Construction of scale models in industrial design: the irruption of additive manufacturing. Rubrics proposal for an objective evaluation

Comunicació presentada a EDULEARN2019, 11th International Conference on Education and New Learning Technologies (July 1-3, 2019, Palma, Mallorca, Spain).Recent studies corroborate the progressive implementation of Additive Manufacturing technologies (commonly known as 3D printing) in education, demonstrating several advantages. In the field of industrial design, the development of models during the design phase of product design helps designers in training to visualize their proposals. Today, 3D printing and traditional model-making techniques coexist in classrooms. With both techniques it is possible to achieve good results, but when it comes to evaluating them it is not so simple, since both ways of working are different and apparently the same evaluation criteria cannot be used in both cases, which could lead to comparative grievances. This work presents a series of rubrics that can help to evaluate the student's models in an objective way and under equal conditions, independently of the technique used: traditional o 3D printing. In order to do this, we started from a rubric made to evaluate traditional models, which was tested during a couple of academic years in other subject. This rubric was adapted to create a new rubric, which allowed to evaluate models made by 3D printing, looking for equivalent criteria with the previous rubric to guarantee a fair evaluation of both ways of working. The rubrics were tested experimentally in the subject ‘Prototypes: experimental workshop’, taught during the 4th year of the Bachelor's Degree in Industrial Design and Product Development Engineering at the Universitat Jaume I (Spain). Two groups of users assessed each work using these rubrics. The results showed, on the one hand, that both groups found it easy to evaluate the works using these rubrics, and on the other hand, that these rubrics allow for a fairly objective evaluation of the works, since the score obtained by both groups of users was very similar

Packaging design: learning through fictional cases or real cases? Comparative study of student performance over 8 academic years

Comunicació presentada a EDULEARN2019, 11th International Conference on Education and New Learning Technologies (July 1-3, 2019, Palma, Mallorca, Spain).In the practical subjects of the Degrees in Industrial Design students usually apply theoretical knowledge to solve complex cases, but in many occasions these cases are only fictional. However, it is also possible to provide students with cases that respond to real needs, and on many occasions it is the companies that propose them through contests. Numerous experiences endorse the Competition-Based Learning (CBL) as a working methodology that improves the motivation of the students. But it is worth asking to what extent this motivation achieves a significant improvement in student performance. This paper hypothesizes that the performance of industrial design students is higher when they work to solve real cases than when they have to solve fictional cases. To demonstrate it, the average grades obtained during 8 academic years in a subject related to packaging are compared. Between 2011 and 2014, students were presented with a fictional case in which it was necessary to solve a specific need for a new type of packaging. Between 2015 and 2018 a similar exercise was planned, but based on real cases proposed by companies in the sector. In both cases, the exercise was planned during the central weeks of the semester, the students were given a similar period of time to develop them (around 4 weeks), and they were evaluated according to similar criteria. The results of this study show that the orientation of the exercises towards real cases through participation in contests seems to have a slight positive influence on student performance (+3.25%), so it is possible to demonstrate that the incorporation of CBL as a teaching methodology is generally positive for design students, given that it improves both their motivation and the quality of their proposals and has a positive impact on their performance

Space-time bayesian hierarchical model for paleoclimate reconstruction

L'objectiu principal és reconstruir dades paleoclimàtiques per entendre l'evolució del clima. Això s'està fent utilitzant predictors espacials i temporals, com ara dades proxy i models bayesians per revelar les estadístiques del model. Altres tècniques matemàtiques s'han utilitzat en el passat per a aquesta reconstrucció, com ara PCA, o altres tècniques de reducció de la dimensionalitat per connectar-se amb les dades proxy.El objetivo principal es reconstruir los datos del paleoclima para comprender la evolución del clima. Esto se hace utilizando predictores espaciales y de tiempo, como datos proxy y modelos bayesianos para revelar las estadísticas del modelo. En el pasado se han utilizado otras técnicas matemáticas para esta reconstrucción, como PCA u otras técnicas de reducción de dimensionalidad para conectarse con los datos proxy.The main goal is to reconstruct paleoclimate data to understand climate evolution. This is being done using spatial and time predictors, such as proxy data and bayesian models to reveal the statistics of the model. Other mathematical techniques have been used in the past for this reconstruction, such as PCA, or other dimensionality reduction techniques to connect with the proxy data

