Usable / Non-usable / Reusable. Present continuous of microfilms

The technology of microfilm was one of the many technical improvements of the 19th century, which combined the advances of photography to fix images with the microscope optics to reduce them. Since then, microfilming has spread slowly in quite particular fields. Embraced by spies, shaped by librarians, loved by genealogists, microphotography presents a paradox as the basis of its survival: while the conservation of documents is probably its main goal, access to the information may be its principal obstacle. Almost like a riddle, each reel may contain hundreds of documents, but they cannot be read without the proper device. Our aim is to tackle microfilming from the perspectives of media archeology and microhistory, i.e., looking for small stories and affairs related to this imaging technique, which can still be found in the 21st century. That is why we would like to focus on three matters of this media: the traditional uses of microfilm for archival purposes, considering both successful and unsuccessful cases of information recovery; the appropriation of the technique by espionage in the context of Cold War, and its representation in films; and the use of microphotography in jewelry and ornaments, both in the past and the present

Hoyt, Eric y Pierce, David. Media History Digital Library (MHDL), 2011

Reseña del sitio Media History Digital Library (MHDL), 2011.Universidad Nacional de La PlataAsociación Argentina de Humanidades Digitale

Ni roja ni azul, verde infinito. Convergencia mediática y arqueología de los medios en el Universo Matrix

El Universo Matrix se construye a partir de obras que van del cine al videojuego, la historieta y la animación. Jenkins (2008) reconoce en este mundo diegético, características que definen la convergencia mediática, como la cocreación y la compresión aditiva. La sinergia de la producción audiovisual hace permeables las formas del cine, la animación digital y el videojuego. Por otra parte, la representación de y por las tecnologías digitales permiten trazar relaciones tanto con el pre-cine como con la cultura digital, desde la perspectiva de la arqueología de los medios (Parikka, 2012). En este trabajo se analiza la construcción de esta narrativa transmedia que Jenkins identifica y caracteriza, al tiempo que se reconoce una convergencia en las técnicas de realización y consumo de obras digitales. The Matrix Universe is built from works ranging from cinema to video games, comics and animation. Jenkins (2008) recognizes in this diegetic world, characteristics that define media convergence, such as co-creation and additive compression. The synergy of audiovisual production makes the forms of cinema, digital animation and video games permeable. On the other hand, the representation of and by digital technologies allow tracing relationships with both pre-cinema and digital culture, from the perspective of media archeology (Parikka, 2012). This paper analyzes the construction of this transmedia narrative that Jenkins identifies and characterizes, while recognizing a convergence in the techniques of realization and consumption of digital works. O Universo Matrix é construído a partir de obras que vão do cinema aos videogames, passando por histórias em quadrinhos e animação. Jenkins (2008) reconhece, neste mundo diegético, características que definem a convergência da mídia, como a co-criação e a compressão aditiva. A sinergia da produção audiovisual torna permeáveis as formas de cinema, animação digital e videogames. Por outro lado, a representação de e por tecnologias digitais permite traçar relações tanto com o pré-cinema quanto com a cultura digital, a partir da perspectiva da arqueologia da mídia (Parikka, 2012). Este artigo analisa a construção desta narrativa transmídia que Jenkins identifica e caracteriza, ao mesmo tempo em que reconhece uma convergência nas técnicas de fabricação e consumo de obras digitais

Usable / Non-usable / Reusable. Present continuous of microfilms

The technology of microfilm was one of the many technical improvements of the 19th century, which combined the advances of photography to fix images with the microscope optics to reduce them. Since then, microfilming has spread slowly in quite particular fields. Embraced by spies, shaped by librarians, loved by genealogists, microphotography presents a paradox as the basis of its survival: while the conservation of documents is probably its main goal, access to the information may be its principal obstacle. Almost like a riddle, each reel may contain hundreds of documents, but they cannot be read without the proper device. Our aim is to tackle microfilming from the perspectives of media archeology and microhistory, i.e., looking for small stories and affairs related to this imaging technique, which can still be found in the 21st century. That is why we would like to focus on three matters of this media: the traditional uses of microfilm for archival purposes, considering both successful and unsuccessful cases of information recovery; the appropriation of the technique by espionage in the context of Cold War, and its representation in films; and the use of microphotography in jewelry and ornaments, both in the past and the present

