Pabellón Eco 2014

Bajo el concepto de "Cuando el muro dejó de ser sólo un muro", se propone la construcción de un muro que se va transformado en el mobiliario del patio del Museo Experimental el Eco para el Pabellón del Eco 2014.Esta proyecto finalista dirige las posibles actividades al centro del espacio vacío; y por otro lado plantea cubrir la estela y el muro de colindancia del museo con un material reflejante para multiplicar el horizonte perceptible desde el patio.

Unidireccionalitat i bidireccionalitat en les xarxes socials dels museus catalans

L’objectiu general d’aquest treball és analitzar les xarxes socials dels museus catalans registrats per a veure si les utilitzen com a un canal de comunicació unidireccional o bidireccional

¿Crisis de la cultura? = Crisis of the culture?

Culture has several meanings: civilization, creation, knowledge, life… We analyze how each one suffers the so-called crisis of culture. Civilization lives the crisis as «liquidity», according to Bauman’s diagnosis, with significant negative impact on education. The creation and enjoyment of cultural products, such as museums, suffer its crisis as fragility resulting from the civilization crisis, notably in the form of consumerist banality or pure entertainment. Culture as knowledge and as life is analyzed under the joint notion «humanistic culture». This, which in turn is creation, knowledge and life has its specific corruption in the elitist knowledge, merely theoretical. The hallmark of genuine humanism contains an essential component, the dimension of ethical and political commitment. The crisis in the humanistic studies, noted by Nussbaum, threats the values of humanistic culture; in particular is a political risk, because democracy is a system that needs to sustain and improve the values of humanistic culture. In the background, and beyond the differences between the cultural meanings, there is a unique cultural crisis, a crisis of ethics and politics at a time

Aplicación de realidad aumentada para dispositivos móviles destinada a espacios culturales. Ejemplo de desarrollo: Museu Episcopal de Vic

Proyecto de aplicación para dispositivos móviles que utiliza la Realidad Aumentada (RA) para contextualizar obras artísticas. Es un producto pensado para museos y galerías pero también para espacios exteriores que posean elementos de valor cultural. Sin embargo, y para servir de ejemplo se ha aplicado en seis piezas destacadas del Museo Episcopal de Vic. Aunque en Europa y EE.UU. los museos ya están innovando en este terreno, en España, que es donde se enmarca el proyecto, existe una carencia de elementos de mediación cultural como estos; sobre todo en los museos de arte donde las obras acostumbran a presentarse despojadas de cualquier herramienta que proporcione información complementaria. Existe, por tanto, una descontextualización del arte que crea barreras para el entendimiento del público general. De esta situación de carencia parte el objetivo principal del producto, el de aprovechar las posibilidades de la RA para mejorar la experiencia y el diálogo entre el visitante y la obra, aportando conocimiento y fomentando el aprendizaje.

Redacció del projecte de reforma de l’aparcament subterrani de la seu de Barcelona de l’Institut del Teatre i la direcció d’obres

Redacció del projecte de reforma de l’aparcament subterrani de la seu de Barcelona del’Institut del Teatre i la direcció d’obres

Guia temàtica Biblioteca ETSAB: Museu Marès (Antic Tribunal de la Inquisició)

Postprint (author’s final draft)

Como si fuera posible recoger sentimientos = As if it were possible to collect suffering

Se trata de una propuesta como resultado del trabajo conjunto entre la escuela de Arte Pigment y el ESPAI ZERO1 del Museu Comarcal de la Garrotxa, destinado exclusivamente a exposiciones temporales de creación contemporánea y como continuidad de propuestas anteriores de colaboración: REPLICA23 y SONESNAT JUNIOR. Com si fos possible recollir el sofriment es un proyecto de la artista Anna Manel.la, y se consideró una propuesta interesante y un reto para conversar, intercambiar y crear con los alumnos sobre el tema de la exposición: la muerte y el sufrimiento. Asimismo porque es una artista conocida por los alumnos de la escuela Pigment, ya que anteriormente habían realizado un proyecto de apadrinamiento de esculturas y habitualmente ella participa en programas divulgativos en la escuela. El trabajo desarrollado centra el aprendizaje en la creación y en la investigación artística como ejes de los procesos de conceptualización con el objetivo de atender las dinámicas y los estímulos característicos de los niños. Facilitando procesos de búsqueda, exploración y manipulación sin condicionantes y promoviendo procesos autónomos en los que los mismos niños se planteen dudas e interrogantes y se enfrenten a situaciones cada vez mas complejas

