Composición y control del azar mediante las formas reticulares en algunos poemas de la serie Ovonovelo de Augusto de Campos / Composition and control of random by reticular forms in Augusto de Campos poems

El presente artículo propone la revisión de tres poemas de Augusto de Campos, compilados en la serie Ovonovelo, escrita entre los años 1954 y 1960. Esta se enmarca en la llamada fase matemática del concretismo brasileño, seguramente la etapa más dogmática y minimalista del Grupo Noigandres. En este sentido, me interesa leer los poemas desde la idea de azar, propuesta por Peter Bürger y así dar cuenta de cómo esta categoría se traslada desde el estudio de las vanguardias europeas hacia un orden distinto en la poesía concreta brasileña.Asimismo, es importante leer los poemas desde la noción de lo verbivocovisual, tomada de James Joyce y que evoca la consideración no solo de la carga semántica de los poemas, sino que también existe una especial atención y exploración de las dimensiones visuales y sonoras en cada una de las composiciones. Por una parte, lo anterior exige comprender la disposición espacial de los poemas -que toman formas reticulares- que declaran el carácter autónomo y autorreferencial del espacio del arte. Por otra parte, en este artículo propongo el ejercicio de leer los poemas en relación con sus distintas versiones orales, de modo que son estas las que ordenan y proponen distintas maneras de lectura.The present article aims to reconsider three poems by Augusto de Campos, compiled in Ovonovelo series written between 1954 and 1960. This series is part of called the mathematical phase of Brazilian concretism, surely the most dogmatic and minimalist stage of Grupo Noigandres. I am interested to read the poems from the idea of random, given by Peter Bürger and show how this category is moved from the study of the European avant-garde to a different order in Brazilian concrete poetry.It is also important to read the poems from the verbivocovisual notion, taken from James Joyce and evoking consideration not only the semantic of the poems, but there is also a special attention and exploration of visual and sonority dimensions in the poetic compositions. On the one hand, the above requires understanding the spatial arrangement of the poems –taking reticular forms- that declare the nature of autonomous and self-referencial art space. Moreover, in this article I propose the exercise of reading the poems in relation to their different oral versions, so these propose the ordering and different ways to reading

The Big Empty: The Great Plains in the Twentieth Century

Review of: "The Big Empty: The Great Plains in the Twentieth Century," by R. Douglas Hurt

On the diameter and incidence energy of iterated total graphs

The total graph of $G$, $\mathcal T(G)$ is the graph whose set of vertices is the union of the sets of vertices and edges of $G$, where two vertices are adjacent if and only if they stand for either incident or adjacent elements in $G$. Let $\mathcal{T}^1(G)=\mathcal{T}(G)$, the total graph of $G$. For $k\geq2$, the $k\text{-}th$ iterated total graph of $G$, $\mathcal{T}^k(G)$, is defined recursively as $\mathcal{T}^k(G)=\mathcal{T}(\mathcal{T}^{k-1}(G)).$ If $G$ is a connected graph its diameter is the maximum distance between any pair of vertices in $G$. The incidence energy $IE(G)$ of $G$ is the sum of the singular values of the incidence matrix of $G$. In this paper for a given integer $k$ we establish a necessary and sufficient condition under which $diam(\mathcal{T}^{r+1}(G))>k-r,$ $r\geq0$. In addition, bounds for the incidence energy of the iterated graph $\mathcal{T}^{r+1}(G)$ are obtained, provided $G$ to be a regular graph. Finally, new families of non-isomorphic cospectral graphs are exhibited

