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La evaluación del desempeño de los edificios (conocida como BPE, de Building Performance Evaluation, por sus siglas en inglés) es indispensable para fundamentar las decisiones de diseño. En este artículo se aborda este concepto junto a algunos estudios de casos en los que se pueden ilustrar estrategias de diseño pasivo que, aplicadas en edificios, mejoran no solo la eficiencia energética, sino que la calidad ambiental interior (o IEQ, de Indoor Environmental Quality).

Throughout this text we will analyze some human concerns that are the subject of analysis in different fields of knowledge such as philosophy, art, science and technology. These concerns revolve around what is reality? what is fiction? what are the effects of hallucination? and what is virtuality? through different cultural products such as art, literature, cinema, psychoactive or entheogenic experiences, up to the most recent proposals of Virtual Reality and their forms of interaction. We will try to envision and propose new ways of perceiving reality, seeking a balance between the real and the virtual world. We will take a tour from the way we process reality and create fictions around it, to the illusionism that has constituted an important part of our search for consciousness, mediating between rationality and experimentation in the construction of new realities to finally make a proposal on Virtual Reality based on the therapeutic use of hallucinogens

En este trabajo se estudió el efecto de las tensiones iniciales y la gravedad sobre la propagación de las ondas de Love, lo anterior en la superficie de una capa porosa sobre un semiespacio heterogéneo. Se consideraron dos tipos de límite en superficies libres: (a) límite rígido y (b) límite libre de tracción. La propagación de las ondas de Love ha sido investigada bajo supuestos medios, tanto en los casos de frontera como en un estudio comparativo de dos casos. En ambos, se obtuvieron las ecuaciones de dispersión y las velocidades de fase. Se presentan los cálculos numéricos de forma gráfica. Este estudio de las ondas de Love en el medio supuesto revela que la presencia de tensión inicial en el medio espacio y la ausencia de tensión inicial en la capa, el desplazamiento de la velocidad de fase en un límite rígido es mayor que el límite libre de tracción. doi: https://doi.org/10.22201/igeof.00167169p.2021.60.3.1917

This 5-page document pertains to the UF/IFAS Extension programs related to rice production in the EAA and focuses on the steps that comprise postharvest processing of rice (drying, tempering, milling, and storage). It aims to highlight the physiology of the rice kernel and define some of the common terms used in the rice industry, elaborate on the steps in postharvest processing, and provide a brief overview of rice products and their market potential. Written by Jehangir H. Bhadha, Sangeeta Mukhopadhyay, Charlene Andrews, and Matthew VanWeelden, and published by the UF/IFAS Agronomy Department, September 2019. http://edis.ifas.ufl.edu/ag438

