Projeto DMAIC com ferramentas Seis Sigma para redução de sucata em uma multinacional do ramo de acessórios automobilísticos

In this era of globalization, with fierce competition in the labor market, using the reduction cost strategy and resources optimization, has become a competitive advantage. In this graduation study, it will be exposed in form of case study the DMAIC project (Define Measure Analyze Improve Control) execution, using of Six Sigma's tools, statistical and quality knowledge, with intent of analyze, improve and control the processes of a selected problem, always demonstrating good practice of methodologies. In an auto parts multinational branch, It was identified a high scrap rate in one of his production lines. This work will study this problem to improve their processes and ensure that these improvements are perpetual. As a result, reached the stipulated goals, increasing Corporation's Intellectual, thereby providing a competitive advantage

Aldo Rossi, autobiografia scientifica: scrittura come progetto. Indagine critica tra scrittura e progetto di architettura

«In altri termini mi sfuggiva e ancora oggi mi sfugge gran parte del significato dell’evoluzione del tempo; come se il tempo fosse una materia che osservo dall’esterno. Questa mancanza di evoluzione è fonte di alcune mie sventure ma anche mi appartiene con gioia.» Aldo Rossi, Autobiografia scientifica. The temporal dimension underpinning the draft of Autobiografia scientifica by Aldo Rossi may be referred to what Lucien Lévy-Bruhl, the well-known French anthropologist, defines as “primitive mentality” and “prelogical” conscience : the book of life has lost its page numbers, even punctuation. For Lévy-Bruhl, but certainly for Rossi, life or its summing up becomes a continuous account of ellipses, gaps, repetitions that may be read from left to right or viceversa, from head to foot or viceversa without distinction. Rossi’s autobiographical writing seems to accept and support the confusion with which memories have been collected, recording them after the order memory gives them in the mental distillation or simply according to the chronological order in which they have happened. For Rossi, the confusion reflects the melting of memory elements into a composite image which is the result of a fusion. He is aware that the same sap pervades all memories he is going to put in order: each of them has got a common denominator. Differences have diminished, almost faded; the quick glance is prevalent over the distinction of each episode. Rossi’s writing is beyond the categories dependent on time: past and present, before and now. For Rossi, the only repetition – the repetition the text will make possible for an indefinite number of times – gives peculiarity to the event. As Gilles Deleuze knows, “things” may only last as “singleness”: more frequent the repetition is, more singular is the memory phenomenon that recurs, because only what is singular magnifies itself and happens endlessly forever. Rossi understands that “to raise the first time to nth forever”, repetition becomes glorification . It may be an autobiography that, celebrating the originality, enhances the memory event in the repetition; in fact it greatly differs from the biographical reproduction, in which each repetition is but a weaker echo, a duller copy, provided with a smaller an smaller power in comparison with the original. Paradoxically, for Deleuze the repetition asserts the originality and singularity of what is repeated. Rossi seems to share the thought expressed by Kierkegaard in the essay Repetition: «The hope is a graceful maiden slipping through your fingers; the memory of an elderly woman, indeed pretty, but never satisfactory if necessary; the repetition is a loved friend you are never tired of, as it is only the new to make you bored. The old never bores you and its presence makes you happy [...] life is but a repetition [...] here is the beauty of life» . Rossi knows well that repetition hints at the lasting stability of cosmic time. Kierkegaard goes on: «The world exists, and it exists as a repetition» . Rossi devotes himself, on purpose and in all conscience, to collect, to inventory and «to review life», his own life, according to a recovery not from the past but of the past: a search work, the «recherche du temps perdu», as Proust entitled his masterpiece on memory. If you want the past time to be not wasted, you must give it presence. «Memoria e specifico come caratteristiche per riconoscere se stesso e ciò che è estraneo mi sembravano le più chiare condizioni e spiegazioni della realtà. Non esiste uno specifico senza memoria, e una memoria che non provenga da un momento specifico; e solo questa unione permette la conoscenza della propria individualità e del contrario (self e non-self)» . Rossi wants to understand himself, his own character; it is really his own character that requires to be understood, to increase its own introspective ability and intelligence. «Può sembrare strano che Planck e Dante associno la loro ricerca scientifica e autobiografica con la morte; una morte che è in qualche modo continuazione di energia. In realtà, in ogni artista o tecnico, il principio della continuazione dell’energia si mescola con la ricerca della felicità e della morte» . The eschatological incipit of Rossi’s autobiography refers to Freud’s thought in the exact circularity of Dante’s framework and in as much exact circularity of the statement of the principle of the conservation of energy: in fact it was Freud to connect repetition to death. For Freud, the desire of repetition is an instinct rooted in biology. The primary aim of such an instinct would be to restore a previous condition, so that the repeated history represents a part of the past (even if concealed) and, relieving the removal, reduces anguish and tension. So, Freud ask himself, what is the most remote state to which the instinct, through the repetition, wants to go back? It is a pre-vital condition, inorganic of the pure entropy, a not-to-be condition in which doesn’t exist any tension; in other words, Death. Rossi, with the theme of death, introduces the theme of circularity which further on refers to the sense of continuity in transformation or, in the opposite way, the transformation in continuity. «[...] la descrizione e il rilievo delle forme antiche permettevano una continuità altrimenti irripetibile, permettevano anche una trasformazione, una volta che la vita fosse fermata in forme precise» . Rossi’s attitude seems to hint at the reflection on time and – in a broad sense – at the thought on life and things expressed by T.S. Eliot in Four Quartets: «Time present and time past / Are both perhaps present in time future, / And time future is contained in time past. / I all time is eternally present / All time is unredeemable. / What might have been is an abstraction / Remaining perpetual possibility / Only in a word of speculation. / What might have been and what has been / Point to one end, which is always present. [...]» . Aldo Rossi’s autobiographical story coincides with the description of “things” and the description of himself through the things in the exact parallel with craft or art. He seems to get all things made by man to coincide with the personal or artistic story, with the consequent immediate necessity of formulating a new interpretation: the flow of things has never met a total stop; all that exists nowadays is but a repetition or a variant of something existing some time ago and so on, without any interruption until the early dawnings of human life. Nevertheless, Rossi must operate specific subdivisions inside the continuous connection in time – of his time – even if limited by a present beginning and end of his own existence. This artist, as an “historian” of himself and his own life – as an auto-biographer – enjoys the privilege to be able to decide if and how to operate the cutting in a certain point rather than in another one, without being compelled to justify his choice. In this sense, his story is a matter very ductile and flexible: a good story-teller can choose any moment to start a certain sequence of events. Yet, Rossi is aware that, beyond the mere narration, there is the problem to identify in history - his own personal story – those flakings where a clean cut enables the separation of events of different nature. In order to do it, he has to make not only an inventory of his own “things”, but also to appeal to authority of the Divina Commedia started by Dante when he was 30. «A trent’anni si deve compiere o iniziare qualcosa di definitivo e fare i conti con la propria formazione» . For Rossi, the poet performs his authority not only in the text, but also in his will of setting out on a mystical journey and handing it down through an exact descriptive will. Rossi turns not only to the authority of poetry, but also evokes the authority of science with Max Plank and his Scientific Autobiography, published, in Italian translation, by Einaudi, 1956. Concerning Planck, Rossi resumes an element seemingly secondary in hit account where the German physicist «[...] risale alle scoperte della fisica moderna ritrovando l’impressione che gli fece l’enunciazione del principio di conservazione dell’energia; [...]» . It is again the act of describing that links Rossi to Planck, it is the description of a circularity, the one of conservation of energy, which endorses Rossi’s autobiographical speech looking for both happiness and death. Rossi seems to agree perfectly to the thought of Planck at the opening of his own autobiography: «The decision to devote myself to science was a direct consequence of a discovery which was never ceased to arouse my enthusiasm since my early youth: the laws of human thought coincide with the ones governing the sequences of the impressions we receive from the world surrounding us, so that the mere logic can enable us to penetrate into the latter one’s mechanism. It is essential that the outer world is something independent of man, something absolute. The search of the laws dealing with this absolute seems to me the highest scientific aim in life» . For Rossi the survey of his own life represents a way to change the events into experiences, to concentrate the emotion and group them in meaningful plots: «It seems, as one becomes older. / That the past has another pattern, and ceases to be a mere sequence [...]» Eliot wrote in Four Quartet, which are a meditation on time, old age and memory . And he goes on: «We had the experience but missed the meaning, / And approach to the meaning restores the experience / In a different form, beyond any meaning [...]» . Rossi restores in his autobiography – but not only in it – the most ancient sense of memory, aware that for at least 15 centuries the Latin word memoria was used to show the activity of bringing back images to mind: the psychology of memory, which starts with Aristotele (De Anima), used to consider such a faculty totally essential to mind. Keith Basso writes: «The thought materializes in the form of “images”» . Rossi knows well – as Aristotele said – that if you do not have a collection of mental images to remember – imagination – there is no thought at all. According to this psychological tradition, what today we conventionally call “memory” is but a way of imagining created by time. Rossi, entering consciously this stream of thought, passing through the Renaissance ars memoriae to reach us gives a great importance to the word and assumes it as a real place, much more than a recollection, even more than a production and an emotional elaboration of images.

