussion of art and popular media. Chapter One outlines the three theories. Chapter Two examines the Holy Spirit in the Hebrew Bible, particularly 1 Samuel 8, the book of Ezekiel, and the Gospel narratives. Chapter Three examines the pneumatological writings of the Radical Reformers, concentrating particularly on their theologies of the intersection between church and the surrounding majoritarian culture. Chapter Four outlines my original field research with Another Way, and examines the tension between minoritarian communal interpretation and the 21st century semiotic regime. Chapter Five then summarizes the conversations between theory and illustration to propose the pneumatology of minoritarian communal interpretation for Christian theology.