Introducing co-teaching in a PBLL learning unit: “Redesigning public transport in your city”

After observing and implementing a learning unit during the Master’s degree placement period, there was a clear need that could be addressed and improved significantly by introducing this paper’s topic: co-teaching. There are two main advantages that co-teaching provides: in the first place, better attention to differentiation and, in the second place, more time to develop resources and teaching styles in order to focus on both production skills: speaking and writing. Aiming at the emphasis that the Aragonese curriculum for EFL lays on the communicative purpose of a foreign language, co-teaching will enhance and create more possibilities for the practice of communicative skills. By means of interactive, original and well-grounded activities and tasks, students will feel engaged toward creating a meaningful product, i.e. a digital poster, which will contain several measures to improve the public transport system in the city of Zaragoza. Thus, the proposed learning unit is a combination of four pedagogical approaches: co-teaching, Communicative Language Teaching, Project-Based Language Learning and Task-Based Language Teaching. It is precisely by the ambitious combination of all four methodologies that students will be achieving mastery in the communicative competence as a whole, while they work on a topic that is relevant to their personal lives. Hopefully, co-teaching becomes a reality sooner than later and both parties involved, students and teachers, can start benefitting from all its advantages. All in all, the proposed learning activities within the unit are meant to be lifelong practice of Foreign Languages.<br /

Estudio del contenido de metales pesados (Cd y Pb) y elementos traza esenciales (Zn) en varios tejidos de seis especies de aves de Tenerife.

Se ha recopilado y analizado información sobre contenidos de cadmio (Cd), plomo (Pb) y zinc (Zn) en hígado, plumas y otras muestras biológicas de 6 especies de aves: pardela cenicienta (Calonectris borealis), garza real y garceta común (Ardea cinerea y Egretta garzetta), becada (Scolopax rusticola), gaviota patiamarilla (Larus michahellis)y búho chico (Asio otus canariensis).El objetivo es averiguar si el comportamiento trófico condiciona la acumulación de estos metales en sus tejidos internos. Los niveles de Cd y Pb tienden a ser menores en aves que se alimentan de invertebrados terrestres (S. rusticola) en comparación con rapaces (A. otus canariensis) y especies oportunistas (A.cinerea, E. garzettay L. michahellis). El Zn suele ser superior en pollos en crecimiento que en adultos. Sin embargo, factores fisiológicos, biológicoso ligados a las actividades humanas pueden influir en el proceso bioacumulativo de estos metales.En Canarias, se requieren estudios más profundos para conocer el impacto ecológico y el grado de exposición metálica al que se encuentra sometida la avifauna.Information about cadmium (Cd), lead (Pb) and zinc (Zn) content in liver, feathers and other bilogical samples has been collected and analyzed for 6 bird species: Cory’s shearwater (Calonectris borealis), grey heron and little egret (Ardea cinerea and Egretta garzetta) ,Eurasian woodcok (Scolopax rusticola), yellow-legged gull (Larus michahellis) and long-eared owl (Asio otus canariensis). The aim of this study is to assess if trophic behaviour can influence metallic accumulation in their inner tissues. Cd and Pb levels are usually lower in birds that feeds on soil invertebrates (S.rusticola) than raptors (A.otuscanariensis) and opportunistic species (A. cinerea, E. garzetta and L. michahellis).Zn can be higher in growing chicks compared to adults. However, physiological, biological factors or those related to human activities can modify the bioacumulation process of these metals. Further studies are needed in Canary islands to reveal the ecological impact and metallic exposure that affects bird species

El papel de la comunicación interna en la gestión del teletrabajo durante la crisis de la COVID-19