Die Universalität der Hermeneutik

In dieser Dissertation Die Universalität der Hermeneutik wurde die folgenden zwei Fragen behandelt: Erstens: kann die Psychoanalyse - konkreter gesagt, die Übertragungssituation in dem szenischen Verstehen - eine Ausnahme von der Universalität der Hermeneutik darstellen? Zweitens: ist kritische Reflexion überhaupt moglich?, und konnen die Universalität der Hermeneutik und die kritische Reflexion miteinander in Übereinstimmung gebracht werden? Durch das szenische Verstehen erlautert Habermas den Vorgang, wie die Umgangssprache des Patienten von dem Analytiker analysiert wird. Zumal in der Übertragungssituation ist der Gegenstand des Symptoms des Patienten nichts anderes als der Analytiker selbst, und demzufolge kann der Analytiker selbst dann an dem Symptom seines Patienten teilnehmen. Durch diese Teilnahme kann er die Bedeutung des Symptoms seines Patienten genau erfassen. Aber wenn der Analytiker nicht das Unbewusste, das sein Patient ihm offenbart, umgangssprachlich akzeptiert hätte, oder anders gesagt, wenn das Unbewusste des Patienten sich dem Analytiker nicht als "ein Gesagtes" gezeigt hätte, hätte der Analytiker auf keinem Fall daraus etwas erfassen können. Infolgedessen kann die Psychoanalyse nicht das Gegenbeispiel fur die Universalität der Hermeneutik werden. Damit die kritische Reflexion möglich wäre, müssten vor allem unser Bewusstsein und die Sprache voneinander getrennt werden. Deswegen wurde in dieser Arbeit behauptet, dass sie - obwohl es in der Tat selbstverstandlich unmöglich ist - aber sehr wohl rein begrifflich gesehen voneinander getrennt und unterschieden werden können. In diesem Fall kann das Einflussverhältnis zwischen der Sprache und den außersprachlichen Faktoren in das Einflussverhältnis zwischen der "Arbeit und Herrschaft" und der Sprache und unserem Bewusstsein, unterteilt und differenziert werden: Arbeit und Herrschaft übt auf die Sprache Einfluss aus, und die Sprache übt auf unser Bewusstsein Einfluss aus. Und mit der Tatsache, dass die Praxis des Verstehens verändert wird, kann man beweisen, dass unser Bewusstsein auf die Arbeit und Herrschaft Einfluss ausüben kann. Und das bedeutet, dass unser Bewusstsein, obwohl es nur mittelbar ist, auf jeden Fall auch auf die Sprache Einfluss ausüben kann. Infolgedessen, wenn die Universalität der Hermeneutik gültig ist, kann man auch sagen, dass auf dieselbe Weise, die kritische Reflexion Habermas´ möglich ist. Und diese Einflussverhältnisse sind aber in dauernder Zirkulationsbewegung. Und diese Zirkulationsbewegung an sich ist das Wesen des Menschen, und daraus bildet sich seine Geschichte.