Probabilistic Learning on Manifolds: an overview of the algorithm

PLoM és un algorisme disenyat per generar realitzacions d'un determinat conjunt de dades. També es pot utilitzar amb certes restriccions aplicades sobre les noves realitzacions. Aquesta segona aplicació ajunta diversos passos i necessita condicions específiques per a converger. Té una interminable llista de possibles aplicacions, moltes en el camp de l'estadística i de la inteligencia artificial. En aquest projecte, aquest algorisme ha sigut revisat i provat amb alguns exemples.PLoM es un algoritmo diseñado para generar realizaciones de un determinado conjunto de datos. También puede ser usado con ciertas restricciones aplicadas sobre las nuevas realizaciones. Esta segunda aplicación junta varios pasos y necesita condiciones específicas para converger. Tiene una interminable lista de posibles aplicaciones, muchas en el campo de la estadística y de la inteligencia artificial. En este proyecto, este algoritmo ha sido revisado y provado con algunos ejemplos.PLoM is an algorithm focused on generating realizations of a given data set. It can be used with some constraints applied to the new realizations. This second application puts together many steps and needs specific conditions to converge. It has an endless list of applications most in the field of statistics and artificial intelligence. In this project, this algorithm has been reviewed and tested.Outgoin

Del cine a la televisión : de 24 fotogramas por segundo a 24 episodios por temporada

Multi-million sagas based in attractions from theme parks, adaptations and re- adaptations ad infinitum from pseudo-childish novels of adventures, magic and fantasy, films based on comics, graphic novels, video-games, old myths of cinema rescued, prequels, sequels, trilogies, remakes… Nowadays, all this corner almost entirely cinemas worldwide. Is there a crisis of ideas in contemporary mainstream cinema? Is the industry, somehow, buying success cash on delivery? Are we assisting to the death of the story toward the spectacular of the cinema machine as in the origin of movies? Or, as a last resort, has cinema died? There are many voices that for a number of years of age, coinciding precisely with its recent centennial, have thought about this fact trying to answer these questions. While it is clear there is a mutation both discursive as espectactorial levels, and issues such as digitalization or the influence of new technologies have appeared frequently, has not been studied depthly the hybridization and overlapping that the cinema experiences with other languages such as television or advertising. In this regard, North American dramatic tv series of the new millennium collect many of its formal and narrative resources, subverting some of them, and giving feedback again, in a scenario that becomes an attractive and suggestive subject of studySagas multimillonarias basadas en atracciones de parque temático, adaptaciones y readaptaciones ad infinitum de novelas pseudoinfantiles de aventuras, magia y fantasía, películas basadas en cómics, novelas gráficas, videojuegos, viejos mitos del cine rescatados, precuelas, secuelas, trilogías, remakes… Hoy en día todo ello copa casi completamente las salas de cine a nivel planetario. ¿Hay una crisis de ideas en el cine mainstream contemporáneo? ¿Se está, de alguna manera, comprando el éxito contra reembolso? ¿Asistimos a la muerte del relato en pos de la espectacularidad del artefacto como en el cine de los orígenes? O, en última instancia, ¿Ha muerto el cine? Son muchas las voces que desde hace algunos años, y coincidiendo precisamente con su reciente centenario, han reflexionado acerca de este hecho intentando dar respuesta a estas cuestiones. Si bien es evidente una mutación tanto a nivel discursivo como espectactorial, y aspectos como la digitalización o la influencia de las nuevas tecnologías han aparecido con asiduidad, no se ha estudiado tanto en profundidad la hibridación e imbricación que en la actualidad el cine experimenta con otros discursos como la televisión o la publicidad. En este sentido, las series de televisión dramáticas norteamericanas del nuevo milenio recogen muchos de sus aspectos formales y narrativos, subvirtiendo algunos de ellos, y retroalimentándolos nuevamente, en un escenario que se convierte en un atractivo y sugerente objeto de estudi

