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[CA] Aquest treball parla de l'amistat. Amb testimonis, mirades, paraules i records, es tractarà la formació de la persona adulta gràcies a aquest vincle. El projecte consisteix en un documental reflexiu de caràcter cassolà i proper juntament amb una investigació prèvia que complemente i nodrisca la peça documental. D'altra banda, s'indagarà en la influència que també exercix sobre nosaltres l'entorn socioeconòmic en el que ens trobem i les condicions amb les que subsistim. Per a elaborar tant la investigació com el documental es realitzaran una sèrie d'entrevistes que permeten conèixer a les persones participants, els seus gustos i interessos, les seves condicions i el seu context i així poder relacionar-ho amb les conclusions que traguem al final. El propòsit tant del documental com del treball en conjunt, és la reflexió del paper que ocupa l'amistat a les nostres vides i la implantació de la idea de que, igual que conforme avancem a la nostra vida adulta prenem responsabilitats amb el treball i amb la familia, hem de tindre cura de les responsabilitats que ja teniem amb les amistats. Cuidar-les i treballar-les perquè són el que ens ha fet ser com som i el que ens ha format com a persones., [EN] This work talks about friendship. With testimonies, glances, words and memories, it will deal with the formation of the adult person thanks to this vehicle. The project consists of a reflective documentary of a homemade and close character together with a previous research that complements and nourishes the documentary piece. On the other hand, we will investigate the influence that the socio-economic environment in which we find ourselves and the conditions in which we subsist also have on us. In order to prepare both the research and the documentary, a series of interviews will be carried out to get to know the participants, their tastes and interests, their conditions and their context, and thus be able to relate it to the conclusions we draw at the end. The purpose of both the documentary and the work as a whole is to reflect on the role that friendship plays in our lives and to introduce the idea that, just as we take on responsibilities in our adult lives with work and family, we should also take care of the responsibilities we already had with our friendships. Take care of them and work on them because they are what have made us who we are and what have shaped us as people.

Mountain topography gives rise to often dramatic climate-driven elevation gradients in primary productivity, which can generate substantial biodiversity variation. Therefore, mountain areas may be particularly useful for evaluating the ecological consequences of climate change. Arthropods are the most diverse animal phylum, which play important roles in most ecosystems. However, despite their ecological importance, we have limited information on how arthropods vary along elevation gradients. We investigated how taxonomic richness, taxonomic composition, and spatial structuring of spider and insect communities varied along elevation gradients and among three geographic locations in a mountain region of northern Sweden. The locations provided a latitude gradient spanning approximately 3° (from 62° N to 65° N), but were otherwise selected to contain similar environmental characteristics. Taxonomic richness of both spiders and insects declined monotonically with increasing elevation, and there were limited differences between the geographic locations in such declines. Taxonomic composition varied with elevation for both taxonomic groups, but also differed among the three sites. Linyphiid spiders were more widely distributed along the elevation gradients than other spider taxa, whereas a broad taxonomic range of insects occurred over almost all elevations. We observed nested as well as modular spatial distributions of both spider and insect communities along the elevation gradients. While the modular patterns suggest that species turnover has generated distinct communities at different elevations, some generalist species were still widespread throughout large parts of the gradients. Our results point to smaller differences among geographic locations than among taxonomic groups in how taxonomic richness and community structuring varied with elevation. We interpret these results as support for taxonomically specific adaptations to environmental conditions being important f

El presente artículo se centra en el desarrollo de metodologías que permiten la obtención de huellas gráficas sobre matrices metálicas a través de la hibridación de procesos técnicos y procedimientos de registro, que permitan visibilizar posibilidades gráficas que tienen las matrices en la creación de piezas de carácter utilitario y en creación de propuestas asociadas al arte público. Poniendo para ello a la obra, por encima de la autoría, y delimitando este campo conceptual para promover una revisión, crítica y análisis del contexto social que nos rodea. Así, pretendemos mostrar una nueva forma de afrontar la manera que tenemos de percibir la experiencia estética, dotando de valor a un proceso de trabajo que puede permitirnos conocer modos de hacer y experimentar que antes eran desconocidos.; This article focuses on the development of methodologies that enables the creation of graphic traces on metallic matrices through the hybridisation of technical processes and registration procedures, which allows us to visibilize the graphic possibilities that matrices have in the creation of utilitarian pieces and in the creation of proposals associated with public art. With this aim, we place the work above authorship, and delimit this conceptual field to promote a review, critique and analysis of the social context that surrounds us. We intend to show a new method of confronting the way we perceive the aesthetic experience, giving value to a work process that allows us to get to know ways of doing and experimenting that were previously unknown.