The interaction of oxygen with the surface of CeO2–TiO2 mixed systems: an example of fully reversible surface-to-molecule electron transfer

The interaction of oxygen with the surface of CeO2-TiO2 mixed oxides prepared via sol gel was investigated by means of electron paramagnetic resonance (EPR). Upon admission of molecular oxygen onto the surface of the as prepared materials (which underwent final oxidative calcination) the formation of superoxide O-2(-) ions is observed without the need for preliminary annealing in a vacuum and consequent oxygen depletion. The superoxide species is symmetrically adsorbed ("side-on" structure) on the top of a Ce4+ ion. Surprisingly the electron transfer is fully reversible at room temperature having the typical behavior shown by molecular oxygen carriers, which, however, link to oxygen in a completely different manner ("end-on" structure). We suggest that the active sites are Ce3+ ions present in the stoichiometric cerium titanate which forms during the synthesis. The features of these Ce3+ ions must be different from those of the same ions formed in CeO2 by reductive treatments, which show a different reactivity to O-2. The observation reported here opens up innovative perspectives in the field of heterogeneous catalysis and in that of sensors as the total reversibility of the electron transfer is observed in a significant range of oxygen pressure

Photoactivity properties of ZnO doped with cerium ions: an EPR study

open4noIn the present study, we investigated the effect of cerium doping in zinc oxide matrix, used as photoactive material. Cerium ions into the matrix of ZnO can act like a 'trap' for the electrons, lowering the e(-)/h+ recombination rate and so increasing the photocatalytic efficiency of the ZnO.We synthesised doped samples using a simple precipitation route. The amount of dopant used was, 1 and 10% molar. The samples have been studied via x-ray diffraction measurements for the structural characterisation; UV-visible diffuse reflectance was used for the optical analysis; Branauer-Emmett-Teller (BET) model for the measurement of the surface area. Finally, the samples have been analysed via electron paramagnetic resonance (EPR) spectroscopy for the electronic characterisation and for testing their photoactivity. The spin trapping technique was also use to measure the amount of stable radical adducts formed via reaction of OH. radicals with molecules of the DMPO ( 5,5-dimethyl-1-pyrroline-N-oxide) spin probe.openCerrato, Erik; Gionco, Chiara; Paganini, Maria Cristina; Giamello, ElioCerrato, Erik; Gionco, Chiara; Paganini, Maria Cristina; Giamello, Eli

Imprenta de los Niños Expósitos: identificación y digitalización de obras impresas

Este trabajo tiene por objeto presentar los avances del proyecto de investigación, llevado adelante por la Biblioteca Nacional “Dr. Mariano Moreno” (BNMM), de puesta en valor de las obras impresas por la Imprenta de los Niños Expósitos, durante el período 1780-1824, es decir, desde su fundación hasta su traslado desde la ciudad de Buenos Aires a la provincia de Salta. Esta imprenta fue la más importante en Buenos Aires durante el mencionado período, y su producción estuvo vinculada directamente a la conformación del gobierno revolucionario en Argentina. Nos proponemos entonces con este trabajo exponer la manera en que actualmente abordamos la producción de la Imprenta de los Niños Expósitos, entre 1780 y 1824, en tanto cultura impresa de nuestro país, a partir de la identificación y localización de las obras, siendo este estudio un esbozo inicial para estudios posibles sobre el tema. En principio, se presentarán los resultados parciales del relevamiento sistemático de catálogos, referencias e índices bibliográficos en la BNMM que dan cuenta de la existencia física de estos documentos, tanto de obras bibliográficas como de publicaciones periódicas, comunicaciones oficiales (Bandos, Proclamas, etc.) y otros impresos, considerando que se desconoce aún la disponibilidad y estado de los mismos en depósitos. Esta primera fase del proyecto apunta a elaborar un listado completo de este patrimonio impreso.Mesa 4: Cultura impresa, lectores y bibliotecas: enfoques históricos y perspectivas teórico-metodológicasDepartamento de Bibliotecologí

