El inicio de la arqueolog��a en ��lava: D. Lorenzo del Prestamero y Cabriana

[ES] El motivo de la realizaci��n del presente trabajo no es otro que la publicaci��n de la Memoria que, sobre las excavaciones realizadas en 1794 en el yacimiento romano de Cabriana (Comuni��n, ��lava), remiti�� D. Lorenzo del Prestamera a la Real Academia de la Historia, documento que tradicionalmente se ha considerado desaparecido. Se estudian tambi��n aqu�� las novedades que aporta la Memoria al conocimiento de este interesante enclave arqueol��gico.

Art and Social Work: an intervention programme for transforming society���s vision to include people with early-onset dementia and Alzheimer���s

This paper presents a program centred on arts and education as tools in social work for the inclusion of people with earlyonset dementia and Alzheimer���s. The objective of the programme is to eradicate the stigma and myths associated with the disease.The program is part of the Junta de Castilla y Le��n and the European Social Fund���s ARS Project (Arte y Salud Alzheimer; Alzheimer���s Art & Health). The programme presents a series of evaluated artistic and educational activities that can be undertaken by people in the early stages of Alzheimer���s disease and that can also be used by caregivers and family when working with this group of people, with the aim of improving their wellbeing, self-esteem and quality of life.

The ���re-socialization��� of Gypsy women in the literacy courses aimed to the recipients of the Social Integration Revenue Policy of the Region of Madrid

This article studies the gender values that are promoted both in the literacy courses for gypsy women beneficiaries of the Social Integration Revenue Policy of the Region of Madrid and in the events that are organized for this group by public institutions and NGOs. The process of ���socialization��� that occurs in the educative groups for Gypsy women is focused on constructing an image of what it is to be a ���Gypsy modern woman���. Through multiple mechanisms and discursive techniques a specific conception of gender equality is transmitted in these educative spaces. In addition to this, Gypsy women are continually urged to assume certain values and social practices (of gender identity, of "citizenship", of parenting, etc..), while an archetype of "Gypsy Woman" which condenses powerful stereotypes and prejudices about the "Gypsy culture" and the gender relations characteristics of this group is constructed.

Instrumentos de evaluaci��n utilizados en la formaci��n inicial del profesorado y su coherencia para el desarrollo de competencias profesionales en los estudiantes: visi��n del alumnado, egresados y profesorado

El objetivo de este trabajo es analizar la frecuencia con que se utilizan diferentes instrumentos y procedimientos de evaluaci��n desde el punto de vista del profesorado, del alumnado y de los egresados en la formaci��n inicial de maestros y profesores especialistas en Educaci��n F��sica, as�� como el grado de coherencia ���relaci��n- percibido por cada uno de esos grupos implicados entre dichos instrumentos y procedimientos de evaluaci��n y el desarrollo de las competencias profesionales que se pretende adquieran los estudiantes. La muestra objeto de estudio est�� compuesta por 199 alumnos, 67 egresados y 53 profesores de las titulaciones de Magisterio (especialidad de Educaci��n F��sica) y Ciencias de la Actividad F��sica y el Deporte de las universidades de Valladolid, Salamanca y Le��n. Los resultados muestran una clara discrepancia entre los distintos grupos analizados, tanto en lo referido al tipo de instrumentos de evaluaci��n utilizados, como en la valoraci��n del grado de coherencia entre estos y el desarrollo de las competencias profesionales de los futuros maestros.

Leopoldo Panero and his antology of the Spanish American Poetry. A ���personal��� reading of America

El presente art��culo trata de ofrecer una lectura est��tica y pol��tica de la Antolog��a de la poes��a hispanoamericana que publicara Leopoldo Panero entre 1944 y 1945 bajo protecci��n gubernamental. Para ello se parte de la particular biograf��a del escritor astorgano, su relaci��n en los a��os treinta con los poetas hispanoamericanos ���especialmente Vallejo y Neruda��� y su gira por Am��rica ya como supuesto prohombre del r��gimen franquista en 1949 y 1954. La lectura sistem��tica de sus pr��logos y selecci��n de poetas revela la particular visi��n de Panero sobre Hispanoam��rica, mediatizada por el concepto imperial de Falange pero formulada bajo su propia visi��n de lo que la l��rica americana representa para la lengua castellana. Se sostiene as�� en estas l��neas la tesis de que los postulados de Panero representan, a pesar de todo, una opci��n mucho m��s compleja de lo que se suele considerar.