DNA metabarcoding can accelerate research on insect diversity, as it is cheap and fast compared to manual sorting and identification. Most metabarcoding protocols require homogenisation of the sample, preventing further work on the specimens. Mild digestion of the tissue by incubation in a lysis buffer has been proposed as an alternative, and, although some mild lysis protocols have already been presented, they have so far not been evaluated against each other. Here, we analyse how two mild lysis buffers (one more aggressive, one gentler in terms of tissue degradation), two different incubation times, and two DNA purification methods (a manual precipitation and an automated protocol) affect the accuracy of retrieving the true composition of mock communities using two mitochondrial markers (COI and 16S). We found that protocol-specific variation in concentration and purity of the DNA extracts produced had little effect on the recovery of species. However, the two lysis treatments differed in quantification of species abundances. Digestion in the gentler buffer and for a shorter time yielded better representation of original sample composition. Digestion in a more aggressive buffer or longer incubation time yielded lower alpha diversity values and increased differences between metabarcoding results and the true species-abundance distribution. We conclude that the details of non-destructive protocols can have a significant effect on metabarcoding performance. A short and mild lysis treatment appears the best choice for recovering the true composition of the sample. This not only improves accuracy, but also comes with a faster processing time than the other treatments.

[ES] La vivienda situada en Calle Molino, 50 -Los Alcázares, Murcia-, dejó de ser habitada en 2017, cuatro años después del fallecimiento de su patrón. Dos años más tarde, el inmueble fue vendido, aunque nunca se volvió a habitar. Su abandono se agravó tras las inundaciones continuadas en el municipio, y especialmente tras la riada ocurrida en septiembre de ese año 2019. Desde entonces es un terreno baldío (Solá-Morales, 1995), se encuentra cubierto de barro, señalado por la humedad y ocupado por gatos; mientras el resto de los hogares fueron limpiados y rehabilitados. Por consiguiente, y finalmente, este lugar queda abocado a la demolición por sus actuales dueños. Por lo tanto, la problemática convertida en el leitmotiv del conjunto de esta investigación, trata las inundaciones ocurridas en esta localidad con la finalidad de trabajar alrededor de conceptos vinculados a la crisis climática y la planificación urbanística. En el trabajo se analizarán dichas crecidas de agua para situarlas geográfica y conceptualmente, además de propiciar un análisis profundo de la cuestión mediado por el arte. En la práctica, la artista se introducirá en el espacio y lo re-habitará para darle un nuevo motivo como lugar (Augé, 2000). Lo conseguirá con la extracción de la memoria del inmueble bajo diferentes ejercicios y técnicas -a los que autodenomina escenas-. Con ello se evidenciará el estado post-catastrófico que aun representa a la casa, y su estética. Por otro lado, las escenas ocurridas se reconocen como un elemento de mediación en el entorno al que se dirige la propuesta, propiciando una actividad artística canalizadora de pensamientos y productora de nuevas sensaciones alejadas de lo calamitoso., [EN] The building located in Molino Street, 50 -Los Alcázares, Murcia-, ceased to be inhabited in 2017, four years after the death of its patron. Two years later, the property was sold, although it was never re-inhabited. Its abandonment was aggravated after the continued flooding in the locality, especially after the flood that occurred in September of that year 2019. Since then, it is a vacant lot (Solá-Morales, 1995), it is covered with mud, marked by humidity and occupied by cats, while the rest of the homes were cleaned and rehabilitated. Therefore and finally, this place is doomed to demolition by its current owners. The problem, which has become the leitmotiv of this overall research, deals with the floods that occurred in this town to work around concepts related to the climate crisis and urban planning. The work will analyse these inundations to locate them geographically and conceptually, besides promoting a deep analysis of the question mediated by art. In practice, the artist gets in the space and re-habs it to give it a new motif as a place (Augé, 2000). She will achieve this with the extraction of the memory of the property under different exercises and techniques -which it calls scenes-.This will demonstrate the post-catastrophic state that still represents the house, and its aesthetics. On the other hand, the scenes that occurred there, are recognized as an element of mediation in the environment to which the proposal is directed, promoting an artistic activity as a way to channeling thoughts and producing new sensations far from the calamitous.

[ES] Masa madre y las figuraciones fantásticas se compone de una serie de experimentaciones matéricas que surgen previas a la etapa del confinamiento generado por la pandemia mundial del Covid-19. Se replantea durante este periodo poniendo el foco en analizar la simbología y la realización del pan casero en momentos de crisis a través de una producción artística de prototipos escultóricos mediante figuraciones fantásticas., [EN] Sourdough and fantastic figurations is made up of a series of material experiments that arise prior to the confinement stage generated by the global Covid-19 pandemic. It is rethought during this period, focusing on analyzing the symbolism and the realization of homemade bread in times of crisis throughout an artistic production of sculptural prototypes by fantastic figurations.

