Creole: inside. Cómo hacer filmaciones no etnográficas puede servir a la realización de una etnografía

Durante el trabajo de campo para la realización de mi tesis doctoral he tenido la oportunidad de participar como camarógrafo a la realización de varios videoclips musicales, y como camarógrafo y co-guionista de un documental no etnográfico sobre el más importante grupo de música “típica” de San Andrés, pequeña isla caribeña, punto de cruce y de choque entre el Caribe hispano y el anglófono. En este artículo quiero esbozar unas reflexiones sobre el valor etnográfico y metodológico de esta experiencia supuestamente solo para-antropológica, que sin embargo ha terminado por ser una de las claves fundamentales para la realización de la etnografía

Tefla Madlouma. Resiliências femininas e memoria cultural saharaui por medio da realização dum vídeo musical etnograficamente fundamentado

Tefla Madlouma is a song by one of the greatest Saharawi artists, Mariem Hassan. In this song she relates the abuse suffered by a young girl, transforming an individual violence into a metaphor of the conflict ongoing since the Seventies in Western Sahara between Frente Polisario and the Moroccan Army. Tefla Madlouma is considered especially significant for Saharawi women, and it has been chosen by a group of activists of the collaborative ethnography project Sahara Soundscapes for producing a music video. The group included Saharawi and non-Saharawi activists, ethnographers and communication professionals. Beyond its possible contribution to Saharawi struggle, the collaborative and creative process of video-making has been an opportunity to reflect together on women’s role in Saharawi society and culture. In this paper we describe this process, from the recording of a cover of the original song to the final cut, reflecting also on the use, in the collaborative ethnography of musical practices, of “ethnographically grounded music videos”.Tefla madlouma es una canción de Mariem Hassan, una de las grandes artistas saharauis. En ella Hassan relata la violencia sufrida por una jóven, transformando un abuso individual en una metáfora del conflicto en curso desde los años 1970 en el Sahara Occidental, que ve enfrentados el Frente Polisario y las fuerzas armadas marroquíes. Considerada particularmente significativa por las mujeres saharauis, Tefla madlouma ha sido elegida por un grupo de activistas del proyecto de etnografía colaborativa Sahara Soundscapes (que incluye las autoras de este texto) para realizar un videoclip musical colectivo. Más allá de su posible aporte a la causa, el proceso creativo y colaborativo que ha visto implicadas a activistas saharauis y no saharauis, etnógrafas y profesionales de la comunicación, ha constituido una ocasión para reflexionar conjuntamente sobre el papel de las mujeres y de su música en la sociedad y cultura saharaui. En este artículo describimos este proceso, desde la grabación de una cover del tema original hasta el montaje final, reflexionando también sobre el uso, en la etnografía colaborativa de las prácticas musicales, de los “vídeos musicales etnográficamente fundamentados”.Tefla madlouma é o nome de uma canção de Mariem Hassan, umas das grandes artistas saharauis. Nesta canção, Hassan relata a violência sofrida por uma criança, transformando um abuso individual numa metáfora do conflito em curso desde os anos de 1970 no Sahara Ocidental, no qual a Frente Polisario e as Forças Armadas Marroquinas se confrontam. Considerada particularmente significativa pelas mulheres saharauis, Tefla madlouma foi eleita por um grupo de ativistas do projeto de etnografia colaborativa Sahara Soundscapes (que inclui autoras deste texto) para realizar um videoclip coletivo. Para além da sua possível contribuição para a causa, o processo criativo e colaborativo que envolveu ativistas saharauis e não saharauis, etnógrafas e profissionais da comunicação, constituiu uma oportunidade para refletir conjuntamente sobre o papel das mulheres na sociedade e na cultura saharaui. Neste artigo descrevemos este processo, desde a gravação de um cover do tema original até à montagem final, refletindo ainda sobre o uso da etnografia colaborativa das práticas musicais e dos “vídeos musicais etnograficamente fundamentados”

Catalytic Conversion of Methane to Methanol Using Cu-Zeolites

The conversion of methane to value-added liquid chemicals is a promising answer to the imminent demand for fuels and chemical synthesis materials in the advent of a dwindling petroleum supply. Current technology requires high energy input for the synthesis gas production, and is characterized by low overall selectivity, which calls for alternative reaction routes. The limitation to achieve high selectivity is the high C–H bond strength of methane. High-temperature reaction systems favor gas-phase radical reactions and total oxidation. This suggests that the catalysts for methane activation should be active at low temperatures. The enzymatic-inspired metal-exchanged zeolite systems apparently fulfill this need, however, methanol yield is low and a catalytic process cannot yet be established. Homogeneous and heterogeneous catalytic systems have been described which stabilize the intermediate formed after the first C–H activation. The understanding of the reaction mechanism and the determination of the active metal sites are important for formulating strategies for the upgrade of methane conversion catalytic technologies

Metal-organic frameworks invert molecular reactivity: Lewis acidic phosphonium zwitterions catalyze the Aldol-Tishchenko reaction.

