El encuentro con la realidad y experiencias documentales contemporáneas: búsquedas conscientes y hallazgos inesperados.

Objetivos: El documental es una exploración, ya sea en mi barrio, en un tanatorio, en un psiquiátrico o en un desierto desconocido; soy un extraño que muchas veces me obsesionaré por dejar de tener el control de las cosas, esperando que se rebelen contra mí, y en otras ocasiones las provocaré para que sucedan. Esta reflexión viene tras la lectura de una entrevista con el cineasta portugués Miguel Gomes en la que hablaba de su fijación por poseer el dominio total hasta que comenzara el rodaje, para una vez iniciado empeñarse en dejar de tenerlo. Lo mismo pensaba Robert J. Flaherty -así lo cuenta el director de fotografía de Lousiana Story (1948) Richard Leacock- cuando cambió el plan de una mañana para poder filmar con luz perfecta una tela de araña bañada en gotas de rocío. Por tanto, cuando preparo una película, si sé lo que me voy a encontrar, ya no me va a interesar hacerla. Este cliché de cineasta aventurero, que repito como un mantra y que tiene algo de ignorancia pendenciera de lo que es ganarse la vida con el cine, plantea un problema a la hora de hacer películas documentales, son difícilmente vendibles como proyectos y además provocan inseguridad a un hipotético productor e incluso a mí mismo. La solución la encuentro en la mentira; en engañarme tanto a mí como a los demás, planteando planes de rodaje calculados, fáciles de armar para un obsesivo como yo, que se convertirán en puntos de partida para ayudarme a escapar hacia lo que más temo: la soledad, el descontrol y la imposibilidad de empatizar con el otro. A todas estas circunstancias, que afectan la vida de uno y que suelo evitar, tendré que hacer frente en los rodajes. Contenido: Análisis del proceso creativo práctico a partir de la experiencia personal del profesor en la dirección del largometraje documental “Dime quién era Sanchicorrota” (2013).Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

Performer’s analysis, or the artist intuitively informed

En la década de los 80 los escritos sobre análisis e interpretación tuvieron tal auge que prácticamente constituyeron una nueva subdisciplina dentro de la musicología, envolviendo la cuestión dentro de una animada discusión, en la que un sector cada vez mayor del mundo académico aconsejaba con más insistencia la presencia de los intérpretes sobre el terreno de juego como requisito previo aconsejable para normalizar la situación. El desafío y esfuerzo que comporta para las partes implicadas significa, en el caso concreto de los intérpretes, la entrada en un tipo de contexto que no suele ser el habitual del artista, aunque tampoco le es totalmente ajeno, ya que la práctica totalidad de los intérpretes de música compaginan junto a la actuación musical en los escenarios alguna clase de tarea académica o docente. El reto - y también el objetivo de este artículo - es lanzar puentes para encontrar algún punto en común que acerque ambas posturas, ya que analistas e intérpretes tienen mucho que compartir puesto que cada interpretación musical encierra en ella algún tipo de análisis y todo análisis teórico no deja de ser en sí mismo una interpretación.Throughout the 1980’s written works about analysis and performance enjoyed such a boom that they practically became a new sub-discipline of musicology themselves. They embraced the issue in a bustling discussion in which a growing majority of the academic sector insistently opted for the physical presence of the performers as a precondition in order to normalize the situation. The challenge and effort entailing to the parties involved signified, in the specific case of performers, the entrance into a context which is unusual for the artist (although not completely alien), for practically every musician combine onstage performances with some type of academic or teaching task. The challenge - and also the objective of this article - is to bridge the gap in order to find the common ground that brings both points of view closer. Both analysts and performers have a lot to share since every musical performance holds in itself some kind of analysis and every theoretical analysis is after all an interpretation in itsel

El Urbanismo Ibérico en la Serreta.

Aquest treball constitueix el primer estudi global del conjunt urbanístic del jaciment ibèric de la Serreta (L'Alcoia-El Comtat), el qual inclou la planimetria alçada en 1985. Identifica i documenta les actuacions arqueològiques que s'hi han realitzat, des de 1917 al 1969, tot aportant-hi documentació inèditaThis piece of research work represents the first global study of the whole urbanistic entirety of La Serreta's Iberian archaeological site (L'Alcoià-El comtat), and includes the planimetry of rhe same which was carried out in 1985. This study identifies and documents the archaeological excavations and activities performed in this site from 1917 up to 1969, and also contributes some unpublished documents relative to the sameEste trabajo constituye el primer estudio global del conjunto urbanístico del yacimiento ibérico de la Serreta (L'Alcoid-El Comtat), del cual se incluye la planimetría levantada en 1985. Identifica y documenta las actuaciones arqueológicas realizadas en el mismo, desde 1917 hasta 1969, aportando documentación inédita al respecto

