Sport and international relations (1913-1939): the 1936 Popular Olympiad

This document includes the results of the research undertaken by the authors on the attempts to organise a Popular Olympiad in Barcelona in 1936.

The Cultural Olympiad of Barcelona in 1992: Good points and bad points. Lessons for the Future

This text was presented at the Symposium “Olympic Arts and Culture Festivals: Recent Experiences and Future Design”, held in Chicago on the 23-24 June 2008. It provides with an analysis of good and bad points of the Cultural Olympiad of Barcelona’92 in order to discover, from that past experience, any lessons for future Cultural Olympiads and Olympic Movement cultural policy in general, as well as to rethink, in a critical way, Catalan cultural policies.

The Cultural Olympiad: objectives, programme and development

Working paper analysing the Cultural Olympiad of Barcelona in 1992. This was published as a chapter of the book entitled "Olympic Games, media and cultural exchanges: the experience of the last four summer Olympic Games" and edited by M. Ladrón de Guevara and M. Bardají.

XII olympiad Helsinki 20th july - 4th august 1940 programme and prices of admission tickets

kuv., 14 x 22 cm

XIIth olympiad Helsinki 1940

kuv., 21 x 29 cm

Weather and the XXVI Olympiad : a documentary of weather support for the 1996 Olympic Games /

Shipping list no.: 96-0366-P.

Fasti hellenici. The civil and literary chronology of Greece, from the "CXXIVth Olympiad" to the death of Augustus.

Vols. I and III dated 1834; vol. II, 2d edition, with additions, 1827.

HATWALK/ Guerilla Millinery/ Part of the Cultural Olympiad

Stealth Visor for the Duke of Wellington Project HATWALK The 2012 Cultural Olympiad would not have been representative of London's creative industries without fashion design. Sponsored by the Mayor of London brought milliners to organise an alternative to the catwalk format , the designers brought together a Hatwalk, uniting landmark heritage statues, classical and modern, to be crowned with a new bespoke design piece each. Together forming a pedestrian navigation through the Jubilee city, the hats also invited twenty one milliners to consider the specificity of working for the great outdoors. Rigorously tested in wind tunnel laboratory to withstand hurricane wind speeds and squally shows the designs aim to bring the 'exclusive' culture of fashion accessories to the inclusive culture of international festival. Working with new technologies of engineering, such as laser measuring tools, and crane for assemblage and fitting, McLean brings new meaning to the familiar figures of national public authority. Since the storming of the Bastille in revolutionary France it has been traditional for the new order to symbolize change through attacking public statuary. In a similar vein, Hatwalk, invites spectators to reconsider the relationship between distant and lofty personages of power and the sartorial insignia through which their power is signified. Crowned with a revolutionary red ' large plexi punk neon number' the Duke of Wellington, at Wellington arch is the first in the Hatwalk exhibition. The originality of this research consists in the effects of surprise and Brechtian 'de familiarisation' resulting from the unexpected. The effects of this structural carnivalesque inversion of authorities can involve a range of reactions from the disdain of the offended to the laughter and pleasure of the surprised. This strategy of bringing the ludic element of play to the formalised authority of legitimised power is also signified through the conscious use of materials and colour in a monochrome and uniform culture of statuary. Here the difference in materials and visible surface of the design signifies the differences that need to be included within a socio political order before it may takes its place in history as being representative of the people it is entrusted to lead. This research output continues the work that led to the Hat Anthology exhibition (output 1), the Fifty Hats that Changed the World (output 2), the Jamaican Olympic team headwear design ( output 4), and is continued in the design, merchandise, accessories and avant garde artefacts of the House of Flora ( see website). The iterative process of the research brings innovation within continuity to McLean's work. It is difficult to theorise the 'rigour' that is undeniably present in a creative design praxis except in that McLean;s research outputs are always surprising and unexpected.

Deporte y relaciones internacionales (1919-1939): la Olimpiada popular de 1936

Este documento contiene los resultados de la investigación llevada a cabo por los autores entorno a los intentos de organización de una Olimpiada Popular en Barcelona el año 1936.

Esport i relacions internacionals (1919-1939): l'Olimpíada popular de 1936

Aquest document conté els resultats de la recerca duta a terme pels autors al voltant dels intents d'organització d'una Olimpíada Popular a Barcelona l'any 1936.

La política en las olimpiadas de Berlín 1936

Trabajo de investigación presentado en la Universitat Autònoma de Barcelona y publicado por el CEO (UAB). Analiza el trasfondo político de los Juegos, su organización y celebración, el uso de la propaganda y la respuesta de Barcelona con la organización de la Olimpíada Popular.

La Olimpiada Cultural de Barcelona en 1992: luces y sombras. Lecciones para el futuro

Este texto fue presentado en el Simposio “Olympic Arts and Culture Festivals: Recent Experiences and Future Design”, celebrado en Chicago del 23 al 24 de junio de 2008. Proporciona un análisis de las luces y sombras de la Olimpiada Cultural de Barcelona’92 con el fin de descubrir, a partir de esa experiencia previa, cualquier lección para las Olimpíadas Culturales futuras y la política cultural del movimiento olímpico en general, así como repensar, de una manera crítica, las políticas culturales catalanas.

Concursos matem??tics, activitats per a fomentar el gust per les matem??tiques

Resumen basado en el de la publicaci??n

Reference fallible endgame play

A reference model of fallible endgame play is defined in terms of a spectrum of endgame players whose play ranges in competence from random to optimal choice of move. They may be used as suitable practice partners, to differentiate between otherwise equi-optimal moves, to promote or expedite a result, to assess an opponent, to run Monte Carlo simulations, and to identify the difficulty of a position or a whole endgame.

3-5-Man chess data

This reports the work of Karrer and Wirth in identifying percentage results and, respectively, the Depth to Mate (DTM) and Depth to Conversion (DTC) data in all 2-5-man chess endgames.