Solar Corona. Espacio ciudadano en el barrio del Carmen, Valencia.

Entrevista realizada por Teresa Marín García y Enrique Salom Marco (Petit Comité de Resistencia Audiovisual) a dos miem- bros de la asamblea del Solar Corona, un espacio autogestio- nado recuperado por la ciudadanía. Extracto que forma parte del proyecto en proceso Cultura Colectiva de la Comunidad Valenciana (CCCv)

ICTs, disruptive forces and the production paradox in tourism: Present and future issues in the Visitor Attraction sector

En el marco de colaboración entre la Glasgow Caledonian University (Escocia, Reino Unido) y la Universidad de Alicante (España) y con el objetivo de dar a conocer la producción investigadora de docentes e investigadores involucrados en el convenio de colaboración entre ambas universidades, publicamos este libro como medio de difusión científica para visibilizar, compendiar y compartir las investigaciones. El valor fundamental de la obra es el carácter internacional y multidisciplinar de las investigaciones en el área de ciencias sociales y económicas, enfocadas en temáticas tan diversas como el marketing, la economía, la comunicación o la moda, entre otras.As part of the cooperation between Glasgow Caledonian University (Scotland, United Kingdom) and the University of Alicante (Spain) and in order to publicize the research production of teachers and researchers involved in the collaboration agreement between the two universities, we publish this book as a means of scientific dissemination to visualize, summarize and share research. The fundamental value of the work is international and multidisciplinary research in the area of social and economic sciences, focused on topics as diverse as marketing, economics, communication and fashion, among others

Los colectivos artísticos: microcosmos y motor del procomún de las artes

The collective artistic activity can be seen as a metaphor for the small-scale cultural commons. In its processes and strategies can be traced many of the key issues and conflicts that make the keys of the commons in regard to the arts, as cultural and intangible. The artistic groups are also essential elements for building assets/goods and resources that make up the cultural structure, very particular local contexts, while having great potential as builders of larger scale networks. After a brief discussion of these issues is presented an initiative of a collaborative platform project, CCCV, starting from the reality of a local context arises the objective of generating a network-file-laboratory to create and share knowledge about the collective culture.La actividad de los colectivos artísticos pueden entenderse como una metáfora del procomún cultural a pequeña escala. En sus procesos y estrategias puede rastrearse muchas de las cuestiones esenciales y conflictos que conforman las claves del procomún en lo que respecta a las artes, como bien cultural e intangible. Los colectivos artísticos, son además elementos esenciales para la construcción de bienes y recursos que conforman el tejido cultural, de forma muy particular en los contextos locales, al tiempo que tienen un gran potencial como constructores de redes a mayor escala. Tras un breve análisis de estos aspectos se presenta una iniciativa de un proyecto de plataforma colaborativa CCCV, que partiendo de la realidad de un contexto local se plantea el objetivo de generar un archivo-red-laboratorio para crear y compartir conocimientos en torno a la cultura colectiva

Procesos neurológicos implicados en la perspectiva del yo durante la comprensión del lenguaje.

n the linguistic field of pragmatics, deixis refers to the use of certain words that require knowledge about the speaker’s perspective to fully understand their referent. Deictic words are semantically impoverished as they provide little information about the referent. For instance, ‘I’, ‘you’, ‘before’ or ‘here’ are terms that only can convey a full meaning when they are linked, respectively, to the current speaker, the current listener, the speaker’s utterance of time and the speaker’s spatial perspective. This referential cluster of ‘here-now-I-you’ has been called the ‘deictic center’, especially in face-to-face conversational settings (Bühler, 1982; Duchan, Bruder & Hewitt, 1995). There are also deictic verbs that express motions from the speaker’s point of view in the deictic center. Thus, deictic proximal verbs (‘come’, ‘bring’) refer to a motion toward the speaker’s location, whereas distal verbs (‘go’, ‘take’) denote a motion away from the speaker’s place (Black, Turner & Bower, 1979; Fillmore, 1966). This dissertation deals with a timeless topic: the interface between language and spatial cognition. However, it has several novelties in comparison with previous researches. First, here the task demand was just reading for comprehension, whereas in most studies in the literature, participants were asked to learn verbal descriptions or maps of environments, and then make spatial judgments that explicitly require inferences (e.g., Avraamides & Carlson, 2003; Bower & Morrow, 1990; Franklin & Tversky, 1990; de Vega & Rodrigo, 2001). Second, we used large-scale spatial environments (geographical places) rather than small-scale environments (objects distributed in a room) as it is usual in other studies. Third, we collected brain measures, in addition to behavioral measures, providing for the first time ERP effects (N1, P2, P3 and N4 components) associated with geographical perspective. Fourth, most of the perspective effect reported here are associated with the manipulation of purely linguistic markers (the grammatical person and the deictic verbs of motion), which demonstrated being powerful modulators of perspective in reading. Fourth, the last experiment demonstrated that, in absence of any other information, a paralinguistic cue, the regional accent, also modulates the listener’s perspective-taking