[ES] Este trabajo final de Máster de tipología 4 es el estudio y análisis de las estructuras de desigualdad que se gestaron en Chile desde la colonia, y que se han perpetuado más, bajo el modelo neoliberal que impuso la dictadura de Pinochet en 1973, y de que manera esta situación a influido inconscientemente en la elección de los símbolos del trabajo que se presenta. Para ello, desarrollaremos una analogía entre la sociedad humana y la córvida, con el fin de evitar el cíclico enfrentamiento entre el ser humano y la naturaleza, siendo esta ave una alegoría del ser humano. Paralelamente a este marco teórico, desarrollaremos un trabajo práctico destinado a visibilizar ese quiasmo que se ha producido en el imaginario social del pueblo chileno, y que se ha visto repercutido en diferentes partes del mundo. Presentando oposición a las estructuras de poder establecidas y predefinidas por el sistema político global. Este estúdio del graznido como metáfora, será tomado como un medio cualitativo que aborde un paralelismo entre los hechos sociales que actualmente se encuentran en desarrollo, proponiendo una mirada compasiva por medio de la narración plástica., [EN] This final work of Master's degree of typology 4 is the study and analysis of the structures of inequality that were gestated in Chile since the colony, and that have been further perpetuated, under the neoliberal model imposed by the Pinochet dictatorship in 1973, and that In this way, this situation has unconsciously influenced the choice of symbols for the work that is presented. To do this, we will develop an analogy between human and corvid society, in order to avoid the cyclical confrontation between human beings and nature, this bird being an allegory of human beings. Parallel to this theoretical framework, we will develop a practical work aimed at making visible that chiasm that has occurred in the social imaginary of the Chilean people, and that has been affected in different parts of the world. Presenting opposition to the power structures established and predefined by the global political system. This study of the squawk as a metaphor will be taken as a qualitative means that addresses a parallel between the social facts that are currently in development, proposing a compassionate look through plastic narration.

[EN] The landscape is something intrinsic to the formation of any cultural worldview. In this study we will focus on the region of Horta (València) to talk about how the cultural records of what we could define as a unique cultural landscape in Europe are configured. In this place, we also articulate discourses that define eco‐knowledge and life stories narrated by the people who live there. Within this framework, we will analyse a project that registers and archives these customs; built as a counterpoint, by the mouths of all its own protagonists. If an archive is built from a sphere of power, this anarchive aims to articulate new narratives from the possibility of building horizontal and organic stories. Also as memory capsules, fragments of lives that intertwine in an emotional catharsis. These actions can build resistance, and a type of social aesthetic mediated by art. The way to order past memories that help us to build the future in a time of collapse, linked to a global ecological and socioeconomic crisis., [ES] El paisaje es algo intrínseco en la formación de cualquier cosmovisión cultural. En este estudio nos centraremos en la comarca de l’Horta (València) para hablar de como se configura los registros culturales de lo que podríamos definir como un paisaje cultural único en Europa. En este lugar, también se articulan discursos que definen ecosaberes e historias de vida narradas por las personas que habitan el lugar. En este marco, analizaremos un proyecto que registra y archiva estas costumbres; construidas como contrarelato, por boca de todas sus propias protagonistas. Si un archivo se construye desde una esfera de poder, este anarchivo pretende articular nuevas narrativas desde la posibilidad de construir relatos horizontales y orgánicos. También como cápsulas de memoria, retazos de vidas que se entrecruzan en una catarsis emocional. Estas acciones pueden construir resistencias, y un tipo de estética social mediada por el arte. La forma de ordenar recuerdos pasados que nos ayudan a construir el futuro en una época de colapso, vinculada a una crisis ecológica y socioeconómica a nivel global.

As global biodiversity declines, there is an increasing need to create an educated and engaged society. Having people of all ages participate in measuring biodiversity where they live helps to create awareness. Recently, the use of environmental DNA (eDNA) for biodiversity surveys has gained momentum. Here, we explore whether sampling eDNA and sequencing it can be used as a means of rapidly surveying urban biodiversity for educational purposes. We sampled 2 × 1 L of water from each of 15 locations in the city of Trondheim, Norway, including a variety of freshwater, marine, and brackish habitats. DNA was extracted, amplified in triplicate targeting the barcoding fragment of COI gene, and sequenced. The obtained data were analyzed on the novel mBRAVE platform, an online open‐access software and computing resource. The water samples were collected in 2 days by two people, and the laboratory analysis was completed in 5 days by one person. Overall, we detected the presence of 506 BINs identified as belonging to 435 taxa, representing at least 265 putative species. On average, only 5.4% of the taxa were shared among six replicates per site. Based on the observed diversity, three distinct clusters were detected and related to the geographic distribution of sites. There were some taxa shared between the habitats, with a substantial presence of terrestrial biota. Here we propose a new form of BioBlitz, where with noninvasive sampling effort combined with swift processing and straightforward online analyses, hundreds of species can be detected. Thus, using eDNA analysis of water is useful for rapid biodiversity surveys and valuable for educational purposes. We show that rapid eDNA surveys, combined with openly available services and software, can be used as an educational tool to raise awareness about the importance of biodiversity., CC BY 4.0