Gaze and power. A post-structuralist interpretation on Perseus��� myth

Gaze hierarchizes, manages and labels reality. Then, according to Foucault, gaze can be understood as a practice of power. This paper is inspired by his theories, and it applies them to one of the most powerful symbolic spheres of Western culture: Greek Myths. Notions such as visibility, invisibility and panopticism bring new light into the story of Perseus and Medusa, and they enable a re-reading of this Myth focused on the different ways of power that emerge from the gaze.

Maestros, museos y artes visuales. Construyendo un imaginario educativo

In this article we think about the need to generate spaces of meeting between museum educators and teachers. We analyze the results of different works elaborated by the research group Art and Education, basically in the report of the project maestrosymuseos.com. Red Iberoamericana de educaci��n en museos (AECID A/8780/07), as well as the offers that we have developed. We appear how we see the teachers in his visits, and how they would like to be seen when they submerge in the territory of the museum. We introduce the supposition that the majority of teachers turn into invisible figures on having come to the museum. The methodology is based on the case studies, affecting in the observation, the interviews, and very special in the specific attention towards the protagonists: the teachers. The work introduces photos that they try to investigate in the same aspects that the article text treats, but enriching it with images that can be read in his format and with particular intentions.

La l��gica po��tica. Una fenomenolog��a del pensamiento art��stico

We tried to extend the notion of truth, from the rational concept towards the subjective one. We not only exist by the thought, but also by the feeling. If we apply the scientific method to everything, we remain without art. We want to adhere ourselves to the intimate experience of the subjective thing. In art, the eye introduces the perspective and eliminates the interpretation possibility. Something similar happens with the matter: verb is to matter as name is to form. The Academy has given importance to the form, and it has forgotten the poetical qualities of the matter; it has focused on the figure and it has forgotten the background. However, we have to pay attention to the accidental thing, to the rupture of the protocol, to the frenzy of everything that is alive. For this reason, we pay attention to our intuition, to the sleepy subsoil of our ordinary experience whose inertia has lost the disruptive value of the action. At the end of this article we offer practical exercises, with which we wish to revitalize our centres of attention.

Approaches of the Action Art in early childhood Education. Some other ways of interrelation within the educational system

This Artistic research project was created in order to test how to put into practice approaches between Contemporary Art and University daily life. In this particular case, between Action Art and the students at the Early Childhood Education University in Alicante. The generalized lack of awareness about changes which took place in Art in the XX century, demonstrates the lack of interest on the part of students about Contemporary Art, and therefore, it is still remarkable, the distance between Art and life. Thus, as artists and teachers, the chance to carry out specific experiments is open within everyday educational life. Therefore, through Action Art a communicative interaction is possible to be achieved as an active learning process and, in such way, change the usual existing relationships in a predetermine context, creating this way, future Contemporary Art consumers and transmitters.

The discursive capacity of graphic design

The relationship between rhetoric and graphic design is presented in this article. The comparison between a classical orator and a graphic designer, between a discourse and a piece of design comes from the connections between with the communication and creativity. We will see how an application of the fundamentals of rhetoric can open new doors to the professional practice, the education of graphic design and the same theory of the rhetoric of the image.By the analysis of a design is exemplified the points of union that show how the arguments, operations, figures of discourse and rhetorical phases are present in the creative process of graphic design and how designers, perhaps unconsciously, use techniques that were traditional. In other words, graphic design is a rhetorical construction.There is then a transposition of a discourse model created by linguistic signs to a discourse model consists of visual and typographic signs, causing design is seen as a discursivediscipline that goes beyond the aesthetic component.

Collaborative artistic laboratories. Transfrontier spaces of cultural production

The appearance of the open code paradigm and the demands of social movements have permeated the ways in which today���s cultural institutions are organized. This article analyzes the birth of a new critical and cooperative spatiality and how it is transforming current modes of cultural research and production. It centers on the potential for establishing the new means of cooperation that are being tested in what are defined as collaborative artistic laboratories. These are hybrid spaces of research and creation based on networked and cooperative structures producing a new societal-technical body that forces us to reconsider the traditional organic conditions of the productive scenarios of knowledge and artistic practice.

