Hasil untuk "Aesthetics"

Rafat Saleh Madani

The contemporary designer analyzes and studies the elements of artistic heritage, to identify the intellectual and aesthetic premises that lie in its structure, its elements, its vocabulary, and its encapsulation. With the aim of enriching the design thinking and its sources for the designer and raising the level of creativity and the overall idea of the two- and three-dimensional work, to design artistic models that are original and contemporary, enriching the language of communication between heritage and contemporary. In this way, the heritage and its elements are inspired by a special stylistic display of heritage and its elements in innovative modernist formulations that deviate from the prevailing through its holistic images. And its presentation of elements or processes connected to each other and not as separate parts, to present it in a comprehensive form that supports the opportunities for selection and innovation that stems from it. In addition to those works in which some artists and designers deliberately elevated nature and its elements, drawing inspiration from its elements (human, plant, animal).  And simulating them as a basis for artistic formulation, another group of designers sided with drawing inspiration from the elements of Arab heritage, especially in the traditional Arab Gulf artifacts. As a source for enriching the architecture of 2D and 3D designs, And the design of modern models based on the reading comprehension of the philosophical, aesthetic, and structural dimensions of the elements of that heritage. Increasingly traditional crafts of the gulf region are becoming obsolete because of dwindling numbers of traditional craftsmen and cheap imports from Pakistan and Morocco. There is a need to preserve traditional artefacts in the face of this issue. This research assesses the viability of preserving the traditional Arab Gulf artifacts Using modern 3D manufacturing techniques added to maintain Traditional attributes of the original artifact. The methodology included consideration of requirements based on functionality, aesthetics and traditional elements, and the viability of techniques of such requirements in addition to practical and cost considerations.    Where the study seeks to provide inputs and examines the intellectual and aesthetic premises of the elements of heritage arts, especially the creative and aesthetic arts. In the artistic artifacts in the heritage Arab Gulf region of an artistic, aesthetic, and structural nature, with richness and diversity in the formal and structural forms of traditional Arab Gulf metal products.  As daily life tools such as jugs, trays, incense burners, candlesticks, bowls, cans, dallahs, irons, mirrors, and other metallic artifacts, which represents a fertile source of inspiration, and fertilizes the imagination of the Arab designer to put forward contemporary Arab visions and proposals to enrich design thinking in traditional Arab and Gulf handicrafts and recycling daily life products. And the analytical study of the methods of forming technical design products, their forms and design construction, the materials through which they were designed and formulated, the traditional and new molding methods and techniques, the manufacturing materials, and the surface decorations and textures that dealt with the design plane. To raise the level of creativity and idea, to be inspired by heritage through a special style Heritage and its elements are presented in innovative modernist formulations.

Francesca Thiébat, Cristiana Cellucci

Mihaela MOȚĂIANU

While e-books and audiobooks have gained popularity, traditional print books continue to hold significance in both physical and online bookstores, contributing to a rich reading landscape. The globalization of cultural industries, including the book sector, is a dynamic process shaped by contemporary economic mechanisms and global exchange. In this context, the evolution of book cover design is closely tied to advancements in digital technology and shifts in consumer behaviour. Digital tools such as Adobe Photoshop and Illustrator have revolutionized the aesthetics of book covers, leading to the proliferation of certain design styles. This study explores how global graphic design trends influence the aesthetics of book covers in Romania. The research corpus comprises fiction book covers published in January 2025, selected from four prominent online bookstores in Romania. The analysis seeks to identify visual trends using a defined set of categories, with an emphasis on how international design trends have been integrated into the Romanian publishing industry. Selected covers were systematically coded and evaluated by two independent coders to ensure consistency. Trends that exhibited the highest frequency scores were retained for further analysis and discussion.

Daniela Lagos

Se trata de una reseña inédita que une dos lecturas distintas que tienen en común la conexión entre las dictaduras del conosur, en específico Argentina. El objetivo es identificar sus puntos en común y establecer diferencias que sean reveladoras y aclaradoras para los lectores.  Esteban Buch - Música, dictadura, resistencia. La Orquesta de París en Buenos Aires   Abel Gilbert - Satisfaction en la ESMA. Música y sonido durante la dictadura (1976-1983)

Joerg Gleiter

Excess of matter in form designates the principle that underlies architecture. The surplus of form contains not only a constructive principle, but also an aesthetic principle that enables sensual experience. In the coupling of construction and sensual experience, the basic prerequisites for the aesthetics of architecture are thus named, but at the same time also the difficulties with which architecture is confronted within philosophical aesthetics. For Kant, it was precisely the object character that stood in the way of an architectural aesthetics as part of a general aesthetics. For him, only the architectural drawing, because detached from matter, construction, and function, could meet the criteria of the beautiful, and that only as a façade view and not as a ground plan or sectional drawing. With reference to Aristotle, Kant and Schopenhauer and an outlook on contemporary architecture, the essay outlines the principles of an aesthetics of architecture as it is to be developed out of the specific material conditions of architecture and has its starting point in the surplus of form. 