[ES] Davant d'una situació laboral precària provocada pel declivi del motor econòmic del poble de Vilafranca, el nostre TFG proposa un intercanvi de postals realitzades mitjançant la serigrafia entre els veïns i veïnes d'aquesta localitat i el desenvolupament d'un projecte col·laboratiu d'art públic prenent com a punt de partida el calcetí, símbol de la producció tèxtil local. A través d'aquesta doble intervenció artística es pretén incitar al conjunt de la població al diàleg sobre la seua identitat com a poble i sobre el passat i present de la seua històrica indústria tèxtil partint d'una proposta respectuosa i optimista d'apropiació de l'espai públic reinterpretant la pràctica del Shoe Tossing i d'intercomunicació entre el veïnat, valorant la ruralitat., [EN] Faced with the precarious labour situation caused by the decline of the economic engine of the town of Vilafranca, our TFG proposes an exchange of postcards made by screen printing among the residents of this town and the development of a collaborative project of public art taking as a starting point the sock, a symbol of the local textile production. Through this double artistic intervention, it is intended to encourage the whole population to dialogue about their identity as a village and about the past and present of its historic textile industry based on a respectful and optimistic proposal of appropriation of public space reinterpreting the meaning of Shoe Tossing and intercommunication between the neighbourhood, valuing rurality.

[ES] Mi año de descanso y relajación es el proyecto en el que se enmarcan las piezas cerámicas que hemos realizado desde el comienzo del máster hasta la fecha. Concebido como work in progress, se basa en la idea de entender el barro como un lienzo sobre el que inscribimos imágenes, textos y símbolos de forma casi diarística, con un marcado carácter de confesión y sinceridad. La elección de esta técnica entronca con la reivindicación del proceso y de la lentitud de éste, en un mundo en el que el descanso y la relajación cohabitan con un entusiasmo y una ansiedad generalizadas. En este contexto de precariedad entendemos los márgenes como el lugar desde el que realizar estos objetos, que parten de la forma del jarrón y se sitúan entre lo utilitario y lo artístico. Encontraremos varios senderos por los que estas piezas continuarán desarrollándose, vinculándose a su comercialización, el diálogo con otros artistas y su relación con diferentes espacios., [EN] My year of rest and relaxation is the project in which the pottery pieces we have made since the beginning of the master¿s degree are framed. Conceived as a work in progress, it is based on understanding clay as a canvas where we inscribe images, texts and symbols with a marked character of confession and sincerity. The choice of this technique is related to the vindication of the process and its slowness, in a world where rest and relaxation coexist with general enthusiasm and anxiety. In this precarious context, we understand the margins as a place from which we made these objects. They emerge from the shape of the vase and are situated between the utilitarian and the artistic. We will find several paths along which these pieces will continue to develop, linked to their commercialization, the dialogue with other artists and their relationship with different spaces.

[ES] El presente proyecto es una investigación teórica-práctica que plantea explorar la relación identitaria de los espacios territoriales aislados de carácter físico. Las islas, con su particular paisaje, es analizada a través de diferentes referentes sociológicos, antropológicos y plásticos para describir la evolución de su imaginario hasta la actualidad, desde las influencias obtenidas externamente. Mediante la exploración escultórica y fotográfica del paisaje se expone la relación de las formaciones volcánicas características de dichos espacios con el territorio, para ello analizamos simbólicamente como el asilamiento territorial, el horizonte y el volcán constituyen este paisaje tanto social, cultural y geológico, intervenido con las expresiones artísticas propias desarrolladas en esta investigación., [EN] The present project is a theoretical-practical investigation that proposes to explore the identity relationship of isolated territorial spaces of a physical nature. The islands, with their particular landscape, is analyzed through different sociological, anthropological and plastic references to describe the evolution of their imaginary to the present from externally obtained influences. Through the sculptural and photographic exploration of the landscape, the relationship of the characteristic volcanic formations of these spaces with the territory is exposed, for this we analyze symbolically how the territorial isolation, the horizon and the volcano constitute this social, cultural and geological landscape, intervened with own artistic expressions developed in this research.

