Mapping social values of ecosystem services: What is behind the map?

A growing interest in mapping the social value of ecosystem services (ES) is not yet methodologically aligned with what is actually being mapped. We critically examine aspects of the social value mapping process that might influence map outcomes and limit their practical use in decision making. We rely on an empirical case of participatory mapping, for a single ES (recreation opportunities), which involves diverse stakeholders such as planners, researchers, and community representatives. Value elicitation relied on an individual open-ended interview and a mapping exercise. Interpretation of the narratives and GIS calculations of proximity, centrality, and dispersion helped in exploring the factors driving participants’ answers. Narratives reveal diverse value types. Whereas planners highlighted utilitarian and aesthetic values, the answers from researchers revealed naturalistic values as well. In turn community representatives acknowledged symbolic values. When remitted to the map, these values were constrained to statements toward a much narrower set of features of the physical (e.g., volcanoes) and built landscape (e.g., roads). The results suggest that mapping, as an instrumental approach toward social valuation, may capture only a subset of relevant assigned values. This outcome is the interplay between participants’ characteristics, including their acquaintance with the territory and their ability with maps, and the mapping procedure itself, including the proxies used to represent the ES and the value typology chosen, the elicitation question, the cartographic features displayed on the base map, and the spatial scale.

The role of phosphorus as a regulator of bloom-forming diazotrophic cyanobacteria in the Baltic Sea

Eutrophication favours harmful algal blooms worldwide. The blooms cause toxic outbreaks and deteriorated recreational and aesthetic values, causing both economic loss and illness or death of humans and animals. The Baltic Sea is the world s only large brackish water habitat with recurrent blooms of toxic cyanobacteria capable of biological fixation of atmospheric nitrogen gas. Phosphorus is assumed to be the main limiting factor, along with temperature and light, for the growth of these cyanobacteria. This thesis evaluated the role of phosphorus nutrition as a regulating factor for the occurrence of nitrogen-fixing cyanobacteria blooms in the Baltic Sea, utilising experimental laboratory and field studies and surveys on varying spatial scales. Cellular phosphorus sources were found to be able to support substantial growth of the two main bloom forming species Aphanizomenon sp. and Nodularia spumigena. However, N. spumigena growth seemed independent of phosphorus source, whereas, Aphanizomenon sp. grew best in a phosphate enriched environment. Apparent discrepancies with field observations and experiments are explained by the typical seasonal temperature dependent development of Aphanizomenon sp. and N. spumigena biomass allowing the two species to store ambient pre-bloom excess phosphorus in different ways. Field experiments revealed natural cyanobacteria bloom communities to be predominantly phosphorus deficient during blooms. Phosphate additions were found to increase the accumulation of phosphorus relatively most in the planktonic size fraction dominated by the nitrogen-fixing cyanobacteria. Aphanizomenon sp. responded to phosphate additions whereas the phosphorus nutritive status of N. spumigena seemed independent of phosphate addition. The seasonal development of phosphorus deficiency is different for the two species with N. spumigena showing indications of phosphorus deficiency during a longer time period in the open sea. Coastal upwelling introduces phosphorus to the surface layer during nutrient deficient conditions in summer. The species-specific ability of Aphanizomenon sp. and N. spumigena to utilise phosphate enrichment of the surface layer caused by coastal upwelling was clarified. Typical bloom time vertical distributions of biomass maxima were found to render N. spumigena more susceptible to advection by surface currents caused by coastal upwellings. Aphanizomenon sp. populations residing in the seasonal thermocline were observed to be able to utilise the phosphate enrichment and a bloom was produced with a two to three week time lag subsequent to the relaxation of upwelling. Consistent high concentrations of dissolved inorganic phosphorus, caused by persistent internal loading of phosphorus, was found to be the main source of phosphorus for large-scale pelagic blooms. External loads were estimated to contribute with only a fraction of available phosphorus for open sea blooms. Remineralization of organic forms of phosphorus along with vertical mixing to the permanent halocline during winter set the level of available phosphorus for the next growth season. Events such as upwelling are important in replenishing phosphate concentrations during the nutrient deplete growth season. Autecological characteristics of the two main bloom forming species favour Aphanizomenon sp. populations in utilising the abundant excess phosphate concentrations and phosphate pulses mediated through upwelling. Whilst, N. spumigena displays predominant phosphorus limited growth mode and relies on more scarce cellular phosphorus stores and presumably dissolved organic phosphorus compounds for growth. The Baltic Sea is hypothesised to be in an inhibited state of recovery due to the extensive historical external nutrient loading, extensive internal phosphorus loading and the substantial nitrogen load caused by cyanobacteria nitrogen fixation. This state of the sea is characterised as a vicious circle .