The influence of metal–organic frameworks (MOFs) as additives is herein described for the reaction of n-alkyl aldehydes in the presence of methylvinylketone and triphenylphosphine. In the absence of a MOF, the expected Morita–Baylis–Hillman product, a β-hydroxy enone, is observed. In the presence of MOFs with UMCM-1 and MOF-5 topologies, the reaction is selective to Aldol-Tishchenko products, the 1 and 3 n-alkylesters of 2-alkyl-1,3-diols, which is unprecedented in organocatalysis. The (3-oxo-2-butenyl)triphenylphosphonium zwitterion, a commonly known nucleophile, is identified as the catalytic active species. This zwitterion favors nucleophilic character in solution, whereas once confined within the framework, it becomes an electrophile yielding Aldol-Tishchenko selectivity. Computational investigations reveal a structural change in the phosphonium moiety induced by the steric confinement of the framework that makes it accessible and an electrophile

Pastoralism. Ecological practice and cultural heritage, a case study

Tras una breve introducción para definir y situar la trashumancia como forma de pastoreo en movimiento y el papel histórico que ha jugado en el territorio español, en base a tres experiencias de campo realizadas, centramos la atención en el caso de los hermanos Pérez que transitan con su ganado durante 10 días entre Pontones-Santiago de la Espada (Sierra de Segura) y Linares (Sierra Morena), para describir en primer lugar los elementos del sistema trashumante (pastores, ganado, lugares de agostada e invernada, vía pecuaria, acompañantes) y el recorrido realizado en una de las ocasiones (mayo-junio de 2012). Seguidamente reflexionamos sobre el sentido ecológico a partir de los servicios que ofrece, los valores sociales y culturales que implica como patrimonio inmaterial, y los obstáculos y apoyos que encuentra en su proyección hacia el futuro.After a brief introduction to define and place migration as form of shepherding in movement and its historical role in the Spanish territory, we focus on three experiences of the Perez brothers, who drive cattle for 10 days between Pontones-Santiago de la Espada (Sierra Segura) and Linares (Sierra Morena), to describe first the elements of the migration system (shepherds, cattle, parched and overwintering areas, cattle route, companions) and the trajectory made on one of the occasions (May - June, 2012). Immediately afterwards we examine the ecological meaning of the services that it offers, social and cultural values that it implies as immaterial heritage, and the obstacles and supports that it finds in its prospects for the future.- Grupo de investigación Antropología y Filosofía (SEJ-126). Universidad de Granada. - Área de Antropología Social. Universidad de Jaén. - Laborarorio de Antropología Social y Cultural (HUM-472). Universidad de Almería. - Departamento de Filosofía II. Universidad de Granada

SHARED RESEARCH PRACTICES IN MUSIC. ATTEMPTS AND CHALLENGES FROM PORTUGAL

En los últimos años, un grupo de investigadores de la sede de la Universidade de Aveiro del Instituto de Etnomusicologia —Centro de Estudos em Música e Dança (INET-md/UA)— se ha involucrado en una serie de actividades colaborativas de carácter etnográfico con grupos socialmente vulnerables. El pasaje de prácticas de investigación centradas en la identificación, análisis y explicación de fenómenos, a las que definimos como prácticas de investigación compartida, está influenciando profundamente la labor del grupo: cada vez más sus prioridades se construyen en un diálogo continuo entre academia y comunidades, generando un proceso ecológico de construcción del conocimiento en música, que se mueve hacia una desjerarquización de saberes. Se trata de un proceso aún inicial y a veces contradictorio, hecho de desencuentros entre las necesidades de la academia (que marca tiempos de producción de resultados de investigación cada vez más breves) y de las comunidades (que requieren procesos compartidos sostenibles en el tiempo), pero también de encuentros inesperados y fructíferos.In the last few years, a group of researchers of the branch of the University of Aveiro of the Instituto de Etnomusicologia — Centro de Estudos em Música e Dança (INET-md/UA) — has been involved in ethnographic collaborative activities with vulnerable social groups. The shifting from research practices centred in the identification, analysis and explanation of events, to what we define as shared research practices, is deeply influencing the research group. Its priorities are increasingly decided through a dialogue between the academia and non-academic communities, originating an ecological process of construction of knowledges in music that goes towards knowledge de-hierarchization. This process is still in its initial stage and sometimes it has contradictory aspects. It is influenced by disagreements between the needs of the academia (who marks short research production times) and those of the communities (who need long-term sustainability). But at the same time, it is defined by unexpected and fruitful encounters

“Ya no estás sola”: tramas, personajes y guiones. Experimentaciones con la ficción radiofónica desde la etnografía colaborativa