[ES] El presente proyecto teórico-práctico se adscribe en las líneas de investigación Activismos e interfaces críticos y Estudios de imagen en movimiento. La investigación se enmarca en el contexto de las prácticas conceptuales ligadas a la localización del cuerpo en el desplazamiento contemporáneo y su relación con el territorio y la velocidad. El desarrollo de este se centrará en el análisis de lo corpóreo-político y los dispositivos visuales y técnicos circunscritos en los procesos de inmovilización y retención de sujetos durante los diferentes tipos de desplazamiento, a partir de una serie de casos de estudio en dispositivos de privatización de la libertad de desplazamiento y su relación privado-pública: el CIE y las zones d'attente (Roissy). Se propone una metodología basada en la puesta en relación de los resultados de estos análisis con un entramado referencial abierto a la confrontación conceptual, una suerte de conjunto de perspectivas que orbitan los conceptos de velocidad, lugar, subalternidad, necropolítica, poscolonialidad, cuerpo, espacio y tiempo. Los recursos y materiales desarrollados durante estos procesos de análisis formarán parte de una instalación artística de carácter transdisciplinar y relacionada con la estética del archivo, el mapa conceptual, la creación de un tejido sensible y el diálogo de los dispositivos de estudio y las redes generativas antagónicas. El cuerpo de trabajo se desarrollará de manera rizomática y expansiva. Este proyecto esboza un posicionamiento crítico respecto a los dispositivos de retención e inmovilización, pero pese a esta toma de partida no pretende aportar soluciones, "recorre una guerra sin batalla, una guerra sin guerrillas, [...] únicamente conversaciones o negaciones1" (Deleuze, 2004). Un cuestionamiento de la visión bélica desde la toma de perspectiva., [EN] This theoretical-practical project is part of Activisms and critical interfaces and Studies of moving image research lines. The research is framed in the context of conceptual practices linked to the location of the body in contemporary displacement and its relationship with territory and speed. The development of this research will be focus in a corporeal-political analysis of the visual and technical devices located in the processes of immobilization and retention of subjects during the different typologies of displacement. Based on a series of case studies in devices of privatization of the freedom of displacement and its private-public relationship: CIE and zones d'attente (Roissy). Methodology is based on the results of these analyses and a referential framework open to conceptual confrontation, a set of perspectives that orbit the concepts of speed, place, subalternity, necropolitics, post-coloniality, body, space and time. In this way, the creation of a transdisciplinary installation is proposed, generated from the resources and materials developed during the process, in relation to the archive aesthetics, conceptual map, the creation of a sensitive piel and the dialogue of the study devices and GAN networks. The body of work will be developed in a rhizomatic and expansive manner. This project outlines a critical position with respect to the devices of retention and immobilization, but despite this starting point it does not pretend to provide solutions, "running a war without battle, a war without warfares, [...] only conversations or denials1" (Deleuze, 2004). A questioning of the vision of war from a perspective.

[ES] Con este proyecto se pretende representar mediante la escultura el mito de las estaciones, procurando darle un nuevo punto de vista a este, enlazando esta obra con la idea filosófica de la alienación de Marx y la lucha de clase, así como también el existencialismo de Beauvoir unido con sus teorías feministas. El mito para la persona que ha creado la obra, representa la idea de una historia fabulosa que explica, por medio de la narración, las acciones de seres que encarnan de forma simbólica fuerzas de la naturaleza y aspectos de la condición humana, por otra parte, también sirven para dar respuesta sobre aspectos de la vida, que parte desde lo más cotidiano a lo más trascendental. El objetivo principal con todo esto es, captar los estereotipos que están establecidos en la sociedad de hoy en día y plasmar los cambios que sufre el personaje principal al romper con el canon. La metodología empleada ha consistido en el estudio del mito, así como la lectura de varias corrientes filosóficas hasta lograr una idea de cómo romperlo y establecer un nuevo relato, trasladando así esas ideas a un proyecto físico., [EN] This project aims to represent through sculpture the myth of the seasons, trying to give it a new point of view, linking this work with the philosophical idea of Marx's alienation and class struggle, as well as Beauvoir's existentialism, joining these ideas with feminist theories. The myth for the person who has created the work, represents the idea of a fabulous story that explains, by means of the narration, the actions of beings that embody in a symbolic way forces of nature and aspects of the human condition, on the other hand, also serve to give an answer about aspects of life, that starts from the most daily to the most transcendental. The main objective with all this is to capture the stereotypes that are established in today's society and to reflect the changes that the main character undergoes when breaking with the canon. The methodology used has consisted of the study of the myth, as well as the reading of various philosophical currents until achieving an idea of how to break it and establish a new story, thus translating these ideas into a physical project.