Reencontro de Balanoglossus gigas Fr. Muller no litoral brasileiro

Re-finding of Balanoglossus gigas FR. MUULLER on the brasilian sea shore. Balanoglossus gigas, the giant Enteropneusta, has been described for the first time by Fritz Muller in his notes collected and published by Dr. HERMANN VON IHERING (1898, pg. 35). FR. MULLER found the Balanoglossus on the coats of the State of Santa Catarina in 1884. Once again in 1885 several specimens of that animal were captured by FR. MULLER in the same place. Since that time up to now no references on the occurrence of this animal have been found in the zoological bibliography. During the spring of 1948 Prof. W. BESNARD, Director of he Instituto Paulista de Oceanografia saw some signals indicating the existence of Balanoglossus at the beach of São Sebastião, State of São Paulo. From 1948 to now several attempts have been made to catch the animal alive and complete. On the last September during a shorts visit to the beach of São Sebastião one Balanoglossus was captured and brought to the Department of General and Animal Physiology in good conditions. The animal measured 1.80 m in length. It seems to be the largest Balanoglossus known. According to the descriptions of SPENGEL (1893, pg. 158), and VAN DER HORST (1939) pg. 717) it was possible to identify this Enteropneusta as Balanoglossus gigas FR. MULLER, refound at the Brazilian coast sixty six years after its discovery by FR. MÜLLER.

Distribuição dos Hydrozoa até agora conhecidos nas costas do Brasil

This work was done with the aim of computing all the species of Hydrozoa (Siphonophora excluded) that have been collected on the Brazilian coast, or in the pelagial, near the coast (some of the "Meteor" Stations). Nutting's (1900, 1904, 1915) and Mayer's (1910) monographs were taken as starting points and later papers and the Zoological Record used to check posterior findings. As a whole, 116 different valid names, among species and forms, have been mentioned from the Brazilian coast, distributed among 60 genera. Of the 116 species, 82 are represented by hydropolyps, 30 by hydromedusae (11 of which belong to the Trachylina and therefore lack a polypoid generation) and finally, by 4 species of which are known both polypoid and medusoid generations. The subdivision of the coast has been made at random, on account of the scarcity of the findings, except for the best known district, that goes from the latitude of Vitoria (State of Espirito Santo, at about 20ºlat.S.) to the bay of Santos (State of São Paulo, about 24ºlat.S.). The latitude of Cabo Frio (23ºlat.S.) was considered as a possible natural barrier, and the results of the global counting of the distribution of the hydropolyps North and South of 23ºlat.S. is the following: 29 species are known only North of Cabo Frio, 26 only from the same latitude (see direction of the coast, along parallel 23ºS.) or further South and 28 species are known both North and South of the coast (of these, 5 species are "cosmopolitan"). Therefore it seems quite possible that Cabo Frio really is a barrier to the distribution of 55 species. 26 species are endemic to the Brazilian coast, of these, only 5 are found both North and South of the Cape, while-14 are found only North and 7 only South. No studies can be done, on the bathymetric distribution in relation to the latitude. These results must be considered as provisory since more extensive researches will probably alter these figures. However, I believe that they are significative as a mean index of the condition of the hydrozoan fauna of the Brazilian coast. A tentative working hypothesis is presented as to the possible factors that confer such a zoogeographic importance to the region of Cabo Frio, a fact that has been foreseen by Ekman (1935, p. 73). Geographic position, currents, latitude and nature of the sea bottom between the continent and the oceanic island of Trindade have been taken in consideration, and all of them seem to be possible eficient factors of separation. Furthermore, according to the data obtained by the "Meteor" Expedition in July 2, 1926, at station 164 (23º8'lat.S. - 42º5'long.W.) and station 165 (23º35'lat.S. - 40º52'long.W.) and by what is known by hearsay and local experience of the region (exact continued study is urgently needed), it seems possible that, off from the sharp curve that the coast has at Cabo Frio, there may be an irregularity of the general scheme of the current and local upwelling may be present that would explain the local low temperature, low salinity and high density of the superficial layers as well as the abundance of fishes; these factors might contribute towards the establishement of a zoogeographical barrier. Further work is needed and nothing more than an hypothesis can be presented for the moment.

Costs and Benefits of a Shared Digital Long-Term Preservation System

Paper presented at the 40th Annual Conference of LIBER (Ligue des Bibliothèques Européennes de Recherche - Association of European Research Libraries) on July 1st, 2011; with the slides used at the presentation.

Enterprise architecture – the foundation for a strategy

This artcle describes work done with enterprise architecture of the National Digital Library. The National Digital Library is an initiative of the Finnish Ministry of Education and Culture. Its purpose is to promote the availability of the digital information resources of archives, libraries and museums, and to develope the long-term preservation of digital cultural heritage materials. Enterprise architectures are a tool for strategic management and planning. An enterprise architecture also functions as an aid at a more practical level. It shows, for example, what kind of changes and improvements may be made in one system without overlap or conflict with other systems.

