A Schiff base connectivity switch in sensory rhodopsin signaling.

Sensory rhodopsin I (SRI) in Halobacterium salinarum acts as a receptor for single-quantum attractant and two-quantum repellent phototaxis, transmitting light stimuli via its bound transducer HtrI. Signal-inverting mutations in the SRI-HtrI complex reverse the single-quantum response from attractant to repellent. Fast intramolecular charge movements reported here reveal that the unphotolyzed SRI-HtrI complex exists in two conformational states, which differ by their connection of the retinylidene Schiff base in the SRI photoactive site to inner or outer half-channels. In single-quantum photochemical reactions, the conformer with the Schiff base connected to the cytoplasmic (CP) half-channel generates an attractant signal, whereas the conformer with the Schiff base connected to the extracellular (EC) half-channel generates a repellent signal. In the wild-type complex the conformer equilibrium is poised strongly in favor of that with CP-accessible Schiff base. Signal-inverting mutations shift the equilibrium in favor of the EC-accessible Schiff base form, and suppressor mutations shift the equilibrium back toward the CP-accessible Schiff base form, restoring the wild-type phenotype. Our data show that the sign of the behavioral response directly correlates with the state of the connectivity switch, not with the direction of proton movements or changes in acceptor pK(a). These findings identify a shared fundamental process in the mechanisms of transport and signaling by the rhodopsin family. Furthermore, the effects of mutations in the HtrI subunit of the complex on SRI Schiff base connectivity indicate that the two proteins are tightly coupled to form a single unit that undergoes a concerted conformational transition.

Dominance of the proximal coordinate frame in determining the locations of hippocampal place cell activity during navigation.

The place-specific activity of hippocampal cells provides downstream structures with information regarding an animal's position within an environment and, perhaps, the location of goals within that environment. In rodents, recent research has suggested that distal cues primarily set the orientation of the spatial representation, whereas the boundaries of the behavioral apparatus determine the locations of place activity. The current study was designed to address possible biases in some previous research that may have minimized the likelihood of observing place activity bound to distal cues. Hippocampal single-unit activity was recorded from six freely moving rats as they were trained to perform a tone-initiated place-preference task on an open-field platform. To investigate whether place activity was bound to the room- or platform-based coordinate frame (or both), the platform was translated within the room at an "early" and at a "late" phase of task acquisition (Shift 1 and Shift 2). At both time points, CA1 and CA3 place cells demonstrated room-associated and/or platform-associated activity, or remapped in response to the platform shift. Shift 1 revealed place activity that reflected an interaction between a dominant platform-based (proximal) coordinate frame and a weaker room-based (distal) frame because many CA1 and CA3 place fields shifted to a location intermediate to the two reference frames. Shift 2 resulted in place activity that became more strongly bound to either the platform- or room-based coordinate frame, suggesting the emergence of two independent spatial frames of reference (with many more cells participating in platform-based than in room-based representations).

Trypanosomal TAC40 constitutes a novel subclass of mitochondrial -barrel proteins specialized in mitochondrial genome inheritance

Mitochondria cannot form de novo but require mechanisms allowing their inheritance to daughter cells. In contrast to most other eukaryotes Trypanosoma brucei has a single mitochondrion whose single-unit genome is physically connected to the flagellum. Here we identify a β-barrel mitochondrial outer membrane protein, termed tripartite attachment complex 40 (TAC40), that localizes to this connection. TAC40 is essential for mitochondrial DNA inheritance and belongs to the mitochondrial porin protein family. However, it is not specifically related to any of the three subclasses of mitochondrial porins represented by the metabolite transporter voltage-dependent anion channel (VDAC), the protein translocator of the outer membrane 40 (TOM40), or the fungi-specific MDM10, a component of the endoplasmic reticulum–mitochondria encounter structure (ERMES). MDM10 and TAC40 mediate cellular architecture and participate in transmembrane complexes that are essential for mitochondrial DNA inheritance. In yeast MDM10, in the context of the ERMES, is postulated to connect the mitochondrial genomes to actin filaments, whereas in trypanosomes TAC40 mediates the linkage of the mitochondrial DNA to the basal body of the flagellum. However, TAC40 does not colocalize with trypanosomal orthologs of ERMES components and, unlike MDM10, it regulates neither mitochondrial morphology nor the assembly of the protein translocase. TAC40 therefore defines a novel subclass of mitochondrial porins that is distinct from VDAC, TOM40, and MDM10. However, whereas the architecture of the TAC40-containing complex in trypanosomes and the MDM10-containing ERMES in yeast is very different, both are organized around a β-barrel protein of the mitochondrial porin family that mediates a DNA–cytoskeleton linkage that is essential for mitochondrial DNA inheritance.

What can a unicellular parasite tell us about mitochondrial biogenesis?

In the unicellular parasite Trypanosoma brucei, as in other eukaryotes, more than 95% of all mitochondrial proteins are imported from the cytosol. The recently characterized multisubunit ATOM complex, the functional analogue of the TOM complex of yeast, mediates import of essentially all proteins across the outer mitochondrial membrane in T. brucei. Moreover, an additional protein termed pATOM36, which is loosely associated with the ATOM complex, has been implicated in the import of only a subset of mitochondrial proteins. Here we have investigated more precisely which role pATOM36 plays in mitochondrial protein import. RNAi mediated ablation of pATOM36 specifically depletes a subset of outer mitochondrial membrane proteins including ATOM complex subunits and as a consequence results in the collapse of the ATOM complex as shown by Blue native PAGE. In addition, a SILAC-based global proteomic analysis of uninduced and induced pATOM36 RNAi cells together with in vitro import experiments suggest that pATOM36 might be a novel protein import factor acting on a subset of alpha-helically anchored mitochondrial outer membrane proteins. Identification of pATOM36 interaction partners by co-immunoprecipitation together with immunofluorescence analysis shows that unexpectedly a fraction of the protein is associated with the tripartite attachment complex (TAC). This complex is essential for proper inheritance of the mitochondrial DNA in T. brucei. It forms a physical connection between the single unit mitochondrial DNA and the basal body of the flagellum that is stable throughout the cell cycle. Thus, pATOM36 simultaneously mediates ATOM assembly, and thus protein import, as well as mitochondrial DNA inheritance since it is an essential component of the TAC.

Polydnavirus of the parasitic wasp Chelonus inanitus (Braconidae): characterization, genome organization and time point of replication

Ultrastructural analysis of the polydnavirus of the braconid wasp Chelonus inanitus revealed that virions consist of one cylindrical nucleocapsid enveloped by a single unit membrane. Nucleocapsids have a constant diameter of 33.7 +/- 1.4 nm and a variable length of between 8 and 46 nm. Spreading of viral DNA showed that the genome consists of circular dsDNA molecules of variable sizes and measurement of the contour lengths indicated sizes of between 7 and 31 kbp. When virions were exposed to osmotic shock conditions to release the DNA, only one circular molecule was released per particle suggesting that the various DNA molecules are singly encapsidated in this bracovirus. The viral genome was seen to consist of at least 10 different segments and the aggregate genome size is in the order of 200 kbp. By partial digestion of viral DNA with HindIII or EcoRI in the presence of ethidium bromide and subsequent ligation with HindIII-cut pSP65 or EcoRI-cut pSP64 and transfection into Escherichia coli, libraries of 103 HindIII and 23 EcoRI clones were obtained. Southern blots revealed that complete and unrearranged segments were cloned with this approach, and restriction maps for five segments were obtained. Part of a 16.8 kbp segment was sequenced, found to be AT-rich (73%) and to contain six copies of a 17 bp repeated sequence. The development of the female reproductive tract in the course of pupal-adult development of the wasp was investigated and seen to be strictly correlated with the pigmentation pattern. By the use of a semiquantitative PCR, replication of viral DNA was observed to initiate at a specific stage of pupal-adult development.