Among the changes brought about by the COVID-19 crisis, many of them affect the management of organizations. This is the case of the sudden implementation of teleworking policies, which, together with social distancing measures and periods of confinement, became widespread in the worst period of the pandemic. This research studies the role of internal communication in the management of telework during the Covid-19 crisis through document review and expert interviews. The results indicate that internal communication is a very important element for these policies and that during the pandemic its relevance in keeping employees aligned with the interests of the brands has been highlighted. To execute these policies, organizations have developed new channels, enhanced team cohesion, and fostered empathy from leaders and the separation of work and personal life. Communication with employees is the cornerstone of these telework policies, which require the implementation of strategies and tools to facilitate the well-being and happiness of remote workforces. This paper also incorporates recommendations for internal communication management concerning the new organizational needs arising during this period.Among the changes brought about by the COVID-19 crisis, many affect the management of organisations. This is the case of the sudden implementation of teleworking policies, which, together with social distancing measures and periods of confinement, became widespread in the worst period of the pandemic. This research studies the role of internal communication in the management of telework during the Covid-19 crisis through document review and expert interviews. The results indicate that internal communication is a very important element for these policies and that during the pandemic its relevance in keeping employees aligned with the interests of the brands has been highlighted. To execute these policies, organisations have developed new channels, enhanced team cohesion and fostered empathy from leaders and the separation of work and personal life. Communication with employees is the cornerstone of these telework policies, which require the implementation of strategies and tools to facilitate the well-being and happiness of remote workforces. This paper also incorporates recommendations for internal communication management in relation to the new organisational needs arising during this period.Entre los cambios que ha traído consigo la crisis de la COVID-19 muchos afectan a la gestión de las organizaciones. Es el caso de la repentina implantación de las políticas de teletrabajo, que con las medidas de distanciamiento social y los periodos de confinamiento se generalizaron en el periodo más crudo de la pandemia. Esta investigación estudia el papel de la comunicación interna en la gestión del teletrabajo durante la crisis de la Covid-19 a través de la revisión documental y de entrevistas a expertos. Los resultados indican que la comunicación interna es un elemento de gran importancia para estas políticas y que durante la pandemia se ha puesto de manifiesto su relevancia para mantener alineados a los trabajadores con los intereses de las marcas. Para ejecutarlas, las organizaciones han desarrollado nuevos canales, potenciado la cohesión de los equipos y fomentado la empatía de los líderes y la separación del tiempo laboral y la vida personal. La comunicación con los empleados resulta la piedra angular de estas políticas de teletrabajo, que requieren de la implementación de estrategias y herramientas para facilitar el bienestar y la felicidad de las plantillas que trabajan en remoto. Este trabajo también incorpora recomendaciones para la gestión de la comunicación interna en relación a las nuevas necesidades organizativas surgidas durante este periodo

25º aniversario da Oficina de Cooperación e Voluntariado: #25 voces

[Resumo] Nestes máis de 25 anos de traballo da Oficina de Cooperación e Voluntariado da Universidade da Coruña foron moitas as iniciativas e o esforzo encamiñado a estimular a participación solidaria da comunidade universitaria a través de propostas, tales como bolsas para estadías en proxectos de cooperación, convocatorias de axudas en educación ao desenvolvemento, premios etc., así como aqueloutras que estimulan a organización de eventos e/ou a investigación nas anteditas materias. Nos últimos oito anos incorporamos a metodoloxía de aprendizaxe e servizo, en constante crecemento e coa estreita colaboración do CUFIE, o cal permitiu a centos de estudantes colaboraren e coñeceren de primeira man entidades da súa contorna e iren sementando o xermolo dunha cidadanía con conciencia crítica que sempre foi o obxectivo principal da OCV. Especial relevancia tiveron –e teñen– os centos de voluntarias e voluntarios que ao longo deste camiñar axudaron a construír unha sociedade máis xusta e acompañaron a persoas e colectivos desfavorecidos e vulnerables da nosa sociedade. Tamén as organizacións e institucións con que colaboramos na organización de eventos e que se sumaron a este ilusionante proxecto. A OCV estivo á altura dos acontecementos e conseguiu continuar ofrecendo canles de colaboración nos anos máis duros que nos tocou vivir coa pandemia. Anteriormente, ante outros sucesos históricos da nosa terra, caso do afundimento do Prestige, coordinou o voluntariado que dende cada recuncho do Estado español chegaba ás nosas costas para limpar o chapapote. Durante toda a nosa traxectoria sentimos o apoio de todas as persoas que formaron e forman parte desta apaixonante historia de 25 anos. Todas sodes parte da OCV. Con esta publicación, quixemos visibilizar as vidas de 25 persoas que desde diferentes ámbitos loitan cun denominador común: os dereitos humanos. Son activistas que non caeron na indiferenza que moitas veces afoga a obrigada resposta ante a inxustiza social