K. A. Potashova

The article explores the mechanisms of poetic representation of celestial bodies, the celestial sphere, and extraordinary cosmic phenomena in Russian poetry at the turn of the 18th and 19th centuries in the context of changing artistic paradigms (classicism and romanticism), poets’ worldview, and their artistic methods. It analyzes literary-critical articles from the 1820s-1840s and works by literary scholars from the second half of the 19th to the 21st centuries. The main research strategies for analyzing the cosmic imagery in Russian poetry of this period are identified. The existing methodology for interpreting the poetic works of G. R. Derzhavin and V. A. Zhukovsky, who were at the forefront of the leading artistic systems of the time, is evaluated in terms of understanding the image of the cosmic universe. It is determined that in literary criticism and scholarship, three main approaches have emerged in interpreting the image of the cosmic universe: interpretations of the astronomical universe as classical emblems, as typical elements of landscape in romantic aesthetics, and as ontologically charged images. It is proven that the study of cosmic motifs did not have a systematic character in relation to the literary process at the turn of the 18th and 19th centuries.

Raul Hakli

I will study the concept of solidarity by looking at patterns of practical reasoning leading to behaviour that can be taken to exemplify solidarity. By studying which kinds of premisses are necessary for taking the motivation to display solidarity, in contrast to altruistic or moral motivation, I try to find necessary conditions for solidarity. I will argue that practical reasoning leading to solidary behaviour is a form of we-reasoning in which some of the premisses are in first person plural form and attribute actions or attitudes to a collective. If this is correct, solidarity is a group concept, and intentional solidary behaviour presupposes identification with a group where others have shared goals or interests. This distinguishes solidary motivation and behaviour from altruistic or moral motivation and behaviour.

Crispin Sartwell

Preview: /Commentary: Richard Shusterman, Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love (Cambridge: Cambridge University Press, 2021), 436 pages./ Richard Shusterman’s work is remarkable, among other things, for extending the range and power of the discipline of aesthetics, conceived by him as fundamental to many dimensions of human experience. Indeed, he has driven aesthetics into entirely new ranges of phenomena and strategies for research, and also perhaps returned to an ancient sense of the centrality of aesthetic concepts such as beauty to virtually every human endeavor. In many ways, I think, Shusterman is fulfilling John Dewey’s vision as expressed in Art as Experience, as well as spelling out in detail the implications of his own early book Pragmatist Aesthetics, exploring the aesthetic dimensions of all sorts of human activities. Schusterman’s somaesthetics, however, takes what we might call the aesthetics, or ordinary experience, and centers it on the body in a way that Dewey could not have foreseen. The book might have been titled The Aesthetics of Sex, and as soon as he broaches the topic it strikes one that this subject has been remarkably neglected within philosophical aesthetics, or even in Western philosophy as a whole. Considered as dimensions or arenas of human experience, the aesthetic and the erotic, as Shusterman shows in replete multi-cultural detail, are bound up entirely and from the origins in many or even all cultures.

Gregorio Botta

AAVV

Mary Gearey

We bottle it, we flush it, we drink it, we defecate in it, we swim in it. We pay to have it delivered and pay to have it taken away. We can’t live without it but can’t abide it when we’ve used it. We demand our potable water to be pathologically pure, yet routinely douse it in chemicals marked as poisons. Our current relationship with water is complex, irrational, historically specific, ideologically shaped; a complex hydro-social configuration that defies logic. As a result, the potable water resources which continue to underpin political economies relationally bind together public and private domains. Water use is personal and political; material, corporeal, cultural, social and spiritual interconnections which shape ourselves as humans and our relations with others and our environments. Understanding how these tropes of hydro-social relationships remake themselves reveals the power dynamics which shape the control of capital. This paper explores one element of this relationship through exploring the monetisation of the concept of waste prevention within current neoliberal practices of water provision. Within the English water sector water efficiency initiatives are heralded as an essential component of demand lead water security. Those water companies within water stressed regions are required to promote water efficiency technologies and practises; including consumer mindfulness of water use. However, water bills are mostly disaggregated from consumption; instead they are predicated on how much the water companies invest and whether this capital is raised through equity or debt over a five year cycle. Water users are therefore asked to prevent water wastage on environmental justice grounds, but with no tangible monetary savings for them and significant investment in infrastructure networks. The water companies benefit by less resource ‘output’ coupled with an enhanced ‘corporate social responsibility’ profile; especially vital as the domestic UK water market opens to competition. This paper explores how the financialisation of the water sector consequentially distorts human-nature relationships even further, with ‘water efficiency’ as a synecdoche for continued profiteering.