Dancing into the second phase of creative industries

As we enter the second phase of creative industries there is a shift away from the early 1990s ideology of the arts as a creative content provider for the wealth generating ‘knowledge’ economy to an expanded rhetoric encompassing ‘cultural capital’ and its symbolic value. A renewed focus on culture is examined through a regional scan of creative industries in which social engineering of the arts occurs through policy imperatives driven by ‘profit oriented conceptualisations of culture’ (Hornidge 2011, p. 263) In the push for artists to become ‘culturpreneurs’ a trend has emerged where demand for ‘embedded creatives’ (Cunningham 2013) sees an exodus from arts-based employment through use of transferable skills into areas outside the arts. For those that stay, within the performing arts in particular, employment remains project-based, sporadic, underpaid, self-initiated and often self-financed, requiring adaptive career paths. Artist entrepreneurs must balance creation and performance of their art with increasing amounts of time spent on branding, compliance, fundraising and the logistical and commercial requirements of operating in a CI paradigm. The artists’ key challenge thus becomes one of aligning core creative and aesthetic values with market and business considerations. There is also the perceived threat posed by the ‘prosumer’ phenomenon (Bruns 2008), in which digital on-line products are created and produced by those formerly seen as consumers of art or audiences for art. Despite negative aspects to this scenario, a recent study (Steiner & Schneider 2013) reveals that artists are happier and more satisfied than other workers within and outside the creative industries. A lively hybridisation of creative practice is occurring through mobile and interactive technologies with dynamic connections to social media. Continued growth in arts festivals attracts participation in international and transdisciplinary collaborations, whilst cross-sectoral partnerships provide artists with opportunities beyond a socio-cultural setting into business, health, science and education. This is occurring alongside a renewed engagement with place through the rise of cultural precincts in ‘creative cities’ (Florida 2008, Landry 2000), providing revitalised spaces for artists to gather and work. Finally, a reconsideration of the specialist attributes and transferable skills that artists bring to the creative industries suggests ways to dance through both the challenges and opportunities occasioned by the current complexities of arts’ practices.

Visual impact assessment of small dock & piers: Theory and practice

From a manager’s perspective, oftentimes the publicly held concerns related to small docks and piers are not really related to the environment. They may be more related to visual impacts and aesthetic concerns, a sense of over-development of the shore, or simply change. While individuals may hold personal aesthetic values related to small docks in general or an individual structure in particular, techniques have evolved that appear to provide reproducible, predictive assessments of the visual impacts and aesthetic values of an area and how those might change with development, including an increase in numbers of small docks. These assessments may be used to develop regulatory or non-regulatory methods for the management of small docks based on state or community standards. Visual impact assessments are increasingly used in the regulatory review of proposed development—although this process is still in its infancy as regards small docks and piers. Some political jurisdictions have established visual impact or aesthetic standards as relate to docks and others are in the process of investigating how to go about such an effort. (PDF contains 42 pages)

