Postmodifying prepositional phrases in English and Spanish (with special reference to locative postmodifiers)

Prepositional phrases are the commonest kind of postmodification in all registers of English (Biber et al. 1999: 634). The locative ones that can be expanded into a defining relative clause (the books [which are] on the table) are usually expressed by such a construction in Spanish (los libros que están encima de la mesa) or by a phrase introduced by de (los libros de encima de la mesa). Wonder (1979) argues that Spanish allows locative phrases with prepositions other than de in the case of"situaciones"activas"" (el aterrizaje en pleno campo) as against"situaciones estáticas" (*el sofá en la sala), and if the phrase can be given an adverbial rather than, or in addition to, an adjectival interpretation (el ruido en la calle), especially if that phrase implies an alternative location for an object or contrast with another similar object (el sofá en la sala contigua). This paper further investigates this claim and looks at Spanish equivalents of English postmodifying prepositional phrases in general, while proposing an explanation for the choice of these different structures in Spanish based on considerations of lexical density. Resumen: Las frases preposicionales constituyen el tipo más frecuente de posmodificación en todos los registros del inglés (Biber et a. 1999: 634). En el español, las expresiones locativas suelen incorporar un pronombre relativo y un verbo (the books [which are] on the table > los libros que están encima de la mesa), o bien expresarse mediante una frase introducida por la preposición de (los libros de encima de la mesa). Wonder (1979) sostiene que el español permite el uso de preposiciones que no sean de en las frases locativas en el caso de"situaciones"activas"" (el aterrizaje en pleno campo) frente a"situaciones estáticas" (*el sofá en la sala), y también si la frase puede tener una función adverbial antes que, o además de, una interpretación adjetiva (el ruido en la calle), sobre todo si dicha frase encierra la idea de una posición alternativa para un objeto, o bien un contraste con otro objeto similar (el sofá en la sala contigua). El presente estudio pretende examinar este argumento y, además, explorar la posmodificación preposicional en español de un modo más general, a la par que propone una explicación sobre la elección de estructura en español que se basa en el criterio de la densidad léxica.

Practices of place-making through locative media artworks

Peer-reviewed

The Pedagogical Practice of Locative Experience

We work collectively with varied locative-type projects and look to integrate our students into contemporary experience design culture. Students experience the ‘how and what’ of locative by becoming participant users, being exposed to contemporary works, and placing themselves in the role of the designer producing their own located works.

Does spatial locative comprehension predict landmark-based navigation?

In the present study we investigated the role of spatial locative comprehension in learning and retrieving pathways when landmarks were available and when they were absent in a sample of typically developing 6- to 11-year-old children. Our results show that the more proficient children are in understanding spatial locatives the more they are able to learn pathways, retrieve them after a delay and represent them on a map when landmarks are present in the environment. These findings suggest that spatial language is crucial when individuals rely on sequences of landmarks to drive their navigation towards a given goal but that it is not involved when navigational representations based on the geometrical shape of the environment or the coding of body movements are sufficient for memorizing and recalling short pathways.

'Scratch' locative audio drama - report to BBC executives on trial at BBC FreeThinking 2008

‘Scratch’ investigates the use of physical space as a representation of narrative and dramatic structure. An audio-drama, it is a world-first in being location-sensitive without being tied to any particular place (preceding attempts by others have emphasised location-specific aspects of the genre). Developed in collaboration with and part-funded by BBC Radio Drama, it builds on research undertaken for ‘Dragons’ (output 4). It uses pre-recorded audio on GPS-enabled mobile devices allowing sounds to be virtually attached to locations in an outdoor space. As participants move, they encounter scenes forming a coherent drama which behave differently if the same place is visited more than once. This translocational approach opens novel artistic possibilities exploited through team expertise in narrative, sound design and advanced interaction. It is also significant in the economics of broadcast media as a more viable proposition than the many experimental locative experiences which have been site-specific: this was of great interest to the BBC. The public performance selected for BBC FreeThinking, 1-2 September 2008 in Liverpool as part of European Capital of Culture was reported in a co-authored 2009 conference presentation at ISEA, Belfast, 26-29 August 2009 and in a co-authored short chapter in Spierling and Szilas (eds.) Interactive Storytelling, Springer 2008. Boyd Davis directed the project and devised and undertook the evaluation with 40 trial listeners, reporting to BBC executives (http://researchonline.rca.ac.uk/1000/) for whom a second trial was also run in London in 2009. The evaluation used interview, video observation and a questionnaire combining an open question at the beginning with more specific questions later, avoiding channelling respondents' reactions immediately after the experience into issues which might not be uppermost in their minds, while also yielding data capable of rigorous analysis. The evaluation was to provide feedback to the makers of the drama and to guide policy at the BBC. [287] Participants were recruited principally through the publicity for FreeThinking 2008 – mainly via the festival website. The average age of participants was 40. The gender of participants was 20 males, 17 females and 3 null returns. The evaluation strategy was to combine an open question at the beginning with more specific questions later. In this way we avoided channeling respondents' initial opinions immediately after the experience into issues which might not be uppermost in their minds, while also yielding data capable of rigorous analysis. The purpose of the evaluation was to provide guidance for ourselves as the makers of the drama and to guide policy at the BBC on locative and other interactive media. The responses are analysed in the report.