Salnikova Ekaterina V. / Сальникова Екатерина Викторовна

The article is devoted to the socio-cultural phenomenon of the television Studio and its theatrical and literary background. Partly this research can be attributed to the archeology of media, more precisely, to the archeology of modern television formats aesthetics. One of the most typical television programmes is considered - the combination of Studio conversation and broadcast screen works of different genres. The author supposes that the most important elements of Studio programs are their regularity and controllability, as well as the atmosphere of safe distance from the big world or from many virtual and real worlds. Civilized, planned communication and management of information streams is modeled in the Studio. Therefore, violations of this pattern make such a strong impression. The origins of the necessity for a Studio atmosphere are largely associated with the ancient culture and, to an even greater extent, Renaissance images and moods – the existence in the “charming corner” (locus amoenus), the search for the lost Paradise harmony, awareness of the high value of the spectator and commentator security. … In the Internet era videoblogger’s home becomes the Studio and synthesizes privacy and virtual publicity. The idea of a secure public space of communication no longer prevails, giving way to the idea of total integration of the local "place of action" into the space of infinite real and virtual worlds, which should increase the socio-cultural status of the private territory and its inhabitants. Статья посвящена социокультурному феномену телевизионной студии и его театрально-литературной предыстории. Частично данное исследование может быть отнесено к археологии медиа, точнее, к археологии эстетики современных телевизионных форматов. Рассматривается один из наиболее типичных видов телевизионного вещания — совмещение студийного действа и трансляции экранных произведений различных жанров в рамках единой программы. Автор полагает, что важнейшими элементами студийных программ являются их упорядоченность и контролируемость ведущими, а также атмосфера безопасной дистанцированности от большого мира или от множества виртуальных и реальных миров. В студии моделируется цивилизованное общение и управление информационно-образными потоками. Коммуникация рационализирована, спланирована. Поэтому столь сильное впечатление производят нарушения этого паттерна. Истоки потребности в студийной атмосфере во многом связаны с античными и, в еще большей степени, ренессансными образами и настроениями — пребыванием в «прелестном уголке» (locus amoenus), поисками утраченной райской гармонии, а также развитием индивидуализма и осознанием высокой ценности защищенности человека-зрителя и человека-комментатора. Неслучайно именно в процессе развития ренессансных форм рождается театр, в котором зритель дистанцирован от разыгрываемого представления и не может быть подвергнут никакому воздействию со стороны исполнителей. Неслучайно в трех наиболее показательных для Ренессанса сборниках новелл Чосера, Боккаччо и Маргариты Наваррской созданы своеобразные обрамления для отдельных рассказов – смоделированы ситуации многодневного рассказывания историй и их комментирования в приятном обществе. Телевизионные студийные программы унаследуют функцию безопасного для участников и зрителей, занимательного и эстетически привлекательного действа – наблюдения за большим миром и размышления о нем вслух в светском обществе собеседников. В ХХ в. комфортный, лишенный прозаических бытовых черт интерьер, разновидностью которого является телестудия, занимает место центрального образа идеального публичного пространства. В эпоху интернета комната-студия видеоблогера синтезирует в себе приватность и виртуальную публичность. Идея безопасного публичного пространства общения уже не главенствует, уступая место идее тотальной интегрированности локального «места действия» в пространство бесконечных реальных и виртуальных миров, что должно повысить социокультурный статус приватной территории и ее обитателя.