Hybridisation and transmedia narratives in contemporary popular music. The case of the virtual band Gorillaz.

The virtual band Gorillaz has become a reference in the music industry by mixing virtuality and presence in all its expressions (Jeffery, 2017). Indeed, this gang is presented as a group of four cartoons whose image has no reference to the real world or to fantasy, but is shown as a set of symbols through which the band manifests its identity (Prior, 2009). This band has since its inception shown itself to audiences through multiple identities based on intertextual references and postmodern popular culture names (Rambarran, 2016). The multiplicity of identities together with the diversity of animation formats and projection constitutes the essence of this visual and musical project. This paper aims to determine the band's transmedia narrative, as well as the multiple hybridisations of formats that are shown in the recorded formats and the performances. We focus on the analysis of their new album, Cracker Island (2023), whose narrative moves from virtual to physical spaces. Thus, through a visual and narrative analysis, we study the transmedia narrative on digital platforms, from December 2022 to February 2023. It also includes an analysis of three music videos and completes with a study of the band's launch performance for the Skinny Ape track, held in London and New York. At this event, the band had the collaboration of Google who developed an app where attendees could watch "Gorillaz play in real life as Murdoc, 2D, Noodle and Russel literally tower above them, playing in the middle of two of the world's most iconic skylines" (Mondosonoro, 2022). The findings evidence the storytelling of transmedia and a unique visual universe that connects with audiences, as well as highlight the possibilities of audiovisuals for contemporary music industries, such as video-volumetric (VV), immersive virtual environments (IVEs) and virtual intelligence or augmented reality, both for recorded and live formats.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