Smoke, ayrezillo and duende in Messiaen. A Performer Analysis of the Amen de la Consommation. (Part 2)

El siguiente artículo supone el punto y fnal a la exposición comenzada por sus autores en el número anterior de esta revista. En esta ocasión, el objetivo consiste en plantear un estudio de caso que muestre evidencias palpables acerca de la participación de la subjetividad del músico en el momento de la verdad - el concierto público - mostrando la relevancia que tienen estas aportaciones personales en el resultado fnal de sus actuaciones. A través de la combinación de recursos audiovisuales, técnicas de investigación etnográfcas y análisis de la partitura, es posible dar voz al análisis del intérprete. Este tipo de análisis permite desgranar las decisiones del proceso creativo de los ejecutantes y sus mediaciones entre partitura y auditorio, protagonizando a su vez una decidida apuesta por el artista y la defensa audaz de su experiencia más íntima en la palestra académica.The following article is the ending of the statement that was initially exposed by its authors in the previous journal. This time the objective is to lay out a case study that shows undeniable evidence of the participation of the musician’s subjectivity in the moment of truth - performing in front of an audience - proving the importance of these personal contributions in the fnal result of his performances. Through the combination of audiovisual resources, ethnographic investigation techniques and the analysis of music sheets, it is possible to give voice to the performer’s analysis. This type of analysis allows us to look into the decisions of the performer’s creative process and the way that mediate between music sheets and the auditorium. It is a commitment to the artist and to support his intimacy in the academic environament

Smoke, ayrezillo and duende in Messiaen. A Performer Analysis of the Amen de la Consommation. (Part 1)

¿Es posible hacer visible en el tapete académico la tarea creativa de los intérpretes, tradicionalmente mostrada en las salas de conciertos? ¿Acaso no sería formidable descubrir cómo son informados los músicos en su tarea interpretativa? El análisis musical teórico puede puntualmente orientar a los artistas, no obstante, incluso en estos casos, el modo y manera en que decidan proyectar cualquier descubrimiento analítico sobre la audiencia está en sus manos, en su profesionalidad, talento y bagaje artístico; pero también dependerá del tiempo real, del momento único e irrepetible de la performance, del duende de la actuación. Este primer artículo - que proseguirá en el futuro con una segunda entrega - presenta la fundamentación teórica sobre la que descansará próximamente un estudio de caso, basado en la interpretación en vivo de Amen de la Consommation de Olivier Messiaen. Pero antes, para superar los límites del análisis teórico convencional, es ineludible hallar el modo de revelar el papel decisivo que juega la intuición, como fuente de conocimiento que informa a los intérpretes en sus recitales públicos.Is it possible to bring into line the creative work of artists traditionally seen in live venues into the academic world? Would it not be fantastic to discover how the musicians are informed in their interpretative task? Theoretical musical analysis can from time to time guide the artists, nevertheless even in these cases the how and the method in which they decide how to plan any analytic fnd is in their own hands, in their professionalism, talent and cultural background; but it will also depend on the actual, unique and unrepeatable moment of the performance, the magic in the interpretation. In this frst article - which will be followed by a second one - we fnd the theoretical basis in which the future case study based on the live performance of Amen de la Consommation by Olivier Messiaen relies on. But before going into that, in order to be able to surpass the limits of conventional theoretical analysis, it is necessary to fnd out the way to reveal the critical role that intuition as a source of knowledge which informs the performers in their live concerts play

Patología degenerativa del raquis cervical. Revisión

Patología Degenerativa del Raquis Cervical. Revisión La enfermedad degenerativa cervical es frecuente, aunque casi siempre asintomática. Cuando se manifiesta, los síntomas pueden presentarse en forma de dolor cervical axial de radiculopatía o de mielopatía. La compresión crónica del raquis cervical debido a procesos degenerativos, incluyendo la hernia discal, espondilosis, y la hipertrofia ligamentosa o su osificación, ha sido en su conjunto atribuido como mielopatía cervical degenerativa (DCM)

Effects of salvage logging on soil properties and vegetation recovery in a fire-affected Mediterranean forest: A two year monitoring research