Dionysia Mylonaki, Panagiotis Tigas

Computational censorship in the form of fake news and toxic comments regulation is a subject that comes up quite often in the public discourse, as a result of the volatile political circumstances on a global scale and due to the unquestionable impact of journalism on these circumstances. Public attention has been directed to the role of mainstream and other media in the formation of public opinion, either in the form of articles or in the form of usergenerated comments. The purpose is to analyse and allow a deeper understanding of a project that is under development, namely, computational-censorship and to show that algorithmic regulation is not a solution, but rather another layer to a more fundamental problem. This article examines the implicationsof developing Machine Leraning/Artificial Iintelligence (ML/AI) which aims to regulate the internet and we attempt to allow a glimpse into the technical aspect of the problem as a way to back arguments that could be re-jected by the ML/AI research community as “non-pragmatic”. Finally, it aims to highlight the absurdity of the current approach to research in this area, which is the exact opposite of the rationalism that the field claims to be embracing.

Douglas Aguiar

O artigo consta de uma exploração - teórica, metodológica e empírica - sobre a utilização da caminhada como método de estudo em arquitetura e no urbanismo. Elabora-se com esse objetivo um método de avaliar a qualidade de situações espaciais a partir daquilo que é visto e sentido por quem percorre aquela arquitetura, tanto na escala do edifício quanto na escala da cidade. Denominaremos o conjunto de procedimentos daí decorrente como o método do observador. O artigo apresenta na primeira parte uma revisão de literatura trazendo os principais autores contribuintes no tópico. Na segunda parte apresenta, tendo em conta a palavra de autores revisados, o conjunto de procedimentos constituintes do método propriamente dito. Em uma terceira parte o trabalho apresenta um estudo de caso onde o método do observador é exercitado. A proposição de uma visão da arquitetura desde o ponto de vista do caminhante é particularmente relevante no atual momento da disciplina; por um lado pela expansão desenfreada do espaço dedicado ao automóvel trazendo, na mesma leva, a hostilidade espacial ao pedestre e, por outro lado, pelo processo de espetacularização verificado de um modo geral na arquitetura contemporânea, tornando frequentemente o papel do usuário do espaço irrelevante na equação da espacialidade.  PALAVRAS CHAVE: caminhada, passeio arquitetônico, qualidade especial, funcionalidade, legibilidade .

