Porqpine: a peer-to-peer search engine

In this paper, we present a fully distributed and collaborative search engine for web pages: Porqpine. This system uses a novel query-based model and collaborative filtering techniques in order to obtain user-customized results. All knowledge about users and profiles is stored in each user node?s application. Overall the system is a multi-agent system that runs on the computers of the user community. The nodes interact in a peer-to-peer fashion in order to create a real distributed search engine where information is completely distributed among all the nodes in the network. Moreover, the system preserves the privacy of user queries and results by maintaining the anonymity of the queries? consumers and results? producers. The knowledge required by the system to work is implicitly caught through the monitoring of users actions, not only within the system?s interface but also within one of the most popular web browsers. Thus, users are not required to explicitly feed knowledge about their interests into the system since this process is done automatically. In this manner, users obtain the benefits of a personalized search engine just by installing the application on their computer. Porqpine does not intend to shun completely conventional centralized search engines but to complement them by issuing more accurate and personalized results.Postprint (published version

Discursive rewriting of terrorism in contemporary Spanish cinema: Ocho apellidos vascos (2014) and La revolución de los ángeles (2014)

The year 2014 saw the release of two films on the topic of terrorism from a perspective not yet adopted in Spanish fictional works: the comedy Ocho apellidos vascos, by Emilio Martínez-Lázaro, and La revolución de los ángeles, the social drama depicting the terrorist as a social activist, by Javier Silvestre, Oriol Clavell and Marc Barbena. This article explores the ways in which both approaches move away from more traditional forms of representing terrorism, such as the thriller or the emotional tribute to the victims, and to what extent the success of both films is a result of their unique perspectives on the question of terrorism.The year 2014 saw the release of two films on the topic of terrorism from a perspective not yet adopted in Spanish fictional works: the comedy Ocho apellidos vascos, by Emilio Martínez-Lázaro, and La revolución de los ángeles, the social drama depicting the terrorist as a social activist, by Javier Silvestre, Oriol Clavell and Marc Barbena. This article explores the ways in which both approaches move away from more traditional forms of representing terrorism, such as the thriller or the emotional tribute to the victims, and to what extent the success of both films is a result of their unique perspectives on the question of terrorism

Nine-Elevenismo

El texto literario es una construcción verbal vinculada a un tiempo y a un espacio y siempre es de un modo u otro político. Como está estrechamente asociado a uno o más discursos o ideologías, no puede evitar ser un vehículo para el poder. En consecuencia, y como cualquier otro texto, la literatura no refleja simplemente relaciones de poder, sino que participa activamente en la consolidación y/o construcción de discursos e ideologías, del mismo modo que sirve de instrumento en la construcción..

Nine-Elevenism

The literary text is a time-and-place-bound verbal construction that is always in one way or another political. Because it is inevitably involved with one or more discourses or an ideology it cannot help being a vehicle for power. As a consequence, and just like any other text, literature does not simply reflect relations of power, but actively participates in the consolidation and/or construction of discourses and ideologies, just as functions as an instrument in the construction of identiti..

Psycho Killers, Circus Freaks, Ordinary People: a brief history of the representation of transgender identities on American TV series

In 1965, popular TV Series The Alfred Hitchcock Hour (NBC) aired the episode “An Unlocked Window”, in which it is revealed that the nurses killer in the area is a transvestite. It was the first time a transgender character appeared on a TV series, and until the late 80s that was the most stereotypical and basic – because it was minimal – representation of transsexuals on broadcast TV series and films: as psychopaths and serial killers. Other examples are Aldo Lado’s Who Saw Her Die? (1972), Brian de Palma’s Dressed to Killed (1980), Robert Hiltzick’s Sleepaway Camp (1983) and Jonathan Demme’s The Silence of the Lambs (1991). Throughout the 90s the paradigm changed completely and transsexual characters became much more frequent. However, the change was not for good, as they were turned now into objects of mockery and disgust in comedy TV series and films, in which the protagonist heterosexual male was “deceived” into kissing or having sex with an “abhorrent” trans just as a comic device. In the comedies Soapdish (1991), Ace Ventura (1994), and Naked Gun 33 1/3 (1994), the male protagonist ends up literally throwing up when he realizes that the girl he had been kissing was not born a female. Friends (1994-2004) and Ally McBeal (1997-2002) are also series of the late 90s in which the way transgender characters are represented is far from being appropriate. It has not been until the Golden Globe and Emmy awarded TV series Transparent (2014-2016) when transgender issues have been put realistically on the front line with the accuracy and integrity that they deserve. This article traces back the evolution of the representation of transsexual identities on American TV series in the last decades by exploring the ups, downs, twists and turns that this representation has undergone in its long and hard road.En 1965 la popular serie de televisión La hora de Alfred Hitchcock (NBC) emitió el episodio “Una ventana mal cerrada”, en el cual se descubre que el temido asesino de enfermeras de la zona es un travesti. Fue la primera vez que un personaje transgénero aparecía en una serie de televisión, y hasta finales de los 80 esta fue la representación más estereotípica y básica (porque era mínima) de transexuales en las series de televisión en abierto y en el cine: como psicópatas o asesinos en serie. Otros ejemplos fueron ¿Quién la ha visto morir? (1972) de Aldo Lado, Vestida para matar (1980) de Brian de Palma, Campamento de Verano (1983) de Robert Hiltzik y El silencio de los corderos (1991) de Jonathan Demme. A lo largo de los años 90 el paradigma cambió por completo y los personajes transexuales se hicieron mucho más frecuentes. Sin embargo, el cambio no fue para bien ya que ahora se les había convertido en objetos de burla y asco en series cómicas y comedias en las que el varón protagonista heterosexual era “engañado” para que besara o se acostara con un “engendro” trans como recurso cómico. En las comedias Escándalo en el plató (1991), Ace Ventura (1994) y Agárralo como puedas 33 1/3 (1994), en algún momento u otro, el protagonista varón acaba literalmente vomitando cuando se entera de que la chica que acaba de besar no nació hembra. Friends (1994-2004) y Ally MacBeal (1997-2002) son también series de finales de los 90 en las que el modo en que los personajes transgénero son representados está lejos de ser el adecuado. No ha sido hasta la serie Transparent (2014-16), premiada en los Globos de Oro y los Emmy, cuando asuntos transgénero se han puesto de manera realista en primera línea con la precisión y la integridad que merecían. Este artículo traza la evolución de la representación de identidades transexuales en las series de televisión estadounidenses en las últimas décadas explorando las subidas, bajadas, giros, y maniobras que dicha representación ha sufrido en su largo y arduo camino

Nine-Elevenism

The literary text is a time-and-place-bound verbal construction that is always in one way or another political. Because it is inevitably involved with one or more discourses or an ideology it cannot help being a vehicle for power. As a consequence, and just like any other text, literature does not simply reflect relations of power, but actively participates in the consolidation and/or construction of discourses and ideologies, just as functions as an instrument in the construction of identiti..