Digital vs. conventional implant prosthetic workflows: a cost/time analysis.

OBJECTIVES The aim of this prospective cohort trial was to perform a cost/time analysis for implant-supported single-unit reconstructions in the digital workflow compared to the conventional pathway. MATERIALS AND METHODS A total of 20 patients were included for rehabilitation with 2 × 20 implant crowns in a crossover study design and treated consecutively each with customized titanium abutments plus CAD/CAM-zirconia-suprastructures (test: digital) and with standardized titanium abutments plus PFM-crowns (control conventional). Starting with prosthetic treatment, analysis was estimated for clinical and laboratory work steps including measure of costs in Swiss Francs (CHF), productivity rates and cost minimization for first-line therapy. Statistical calculations were performed with Wilcoxon signed-rank test. RESULTS Both protocols worked successfully for all test and control reconstructions. Direct treatment costs were significantly lower for the digital workflow 1815.35 CHF compared to the conventional pathway 2119.65 CHF [P = 0.0004]. For subprocess evaluation, total laboratory costs were calculated as 941.95 CHF for the test group and 1245.65 CHF for the control group, respectively [P = 0.003]. The clinical dental productivity rate amounted to 29.64 CHF/min (digital) and 24.37 CHF/min (conventional) [P = 0.002]. Overall, cost minimization analysis exhibited an 18% cost reduction within the digital process. CONCLUSION The digital workflow was more efficient than the established conventional pathway for implant-supported crowns in this investigation.

Major- and trace-elements at DSDP Legs 68-70 Holes

The basalts recovered from the Costa Rica Rift by drilling at Deep Sea Drilling Project Sites 501, 504, and 505 during Legs 68, 69 and 70 of the Glomar Challenger are the most depleted in the most-hygromagmaphile elements (Th, Ta, Nb, and La) of all MORB recovered to date by the Glomar Challenger. The invariant ratios Nb/Ta, Zr/Hf, and Y/Tb show "chondritic values" (expected for Nb/Ta because of the very low concentrations in these elements). Four samples from a single unit are exceptions: they present a flat to slightly enriched, extended Coryell-Masuda plot, and at the same time their La/Ta ratio is 9 (normalized ratio = 1) instead of 19 (normalized ratio = 2), the value for all other samples. Only one of these two values of the La/Ta ratio had been found so far within a single hole, and moreover within large areas of the oceanic crust (several holes or dredges). The present result shows that local heterogeneity of the upper mantle with respect to the La/Ta ratio may exist.

New concepts and techniques for the development of high-efficiency concentrating photovoltaic modules

El interés por los sistemas fotovoltaicos de concentración (CPV) ha resurgido en los últimos años amparado por el desarrollo de células multiunión de muy alta eficiencia basadas en semiconductores de los grupos III-V. Estas células han permitido obtener módulos de concentración con eficiencias que prácticamente duplican las del panel plano y que llegan al 35% en los módulos récord. Esta tesis está dedicada al diseño y la implementación experimental de nuevos conceptos que permitan obtener módulos CPV que no sólo alcancen una eficiencia alta en condiciones estándar sino que, además, sean lo suficientemente tolerantes a errores de montaje, seguimiento, temperatura y variaciones espectrales para que la energía que producen a lo largo del año sea máxima. Una de las primeras cuestiones que se abordan es el diseño de elementos ópticos secundarios para sistemas cuyo primario es una lente de Fresnel y que permiten, para una concentración fija, aumentar el ángulo de aceptancia y la tolerancia del sistema. Varios secundarios reflexivos y refractivos han sido diseñados y analizados mediante trazado de rayos. En particular, utilizando óptica anidólica y basándose en el diseño de una sola etapa conocido como ‘concentrador dieléctrico que funciona por reflexión total interna‘, se ha diseñado, fabricado y caracterizado un secundario con salida cuadrada que, usado junto con una lente de Fresnel, permite alcanzar simultáneamente una elevada eficiencia, concentración y aceptancia. Además, se ha propuesto y prototipado un método alternativo de fabricación para otro de los secundarios, denominado domo, consistente en el sobremoldeo de silicona sobre células solares. Una de las características que impregna todo el trabajo realizado en esta tesis es la aproximación holística en el diseño de módulos CPV, es decir, se ha prestado especial atención al diseño conjunto de la célula y la óptica para garantizar que el sistema total alcance la mayor eficiencia posible. En este sentido muchos sistemas ópticos desarrollados en esta tesis han sido diseñados, caracterizados y optimizados teniendo en cuenta que el ajuste de corriente entre las distintas subcélulas que comprenden la célula multiunión bajo el concentrador sea muy próximo a uno. La capa antirreflectante sobre la célula funciona, en cierto modo, como interfaz entre la óptica y la célula, por lo que se ha diseñado un método de optimización de capas antirreflectantes que considera no sólo el amplio rango de longitudes de onda para el que las células multiunión son sensibles sino también la distribución angular de intensidad sobre la célula creada por la óptica de concentración. Además, la cuestión de la falta de uniformidad también se ha abordado mediante la comparación de las distribuciones espectrales y espaciales de irradiancia que crean diferentes ópticas (simuladas mediante trazado de rayos y fotografiadas) y las pérdidas de eficiencia que experimentan las células iluminadas por dichas ópticas de concentración medidas experimentalmente. El efecto de la temperatura en la óptica de concentración también ha sido objeto de estudio de esta tesis. En particular, mediante simulaciones de elementos finitos se han dado los primeros pasos para el análisis de las deformaciones que sufren los dientes de las lentes de Fresnel híbridas (vidrio-silicona), así como el cambio de índice de refracción con la temperatura y la influencia de ambos efectos sobre el funcionamiento de los sistemas. Se ha implementado un modelo que tiene por objeto considerar las variaciones ambientales, principalmente temperatura y contenido espectral de la radiación directa, así como las sensibilidades térmica y espectral de los sistemas CPV, con el fin de maximizar la energía producida por un módulo de concentración a lo largo de un año en un emplazamiento determinado. Los capítulos 5 y 6 de este libro están dedicados al diseño, fabricación y caracterización de un nuevo concepto de módulo fotovoltaico denominado FluidReflex y basado en una única etapa reflexiva con dieléctrico fluido. En este nuevo concepto la presencia del fluido aporta algunas ventajas significativas como son: un aumento del producto concentración por aceptancia (CAP, en sus siglas en inglés) alcanzable al rodear la célula con un medio cuyo índice de refracción es mayor que uno, una mejora de la eficiencia óptica al disminuir las pérdidas por reflexión de Fresnel en varias interfaces, una mejora de la disipación térmica ya que el calor que se concentra junto a la célula se trasmite por convección natural y conducción en el fluido y un aislamiento eléctrico mejorado. Mediante la construcción y medida de varios prototipos de unidad elemental se ha demostrado que no existe ninguna razón fundamental que impida la implementación práctica del concepto teórico alcanzando una elevada eficiencia. Se ha realizado un análisis de fluidos candidatos probando la existencia de al menos dos de ellos que cumplen todos los requisitos (en particular el de estabilidad bajo condiciones de luz concentrada) para formar parte del sistema de concentración FluidReflex. Por ´ultimo, se han diseñado, fabricado y caracterizado varios prototipos preindustriales de módulos FluidReflex para lo cual ha sido necesario optimizar el proceso de fabricación de la óptica multicavidad a fin de mantener el buen comportamiento óptico obtenido en la fabricación de la unidad elemental. Los distintos prototipos han sido medidos, tanto en el laboratorio como bajo el sol real, analizando el ajuste de corriente de la célula iluminada por el concentrador FluidReflex bajo diferentes distribuciones espectrales de la radiación incidente así como el excelente comportamiento térmico del módulo. ABSTRACT A renewed interest in concentrating photovoltaic (CPV) systems has emerged in recent years encouraged by the development of high-efficiency multijunction solar cells based in IIIV semiconductors that have led to CPV module efficiencies which practically double that of flat panel PV and which reach 35% for record modules. This thesis is devoted to the design and experimental implementation of new concepts for obtaining CPV modules that not only achieve high efficiency under standard conditions but also have such a wide tolerance to assembly errors, tracking, temperature and spectral variations, that the energy generated by them throughout the year is maximized. One of the first addressed issues is the design of secondary optical elements whose primary optics is a Fresnel lens and which, for a fixed concentration, allow an increased acceptance angle and tolerance of the system. Several reflective and refractive secondaries have been designed and analyzed using ray tracing. In particular, using nonimaging optics and based on the single-stage design known as ‘dielectric totally internally reflecting concentrator’, a secondary with square output has been designed, fabricated and characterized. Used together with a Fresnel lens, the secondary can simultaneously achieve high efficiency, concentration and acceptance. Furthermore, an alternative method has been proposed and prototyped for the fabrication of the secondary named dome. The optics is manufactured by direct overmolding of silicone over the solar cells. One characteristic that permeates all the work done in this thesis is the holistic approach in the design of CPV modules, meaning that special attention has been paid to the joint design of the solar cell and the optics to ensure that the total system achieves the highest attainable efficiency. In this regard, many optical systems developed in the thesis have been designed, characterized and optimized considering that the current matching among the subcells within the multijunction solar cell beneath the optics must be close to one. Antireflective coating over the cell acts, somehow, as an interface between the optics and the cell. Consequently, a method has been designed to optimize antireflective coatings that takes into account not only the broad wavelength range that multijunction solar cells are sensitive to but also the angular intensity distribution created by the concentrating optics. In addition, the issue of non-uniformity has also been addressed by comparing the spectral and spatial distributions of irradiance created by different optics (simulated by ray tracing and photographed) and the efficiency losses experienced by cells illuminated by those concentrating optics experimentally determined. The effect of temperature on the concentrating optics has also been studied in this thesis. In particular, finite element simulations have been use to analyze the deformations experienced by the facets of hybrid (silicon-glass) Fresnel lenses, the change of refractive index with temperature and the influence of both effects on the system performance. A model has been implemented which take into consideration atmospheric variations, mainly temperature and spectral content of the direct normal irradiance, as well as thermal and spectral sensitivities of systems, with the aim of maximizing the energy harvested by a CPV module throughout the year in a particular location. Chapters 5 and 6 of this book are devoted to the design, fabrication, and characterization of a new concentrator concept named FluidReflex and based on a single-stage reflective optics with fluid dielectric. In this new concept, the presence of the fluid provides some significant advantages such as: an increased concentration acceptance angle product (CAP) achievable by surrounding the cell with a medium whose refractive index is greater than one, an improvement of the optical efficiency by reducing losses due to Fresnel reflection at several interfaces, an improvement in heat dissipation as the heat concentrated near the cell is transmitted by natural convection and conduction in the fluid, and an improved electrical insulation. By fabricating and characterizing several elementary-unit prototypes it was shown that there is no fundamental reason that prevents the practical implementation of this theoretical concept reaching high efficiency. Several fluid candidates were investigated proving the existence of at least to fluids that meet all the requirements (including the stability under concentrated light) to become part of the FluidReflex concentrator. Finally, several pre-industrial FluidReflex module prototypes have been designed and fabricated. An optimization process for the manufacturing of the multicavity optics was necessary to attain such an optics quality as the one achieved by the single unit. The module prototypes have been measured, both indoors and outdoors, analyzing the current matching of the solar cells beneath the concentrator for different spectral distribution of the incident irradiance. Additionally, the module showed an excellent thermal performance.