Sophie Calle-Ren adierazpen artistikoa voyeurismo programatuaren bitartez

Dokumentu honen bidez, besteak beste, etengabeko zaintza suposatzen duen gizartea salatzeko praktika voyeurista bat jorratuko duen Sophie Calle artista dugu aztergai. Nahiz eta artista honen espresio artistikoa gaur egunera arte luzatzen den, Gradu Amaierako Lan hau, bere lehen artelanek jorratzen duten voyeurismo programatuaren inguruko analisian zuzenduko da; aurkeztuko diren bost artelanak 1979 eta 1983. urteen bitartean garatutakoak dira. Bere lana performance-aren praktika artistikoaren barruan egokituko du, geroago testu eta argazkien bidez arte kontzeptualean bihurtzen duena. Voyeurismo programatuari dagokionez, Sophie Calle espioi performatibo bat dugu. Eremu publiko eta pribatuaren inguruan ardura sakon bat erakutsi duen artista da, eta horrekin batera, ezezagunen mundu pribatuarekiko interesa. Haien bizitza pribatuan ikertu egiten du espioi bezala, jende hori jarraitu egiten du. Modu berean, jarraikorra izango da subjektu eta objektuaren arteko paper-trukea, honek garatzen duen esanahiaren inguruan ideia finko bat aurkeztuko duelarik. Izan ere, artea, errealitatearen errepresentaziotzat ulertu dezakegu, baina, modu berean, errealitatea errepresentazio bat ere bada. Sophie Calle-k errepresentazio hori modulatzea proposatuko du, hala, errealitate horren oinarriak bere onetik ateratzeko eta ondorioz, gertatutakoa erregistratu eta transformazio hori komentatzeko. Artista, nobela bateko pertsonaia antzekotzat aurkeztuko zaigu; guztiz pribatua den bizitza bat du, jendeari interesatzen ez zaiona. Aldiz, artistak interesgarria izan daitekeen beste intimitate bat proiektatuko du nahiz eta intimitate hau fikziozkoa izan daitekeen. Norberaren bizipen esplizituak sorkuntzarako lehengai bezala erabiltzen dituen aitzindarietako bat dugu Sophie Calle. Mendeetan zehar erabilpen hau mespretxagarria izan da, aldiz, gure artistak, lehengai hau arte bati erantzuten dion funtsezko objektuan bihurtuko du arte kontzeptualaren eremuan honi itxura emanez. Hortaz, bost lan hauen bidez, aurkeztutako artista frantziar hau gizarteak jokatzen duen modu berean jardun egingo da, hala ezezagunen bizitza pribatuan kuxkuxeatuz, eta hortaz praktika voyeurista bat planteatuz. Artistak, benetako espioi bat imitatuz, ez du zalantza ez lotsarik izango edozein lekutan ikerketa bat garatzeko, eta hala, bai tabernak, bai kaleak, bai hotelak eta bestelakoak aztertuko ditu. Artea eta bizitza batzen dituen adibide bikaina dugu Sophie Call

Nadzorowanie oraz ocenianie kolegiów i uniwersytetów w Kanadzie

The paper presents contemporary practices concerning the monitoring and evaluation of the Canadian higher education institutions. The method of students’ performance appraisal as well as peer review method on the individual, institutional and system level are presented. Also, the use of performance indicators, output measures and input measures are discussed. The Author expresses the opinion, that role of quality evaluation and monitoring at colleges and universities will be enhanced in the upcoming years, despite numerous reservations adversities accompanying these activities, as the social expectations regarding the evaluation of colleges and universities are growing. This is accompanied by the growing understanding of these type expectations in the academic community.W artykule przedstawiono współczesną praktykę nadzorowania i oceniania kanadyjskiego szkolnictwa wyższego. Opisano zarówno sposób osiągnięć studenckich, jak i metody ocen wewnątrzśrodowiskowych (peerreview ) na poziomie indywidualnym, instytucjonalnym i systemowym. Omówiono także sposób użycia wskaźników osiągnięć, miar wejściowych (input)  i miar wyjściowych (output).  Autor wyraża przekonanie, że rola oceniania i nadzorowania jakości w szkolnictwie wyższym będzie się zwiększać w nadchodzących latach, mimo wielu wątpliwości i trudności towarzyszących tym działaniom, nasilają się bowiem oczekiwania społeczne związane z oceną jakości szkolnictwa wyższego. Towarzyszy temu rosnące zrozumienie dla owych oczekiwań i ich akceptacja w społeczności akademickiej

Optimal bilinear control problem related to a chemo-repulsion system in 2D domains

In this paper we study a bilinear optimal control problem associated to a chemo-repulsion model with linear production term. We analyze the existence, uniqueness and regularity of pointwise strong solutions in a bidimensional domain. We prove the existence of an optimal solution and, using a Lagrange multipliers theorem, we derive first-order optimality conditions

Using Metadata To Mitigate The Risks Of Digitizing Archival Photographs Of Violence And Oppression

Questioning the archival imperative of access, this research article discussed how descriptive metadata can be used to contextualize and problematize digitized archival photographs, which are often inadequately described in the digital environment. Beginning with literature review of atrocity photos and their use and digitization to discuss the risks inherent to disseminating photos of or born from violence. Review continued into the digital environment and the risks inherent to making difficult archival collections accessible online and the conflict between the right to privacy of the individuals represented in archival materials and the archival imperative to provide access. Expanding on the recommendations made for ethical digitization of difficult or problematic archival collections made by scholars and groups such as Tara Robertson, the Archives for Black Lives in Philadelphia Anti-Racist Description Working Group. This article provided Case studies of a variety of digitized archival collections with offensive or violent contents and called for an acknowledgment of archival Labor in deciding which collections should be digitized and for a consensus on how to determine which collections need extra care and consideration in description. This article criticized the way archival metadata schema and vocabulary reduce photographs to their visual content and provided case studies focusing on metadata. It also introduced contextualizing essays as a tool for critical description. and acknowledged that Metadata work should be used with other measures to ethically digitize and disseminate collections with violent or oppressive histories. It connected Saidiya Hartman’s concept of Critical fabulation to the contextualizing essay, concluding that metadata can be a tool for helping a user of a collection consider it in its historical and social context and provide a space for representing the experiences of those depicted in a collection, especially a collection with violent or problematic origins