A criatividade nas universidades espanholas

Creativity is a widely studied skill and understood as an essential capacity for human development, especially in educational and professional performance. Since the entry into force of the European Higher Education Area, it has been considered a transversal competence in most university degrees, especially in Communication. The aim of this article is to identify the approach to creativity in all the subjects taught in the Audiovisual Communication and Advertising and Public Relations degrees in Spanish public universities. Thus, an analysis of the contents of the teaching guides of the curricula, a questionnaire to teachers of these degrees and a panel of experts from the professional sector have been carried out, who have reflected on the training and creative skills of the new graduates.The results indicate that, despite being considered a transversal and necessary quality for new professionals, creativity is not treated as such in the teaching guides. Although some of them contain terms related to this ability, in the rest of the programmes it is hardly present. This corroborates the gap between the needs of the professional sector and undergraduate university training, as young graduates show significant deficiencies in terms of creative capacity. &nbsp;La creatividad es una habilidad ampliamente estudiada y entendida como una capacidad esencial para el desarrollo del ser humano, en especial en su desempeño educativo y profesional. Desde la entrada en vigor del Espacio Europeo de Enseñanza Superior ha sido considerada como una competencia transversal en la mayoría de los grados universitarios, especialmente en los de Comunicación. El objetivo de este artículo es identificar el abordaje que se hace de la creatividad en todas las asignaturas impartidas en los grados de Comunicación Audiovisual y de Publicidad y Relaciones Públicas en las universidades públicas españolas. De este modo, se ha realizado un análisis de contenidos de las guías docentes de los planes de estudio, un cuestionario a profesorado de estos grados y un panel de expertos del sector profesional, quienes han reflexionado sobre la formación y las destrezas creativas de los nuevos titulados.Los resultados indican que, a pesar de considerarse una cualidad transversal y necesaria para los nuevos profesionales, la creatividad no es tratada como tal en las guías docentes. Si bien en algunas de ellas aparecen recogidos términos relacionados con esta capacidad, en el resto de las programaciones apenas está presente. Se corrobora así la distancia existente entre las necesidades del sector profesional y la formación universitaria de grado, ya que los jóvenes egresados demuestran importantes carencias en cuanto a capacidad creativa.A criatividade é uma habilidade amplamente estudada e entendida como uma capacidade essencial para o desenvolvimento do ser humano, especialmente no seu desempenho educacional e profissional. Desde a entrada em vigor do Espaço Europeu do Ensino Superior, tem sido considerada uma competência transversal na maioria dos diplomas universitários, especialmente em Comunicação. O objectivo deste artigo é identificar a abordagem à criatividade em todas as disciplinas leccionadas nas licenciaturas de Comunicação Audiovisual e Publicidade e Relações Públicas nas universidades públicas espanholas. Assim, foi realizada uma análise dos conteúdos dos guias de ensino dos currículos, um questionário aos professores destes graus e um painel de peritos do sector profissional, que reflectiram sobre a formação e as competências criativas dos novos licenciados.Os resultados indicam que, apesar de ser considerada uma qualidade transversal e necessária para os novos profissionais, a criatividade não é tratada como tal nos guias de ensino. Embora alguns deles incluam termos relacionados com esta capacidade, no resto dos programas ela dificilmente está presente. Isto corrobora o fosso entre as necessidades do sector profissional e a formação universitária de graduação, uma vez que os jovens diplomados apresentam deficiências significativas em termos de capacidade criativa

From social media to the stage: the role of visual storytelling in creating the identity of the indie diva. The case of Florence and The Machine

Nowadays, the role played by social media in the promotion and marketing strategies of artists and bands is undeniable. There are many actor in the music industry that take advantage using these platforms to enhance their impact and influence amongst fans and consumers (Anderton et al., 2022; Haynes y Marschall, 2018). This new cultural digital capital thus becomes a significant element in the creation and success of their products, either live or recorded (Arriaga y Concha, 2020). Here, visual storytelling acquieres an important role in promoting their work as well as in building their identity. Hence, artists are increasingly concerned with their conception and promotion. This study focuses on the visual universe of Florence Wells and her band Florence and The Machine, one of today's most important indie artists, and in particular on her latest album, Dance Fever. In order to do so, a mixed methodology has been used, including documentary review and narrative and visual analysis applied to the album cover designed for social media, to the music videos of her six singles, to her digital storytelling —on Instagram, Spotify and Youtube and from March 2022 to September 2022— and to the artistic and stage design of the Dance Fever Tour. The findings suggest that her visual universe is a key feature of the transmedia strategy, creating her brand identity as a new model of woman singer: the indie diva, a global, humanist and even renaissance artist, distancing her from the traditional stereotypes of the female performer

Evaluación de arquitecturas de software con ATAM (Architecture Tradeoff Analysis Method) :un caso de estudio

La Arquitectura de Software condiciona las características del producto final en cuanto a cualidades como desempeño y mantenibilidad. El Architecture Tradeoff Analysis Method (ATAM) es una metodología para evaluar Arquitecturas de Software basada en los atributos de calidad especificados para el sistema, desarrollada por el Software Engineering Institute (SEI). El Grupo de Ingeniería de Software (Gris) del Instituto de Computación tiene como eje de sus actividades un programa de construcción y prueba de modelos de proceso, en cuyo contexto se desarrolló una herramienta para especificar modelos de procesos. ATAM se puso en práctica para evaluar el producto obtenido y realizar un segundo ciclo de desarrollo sobre el mismo, mejorando aspectos de riesgo identificados principalmente para el atributo de calidad performance. Se presenta ATAM y el caso de estudio realizado en el marco del programa