Sobre la Arquitectura en la definición del Paisaje

Comúnmente la Arquitectura se manifiesta en los edificios como un hecho de la realidad que tiene siempre carácter contemporáneo y ése debe ser el valor supremo de un arte que no distingue entre antiguo y moderno, por afectar al presente y ser contemporáneo como experiencia. Los objetos se insertan irremediablemente en su medio e incluso llegan a definirlo en ocasiones: así, arquitectura y paisaje, aparecerán a veces confundidos con diferencias difíciles de determinar. El término “paisaje” es relativamente moderno y se deriva de ciertas representaciones gráficas o pictóricas producidas en Occidente en época algo posterior al Renacimiento. No obstante, el hecho de que una palabra se pueda escribir o se cite no quiere decir que la realidad a la que responde no pueda existir, pues lo escrito es solamente un medio de expresión, y es obvio que existen otros quizá más antiguos y de idéntica importancia, pues la propia escritura no es más que el reflejo de un fenómeno que ya se ha producido con anterioridad. Parece así que el testimonio de la realidad viene dado por distintos contextos en lo que suele llamarse “cultura” de modo que las culturas pueden tener aspectos de gran interés mediante diferentes sistemas de expresión variados sin que eso tenga que pasar forzosamente por el filtro de un alfabeto y una escritura. A tenor de los primeros descubrimientos, parece que la cuestión de escribir tuvo originalmente un carácter de constatación de apunte contable y tampoco se puede establecer con certeza si algunos utilizaron la escritura como el so-porte adecuado para referir mitos o historias, pues la Arqueología no ha proporcionado sino testimonios fragmentarios; de lo que si está repleta sin duda la historia es de apuntes contables. Otra cuestión que suscita dudas es la propia definición de escritura, pues parece que los más antiguos modos de expresión escrita se reducen a pictogramas que resultan aún indescifrables. Lenguas y toponimia son también herramientas muy útiles para bucear en el pasado, pero aún así persisten dudas en las escrituras que pro-vienen de las representaciones primordiales: la propia escritura en sus orígenes parece alimentarse de las propias intuiciones inmediatas de la representación, algo que evolucionaría representando esa realidad urgente e inmediata del control o el abastecimiento que luego se convertirían en los fragmentos de texto que han podido conservarse. Es notorio, sin embargo, que ese conjunto enorme de convenios gráficos estaba sujeto a la palabra y la desaparición de las culturas determinó también la desaparición consecuente de sus lenguas, y esos signos - fueran o no escritura - han pasado definitivamente a las zonas oscuras del conocimiento. Escribir supone también disponer de capacidad de abstracción gráfica que diferencie la palabra y la cosa, y es posible que la razón que llevara a ese descubrimiento fuera simplemente el de una economía de signos, pues escritura y lenguaje son limitados por definición, mientras que las cosas del mundo son innumerables: ningún idioma contiene todas las palabras para describir todo lo que puede aparecer. Aparentemente, ese el motivo por el cual existe un localismo – un término específico que refiere algo que existe en un lugar y no en otros - en lo que se refiere a dar el nombre a la cosa y también fuente de paradigma entre los pueblos que se consideran primitivos y los que se consideran civilizados. Debe tenerse en cuenta también que esa transposición se da en ambos sentidos, de modo que las culturas más aisladas también incorporan conceptos que carecen de una explicación racional consistente. Las mitologías son así eternas, pues sirven para explicar realidades que carecen de un entendimiento alcanzable y está también bastante claro que los lenguajes resultan ser un enigma, como realidad autónoma que queda en-cerrada y se explica en sí misma. Parece también que los primeros en escribir las consonantes aisladas fueron los pueblos semíticos occidentales de las orillas del Mediterráneo, pueblos que crearon un alfabeto silábico que llegó a ser utilizado incluso por los tartesios en el sur de la península ibérica como el primer alfabeto de toda Europa occidental. Resulta patente que el término “paisaje” se ha nutrido siempre de representaciones, bien escritas o artísticas, pero queda también claro que esas representaciones se suponen derivadas de la creencia en una idea de paisaje como algo que se ve representado en sí mismo, es decir, como la imagen de una realidad externa situada fuera del individuo. Eso es un hecho trascendente, pues el paisaje requiere lejanía de la cosa, de modo que el actor – aún sabiéndose inserto en su paisaje – es incapaz de percibirlo desde dentro. En el paisaje ocurre igual que en un teatro o en una representación: los actores son conscientes de su papel y su posible cometido, pero no son los que realmente pueden disfrutar de la eficacia o de la propia presencia de la obra, pues forman parte de ella. La idea de paisaje proviene de una lectura externa a la de los propios protagonistas del drama, de modo que si quieren ser un crítico del paisaje se debe abandonar la representación para mirar el espectáculo desde una distancia adecuada, al fin y a cabo externa. De ese modo, aparece la primera constatación del hecho del paisaje como una realidad construida por objetos y personajes, pero, sobre todo, es una realidad construida por miradas. Llama también la atención otorgada en las lecturas de los especialistas hacia esa referencia externa - artística si se quiere - sobre el término “paisaje”, de modo que la bibliografía no especializada sobre el particular siempre acaba en tratados de pintura o poesía. Parece sin embargo que el hombre y sus paisajes son realidades indisolubles desde la propia aparición de la especie, de modo que llevar la cuestión hacia términos exclusivamente esteticistas parece una posición parcial. Hombre y medio han formado siempre una sola unidad, aunque esa unidad se haya convertido en determinados casos en sinónimo de depredación y destrozo. Sin embargo, esa destrucción crea igualmente un paisaje como desolación que es resultado del propio quehacer del hombre: elementos que también poseen un contenido sustancial de memoria en los paisajes industriales como un momento de la Historia previo a la automatización y a la globalización de la vida actuales. Quizá el concepto más interesante desde el punto de vista teórico sea precisamente el de esa cualidad del paisaje como mirada, algo externo producido por el contemplador en un momento ajeno a la pertenencia, una mirada que no es tan sólo estética sino comprensiva, gozosa, activa o analítica - pues existen tantas maneras de mirar como sujetos - sin que pueda definirse con precisión esa contemplación más que en términos que alcanzan la propia individualidad. En términos poéticos, también podría establecerse como ese conjunto de miradas individuales crean también una estructura que hace que ese paisaje se valore y se comprenda, de modo que desde ese punto de vista ese paisaje supone una creación colectiva. Con respeto o como depredador, el hombre se ha instalado en su medio, y al hacerlo, ha dejado huellas dentro del propio paisaje que hacen que tome una determinada significación. Naturalmente, existe una teoría que distingue entre “país” y “paisaje”, asumiendo para el primero la noción exclusiva de territorio en la cual el hombre no tiene papel estético alguno. He intentado muchas veces comprender esa posición, sin acabar de entender el planteamiento que la sustenta: parece que la visión de la cosa estará siempre humanizada, aún en las zonas “vírgenes” o intactas, pues la propia visión hace que el objeto se modifique en su propia unidad perceptiva, creando una curiosa indeterminación que lleva a los conocidos equívocos entre imagen real y representación. Efectivamente, la visión de la cosa requiere de una cultura y unos medios que la informan, de modo que un texto, una pintura, una descripción o una fotografía quedarán ya humanizadas por el propio hecho de ser informadas, pues ello otorga una forma a priori. De ese modo, el paisaje figura inscrito en una función que establece tanto aspectos de un paisaje posible como aspectos del paisaje descrito y solamente podrá hablarse sobre la potencialidad del estado final de ese paisaje y nada del propio paisaje en sí, mientras ese paisaje no quede humanizado por el propio observador. Esta cuestión obliga a elegir una definición de paisaje alejada de presupuestos esteticistas para acercarla a los puramente culturales, de modo que no existe otra vía para la investigación que contemplar esa realidad física en función de las coordenadas del hombre que la habita, dotada del contenido correspondiente a esa revelación. Lejos de las posiciones de la geomorfología, el término “paisaje” implicará así unas condiciones determinadas de contemplación por parte de un sujeto por el cual el espectáculo queda humanizado en dicho acto.Cabe pensar también si no es cierto que todos los paisajes requieren de esa condición humanizada, pues aunque no estén habitados están siempre ocupados por esa mirada que los habita, al igual que un escenario sin público que carece de vigencia. A partir de ahí se sitúan las coordenadas en donde este trabajo configura la presencia de la arquitectura en la definición del paisaje, una premisa que parece ya venir otorgada desde el principio, pues esa misma mirada del espectador ya está dotando de un sentido de orden y jerarquía a la contemplación, unas cualidades que están en la base de toda actividad arquitectónica, De hecho la propia definición de “monumento natural” - en si misma una contradicción – expresa ese conflicto, dotado de un fenómeno de admiración y solape entre cultura y naturaleza, como conceptos enfrentados desde su origen. La conclusión sobre el dilema propuesta en la tesis no ha sido otra que suponer que esas dos realidades que son la cultura y el paisaje se han solapado desde el principio de los tiempos del hombre formando un binomio indeslindable. Se ha dicho antes que el proceso de invasión del territorio por el hombre es significativo, y esa significación es la que origina una creación autónoma que se aísla como un concepto abstracto de los entes naturales, tomándolos como material de trabajo, y estableciendo una oposición conceptual en la realidad perforada e interpretada por el hombre que viene a oponerse a lo que supone la caja cerrada e ignota del enigma del mundo. La cuestión de la significación del hombre sobre el territorio se subsume en la creación de unos productos que permanecen y que son testimonio de la propia cultura, de forma que la cantidad de rastro que el hombre deja sobre el territorio contribuye en mayor medida a la cualificación del paisaje como concepto. Eso lleva a establecer que cualquier paisaje - por el mero hecho de serlo y ser definido así – es ya cultural, puesto que está configurado por los productos de la cultura. Las palabras que puedan quedar encerradas en las piedras de los monumentos o de las ciudades son las de los hombres que trabajaron allí, y también las de los que las habitaron: más aún, el propio sentido del paisaje y su conservación vienen determinados por la presencia del hombre como único interprete de conceptos como ecología o conservación, algo que se pone de