Traditionally, insects collected for scientific purposes have been dried and pinned, or preserved in 70% ethanol. Both methods preserve taxonomically informative exoskeletal structures well but are suboptimal for preserving DNA for molecular biology. Highly concentrated ethanol (95-100%), preferred as a DNA preservative, has generally been assumed to make specimens brittle and prone to breaking. However, systematic studies on the correlation between ethanol concentration and specimen preservation are lacking. Here, we tested how preservative ethanol concentration in combination with different sample handling regimes affect the integrity of seven insect species representing four orders, and differing substantially in the level of sclerotization. After preservation and treatments (various levels of disturbance), we counted the number of appendages (legs, wings, antennae, or heads) that each specimen had lost. Additionally, we assessed the preservation of DNA after long-term storage by comparing the ratio of PCR amplicon copy numbers to an added artificial standard. We found that high ethanol concentrations indeed induce brittleness in insects. However, the magnitude and nature of the effect varied strikingly among species. In general, ethanol concentrations at or above 90% made the insects more brittle, but for species with robust, thicker exoskeletons, this did not translate to an increased loss of appendages. Neither freezing the samples nor drying the insects after immersion in ethanol had a negative effect on the retention of appendages. However, the morphology of the insects was severely damaged if they were allowed to dry. We also found that DNA preserves less well at lower ethanol concentrations when stored at room temperature for an extended period. However, the magnitude of the effect varies among species; the concentrations at which the number of COI amplicon copies relative to the standard was significantly decreased compared to 95% ethanol ranged from 90%

[ES] Si hablamos de memoria colectiva no podemos establecernos en una convicción de estabilidad y solidez, al contrario, debemos atender a la coexistencia de múltiples visiones pasadas que ayudan a redefinir constantemente la identidad a partir de las necesidades del presente. La dialéctica que aquí encontramos entre lo novedoso y lo antiguo, entre lo cotidiano y lo inaudito puede ser el lugar en el que la memoria colectiva puede tomar los hilos con los que hilvanar un tejido que construya nuestras identidades sociales. Posibilitar el acceso a estos hilos, en plural, debe suponer un impulso en el que basarnos para transformar el contexto sociocultural de una manera igualitaria. Diferentes modos de hilar, o lo que es lo mismo, de crear continuidad conforme a las condiciones pasadas, las del presente y los proyectos futuros; de tal modo, la identidad se reconocerá como un tejido flexible con un final incierto. Es en la memoria histórica y colectiva, sin perjuicio de las memorias individuales y subjetivas donde se construye espacios de libertad que restituyen dignidad y se cimientan proyecciones positivas de futuro. En la actualidad, los procesos de hibridación en todas sus dimensiones se han hecho notorios. También desde el arte, como manifestación que expande estos términos en parámetros de sensibilidad e imaginación social y que nos ayuda a percibir el mundo en una dimensión total de sus posibilidades. En el presente texto mostraremos la posibilidad de transformar acciones artísticas en procesos de facilitación y mediación social a partir de experiencias concretas. Enmarcado en una época donde el espacio que practicamos se muestra como una serie de emplazamientos que contienen estrategias, usos y connotaciones implícitos de una gran variedad. Empoderarnos de estas estrategias desde el colectivo para transformar nuestro espacio cotidiano es una herramienta de enorme valor ligada a la construcción de utopías positivas. La cultura es una herramienta que permite precisa