Nostalgia de volver a casa: los locos de Madison

The tagline of the first season of the US television series Mad Men (Matthew Weiner, AMC: 2007-) says: “it doesn’t matter what you are, it’s all about how you sell it". Few statements running perpendicular to the discourse of an audiovisual product can be seen as a more categorical defence of the meaningful materiality of a text than this one. MadMen, in its aestheticising look at the men – and women – who shaped the hopes and dreams of North Americans in the 60s, is set to become a cult series before a sophisticated television artefact that acts as the flagship of an elitist, prestigious television that devoutly pays heed to the smallest detail, to everything that does not seem to be happening but which unfolds in the subterfuges of an escapist narrative, in the ironical mannerism of the brilliant and evasive lines of its script, and in the exemplary care taken with its calculated planning and extraordinary multilayered staging. Together all this goes to make up views as seen from an infinite watchtower, as though the viewer was required to possess an especially powerful gaze to watch, and understand, it.Reza el tagline de la primera temporada de la serie de televisión norteamericana Mad Men (Matthew Weiner, AMC: 2007-) que «no importa lo que seas, lo importante es cómo lo vendas». Pocas afirmaciones transversales al discurso de un tejido audiovisual pueden convertirse en un alegato más categórico que éste en torno a la reivindicación de la materialidad significante de un texto. Mad Men, en su estetizante mirada a los hombres —y las mujeres— que dieron forma a las esperanzas y sueños de los norteamericanos en los años 60, se propone como una serie de culto . Un sofisticado artefacto televisivo que funciona como el buque insignia de una televisión de élite y prestigio que atiende con devoción a lo íntimo del detalle, a todo lo que parece no estar pasando pero se desencadena en los subterfugios de una narración escapista, en el manierismo irónico de sus brillantes y esquivas líneas de guión, en el ejemplar cuidado de su calculada planificación y extraordinaria puesta en escena multicapista, componiendo en suma las vistas desde una atalaya infinita como si para contemplarse —y entenderse— fuera necesaria una densidad especial en la mirada del espectador

Does a creative environment help the acquisition of creative skills?

Comunicació presentada al 23rd International Congress on Project Management and Engineering (Málaga, 10-12 July 2019).Numerous studies have shown that the environment affects creativity. This means that the creativity of an individual can be enhanced by placing him or her in an environment with the appropriate stimuli. However, these studies focus on the creativity of results in situ. The present study differs from the previous ones in that the aim is to analyse the effect of this environment on the acquisition of creative skills, since nowadays most university classes are taught in conventional classrooms, without any of the so-called creative stimuli of the environment. For this purpose, the present work shows the results of a practical experience, in which a number of creativity classes in the field of design engineering have been given to two homogeneous groups of students. For the first group the classes were given in a conventional classroom, while for the second group the same classes were given in a classroom with creative stimuli. In order to compare the level of acquisition of creative skills, two groups solved the same creative problem in the same classroom without stimuli, so that it was not the classroom stimuli that influenced the creativity, but that it was only due to the competence acquired by them.Está demostrado en numerosos estudios que el entorno afecta a la creatividad. Se puede potenciar la creatividad de un individuo colocándolo en un entorno con los estímulos adecuados. Sin embargo, estos estudios se centran en la creatividad de los resultados in situ. El presente estudio difiere de los anteriores en cuanto que lo que se pretende analizar es el efecto de dicho entorno en la adquisición de las competencias creativas, puesto que hoy en día la mayoría de las clases universitarias se imparten en aulas convencionales, sin estímulos creativos de entorno. Para ello, el presente trabajo muestra los resultados de una experiencia práctica, en la que se ha impartido un número de clases de creatividad en el ámbito de la ingeniería de diseño a dos grupos homogéneos de alumnos. Para un primer grupo las clases fueron impartidas en un aula convencional, mientras que para el segundo grupo se les han en un aula con estímulos creativos. Para comparar el nivel de adquisición de competencias creativas, sendos grupos resolvieron el mismo problema creativo en una misma aula sin estímulos, para que no fueran éstos los que influyeran en la creatividad, sino que ésta se debiera únicamente a la competencia adquirida

Does the work environment affect designers' creativity during the creative phase depending on their personality profile?