manifiesto también en la espantosa devastación que producen los fenómenos propios de la naturaleza. La historia natural, al igual que la vida, están conformadas por éxito y devastación, sin que uno y otra tengan especial preferencia, pues la preferencia se alimenta de otra clase de conceptos. La cuestión de atribuir valores morales al mundo natural es algo muy antiguo, y quizá sea la fuente o el manantial de las primeras religiones, una cuestión que se une a la indefectible noción de mortalidad que define la existencia del hombre frente a la inmanencia de la naturaleza. Esa propia naturaleza está dotada intuitivamente de un carácter “inocente” suponiendo que la inocencia es lo opuesto a la sabiduría. La cuestión es bien otra, ya que la naturaleza no posee ni siquiera algo que pueda definirse como “carácter”, en el sentido personal del término. La cuestión no cae, evidentemente, del lado de las definiciones o de las cualidades, sino del propio análisis de la realidad que el hombre va construyendo, destruyendo, embelleciendo o perjudicando para definir el territorio que habita, interponiendo a su manera recursos, instalaciones y en definitiva todos los testimonios posibles como principal manifestación de su esencia. Entre los artefactos que el hombre produce, uno de los más persistentes y más conspicuamente descritos es el de la arquitectura - entendida aquí en un sentido amplio - es decir, como el conjunto de modificaciones del espacio y del territorio. El espacio se puede modificar de muchos modos, pero en cualquiera de los casos constituye una de las huellas más características que el hombre establece como manifestación física de su propio ser discursivo. También la arquitectura ha demostrado ser una de los fenómenos más persistentes, incluso más que la propia lengua que la origina en su discurso primero antes que pueda ac-cederse a una idea sobre la conformación del material. Es paradigmático que el episodio descrito sobre la Torre de Babel en la Biblia la cuestión de la ambición de los hombres frente a Dios, representada precisamente en una arquitectura, se asimile a la discusión sobre el lenguaje primordial. La cuestión no es baladí, pues el fenómeno de la creación es algo que se concede exclusivamente a los dioses, que por esa razón habitan los territorios a los que los hombres no pueden llegar; territorios de albergue en los que las mitologías sitúan a dioses y demonios, con amplios espacios intermedios donde situar a las divinidades menores, héroes o seres híbridos en los que la coyunda de los dioses con los humanos produce sujetos que alivian el sentido de la mortalidad. El comentario del Génesis también concede un valor a la técnica, al mito de Prometeo y al fuego como creador de excelencia. Frente al progreso prometeico, se postula el valor divino, y la única forma posible de paliar ese progreso es la confusión del lenguaje, pues eso será lo que produzca la dispersión y la falta de acuerdo. La cuestión también puede explicar esa afición tan común por lo canónico en arquitectura que se mantiene a lo largo de grandes períodos, al igual que una gran máquina de inercia. Parece que los conceptos primordiales de la arquitectura basados en elementos simples como el hito, el dintel, lo recto y lo curvo, la rampa o la escalera, y el uso distinto o cualificado que se otorga a la piedra, el ladrillo, la madera o el metal como componentes primordiales del material arquitectónico se haya mantenido a lo largo de muchos milenios sin apenas cambios, al igual que ocurre con las costumbres alimenticias que siguen una progresión ascendente a través de lo crudo, lo asado y lo cocido, hasta obtener distintos grados de refina-miento, pero que siempre se sustentan en la sensación primigenia. El descubrimiento de la arquitectura proviene de un cierto manejo de las dimensiones, y consiguientemente de la geometría. Pero la geometría es cosa abstracta al igual que el lenguaje, de modo que para poder realizar arquitectura se hace necesaria esa capacidad de abstracción primera que luego permite la realización de un dispositivo. La realidad y su número exhiben un divorcio, al igual que las cosas y sus nombres exhiben el suyo, y el análisis numérico es solamente una forma de ver la realidad, una forma rigurosa y exacta – aunque parcial - que solamente representa el modelo ideal al cual la realidad se aproxima en mayor o menor medida: esa aproximación matemática hace que el universo pueda condensarse parcialmente en números, al igual que la realidad puede condensarse en nombres, pero ni el nombre ni el número reflejarán el mundo en toda su complejidad. El número es quizá solamente un medio de describir las cosas, como lo serían las formas puras que responden a una configuración matemática que pueda producirse en teoría en cualquier parte del Universo. Sin embargo, para el ejercicio de la arquitectura es preciso acudir a esa simplificación que exige la visión abstracta del plano como una sección cierta realidad como un corte abstracto del elemento considerado. Con su traza o sin ella, con la propia expresión matemática que lo describa o sin precisarla, esa intuición del plano como elemento generador del espacio es anterior a aquella expresión, al igual que el habla fue anterior a la escritura, pues solamente se produjo a través de ella y como refuerzo y sustituto de la memoria. Existen así abstracciones de la memoria que aparecen derivadas de los signos de la naturaleza aparecidos solamente de forma eventual y fragmentaría: así ocurre con la línea, el cuadrado y el círculo, formas iniciales y abstractas sonsacadas en cierta medida de la observación que dan origen a los primeros signos de la arquitectura primordial, de modo que cuadrados y círculos, elevados a prismas y superficies esféricas o esferoides aparecen en tumbas y edificios elementales de los primeros tiempos mediante una geometría primordial que se superpone al paisaje en el que se inserta. Es cierto también que esas formas se encuentran ya aproximadas en objetos que se encuentran en el medio físico, líneas en extremidades, ramas y miembros; ángulos rectos en algunos cristales que se observan mediante corte o formas circulares en astros y cráteres, pero esa realidad solamente presenta su forma aproximada y no su abstracción pura, de igual modo que el jeroglífico propondrá al ave rapaz para representar la idea de vigilancia y la buena vista, o incluso que la imagen del propio ojo sustituya la idea del Dios que todo lo ve en las culturas anti-guas. La elección fue resuelta, después de muchos intentos y aproximaciones, con la adopción del ángulo recto como un artificio fácil para el replanteo a través del triángulo sagrado 3:4:5 que ya se utilizó para construir las pirámides de Egipto, y que dio origen también a la mayor parte del urbanismo antiguo, coexistiendo con la forma circular primordial en el tipo denominado “tholo”. Aquella trama cuadrangular era uno de los patrones de relleno del espacio más comunes y compactos, y esa fue probablemente la razón por la que en tiempos muy posteriores fuera adoptada como una forma eficaz permanente de organización frente al desorden topológico que procura el conjunto de asociación de plantas circulares. Otra cuestión paradigmática es que esos conceptos primordiales e ignotos - que convergen en el mismo origen de las civilizaciones - se conviertan luego en algo canónico, a través del uso. El canon en sí mismo es algo ideal, como una norma aplicable a objetos de una realidad que ha sido creada solamente como indicio del ca-non, algo abstracto que tiene proporciones estrictas que son siempre las mismas y no obedece a criterios racionales: será absurdo sin embargo buscar el canon griego entre los templos de época como algunos lo hicieron, pues los edificios solamente se aproximan a los ejemplos canónicos y por esa razón se habla del “dórico del Partenón” que es diferente del de Egina o del de Paestum, siendo todos ellos evidentemente dóricos. Sin embargo, esa idea resulta útil al tratadista, al teórico de la arquitectura y al historiador, aun-que solamente refleje una vaga idea de lo que sucede más allá del tratado. Otra cuestión es la sutileza de los ejemplos de arquitectura, y del mismo modo que los cuerpos de los seres vivos jamás son simétricos, aunque respondan a un diseño simétrico general derivado de las condiciones de la división celular, los edificios supuestamente canónicos en los que los especialistas se inspiraron para definir los órdenes clásicos no disponen de esa simetría modular exacta, sino que adaptan un modelo general al lugar siempre cambiante del emplazamiento, es decir, se adaptan con habilidad a la vez que configuran el paisaje en el que se insertan. La luz de los distintos intercolumnios del Partenón es ligeramente distinta, aunque guarde un evidente sentido de simetría axial, de manera que aquellos “órdenes” que formaron la Teoría de la Arquitectura no son más que una bella interpretación sectorial de la arquitectura antigua elaborada por los tratadistas del Renacimiento y, posteriormente, por los neoclásicos. Parece, sin embargo, que ese ansia por el canon como claridad de lenguaje es algo consustancial al desarrollo de la arquitectura, una lingua franca que tiende a evitar la dispersión producida entre los mortales por los dioses antiguos, de modo que si no era posible llegar al cielo de los dioses se procuró que el lenguaje de la Tierra fuera al menos inteligible para poder entenderse entre los hombres. Parece que la estructura del poder siempre requirió de un determinado nivel de organización, y también que las instrucciones se entendieran con claridad: parece que en nuestros tiempos esos antiguos cánones se han sustituido por la obediencia a normas abstractas, dictadas por instituciones también algo abstractas y que tienen nombres divertidos compuestos por siglas, aunque no se conozca bien su virtud. El canon actual está constituido por “normas” que dejan tranquilos a algunos, aunque parece quizá que todo ese entramado formal que sirve como anestesia para el cuerpo social procura también la destrucción de los bosques en formas de montañas ingentes de papel burocrático. Durante muchos siglos las normas fueron otras, en la forma de un canon del cual nadie podía escapar: aún así, mediante la utilización de cánones o sin ellos, la arquitectura prosperó en la civilización desde los primeros refugios cavernarios o los abrigos primigenios y de ese modo fue configurando la realidad, es decir, el paisaje. Como antes se dijo, ese es un viaje de ida y vuelta en el cual ambos se confundían y subsumían: el manejo de las formas y lenguajes de la arquitectura posibilitaría con el tiempo la distinción entre el campo en donde reina el caos y la ciudad, en donde reina teóricamente el orden, creando un divorcio que duraría milenios y que aún persiste. Esa oposición generaría también una forma de paisaje y una serie de usos simbólicos y sagrados de los elementos de la arquitectura - como son puertas y murallas - que se han mantenido conceptualmente aunque hoy las ciudades ya no posean murallas físicas, ni puertas que se cierran con la llegada de la noche. En ese sentido, la arquitectura ha podido definir el paisaje, entendiendo la arquitectura no solamente como los edificios en sí, sino como el hecho de la manifestación del hombre sobre el territorio, de modo que no podrá hablarse de paisaje