The Art of Compromise

Policy is modeled as the outcome of negotiations between two three-party parliamentary states. An election in jurisdiction A determines the composition of the legislature that selects a representative to negotiate an intergovernmental policy agreement with the representative from the legislature of jurisdiction B. Negotiations are modeled using Nash’s (1950) bargaining framework, modified to account for a simultaneous legislative ratification vote. Though agreements favor the legislative representative least willing to compromise, agreements between the bargainers may not follow the ordering of the parties’ ideal policies. An electoral outcome where support for the center party comes from extreme voters may emerge.Vote balancing; intergovernmental bargaining; legislative ratification; willingness to compromise

On the Ranking of Bilateral Bargaining Opponents

We fix the status quo (Q) and one of the bilateral bargaining agents to examine how shifting the opponent.s ideal point (type) away from Q in a unidimensional space affects the Nash and Kalai-Smorodinsky bargaining solutions when opponents differ only in their ideal points. The results are similar for both solutions. As anticipated, the bargainer whose ideal point is farthest from Q prefers a opponent whose ideal is closest to her own. A similar intuitive ranking emerges for the player closest to Q when opponent\'s preferences exhibit increasing absolute risk aversion. However, if the opponent\'s preferences exhibit decreasing absolute risk aversion (DARA), the player closest to Q prefers a more extreme opponent. This unintuitive result arises for opponents with DARA preferences because the farther their ideal point is from Q, the easier they are to satisfy.Game Theory; Nash bargaining problems; bargaining solutions, rankings

The Determinants of African Tourism

Using a standard panel gravity equation of 175 origin/destination countries between 1995 and 2008, 37 of which are African, we identify the factors that drive African-inbound (arrivals to Africa from other continents) and within-African tourism (arrivals from and to an African country). We find that the determinants of African-inbound and within-African tourism are not all that different from global tourism flows; repeat tourism, income, distance, land area and the standard dummy variables not only drives global or OECD tourism, but also tourism within Africa, disproving the belief that African tourists "differ substantially". Not only does the growth in tourism over the last decade provide encouraging signs for the continent, but these results show that policy makers can now play an active role in promoting African tourism, both from outside but especially from within the continent's borders.sub-Saharan, Africa, gravity model, cause, trade, VFR

The impact of mega-events on tourist arrivals

While a mega-event is scheduled at least once every year somewhere in the world, these events are rare occurrences for the host cities and countries. The benefits of such events seem lucrative; the very fact that many countries bid to host these events suggests that the benefits - be they tangible or intangible - more often than not outweigh the costs. Using a standard gravity model of bilateral tourism flows between 200 countries from 1995 to 2006, this paper measures a very direct benefit of such mega-events: the increase in tourist arrivals to the host country. Although ex ante expectations are that tourism numbers would increase significantly during such an event, a growing literature points to the careful appraisal of possible tourist displacement, i.e. 'regular' tourists that change their behaviour when a mega-event is held, either shifting their trip to a different time or different location. This may result in reduced tourism gain, or even loss. In general, results suggest that mega-events promote tourism but the gain is dependent on the type of mega-event, the participating countries, the host country’s level of development, and whether the event is held during the peak- or off-season.Mega-events, panel data, development, international tourism

Pharmacists\u27 satisfaction with their work: Analysis of an alumni survey

Background: The level of job satisfaction among practicing pharmacists is important because it has been found to affect job performance and employee turnover. The Swedish pharmacy market has undergone major changes in recent years, and little is known about pharmacists’ job satisfaction. Objectives: The objective of this study was to investigate the level of job satisfaction and associated factors among graduates from the web-based pharmacy programs at Umeå University. Methods: Job satisfaction of pharmacists was measured as part of an alumni survey conducted with those who graduated from the pharmacy programmes between 2006 and 2014. Data analysis included descriptive statistics, and logistic regression was used to explore factors affecting job satisfaction. Results: The total number of graduates who completed the survey was 222 (response rate 43%.) The majority of respondents were female (95%), and most were employed at a community pharmacy (85%). The mean age was 39.7 years. The majority of graduates (91%) were satisfied with their job “most of the time” or “all of the time”, and 87% of the respondents would “definitely” or “maybe” choose the same career again. The multivariate analysis showed that increasing years in the current position (OR:0.672 (0.519–0.871)) was associated with lower job satisfaction. Older age (OR: 1.123 (1.022–1.234)), the perception that the knowledge and skills acquired during the education is useful in the current job (OR: 4.643 (1.255–17.182)) and access to continuing professional development (OR:9.472 (1.965–45.662)) were associated with higher job satisfaction. Conclusion: Most graduates from the web-based pharmacy programmes are satisfied with their current job. Access to continuing professional development seems to be important for the level of job satisfaction among pharmacists