The soundscape as time capsule: A creative project based on the sounds of the first train station of Cuenca

This article reflects on the changing environment through the passage of time and how certain technologies for a creative proposal allow the preservation and transmission of a significant part of that ephemeral heritage for future generations. The general purpose of this particular project is aimed to achieve the sound synthesis of a specific and representative cityscape as the old train station in Cuenca ���located in the heart of the city��� that could be preserved and reproduced as an unique document of a present time, ascertainable in the future: a memory that interpret sound as a time capsule. This soundscape was made to mark the arrival of the high speed train in 2010 to a brand new station in the outskirts of the city. Therefore, the goal of this research was focused on achieving a synthetic document that provided a sound memory capable of reflecting the significant social, cultural and logistical features, of what was until then the only railway communication symbol in the city of Cuenca from 1883 to the first decade of the 21st century.

"C��mo pintar el aire". Fundamentos cient��ficos de la perspectiva atmosf��rica

La perspectiva a��rea o atmosf��rica es juzgada por los pintores como parte esencial de la pintura, una vez establecidos los presupuestos geom��tricos de la representaci��n naturalista mediante la perspectiva lineal. Leonardo da Vinci fue el primer autor en definir la perspectiva a��rea o atmosf��rica, conocidos ya a trav��s de L. B. Alberti los fundamentos geom��tricos de la perspectiva lineal en el tratado De Pictura (1435). Doscientos a��os despu��s, tras la influyente publicaci��n del Optics de Newton, contextualizadas bajo el esp��ritu racionalista del siglo XVIII, el art��culo estudia las recomendaciones que desde la ciencia y los cient��ficos (espec��ficamente a trav��s de tres figuras relevantes: Brook Taylor, J. H. Lambert y Gaspard Monge) se dan a los pintores con la pretensi��n de arbitrar una medici��n exacta del color, en confrontaci��n con el tradicional empirismo del mundo art��stico. Este tema puede considerarse un cap��tulo de gran inter��s en la larga historia de la pintura y la representaci��n de los fen��menos atmosf��ricos, cuyos antecedentes te��ricos tienen su inicio en el D��bat sur le Coloris de la Acad��mie Fran��aise del siglo XVII y sus resultados, conducir��n hacia el nacimiento de la moderna Teor��a del color, en respuesta a una cuesti��n tan compleja sobre c��mo pintar el aire.

Los nuevos territorios de la gr��fica: imagen, proceso y distribuci��n

La gr��fica se encuentra en un proceso de simbiosis con la cultura visual en el que la tecnolog��a de la imagen, la descentralizaci��n de la matriz y la adaptaci��n del formato expositivo se funden con el resto de las actividades art��sticas. El an��lisis de las comunidades formadas alrededor de esta pr��ctica configura un puzzle, aparentemente bien encajado, que se divide entre el formalismo y el conceptualismo y entre la idea y el proceso. Las bienales y trienales, a la vanguardia del discurso, cuestionan cualquier concepto que se haya podido asentar con solidez: ante la decadencia del proceso artesanal el mensaje se profundiza nutri��ndose de la invectiva provocada por las contradicciones sociales, territoriales y medioambientales para convertirse en un reflejo de la sociedad contempor��nea. Comprender la gr��fica actual pasa por un ejercicio de aperturismo y un proceso de adaptaci��n al cambio t��cnico e iconogr��fico de los sectores implicados. El grabado es ahora un territorio en el que la integraci��n de todas las artes permite cruzar sus fronteras con fluidez.

La recuperaci��n mutua en personas con trastornos psicol��gicos o diversidad funcional a trav��s de la pr��ctica creativa

En el presente art��culo introducimos el concepto de ���recuperaci��n mutua��� y proponemos las pr��cticas creativas como herramientas eficientesde recuperaci��n de personas tanto con problemas de salud mental como con alg��n tipo de diversidad funcional. Frente al concepto cl��sico de ���arte-terapia��� nosotros proponemos el concepto de ���pr��ctica creativa��� como m��s compatible con el modelo de ���recuperaci��n mutua���. Para ello, en primer lugar realizamos un breve repaso cr��tico a la relaci��n del arte con la locura. Seguidamente, presentamos los conceptos hermanos de ���recuperaci��n��� y ���recuperaci��n mutua��� en el marco de lo que se ha venido a denominar las ���health humanities���. Para finalizar, describimos dos pr��cticas creativas que en la actualidad est��n siendo evaluadas en Espa��a en el contexto de un proyecto de investigaci��ninternacional en recuperaci��n mutua: Los seminarios creativos con personas con trastorno mental grave en el Museo de Arte Contempor��neo de Sevilla y el grupo de teatro con personas con diversidad funcional de la Asociaci��n S��ndrome de Down-Sevilla