Creativity is one of the fundamental elements to be taken into consideration in the conceptual design phases of the development of new industrial products. It is widely agreed that every individual is creative by nature and that his or her creative capacity may be conditioned by different variables within the work environment. Yet, studies that analyse these variables often treat users in a generalised manner, without paying attention to their specific characteristics. This study sets out from the hypothesis that the user's psychological profile influences the way in which the work environment affects the designer's creativity when addressing the conceptual design phase. Thus, the aim of this study will be to determine whether developing a conceptual design proposal in a "relaxing" or an "arousing" work environment will affect all designers equally or, conversely, it will have a greater effect on some of them depending on their psychological profile. Consequently, the first stage of the study consisted in characterising each member of the control group using the NEO-FFI test. The different users were then distributed into four groups according to the results obtained. In a second phase, each designer developed conceptual proposals for a problem in each of the environments defined for the study. A neutral environment was added as a control element. Subsequently, the CPSS methodology was used to evaluate the creativity of each of the proposals designed in each of the environments. The conclusions from the study show that there is a relationship between some personality profiles and the level of creativity achieved by the designer according to the work environment in which the conceptual proposals have been developed

La diosa Cibeles en Roma: Una aproximación

El culto a la diosa Cibeles nació en el S. VII a.c. en Asia Menor (el templo más importante se encontraba en la ciudad de Pesinunte), y estuvo activo hasta el S. IV d.c., cuando Teodosio I proclamó el cristianismo como religión oficial del imperio romano, aunque en las provincias más periféricas el culto continuó unos años más (como por ejemplo Hispania donde encontramos restos de este culto aún en el S. V d.c.). La llegada a Roma de la diosa Cibeles, se corresponde con un período de mucha necesidad, ya que se veía acorralada por la presión que ejercía Aníbal, durante la II Guerra Púnica. Cibeles pronto fue aceptada por la sociedad en Roma, y fue reconocida como la Magna Mater del panteón romano. Era un culto muy institucionalizado, ya que junto a la imagen de la diosa (sin olvidarnos de Attis), vino toda una serie de ritos muy particulares como la eviracíon y su propia escuela sacerdotal, los galli. La relación de Cibeles con el poder no siempre fue fácil, ya que durante la época republicana estaba prohibido que los ciudadanos romanos se convirtieran en sacerdotes de este culto, pero esto poco a poco gracias a las reformas llevadas a cabo por Claudio y sobre todo Antonino Pío cambió, ya que a partir de este momento, sí se les permitió a los ciudadanos romanos convertirse en sacerdotes de Cibeles y se creó una nueva clase sacerdotal, los archigallus, sacerdotes supremos de este culto. Finalmente durante el período de Constantino, la importancia de este culto fue apagándose poco a poco, hasta que Teodosio I con el Edicto de Tesalónica, promulgó el Cristianismo como religión oficial del Imperio, prohibiendo los cultos paganos como el de Cibeles, llevando a la destrucción de sus templos, como el existente en el Palatino

Atrial Mitral and Tricuspid Regurgitation : Sex Matters. A Call for Action to Unravel the Differences Between Women and Men

Atrial functional regurgitation is caused by atrioventricular annulus dilation, with normal leaflets and ventricular dimensions and function within the normal range. Its occurrence, in both mitral and tricuspid valves, implies a worse prognosis due to the hemodynamic derangement they produce, but also constitutes a marker of greater comorbidity and more advanced disease. Predisposing conditions for these heart valve dysfunctions are mainly atrial fibrillation and heart failure with preserved ejection fraction. However, other factors like female sex also may be involved and influence their incidence, especially for atrial tricuspid regurgitation. In the present review, we analyze sex differences in the reported prevalence of atrial mitral and tricuspid regurgitation, and suggest possible mechanisms involved. Finally, we underline potential therapeutic and preventive strategies to reduce the burden of these heart valve disorders and discuss research gaps