Era uma vez... contos, romances, poemas: um tesouro linguístico

Esta dissertação tem por objetivo promover a exploração do texto literário como meio de aquisição/desenvolvimento do domínio linguístico e apresentar uma perspectiva de aprendizagem de língua e literatura como processo indissociável, que se realiza na interação dos sujeitos com diferentes textos. Trabalha-se no limite entre gramática, linguística e literatura cujo objeto é a palavra, tendo como propósito o ensino da Língua Portuguesa. Objetiva-se, ainda, promover uma reflexão que possa melhorar as práticas quotidianas do ensino da língua e fornecer subsídios teóricos e práticos aos professores de Língua Portuguesa e Literatura visando a ampliar opções para o preparo e realização de aulas de leitura e escrita. O aluno, por sua vez, é convidado a interagir com o material apresentado de forma criativa, desenvolvendo sua habilidade de pesquisa em diferentes fontes e sua capacidade de relacionar saberes oriundos de diferentes áreas do conhecimento, respondendo positivamente a propostas desafiadoras de interpretação da realidade que o circunda e da história da sua sociedade, a partir de uma abordagem significativa. Faz-se um conjunto de reflexões acerca da língua, da leitura e da literatura enfatizando que o ensino da língua deve ser pautado no texto, na sua interpretação, estrutura e significação, desenvolvendo a percepção dos elementos que constituem a linguagem, para habituar o aluno a ver as palavras em sua pluralidade de sons, imagens e sentidos. No centro deste trabalho, apresentam-se elementos que têm origem no exercício de práticas de orientação de ensino de língua e de literatura, buscando estratégias para minimizar as deficiências na competência de leitura e interpretação comprovadas pelas avaliações por que têm passado as escolas brasileiras. Finalizando tenta-se deixar claro que a meta desta dissertação é contribuir para que o ensino da língua e literatura promova de fato o desenvolvimento da linguagem em suas funções de compreensão, expressão e comunicação e em seus valores estéticos, formadores e informadores

Klaxon, Base, Noigrandes : o design das revistas brasileiras de vanguarda

As revistas Klaxon, base e Noigandres são exemplos de revistas de vanguarda em que o design gráfico foi usado como instrumento para a expressão de idéias, compartilhadas pelos grupos artísticos envolvidos em sua publicação. São marcos do design moderno, encaixando-se no conceito de produto erudito (Bourdieu), destinado não ao grande público, mas a grupos de pares, que compartilhavam os valores estéticos e as ambições à condição de vanguarda em seus respectivos domínios artísticos. Estas revistas são expoentes do campo do design gráfico moderno, que só viria a se institucionalizar na década de 60, com a criação da ESDI e o surgimento do movimento concretista nas artes plásticas.

A resistência na literatura em tempos de globalização

Este trabalho pretende investigar as relações existentes entre o mercado, a globalização, a chamada pós-modernidade e a literatura. Para tanto, inicialmente delineia-se um breve panorama da literatura brasileira contemporânea, com a finalidade de expor uma parte do que ora se produz em termos de crítica e de ficção. Em seguida, trata-se do controverso conceito de pós-modernidade, com atenção especial às divergências terminológicas que vem suscitando, principal tópico objeto das considerações finais. Analisa-se depois o fenômeno da globalização, particularmente no que afeta a formação de novas subjetividades, ponderando-se também seu impacto na conceituação dos valores em geral e dos valores estéticos em particular. Por fim, passa-se ao conceito de resistência, com base em elementos teóricos extraídos de Schiller (o papel do artista), Agambem (a questão do contemporâneo) e Alfredo Bosi (relações entre narrativa e resistência), fechando-se o foco na produção literária, mediante análise sucinta da narrativa Eles eram muitos cavalos, de Luiz Ruffato

Estado de conservación de la ictiofauna arrecifal en sitios de buceo turístico de cuatro regiones del Archipiélago Sabana-Camagüey, Cuba.