La figura del concessionario di beni e servizi nel demanio marittimo, costiero e portuale

Per la tradizione amministrativa la concessione è lo strumento che consente ai singoli di utilizzare un bene pubblico a titolo particolare. Proprio l’endiadi espressa dai due aggettivi della definizione tradizionale, pubblico e particolare, nasconde la ragione della fortuna dello strumento concessorio, capace di soddisfare, allo stesso tempo, un’esigenza di carattere pubblico ed un bisogno eminentemente privato, sopravvivendo ai più differenti periodi storici ed all’affermarsi delle più radicali correnti di pensiero. A fare da sfondo a questa insanabile tensione, in perenne oscillazione tra i due poli estremi della definizione, la nozione, a sua volta relativa, discussa e costantemente rivisitata, di bene pubblico. Per questa ragione il titolo del lavoro che si presenta è articolato in tre segmenti, che fanno riferimento allo strumento, soltanto formalmente unitario, della concessione negli ambiti del demanio marittimo, del demanio costiero e del demanio portuale. Nel primo capitolo si esamina la disciplina normativa applicabile alle varie tipologie di concessione ipotizzabili sul demanio marittimo, cercando di cogliere, in una prospettiva di analisi diacronica, le linee di evoluzione dell’uso particolare dei beni variamente connessi alle esigenze della navigazione. Il secondo capitolo è, invece, dedicato all’esame dell’elaborazione giurisprudenziale relativa alle vicende del demanio marittimo. Mentre nel terzo capitolo, infine, si è tentato di ricercare e di rappresentare una teoria unitaria della concessione dovuta, in gran parte, all’incedere, apparentemente irresistibile, di un vocabolario comune dei contratti pubblici di matrice comunitaria. In questo contesto appare evidente la crisi, probabilmente irreversibile, della concezione di bene pubblico e quindi di concessione.

Executive Reorganization: Building a State Government That Worked for People -- Tom Harrison, Diana Dowling & Sheena Wilson “In the Crucible of Change”

One of the primary accomplishments of Governor Forrest Anderson in 1969-71 was the reorganization of the Executive Branch of Montana government, something that had been attempted six different times between 1919 and 1962 as state government had grown from twenty agencies to almost 200 uncontrolled boards, bureaus and commissions. The chaotic structure of the executive branch disempowered governors of both parties and empowered the private corporations and organizations that were the power structure of Montana. With remarkable political acumen, Governor Anderson figured out how to get that near impossible job done. Central to his efforts was the creation of an Executive Reorganization Commission, including eight legislators and the Governor, the adoption of a Constitutional Amendment that limited the executive branch to no more than twenty departments under the Governor, and the timely completion of a massive research effort to delineate the actual structure of the twenty departments. That story is told in this episode by three major players in the effort, all involved directly with the Executive Reorganization Commission: Tom Harrison, Diana Dowling and Sheena Wilson. Their recollections reflect an insider’s perspective of this significant accomplishment that helped change Montana “In the Crucible of Change.” Tom Harrison is a former Republican State Representative and State Senator from Helena, who was a member of the Executive Reorganization Commission. As Majority Leader in the Montana House of Representatives in 1971, he was the primary sponsor of the House’s executive reorganization bill and helped shepherd the Senate’s version to passage. Harrison was the Republican candidate for Attorney General in 1976 after which he practiced private law for 3 more decades. He served in the Montana Army National Guard for almost 34 years, rising to the rank of Colonel in the position of Judge Advocate General. He was a founding Director of Federal Defenders of Montana (legal representation for indigents accused within the Federal Judicial System); appointed Chairman of the original Montana State Fund (workers' compensation insurance) by Gov. Stephens; served as President of the Montana Trial Lawyers Association, Helena Kiwanis Club and St. Peter's Community Hospital Foundation, as well as Chairman and Director of AAA MountainWest; and was a founder, first Chairman and Director of the Valley Bank of Helena for over 25 years. Diana Dowling was an attorney for the Executive Reorganization Commission and helped draft the legislation that was passed. She also worked for Governor Forrest Anderson and for the 1972 Constitutional Convention where she prepared and directed publication of official explanation of the new Constitution that was mailed to all Montana voters. Diana was Executive Director of the Montana Bar Association and for 20 years held various legal positions with the Montana Legislative Council. For 12 years she was a commissioner on the National Conference of Commissioners on Uniform State Laws and for 7 years was a member of Montana State Board of Bar Examiners. Diana was the first director of the Montana Lottery, an adjunct professor at both Carroll College and the UM Law School, and an administrative officer for Falcon Press Publishing Co. Diana is currently - and intends to continue being - a perpetual college student. Sheena Wilson came fresh out of the University of Montana to become a Research Assistant for the Executive Reorganization Commission. Later she worked for seven years as a field representative in Idaho and Montana for the Mountain Plains Family Education Program, for thirteen years with Congressman Pat Williams as Executive Assistant in Washington and Field Assistant here in Montana, owned and managed a Helena restaurant for seven years, worked as Executive Assistant for State Auditor John Morrison and was Deputy Chief of Staff for Governor Brian Schweitzer his full 8 years in the Governorship. Though currently “retired”, Sheena serves on the Montana Board of Investments, the Public Employees Retirement Board and the Capitol Complex Advisory Council and is a partner in a dry-land wheat farm in Teton County that was homesteaded by her great uncle.

SCAD: Sensor Context-aware Adaptive Duty-cycled Beaconless Opportunistic Routing for WSNs

Low quality of wireless links leads to perpetual transmission failures in lossy wireless environments. To mitigate this problem, opportunistic routing (OR) has been proposed to improve the throughput of wireless multihop ad-hoc networks by taking advantage of the broadcast nature of wireless channels. However, OR can not be directly applied to wireless sensor networks (WSNs) due to some intrinsic design features of WSNs. In this paper, we present a new OR solution for WSNs with suitable adaptations to their characteristics. Our protocol, called SCAD-Sensor Context-aware Adaptive Duty-cycled beaconless opportunistic routing protocol is a cross-layer routing approach and it selects packet forwarders based on multiple sensor context information. To reach a balance between performance and energy-efficiency, SCAD adapts the duty-cycles of sensors according to real-time traffic loads and energy drain rates. We compare SCAD against other protocols through extensive simulations. Evaluation results show that SCAD outperforms other protocols in highly dynamic scenarios.