sin su arquitectura, del mismo modo que no puede hablarse de paisaje sin hombres. Por esta razón, la Tesis habla sobre Arquitectura y Paisaje, pero más particularmente sobre el hecho de la arquitectura en la definición del paisaje, es decir, de como los hechos arquitectónicos van a determinar o no la cualidad y la calificación de un paisaje. Deberá partirse en primer lugar de una definición de lo que se entiende y se ha entendido comúnmente por paisaje: igualmente, y habida cuenta del contexto en el que sitúa el propio trabajo de tesis, la cuestión solamente se circunscribirá a lo que se entiende como cultura occidental, pues el desarrollo de la civilización presenta siempre un color local que hace que el análisis de un fenómeno de esta envergadura tenga distintas connotaciones en las distintas áreas de civilización. De igual modo, y habida cuenta también que el paisaje se construye a través de todas las manifestaciones culturales, se hará a veces necesario indagar en otras disciplinas no arquitectónicas para comprender el alcance de algunos casos en los cuales los restos arquitectónicos han desaparecido, o en los que subsisten escasas trazas. Una definición tan amplia de la Arquitectura llevaría a escribir un relato sobre toda la cultura occidental y por ese motivo solamente se han esbozado ideas sobre la aparición de esos signos sobre el paisaje basados en elementos antiguos y primigenios que se repiten con insistencia y van dando lugar al variado repertorio de la arquitectura occidental cómo conformación de ideas sobre el me-dio y sobre el mundo que se percibe y se habita. ABSTRACT About Architecture in defining Landscape. Abstract Architecture is commonly manifested in buildings as a fact of reality that has always a contemporary character and that should be the highest value of an art that does not distinguish between ancient and modern, to affect the present and be contemporary as experience. Objects are inserted irremediably in their midst and even sometimes come to define it: thus, architecture and landscape, appear sometimes confused with differences difficult to determine. However, the term "landscape" is relatively modern and is derived from certain graphical or pictorial representations produced in the West in some subsequent period to the Renaissance. The fact that a word can be written or quoting does not mean that the reality that can not be answered, because the writing is only a mean of expression, and it is obvious that there are other and perhaps older equally important, because the writing itself is nothing more than the reflection of a phenomenon that has occurred before. It thus appears that the testimony of reality is given by different contexts in what is called "culture", so that cultures can have aspects of great interest by many different expression systems without this necessarily have to pass through the filter of alphabet and writing. Under the initial findings, it appears that the question of writing originally had a character and finding accounting entries, and it can not be established with certainty whether some used writing as the support appropriate to refer myths or stories, because archaeology has provided only fragmentary evidence. Another issue that raises questions is what can properly be defined as writing, it seems that the oldest modes are reduced to writing pictograms are still indecipherable. Languages and place names are also very useful tools for diving in the past, but still questions remain in the scriptures that come from the primordial representations: either it is very well defined what the own writing in its origins: the beginnings seem to feed on immediate intuitions of representation, which would evolve representing reality that urgent and immediate control or supply which is then inherited into fragments. It is noteworthy, however, that this huge set of graphics agreements was subject to the word and the disappearance of cultures determined also the consequent disappearance of their languages, and those signs - whether or not they write - have passed definitively to dark areas of knowledge. Writings supposed also the capacity of abstraction graph differentiates the word and the thing, and it is possible that the reason to carry this discovery was simply that of an economy of signs, for writing and language are limited by definition, while the things of the world are innumerable: no language contains all words to describe all that may appear. Apparently, that's why there is a localism - a specific term that refers to something that exists in one place and not in others - in regards to name the thing and also the source of paradigm among peoples are considered primitive and civilized. It should be noted also that transposition occurs in both directions, so that the most isolated cultures also incorporate concepts that lack a consistent rational explanation. Mythologies are eternal and therefore serve to explain realities that lack an understanding achievable and also pretty clear that languages happen to be an enigma, as an autonomous reality that is enclosed and explains itself. It also seems that the first to write consonants were isolated western Semitic peoples from the shores of the Mediterranean, peoples who created a syllabic alphabet came to be used even by tartesios in southern Iberia as the first alphabet in Western Europe. It is clear that the term "landscape" has always nurtured representations, either written or artis-tic, but it is also clear that these representations are assumed arising from belief in an idea of landscape as something that is represented in itself, as the image of a reality external located outside the individual. That is an important fact because the landscape requires remoteness of the thing, so that the actor - even knowing insert in landscape - is unable to perceive from within. The landscape is just as in a theatre or a performance: the actors are aware of their role and their possible role, but they are not the ones who can really enjoy the efficiency or the presence of the work itself, as part of it. The idea comes from an external landscape reading the principles of players in the drama, so if you want to be a critic of the landscape should leave the actual representation to watch the spectacle from a safe distance, finally external. Thus, the first finding of fact of the landscape appears as a reality constructed by objects and characters, but above all, a reality constructed by looks. Also noteworthy given the readings of specialists to the external reference - art if it could be - on the term "landscape", so no specialized literature on the subject always ends in treatises on painting or poetry. It seems however that the man and his landscapes are inseparable realities from the very onset of the species, so bring the issue into terms exclusively aesthetics seems a partial position. Man and environment have always been a single unit, but that unit has become synonymous with certain cases predation and destruction. Nevertheless, this destruction also creates a landscape as desolation that results from proper task of man elements that also have substantial contents of memory in industrial landscapes as a time of pre-automation history and globalization of current life. Perhaps the most interesting from a theoretical point of view is precisely that quality of landscape as something external produced by the viewer in a strange time of membership, a look that is not only aesthetic but sympathetic, joyful, active concept or analytical - because there are so many ways to look as subjects - it may not be precisely defined that contemplation rather than in terms that reach one's individuality. In poetic terms, it could also be set as the set of individual gazes also create a structure that makes this landscape is valued and understood, so from that point of view that landscape is a collective creation. With respect or as a predator, man has settled in his environment and in doing so has left traces in the landscape itself that make take a certain significance. Naturally, there is a theory that distinguishes what is "home" and what is "nature" providing for the first notion of the exclusive territory in which man has no aesthetic role. I tried many times to understand this position, without understanding the approach that supports: it seems that the vision of the thing is always humane, even in the "virgin" or untouched areas, as the vision itself makes the object modified in its own perceptual unit, creating a curious indeterminacy leading to the known misunderstandings between real image and representation. Indeed, the vision of the thing requires a culture and means that the report, so that a text, a picture, a description or photograph will be humanized by the very fact of being informed, as this provides a way a priori. Thus, the landscape provides a function that sets both aspects of a potential landscape as described aspects of the landscape and can only talk about the potential of the final state of the landscape, while the landscape remains humanized by the observer himself. This question forces to choose a definition of remote landscape budgets purely cultural, so there is another way for research to contemplate that physical reality in terms of the coordinates of the man who inhabits gifted content corresponding to that revelation. Far from the positions of the geomorphology, the term "landscape" and involve a certain condition by contemplation of a subject for which the show is humanized in the act. It should also consider, in the light of the above, if it is not true that all landscapes require that humanized condition, because although they are not inhabited they are always occupied by the look that dwells, like a stage without audience produces no consistent effect. From there the coordinates where this work sets the presence of architecture in defining landscape, a premise which seems to come from the beginning given lie, because that same look is already giving the viewer a sense of order and hierarchy to contemplation, qualities that are at the basis of all architectural activity, in fact the very definition of "natural monument" - in itself a contradiction - expresses this conflict, which has a phenomenon of admiration and overlap between culture and nature as concepts faced since its inception. The conclusion on the dilemma proposed in the thesis has not been another to assume that these two realities are the culture and landscape have overlapped since the beginning of man time forming a pair. It has been said before that the process of invasion of the territory by man is significant, and that meaning is the originating autonomous creation that is isolated as an abstract concept of nature, taking them as working material, and establishing a conceptual opposition in reality and punched by the man who comes to oppose representing the closed and unknown to the enigma of the world interpreted. The question of the significance of the man on the land is subsumed in the creation of products that remain and are testimony of their own culture, so that the trace amount that the man leaves the territory contributes most to the qualification landscape as a concept. That brought into any landscape - by the mere fact of being and being well defined - is already cultural, as it is