Post-firemanagement can have an additional impact on the ecosystem; in somecases, evenmore severe than the fire. Salvage logging (SL) is a common practice in most fire-affected areas. The management of burnt wood can determine microclimatic conditions and seriously affect soil properties. In some cases, the way of doing it, using heavy machinery, and the vulnerability of soils to erosion and degradation can make this management potentially aggressive to soil. Research was done in “Sierra de Mariola Natural Park” (E Spain). A forest fire (N500 ha) occurred in July 2012. In February 2013, SL treatment was applied in a part of the affected forest. Plots for monitoring this effect were installed in this area and in a similar nearby area where no treatment was done, used as control (C). Soil samplings were done immediately after treatment and every 6 months during two years. Some soil properties were analysed, including organic matter (OM) content, nitrogen (N) available phosphorous (P) basal soil respiration (BSR), microbial biomass carbon (Cmic), bulk density (BD),water repellency (WR), aggregate stability (AS) and field capacity (FC). SL treatment caused an increase in BD, a decrease of AS, FC, OMand N. In the control area, in general the soil properties remained constant across the 2 years of monitoring, and the microbial parameters (BSR and Cmic), initially affected by the fire, recovered faster in C than in the SL area. Plant recovery also showed some differences between treatments. No significant differenceswere observed in the number of plant species recorded (richness) comparing C versus SL plots, but the number of individuals of each species (evenness)was significantly higher in C plots. In conclusion, we can affirmthat for the conditions of this study case, SL had a negative effect on the soil-plant system.To the “Ministerio de Economía and Competitividad” of the Spanish Government for financing the POSTFIRE project (CGL2013- 47862-C2-1-R) and Alcoi counci

Agreement between results of meta-analyses from case reports and clinical studies, regarding efficacy and safety of idursulfase therapy in patients with mucopolysaccharidosis type II (MPS-II): a new tool for evidence-based medicine in rare diseases

Case reports; Clinical studies; Enzyme replacement therapyInformes de casos; Estudios clínicos; Terapia de reemplazo de enzimasInformes de casos; Estudis clínics; Teràpia de reemplaçament enzimàticBackground: A preliminary exploratory study shows solid agreement between the results of case reports and clinical study meta-analyses in mucopolysaccharidosis Type I (MPS-I) adult patients. The aim of the present study is to confirm previous results in another patient population, suffering from mucopolysaccharidosis Type II (MPS-II). Methods: A systematic review and meta-analysis of case reports published by April 2018 was conducted for MPS-II patients treated with enzyme replacement therapy (ERT). The study is reported in accordance with PRISMA and MOOSE guidelines (PROSPERO database code CRD42018093408). The assessed population and outcomes were the same as previously analyzed in a meta-analysis of MPS-II clinical studies. The primary endpoint was the percent of clinical cases showing improvement in efficacy outcome, or no harm in safety outcome after ERT initiation. A restrictive procedure to aggregate case reports, by selecting standardized and well-defined outcomes, was proposed. Different sensitivity analyses were able to evaluate the robustness of results. Results: Every outcome classified as "acceptable evidence group" in our case report meta-analysis had been graded as "moderate strength of evidence" in the aforementioned meta-analysis of clinical studies. Sensitivity, specificity, and positive-negative predictive values for results of both meta-analyses reached 100%, and were deemed equivalent. Conclusions: Aggregating case reports quantitatively, rather than analyzing them qualitatively, may improve conclusions in rare diseases and personalized medicine. Additionally, we propose some methods to evaluate publication bias and heterogeneity of the included studies in a meta-analysis of case reports

Enhancing the effects of neurofeedback training: the motivational value of the reinforcers

The brain activity that is measured by electroencephalography (EEG) can be modified through operant conditioning, specifically using neurofeedback (NF). NF has been applied to several disorders claiming that a change in the erratic brain activity would be accompanied by a reduction of the symptoms. However, the expected results are not always achieved. Some authors have suggested that the lack of an adequate response may be due to an incorrect application of the operant conditioning principles. A key factor in operant conditioning is the use of reinforcers and their value in modifying behavior, something that is not always sufficiently taken into account. This work aims to clarify the relevance of the motivational value versus the purely informational value of the reinforcer. In this study, 113 subjects were randomly assigned two different reinforcer conditions: a selected reinforcer—the subjects subjectively selected the reinforcers—or an imposed reinforcer— the reinforcers were assigned by the experimenter—and both groups undertook NF sessions to enhance the sensorimotor rhythm (SMR). In addition, the selected reinforcer group was divided into two subgroups: one receiving real NF and the other one sham NF. There were no significant differences between the groups at baseline in terms of SMR amplitude. After the intervention, only those subjects belonging to the selected reinforcer group and receiving real NF increased their SMR. Our results provide evidence for the importance of the motivational value of the reinforcer in Neurofeedback succes