Efficiency from pharmacy inventory technology: A means to improving quality in non-profit hospitals

Hospitals, like all organizations, have both a mission and a finite supply of resources with which to accomplish that mission. Because the inventory of therapeutic drugs is among the more expensive resources needed by a hospital to achieve its mission, a conceptual model of structure plus process equals outcome posits that adequate emphasis should be placed on optimization of the organization's investment in this important structural resource to provide highest quality outcomes. Therefore emphasis should be placed on the optimization of pharmacy inventory because lowering the financial investment in drug inventory and associated costs increases productive efficiency, a key element of quality. ^ In this study, a post-intervention analysis of a hospital pharmacy inventory management technology implementation at The University of Texas M.D. Anderson Cancer Center was conducted to determine if an intervention which reduced a hospital's financial investment in pharmaceutical inventory provided an opportunity to incrementally optimize the organization's mix of structural resources thereby improving quality of care. The results suggest that hospital pharmacies currently lacking technology to support automated purchasing logistics and perpetual, real-time inventory management for drugs may achieve measurable benefits from the careful implementation of such technology, enabling the hospital to lower its investment in on-hand inventory and, potentially, to reduce overall purchasing expenditures. ^ The importance of these savings to the hospital and potentially to the patient should not be underestimated for their ability to generate funding for previously unfunded public health programs or in their ability to provide financial relief to patients in the form of lower drug costs given the current climate of escalating healthcare costs and tightening reimbursements.^

Relatos verídicos : De la mentira a la ficción: La travesía ética de Luciano

Relatos Verídicos de Luciano de Samósata es una oportunidad para ver en acción a un escritor desobediente. Manifestar explícitamente su mentira para evidenciar, con sarcasmo y mucho de ironía, la actividad malintencionada de aquellos autores que engañan a su auditorio fue una decisión ética enmascarada con humor. Por esta razón, sostenemos que el samosatense promovió un acuerdo que llegaría intacto hasta nuestros días: Luciano inauguró el pacto ficcional con su lector. Mediante sus palabras, en el juego de espejos que propone el lenguaje, trazo una directriz de su conducta ética como escritor, decidió exponer su mentira para convertirla en verdad contribuyendo a la consolidación del nuevo terreno, la ficción. El auténtico camino de Luciano no condujo a la luna sino al deslinde entre la mentira y la ficción. Emprender aquella travesía escrituraria le permitió implantar un fundamento ético de sinceridad que, paradójicamente, postula el estadio perpetuo de lo verosímil

Relatos verídicos : De la mentira a la ficción: La travesía ética de Luciano

Relatos Verídicos de Luciano de Samósata es una oportunidad para ver en acción a un escritor desobediente. Manifestar explícitamente su mentira para evidenciar, con sarcasmo y mucho de ironía, la actividad malintencionada de aquellos autores que engañan a su auditorio fue una decisión ética enmascarada con humor. Por esta razón, sostenemos que el samosatense promovió un acuerdo que llegaría intacto hasta nuestros días: Luciano inauguró el pacto ficcional con su lector. Mediante sus palabras, en el juego de espejos que propone el lenguaje, trazo una directriz de su conducta ética como escritor, decidió exponer su mentira para convertirla en verdad contribuyendo a la consolidación del nuevo terreno, la ficción. El auténtico camino de Luciano no condujo a la luna sino al deslinde entre la mentira y la ficción. Emprender aquella travesía escrituraria le permitió implantar un fundamento ético de sinceridad que, paradójicamente, postula el estadio perpetuo de lo verosímil

Relatos verídicos : De la mentira a la ficción: La travesía ética de Luciano

Relatos Verídicos de Luciano de Samósata es una oportunidad para ver en acción a un escritor desobediente. Manifestar explícitamente su mentira para evidenciar, con sarcasmo y mucho de ironía, la actividad malintencionada de aquellos autores que engañan a su auditorio fue una decisión ética enmascarada con humor. Por esta razón, sostenemos que el samosatense promovió un acuerdo que llegaría intacto hasta nuestros días: Luciano inauguró el pacto ficcional con su lector. Mediante sus palabras, en el juego de espejos que propone el lenguaje, trazo una directriz de su conducta ética como escritor, decidió exponer su mentira para convertirla en verdad contribuyendo a la consolidación del nuevo terreno, la ficción. El auténtico camino de Luciano no condujo a la luna sino al deslinde entre la mentira y la ficción. Emprender aquella travesía escrituraria le permitió implantar un fundamento ético de sinceridad que, paradójicamente, postula el estadio perpetuo de lo verosímil

Evaluación de la profundidad de la fisuración superficial descendente en pavimentos asfálticos mediante técnicas de ultrasonidos. Validación teórico-práctica y modelos