If we speak of collective memory we cannot establish ourselves in a conviction of stability and solidity, on the contrary, we must attend to the coexistence of multiple past visions that help to constantly redefine identity from the needs of the present. The dialectic that we find here between the new and the old, between the everyday and the unheard of can be the place where collective memory can take the threads with which to weave a fabric that builds our social identities. Making these threads accessible, in the plural, should be an impulse on which we can base ourselves to transform the socio-cultural context in an egalitarian way. Different ways of spinning, or what is the same, of creating continuity according to past conditions, those of the present and future projects; in such a way, identity will be recognized as a flexible fabric with an uncertain end. It is in the historical and collective memory, without prejudice to individual and subjective memories, where spaces of freedom are built that restore dignity and cement positive projections for the future. Nowadays, hybridization processes in all their dimensions have become notorious. Also from art, as a manifestation that expands these terms in parameters of sensitivity and social imagination and that helps us to perceive the world in a total dimension of its possibilities. In this text we will show the possibility of transforming artistic actions into processes of social facilitation and mediation based on concrete experiences. Framed in an era where the space we practice is shown as a series of locations that contain strategies, uses and implicit connotations of a great variety. Empowering ourselves with these strategies from the collective to transform our daily space is a tool of enormous value linked to the construction of positive utopias. Culture is a tool that allows us to specify this social content. It is an element that shapes the landscape and plays a key role in the contextual arrangement of, Si hablamos de memoria colectiva no podemos establecernos en una convicción de estabilidad y solidez, al contrario, debemos atender a la coexistencia de múltiples visiones pasadas que ayudan a redefinir constantemente la identidad a partir de las necesidades del presente. La dialéctica que aquí encontramos entre lo novedoso y lo antiguo, entre lo cotidiano y lo inaudito puede ser el lugar en el que la memoria colectiva puede tomar los hilos con los que hilvanar un tejido que construya nuestras identidades sociales. Posibilitar el acceso a estos hilos, en plural, debe suponer un impulso en el que basarnos para transformar el contexto sociocultural de una manera igualitaria. Diferentes modos de hilar, o lo que es lo mismo, de crear continuidad conforme a las condiciones pasadas, las del presente y los proyectos futuros; de tal modo, la identidad se reconocerá como un tejido flexible con un final incierto. Es en la memoria histórica y colectiva, sin perjuicio de las memorias individuales y subjetivas donde se construye espacios de libertad que restituyen dignidad y se cimientan proyecciones positivas de futuro. En la actualidad, los procesos de hibridación en todas sus dimensiones se han hecho notorios. También desde el arte, como manifestación que expande estos términos en parámetros de sensibilidad e imaginación social y que nos ayuda a percibir el mundo en una dimensión total de sus posibilidades. En el presente texto mostraremos la posibilidad de transformar acciones artísticas en procesos de facilitación y mediación social a partir de experiencias concretas. Enmarcado en una época donde el espacio que practicamos se muestra como una serie de emplazamientos que contienen estrategias, usos y connotaciones implícitos de una gran variedad. Empoderarnos de estas estrategias desde el colectivo para transformar nuestro espacio cotidiano es una herramienta de enorme valor ligada a la construcción de utopías positivas. La cultura es una herramienta que permite precisar est

[ES] El mundo actual se articula en torno a conceptos de globalización y universalización. El tema en sí mismo ya muestra la plasticidad de los falsos conceptos de mundo, que pueden corresponder tanto a la idea de totalidad acabada, como a la de pluralidad irreductible (el mundo que está hecho de mundos). Hoy en día, esta tensión entre lo unitario y lo plural es más evidente que nunca. No podemos explicar el comportamiento de las personas por referencia a los valores o normas establecidas en una cultura coherente, sino por el recurso de aquello desconocido, a la espontaneidad inventiva de la acción. Esto lo podríamos definir como ese infinito sin límites que caracteriza un comportamiento hacia ninguna definición conocida, en lo que consideraríamos una expresión contracultural. En un momento como este, aparecen prácticas subversivas en la manera que tenemos de experimentar nuestro entorno. Un nuevo dinamismo que inventa y compone integrando procesos de educación social colectiva. Analizaremos la capacidad de actuación de las artes (sin distinciones entre baja y alta cultura) en la proliferación de imágenes en la actualidad. Los conceptos de imagen y de visibilidad explorados a partir de la idea de que las estrategias de intervención en la ciudad pueden oscilar, desde los grandes gestos a los más pequeños, desde los más duraderos a los más efímeros. Grafías urbanas reflejadas en imágenes y textos ofrecidos por autores identificados o anónimos, a pie de calle, que transforman nuestro devenir diario. Estos gestos se tornan modelos de ocupación temporal del espacio público, desvelando la condición micropolítica de los otros modelos dominantes de producción de subjetividad, y se materializan en poetizaciones que continuamente se elaboran en el espacio urbano., [EN] The current world is articulated around concepts of globalization and universalization. The subject itself already shows the plasticity of the false concepts of the world, which may correspond both to the idea of the finished totality, and to that of irreducible plurality (the world that is made of worlds). Nowadays, this tension between the unitary and the plural is more evident than ever. We cannot explain the behavior of people by reference to the values or norms established in a coherent culture, but by the resource of the unknown, to the inventive spontaneity of the action. This we could define as that infinite without limits that characterizes a behavior towards an unknown definition, in what we would consider a countercultural expression. At a time like this, subversive practices appear in the way we experience our environment. A new dynamism that invents and composes integrating collective social education processes. We will analyze the performance capacity of the arts (without distinctions between low and high culture) in the proliferation of images at present. The concepts of image and visibility explored from the idea that the strategies of intervention in the city can range from big gestures to the smallest, from the most durable to the most ephemeral. Urban graphics reflected in images and texts offered by identified or anonymous authors, at street level, that transform our daily becoming. These gestures become models of temporary occupation of the public space, revealing the micropolitical condition of the other dominant models of the production of subjectivity, and materialize in poetizations that are continually elaborated in the urban space.