Los peces constituyen uno de los atractivos principales en los arrecifes coralinos para el buceo turístico, por lo cual resulta necesario monitorear su abundancia y valores estéticos. El objetivo de esta investigación fue evaluar el estado de conservación de las asociaciones de peces arrecifales en cuatro de los principales polos turísticos del Archipiélago Sabana-Camagüey, Cuba en el año 2010. Se muestrearon 23 sitios de buceo turísticos en áreas adyacentes a las regiones de Varadero (5 sitios), cayos de Villa Clara (6 sitios), Cayo Coco (6 sitios) y Santa Lucia (6 sitios). En cada uno de ellos se realizaron seis réplicas de censos visuales de todas las especies de peces en recorridos lineales de 50 m de largo por 2 m de ancho, ocupando un área total de 600 m2. El puntaje más alto de conservación lo presentó los cayos de Villa Clara (37), siguiéndole en orden decreciente Cayo Coco (35), y con valores más bajos Varadero (24) y Santa Lucia (22). Los puntajes de las cuatro regiones fueron inferiores a los encontrados en otros arrecifes de Cuba y el Caribe. Los valores de Varadero y Santa Lucia se correspondieron con los de arrecifes de hábitats degradados y sometidos a explotación pesquera. En general, en la mayoría de las regiones predominaron peces de talla pequeña (<20 cm) pertenecientes a las familias Pomacentridae y Labridae y hubo poca abundancia de peces carnívoros y herbívoros de mediana (20-40 cm) y gran talla (>40 cm). ABSTRACT Fish are one of the main attractions on coral reefs for diving tourism; therefore, it is necessary to monitor their condition and aesthetic values. The objective of this research was to evaluate the status of reef fish assemblages in four tourist areas of Sabana-Camaguey Archipelago, Cuba in 2010. Twentythree tourist diving sites were sampled in adjacent areas to regions of Varadero (five sites), Villa Clara keys (6 sites), Coco key (6 sites) and Santa Lucia (6 sites). In each region, six replicated visual census of all fish species were conducted along belt transects of 50 m length and 2 m width, occupying a total area of 600 m2. The highest conservation score was obtained by Villa Clara keys (37), followed in decreasing order by Coco key (35), and with lower values Varadero (24) and St. Lucia (22). The scores of the four regions were lower than the values of other Cuban and Caribbean reefs. The values of Varadero and Santa Lucia corresponded to reefs with degraded habitats and subject to overfishing. In general, small fish (< 20 cm) from families Pomacentridae and Labridae, and low abundance of carnivore and herbivore fish of middle (20-40 cm) and large size (> 40 cm) predominated in most regions.

Realismo e lirismo em Terra sonâmbula, de Mia Couto, e Chuva braba, de Manuel Lopes

«Realismo e Lirismo em Terra Sonâmbula e Chuva Braba» é um trabalho de leitura que reflecte a nossa percepção em relação a dois mundos particulares que se constroem a partir das obras dos dois escritores africanos. Com efeito, optamos por uma estrutura pragmática do estudo, centrando a nossa atenção na leitura e interpretação dos romances, sem incluirmos um capítulo específico de referências teóricas. Tal estratégia permitiu cruzar o quadro conceptual com as informações textuais resultantes do processo de análise e interpretação do «corpus» do trabalho. As duas obras estabelecem pontos de intersecção no domínio linguístico e cultural como consequência de partilha de um passado histórico, político e social. A localização geográfica de Cabo Verde, a fome prolongada, por um lado, e a guerra catastrófica que abalou Moçambique entre 1976 e 1992, por outro, permitiram extrapolar recorrências temáticas inspiradas em impressões e experiências dos autores, relacionadas com práticas e vivências que, no trato literário, ganharam uma dimensão lírico-realista de grande valor hermenêutico. A insularidade e a continentalidade que opõem Cabo Verde e Moçambique, assim como a fome e a guerra que os caracterizam respectivamente, a procura de um espaço literário a partir das marcas de crioulidade e moçambicanidade compõem um conjunto de valores estéticos que configuram o imaginário cultural dos dois países africanos de língua portuguesa. Esta tese pesquisa as imagens e os aspectos fundamentais ínsitos nos dois romances, procurando mostrar até que ponto, a partir de temáticas de fome e guerra se pode construir narrativas lírico-realistas. O estudo permitiu observar que as imagens de sofrimento, desolação e desassossego constituem, geralmente, o paradigma estético da escrita lírica e realista de Mia Couto e Manuel Lopes.