Costs and Benefits of a Shared Digital Long-Term Preservation System

This paper describes the cost-benefit analysis of digital long-term preservation (LTP) that was carried out in the context of the Finnish National Digital Library Project (NDL) in 2010. The analysis was based on the assumption that as many as 200 archives, libraries, and museums will share an LTP system. The term ‘system’ shall be understood as encompassing not only information technology, but also human resources, organizational structures, policies and funding mechanisms. The cost analysis shows that an LTP system will incur, over the first 12 years, cumulative costs of €42 million, i.e. an average of €3.5 million per annum. Human resources and investments in information technology are the major cost factors. After the initial stages, the analysis predicts annual costs of circa €4 million. The analysis compared scenarios with and without a shared LTP system. The results indicate that a shared system will have remarkable benefits. At the development and implementation stages, a shared system shows an advantage of €30 million against the alternative scenario consisting of five independent LTP solutions. During the later stages, the advantage is estimated at €10 million per annum. The cumulative cost benefit over the first 12 years would amount to circa €100 million.

Rajankäyntiä museoissa

Re-Visiting the Contact Zone: Museums, Theory, Practice Lindköpingissä, Ruotsissa 17.-21.7.2011. Dissolving boundaries. Museological approaches to national, social and cultural issues Bad Staffelsteinissa Saksassa 2.-5.10.2011.

Imagining a New Society: Public Painting as Politics in Postwar Finland

The thesis is the first comprehensive study on Finnish public painting, public artworks generally referred to as murals or monumental paintings. It focuses on the processes of production of public paintings during the post-WWII decades in Finland and the complex relationships between the political sphere and the production of art. The research studies the networks of agents involved in the production of public paintings. Besides the human agents—artists, assistants, commissioners and viewers—also public paintings were and are agents in the processes of production and in their environments. The research questions can be grouped into three overlapping series of questions: First, the research investigates the production public paintings: What kinds of public paintings were realised in postwar Finland—how, where, by whom and for what purposes? Second, it discusses the publicness of these paintings: How were public paintings defined, and what aspects characterised them as “public”? What was their relation to public space, public authorities, and audience? And third, it explores the politics of public paintings: the relationship between Finnish public painting, nationalism, and the memory of war. To answer these questions, extensive archival work has been performed, and over 200 public paintings have been documented around Finland. The research material has been studied in a sociological framework and in the context of the political and economic history of Finland, employing critical theories on public space and public art as well as theories on the building of nationalism, commemoration, memory, and forgetting. An important aim of this research was to open up a new field of study and position public painting within Finnish art history, from which it has been conspicuous by its absence. The research indicates that public painting was a significant genre of art in postwar Finland. The process of creating a national genre of public painting participated in the defining of municipal and state art politics in the country, and paintings functioned as vehicles of carrying out the agenda of the commissioning bodies. In the formation of municipal art policies in Finland in the 1950s, public painting connected to the same tendency of democratising art as the founding of public art museums. Public painting commissions also functioned as an arena of competition and a means of support for the artists. Public paintings were judged and commissioned within the realm of political decision-making, and they suggested the values of the decision-making groups, generally conveyed as the values of the society. The participation of official agents in the production allocated a position of official art to the genre. Through the material of this research, postwar public painting is seen as an agent in a society searching for a new identity. The postwar public painting production participated in the creation of the Finnish welfare society as indications of a humane society. It continued a tradition of public art production that had been built on nationalist and art educational ideologies in the late 19th and early 20th century. Postwar public paintings promoted the new national narrative of unification by creating an image of a homogeneous society with a harmonious communal life. The paintings laid out an image of Finnishness that was modern but rooted in the agrarian past, of a society that was based on hard work and provided for its members a good life. Postwar public painting was art with a mission, and it created an image of a society with a mission.

Anti-Rickettsia spp. antibodies in free-ranging and captive capybaras from southern Brazil

Capybaras (Hydrochaeris hydrochaeris) are among the main hosts of Amblyomma spp. ticks, which is able to transmit Rickettsia species to human beings and animals. Since they are often infested with potential vector ticks, capybaras may be used as sentinels for rickettsiosis, such as the Brazilian Spotted Fever. The aim of the present study was to determine the prevalence of antibodies against Rickettsia spp. using the indirect immunofluorescence assay (IFA) in 21 free-ranging and 10 captive animals from the Zoological Park of the 'Bela Vista Biological Sanctuary' (BVBS), Itaipu Binational, Foz do Iguaçu, Southern Brazil. Antigens of six rickettsial species already identified in Brazil (Rickettsia rickettsii, R. parkeri, R. bellii, R. rhipicephali, R. amblyommii and R. felis) were used for IFA. Ticks from each capybara were collected for posterior taxonomic identification. A total of 19 (61.3%) samples reacted to at least one of tested species. Seropositivity was found in 14 (45.2%), 12 (38.7%), 5 (16.1%), 4 (12.9%), 3 (9.7%) and 3 (9.7%) animals for R. rickettsii, R. bellii, R. parkeri, R. amblyommii, R. felis and R. rhipicephali, respectively. Two captive capybaras presented suggestive titers of R. rickettsii infection and one sample showed homologous reaction to R. parkeri. Only one free-ranging capybara presented evidence R. bellii infection. Ticks collected on capybaras were identified as Amblyomma dubitatum e Amblyomma sp. Results evidenced the rickettsial circulation in the area, suggesting a potential role of capybaras on bacterial life cycle.