Insect metabarcoding has been mainly based on PCR amplification of short fragments within the "barcoding region" of the gene cytochrome oxidase I (COI). However, because of the variability of this gene, it has been difficult to design good universal PCR primers. Most primers used today are associated with gaps in the taxonomic coverage or amplification biases that make the results less reliable and impede the detection of species that are present in the sample. We identify new primers for insect metabarcoding using computational approaches (ecoprimers and degeprime) applied to the most comprehensive reference databases of mitochondrial genomes of Hexapoda assembled to date. New primers are evaluated in silico against previously published primers in terms of taxonomic coverage and resolution of the corresponding amplicons. For the latter criterion, we propose a new index, exclusive taxonomic resolution, which is a more biologically meaningful measure than the standard index used today. Our results show that the best markers are found in the ribosomal RNA genes (12S and 16S); they resolve about 90% of the genetically distinct species in the reference database. Some markers in protein-coding genes provide similar performance but only at much higher levels of primer degeneracy. Combining two of the best individual markers improves the effective taxonomic resolution with up to 10%. The resolution is strongly dependent on insect taxon: COI primers detect 40% of Hymenoptera, while 12S primers detect 12% of Collembola. Our results indicate that amplicon-based metabarcoding of insect samples can be improved by choosing other primers than those commonly used today., QC 20190312

Massively parallel DNA sequencing opens up opportunities for bridging multiple temporal and spatial dimensions in biodiversity research, thanks to its efficiency to recover millions of nucleotide polymorphisms. Here, we identify the current status, discuss the main challenges, and look into future perspectives on biodiversity genomics focusing on insects, which arguably constitute the most diverse and ecologically important group among all animals. We suggest 10 simple rules that provide a succinct step-by-step guide and best-practices to anyone interested in biodiversity research through the study of insect genomics. To this end, we review relevant literature on biodiversity and evolutionary research in the field of entomology. Our compilation is targeted at researchers and students who may not yet be specialists in entomology or molecular biology. We foresee that the genomic revolution and its application to the study of non-model insect lineages will represent a major leap to our understanding of insect diversity.

DNA metabarcoding allows the analysis of insect communities faster and more efficiently than ever before. However, metabarcoding can be conducted through several approaches, and the consistency of results across methods has rarely been studied. We compare the results obtained by DNA metabarcoding of the same communities using two different markers - COI and 16S - and three different sampling methods: (a) homogenized Malaise trap samples (homogenate), (b) preservative ethanol from the same samples, and (c) soil samples. Our results indicate that COI and 16S offer partly complementary information on Malaise trap samples, with each marker detecting a significant number of species not detected by the other. Different sampling methods offer highly divergent estimates of community composition. The community recovered from preservative ethanol of Malaise trap samples is significantly different from that recovered from homogenate. Small and weakly sclerotized insects tend to be overrepresented in ethanol while strong and large taxa are overrepresented in homogenate. For soil samples, highly degenerate COI primers pick up large amounts of nontarget DNA and only 16S provides adequate analyses of insect diversity. However, even with 16S, very little overlap in molecular operational taxonomic unit (MOTU) content was found between the trap and the soil samples. Our results demonstrate that none of the tested sampling approaches is satisfactory on its own. For instance, DNA extraction from preservative ethanol is not a valid replacement for destructive bulk extraction but a complement. In future metabarcoding studies, both should ideally be used together to achieve comprehensive representation of the target community.

The banking area is one of the most important aspects of the national economy, for its contribution to the Gross Domestic Product (GDP) and for its ability to generate supply labour. This research, considering the importance of this area, analyzes the efficiency of 17 national private banks which maintained operations in the country during the period of 2001-2017, in order to locate points of improvement to contribute to the process of decisions and optimize the perceived benefits. The study model used for this research is the Data Envelope Analysis (DEA), a mathematical model of linear programming, which analyzes efficiency through the optimization of the output variables and leverages resources or existing inputs, in this case financial ratios, as it proposes the CAMEL methodology. The main finding derived from the study indicates that the average efficiency level presented by the banks in the period foretold is under the BCC model 97,62% and 91,34% CCR; it also determined that the input variables must be increased with end acquire productive assets, and that they must minimize late payment, check the nonperforming loans, reduce expenses and provisions, improve profitability for shareholders, optimize liquidity, and others. Thus, efficiency levels will improve.