Madis Kolk

Teesid: 20. sajandil on esile kerkinud mitmeid teatrisuundi, mis on kritiseerinud ja püüdnud ületada Lääne traditsioonilise teatri väidetavat sõnakesksust ning samuti selle võimetust täita n-ö püha kunsti funktsioone. Kuigi seda pühadusedefitsiiti on püütud leevendada ennekõike orientaalsetest teatrivormidest inspiratsiooni ammutades, aitab selle võimalikku tekkelugu mõista ka katoliikliku kultuuri mõjuväljas võrsunud teatrikunsti ning teatrivaenulikuma ortodoksi teoloogia kontekstis välja töötatud ikooniteoloogia võrdlus. Kõrvutades nende kahe konfessiooni teoloogilis-esteetilisi arusaamu, saame analüüsida ka performatiivsuse esteetika seisukohast olulisi kunstiteose loome- ja tajutingimuste vormilisi ja meelelisi aspekte ning nende toimet sakraalse kunsti sihtide seisukohast. SU M M A R Y In the 21st century Western society has seen an increasing interest in topics related to religion. In this context, the connection between the concept of sacrality in Western culture and freedom of verbal and artistic expression has been reconsidered; the very possibility of so-called sacred art within Western culture has been called into question. Already in the 20th century several theatrical movements in the West have expressed the need to strive for religious (or at least quasi-religious) goals by means of the stage. This can already be seen in the work of the symbolists, but such experiments accelerated and became more forceful under the influence of Antonin Artaud’s visions and under the aegis of intercultural theatre. In all of these different quests one can find common elements: discontent with the discursivity of the theatrical canon, a need for a metaphysical dimension in the theatre, and the belief that channels of perception can be opened through contact with exotic ritual cultures. In his book Sacred Theatre Ralph Yarrow has attempted to define the criteria of sacrality in the theatre, drawing upon William S. Haney’s prior determinations, which emphasizes first, that sacred theatre induces a change of consciousness in which the subject and the object merge; second, the liminality of the intersubjective environment surrounding the experience of the sacred, in which the verbal and the transcendental unite. When describing the influence of the logocentrism of Christian culture on the experience of sacredness, Yarrow draws on the views of Mark C. Taylor, Rudolf Otto, Mircea Eliade and Georges Bataille. All of these thinkers critique the rationalism attributed to monotheistic religion, which gives an important place to Christ as the mediator of God’s transcendental truth, the logos, and sacred scripture, all of which differ from the numinous experience of the mystic. The art of so-called sacred theatre, where, at least according to tradition, the performative mission, dramaturgy, stage design, and public reception are all part of a unified contemplative whole seems to be missing in Western culture. Indeed, this is what several Western stage experimenters have been looking for, and in their search they have looked eastward. New viewpoints with respect to the perception of a work of art were gained in the „performative turn“ of the end of the 20th century; besides the text, proponents of this new direction became interested in the sensory and bodily processes of creativity and reception. Erika Fischer-Lichte and others have conceptualized these processes on a more general level and reflected upon the aesthetics of performativity; insodoing they have pointed to a dualism in the Western aesthetics of performativity, recognizing that there is a contradiction between the referential, semiotic pole of art and its performative dimension. Although the reasons for this split can be sought in the very origins of Western art as well as that of medieval Christian art, relations between theatre and the church differ according to confession; Yarrow’s definitions do not apply to Christianity as a whole. As distinct from the Catholic church, which, occasional polemics notwithstanding, has been a good neighbour to theatre from the medieval period onward, Orthodox theology has been more wary of theatre, or at least regarded the media and goals of theatre as incompatible with the goals of sacred art. Despite this difference of context, the iconographer of Eastern art and the theatre avant-gardist who longs for sacrality in Western logocentric theatre focus on similar mechanisms and processes. With respect  to the origin and development of medieval religious art one might generalize that while the centre of Orthodox liturgy is the fellowship of holy communion, in the Western Church a drive toward analysis and interpretation arose alongside the experience of communion. This analytic drive facilitated the development of interpretive scholastics which translated theology by means of formal logic. Also, a dramaturgic aspect began increasingly to differentiate itself from the Mass and holy communion, finding more commonality with theatre as an independent art form. In the Eastern Church, which preserved the theological heritage of the Church Fathers was preserved, the theology of the icon was developed. According to this, sacred art could not be regarded apart from its liturgical context, nor could an independent aesthetic value be attached to it. The platonic roots of Orthodox theology led to the perpetuation of the attitude of the Church Fathers: theatre could endanger the health of the soul or prevent the pursuit of spiritual goals, that is theosis, because the fictional world of theatre blurs truth and human identity, drawing both the performer and the viewer toward affectivity and escapism. However, despite its conservative theology of the icon, which deplored realism and emotionality, the Orthodox church had its own aesthetic of performativity, which in addition to content draws attention to the creative, functional and perceptual prerequisites for sacred art. The theological and aesthetic differences between Catholicism and the Orthodox church are also reflected today in the theologically-inclined reception of works with religious content. For example, based on the lively theological feedback to Mel Gibson’s 2004 film, The Sufferings of Christ one might claim that the judgments of Catholics mostly concern the m e s s a g e of the work, the appropriateness of its content, that is the referential pole; Orthodox theologians rather place more emphasis on the appropriateness of the m e d i u m to theological goals, that is, the performative effect of the work of art. Besides differences in pure artistic representation, it is also worth examining such questions as Catholic and Orthodox interpretations of the Trinity or the teaching of Gregorius Palamas (1296–1359) on divine energies, which were later declared to be heretical. Thus Orthodox liturgical practice seems to contradict many of the stereotypes that eastward-turning seekers of sacred theatre have attributed to Western sacral culture as a whole, overlooking aspects of dynamism that can be found in the Eastern Christian church. This topic has been discussed in several recent accounts of iconography, which examine the performativity of the icon, distinguishing its processes of creation and perception from the Western representation-oriented concept of the picture (eg Bissera V. Pencheva, Adrian Gorea). Granted, one should be careful when drawing parallels between the strictly rule-bound theology of the icon and aesthetics of performativity focused on the sensory aspect of art. However, this article takes the position that what should be emphasized are the differences between Orthodox and Catholic views of art, by means of which one can elucidate the points of departure of the Western quest for sacred theatre and the performative level to which it aspires.

Salvatore Tedesco

The concept of homology is the most solid theoretical basis elaborated by the morphological thinking during its history. The enucleation of some general criteria for the interpretation of homology is today a fundamental tool for life sciences, and for restoring their own opening to the question of qualitative innovation that arose so powerfully in the original Darwinian project. The aim of this paper is to verify the possible uses of the concept of compositional homology in order to provide of an adequate understanding of the dynamics of creative thinking.