Avoidance and contextual learning induced by a kairomone, a pheromone and a common odorant in female CD1 mice

Chemosignals mediate both intra- and inter-specific communication in most mammals. Pheromones elicit stereotyped reactions in conspecifics, whereas kairomones provoke a reaction in an allospecific animal. For instance, predator kairomones elicit anticipated defensive responses in preys. The aim of this work was to test the behavioral responses of female mice to two chemosignals: 2-heptanone (2-HP), a putative alarm pheromone, and 2,4,5-trimethylthiazoline (TMT), a fox-derived putative kairomone, widely used to investigate fear and anxiety in rodents. The banana-like odorant isoamyl acetate (IA), unlikely to act as a chemosignal, served as a control odorant. We first presented increasing amounts of these odorants in consecutive days, in a test box in which mice could explore or avoid them. Female mice avoided the highest amounts of all three compounds, with TMT and IA eliciting avoidance at lower amounts (3.8 pmol and 0.35 μmol, respectively) than 2-HP (35 μmol). All three compounds induced minimal effects in global locomotion and immobility in this set up. Further, mice detected 3.5 pmol of TMT and IA in a habituation–dishabituation test, so avoidance of IA started well beyond the detection threshold. Finally, both TMT and IA, but not 2-HP, induced conditioned place avoidance and increased immobility in the neutral compartment during a contextual memory test. These data suggest that intense odors can induce contextual learning irrespective of their putative biological significance. Our results support that synthetic predator-related compounds (like TMT) or other intense odorants are useful to investigate the neurobiological basis of emotional behaviors in rodents. Since intense odorants unlikely to act as chemosignals can elicit similar behavioral reactions than chemosignals, we stress the importance of using behavioral measures in combination with other physiological (e.g., hormonal levels) or neural measures (e.g., immediate early gene expression) to establish the ethological significance of odorants

Los colectivos artísticos: microcosmos y motor del procomún de las artes

The collective artistic activity can be seen as a metaphor for the small-scale cultural commons. In its processes and strategies can be traced many of the key issues and conflicts that make the keys of the commons in regard to the arts, as cultural and intangible. The artistic groups are also essential elements for building assets/goods and resources that make up the cultural structure, very particular local contexts, while having great potential as builders of larger scale networks. After a brief discussion of these issues is presented an initiative of a collaborative platform project, CCCV, starting from the reality of a local context arises the objective of generating a network-file-laboratory to create and share knowledge about the collective culture.La actividad de los colectivos artísticos pueden entenderse como una metáfora del procomún cultural a pequeña escala. En sus procesos y estrategias puede rastrearse muchas de las cuestiones esenciales y conflictos que conforman las claves del procomún en lo que respecta a las artes, como bien cultural e intangible. Los colectivos artísticos, son además elementos esenciales para la construcción de bienes y recursos que conforman el tejido cultural, de forma muy particular en los contextos locales, al tiempo que tienen un gran potencial como constructores de redes a mayor escala. Tras un breve análisis de estos aspectos se presenta una iniciativa de un proyecto de plataforma colaborativa CCCV, que partiendo de la realidad de un contexto local se plantea el objetivo de generar un archivo-red-laboratorio para crear y compartir conocimientos en torno a la cultura colectiva

Afectos y resistentes. Un proceso transmedia sobre experiencias de resistencia cultural cotidiana