Entre danser pour soi et danser pour les autres : la construction de l'expérience dans le processus de socialisation des danseurs de tango argentin de Montréal

Cette étude ethnographique porte sur le réseau social du tango argentin à Montréal, les valeurs esthétiques du tango, l’interprétation de l’expérience de la danse acquise au cours du processus de socialisation et les différents agents de socialisation. Dans un contexte de réappropriation et de déterritorialisation d’un savoir-faire comme le tango, les références symboliques relatives à son contexte d’origine, son imaginaire collectif et son contexte sociohistorique sont moins accessibles. Ceci semble appeler chez les danseurs montréalais une sorte de surdétermination de l’expérience immédiate, concrète et interactive de la danse dans la construction d’un sens collectif. Cette recherche s’intéresse plutôt à la transposition dans le réseau montréalais de certaines normes esthétiques en lien avec les modalités interactives de la danse. Ces normes esthétiques induisent une attention particulière portée à la qualité de l’expérience se reflétant dans les pratiques et les discours. Ces valeurs esthétiques remontent au contexte d’origine du tango et à la rencontre entre différents univers socialisateurs transnationaux à différentes étapes de son évolution. De ce type de rencontres «transesthétiques», s’est développé un dualisme entre le danser pour les autres et le danser pour soi, dans les représentations et la mise en forme d’une expérience dansée. À Montréal, c’est avec emphase qu’on observe la cohabitation de ces deux systèmes de valeurs en apparence antagonistes où, d’une part, est valorisé l’exhibition du soi et, d’autre part, sont priorisés l’intériorité et l’expérience subjective. En bref, ce mémoire explore les relations complexes qui existent entre les processus culturels et leurs produits, l’expérience et le sens, entre la subjectivité individuelle et la collectivité, et redéfinit l’agentivité des acteurs sociaux en étudiant les modes spécifiques de production du sens dans un art comme la danse.

Unravelling cultural value

Unravelling cultural value has long been attempted from a number of perspectives but it remains substantially unresolved. The discussion is about accountability with proponents disagreeing on whether this means stewardship of the public and trustee purse or fundamental aesthetic values. There are many reasons for this lack of agreement and thus the cultural value debates remain vibrant and healthy. However, it is also a truism that cultural related literature has been slow to recognise that cultural value serves different masters: the audience, organisational interface, the organisation, and government control. In past debates, value measurement has had a government control focus using neo classical economics and accounting to define and measure the cultural industry. Artists and other cultural stakeholders in society have critiqued such measurement as inappropriate. This paper seeks to unify these two dimensions by providing a synergistic definition of cultural value, which is pertinent to cultural organisations, and offers a model of entrepreneurial cultural value balance for the audience, cultural organisations and government.

Educação ambiental e valores: diálogos e sentidos construídos nas práticas de professores de ensino fundamental

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Desenhos animados televisivos, ética e Educação Física nos anos iniciais do ensino fundamental: diálogos possíveis

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Contradictio in terminis: dialéctica de la ambigüedad en la arquitectura contemporánea