Relocating the Frame: Object-Oriented (1.) and Locative Art (2.) Environments

The locative project is in a condition of emergence, an embryonic state in which everything is still up for grabs, a zone of consistency yet to emerge. As an emergent practice locative art, like locative media generally, it is simultaneously opening up new ways of engaging in the world and mapping its own domain. (Drew Hemment, 2004) Artists and scientists have always used whatever emerging technologies existed at their particular time throughout history to push the boundaries of their fields of practice. The use of new technologies or the notion of ‘new’ media is neither particularly new nor novel. Humans are adaptive, evolving and will continue to invent and explore technological innovation. This paper asks the following questions: what role does adaptive and/or intelligent art play in the future of public spaces, and how does this intervention alter the relationship between theory and practice? Does locative or installation-based art reach more people, and does ‘intelligent’ or ‘smart’ art have a larger role to play in the beginning of this century? The speakers will discuss their current collaborative prototype and within the presentation demonstrate how software art has the potential to activate public spaces, and therefore contribute to a change in spatial or locative awareness. It is argued that the role and perhaps even the representation of the audience/viewer is left altered through this intervention. 1. A form of electronic imagery created by a collection of mathematically defined lines and/or curves. 2. An experiential form of art which engages the viewer both from within a specific location and in response to their intentional or unintentional input.

User expectations for media sharing practices in open display networks

Open Display Networks have the potential to allow many content creators to publish their media to an open-ended set of screen displays. However, this raises the issue of how to match that content to the right displays. In this study, we aim to understand how the perceived utility of particular media sharing scenarios is affected by three independent variables, more specifically: (a) the locativeness of the content being shared; (b) how personal that content is and (c) the scope in which it is being shared. To assess these effects, we composed a set of 24 media sharing scenarios embedded with different treatments of our three independent variables. We then asked 100 participants to express their perception of the relevance of those scenarios. The results suggest a clear preference for scenarios where content is both local and directly related to the person that is publishing it. This is in stark contrast to the types of content that are commonly found in public displays, and confirms the opportunity that open displays networks may represent a new media for self-expression. This novel understanding may inform the design of new publication paradigms that will enable people to share media across the display networks.

Espacio y tiempo en el imaginario digital. La construcción técnico estética de la espacio-temporalidad contemporánea.

Partiendo de la idea ampliamente aceptada de que las TIC (Tecnologías de Información y Comunicación) han tenido una profunda influencia en los modos en que la sociedad contemporánea experimenta y concibe las nociones de espacio y tiempo, y sustentándose en el contexto de la importancia adquirida por dichas nociones en la comprensión de los procesos sociales en general y estéticos en particular, esta investigación ha tenido por objetivo analizar la espacio-temporalidad en el contexto específico de la era digital. Poniendo en relación la fenomenología de los dispositivos tecnológicos con las nuevas estrategias de representación y puesta en imagen del espacio y el tiempo, nuestro propósito ha sido mostrar no sólo cómo a través de las prácticas artísticas digitales puede identificarse y analizarse el imaginario espacio-temporal de la era digital, sino también cómo éstas –basadas en una larga trayectoria estética de intersecciones entre arte y tecnología- han revestido al espacio y al tiempo de nuevas fenomenologías posibles, dando lugar a nuevas formas de percibirlos y cumpliendo, por tanto, un papel activo en la configuración de dicho imaginario y sus sucesivas transformaciones. La perspectiva teórica adoptada para esta investigación parte de las teorías postmodernas del espacio y el tiempo –considerando autores como Harvey o Jameson-, recurriendo a la sociología del Imaginario Social desarrollada por Castoriadis, Castro-Nogueira o J. L. Pintos para comprender cómo el espacio y el tiempo adquieren significaciones particulares. Combinando estas bases teóricas con los estudios visuales y los trabajos de teóricos de los medios como McLuhan, De Kerckhove o Lev Manovich, se establecerían las posibles relaciones entre las tecnologías, las representaciones sociales del espacio y el tiempo – analizadas a partir de metáforas como “compresión espacio-temporal”, “espacio de los flujos” o “tiempo atemporal” y sus relaciones con el Ciberespacio- y la fenomenología espacio-temporal de las prácticas artísticas y sus estrategias de representación visual –tomando como objeto de estudio tipologías artísticas que van desde el Hipercine a la Realidad Virtual y Aumentada, los Medios Locativos o la Telepresencia. La conclusión que hemos podido extraer de este estudio es que si bien distintos tipos de tecnologías afectan operacional y perceptivamente a la construcción social de la espacio-temporalidad, los modos en que estas tecnologías han estetizado la propia realidad y los modos en que condicionan la construcción estética de las nociones de espacio y tiempo, tanto a partir de la propia fenomenología del dispositivo como de la experimentación creativa con el mismo, ejercen una profunda influencia sobre el imaginario social y espacio-temporal propios de la era digital.