configured by culture products. The words that can be locked in the stones of the monuments or cities are those of the men who worked there, and also of those who inhabited: even more, the sense of the landscape itself and its conservation are determined by the presence of man as the sole interpreter of concepts such as ecology or conservation, something which becomes manifest also in the awful devastation that produce the phenomena of nature. The natural history, like life, are shaped by success and devastation without special preference, the preference is used for feeding on other kinds of concepts. The question of moral values attributed to the natural world is very ancient, and may be the source or the source of the first religions, an issue that joins the unfailing notion of mortality that defines the existence of man against immanence of nature. That nature is endowed intuitively an "innocent" character assuming that innocence is the opposite of wisdom. The other issue is well, since nature does not even have what is defined as "character" because that is something that serves to qualify beings, but not objects. The question does not fall clearly on the side of the definitions or qualities, but from the analysis of the reality that man is building, destroying or damaging to define the territory, interposing his way resources facilities and possible witness as the main manifestation of its essence. Among the artifacts that man produces one of the most persistent and most conspicuously disclosed is architecture as a way of modification of space and territory. The space can be modified in many ways, but in either case is one of the most characteristic traces that man establishes as a physical manifestation of his own discourse being. Architecture has also proven to be one of the most persistent phenomena, even more than their own language that originates in his speech first. The paradigm wrote in the episode described on the Tower of Babel in the Bible shows the question of ambition of men before God - represented precisely in architecture - is assimilated to the discussion about the primary language. The issue is not trivial, since the phenomenon of creation is something that is granted exclusively to the gods, for that reason inhabit the territories to which men can not reach; territories where the hostel located mythologies gods and demons, with large gaps where to place the minor deities, heroes or hybrid beings where the yoke of the gods with human subjects produces relieving sense of mortality. The commentary on Genesis also gives a value to the art, the myth of Prometheus and fire as creator of excellence. In front of promethean progress, divine value is postulated, and the only possible way to alleviate this progress is the confusion of language, because that is what will produce the dispersion and lack of agreement. The issue may also explain such a common passion for the canonical architecture maintained throughout long periods, like a great machine inertia. It seems that the main concepts of architecture based on simple elements like milestone, lintels, straight and curved stairs or ramps, or other qualified and used are granted to the stone, brick, wood or metal as the primary components of the architectural material maintained throughout many millennia are almost unchanged, as is the case with the eating habits that follow a progression through the raw, the cooked and roasted or fried until obtain different degrees of refinement, but always are based on the primal feeling. The discovery of the architecture comes from a management dimensions, and consequently the geometry. But the geometry is abstract thing like the language so that to make architecture that first absorption capacity which then allows the realization of a device is necessary. Reality and its number exhibit a divorce, like things and their names displayed his; numerical analysis is just one way of seeing reality, rigorous and accurate - though partial - only represents the ideal model to which reality is coming to a greater or lesser extent: the mathematical approach makes the universe can condense on numbers, like reality may condense on names, but neither the name nor the number will reflect in all its complexity. The number is only a means of describing things, such as the pure forms that match setup a mathematical theory that occurs anywhere in the universe. However, for the practice of architecture is necessary to go to the simplification that requires abstract view of a section plane of reality, as an abstract element considered cutting. With its trace or not, with the mathematical expression that describes what or without clarify, this intuition of the plane as a generator of space predates his own expression, like speech preceded the writing, which only occurred through it and as reinforcement and replacement of memory. There are abstractions of memory displayed on the signs of nature only on casual and fragmentary, such as line, square and circle: those initials and abstract forms located in abstraction give rise to the first signs of primordial architecture, so that squares and circles, lifting two prisms and spheroids or spherical surfaces appear in tombs and elementary buildings the first few times, and that primordial geometry overlaps the landscape in which it is inserted. It is also true that these forms are approximate objects found in the physical environment, limb lines, branches and limbs; straight in some crystals angles observed by cutting or circular in stars and craters forms, but only the approximate shape and not its abstraction, just as the hieroglyphic of a falcon to represent the idea of surveillance presents the good view, or even the image of the eye itself replace the idea of the all-seeing God. The election was resolved, after many attempts and approaches, with the adoption of the right angle as an easy trick for stake through the sacred triangle 3:4:5 already used to build the pyramids of Egypt, and also gave rise to most of the old urbanism tend coexist with the primary circular form type called "Tholo". That frame homer was one of the fill patterns of common and compact space, and that was probably the reason why in much later times was adopted as a permanent effective form of organization against the topological disorder that seeks the set of association circular plants. Another issue is that these paradigmatic and unknown primary concepts - that converge at the origin of civilizations - then become something canon, through use. The canon itself is something ideal, as a rule for objects of a reality that has been created only as an indication of the ca-non, something abstract that has strict proportions are always the same and not due to rational criteria: be absurd however seek the Greek canon among the temples of time as some did, because the buildings only approximate the canonical examples and for that reason we speak of "doric from Parthenon" which is different from Aegina or Paestum, being all clearly doric. However, this idea is useful to scholar, the architectural theorist and historian, although it reflects only a vague idea of what happens beyond the book. Another issue is the subtlety of the examples of architecture, just as the bodies of living beings are never symmetrical, even if they involve a general symmetrical design derived from the conditions of cell division, the supposedly canonical buildings where specialists were inspired to define the classical orders do not have that exact modular symmetry, but a general model adapted to the ever changing location of the site shaping the landscape in which they are inserted. The light of the various bays of the Parthenon is slightly different, but keep a clear sense of axial symmetry, so that those "orders" that formed the theory of architecture are just a beautiful sectoral interpretation of ancient architecture developed by writers of the Renaissance and later by neoclassical. It seems, however, that craving for clarity of language canon as is inherent to the development of architecture, a lingua franca that tends to avoid scattering among mortals by the ancient gods, so if it was not possible the heaven of the gods sought the language of the Earth was at least intelligible to be understood. Power structure has always required a certain level of organization, and the instructions are clearly understood: it seems that in our times these ancient canons were replaced by obedience to abstract rules, issued by institutions also somewhat abstract and have funny names made up acronym, although not well known virtue. The current canon consists of "rules" that leave some quiet, although it seems that maybe all that interweaves-do formally serving as anaesthesia for the social body also seeks the destruction of forests in forms of huge mountains of bureaucratic paper. For many centuries were other rules, in the form of a canon which no one could escape: still using royalties or without them, civilization flourished in architecture from the earliest cave shelters or shelters and the primordial reality was setting mode in landscape. As noted above, this is a return trip in which both confused and subsumed: the management of forms and languages of architecture over time would allow the distinction between the field where chaos reigns and city, where order reigns theoretically creating a divorce that lasted millennia and still persists. This opposition also generate a form of landscape and a series of symbolic and sacred uses of architectural elements - such as doors and walls - which have remained conceptually although today the cities no longer having physical walls or doors close during the night. In this sense, the architecture could define the landscape, architecture is not only understood as the buildings themselves, but the fact of the manifestation of the man on the premises, so you can not speak without his landscape architecture, the same so we can not speak of landscape without men. For this reason, the thesis discusses architecture and landscape, but more particularly to the fact of architecture in defining landscape, as the facts of architectural or not will determine the quality and qualification of a landscape. One should begin first a definition of what is understood and has been commonly understood by landscape: equally, and given the context in which it places the own thesis work, the issue only be limited to what is understood as western culture, for the development of civilization always has a local colour that makes the analysis of a phenomenon of this magnitude have different connotations in different areas of civilization. Similarly, and given also that the landscape is constructed through all cultural manifestations, will sometimes necessary to investigate other non-architectural disciplines to understand the scope of some cases in which the architectural remains have disappeared, or the remaining few traces. Such a broad definition of architecture take to write a story about all of Western culture and for this reason only been sketched ideas about the appearance of these signs on the landscape based on ancient and primitive elements are repeated insistently and leading the varied repertoire of Western architecture shaping ideas about how the media and the world is perceived and inhabited.