En este artículo examinamos el trabajo de cuatro artistas internacionales cuyo arte se origina en la vida cotidiana y sus preocupaciones. Argumentamos que es preciso abordar este tipo de arte a partir de una nueva historiografía capaz de registrar el quehacer de las personas comunes carentes de privilegios, que no cosechan las ventajas de una economía discriminatoria. Los artistas en cuestión (Daniel Cruz de Chile, Gilbertto Prado de Brasil, Kausik Mukhopadhyay y Probir Gupta de India), producen arte desde el lado empobrecido de la brecha digital, dentro de sus propios nichos y horizontes de creencia. Sus obras incorporan artefactos descartados, restos de circuitos o sensores descompuestos, micrófonos y otros desechos, y crean a partir de todo ello instalaciones que son tan frágiles como efectivas. Es un arte a menudo permeado por un animismo de los desechos y una inteligenciaartificial de baja definición. Estos artistas no habitan dentro de las fronteras tradicionalmente conocidas de las naciones, las clases o la identidad; se sitúan más bien en un espacio que atraviesa aquellas líneas de falla que dividen y exacerban a la sociedad humana desde adentro. El proyecto Surofona de Cruz existe en los márgenes de los portales de internet. Mukhopadhyay utiliza despojos electrónicos para construir sus instalaciones. Explotan la tecnología justo lo necesario para darle vida a su arte. Al comprometerse con este derrotismo voluntario su arte le da un vuelco a la cultura del espectáculo. El artista es un flâneur o faquir tecnológico que nos muestra cómo la esencia de la experiencia humana se posiciona contra la avaricia y las pretensiones del mercado global del arte. Neste artigo examinamos o trabalho de quatro artistas internacionais cuja arte tem origem na vida quotidiana e as suas preocupações. Argumentamos que este tipo de arte precisa de ser abordado a partir de uma nova historiografia capaz de registar o trabalho de pessoas comuns que não têm privilégios, que não colhem os benefícios de uma economia discriminatória. Os artistas em questão (Daniel Cruz do Chile, Gilbertto Prado do Brasil, Kausik Mukhopadhyay e Probir Gupta da Índia), produzem arte a partir do lado empobrecido da fractura digital, dentro dos seus próprios nichos e horizontes de crença. Os seus trabalhos incorporam artefactos descartados, destroços, circuitos ou sensores quebrados, microfones e outros destroços, e criam instalações a partir destes que são tão frágeis quanto eficazes. É uma arte frequentemente permeada por um animismo de desperdício e uma inteligência artificial de baixa definição. Estes artistas não habitam dentro das fronteiras tradicionalmente conhecidas das nações, classe ou identidade; pelo contrário, situam-se num espaço que atravessa as linhas de falha que dividem e exacerbam a sociedade humana a partir de dentro. O projecto Surofona da Cruz existe à margem dos portais de Internet. Mukhopadhyay utiliza sucata electrónica para construir as suas instalações. Exploram a tecnologia apenas o suficiente para dar vida à sua arte. Ao envolver-se neste derrotismo voluntário, a sua arte transforma a cultura do espectáculo na sua cabeça. O artista é um flâneur ou faquir tecnológico que nos mostra como a essência da experiência humana se posiciona contra a ganância e as pretensões do mercado global da arte. In this article we look at four international artists whose art has its origin in common civilian life and its concerns. The story of this art should be re-written in terms of a historiography of the average underprivileged common person, who does not reap the benefits of a discriminatory economy. Artists discussed here, namely, Daniel Cruz (Chile), Gilbert Prado (Brazil), Kausik Mukhopadhyay (India) and Probir Gupta (India) have been creating art on the impoverished side of the digital innovation divide, in their own niche and horizons of belief. Discarded gadgets, scraps, broken circuits or sensors, microphones and other junk are incorporated to create fragile but impactful installations. Junk animism and low-fi artificial intelligence often inform their work. Such artists do not inhabit traditionally known borders of nation, class or identity but only a space across fault lines which divide and exacerbate human society from within. Cruz’ project titled Surfonic exists on the margins of internet gateways. Mukhopadhyay uses scrap media for his installations. They exploit so much technology as just to animate their art. This commitment to voluntary defeatism upends a culture of spectacle. The artist is like a flaneur or technological fakir, quintessentializing human experience against the greed and pretensions of a global market of art.

ABSTRACT Natural resources are essential to health and are global commons. Recognizing the devastating damage posed by extraction to health and the environment, as well as the erosion of the sovereignty of our governments that have increasingly conceded people’s health in the interest of profit and development, is important in framing our resistance. Our communities experience growing displacement, the loss of social services, of land, water and livelihood, heightened militarization, violence and repression, and increased incidence of communicable diseases and health problems resulting from exposure to toxics. All of these are linked to an extractivist project driven by global financial capital promoting an unsustainable and inequitable development model that threatens people’s health and the health of the planet. Is it compatible with the right to health to finance national health systems with revenues of activities that intrinsically destroy life? The essay portrays the inconsistency of development policies that fund health/right to health with extractivism and depicts examples of resistance to extractive industries tied to the People’s Health Movement (Canada,Turkey, India and Ecuador) in different types of governments. The need to strengthen the link between the right to health struggles and anti-extractive resistance is highlighted.

In the present work, the solvent free lipase glycerolysis of olive oil for the production of monoglyceride (MG) and diglyceride (DG) with an immobilized Lipase B Candida antarctica was studied. The experiments were performed in batch mode by varying different process parameters. The Results showed that the MG and DG yields were dependent on operating conditions such as time, temperature, glycerol/ oil molar ratio, enzyme concentration and the water content in glycerol. The optimum operating time for maximum MG, 26 wt% and DG, 30 wt% production was 3h. The initial reaction rate was studied by varying different process parameters for 1h. The initial reaction rate increased at 30 °C temperature, 2:1 glycerol/oil molar ratio, 3.5% (w/w) water content in glycerol and 0.015g of enzyme loading. Comparative data for MG and DG yields for different oils and enzyme combinations were presented.