Stefano Portelli

Vivevo a Barcellona già da un paio d’anni quando sentii parlare per la prima volta del “modello Barcellona”. La nuova città in cui abitavo non era semplicemente pianificata: si era trasformata in un modello, in un ideale a cui tendere; un esempio di città, valido per altri luoghi, ma soprattutto per le zone di essa che ancora non vi avevano aderito. Il fascino delle Ramblas, l’ambiente notturno del Raval, la movida nelle piazze del barrio de Gràcia, erano in gran parte sensazioni create a tavolino, prodotti di una politica urbana prestabilita.

Maaret Koskinen

Ingmar Bergman (1918–2007) wrote his autobiography The Magic Lantern (Laterna magica, 1987) 5 years after he had finished his film career with Fanny and Alexander, his last feature made for the cinema screen. This arguably marked the second stage of his strictly literary career, the first being his plays for the stage in the 1940s. The Magic Lantern is of interest from an intermedial perspective in its forthright theatricalization or cinematization of the written text and the self-conscious performativity of its authorial voice. Of particular interest is the way the narrator turns into a kind of distanciated autobiographical witness, which in turn reminds the reader of the inherent narrative split in the autobiographical genre between the enunciating subject speaking from the present, and the described subject, the younger self in the past. In doing so the narrator seems to turn language itself into a performative venue: the medium of words becomes a theatrical stage or a cinematically charged mise-en-scène for memory as such.This is of course not only stylistically elegant, for what can be more natural than a film- and theater director who, as the very title of the autobiography announces, turns memories into cinematic and theatrical performances? But even more interesting is the extent to which Bergman in doing so seems to conjur forth his biographical legend, reminding the reader of who is in charge of text: the narrator becomes the director of the text, so to speak, lighting and setting the stage.Besides this artful approach, Bergman also clearly fictionalized his life in other ways, which is corroborated by the private note books and original manuscripts that the writer of this paper has gained access to.

Juan Pedro Luna Gónzalez

La energía es un elemento clave en el desarrollo económico y social de un territorio, que contribuye de forma fundamental a la creación de riqueza, bienestar y empleo en una región. Actualmente se consume en España más del doble de energía que en 1975. La demanda de energía en las ciudades, independientemente de su tamaño, supone algo más de la mitad del consumo energético español. Esta concentración de consumo requiere una gran red energética de infraestructuras tanto de transporte como de distribución. Habitualmente los puntos de consumo se encuentran alejados de las centrales de generación, lo que obliga a que las redes de transporte de energía tengan que cubrir largas distancias y atravesar amplios territorios produciendo un considerable impacto sobre el entorno natural. El objetivo de este trabajo es analizar el impacto de las actividades energéticas sobre el medio natural, haciendo especial énfasis en el transporte y distribución de energía eléctrica. El estudio se centra en la Comunidad de Madrid que presenta especiales características: un reducido territorio con un alto porcentaje de protección ambiental, una gran densidad de población y un fuerte consumo de energía. Además la falta de generación en su territorio obliga a un importante desarrollo de redes de transporte de energía eléctrica ya que importar casi la totalidad de la energía que consume. Abstract Energy is a key factor in the social and economic development of a territory, which contributes in a fundamental way to the creation of richness, well-being and employment in a region. Presently, Spain consumes double of the energy that it did in 1975. The energy demand in the cities, independently of its size, account for more than half of the Spanish energy consumption. This concentration requires a great infrastructure energy network which includes not only transport but also distribution. Normally the points of consumption are found far away of the power plants, which oblige energy transport networks to cover long distances and to cross extensive territory producing a considerable impact on the natural environment. This paper describes the impact of the energy activities on the natural environment, doing special emphasis in the transport and distribution of electric energy. This study is focused in the Comunidad de Madrid which presents special characteristics: a reduced territory with a high percentage of environmental protection, a great density of population and a strong consumption of energy. Besides the lack of generation in its territory obliges an important development of the electric energy transport networks to import almost the totality of the energy that is consumed.

Pablo Blas Corro Pemjean

A partir de una referencia pictórica sobresaliente en la novela 2666, este ensayo considera la presencia, el origen y la función, estructural y semántica, de motivos cinematográficos, fotográficos y gráficos recurrentes en los relatos de Roberto Bolaño. Incorporados como fragmentos en la estructura narrativa, es decir, con nitidez pero sin continuidad formal, reforzarían el mecanismo de proliferación y relevo de textos que domina en la poética del autor.

Maria da Gloria Lanci da Silva