Mesozoic Coleopteran Faunas fromArgentina: Geological Context, Diversity, Taphonomic Observations, and Comparison with Other Fossil Insect Records

The order Coleoptera is the most diversified group of the Class Insecta and is the largest group of the Animal Kingdom. This contribution reviews the Mesozoic insects and especially the coleopteran records from Argentina, based on bibliographical and unpublished materials (86 described species, 526 collected specimens). The material came from different geological units from the late Middle Triassic to the Late Triassic (Bermejo, Cuyo, and Malargüe basins) to the Middle-Late Jurassic and Early Cretaceous (Deseado Massif, Cañadón Asfalto, and San Luis Basin). The coleopteran record is composed of 29 described species with 262 collected specimens (isolated elytra) mainly represented by Triassic species and only four specimens recorded in Jurassic units, all of them currently unpublished. These fossil coleopterans provide fundamental information about the evolution of insects in the Southern Hemisphere and confirm the Triassic Argentinean insect deposits to be among the most important in the world.Fil: Lara, Maria Belén. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Nordeste. Centro de Ecología Aplicada del Litoral. Universidad Nacional del Nordeste. Centro de Ecología Aplicada del Litoral; ArgentinaFil: Gallego, Oscar Florencio. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Nordeste. Centro de Ecología Aplicada del Litoral. Universidad Nacional del Nordeste. Centro de Ecología Aplicada del Litoral; ArgentinaFil: Vaz Tassi, Lara. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Nordeste. Centro de Ecología Aplicada del Litoral. Universidad Nacional del Nordeste. Centro de Ecología Aplicada del Litoral; Argentin

Who enrols and graduates from web-based pharmacy education - Experiences from Northern Sweden

Introduction: As a response to the shortage of prescriptionists in Northern Sweden, a web-based Bachelor of Science in Pharmacy program was introduced at Umeå University in 2003. This study explored who is likely to enrol and graduate from the web-based bachelor program and whether the program has addressed the shortage of prescriptionists in rural Northern Sweden. Methods: Data from three different sources were included in this study; the initial cohort including students admitted to the program in 2003 (survey), the entire cohort including all people admitted to the program between 2003 and 2014 (university\u27s admissions data) and the alumni cohort including graduates who participated in an alumni survey in 2015. Results: A typical student of the web-based pharmacy program is female, over 30 years of age, married or in a de-facto relationship and has children. Furthermore, the students graduating before 2009 were more likely to live in Northern Sweden compared to those graduating later. Discussion and conclusion: The results indicate that the introduction of a web-based bachelor of pharmacy program at Umeå University was to some extent able to address the shortage of prescriptionists in Northern Sweden. Web-based education may potentially help address the maldistribution of health professionals by providing flexible education opportunities

Invisible Art. In the Limits of Perception.

En esta ponencia propongo analizar un tipo de obra que se crea a partir del juego con los límites de la percepción. Piezas que podemos ubicar en el espectro entre lo visible y lo invisible. Así, el estudio lo he dividido en los tres campos más habituales en los que trabajan estas prácticas artísticas: Desde los juegos con la luz que nos hacen visibles o invisibles parte o la totalidad de la obra, como en Proyectante de sombra (1993) de Laboratorio de Luz, o Glimpse (2007) de Jim Campbell; a aquellas fundamentadas en el tiempo de visión que fuerzan las capacidades de humanos o máquinas, como las series de fotografías de Hiroshi Sugimoto, Theatres (desde 1978). En suma, una ponencia en la que exploro los límites de lo visible, con ejemplos de obras de arte, al tiempo que analizo una propuesta personal que se fundamenta en la visión periférica, como metáfora política de otras formas de narrar y otros temas.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