The twentieth century brought a new sensibility characterized by the discredit of cartesian rationality and the weakening of universal truths, related with aesthetic values as order, proportion and harmony. In the middle of the century, theorists such as Theodor Adorno, Rudolf Arnheim and Anton Ehrenzweig warned about the transformation developed by the artistic field. Contemporary aesthetics seemed to have a new goal: to deny the idea of art as an organized, finished and coherent structure. The order had lost its privileged position. Disorder, probability, arbitrariness, accidentality, randomness, chaos, fragmentation, indeterminacy... Gradually new terms were coined by aesthetic criticism to explain what had been happening since the beginning of the century. The first essays on the matter sought to provide new interpretative models based on, among other arguments, the phenomenology of perception, the recent discoveries of quantum mechanics, the deeper layers of the psyche or the information theories. Overall, were worthy attempts to give theoretical content to a situation as obvious as devoid of founding charter. Finally, in 1962, Umberto Eco brought together all this efforts by proposing a single theoretical frame in his book Opera Aperta. According to his point of view, all of the aesthetic production of twentieth century had a characteristic in common: its capacity to express multiplicity. For this reason, he considered that the nature of contemporary art was, above all, ambiguous. The aim of this research is to clarify the consequences of the incorporation of ambiguity in architectural theoretical discourse. We should start making an accurate analysis of this concept. However, this task is quite difficult because ambiguity does not allow itself to be clearly defined. This concept has the disadvantage that its signifier is as imprecise as its signified. In addition, the negative connotations that ambiguity still has outside the aesthetic field, stigmatizes this term and makes its use problematic. Another problem of ambiguity is that the contemporary subject is able to locate it in all situations. This means that in addition to distinguish ambiguity in contemporary productions, so does in works belonging to remote ages and styles. For that reason, it could be said that everything is ambiguous. And that’s correct, because somehow ambiguity is present in any creation of the imperfect human being. However, as Eco, Arnheim and Ehrenzweig pointed out, there are two major differences between current and past contexts. One affects the subject and the other the object. First, it’s the contemporary subject, and no other, who has acquired the ability to value and assimilate ambiguity. Secondly, ambiguity was an unexpected aesthetic result in former periods, while in contemporary object it has been codified and is deliberately present. In any case, as Eco did, we consider appropriate the use of the term ambiguity to refer to the contemporary aesthetic field. Any other term with more specific meaning would only show partial and limited aspects of a situation quite complex and difficult to diagnose. Opposed to what normally might be expected, in this case ambiguity is the term that fits better due to its particular lack of specificity. In fact, this lack of specificity is what allows to assign a dynamic condition to the idea of ambiguity that in other terms would hardly be operative. Thus, instead of trying to define the idea of ambiguity, we will analyze how it has evolved and its consequences in architectural discipline. Instead of trying to define what it is, we will examine what its presence has supposed in each moment. We will deal with ambiguity as a constant presence that has always been latent in architectural production but whose nature has been modified over time. Eco, in the mid-twentieth century, discerned between classical ambiguity and contemporary ambiguity. Currently, half a century later, the challenge is to discern whether the idea of ambiguity has remained unchanged or have suffered a new transformation. What this research will demonstrate is that it’s possible to detect a new transformation that has much to do with the cultural and aesthetic context of last decades: the transition from modernism to postmodernism. This assumption leads us to establish two different levels of contemporary ambiguity: each one related to one these periods. The first level of ambiguity is widely well-known since many years. Its main characteristics are a codified multiplicity, an interpretative freedom and an active subject who gives conclusion to an object that is incomplete or indefinite. This level of ambiguity is related to the idea of indeterminacy, concept successfully introduced into contemporary aesthetic language. The second level of ambiguity has been almost unnoticed for architectural criticism, although it has been identified and studied in other theoretical disciplines. Much of the work of Fredric Jameson and François Lyotard shows reasonable evidences that the aesthetic production of postmodernism has transcended modern ambiguity to reach a new level in which, despite of the existence of multiplicity, the interpretative freedom and the active subject have been questioned, and at last denied. In this period ambiguity seems to have reached a new level in which it’s no longer possible to obtain a conclusive and complete interpretation of the object because it has became an unreadable device. The postmodern production offers a kind of inaccessible multiplicity and its nature is deeply contradictory. This hypothetical transformation of the idea of ambiguity has an outstanding analogy with that shown in the poetic analysis made by William Empson, published in 1936 in his Seven Types of Ambiguity. Empson established