Beyond the venue: the role of digital visual communications in sustaining and recreating the music festival experience

La proliferación actual de festivales en el territorio español —agentes destacados dentro de la industria musical— ha traído consigo un aumento de la competitividad en este sector. Con la intencionalidad de diferenciarse dentro de la amplia oferta de eventos musicales, los organizadores diseñan sus acontecimientos en forma de experiencia que cada año se renueva, pero que a la vez perdura como cultura de festival, la cual es difundida a través del audiovisual digital. El presente trabajo, de carácter exploratorio, parte de estudios previos que definen a los festivales como espacios cíclicos y experienciales, de naturaleza multidimensional y comunicacional. Pretende determinar el rol del vídeo y la imagen digital para construir, mantener y redefinir dicha experiencia. Se emplea una metodología mixta mediante una revisión documental, un análisis de caso múltiple de tres de los festivales más importantes de España y entrevistas a expertos y expertas. Los resultados demuestran la relevante función de las narrativas audiovisuales en la definición y fijación de dichas experiencias, así como en su memorabilidad y creación de expectación para la siguiente edición. Se describen igualmente las principales características y elementos que la componen. Por último, destaca el papel de los aftermovies como marcadores de la pauta expresiva y narrativa de la comunicación digital de estos eventos.The current spread of music festivals in Spain - prominent players in the music industry - has increased competitiveness in this sector. To differentiate themselves from the wide range of musical events, the organisers design their festivals as an experience renewed every year but which, at the same time, lives on as a festival culture disseminated by way of digital audiovisuals. This exploratory paper builds on previous studies that define festivals as cyclical and experiential, multi-dimensional and communicational spaces. It aims to determine the role of video and digital images in constructing, maintaining and redefining this experience. A mixed methodology is employed through a documentary review, a multi-case analysis of three of the most important festivals in Spain and interviews with experts. The results show the relevant role of audiovisual narratives in defining and fixing these experiences, as well as in their memorability and the creation of expectations for the next edition. The main characteristics and elements that compose it are also detailed. Finally, it highlights the role of after-movies as markers of the graphic and narrative pattern of the storytelling of these events.La investigación de la que se deriva este artículo ha contado con la financiación del Grupo de Investigación de la Universidad de Málaga PAIDI SEJ-435 “Contenidos Audiovisuales Avanzados”

Aplicación de patrones en el modelado de procesos de negocio

El objetivo del presente trabajo, es la aplicación de patrones en el modelado de procesos de negocio que permita generar un modelo inicial; a partir del cual se deriven los requerimientos/casos de usos para su validación, creando Modelos Conceptuales de un sistema de información. El presente puede considerarse como una extensión al proyecto anterior “UTN1643 ‐Validación de Requerimientos a través de Modelos Conceptuales” (consolidado dentro del grupo GIDTSI dependiente del Departamento de Ingeniería en Sistemas de Información de la Universidad Tecnológica Nacional, Facultad Regional Córdoba). Desde lo metodológico, se apunta al uso de patrones de negocio, análisis y diseño, en el desarrollo de un Modelo Conceptual que permita un primer acercamiento inicial al nuevo sistema, permitiendo facilitar la validación y verificación de los requerimientos funcionales que contempla el sistema. Para que pueda ser factible, será necesario poder reusar los conocimientos y experiencias adquiridas en el desarrollo de sistemas anteriores, siendo ese conocimiento un conjunto de soluciones a las que denominaremos patrones de análisis y diseño. También se propone ampliar el alcance y funcionalidad de una herramienta denominada “SIAR” que permite gestionar y validar requerimientos de software, diseñada y construida en el mencionado proyecto anterior.Eje: Ingeniería de SoftwareRed de Universidades con Carreras en Informática (RedUNCI