Finite element code-based modeling of a multi-feature isolation system and passive alleviation of possible inner pounding

The existing seismic isolation systems are based on well-known and accepted physical principles, but they are still having some functional drawbacks. As an attempt of improvement, the Roll-N-Cage (RNC) isolator has been recently proposed. It is designed to achieve a balance in controlling isolator displacement demands and structural accelerations. It provides in a single unit all the necessary functions of vertical rigid support, horizontal flexibility with enhanced stability, resistance to low service loads and minor vibration, and hysteretic energy dissipation characteristics. It is characterized by two unique features that are a self-braking (buffer) and a self-recentering mechanism. This paper presents an advanced representation of the main and unique features of the RNC isolator using an available finite element code called SAP2000. The validity of the obtained SAP2000 model is then checked using experimental, numerical and analytical results. Then, the paper investigates the merits and demerits of activating the built-in buffer mechanism on both structural pounding mitigation and isolation efficiency. The paper addresses the problem of passive alleviation of possible inner pounding within the RNC isolator, which may arise due to the activation of its self-braking mechanism under sever excitations such as near-fault earthquakes. The results show that the obtained finite element code-based model can closely match and accurately predict the overall behavior of the RNC isolator with effectively small errors. Moreover, the inherent buffer mechanism of the RNC isolator could mitigate or even eliminate direct structure-tostructure pounding under severe excitation considering limited septation gaps between adjacent structures. In addition, the increase of inherent hysteretic damping of the RNC isolator can efficiently limit its peak displacement together with the severity of the possibly developed inner pounding and, therefore, alleviate or even eliminate the possibly arising negative effects of the buffer mechanism on the overall RNC-isolated structural responses.