different levels of ambiguity and classified them according to their poetic effect. This layout had an ascendant logic towards incoherence. In seventh level, where ambiguity is higher, he located the contradiction between irreconcilable opposites. It could be said that contradiction, once it undermines the coherence of the object, was the better way that contemporary aesthetics found to confirm the Hegelian judgment, according to which art would ultimately reject its capacity to express truth. Much of the transformation of architecture throughout last century is related to the active involvement of ambiguity in its theoretical discourse. In modern architecture ambiguity is present afterwards, in its critical review made by theoreticians like Colin Rowe, Manfredo Tafuri and Bruno Zevi. The publication of several studies about Mannerism in the forties and fifties rescued certain virtues of an historical style that had been undervalued due to its deviation from Renacentist canon. Rowe, Tafuri and Zevi, among others, pointed out the similarities between Mannerism and certain qualities of modern architecture, both devoted to break previous dogmas. The recovery of Mannerism allowed joining ambiguity and modernity for first time in the same sentence. In postmodernism, on the other hand, ambiguity is present ex-professo, developing a prominent role in the theoretical discourse of this period. The distance between its analytical identification and its operational use quickly disappeared because of structuralism, an analytical methodology with the aspiration of becoming a modus operandi. Under its influence, architecture began to be identified and studied as a language. Thus, postmodern theoretical project discerned between the components of architectural language and developed them separately. Consequently, there is not only one, but three projects related to postmodern contradiction: semantic project, syntactic project and pragmatic project. Leading these projects are those prominent architects whose work manifested an especial interest in exploring and developing the potential of the use of contradiction in architecture. Thus, Robert Venturi, Peter Eisenman and Rem Koolhaas were who established the main features through which architecture developed the dialectics of ambiguity, in its last and extreme level, as a theoretical project in each component of architectural language. Robert Venturi developed a new interpretation of architecture based on its semantic component, Peter Eisenman did the same with its syntactic component, and also did Rem Koolhaas with its pragmatic component. With this approach this research aims to establish a new reflection on the architectural transformation from modernity to postmodernity. Also, it can serve to light certain aspects still unaware that have shaped the architectural heritage of past decades, consequence of a fruitful relationship between architecture and ambiguity and its provocative consummation in a contradictio in terminis. Esta investigación centra su atención fundamentalmente sobre las repercusiones de la incorporación de la ambigüedad en forma de contradicción en el discurso arquitectónico postmoderno, a través de cada uno de sus tres proyectos teóricos. Está estructurada, por tanto, en torno a un capítulo principal titulado Dialéctica de la ambigüedad como proyecto teórico postmoderno, que se desglosa en tres, de títulos: Proyecto semántico. Robert Venturi; Proyecto sintáctico. Peter Eisenman; y Proyecto pragmático. Rem Koolhaas. El capítulo central se complementa con otros dos situados al inicio. El primero, titulado Dialéctica de la ambigüedad contemporánea. Una aproximación realiza un análisis cronológico de la evolución que ha experimentado la idea de la ambigüedad en la teoría estética del siglo XX, sin entrar aún en cuestiones arquitectónicas. El segundo, titulado Dialéctica de la ambigüedad como crítica del proyecto moderno se ocupa de examinar la paulatina incorporación de la ambigüedad en la revisión crítica de la modernidad, que sería de vital importancia para posibilitar su posterior introducción operativa en la postmodernidad. Un último capítulo, situado al final del texto, propone una serie de Proyecciones que, a tenor de lo analizado en los capítulos anteriores, tratan de establecer una relectura del contexto arquitectónico actual y su evolución posible, considerando, en todo momento, que la reflexión en torno a la ambigüedad todavía hoy permite vislumbrar nuevos horizontes discursivos. Cada doble página de la Tesis sintetiza la estructura tripartita del capítulo central y, a grandes rasgos, la principal herramienta metodológica utilizada en la investigación. De este modo, la triple vertiente semántica, sintáctica y pragmática con que se ha identificado al proyecto teórico postmoderno se reproduce aquí en una distribución específica de imágenes, notas a pie de página y cuerpo principal del texto. En la columna de la izquierda están colocadas las imágenes que acompañan al texto principal. Su distribución atiende a criterios estéticos y compositivos, cualificando, en la medida de lo posible, su condición semántica. A continuación, a su derecha, están colocadas las notas a pie de página. Su disposición es en columna y cada nota está colocada a la misma altura que su correspondiente llamada en el texto principal. Su distribución reglada, su valor como notación y su posible equiparación con una estructura profunda aluden a su condición sintáctica. Finalmente, el cuerpo principal del texto ocupa por completo la mitad derecha de cada doble página. Concebido como un relato continuo, sin apenas interrupciones, su papel como responsable de satisfacer las demandas discursivas que plantea una investigación doctoral está en correspondencia con su condición pragmática.