La fisuración iniciada en la superficie de los pavimentos asfálticos constituye uno de los más frecuentes e importantes modos de deterioro que tienen lugar en los firmes bituminosos, como han demostrado los estudios teóricos y experimentales llevados a cabo en la última década. Sin embargo, este mecanismo de fallo no ha sido considerado por los métodos tradicionales de diseño de estos firmes. El concepto de firmes de larga duración se fundamenta en un adecuado seguimiento del proceso de avance en profundidad de estos deterioros y la intervención en el momento más apropiado para conseguir mantenerlos confinados como fisuras de profundidad parcial en la capa superficial más fácilmente accesible y reparable, de manera que pueda prolongarse la durabilidad y funcionalidad del firme y reducir los costes generalizados de su ciclo de vida. Por lo tanto, para la selección de la estrategia óptima de conservación de los firmes resulta esencial disponer de metodologías que posibiliten la identificación precisa in situ de la fisuración descendente, su seguimiento y control, y que además permitan una determinación fiable y con alto rendimiento de su profundidad y extensión. En esta Tesis Doctoral se presentan los resultados obtenidos mediante la investigación sistemática de laboratorio e in situ llevada a cabo para la obtención de datos sobre fisuración descendente en firmes asfálticos y para el estudio de procedimientos de evaluación de la profundidad de este tipo de fisuras empleando técnicas de ultrasonidos. Dichos resultados han permitido comprobar que la metodología no destructiva propuesta, de rápida ejecución, bajo coste y sencilla implementación (principalmente empleada hasta el momento en estructuras metálicas y de hormigón, debido a las dificultades que introduce la naturaleza viscoelástica de los materiales bituminosos) puede ser aplicada con suficiente fiabilidad y repetibilidad sobre firmes asfálticos. Las medidas resultan asimismo independientes del espesor total del firme. Además, permite resolver algunos de los inconvenientes frecuentes que presentan otros métodos de diagnóstico de las fisuras de pavimentos, tales como la extracción de testigos (sistema destructivo, de alto coste y prolongados tiempos de interrupción del tráfico) o algunas otras técnicas no destructivas como las basadas en medidas de deflexiones o el georradar, las cuales no resultan suficientemente precisas para la investigación de fisuras superficiales. Para ello se han realizado varias campañas de ensayos sobre probetas de laboratorio en las que se han estudiado diferentes condiciones empíricas como, por ejemplo, distintos tipos de mezclas bituminosas en caliente (AC, SMA y PA), espesores de firme y adherencias entre capas, temperaturas, texturas superficiales, materiales de relleno y agua en el interior de las grietas, posición de los sensores y un amplio rango de posibles profundidades de fisura. Los métodos empleados se basan en la realización de varias medidas de velocidad o de tiempo de transmisión del pulso ultrasónico sobre una única cara o superficie accesible del material, de manera que resulte posible obtener un coeficiente de transmisión de la señal (mediciones relativas o autocompensadas). Las mediciones se han realizado a bajas frecuencias de excitación mediante dos equipos de ultrasonidos diferentes dotados, en un caso, de transductores de contacto puntual seco (DPC) y siendo en el otro instrumento de contacto plano a través de un material especialmente seleccionado para el acoplamiento (CPC). Ello ha permitido superar algunos de los tradicionales inconvenientes que presenta el uso de los transductores convencionales y no precisar preparación previa de las superficies. La técnica de autocalibración empleada elimina los errores sistemáticos y la necesidad de una calibración local previa, demostrando el potencial de esta tecnología. Los resultados experimentales han sido comparados con modelos teóricos simplificados que simulan la propagación de las ondas ultrasónicas en estos materiales bituminosos fisurados, los cuales han sido deducidos previamente mediante un planteamiento analítico y han permitido la correcta interpretación de dichos datos empíricos. Posteriormente, estos modelos se han calibrado mediante los resultados de laboratorio, proporcionándose sus expresiones matemáticas generalizadas y gráficas para su uso rutinario en las aplicaciones prácticas. Mediante los ensayos con ultrasonidos efectuados en campañas llevadas a cabo in situ, acompañados de la extracción de testigos del firme, se han podido evaluar los modelos propuestos. El máximo error relativo promedio en la estimación de la profundidad de las fisuras al aplicar dichos modelos no ha superado el 13%, con un nivel de confianza del 95%, en el conjunto de todos los ensayos realizados. La comprobación in situ de los modelos ha permitido establecer los criterios y las necesarias recomendaciones para su utilización sobre firmes en servicio. La experiencia obtenida posibilita la integración de esta metodología entre las técnicas de auscultación para la gestión de su conservación. Abstract Surface-initiated cracking of asphalt pavements constitutes one of the most frequent and important types of distress that occur in flexible bituminous pavements, as clearly has been demonstrated in the technical and experimental studies done over the past decade. However, this failure mechanism has not been taken into consideration for traditional methods of flexible pavement design. The concept of long-lasting pavements is based on adequate monitoring of the depth and extent of these deteriorations and on intervention at the most appropriate moment so as to contain them in the surface layer in the form of easily-accessible and repairable partial-depth topdown cracks, thereby prolonging the durability and serviceability of the pavement and reducing the overall cost of its life cycle. Therefore, to select the optimal maintenance strategy for perpetual pavements, it becomes essential to have access to methodologies that enable precise on-site identification, monitoring and control of top-down propagated cracks and that also permit a reliable, high-performance determination of the extent and depth of cracking. This PhD Thesis presents the results of systematic laboratory and in situ research carried out to obtain information about top-down cracking in asphalt pavements and to study methods of depth evaluation of this type of cracking using ultrasonic techniques. These results have demonstrated that the proposed non-destructive methodology –cost-effective, fast and easy-to-implement– (mainly used to date for concrete and metal structures, due to the difficulties caused by the viscoelastic nature of bituminous materials) can be applied with sufficient reliability and repeatability to asphalt pavements. Measurements are also independent of the asphalt thickness. Furthermore, it resolves some of the common inconveniences presented by other methods used to evaluate pavement cracking, such as core extraction (a destructive and expensive procedure that requires prolonged traffic interruptions) and other non-destructive techniques, such as those based on deflection measurements or ground-penetrating radar, which are not sufficiently precise to measure surface cracks. To obtain these results, extensive tests were performed on laboratory specimens. Different empirical conditions were studied, such as various types of hot bituminous mixtures (AC, SMA and PA), differing thicknesses of asphalt and adhesions between layers, varied temperatures, surface textures, filling materials and water within the crack, different sensor positions, as well as an ample range of possible crack depths. The methods employed in the study are based on a series of measurements of ultrasonic pulse velocities or transmission times over a single accessible side or surface of the material that make it possible to obtain a signal transmission coefficient (relative or auto-calibrated readings). Measurements were taken at low frequencies by two short-pulse ultrasonic devices: one equipped with dry point contact transducers (DPC) and the other with flat contact transducers that require a specially-selected coupling material (CPC). In this way, some of the traditional inconveniences presented by the use of conventional transducers were overcome and a prior preparation of the surfaces was not required. The auto-compensating technique eliminated systematic errors and the need for previous local calibration, demonstrating the potential for this technology. The experimental results have been compared with simplified theoretical models that simulate ultrasonic wave propagation in cracked bituminous materials, which had been previously deduced using an analytical approach and have permitted the correct interpretation of the aforementioned empirical results. These models were subsequently calibrated using the laboratory results, providing generalized mathematical expressions and graphics for routine use in practical applications. Through a series of on-site ultrasound test campaigns, accompanied by asphalt core extraction, it was possible to evaluate the proposed models, with differences between predicted crack depths and those measured in situ lower than 13% (with a confidence level of 95%). Thereby, the criteria and the necessary recommendations for their implementation on in-service asphalt pavements have been established. The experience obtained through this study makes it possible to integrate this methodology into the evaluation techniques for pavement management systems.

Insignificance and Minor Architecture

The fragmented condition of our everyday brings us closer to the risks of hyper-expression. Against it two positions unfold to help us face a world that escapes our capacities: familiarity and poetic recognition. In the latter it is crucial the role of the insignificant as dynamic and relational instigator of a conscious threading of reality through the actions of the Poeta Faber and his careful look onto the world. / The production of the common as the material and symbolic fabric of the city, unstable reality in a perpetual becoming, leads us to a new and much needed reconsideration of the public/private division born from the modern state. Immersed in the confusion between public and common, we have not perceived that through the expropriation of the first we have been prepared for the willing surrendering of the second. / From insignificance to rebellion as affirmative going into action related to the idea of minor architecture as common and intensely political production, born from the inside of a society that has no more outsides.