Onko jäädä-verbin paikallissijamääritteen tulosijalla semanttista motivaatiota

E. Summary: How fictive dynamicity motivates directional case marking in the locative argument of jäädä 'remain'

Mikael Agricolan teosten kielen ala-, ylä-, ja -pää-vartaloiset adpositiot

Adpositions with the stems ala, ylä and pää in the language of Mikael Agricola’s writings The language of Mikael Agricola’s (c 1510–1557) writings represents an interesting phase in the development of the Finnish system for adpositions. In the Finnish language, the older Uralic system of postpositions has undergone expansion and a new system of prepositions has been adopted. On the other hand, the adposition system found in Agricola’s writings has also been strongly affected by foreign models, because Agricola’s texts are mainly translations of religious texts, which by and large use a word-for-word translation strategy. In the thesis, I explore Agricola’s use of adpositions; more specifically, which adpositions carry the meaning of ‘being under’ or ‘being over’ something, and in what other functions these adpositions are used. My main focus is on the semantics of the adpositions. I also study the syntactic features of adpositions and adposition structures; these are intertwined with semantics, since the meaning of adpositions is established in the adposition clause. Finally, I compare Agricola’s use of adpositions to the corresponding adpositions of present-day Finnish. Adpositions with stems ala, ylä and pää form an interesting subject for research. Their frequency in the data, however, is highly uneven. The overwhelming majority of the adpositions studied in the thesis are päälle; there are only two occurrences of adpositions with the stem ylä. Adpositions typically denote a location ‘under’ or ‘above’ something. Almost half of the adpositions, however, can be classified as semantically unmotivated and as representing a foreign model in terms of the Finnish language; they do not occur in present-day Finnish. In Agricola’s texts they act in more grammatical roles than the corresponding adpositions of present-day Finnish. In the thesis, the corresponding adpositions in the source languages are carefully analysed. All other uses of the adpositions are marginal in relation to spatial ones and those based on foreign models. The original meanings of the adpositions have not changed much since Agricola, but adpositions considered to originate from foreign models have been intentionally eliminated in presentday standard Finnish. It is also noteworthy that the system of adpositions with the stems ala, ylä and pää has changed since Agricola. His texts include the adposition ala, which corresponds to the modern adposition alle. Likewise the adposition yllä is absent in Agricola, as are the internal locative cases of the adposition pää.

Tilasuhteet liikkeessä

Kirjallisuusarvostelu

Determinación de las condiciones de trabajo y salud del personal de laboratorios universitarios como estrategia de intervención de riesgos laborales

Introducción: Las condiciones de trabajo y salud de la población trabajadora han sido estudiadas en los diferentes sectores económicos, y para esto se han aplicado diversos instrumentos para la identificación de los factores de riesgo. Sin embargo, el estudio en los trabajadores de las instituciones de educación superior, aún es escaso y limitado. Este trabajo de investigación abordó las condiciones de trabajo y salud y los factores de riesgo asociados de los empleados de laboratorios y de talleres de las diferentes unidades de una Universidad privada en Bogotá D.C. Objetivo: Determinar las condiciones de trabajo y salud del personal de laboratorios y de talleres en el 2014 de las diferentes unidades de una Universidad privada en Bogotá D.C. Métodos: Se realizó un estudio de corte transversal, en una muestra de 87 trabajadores de laboratorios y de talleres. En el análisis univariado se calcularon para las variables cualitativas frecuencias y proporciones, y para las variables cuantitativas medidas de tendencia central y dispersión acorde a la distribución de los datos. Para el análisis bivariado, se realizó la comparación de las prevalencias entre los factores de riesgo locativos, físicos, químicos, biológicos, biomecánicos y psicológicos de cada unidad y las condiciones de trabajo y salud; así como su asociación con los factores sociodemográficos y laborales, por medio de la prueba de asociación Chi-Cuadrado de Pearson. El nivel de significancia establecido fue p<0.05. Resultados: Se encontró que las variables respiración de sustancias y manipulación manual de cargas se encuentran asociadas al cargo de los trabajadores de laboratorios y de talleres. También de la muestra de trabajadores la mayoría infirió no tener una exposición significativa a los riesgos locativo, físico, biológico y psicosocial; mientras que para riesgo químico y biomecánico se encontraron frecuencias de más del 60% entre los participantes. Los hallazgos de este estudio corresponden únicamente a la percepción de los trabajadores frente a sus condiciones de trabajo y salud, puesto que no se realizaron mediciones higiénicas ni exámenes médicos a los participantes. Conclusiones: En este estudio se encontró que la exposición a riesgos locativo, físico, biológico y psicosocial es baja; mientras que es alta para riesgo químico debida a la manipulación e inhalación de sustancias químicas tóxicas, y a riesgo biomecánico a causa de las posturas prolongadas y mantenidas, la manipulación manual de cargas, los movimientos repetitivos y realizar fuerzas. En relación a las condiciones de salud mental, se encontró que la población no presenta algún estado emocional o psicológico que llame la atención, lo que en consecuencia se refleja en el buen estado de salud físico.