El convenio europeo del paisaje. Una propuesta metodológica para su implementación en el ámbito urbano

En la actualidad, existe la necesidad de vincular la práctica urbana y arquitectónica al pensamiento ecológico. Eso sucede porque el paisaje es el ámbito disciplinario que registra una mayor identidad contemporánea del lugar y el medio a través del cual asociar las estructuras urbanas a los procesos ecológicos. La amplitud conceptual del término paisaje, le otorga la capacidad para teorizar y proyectar sitios, territorios, ecosistemas, redes organizacionales complejas, infraestructuras, amplias superficies urbanas, y ser visto a la vez como una herramienta de negociación entre conflictos territoriales, diferentes escalas, cruces de fronteras administrativas y enfoques sectoriales. En esta tesis se presenta una propuesta metodológica para la implementación del Convenio Europeo del Paisaje (Consejo de Europa, 2000) en contextos urbanos y periurbanos. Para ello, la tesis aborda, desde una perspectiva aplicada a la planificación territorial, las relaciones espaciales de los diferentes elementos del sistema territorial que componen el mosaico paisajístico de una ciudad de rango medio, Segovia, y su entorno inmediato. El enfoque aplicado de la tesis se materializa a partir de una serie de propuestas de diseño, planificación, ordenación, gestión y protección del paisaje enfocadas a resolver problemas concretos detectados en la zona de estudio seleccionada. Para definir dichas propuestas,, la tesis adopta las bases teóricas o conceptuales de la Arquitectura del Paisaje, una disciplina de diseño aplicada, basada en significados sociales, ecológicos, económicos, culturales e históricos y en los valores visuales y estéticos. El resultado es la propuesta de una herramienta, el Plan de Paisaje de Segovia, cuyo objetivo es el de ofrecer una estrategia para el desarrollo a escala local basado en los procesos ecológicos y las estructuras del paisaje. La identificación y caracterización del paisaje, la definición de objetivos de calidad paisajística de protección, conservación, restauración y creación de nuevos paisajes, así como la propuesta de una estrategia de infraestructura verde para el municipio que promueva la conexión ecológica a escala regional, pretenden enriquecer y mejorar el proceso de planificación urbana y logran una ordenación territorial más integrada, más armónica y equilibrada. Los beneficios de incorporar un enfoque basado en el carácter del paisaje para asesorar en la toma de decisiones sobre el crecimiento urbano y los futuros desarrollos están cada vez mas demostrados y reconocidos. En el contexto europeo, los Planes de Paisaje están siendo incorporados como una nueva herramienta para hacer más efectivo el cumplimiento de los objetivos de desarrollo sostenible. ABSTRACT Nowadays, there is a need to link urban and architectural practice to ecological thinking, being landscape the disciplinary field which has the highest contemporary identity of the place, as well as the capacity to associate urban structures with ecological processes. The conceptual scope of the term landscape offers the ability to theorize and project sites, territories, ecosystems, complex organizational networks, infrastructures, large urban areas, and be seen as a tool to negotiate between territorial conflicts, different scales, administrative boundaries and sectoral approaches. A methodology for the implementation of the European Landscape Convention (Council of Europe, 2000) in urban and peri-urban contexts is presented in this thesis. To do this, the thesis examines, from an applied perspective to spatial planning, the spatial relationships of the different elements of the territorial system that make up the landscape mosaic of Segovia, a middle size city, and its immediate surroundings. The applied approach results in a series of proposals for design, planning, development, management and protection of the landscape focused on solving specific problems identified in the study area selected. To define these proposals, the thesis adopts the theoretical and conceptual foundations of Landscape Architecture, an applied design discipline, based on social, ecological, economic, cultural and historical meanings and visual and aesthetic values. The result is the proposal of a tool, the Landscape Plan of Segovia, whose aim is to provide a strategy for development at the local level, based on ecological processes and landscape structures. The identification and characterization of the landscape, the definition of landscape quality objectives for protection, conservation, restoration and creation of new landscapes as well as a proposed green infrastructure strategy for the town to promote ecological connectivity regionally, intend to enrich and improve the urban planning process and ensure a more integrated, harmonious and balanced territorial development. The benefits of incorporating an approach based on the character of the landscape to assist in the decision making processes on urban growth and future developments are increasingly recognized and proven. In the European context, Landscape Plans are being incorporated as a new tool for a more effective compliance with the objectives of sustainable development.