El pensamiento creativo de Fernando Higueras

Para acercarnos al pensamiento creativo de Fernando Higueras como arquitecto, partimos del estudio de sus constantes creativas en evolución cronológica divididas en 9 direcciones de investigación. En ellas observamos la importancia de su obra NO CONSTRUIDA, como germen de las constantes creativas de su pensamiento y parte de ella la estudiamos, analizamos y reconstruimos gráficamente en 3D. Fernando Higueras aprendía de sus obras o propuestas arquitectónicas anteriores llegando a la madurez constructiva y formal colmada de Belleza a través de la composición y combinación de dichas constantes con pasmosa naturalidad. Además es importante añadir, para llegar a la comprensión de las constantes del pensamiento creativo del arquitecto, el componente de “intuición” de todo artista, de su modo de mirar y observar las cosas como fuente de inspiración. El “modo de mirar” del arquitecto nos habla de su sensibilidad al hábitat popular y vernáculo del hombre. Gracias a Antonio Miró en el período 1963-1970, Fernando Higueras pudo dar marco real a gran parte de sus ideas constructivas. El objeto de estudio del presente trabajo es llegar a las “invariantes” del arquitecto para comprender su pensamiento creativo. Los objetivos del presente estudio han sido conocer mejor su pensamiento, su obra desde un punto de vista cronológico-evolutivo para poder llegar a entender las relaciones y conexiones creativas entre unas y otras, observar y constatar la evolución de sus constantes creativas y compositivas, de analizar gráficamente parte de su obra no construida para llegar a la mejor comprensión de dichas constantes reconstruyéndolas con los medios gráficos digitales actuales. La reconstrucción en 3D de parte de su obra no construida constata la magnitud de su pensamiento creativo. La metodología empleada parte de la recopilación de toda la información necesaria, escritos, artículos en revistas o periódicos, críticas, observaciones, planos, proyectos, memorias, fotografías de la época, maquetas, opiniones de sus contemporáneos, familiares o amigos y visita de parte de su obra construida. A partir de ahí se fijan 9 direcciones de investigación para cada constante de su pensamiento creativo. En cada dirección se analiza desde dos puntos de vista diferentes. Un primer punto de vista teórico o cronológico-evolutivo a partir de la selección de algunas de sus obras construidas y no construidas. Y otro segundo punto de vista gráfico basándose en el estudio y reconstrucción de parte de su obra no construida. En resultado, se ha estudiado la evolución de su obra viendo las conexiones y relaciones entre unas y otras llegando a la madurez de sus constantes creativas en sus obras, algunas construidas y otras no construidas. Fernando Higueras se perfecciona así mismo, intentando hacer las cosas cada vez un poco mejor, llegando a dominar sus propias constantes en total madurez y expresión formal y constructiva. La elaboración de modelos tridimensionales en 13 proyectos de su obra no construida nos refresca la capacidad de su pensamiento creativo, además de analizar en parte de ellas los gérmenes constructivos y compositivos de muchas de sus ideas o constantes creativas. Finalmente, este trabajo ha contribuido a llegar a entender a Fernando Higueras en una dimensión más amplia, desde el frescor de su obra no construida hasta la capacidad de su pensamiento creativo, de la evolución de sus constantes, del estudio de sus últimos proyectos no construidos, de su sensibilidad a todas las artes y a todo lo que engloba Belleza. Las 360 láminas de dibujos que se aportan inician el estudio y análisis de su vasta obra no construida. ABSTRACT The analysis of Fernando Higueras's creative thought as an architect begins with a study of his main creative themes and their chronological evolution, divided into nine directions of research. Here we see the importance of his UNBUILT work as the germ of the creative themes of his thought, part of which we study, analyse and reconstruct graphically in 3-D. Fernando Higueras drew on his earlier architectural works and ideas and reached an ultimate constructive and formal maturity that was infused with beauty through composition and the amazingly natural combination of these keynote themes. In order to gain a greater understanding of the key themes of the architect's creative thought it is also worth noting the element of artists' intuition, their way of seeing and observing the world as a source of inspiration. The architect's "way of seeing" reveals his sensitivity to the popular and traditional human habitat. Thanks to Antonio Miró, in the period between 1963 and 1970 Fernando Higueras was able to provide a real framework for a large part of his constructive ideas. The object of study of the present work is to determine the architect's “invariables” as a means of understanding his creative thought. The aims of the present study are to explore his thoughts in greater depth, to examine his work from the chronological-evolutionary point of view for an insight into the relationships and the creative connections between them, to observe and apprehend the evolution of his main creative themes and compositional keynotes, to analyse graphically part of his unbuilt work in order to improve our understanding of these underlying themes through their reconstruction using the latest graphic digital resources. The 3-D reconstruction of part of his unbuilt work highlights the magnitude of his creative thought. The methodology used to collect all the necessary information includes an examination of his writings and articles in journals and newspapers, criticisms, observations, plans, projects, building specifications, period photographs, models, the opinions of his contemporaries, family and friends, and visits to some of his built work. Nine directions of research were then established for each main theme of his creative thought. Each direction includes an analysis from two different points of view: the first, theoretical or chronological-evolutionary aspect, based on a selection of some of his built and unbuilt works; and a second graphic aspect based on the study and reconstruction of part of his unbuilt work. The result is a survey of the evolution of his work with a view to establishing the connections and their interrelationships, through to the ultimate maturity of his creative themes in both his built and unbuilt work. Fernando Higueras is on a constant quest for excellence, a perpetual desire to do things a little better, until a point where he gains mastery over his own recurrent themes, in the fullness of maturity and of his formal and constructive expression. The creation of three-dimensional models in 13 projects of his unbuilt work offers a new look at the capacity of his creative thought, in addition to the analysis of the evidence in some of these projects of the constructive and compositional germs of many of his ideas and themes. Finally, this work has contributed to the understanding of Fernando Higueras in a broader dimension, from the freshness of his unbuilt work through to the capacity of his creative thought, the evolution of his main themes, the study of his final unbuilt works, his sensitivity to the arts as a whole and to everything beautiful. The 360 plates of illustrations provided form the basis of the study and analysis of his extensive unbuilt work.