El corazón es centro

Descripción técnica: La pantalla de retroproyección se coloca en el espacio de manera que pueda ser rodeada por los espectadores. La planta (una cualquiera de interior) se coloca entre el haz de luz del vídeo con imágenes en las diapositivas. El sonido de los 2 vídeos, capturado durante la proyección de diapositivas, crea un ritmo hipnótico. Si es posible, se recomienda colocar algunos asientos cómodos a uno y otro lado de la pantalla.Esta instalación forma parte de una serie de trabajos en los que combino la tecnología predigital con herramientas contemporáneas. Mediante una Unidad de Fundidos Kodak Ektagraphic proyecto una serie de diapositivas creadas a mano, en las que realizo collages en miniatura con acetatos de colores y fragmentos de viejas diapositivas. Esta proyección la grabo en vídeo HD. La característica fundamental de la unidad de fundidos es eliminar el blanco de la proyección entre una imagen y otra. El otro vídeo de la proyección se realiza pasando un carro completo de diapositivas vacías: Sólo una tiene la imagen de un campo en el que hay un trébol de 4 hojas. Difícil de apreciar durante el tiempo que aparece en pantalla. Es una imagen que se muestra en los 2 vídeos, y en varias ocasiones durante la proyección en buble, se muestran a la vez. En la exposición, sobre la pantalla de retroproyección, por un lado un proyector exhibe las imágenes de las diapositivas. Por el otro un se muestra el vídeo con las diapositivas vacías. Se anima a los espectadores a cruzar el haz de luz, por la disposición de los elementos en la sala.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

How learning to make (art)

Enfoque del Conocimiento: El enfoque del trabajo es práctico y teórico, una reflexión sobre un casos de estudio concreto: la docencia fruto de la puesta en práctica de un Proyecto de Innovación Educativa: Laboratorio de proyectos artísticos. Innovación metogológica, estrategias de coordinación entre áreas y adaptación al EEES, (2010-2012). Universidad de Málaga. (PIE 10-34) Información biográfica: Soy Profesor Contratado Doctor en la Facultad de Bellas Artes de Málaga. Desde 2008 imparto y coordino la asignatura “Proyectos 2”, la única obligatoria en 4º curso de la Licenciatura en Bellas Artes. Esta asignatura se planteó desde el principio como un proyecto creativo e innovador y en los últimos años ha desarrollado un PIE de la Junta de Andalucía que yo dirijo.Si hablamos de cómo aprender a hacer (arte) partimos de tres premisas incuestionables: pasión, confianza y método. Es imposible que un estudiante que no esté motivado, ni disfrute con los procesos específicos de las artes, pueda llegar a desarrollar un lenguaje propio. Y a la inversa, estudiantes con un manejo deficiente de las técnicas pueden llegar a desarrollar propuestas muy interesantes, si su pasión los motiva durante la práctica, mediante el estudio de artistas y sus técnicas, conceptos y lenguajes, y a través de una reflexión crítica sobre todo lo anterior. Concibo el aula como un espacio amorfo, que varía cada curso debido a la heterogeneidad intelectual y personal de sus renovados componentes. Sigo la Revolución universitaria de Papini, en la que no hay temas ni currículos; ni ejercicios ni lecciones. El diálogo y la experimentación son las bases de una propuesta, en la que profesores y estudiantes compartimos un ámbito donde simulamos el taller, el espacio de pensamiento del artista, el lugar de la idea. Aquí se realizan los encuentros, fruto de la experimentación con técnicas, lenguajes, y diálogos con compañeros. La revisión de los procesos de trabajo es continua, basada en el cuestionamiento de qué y cómo decir. Modo de presentación: Presentación formal en papel, acompañada de algunas imágenes del aula-taller.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech. Paradox, Universidad de Granada y Parque de las Ciencia