[EN] We present Affections & resistants, a transmedia art proposal in open process, showing several daily stories of cultural resistance opposing globalization policies. The project starts from an audiovisual documentary record of cases that happen in our close environment, individuals or groups that perform cultural activities in adverse situations, or perform actions in defense or protection of endangered cultural heritage. Affective and experiential factors are set at the origin of this resistance. We are interested in the narrative potential of these stories so they may show a number of bio-political problems. The proposal is defined as transmedia because it aims to explore different narrative forms through dialogue between different complementary media and spaces (videos, audio files, stories, cartographies and instal-actions). The project proposes a structure that links a multimedial file to a web platform. The web platform is conceived as a medium and as a device for browsing multimedia narrative fragments. The file is designed as a "medium memory" tool allowing diversification of voices as well as the building of multiple non-linear narratives. The documentary records are made from a consciously subjective look and with the aim of showing close aspects and details that may question the viewer. This project is also proposed as a reflection on experience and memory. The real-virtual dialogue allows us to explore conflicts and possibilities of audiovisual material, such as files. Also, files are deemed as critical tools for the registration of experience and construction of collective memory.[ES] Presentamos una propuesta artística transmedia en proceso abierto, que muestra varias historias cotidianas de resistencia cultural frente a políticas globalizadoras. El proyecto se inicia a partir del registro documental audiovisual de casos que suceden en nuestro entorno cercano, personas o colectivos, que realizan actividades vinculadas a la cultura en situaciones adversas o acciones en defensa de patrimonios culturales amenazados. Todos estas situaciones tienen como motor de su resistencia lo afectivo y lo vivencial. Nos interesa de estas historias su potencial narrativo para reflejar diversas problemáticas biopolíticas. El proyecto se define como transmedia porque trata de explorar distintas formas narrativas a través del diálogo entre diversos medios y espacios que se complementan (vídeos, archivos sonoros, relatos, cartografías e instal-acciones). El proyecto se estructura a partir de un archivo multimedial vinculado a una plataforma web. La plataforma web se concibe como soporte y como dispositivo de navegación entre fragmentos narrativos multimediales. El archivo es concebido como una herramienta "soporte de memoria" que permite la diversificación de voces y la construcción de múltiples narrativas no-lineales. Los registros documentales se plantean desde una mirada conscientemente subjetiva y con la intención de mostrar aspectos cercanos y detalles que puedan interpelar al espectador. El proyecto se plantea como una reflexión sobre lo experiencial y la memoria. El diálogo real-virtual nos permite explorar conflictos y posibilidades de lo audiovisual y el archivo como herramientas críticas de registro de experiencia y construcción de memoria colectiva.Marín García, T.; Salom Marco, E. (2015). Afectos y resistentes. Un proceso transmedia sobre experiencias de resistencia cultural cotidiana. En II CONGRESO INTERNACIONAL DE INVESTIGACIÓN EN ARTE VISUALES. Editorial Universitat Politècnica de València. 434-441. https://doi.org/10.4995/ANIAV2015.1147OCS43444

Resistencias y apropiaciones. Laboratorios urbanos de experimentación sociocultural en la ciudad de Valencia

The context of the current systemic crisis has helped to highlight and exacerbate shortages and conflicts caused by inadequate national and local cultural policies. In the city of Valencia (Spain) such policies have generated many and varied answers of a collective nature. In recent decades, an important part of the associative growth in Valencia has been linked to the defense of collective heritage or cultural revitalization of basic infrastructure. In some cases (the Salvem, the Viu, or urban orchards) as a defense and resistance to institutional policy designed for specific neighborhoods or urban areas. In other cases (Solar Corona, La Minúscula, La Calderería, Desayuno con Viandantes, Cabanyal Intim) developing various forms of appropriation of spaces to fill the lack of interest by public institutions. Many of these experiences have become urban experimentation laboratories for social and cultural transformation. These collective initiatives have taken shape in a dense and local network in which there are frequent collaborations between associations, citizens' platforms, groups, and self-managed spaces or media. At present, they are recognized as essential agents of the local cultural management due to their instituting and mobilizing capacity. This paper shows a mapping of cases of small groups and spaces within the Valencian recent context. They propose other ways to create culture, linked to the social fabric and the needs of everyday life. They value affective items as a political catalyst, trying to work with conflicts rather than hide them, building through participation and negotiation.El contexto de crisis sistémica actual ha contribuido a visibilizar y agudizar las carencias y conflictos generados por las inadecuadas políticas culturales nacionales y locales. En la ciudad de Valencia este tipo de políticas ha generado múltiples y variadas respuestas ciudadanas de carácter colectivo. En las últimas décadas, una parte importante del crecimiento asociativo en Valencia ha estado vinculado a la defensa del patrimonio o a la dinamización colectiva de infraestructuras culturales de base. En unos casos (los Salvem, los Viu, los huertos urbanos) como defensa y resistencia frente a la política institucional diseñada para determinados barrios o zonas urbanas. En otros casos (Solar Corona, La Minúscula, La Calderería, Desayuno con Viandantes, Cabanyal Intim) desarrollando diversas formas de apropiación de espacios para suplir el desinterés de las instituciones públicas. Muchas de estas experiencias se han convertido en laboratorios de experimentación urbana para la transformación social y cultural. Estas iniciativas colectivas han ido configurando un denso entramado local en el que son frecuentes las colaboraciones entre asociaciones, plataformas ciudadanas, colectivos, y espacios o medios autogestionados. En este momento son reconocidos como agentes ineludibles de la gestión cultural local por su capacidad movilizadora e instituyente. Se muestra un pequeña cartografía de casos de colectivos y espacios, del contexto reciente valenciano. Todos ellos plantean otros modos de hacer cultura, ligados al tejido social y las necesidades de la vida cotidiana. Valoran lo afectivo como catalizador político, tratando de trabajar con el conflicto en vez de ocultarlo, construyendo desde la participación y la negociación