El Prado, de territorio a escenario : la construcción del espacio en un lugar tangible y su significado

"Si el hombre es el cuidador de las palabras y sólo de ellas emerge el sentido de las cosas, la arquitectura tiene un cometido preciso: hacer de las condiciones ya dadas de cada lugar palabras que signifiquen las cualidades de la existencia, y que desvelen la riqueza y contenidos que en ellas se contienen potencialmente" Ignasi Solá Morales. Lugar: permanencia o producción, 1992. Esta tesis surge tanto del afán por comprender la identidad de uno de los espacios más representativos de mi ciudad, asumido familiarmente pero que plantea muchas dudas respecto a su caracterización, como de la preocupación personal respecto a la aparente hegemonía del modelo urbano de la "ciudad genérica", crudamente expuesto por Rem Koolhaas a finales del siglo XX, que pone en crisis la ciudad histórica. El territorio, espacio físico concreto, y la memoria asociada a este, obliterados, son considerados como punto de partida para confrontarlos con la proclamación del nuevo modelo de "ciudad genérica", de raíz eminentemente económica y tecnológica. La realidad tangible de un espacio, aparentemente forjado en base a los valores denostados por el nuevo modelo propuesto, se estudia desde las premisas opuestas. La idea del no-lugar, teorizado por Marc Augé y tomado como modelo por Koolhaas, supone éste emancipado tanto de las preexistencias históricas como de su ubicación física concreta, planteando un tipo de espacio de representación al margen del territorio y la memoria. Sin pretender adoptar una postura resistente u opuesta, sino antitética y complementaria, se toman aquí las premisas de Koolhaas para contrastarlas con una porción del territorio a medio camino entre la arquitectura y la ciudad, a fin de desarrollar una reflexión que sirva de complemento y contrapeso al paradigma espacial que la “ciudad genérica” implica y cuya inmediatez y supuesta anomia parecen anular cualquier intención interpretativa al neutralizar los centros históricos y proclamar el agotamiento de la historia. El planteamiento de una teoría dicotómica frente al espacio y las teorías arquitectónicas asociadas a este ya fue formulado por Colin Rowe y Fred Koetter a finales de los años setenta del siglo pasado. Se plantea aquí la idea de una “ciudad tangible” como opuesta a la idea de la "ciudad genérica" enunciada por Koolhaas. Tomando el territorio y la memoria como referencia principal en un lugar concreto y huyendo de la premisa de la inmediatez del instante y el "presente perpetuo" proclamado por Koolhaas, del que según él seríamos prisioneros, se establece una distancia respecto al objeto de análisis que desarrolla el estudio en la dirección opuesta al supuesto origen del mismo, planteando la posibilidad de reactivar una reflexión en torno al territorio y la memoria en el seno del proceso global de habitación para poner de manifiesto determinados mecanismos de configuración de un espacio de representación al margen de la urgencia del presente, reactivando la memoria y su relación con el territorio como punto de partida. Desde de la reconstrucción hipotética del territorio, partiendo de la propia presencia física del mismo, su orografía, la paleo-biología, las analogías etológicas, los restos arqueológicos, la antropología o la historia, se reivindica la reflexión arquitectónica como disciplina diversa y privilegiada en cuanto al análisis espacial, tratando de discernir el proceso mediante el cual el Prado pasó de territorio a escenario. La organización cronológica del estudio y la incorporación de muy diversas fuentes, en su mayoría directas, pretende poner de manifiesto la condición transitiva del espacio de representación y contrastar el pasado remoto del lugar y su construcción con el momento actual, inevitablemente encarnado por el punto de vista desde el cual se desarrolla la tesis. El Prado parece albergar, agazapado en su nombre, la raíz de un origen remoto y olvidado. Si como enunciaba Ignasi Solá-Morales la función de la arquitectura es hacer aflorar los significados inherentes al lugar, esta tesis se plantea como una recuperación de la idea del vínculo entre el territorio y la memoria como fuente fundamental en la definición de un espacio de representación específico. El escrutinio del pasado constituye un acto eminentemente contemporáneo, pues el punto de vista y la distancia, inevitablemente condicionados por el presente, determinan la mirada. El culto contemporáneo a la inmediatez y la proclamación de la superación de los procesos históricos han relegado el pasado, en cierto grado, a depósito de restos o referente a superar, obviando su ineluctable condición de origen o momento anterior condicionante. Partiendo de la reconstrucción del lugar sobre el cual se halla el Prado ubicado y reconsiderando, según las premisas desarrolladas por la moderna historiografía, fundamentalmente desarrolladas por la Escuela francesa de los Annales, la cotidianeidad y lo anónimo como fuente de la que dimanan muchos de los actuales significados de nuestros espacios de representación, tomando como punto de partida un lugar remoto y olvidado, se estudia como se fue consolidando el Prado hasta devenir un lugar insigne de referencia asociado a los poderes fácticos y el espacio áulico de la capital de las Españas en el siglo XVII. El proceso mediante el cual el Prado pasó de territorio a escenario implica la recuperación de la memoria de un espacio agropecuario anónimo y el análisis de cómo, poco a poco, se fue depositando sobre el mismo el acervo de los diversos pobladores de la región que con sus particularidades culturales y sociales fueron condicionando, en mayor o menor grado, un lugar cuyo origen se extiende retrospectivamente hasta hace más de dos mil años, cuando se considera que pudo darse la primera habitación a partir de la cual, de manera ininterrumpida, el Prado ha venido siendo parte de lo que devino, más tarde, Madrid. La llegada de nuevos agentes, vinculados con estructuras de poder y territoriales que trascendían la inmediatez del territorio sobre el que se comenzó a erigir dicho lugar, sirven para repasar los diferentes depósitos ideológicos y culturales que han ido conformando el mismo, reivindicando la diversidad y lo heterogéneo del espacio de representación frente a la idea homogeneizadora que el modelo genérico implica. La constitución del Prado como un espacio de referencia asociado al paganismo arcaico a partir de la praxis espacial cotidiana, su relación con las estructuras defensivas de Al-Andalus y la atalaya Omeya, la apropiación del los primitivos santuarios por parte la iglesia, su relación con un determinado tipo de espiritualidad y las órdenes religiosas más poderosas de la época, la preferencia de Carlos V por Madrid y sus vínculos con la cultura europea del momento, o la definitiva metamorfosis del lugar a partir del siglo XVI y el advenimiento de un nuevo paganismo emblemático y estetizado, culminan con el advenimiento de lo económico como representación del poder en el seno de la corte y la erección del Palacio del Buen Retiro como manifestación tangible de la definitiva exaltación del Prado a espacio de representación áulico. Decía T.S. Elliot que la pugna por el espacio de la memoria constituye el principal rasgo del clasicismo, y el Prado, ciertamente, participa de ese carácter al que está profundamente asociado en la conciencia espacial de los madrileños como lugar de referencia. Acaso la obliteración del territorio y la memoria, propuestas en la “ciudad genérica” también tengan algo que ver con ello. ABSTRACT "If man is the caretaker of words and only they provide the sense of things, the architecture has a precise mission: to make out from the given conditions of each place words that mean the qualities of existence, and which unveil the wealth and content they potentially contain " Ignasi Solá Morales. Place: permanence or production, 1992. This thesis arises from both the desire to understand the identity of one of the most representative spaces of my city, assumed in a familiar way but that raises many doubts about its characterization, and from a personal concern about the apparent hegemony of the urban model of the "generic city " so crudely exposed by Rem Koolhaas in the late twentieth century that puts a strain on the historic city. The obliteration of the territory, specific physical space, and its associated memory, are considered as a starting point to confront them with the proclamation of the new model of "generic city" raised from eminently economic and technological roots. The tangible reality of a space, apparently forged based on the values reviled by the proposed new model, is studied from opposite premises. The idea of non-place, theorized by Marc Augé and modeled by Koolhaas, implies the emancipation from both historical preexistences and physical location, posing a type of space representation outside the territory and memory. Without wishing to establish a confrontational or opposite position, but an antithetical and complementary stance, the premises of Koolhaas are here taken to contrast them with a portion of territory halfway between architecture and the city, to develop a study that will complement and counterbalance the spatial paradigm that the "generic city" means and whose alleged immediacy and anomie appear to nullify any interpretative intention by neutralizing the historic centers and proclaiming the exhaustion of history. The approach of a dichotomous theory versus space and architectural theories associated with this were already formulated by Colin Rowe and Fred Koetter during the late seventies of last century. The idea of a "tangible city" as opposed to the idea of the "generic city" enunciated by Koolhaas arises here. Taking the territory and memory as the main reference in a particular place and trying to avoid the premise of the immediacy of the moment and the "perpetual present" proclaimed by Koolhaas, of which he pleas we would be prisoners, a distance is established from the object of analysis developing the study in the opposite direction to the alleged origin of it, raising the possibility of reactivating a reflection on the territory and memory within the overall process of inhabiting to reveal certain representational space configuration mechanisms outside the urgency of the present, reviving the memory and its relationship with the territory as a starting point. From the hypothetical reconstruction of the territory, starting from its physical presence, geography, paleo-biology, ethological analogies, archaeological remains, anthropology or history, architecture is claimed as a diverse as privileged discipline for spatial analysis, trying to discern the process by which the Prado moved from territory to stage. The chronological organization of the study and incorporating a variety of sources, most direct, aims to highlight the transitive condition of representational space and contrast the remote past of the place and its construction with the current moment, inevitably played by the view point from which the thesis develops. The Prado seems to harbor, in its name, the root of a remote and forgotten origin. If, as Ignasi Sola-Morales said, the aim of architecture is to bring out the meanings inherent in the site, this thesis is presented as a recovery of the idea of the link between the territory and memory as a key source in defining a specific space of representation. The scrutiny of the past is an eminently contemporary act, for the view and distance inevitably conditioned by the present, determine the way we look. The contemporary cult of immediacy and the proclamation of overcoming historical processes have relegated the past, to some extent, to remains deposit or a reference to overcome, ignoring its ineluctable condition as origin or previous constraint. From rebuilding the site on which the Prado is located and reconsidering everyday life and the anonymous as a source of many arising current meanings of our space of representation, according to the premises developed by modern historiography mainly developed by the French school of Annales, trying to recover the remote and forgotten is attempted, the thesis studies how el Prado was consolidated to become the most significant place of Madrid, deeply associated with the power in the capital of Spain during the XVII century. The process by which the Prado evolved from territory to stage involves the recovery of the memory of an anonymous agricultural space and the analysis of how, little by little, the influence of the various inhabitants of the region with their own and how their cultural and social peculiarities was deposited through time on the common ground and how that determined, to a greater or lesser degree, a place whose origin retrospectively extends over more than two thousand years ago, when we can consider the first inhabiting from which, without interruption, the Prado has come to be part of what became, later, Madrid. The arrival of new players, linked to power structures and territorial issues which transcended the immediacy of the territory on which the place begun to be a characteristic space, serve to review the different ideological and cultural deposits that have shaped the place, claiming diversity and heterogeneous space of representation before the homogenizing idea which the generic model implies. The constitution of the Prado as a benchmark associated with the archaic paganism developed from the ancient everyday spatial praxis, its relationship with the defensive structures of Al-Andalus and the Umayyad watchtower, the appropriation of the early sanctuaries by the roman church, its relationship with a certain type of spirituality and the most powerful religious orders of the time, the preference of Carlos V towards Madrid and its links with the European culture of the moment and the final metamorphosis of the place during the sixteenth century, end at the moment on which the advent of the economic as a representation of power within the court and the erection of the Palacio del Buen Retiro, as a tangible manifestation of the ultimate exaltation of courtly Prado space representation, happened in the mid XVII century. T. S. Elliot said that the struggle for memory space is the main feature of classicism, and the Prado certainly shares part of that character deeply associated in the mental spatial structure of the locals as a landmark. Perhaps the obliteration of territory and memory proposed in the "generic city" might also have something to do with that.

Sexual conflict promotes speciation in insects

Speciation rates among extant lineages of organisms vary extensively, but our understanding of the causes of this variation and, therefore, the processes of speciation is still remarkably incomplete. Both theoretical and empirical studies have indicated that sexual selection is important in speciation, but earlier discussions have focused almost exclusively on the potential role of female mate choice. Recent findings of postmating reproductive conflicts of interest between the sexes suggest a quite different route to speciation. Such conflicts may lead to perpetual antagonistic coevolution between males and females and may thus generate rapid evolutionary divergence of traits involved in reproduction. Here, we assess this hypothesis by contrasting pairs of related groups of insect species differing in the opportunity for postmating sexual conflict. Groups where females mate with many males exhibited speciation rates four times as high as in related groups where females mate only once. Our results not only highlight the general importance of postmating sexual selection in speciation, but also support the recent suggestion that sexual conflict is a key engine of speciation.