El propósito del presente artículo es reflexionar sobre una experiencia de escritura etnográfica de ficción que hicimos mientras hacíamos investigación colaborativa. Mediante un ejercicio de memoria, imaginación e investigación hemos creado un producto de ficción sonora junto a un colectivo social que lucha por el acceso a una vivienda digna: Stop Desahucios Granada 15M. Partiendo de la materialidad de uno de los guiones que forman parte de nuestro producto de ficción sonora, la radionovela, pretendemos en primer lugar mostrar de qué forma hemos elaborado los seis episodios de la serie, construyendo antes tramas y personajes, y después los diálogos. En segundo lugar hablaremos de los aspectos más performativos, de transgresión del guion, que hemos experimentado durante las grabaciones. En tercer lugar abordaremos dos “mutaciones” en las formas de hacer y presentar la etnografía que ha generado el despliegue colaborativo de estrategias de investigación basadas en la construcción de guiones de ficción sonora. Y por último plantearemos por qué consideramos que la elaboración de guiones de ficción han sido un elemento central de nuestra etnografía colaborativa. The purpose of this paper is to reflect on an experience of fictional ethnographic writing that we made while doing collaborative research. Through an exercise of memory, imagination and investigation, we created a radio fiction series together with a social movement that fights for the right to decent housing: Stop Desahucios Granada 15M. Starting from the materiality of one of the scripts that form part of our series, a radio soap opera, we want to show how we jointly wrote the six episodes of the series by constructing first the plots and characters, and after the dialogues. Secondly, we’ll reflect on the performative aspects of the production process, in which we transgressed the scripts. Thirdly, we will address two ‘mutations’ that the collaborative framework of our fiction-based research had generated in our way of doing and communicate ethnography. And finally, we’ll explain the reasons why we consider the writing of the scripts as a central element of our collaborative ethnography

Photocatalyzed hydrogen evolution from water by a composite catalyst of NH2-MIL-125(Ti) and surface nickel(II) species

A composite of the metal–organic framework (MOF) NH2-MIL-125(Ti) and molecular and ionic nickel(II) species, catalyzed hydrogen evolution from water under UV light. In 95 v/v¿% aqueous conditions the composite produced hydrogen in quantities two orders of magnitude higher than that of the virgin framework and an order of magnitude greater than that of the molecular catalyst. In a 2 v/v¿% water and acetonitrile mixture, the composite demonstrated a TOF of 28 mol H2 g(Ni)-1 h-1 and remained active for up to 50 h, sustaining catalysis for three times longer and yielding 20-fold the amount of hydrogen. Appraisal of physical mixtures of the MOF and each of the nickel species under identical photocatalytic conditions suggest that similar surface localized light sensitization and proton reduction processes operate in the composite catalyst. Both nickel species contribute to catalytic conversion, although different activation behaviors are observed.Peer ReviewedPostprint (author's final draft

L’engagement militant dans la recherche en agriculture urbaine Réflexions sur le contexte français au miroir du scholar activism nord-américain / Activist engagement in urban agriculture research Reflections on the French context in the mirror of North American scholar activism

Cet article propose une réflexion collective sur l’importance de l’engagement militant dans la recherche en agriculture urbaine. Le cas français est analysé au miroir du scholar activism Nord-américain. Il s’appuie sur une revue de la littérature, complétée par une série de séminaires. Ancrée dans la géographie critique, l’agriculture urbaine apparait comme un champ de recherche militant aux Etats Unis qui se concentre sur le jardinage communautaire et promeut la justice alimentaire. Dans le contexte français, il emprunte à des registres et se consacre à des espaces et acteurs beaucoup plus diversifiés. La recherche en agriculture urbaine y est encore dominée par un idéal d’objectivisme et marquée par un déficit de réflexivité critique et politique. L’article se conclut par un appel à plus de réflexivité critique en ce domaine. This article is a collective reflection on the militant commitment as shaping the research field of urban agriculture. The French case is analyzed in the mirror of the North American scholar activism experience. It is based on a literature review completed by a series of seminars and interviews devoted to researchers' commitment experiences. In the United States, researchers who define themselves as activists clearly refer to critical and radical traditions of geography. Academic activism is associated to identified epistemic communities and designates relatively codified ways of conceiving research to serve community struggles and projects. In France, while there are many examples of engaged intellectual, political commitment is above all an individual affair. And, it is only recently that French geography has been influenced by critical currents. Research in urban agriculture is part of an academic activism claimed in the United States. it focuses on community gardening and is part of the overall goal of food justice. In France, it borrows from registers and focus on much more diversified spaces and actors. Research in urban agriculture is still dominated by an ideal of objectivism and marked by a lack of critical and political reflexivity. The article concludes with a call for reflexivity to explicit the ontological and epistemic assumptions of this field of research