Fantasmas del pasado Frecuencias de cuadro, manivelas y acceso al cine de los primeros tiempos

Spanish translation of  Marek Jancovic ´s text “Ghosts of the Past: Frame Rates, Cranking, and Access to Early Cinema”. In: FOSSATI, Giovanna y Annie van den Oever (eds.). Exposing the Film Apparatus: The Film Archive as a Research Laboratory. Amsterdam: Amsterdam University Press, 2016, pp. 77-82.   Keywords: translation, Marek Jancovic, early cinema, frame rates, cranking.___________ Fantasmas del pasado. Frecuencias de cuadro, manivelas y acceso al cine de los primeros tiemposResumen: Traducción al español del texto, originariamente en inglés, de Marek Jancovic “Ghosts of the Past: Frame Rates, Cranking, and Access to Early Cinema”. En: FOSSATI, Giovanna y Annie van den Oever (eds.). Exposing the Film Apparatus: The Film Archive as a Research Laboratory. Amsterdam: Amsterdam University Press, 2016, pp. 77-82.  Palabras clave: traducción, Marek Jancovic, cine de los primeros tiempos, frecuencias de cuadro, manivelas.___________Fantasmas do passado. Taxas de quadros, manivelas e acesso ao cinema dos iníciosResumo: Tradução para o espanhol do texto em inglês de Marek Jancovic “Ghosts of the Past: Frame Rates, Cranking, and Access to Early Cinema”. In: FOSSATI, Giovanna y Annie van den Oever (eds.). Exposing the Film Apparatus: The Film Archive as a Research Laboratory. Amsterdam: Amsterdam University Press, 2016, pp. 77-82.  Palavras-chave: tradução, Marek Jancovic, cinema dos inícios, taxas de quadros, manivelas.___________  Date of reception: 22nd September de 2019Date of acceptance: 14th November 2019 Traducción al español del texto, originariamente en inglés, de Marek Jancovic “Ghosts of the Past: Frame Rates, Cranking, and Access to Early Cinema”. En: FOSSATI, Giovanna y Annie van den Oever (eds.). Exposing the Film Apparatus: The Film Archive as a Research Laboratory. Amsterdam: Amsterdam University Press, 2016, pp. 77-82.  Palabras clave: traducción, Marek Jancovic, cine de los primeros tiempos, frecuencias de cuadro, manivelas. ___________Ghosts of the Past: Frame Rates, Cranking, and Access to Early CinemaAbstract: Spanish translation of  Marek Jancovic ´s text “Ghosts of the Past: Frame Rates, Cranking, and Access to Early Cinema”. In: FOSSATI, Giovanna y Annie van den Oever (eds.). Exposing the Film Apparatus: The Film Archive as a Research Laboratory. Amsterdam: Amsterdam University Press, 2016, pp. 77-82.   Keywords: translation, Marek Jancovic, early cinema, frame rates, cranking.___________Fantasmas do passado. Taxas de quadros, manivelas e acesso ao cinema dos iníciosResumo: Tradução para o espanhol do texto em inglês de Marek Jancovic “Ghosts of the Past: Frame Rates, Cranking, and Access to Early Cinema”. In: FOSSATI, Giovanna y Annie van den Oever (eds.). Exposing the Film Apparatus: The Film Archive as a Research Laboratory. Amsterdam: Amsterdam University Press, 2016, pp. 77-82.  Palavras-chave: tradução, Marek Jancovic, cinema dos inícios, taxas de quadros, manivelas.___________  Fecha de recepción: 22 de septiembre de 2019Fecha de aceptación: 14 de noviembre de 201