Syntax processing by auditory cortical neurons in the FM–FM area of the mustached bat Pteronotus parnellii

Syntax denotes a rule system that allows one to predict the sequencing of communication signals. Despite its significance for both human speech processing and animal acoustic communication, the representation of syntactic structure in the mammalian brain has not been studied electrophysiologically at the single-unit level. In the search for a neuronal correlate for syntax, we used playback of natural and temporally destructured complex species-specific communication calls—so-called composites—while recording extracellularly from neurons in a physiologically well defined area (the FM–FM area) of the mustached bat’s auditory cortex. Even though this area is known to be involved in the processing of target distance information for echolocation, we found that units in the FM–FM area were highly responsive to composites. The finding that neuronal responses were strongly affected by manipulation in the time domain of the natural composite structure lends support to the hypothesis that syntax processing in mammals occurs at least at the level of the nonprimary auditory cortex.

Frontoparietal cortical networks for directing attention and the eye to visual locations: Identical, independent, or overlapping neural systems?

Functional anatomical and single-unit recording studies indicate that a set of neural signals in parietal and frontal cortex mediates the covert allocation of attention to visual locations, as originally proposed by psychological studies. This frontoparietal network is the source of a location bias that interacts with extrastriate regions of the ventral visual system during object analysis to enhance visual processing. The frontoparietal network is not exclusively related to visual attention, but may coincide or overlap with regions involved in oculomotor processing. The relationship between attention and eye movement processes is discussed at the psychological, functional anatomical, and cellular level of analysis.

Mnemonic neuronal activity in somatosensory cortex.

Single-unit activity was recorded from the hand areas of the somatosensory cortex of monkeys trained to perform a haptic delayed matching to sample task with objects of identical dimensions but different surface features. During the memory retention period of the task (delay), many units showed sustained firing frequency change, either excitation or inhibition. In some cases, firing during that period was significantly higher after one sample object than after another. These observations indicate the participation of somatosensory neurons not only in the perception but in the short-term memory of tactile stimuli. Neurons most directly implicated in tactile memory are (i) those with object-selective delay activity, (ii) those with nondifferential delay activity but without activity related to preparation for movement, and (iii) those with delay activity in the haptic-haptic delayed matching task but no such activity in a control visuo-haptic delayed matching task. The results indicate that cells in early stages of cortical somatosensory processing participate in haptic short-term memory.

Subthreshold facilitation and suppression in primary visual cortex revealed by intrinsic signal imaging.

Neurons in primary visual cortex (area 17) respond vigorously to oriented stimuli within their receptive fields; however, stimuli presented outside the suprathreshold receptive field can also influence their responses. Here we describe a fundamental feature of the spatial interaction between suprathreshold center and subthreshold surround. By optical imaging of intrinsic signals in area 17 in response to a stimulus border, we show that a given stimulus generates activity primarily in iso-orientation domains, which extend for several millimeters across the cortical surface in a manner consistent with the architecture of long-range horizontal connections in area 17. By mapping the receptive fields of single neurons and imaging responses from the same cortex to stimuli that include or exclude the aggregate suprathreshold receptive field, we show that intrinsic signals strongly reveal the subthreshold surround contribution. Optical imaging and single-unit recording both demonstrate that the relative contrast of center and surround stimuli regulates whether surround interactions are facilitative or suppressive: the same surround stimulus facilitates responses when center contrast is low, but suppresses responses when center contrast is high. Such spatial interactions in area 17 are ideally suited to contribute to phenomena commonly regarded as part of "higher-level" visual processing, such as perceptual "popout" and "filling-in."

Refinement of odor molecule tuning by dendrodendritic synaptic inhibition in the olfactory bulb.

Mitral/tufted cells (M/T cells) and granule cells form reciprocal dendrodendritic synapses in the main olfactory bulb; the granule cell is excited by glutamate from the M/T cell and in turn inhibits M/T cells by gamma-aminobutyrate. The trans-synaptically excited granule cell is thought to induce lateral inhibition in neighboring M/T cells and to refine olfactory information. It remains, however, elusive how significantly and specifically this synaptic regulation contributes to the discrimination of different olfactory stimuli. This investigation concerns the mechanism of olfactory discrimination by single unit recordings of responses to a series of normal aliphatic aldehydes from individual rabbit M/T cells. This analysis revealed that inhibitory responses are evoked in a M/T cell by a defined subset of odor molecules with structures closely related to the excitatory odor molecules. Furthermore, blockade of the reciprocal synaptic transmission by the glutamate receptor antagonist or the gamma-aminobutyrate receptor antagonist markedly suppressed the odor-evoked inhibition, indicating that the inhibitory responses are evoked by lateral inhibition via the reciprocal synaptic transmission. The synaptic regulation in the olfactory bulb thus greatly enhances the tuning specificity of odor responses and would contribute to discrimination of olfactory information.